{"info": {"total": 25470, "parameters": {"skip": 0, "limit": 1000, "created_before": 2000, "created_after": 1900, "select": "accession_number,accession_number_sortable,cover_accession_number,department,collection,gallery,department,classification_type"}}, "data": [{"id": 92937, "accession_number": "1922.1133", "share_license_status": "CC0", "tombstone": "Stag at Sharkey's, 1909. George Bellows (American, 1882\u20131925). Oil on canvas; framed: 110 x 140.5 x 8.5 cm (43 5/16 x 55 5/16 x 3 3/8 in.); unframed: 92 x 122.6 cm (36 1/4 x 48 1/4 in.). The Cleveland Museum of Art, Hinman B. Hurlbut Collection, 1922.1133", "current_location": "208 American Gilded Age and Realism", "title": "Stag at Sharkey's", "creation_date": "1909", "creation_date_earliest": 1909, "creation_date_latest": 1909, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 110 x 140.5 x 8.5 cm (43 5/16 x 55 5/16 x 3 3/8 in.); Unframed: 92 x 122.6 cm (36 1/4 x 48 1/4 in.)", "dimensions": {"framed": {"height": 1.1, "width": 1.405, "depth": 0.085}, "unframed": {"height": 0.92, "width": 1.226}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed upper left:  Geo Bellows, / Copyrighted 190[9]; inscribed on back:  Geo Bellows / 146 E. 19th St. N.Y. / \"Club Night\" / 67.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 616736, "title": "Second Exhibition of Contemporary American Painting", "description": "<i>Second Exhibition of Contemporary American Painting</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 8-July 10, 1922).", "opening_date": "1922-06-08T00:00:00"}, {"id": 315560, "title": "Memorial Exhibition of the Work of George Bellows", "description": "<i>Memorial Exhibition of the Work of George Bellows</i>. The Metropolitan Museum of Art (organizer) (co-organizer) (October 12-November 22, 1925).", "opening_date": "1925-10-12T05:00:00"}, {"id": 354980, "title": "The George Wesley Bellows Memorial Exhibition", "description": "<i>The George Wesley Bellows Memorial Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 16-March 22, 1926).", "opening_date": "1926-02-16T05:00:00"}, {"id": 315582, "title": "The George Bellows Exhibition", "description": "<i>The George Bellows Exhibition</i>. Columbus Museum of Art, Columbus, OH (organizer) (co-organizer) (January 22-March 1, 1931).", "opening_date": "1931-01-22T05:00:00"}, {"id": 315601, "title": "Olympic Competition and Exhibition of Art", "description": "<i>Olympic Competition and Exhibition of Art</i>. Natural History Museum of Los Angeles, Los Angeles, CA (organizer) (co-organizer) (July 30, 1932-August 31, 1931).", "opening_date": "1932-07-30T04:00:00"}, {"id": 315604, "title": "American Painting & Sculpture 1862-1932", "description": "<i>American Painting & Sculpture 1862-1932</i>. Museum of Modern Art, NY (organizer) (co-organizer) (October 31, 1932-January 31, 1933).", "opening_date": "1932-10-31T05:00:00"}, {"id": 315608, "title": "Century of Progress: Exhibition of Paintings and Sculpture", "description": "<i>Century of Progress: Exhibition of Paintings and Sculpture</i>. Art Institute of Chicago (organizer) (co-organizer) (June 1-November 1, 1933).", "opening_date": "1933-06-01T04:00:00"}, {"id": 315619, "title": "A Loan Exhibition of American Paintings Since 1900", "description": "<i>A Loan Exhibition of American Paintings Since 1900</i>. William Rockhill Nelson Gallery (co-organizer) (December 10, 1933-January 31, 1934).", "opening_date": "1933-12-10T05:00:00"}, {"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": 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": 315639, "title": "Trois Si\u00e8cles d'art aux Etats-Unis", "description": "<i>Trois Si\u00e8cles d'art aux Etats-Unis</i>. Galerie national du Jeu de Paume, Paris, France (organizer) (co-organizer) (May 24-July 31, 1938).", "opening_date": "1938-05-24T04:00:00"}, {"id": 315643, "title": "Life in America: A Special Loan Exhibition of Paintings Held During the Period of the New York World's Fair", "description": "<i>Life in America: A Special Loan Exhibition of Paintings Held During the Period of the New York World's Fair</i>. The Metropolitan Museum of Art, New York, NY (organizer) (co-organizer) (April 24-October 29, 1939).", "opening_date": "1939-04-24T05:00:00"}, {"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": 315655, "title": "Sport in American Art", "description": "<i>Sport in American Art</i>. Museum of Fine Arts, Boston, Boston, MA (organizer) (co-organizer) (October 10-December 10, 1944).", "opening_date": "1944-10-10T04:00:00"}, {"id": 315676, "title": "George Bellows: Paintings, Drawings, and Prints", "description": "<i>George Bellows: Paintings, Drawings, and Prints</i>. The Art Institute of Chicago, Chicago, IL (organizer) (co-organizer) (January 31-March 10, 1946).", "opening_date": "1946-01-31T05:00:00"}, {"id": 315679, "title": "American Paintings: From the Eighteenth Century to the Present Day", "description": "<i>American Paintings: From the Eighteenth Century to the Present Day</i>. Tate Modern, London, United Kingdom of Great Britain and Northern Ireland (organizer) (co-organizer) (June 1-July 31, 1946).", "opening_date": "1946-06-01T04:00:00"}, {"id": 315684, "title": "Sport in Art", "description": "<i>Sport in Art</i>. Buffalo AKG Art Museum, Buffalo, NY (organizer) (co-organizer) (January 24-February 22, 1948).", "opening_date": "1948-01-24T05:00:00"}, {"id": 315689, "title": "The Ring and the Glove", "description": "<i>The Ring and the Glove</i>. Addison Gallery of American Art, Andover, MA (co-organizer) (September 17-November 14, 1948).", "opening_date": "1948-09-17T04:00:00"}, {"id": 315693, "title": "Milestones of American Painting in Our Century", "description": "<i>Milestones of American Painting in Our Century</i>. Montr\u00e9al Museum of Fine Arts, Montreal, Quebec, Canada (March 15-April 15, 1948); Colorado Springs Fine Arts Center, CO (May 5-June 25, 1948); The Institute of Contemporary Art, Boston, Boston, MA (organizer) (co-organizer) (January 20-March 1, 1949); Fine Arts Museums of San Francisco, de Young Museum, San Francisco, CA (July 10-August 25, 1949); Los Angeles County Museum of Art, Los Angeles, CA (September 7-October 16, 1949); The Cleveland Museum of Art, Cleveland, OH (November 3-December 18, 1949).", "opening_date": "1949-01-20T05:00:00"}, {"id": 315703, "title": "Aspects of New York City Life", "description": "<i>Aspects of New York City Life</i>. The Century Association (organizer) (co-organizer) (March 1-April 30, 1950).", "opening_date": "1950-03-01T05:00:00"}, {"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": 315706, "title": "Exhibition of Sporting Art", "description": "<i>Exhibition of Sporting Art</i>. The Century Association (organizer) (co-organizer) (January 13-March 28, 1954).", "opening_date": "1954-01-13T05:00:00"}, {"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": 315754, "title": "George Bellows: A Retrospective Exhibition", "description": "<i>George Bellows: A Retrospective Exhibition</i>. National Gallery of Art (organizer) (co-organizer) (January 19-February 24, 1957).", "opening_date": "1957-01-19T05:00:00"}, {"id": 315758, "title": "Paintings by George Bellows", "description": "<i>Paintings by George Bellows</i>. Columbus Museum of Art, Columbus, OH (organizer) (co-organizer) (March 21-April 21, 1957).", "opening_date": "1957-03-21T05:00:00"}, {"id": 315762, "title": "Four Centuries of American Art", "description": "<i>Four Centuries of American Art</i>. Minneapolis Institute of Arts, MN (organizer) (co-organizer) (November 27, 1963-January 19, 1964).", "opening_date": "1963-11-27T05:00:00"}, {"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": 315773, "title": "Triumph of Realism: An Exhibition of European and American Realist Paintings 1850-1910", "description": "<i>Triumph of Realism: An Exhibition of European and American Realist Paintings 1850-1910</i>. The Brooklyn Museum, Brooklyn, NY (organizer) (co-organizer) (October 3-November 19, 1967).", "opening_date": "1967-10-03T04:00:00"}, {"id": 315797, "title": "The Painters' America: Rural and Urban Life, 1810-1910", "description": "<i>The Painters' America: Rural and Urban Life, 1810-1910</i>. Whitney Museum of American Art, New York, NY (organizer) (co-organizer) (September 18-November 10, 1974); Museum of Fine Arts, Houston, Houston, TX (December 5, 1974-January 19, 1975); Oakland Museum of California, Oakland, CA (February 10-March 30, 1975).", "opening_date": "1974-09-18T04:00:00"}, {"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": 315829, "title": "George Wesley Bellows: Paintings, Drawings, and Prints", "description": "<i>George Wesley Bellows: Paintings, Drawings, and Prints</i>. Columbus Museum of Art, Columbus, OH (organizer) (co-organizer) (April 1-May 8, 1979); Virginia Museum of Fine Arts, Richmond, VA (June 29-August 5, 1979); Des Moines Art Center, Des Moines, IA (September 17-October 28, 1979); Worcester Art Museum, Worcester, MA (November 16-December 28, 1979).", "opening_date": "1979-04-01T05:00:00"}, {"id": 315863, "title": "Bellows: The Boxing Pictures", "description": "<i>Bellows: The Boxing Pictures</i>. National Gallery of Art (organizer) (co-organizer) (September 5, 1982-January 2, 1983).", "opening_date": "1982-09-05T04:00:00"}, {"id": 316624, "title": "The Paintings of George Bellows", "description": "<i>The Paintings of George Bellows</i>. Whitney Museum of American Art, New York, NY (February 16-May 10, 1992); Columbus Museum of Art, Columbus, OH (October 11, 1992-January 3, 1993); Amon Carter Museum, Fort Worth, TX (February 20-May 9, 1993).", "opening_date": "1992-02-16T05:00:00"}, {"id": 316631, "title": "Metropolitan Lives: The Ashcan Artists and Their New York, 1897-1917", "description": "<i>Metropolitan Lives: The Ashcan Artists and Their New York, 1897-1917</i>. National Museum of American Art, Washington, DC (co-organizer) (November 17, 1995-March 17, 1996).", "opening_date": "1995-11-17T05:00:00"}, {"id": 218347, "title": "The American Century: Art and Culture 1900-2000 (Part 1: 1900-1950)", "description": "<i>The American Century: Art and Culture 1900-2000 (Part 1: 1900-1950)</i>. Whitney Museum of American Art, New York, NY (organizer) (April 22-September 5, 1999).", "opening_date": "1999-04-22T00:00:00"}, {"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": 177291, "title": "George Bellows (1882-1925)", "description": "<i>George Bellows (1882-1925)</i>. National Gallery of Art, Landover, MD (organizer) (June 10-October 8, 2012); The Metropolitan Museum of Art, New York, NY (November 13, 2012-February 18, 2013); Royal Academy of Arts, London, United Kingdom of Great Britain and Northern Ireland (March 16-June 9, 2013).", "opening_date": "2012-06-10T00:00:00"}, {"id": 222001, "title": "George Bellows and the American Experience", "description": "<i>George Bellows and the American Experience</i>. Columbus Museum of Art, Columbus, OH (organizer) (August 23, 2013-January 4, 2014).", "opening_date": "2013-08-23T00:00:00"}, {"id": 200468, "title": "Stag at Sharkey\u2019s: George Bellows and the Art of Sports", "description": "<i>Stag at Sharkey\u2019s: George Bellows and the Art of Sports</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 14-September 18, 2016).", "opening_date": "2016-05-14T00:00:00"}], "legacy": [{"description": "Columbus, The Columbus Gallery of Fine Arts, The George Bellows Exhibition (22 January-1 March 1931), see Bulletin of The Columbus Gallery of Fine Arts (January, 1931), vol. 1, no. 1, cat. no. 269, illus. p. I, 15.", "opening_date": "1931-01-22T00:00:00"}, {"description": "Chicago, The Art Institute of Chicago, Century of Progress: Exhibition of Paintings and Sculpture (1 June-1 November 1933), illus. cat. no. 434, listed p. 60.", "opening_date": "1933-06-01T00:00:00"}, {"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)", "opening_date": "1936-06-26T00:00:00"}, {"description": "New York, Whitney Museum of American Art, New York Realists, 1900-1914 (9 February-5 March 1937), cat. no. 8, illus., listed p. 12.", "opening_date": "1937-02-09T00:00:00"}, {"description": "Philadelphia, The Philadelphia Museum, Art in the United States: Painting, Sculpture, Prints, Crafts (20 June-13 September 1942), illus.", "opening_date": "1942-06-20T00:00:00"}, {"description": "Buffalo, The Buffalo Fine Arts Academy, Albright Art Gallery, Sport in Art (24 January-22 February 1948), no. 5.", "opening_date": "1948-01-24T00:00:00"}, {"description": "Andover, MA, Addison Gallery of American Art, Phillips Academy, The Ring and the Glove (17 September-14 November 1948), see Bellows: The Boxing Pictures p. 76: the exhibition originated at the Museum of the City of New York, Stag was only shown at Addison and did not appear in the catalogue.", "opening_date": "1948-09-17T00:00:00"}, {"description": "Boston, Institute of Contemporary Art, Milestones of American Painting in Our Century (20 January-1 March 1949); traveled to: Montreal, Art Association of Montreal (15 March-15 April 1949); Colorado Springs, Colorado Springs Fine Arts Center (5 May-25 June 1949); San Francisco, M. H. de Young Museum (10 July-25 August 1949); Los Angeles, Los Angeles County Museum (7 September-16 October 1949); Cleveland, The Cleveland Museum of Art (3 November-18 December 1949); cat. no. 3, listed p. 29, pp. 38-39, illus. p. 39.", "opening_date": "1949-01-20T00:00:00"}, {"description": "Boston, The Institute of Contemporary Art; traveled to: Louisville, J. B. Speed Memorial Gallery; San Francisco, M. H. de Young Musuem; Buffalo, Albright Gallery; Montreal, Art Association of Montreal; Cleveland, The Cleveland Museum of Art; notes that the exhibition toured from 1 January-31 December, but does not give specific dates.", "opening_date": null}, {"description": "New York, The Century Association, Aspects of New York City Life (1 March-30 April 1950), listed in catalogue.", "opening_date": "1950-03-01T00:00:00"}, {"description": "New York, The Century Association, Exhibition of Sporting Art (13 January-28 March 1954), listed in catalogue.", "opening_date": "1954-01-13T00:00:00"}, {"description": "Columbus, The Columbus Gallery of Fine Arts, Paintings by George Bellows (21 March-21 April 1957), cat. no. 11, illus. front cover.", "opening_date": "1957-03-21T00:00:00"}, {"description": "Brooklyn, The Brooklyn Museum, Triumph of Realism: An Exhibition of European and American Realist Paintings 1850-1910 (3 October-19 November 1967), see Bellows: The Boxing Pictures p. 76: not in catalogue and did not go on tour.", "opening_date": "1967-10-03T00:00:00"}, {"description": "New York, Whitney Museum of American Art, The Painters' America: Rural and Urban Life, 1810-1910 (20 September-10 November 1974); traveled to: Houston, The Museum of Fine Arts (5 December 1974-19 January 1975); Oakland, The Oakland Museum (10 February-30 March 1975), cat. no. 6, illus. p. 132, fig. 154.", "opening_date": "1974-09-20T00:00:00"}, {"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 September-10 October 1976); cat. no. 38, illus.", "opening_date": "1976-03-06T00:00:00"}, {"description": "Washington, D.C., National Gallery of Art, Bellows: The Boxing Pictures (5 September-2 January 1983), illus. cat. no. 2, plate 4, also included E. A. Carmean, Jr.'s essay \"Bellows: The Boxing Paintings,\" pp. 27-47, illus. in article p. 32, fig. 28; listed p. 74 with small illus.", "opening_date": "1983-09-05T00:00:00"}, {"description": "Los Angeles, Los Angeles County Museum of Art, The Paintings of George Bellows (16 February-10 May 1992); traveled to: New York, Whitney Museum of American Art (5 June-30 August 1992); Columbus, Columbus Museum of Art (11 October 1992-3 January 1993); Fort Worth, Amon Carter Museum (20 February-9 May 1993); illus. figs. 16, 17 in Michael Quick's essay \"Technique and Theory: The Evolution of George Bellows' Painting Style,\" and fig. 9 in Marianne Doezema's \"The 'Real' New York;\" cat. not numbered.", "opening_date": "1992-02-16T00:00:00"}, {"description": "Washington, D. C., National Museum of American Art, Metropolitan Lives: The Ashcan Artists and Their New York, 1897-1917 (17 November 1995-17 March 1996), illus. fig. 179, p. 164, also included pp. 46-48, 81-88, 156-158, 163-171, 208-210, 215-217, 220, 223. (Not in CMA library: OCLC 921076645)", "opening_date": "1995-11-17T00:00:00"}, {"description": "New York, Whitney Museum of American Art, The American Century: Art &amp; Culture 1900-1950 (23 April-22 August 1999)", "opening_date": "1999-04-23T00:00:00"}, {"description": "The Cleveland Museum of Art (06/21/2005 - 09/11/2005); \"CMA Highlights\"", "opening_date": "2005-06-21T00:00:00"}, {"description": "National Gallery of Art, Washington, DC (6/10/2012 - 10/8/2012),Metropolitan Museum of Art, NY (11/13/2012 - 2/18/2013), and the Royal Academy of Arts, London, UK (3/16/2013): \"George Bellows (1882-1925)\", ex. cat. no. 17, p, 82, detail on cover and inside cover. (Not in CMA library: OCLC 801141298)", "opening_date": "2012-06-10T00:00:00"}, {"description": "Philadelphia, The Pennsylvania Academy of the Fine Arts, The One Hundred and Fifth Annual Exhibition of The Pennsylvania Academy of the Fine Arts (23 January-20 March 1910), cat. no. 323, listed p. 37 as Club Night.", "opening_date": "1910-01-23T00:00:00"}, {"description": "New York, Galleries 29-31 West Thirty-Fifth St., Exhibition of Independent Artists (1-27 April 1910), cat. no 20 as Club Night.", "opening_date": "1910-04-01T00:00:00"}, {"description": "New York, Madison Gallery, (early 1911), see Bellows: The Boxing Pictures p. 75.", "opening_date": "1911-01-01T00:00:00"}, {"description": "Syracuse, Syracuse Museum of Fine Arts, Summer Exhibition of Paintings by American Artists (10 May-1 October 1911), no. 1 as Club Night; see Bulletin of Syracuse Museum of Fine Arts (October, 1911.", "opening_date": "1911-05-10T00:00:00"}, {"description": "Chicago, Marshall Filed (1911), see Bellows: The Boxing Pictures p. 75.", "opening_date": "1911-01-01T00:00:00"}, {"description": "Curtis Studios (1911), see Bellows: The Boxing Pictures p. 75.", "opening_date": "1911-01-01T00:00:00"}, {"description": "Cedar Rapids, IA, The Cedar Rapids Art Association, Art Gallery, Public Library, Iowa, Fifth Annual Art Exhibition (5-14 February 1913), no. 2.", "opening_date": "1913-02-05T00:00:00"}, {"description": "Rochester, NY, Rochester Industrial Exposition (7-19 September 1914), no. 6 as Club Night; see Bellows: The Boxing Pictures p. 75.", "opening_date": "1914-09-07T00:00:00"}, {"description": "Chicago, The Art Institute of Chicago, Paintings by George Bellows (10 December 1914-3 January 1915), no. 16 as Club Night; see Bulletin of The Art Institute of Chicago (1 January 1915), vol. IX, no. 1, p. 2-4, 8.", "opening_date": "1914-12-10T00:00:00"}, {"description": "Detroit, Detroit Museum of Art, Exhibition of Paintings by George Bellows (6-29 January 1915), no. 16 as Club Night; see Bulletin of The Detroit Museum of Art (January, 1915), vol. IX, no. 1, pp. 2, 4.", "opening_date": "1915-01-06T00:00:00"}, {"description": "Los Angeles, Los Angeles Museum of History, Science, and Art, Paintings by George Bellows (7-28 February 1915), no. 16 as Club Night.", "opening_date": "1915-02-07T00:00:00"}, {"description": "Minneapolis, The Minneapolis Institute of Art, Paintings by Lester D. Boronda; Paintings by George Bellows (4-31 May 1915), no. 37 as Club Night; see Bulletin of The Minneapolis Institute of Arts (May, 1915), vol. IV, no. 5, p. 46.", "opening_date": "1915-05-04T00:00:00"}, {"description": "Muskegon, MI, Hackley Art Gallery, Exhibition of Oil Paintings by George Bellows (9 June-August 1915), as Club Night.", "opening_date": "1915-06-01T00:00:00"}, {"description": "Worcester, MA, Worcester Art Museum, Exhibition of Paintings by George Bellows, New York City (5-26 September 1915), no. 13 as Club Night.", "opening_date": "1915-09-05T00:00:00"}, {"description": "Cincinnati, Cincinnati Art Museum, Special Exhibition of Paintings by Mr. George Bellows (October, 1915), no. 4 as Club Night.", "opening_date": "1915-10-01T00:00:00"}, {"description": "New York, Sponsored by The Junior Art Patrons of America, Fine Arts Building, First Retrospective Exhibition of American Art (7-21 May 1921), cat. no. 10, listed p. 13, not illus.", "opening_date": "1921-05-07T00:00:00"}]}, "provenance": [{"description": "(Marie Sterner, New York, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": ["<div><!--block-->Marie Sterner, owner of the Marie Sterner Gallery in New York, was Bellows' dealer.</div>"], "date": "By 1922", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1922-", "sortorder": 2}], "find_spot": null, "related_works": [{"id": 103801, "description": "A Stag at Sharkey's, 1916. George Bellows (American, 1882\u20131925). Lithograph; image: 26.7 x 20 cm (10 1/2 x 7 7/8 in.). The Cleveland Museum of Art, Gift of Charles T. Brooks, 1921.909", "relationship": null}], "former_accession_numbers": ["1059.1922", "1133.1922"], "did_you_know": "George Bellows was raised in Columbus, Ohio, and attended Ohio State University where he played baseball and basketball.", "description": "Bellows was no stranger to Sharkey\u2019s Athletic Club, a raucous saloon with a backroom boxing ring, located near his studio. Founded by Tom \u201cSailor\u201d Sharkey, an ex-fighter who had also served in the US Navy, the club attracted men seeking to watch or participate in matches. Because public boxing was illegal in New York at the time, a private event had to be arranged in order for a bout to take place. Participation was usually limited to members of a particular club, but whenever an outsider competed, he was given temporary membership and known as a \u201cstag.\u201d Although boxing had its share of detractors who considered it uncouth at best or barbaric at worst, its proponents\u2014among them President Theodore Roosevelt\u2014regarded it a healthy manifestation of manliness. Around the time Bellows painted <em>Stag at Sharkey\u2019s, </em>boxing was moving from a predominantly working-class enterprise to one with greater genteel appeal. For some contemporaries, boxing was a powerful analogy for the notion that only the strongest and fittest would flourish in modern society.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q3425144"], "internet_archive": ["https://archive.org/details/clevelandart-1922.1133-stag-at-sharkey-s"]}, "citations": [{"citation": "Rihn, Andrew. \"On Bellows and Rodin: Stag Fights, Explosions, and Spectatorship,\" <em>Cleveland Review of Books, </em>November 4, 2022.", "page_number": "https://www.clereviewofbooks.com/writing/on-bellows-and-rodin-stag-fights-explosions-and-spectatorship", "url": ""}, {"citation": "Saggese, Jordana Moore. Heavyweight : Black Boxers and the Fight for Representation. Durham: Duke University Press, 2024.", "page_number": "Mentioned, pp. 184-85, 197, 202, 214-16, 223; reproduced, p. 186.", "url": ""}, {"citation": "Schjeldahl, Peter, \"Young and Gifted,\" <em>New Yorker</em>, June 25, 2012.", "page_number": "Mentioned pp. 78-79; reproduced p. 78.", "url": ""}, {"citation": "Lopez, Jonathan, \"Packing a Punch,\" <em>Art and Antiques </em>(June 2012).", "page_number": "Mentioned pp. 24-25; reproduced p. 40.", "url": ""}, {"citation": "", "page_number": "", "url": ""}, {"citation": "Wolfe, M. Melissa, ed. <em>George Bellows Revisited : New Considerations of the Painter\u2019s Oeuvre</em>. (Newcastle upon Tyne: Cambridge Scholars Publishing, 2016).", "page_number": "Mentioned pp. 9-10, 103; reproduced p. 7.", "url": ""}, {"citation": "Davidson, Susan, ed. <em>Art in America : 300 Years of Innovation</em>. (London: Merrell, 2007).", "page_number": "Mentioned p. 30; reproduced p. 32.", "url": ""}, {"citation": "Wallraf-Richartz-Gesellschaft in K\u00f6ln, and Wallraf-Richartz-Museum--Fondation Corboud. <em>Es War Einmal in Amerika : 300 Jahre US-Amerikanische Kunst.</em> Edited by Barbara Schaefer and Anita Hachmann. K\u00f6ln: Wienand Verlag : Wallraf-Richartz-Museum &amp; Fondation Corboud, 2018.", "page_number": "Mentioned, p. 168-69; reproduced, p. 168.", "url": ""}, {"citation": "Raspe, Becky, \"Curator Corner,\" <em>Canvas</em> (Fall 2018).", "page_number": "Mentioned and reproduced, p. 46.", "url": ""}, {"citation": "Kelly, Grace V., \"Ohio-Born Artists Hold Front Rank in Museum's U.S. Painting Exhibition,\" <em>Plain Dealer, </em>Women's Magazine and Amusement Section.", "page_number": "Mentioned, p. 14-C.", "url": ""}, {"citation": "Wallach, Alan. <em>Trouble in Paradise : Twenty-Four Essays on the Social History of American Art</em>. Leiden: Brill, 2025.", "page_number": "Mentioned p. 325; reproduced p. 327.", "url": ""}, {"citation": "Milliken, William M. \"The Second Exhibition of Contemporary American Painting.\" <em>The Bulletin of the Cleveland Museum of Art.</em> 9:6 (June, 1922). 95-102.", "page_number": "Mentioned: p. 95-96; Reproduced: p. 106", "url": "https://www.jstor.org/stable/25136578"}, {"citation": "Glasier, Jessie C. \"Museum Gets Prize-Winning Canvases: Bellows Subject, Kent Landscape Are Acquisitions.\" <em>The Plain Dealer </em>(Cleveland, OH), June 18, 1922.", "page_number": "Reproduced: p. 3", "url": null}, {"citation": "\"Cleveland Museum Acquires Typical Pictures by Bellows and Kent.\" <em>American Art News.</em> 20:37 (24 June 1922). pp. 1-10.", "page_number": "Reproduced: p. 6", "url": null}, {"citation": "Milliken, William M. \"Two Examples of Modern Painting: The Maine Coast, by Rockwell Kent.\" <em>The Bulletin of the Cleveland Museum of Art.</em> 9:10 (December, 1922). pp. 171-175.", "page_number": "Reproduced: front cover", "url": null}, {"citation": "<em>Memorial Exhibition of the Work of George Bellows. </em>New York, NY: Metropolitan Museum of Art, 1925.", "page_number": "Mentioned: p. 18, 24; Reproduced: p. 48", "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. 36", "url": "https://archive.org/details/CMAHandbook_80839/page/n38"}, {"citation": "Cortissoz, Royal. \"Paintings and Prints by George Bellows: The Memorial Exhibition at the Metropolitan.\" <em>New York Herald Tribune</em> (New York, NY), October 11, 1925.", "page_number": null, "url": null}, {"citation": "T. S. \u201cBellows\u2019 Lithographs.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 13, no. 2 (February 1926): 32\u201333, 37.", "page_number": "Mentioned: p. 32-33; Reproduced: p. 37", "url": "http://www.jstor.org/stable/25136902"}, {"citation": "Isham, Samuel, and Royal Cortissoz. <em>The History of American Painting</em>. New York, NY: Macmillan Company, 1927.", "page_number": "Mentioned: p. 576-579; Reproduced: p. 568", "url": null}, {"citation": "Mather, Frank Jewett, Charles Rufus Morey, and W. J. Henderson. <em>The Pageant of America: The American Spirit in Art</em>. New Haven, CT: Yale University Press, 1927.", "page_number": "Mentioned: p. 138-139, 153-154; Reproduced: p. 153, fig. 249", "url": null}, {"citation": "\"Un Artiste Americain.\" <em>L'illustration.</em> 85 (September, 1927). pp. 308-31.", "page_number": "Reproduced: p. 310", "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. 44", "url": "https://archive.org/details/CMAHandbook1928/page/n48"}, {"citation": "Bellows, Emma S. <em>The Paintings of George Bellows</em>. New York, NY: A.A. Knopf, 1929.", "page_number": "Mentioned: p. VIII-XI; Reproduced: fig. 20", "url": null}, {"citation": "Kelly, Grace V. \"'Stag at Sharkey's.\" <em>The Plain Dealer </em>(Cleveland, OH), May 9, 1929.", "page_number": "Mentioned: p. 24", "url": null}, {"citation": "Eggers, George W. <em>George Bellows</em>. New York: Whitney Museum of American Art, 1931.", "page_number": "Mentioned: p. 7-18; Reproduced: p. 42-43", "url": null}, {"citation": "Neuhaus, Eugen. <em>The History &amp; Ideals of American Art</em>. Stanford University, CA: Stanford University Press; London: Oxford University Press, 1931.", "page_number": "Reproduced: p. 339-340", "url": null}, {"citation": "Clark, Edna Maria. <em>Ohio Art and Artists</em>. Richmond, VA: Garrett &amp; Massie, 1932.", "page_number": "p. 205-210", "url": null}, {"citation": "<em>American Painting &amp; Sculpture, 1862-1932</em>. New York, NY: Museum of Modern Art, 1932.", "page_number": "Mentioned: p. 25", "url": null}, {"citation": "<em>Olympic Competition and Exhibition of Art: Catalogue of the Exhibition at the Los Angeles Museum of History, Science and Art</em>: Los Angeles, CA: Neuner Printing &amp; Lithograph Co., 1932.", "page_number": "Mentioned: p. 50; Reproduced: illus. section", "url": null}, {"citation": "Mechlin, Leila. \"The Olympic Art Exhibition.\" <em>The American Magazine of Art.</em> 25:3 (September, 1932). p. 136-150.", "page_number": "Mentioned: p. 148", "url": null}, {"citation": "\"Art's Progress in America for 100 Years Shown at World's Fair.\" <em>The Art Diges</em>t. 8:16 (15 May 1933). p. 28-29.", "page_number": "Mentioned: p. 28-29; Reproduced: 29", "url": null}, {"citation": "Frankfurter, Alfred M. \"Art in the Century of Progress.\" <em>The Fine Arts.</em> 20:2 (June, 1933). p. 7-8, 59-61.", "page_number": "Mentioned: p. 7-8, 59-61; Reproduced: p. 44", "url": null}, {"citation": "\"A Stag at Sharkey's.\" <em>Chicago Tribune</em> (Chicago, IL), October 22, 1933.", "page_number": "Reproduced:", "url": null}, {"citation": "\"The Picture of the Week.\" <em>The Plain Dealer </em>(Cleveland, OH), November 12 1933.", "page_number": "Reproduced", "url": null}, {"citation": "Pollak, Frances M., and Greta A. Cornell. \"George Wesley Bellows-Painter and Graver.\" <em>The Index of Twentieth Century Artists</em>. 1:6 (March, 1934). p. 92-93.", "page_number": "Mentioned: p. 92-93", "url": null}, {"citation": "Gardner, Helen. <em>Art Through the Ages: An Introduction to Its History &amp; Significance</em>. New York: Harcourt, Brace and Company, 1936.", "page_number": "Mentioned: p. 687", "url": null}, {"citation": "Burroughs, Alan. <em>Limners and Likenesses; Three Centuries of American Painting</em>. Cambridge, MA: Harvard University Press, 1936.", "page_number": "Mentioned: p. 206-211.", "url": null}, {"citation": "<em>Catalogue of the Twentieth Anniversary Exhibition of the Cleveland Museum of Art: The Official Art Exhibit of the Great Lakes Exposition.</em> Cleveland, Ohio: Artcraft Printing Company, 1936.", "page_number": "Mentioned: p. 129-130", "url": null}, {"citation": "<em>Catalogue of an Exhibition of American Painting from 1860 Until Today at the Cleveland Museum of Art</em>. Cleveland, OH: Artcraft Printing Co., 1937.", "page_number": "Mentioned: p. 11-12, no. 5", "url": null}, {"citation": "<em>Trois sie\u0300cles d'art aux E\u0301tats-Unis: exposition organise\u0301e en collaboration avec le Museum of Modern Art, New-York</em>. Paris, France: E\u0301ditions des muse\u0301es nationaux, 1938.", "page_number": "Reproduced: illus. fig. 28", "url": null}, {"citation": "\"Bellows (1882-1925).\" <em>Life, </em>31 October 1938.", "page_number": "Reproduced", "url": null}, {"citation": "<em>Life in America: A Special Loan Exhibition of Paintings Held During the Period of the New York World's Fair, April 24 to October 29</em>. New York, NY: [Scribner Press], 1939.", "page_number": "Mentioned and Reproduced: p. 211", "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": "Stites, Raymond S. <em>The Arts and Man</em>. New York, NY: Whittlesey House; London: McGraw-Hill Book Company, Inc., 1940.", "page_number": "Mentioned: p. 804-806; Reproduced: p. 806", "url": null}, {"citation": "<em>An Exhibition of Great Paintings in Aid of the Canadian Red Cross and of Small Pictures by Members of the Ontario Society of Artists</em>. Toronto, Canada: The Art Gallery of Toronto, 1940.", "page_number": "Reproduced: p. 24", "url": null}, {"citation": "McB[ride], H[enry]. \"As to the Style in Art.\" <em>The Sun</em> (New York, NY), January 6, 1940.", "page_number": null, "url": null}, {"citation": "Francis, Henry Sayles. \"The Lithographs of George Wesley Bellows.\" <em>Print Collector's Quarterly. </em>27 (April, 1940). p. 138-165.", "page_number": null, "url": null}, {"citation": "Milliken, William M. \"Silver Jubilee Exhibition.\" <em>The Bulletin of the Cleveland Museum of Art</em> 28, no. 6 (1941): 88-111.", "page_number": "Mentioned: p. 89; Reproduced: p. 111", "url": "https://www.jstor.org/stable/25140932"}, {"citation": "\"Cleveland Offers the Evidence for the First 25 Years.\" <em>ARTnews.</em> 40:11 (September, 1941). p. 13-25.", "page_number": "Mentioned: p. 13, 25; Reproduced: p. 25", "url": null}, {"citation": "Boswell, Peyton. <em>George Bellows</em>. New York, NY: Crown Publishers, 1942.", "page_number": "Mentioned: p. 9-30; Reproduced: p. 37", "url": null}, {"citation": "Walker, John, and Macgill James. <em>Great American Paintings from Smibert to Bellows, 1729-1924</em>. London: Oxford University Press, 1943.", "page_number": "Mentioned: p. 1, 17-20; Reproduced: p. 21, fig. 101", "url": null}, {"citation": "Boswell, Peyton. \"Bellows' First Patron.\" <em>Art Digest.</em> 18 (15 January 1943).", "page_number": null, "url": null}, {"citation": "<em>Sport in American Art</em>. Boston, MA: Museum of Fine Arts, Boston, 1944.", "page_number": "Mentioned: p. 8", "url": null}, {"citation": "Edgell, George H. \"Pursuit of Pleasure in Paint: Boston Presents the First Exhibition of 'Sport in American Art.'\" <em>ARTnews.</em> 43:12 (1-14 October, 1944). p. 13-26.", "page_number": "Mentioned: p. 13-14, 26; Reproduced: p. 15", "url": null}, {"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": "Tunis, John R. \"Painter of the Prize Ring Drama: The National Gallery Honors George Bellows, Who Captured Not Only the Color, But Also the Cruelty of the Prize Ring.\" <em>The New York Times Magazine</em> (New York, NY), 7 January 1945.", "page_number": "Mentioned: p. 18; Reproduced: p. 19", "url": null}, {"citation": "Sweet, Frederick A. \"Bellows 23 Years after Dempsey-Firpo.\" <em>ARTnews.</em> 44:19 (January, 1946). p. 12-28.", "page_number": "Mentioned: p. 12-13, 27-28", "url": null}, {"citation": "<em>American Painting: From the Eighteenth Century to the Present Day</em>. London, England: The Tate Gallery, 1946.", "page_number": "Mentioned: p. 9", "url": null}, {"citation": "<em>George Bellows: Paintings, Drawings and Prints</em>. Chicago, IL: The Art Institute of Chicago, 1946.", "page_number": "Mentiond: p. 37", "url": null}, {"citation": "Bulliet, C. J. \"First Full View of George Bellows for Chicago.\"<em> Art Digest. </em>21 (1 February 1946).", "page_number": "Mentioned: p. 8", "url": null}, {"citation": "\"George W. Bellows: An American Master of Realistic Painting Comes Into His Own With Big Memorial Show.\" <em>Life,</em> March 25, 1946.", "page_number": "Mentioned: p. 75-83; 1917 lithograph Reproduced: p. 76-77", "url": null}, {"citation": "Rich, Daniel Catton. \"Bellows Revalued.\" <em>Magazine of Art. </em>39 (April, 1946): p. 145-147.", "page_number": "Mentioned: p. 145-147", "url": null}, {"citation": "\"American Art: From the XVIIIth Century to the Present Day: Pictures Now on Exhibition at the Tate Gallery.\" <em>The Illustrated London News,</em> June 22, 1946.", "page_number": "Mentioned: p. 688-689; Reproduced: p. 688", "url": null}, {"citation": "Sutton, Denys. \"La Peinture Am\u00e9ricaine \u00e0 la Tate Gallery.\" <em>Gazette des Beaux-Arts</em>, June 28, 1946.", "page_number": null, "url": null}, {"citation": "Winchester, Alice. \"American Painting in London: A Comment on The Tate Gallery Exhibition.\" <em>Antiques. </em>51:2 (February, 1947). p. 100-127.", "page_number": "Mentioned: p. 100-101, 108, 127", "url": null}, {"citation": "Dame, Lawrence.\"Regarding Art: The Stags on Ropes.\" <em>Boston Herald,</em> October 17, 1948.", "page_number": null, "url": null}, {"citation": "Gardner, Helen. <em>Art Through the Ages</em>. 3rd edition. New York: Harcourt, Brace and Co, 1949.", "page_number": "Mentioned: p. 395-396; Reproduced: p. 395", "url": null}, {"citation": "\"Revolt in Boston: Shootin' Resumes in the Art World.\" <em>Life,</em> February 21, 1949.", "page_number": "Reproduced: p. 85", "url": null}, {"citation": "<em>Catalogue de reproductions en couleurs de la peinture de 1860 a\u0300 1949</em>. Paris: UNESCO, 1949.", "page_number": "Mentioned: p. 44-45; Reproduced: p. 45", "url": null}, {"citation": "Rowland, Benjamin, Jr. \"American Painting Since 1900.\" <em>Phoenix</em>. 4 (April 1949). p. 85-111.", "page_number": "Reproduced: p. 91", "url": null}, {"citation": "Robb, David M. <em>The Harper History of Painting: The Occidental Tradition</em>. New York: Harper, 1951.", "page_number": "Mentioned: p. 892-896; Reproduced: p. 894, fig. 494", "url": null}, {"citation": "Bazin, Germain. <em>History of Modern Painting</em>. New York: Hyperion Press; distributed by Macmillan, 1951.", "page_number": "Mentioned: p. 285, 287; Reproduced: p. 290", "url": null}, {"citation": "\"Pittura Americana Moderna.\" <em>Sele arte</em>. Firenze: Studio italiano di storia dell'arte, 1952.", "page_number": "Mentioned: p. 13-16; Reproduced: p. 13", "url": null}, {"citation": "Brown, Milton W. <em>American Painting: From the Armory Show to the Depression.</em> Princeton, NJ: Princeton University Press, 1955.", "page_number": "Mentioned: p. 33-36, 167-172; Reproduced: p. 34", "url": null}, {"citation": "Morris, Charles W. <em>Varieties of Human Value</em>. Chicago, IL: University of Chicago Press, 1956.", "page_number": "Mentioned: p. 144-162; Reproduced: fig. 77", "url": null}, {"citation": "Craven, Thomas. <em>The Rainbow Book of Art</em>. Cleveland: World Pub. Co, 1956.", "page_number": "Mentioned: p. 236-237; Reproduced: p. 233", "url": null}, {"citation": "Schulberg, Budd. <em>The Harder They Fall</em>. 2nd edition. New York: Random House Publishing, 1956.", "page_number": "Reproduced: cover", "url": null}, {"citation": "Eliot, Alexander. <em>Three Hundred Years of American Painting</em>. New York: Time Inc, 1957.", "page_number": "Mentioned: p. 284, 289-293; Reproduced: p. 290", "url": null}, {"citation": "<em>George Bellows: A Retrospective Exhibition</em>. Washington, DC: National Gallery of Art, 1957.", "page_number": "Reproduced: p. 47", "url": null}, {"citation": "<em>Paintings by George Bellows at Columbus Gallery of Fine Arts. </em>Columbus, OH: The Columbus Gallery of Fine Arts, 1957.", "page_number": "Reproduced: cover", "url": null}, {"citation": "Huth, John F. \"An Artist at Ohio.\" <em>Pictorial Magazine</em>, <em>The Plain Dealer </em>(Cleveland, OH), January 20, 1957.", "page_number": "Reproduced: p. 18; Mentioned; pp. 18-19", "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. 550", "url": "https://archive.org/details/CMAHandbook1958/page/n102"}, {"citation": "Milliken, William Mathewson. <em>The Cleveland Museum of Art Collections</em>. Cleveland, OH: Cleveland Museum of Art, 1960.", "page_number": "Mentioned: p. 40-42", "url": null}, {"citation": "Munro, Eleanor C. <em>The Golden Encyclopedia of Art: Painting, Sculpture, Architecture, and Ornament, from Prehistoric Times to the Twentieth Century</em>. New York: Golden Press, 1961.", "page_number": "Reproduced: p. 243", "url": null}, {"citation": "<em>The Fireside Book of Boxing. </em>Edited by Wilfred Charles Heinz. New York: Simon And Schuster, 1961.", "page_number": "Reproduced: front cover", "url": null}, {"citation": "Chase, Alice Elizabeth. <em>Famous Paintings: An Introduction to Art</em>. New York: Platt &amp; Munk, 1962.", "page_number": "Reproduced: p. 54-55", "url": null}, {"citation": "Selvig, Forrest, ed. <em>Four Centuries of American Art</em>. Minneapolis, MN: The Minneapolis Institute of Arts, 1963.", "page_number": "Reproduced: p. 23", "url": null}, {"citation": "Bazin, Germain. <em>Kindlers Malerei Lexikon: 1000 Malersignaturen, 1200 farbige Reproducktionen, 3000 schwarzweisse Reproduktionen in sechs Ba\u0308nden</em>. Zurich: Kindler Verlag, 1964.", "page_number": "Mentioned: p. 302-303; Reproduced: p. 302.", "url": null}, {"citation": "<em>200 Years of American Painting, April 1-May 31, 1964</em>. St. Louis, MO: City Art Museum of St. Louis, 1964.", "page_number": "Mentioned and Reproduced: p. 35", "url": null}, {"citation": "Seaver, Edwin. \"The Sand Cart, George Bellows (American School 1882-1925).\" <em>Book-of-the-Month-Club News</em>, 1965.", "page_number": null, "url": null}, {"citation": "Morgan, Charles H. <em>George Bellows, Painter of America</em>. New York: Reynal, 1965.", "page_number": "Mentioned: p. 9, 69, 98-102, 124-127, 197-199, 217-221, 254-255; Reproduced: pp. 320, 321", "url": null}, {"citation": "Laver, James. <em>The Age of Optimism: Manners and Morals 1848-1914</em>. London: Weidenfeld &amp; Nicolson, 1966.", "page_number": "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. 190", "url": "https://archive.org/details/CMAHandbook1966/page/n214"}, {"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. 190", "url": "https://archive.org/details/CMAHandbook1969/page/n214"}, {"citation": "Brown, Milton W. <em>American Painting: From the Armory Show to the Depression.</em> Princeton, NJ: The University Press, 1972.", "page_number": "Reproduced: P. 34", "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. 22, no. 15", "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. 236", "url": "https://archive.org/details/CMAHandbook1978/page/n256"}, {"citation": "<em>George Wesley Bellows: Paintings, Drawings, and Prints</em>. Columbus, OH: Columbus Museum of Art, 1979.", "page_number": "Reproduced: p. 23", "url": null}, {"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": "Ohio Historical Society, and Ohio History Connection. Timeline: A Publication of the Ohio Historical Society. [Columbus, Ohio]: The Society, 1984.", "page_number": "20", "url": null}, {"citation": "Salwen, Peter. <em>Upper West Side Story: A History and Guide. </em>New York: Abbeville Press Publishers, 1989.", "page_number": "Referenced: p. 181-182, 202", "url": null}, {"citation": "Haskell, Barbara. <em>The American Century: Art &amp; Culture, 1900-1950</em>. New York, NY: Whitney Museum of American Art, 1999.", "page_number": "Mentioned and Reproduced: p. 92-93", "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. 46 - 47", "url": ""}, {"citation": "Christie, Manson &amp; Woods International Inc. American Art. New York: Christie's, December 5, 2013 .", "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. 54", "url": ""}, {"citation": "Fagg, John. \"George Bellows.\" <em>Print Quarterly.</em> 31:1 (March 2014). 107-111.", "page_number": "Reproduced: p. 110, fig. 106.", "url": null}, {"citation": "Gillies, Max. \"Exploring Ohio's Art.\" <em>Fine Art Connoisseur. </em>11:5 (September/October 2014).", "page_number": "Reproduced: p. 100", "url": null}, {"citation": "Milan, Wardell, Cay Sophie Rabinowitz, Alvin Hall, Carter E. Foster, and Leslie Hewitt. <em>Wardell Milan: Between Late Summer and Early Fall</em>. New York, NY : Osmos Books, 2015.", "page_number": "Reproduced: P. 37", "url": null}, {"citation": "Brock, Charles. \"George Bellows: Reviews and Reflections.\" In <em>George Bellows Revisited: New Considerations of the Painter's Oeuvre.</em> Melissa M. Wolfe, ed. Newcastle upon Tyne, UK: Cambridge Scholars Publishing, 2016.", "page_number": "Reproduced: p. 7, fig. 1.1. Mentioned 9, 10, 103, 105.", "url": null}, {"citation": "Cole, Mark. \"This Sporting Life: The work of artist (and athlete) George Bellows.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 56, no. 3 (May/June 2016): 13.", "page_number": "Reproduced and Mentioned: p. 13", "url": "https://archive.org/details/CMAMM2016-03"}, {"citation": "Boylan, Alexis L. <em>Ashcan Art, Whiteness, and the Unspectacular Man.</em> New York: Bloomsbury Academic, 2017.", "page_number": "Reproduced: pl. 4", "url": null}, {"citation": "Slayton, Robert A. <em>Beauty in the City: The Ashcan School. </em>Albany: Excelsior Editions, State University of New York Press, 2017.", "page_number": "Reproduced: p. 143, fig. 8.13", "url": null}, {"citation": "Corbett, David Peters. Die Ashcan School: Lebensbilder der New Yorker und iher Stadt. In <em>Es war einmal in Amerika: 300 Jahre US-Amerikanische Kunst, 164-171. </em>Barbara Schaefer and Anita Hachmann, 2018.", "page_number": "Reproduced; p. 168, abb. 13", "url": null}, {"citation": "Johnston, April Nehring. <em>The Making of Cleveland's Artist: The Aesthetic and Cultural Politics of Boundary Crossing in the Industrial Landscape Paintings of Carl Gaertner, 1923-1952.</em> Thesis, Washington University, 2019.", "page_number": "Mentioned: P. 24", "url": null}, {"citation": "Sublette, J. Mark. <em>Maynard Dixon's American West: Along the Distant Mesa</em>. Tucson, AZ: Mark Sublette Medicine Man Gallery, 2018.", "page_number": "Mentioned and reproduced: p. 267, fig. 318", "url": null}, {"citation": "\"Punch drunk.\" <em>Christie's magazine</em> (November/December 2019): 108-117.", "page_number": "Mentioned p. 113-114; Reproduced p. 116-117", "url": null}, {"citation": "Santos, Guillermo. \"Jonathan Barbieri y Los Santos Bebedores.\" In <em>La Pierde Almas: Historia de Una Cantina, </em>edited by Jonathan Barbieri, 33-41. [Santa Mar\u00eda del Tule, Oaxaca, M\u00e9xico]: Quarentena Ediciones, 2021.", "page_number": "Mentioned and reproduced: p. 37", "url": ""}, {"citation": "Guttmann, Allen. \"Representation.\" In <em>A Cultural History of Sport, </em>edited by Mike Huggins, 187-215.London, UK: Bloomsbury Academic, 2021.", "page_number": "Mentioned and reproduced: p. 196, fig. 8.4", "url": ""}, {"citation": "Pearson, Harry. \"Competitive streaks.\"<em> Apollo</em> 193, no. 698 (June 2021): 60-65.", "page_number": "Reproduction p.60, fig. 1; mentioned p. 64", "url": ""}, {"citation": "Cueff, Alain. <em>Ciels d'Ame\u0301rique 1801-2001</em>. Paris: Belles Lettres, 2023.", "page_number": "Mentioned and reproduced: P. 175-176, fig. 63", "url": ""}], "url": "https://clevelandart.org/art/1922.1133", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1922.1133/1922.1133_web.jpg", "width": "1194", "height": "893", "filesize": "152341", "filename": "1922.1133_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1922.1133/1922.1133_print.jpg", "width": "3400", "height": "2542", "filesize": "1240178", "filename": "1922.1133_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1922.1133/1922.1133_full.tif", "width": "10552", "height": "7890", "filesize": "249794924", "filename": "1922.1133_full.tif"}}, "alternate_images": [{"date_created": "2009-11-13T16:25:47", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1922.1133/1922.1133_alt0_web.jpg", "width": "1199", "height": "893", "filesize": "815482"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1922.1133/1922.1133_alt0_print.jpg", "width": "3400", "height": "2533", "filesize": "6988238"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1922.1133/1922.1133_alt0_full.tif", "width": "4783", "height": "3564", "filesize": "51160904"}}, {"date_created": "2013-06-20T19:16:59", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1922.1133/1922.1133_alt1_web.jpg", "width": "1196", "height": "893", "filesize": "182971"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1922.1133/1922.1133_alt1_print.jpg", "width": "3400", "height": "2538", "filesize": "1713738"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1922.1133/1922.1133_alt1_full.tif", "width": "7763", "height": "5795", "filesize": "134982796"}}, {"date_created": "2008-08-13T14:09:15", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1922.1133/1922.1133_alt2_web.jpg", "width": "1130", "height": "893", "filesize": "807664"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1922.1133/1922.1133_alt2_print.jpg", "width": "3400", "height": "2688", "filesize": "7087105"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1922.1133/1922.1133_alt2_full.tif", "width": "4347", "height": "3437", "filesize": "44865488"}}, {"date_created": "2009-12-09T01:50:06", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1922.1133/1922.1133_alt3_web.jpg", "width": "1130", "height": "893", "filesize": "836713"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1922.1133/1922.1133_alt3_print.jpg", "width": "3400", "height": "2688", "filesize": "7342730"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1922.1133/1922.1133_alt3_full.tif", "width": "4347", "height": "3437", "filesize": "44865824"}}], "creditline": "Hinman B. Hurlbut Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "The Cleveland Foundation Gallery", "athena_id": 92937, "creators": [{"id": 3005, "description": "George Bellows (American, 1882\u20131925)", "extent": null, "qualifier": null, "role": "artist", "biography": "An accomplished athlete, George Bellows (1882\u20131925) was an especially appropriate artist to address the subject of sports. Born and raised in Columbus, Ohio, he played baseball and basketball as a youth, developing sufficient ability to letter in both at Ohio State University. According to some accounts, scouts for the Cincinnati Reds took notice of his shortstop talents. However, Bellows\u2019s first love, art, ultimately intervened, and after his junior year he relocated to New York to study painting. In a remarkably short period he became the leading artist of his generation, a reputation fueled through boxing subjects such as <em>Stag at Sharkey\u2019s.</em> In his later years he developed recreational passions for tennis and billiards, which he routinely played with friends. Bellows\u2019s life was cut short at the age of 42, due to complications after his appendix ruptured.", "name_in_original_language": null, "birth_year": "1882", "death_year": "1925", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1922-06-09T00:00:00", "sortable_date": 1909, "date_added_to_oa": null, "date_text": "1909", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Club Night"], "is_highlight": true, "updated_at": "2026-03-27 00:03:22.955000"}, {"id": 149112, "accession_number": "1977.43", "share_license_status": "CC0", "tombstone": "Church Street El, 1920. Charles Sheeler (American, 1883\u20131965). Oil on canvas; framed: 60 x 67.5 x 6 cm (23 5/8 x 26 9/16 x 2 3/8 in.); unframed: 41 x 48.5 cm (16 1/8 x 19 1/8 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1977.43", "current_location": "226A American Modern", "title": "Church Street El", "creation_date": "1920", "creation_date_earliest": 1920, "creation_date_latest": 1920, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 60 x 67.5 x 6 cm (23 5/8 x 26 9/16 x 2 3/8 in.); Unframed: 41 x 48.5 cm (16 1/8 x 19 1/8 in.)", "dimensions": {"framed": {"height": 0.6, "width": 0.675, "depth": 0.06}, "unframed": {"height": 0.41, "width": 0.485}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right: \"Sheeler 1920\"", "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": 442371, "title": "American Realism, 1920 - 1940", "description": "<i>American Realism, 1920 - 1940</i>. Academy of Fine Arts, Berlin, Berlin 1000, Germany (organizer) (November 9-December 28, 1980).", "opening_date": "1980-11-09T05:00:00"}, {"id": 310243, "title": "The Precisionist Aesthetic in American Art", "description": "<i>The Precisionist Aesthetic in American Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 24-April 9, 1989).", "opening_date": "1989-01-24T05:00:00"}, {"id": 205796, "title": "Mad for Modernism: Earl Horter and His Collection", "description": "<i>Mad for Modernism: Earl Horter and His Collection</i>. Philadelphia Museum of Art (organizer) (March 7-May 16, 1999).", "opening_date": "1999-03-07T00:00:00"}, {"id": 226121, "title": "Der k\u00fchle Blick", "description": "<i>Der k\u00fchle Blick</i>. Kunsthalle der Hypo-Kulturstiftung, Munich, Germany (organizer) (June 1-September 2, 2001).", "opening_date": "2001-06-01T00:00:00"}, {"id": 177240, "title": "Charles Sheeler: Mediums and Messages", "description": "<i>Charles Sheeler: Mediums and Messages</i>. National Gallery of Art, Landover, MD (organizer) (May 7-September 4, 2006); The Art Institute of Chicago, Chicago, IL (October 15, 2006-January 7, 2007); Fine Arts Museums of San Francisco, de Young Museum, San Francisco, CA (February 10-May 6, 2007).", "opening_date": "2006-05-07T00:00:00"}, {"id": 176614, "title": "Youth and Beauty: Art of the American Twenties", "description": "<i>Youth and Beauty: Art of the American Twenties</i>. The Brooklyn Museum, Brooklyn, NY (organizer) (October 28, 2011-January 22, 2012); The Dallas Museum of Art, Dallas, TX (February 24-May 27, 2012); The Cleveland Museum of Art, Cleveland, OH (July 1-September 16, 2012).", "opening_date": "2011-10-28T00:00:00"}, {"id": 292179, "title": "The Cult of the Machine: Precision in American Art", "description": "<i>The Cult of the Machine: Precision in American Art</i>. Fine Arts Museums of San Francisco, de Young Museum, San Francisco, CA (March 24-August 12, 2018); The Dallas Museum of Art, Dallas, TX (September 16, 2018-January 6, 2019).", "opening_date": "2018-03-24T04:00:00"}], "legacy": [{"description": "New York, Whitney Studio Galleries, Exhibition of Selected Works by Charles Sheeler (1 March-31 March 1924).", "opening_date": "1924-03-01T00:00:00"}, {"description": "Cleveland, Cleveland Museum of Art, The Precisionist Aesthetic in American Art (24 January-9 April 1989)", "opening_date": "1989-01-24T00:00:00"}, {"description": "Philadelphia, The Philadelphia Museum of Art, Mad for Modernism: Earl Horter and His Collection, (7 March-16 May 1999), plate 78, p. 122, also included two footnotes concerning Sheeler and his relationship to Horter (p. 61), and pp. 173, 180-181, 184.", "opening_date": "1999-03-07T00:00:00"}, {"description": "New York, Whitney Museum of American Art, The American Century: Art &amp; Culture 1900-1950 (23 April-22 August 1999), cat. no. 273, illus. p. 148.", "opening_date": "1999-04-23T00:00:00"}, {"description": "Munich, Kunsthalle der Hypo-Kulturstiftung, Der k\u00fchle Blick: Realismus der Zwanzigerjahre in Europa und Amerika (1 June-2 September 2001), illus. p. 311.", "opening_date": "2001-06-01T00:00:00"}, {"description": "National Gallery of Art (5/7/2006-9/4/2006), Art Institute of Chicago (10/15/2006-1/7/2007), Fine Arts Museums of San Francisco, MH de Young Museum (2/10/2007-5/6/2007): \"Charles Sheeler: Mediums and Messages\"", "opening_date": "2006-05-07T00:00:00"}, {"description": "Brooklyn Museum of Art (10/28/2011 - 1/22/2012), Dallas Museum of Art (2/24/2012 - 5/27/2012), and Cleveland Museum of Art (7/1/2012 - 9/16/2012): \"Youth and Beauty: Art of the American Twenties\", Fig. 105, p. 143.", "opening_date": "2011-10-28T00:00:00"}, {"description": "<em>The Collection of Earl Horter.</em> Pennsylvania Museum of Art, Philadelphia, PA (February 17-1-March 13, 1934).", "opening_date": "1934-03-13T00:00:00"}, {"description": "<em>Modern Paintings from the Collection of Mr. Earl Horter of Philadelphia</em>. The Arts Club of Chicago, Chicago, IL (April 3 - April 26, 1934); no. 57", "opening_date": "1934-04-03T00:00:00"}, {"description": "<em>Charles Sheeler: Paintings, Drawings, Photographs</em>. Museum of Modern Art. New York, NY (1939), no. 11, listed p. 46.", "opening_date": "1939-01-01T00:00:00"}, {"description": "<em>Charles Sheeler.</em> National Collection of Fine Arts, Smithsonian Institution, Washington, DC (October 10-November 24 ,1968); Philadelphia Museum of Art, Philadelphia, PA (January 10-February 16, 1969); Whitney Museum of American Art, New York, NY (March 11-April 27,1969); no. 24, illus. p. 39,", "opening_date": "1969-01-10T00:00:00"}, {"description": "mentioned briefly in essays by both Martin Friedman (\"The Art of Charles Sheeler: Americana in a Vacuum\") p. 40, and Bartlett Hayes (\"Reminiscence\") p. 70.", "opening_date": null}, {"description": "Berlin, Academy of Fine Arts, America: Traum und Depression 1920-1940, (1980), pp. 109-137, illus. p. 89, pl. 8, cat. no. 292.", "opening_date": "1980-01-01T00:00:00"}, {"description": "San Francisco, San Francisco Museum of Modern Art, Images of America: Precisionist Painting and Modern Photography, (9 September-7 November 1982); traveled to Saint Louis, The Saint Louis Art Museum (6 December 1982-30 January 1983); Baltimore, The Baltimore Museum of Art (28 February-25 April 1983); Des Moines, Des Moines Art Center (23 May-17 July 1983); Cleveland, The Cleveland Museum of Art (15 August-9 October 1983), no. 92, plate 18 (also reproduced on cover),", "opening_date": "1982-09-09T00:00:00"}, {"description": "included essay by Karen Tsujimoto entitled \"Charles Sheeler: Precisionist Painter and Modern Photographer,\" (pp. 73-85, 172-173) which discusses the CMA painting.", "opening_date": null}, {"description": "Boston, Museum of Fine Arts, Charles Sheeler: Paintings and Drawings, (13 October 1987- 3 January 1988); traveled to New York, Whitney Museum of American Art (28 January-17 April 1988); Dallas, Dallas Museum of Art (15 May-10 July 1988), no. 16, p. 80,", "opening_date": "1988-01-28T00:00:00"}, {"description": "also included parts from essay by Carol Troyen and Erica E. Hirshler, \"From the Eyes Inward: Paintings and Drawings by Charles Sheeler,\" (pp. 9-11, 36-37), which point out the fact that the CMA painting was derived from Manhatta.", "opening_date": null}]}, "provenance": [{"description": "The Cleveland Museum of Art, Cleveland, Ohio", "citations": [], "footnotes": [], "date": "1977-", "sortorder": 1}, {"description": "(Robert Schoelkopf Gallery, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "-1977", "sortorder": 2}, {"description": "(Harold Diamond, New York, NY) 1", "citations": [], "footnotes": ["<div><!--block-->1 According to Andy Schoelkopf, Harold Diamond acquired the painting from Mrs. Horter, but because Diamond had little experience in selling Sheeler's works, he consigned the painting to Robert Schoelkopf to sell.&nbsp; Diamond most likely never&nbsp; owned the painting. Schoelkopf sold the painting rather quickly after a visit from Sherman Lee, who happened to see the painting soon after it was received from Diamond.&nbsp;</div>"], "date": "?", "sortorder": 3}, {"description": "Elizabeth Lentz Horter [1900-1985], South Langhorne, PA", "citations": [], "footnotes": [], "date": "Probably 1940-at least 1969", "sortorder": 4}, {"description": "Earl Horter [1880-1940], Philadelphia, PA 1", "citations": [], "footnotes": ["<div><!--block-->1Horter's ownership of this painting by 1934 is confirmed by an exhibition of his collection at the Philadelphia Museum of Art in that year.</div>"], "date": "By 1930-probably 1940", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Sheeler and his good friend, the poet William Carlos Williams, patronized speakeasies together during Prohibition.", "description": "Capturing the soaring heights of New York City, this painting is a dramatic bird's-eye view of Broadway and Wall Street, showing a conglomeration of buildings at left and center, and the Church Street elevated train at right. Sheeler based his composition on an image from the short movie <em>Manhatta</em> (1920-21), which he made with the photographer Paul Strand. One of the first avant-garde American films, <em>Manhatta</em> celebrates the dynamic metropolis through a series of carefully composed shots of Lower Manhattan. As typical with Sheeler's work, the artist simplified forms and eliminated textures in <em>Church Street El</em> to concentrate on rhythmic interplay of shapes and color, and patterns of light and shadow.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60473381"], "internet_archive": ["https://archive.org/details/clevelandart-1977.43-church-street-el"]}, "citations": [{"citation": "Robert Schoelkopf Gallery, expect notice, April 27, 1977, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Andy Schoelkopf, telephone conversation with Victoria Sears Goldman, April 16, 2013.", "page_number": null, "url": null}, {"citation": "Shoemaker, Innis H., Christa Clarke, and William S. Wierzbowski. <em>Mad for Modernism: Earl Horter and His Collection</em>. 1999.", "page_number": null, "url": null}, {"citation": "Cleveland Museum of Art, 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. 304; reproduced p. 305.", "url": ""}, {"citation": "Miller, Angela L., Janet Catherine Berlo, Bryan Jay Wolf, Jennifer L. Roberts, Margaretta M. Lovell, David M. Lubin. <em>American Encounters : Art, History, and Cultural Identity. </em>St. Louis, Missouri: Washington University Libraries, 2008.", "page_number": "Mentioned, p. 456; reproduced, p. 457.", "url": ""}, {"citation": "\"Above the Turmoil of New York, a Painting by Charles Sheeler-Photograph.\" <em>Vanity Fair</em> 16, no. 2 (April 1921).", "page_number": "Reproduced: p. 47", "url": null}, {"citation": "\"Manhattan: The Proud and Passionate City- Photographs.\" <em>Vanity Fair</em> 18, no. 2 (April 1922).", "page_number": "Reproduced: p. 51", "url": null}, {"citation": "Watson, Forbes. \"Charles Sheeler.\" <em>The Arts</em> 3, no. 5 (May 1923).", "page_number": "Reproduced: p. 344", "url": null}, {"citation": "Rourke, Constance. <em>Charles Sheeler: Artist in the American Tradition</em>. New York: Harcourt, Brace and Company, 1938.", "page_number": "Mentioned: p. 89, 91, 94, 96, 106, 147, 180, 187; Reproduced: p. 53", "url": null}, {"citation": "Devree, Howard. \"Exhibition Reviews: Sheeler Complete.\" <em>Magazine of Art </em>32, no. 11 (November 1939).", "page_number": "Mentioned: p. 644-645; Reproduced: p. 645", "url": null}, {"citation": "Brown, Milton W. \"Cubist-Realism: An American Style.\" <em>Marsyas </em>3 (1943-1945).", "page_number": "Mentioned: p. 150; Reproduced: no. 5", "url": null}, {"citation": "Seeley, Carol. \"On the Nature of Abstract Painting in America.\" <em>Magazine of Art</em> 43, no. 5 (May 1950).", "page_number": "Reproduced: p. 167", "url": null}, {"citation": "Hayes, Jr., Bartlett H. \"An Appreciation.\" In <em>Charles Sheeler: A Retrospective Exhibition. </em>Los Angeles: The Galleries, 1954.", "page_number": "Mentioned: p. 9", "url": null}, {"citation": "Wight, Frederick S. \"Charles Sheeler.\" In <em>Charles Sheeler: A Retrospective Exhibition. </em>Los Angeles: The Galleries, 1954.", "page_number": "Mentioned: p. 25, 27, 36", "url": null}, {"citation": "Wight, Frederick S. \"Charles Sheeler.\" <em>Art in America</em> 42, no. 3 (October 1954).", "page_number": "Mentioned: p. 195", "url": null}, {"citation": "Brown, Milton. <em>American Painting From the Armory Show to the Depression. </em>Princeton: Princeton University Press, 1955.", "page_number": "Mentioned: p. 118; Reproduced: p. 120", "url": null}, {"citation": "Chanin, A.L. \"Sheeler: Purist Brush and Camera Eye.\" <em>ARTnews </em>54, no. 4 (June 1955).", "page_number": "Mentioned: p. 71-72", "url": null}, {"citation": "Wight, Frederick S. \"Charles Sheeler.\" In <em>New Art in America: Fifty Painters of the 20th Century,</em> edited by John I. H. Baur. New York: A. Praeger Publishers, 1957.", "page_number": "Reproduced: p. 97", "url": null}, {"citation": "Cohen, George Michael. \"Charles Sheeler.\" <em>American Artist </em>23, no. 1 (January 1959).", "page_number": "Mentioned: p. 34 ; Reproduced: p. 35", "url": null}, {"citation": "Craven, George M. \"Sheeler at Seventy-Five.\"<em> College Art Journal </em>18, no. 2 (Winter 1959).", "page_number": "Reproduced: p. 137; Mentioned: p. 138", "url": null}, {"citation": "Larkin, Oliver W. <em>Art and Life in America.</em> New York: Holt, Rinehart and Winston, 1960.", "page_number": "Mentioned: p. 389; Reproduced: p. 387", "url": null}, {"citation": "Raoul, Rosine. \"Letter From New York: The Armory Show and its Decade.\" <em>Apollo</em> (April 1963).", "page_number": "Mentioned: p. 335; Reproduced: p. 334, no. 3", "url": null}, {"citation": "Baur, John I. H. <em>Revolution and Tradition in Modern American Art. </em>Cambridge: Harvard University Press, 1966.", "page_number": "Reproduced: no. 73", "url": null}, {"citation": "The National Collection of Fine Arts. <em>Charles Sheeler</em>. Washington, D.C.: The Smithsonian Institution Press, 1968.", "page_number": "Mentioned: p. 15, 155; Reproduced: p. 39, no. 24", "url": null}, {"citation": "Friedman, Martin. \"The Art of Charles Sheeler: Americana in a Vacuum.\" In <em>Charles Sheeler. </em>Washington, D.C.: The Smithsonian Institution Press, 1968.", "page_number": "Mentioned: p. 40", "url": null}, {"citation": "Hayes, Bartlett. \"Reminiscence.\" In <em>Charles Sheeler.</em> Washington, D.C.: The Smithsonian Institution Press, 1968.", "page_number": "Mentioned: p. 70", "url": null}, {"citation": "Davidson, Abraham A. \"Charles Sheeler: Paintings and Photographs at the Whitney.\" <em>Arts Magazine </em>43, no. 5 (March 1969).", "page_number": "Mentioned: p. 40", "url": null}, {"citation": "Jaffe, Irma B. \"The Forming of the Avant-Garde, 1900-30. \" In <em>The Genius of American Painting</em>, edited by John Wilmerding. New York: William Morrow and Company, Inc., 1973.", "page_number": "Mentioned: p. 238,  Reproduced: p. 239", "url": null}, {"citation": "Davidson, Abraham A. <em>The Story of American Painting</em>. New York: Harry N. Abrams, 1974.", "page_number": "Reproduced: p. 132, no. 119; Mentioned: p. 132, 133", "url": null}, {"citation": "Friedman, Martin. <em>Charles Sheeler</em>. New York: Watson-Guptill Publications, 1975.", "page_number": "Mentioned: p. 36; Reproduced: p. 56", "url": null}, {"citation": "Heller, Nancy, and Julia Williams. \"Charles Sheeler: American Industry as Landscape.\" <em>American Artist</em> 40, no. 402 (January 1976).", "page_number": "Mentioned p. 62", "url": null}, {"citation": "Driscoll, John Paul. \"Books in Review: Martin Friedman, Charles Sheeler.\" <em>Art Journal</em> 36, no. 1 (Fall 1976).", "page_number": null, "url": null}, {"citation": "Arnason, H.H. <em>History of Modern Art: Painting, Sculpture, Architecture</em>. New York: Harry N. Abrams, Inc., 1977.", "page_number": "Mentioned: p. 428; Reproduced: p. 428, no. 689", "url": null}, {"citation": "Lee, Sherman E. \"The Year in Review.\" <em>The Bulletin of the Cleveland Museum of Art </em>65, no. 1 (January 1978).", "page_number": "Mentioned: p. 4", "url": null}, {"citation": "<em>Midwest Art History Society Newsletter, </em>October, 1978.", "page_number": "Reproduced: no. 5", "url": null}, {"citation": "Schulz, Bernhard. \"Made in America: Tecnik und Dingwelt in Prazisionismus.\" In <em>Amerika Traum und Depression 1920/40</em>. Berlin: Die Gesellschaft, 1980.", "page_number": "Reproduced: p. 89; Mentioned: p. 116, 534", "url": null}, {"citation": "Fillen-Yeh, Susan. \"Charles Sheeler: Industry, Fashion, and the Vanguard.\" <em>Arts Magazine</em> 54, no. 6 (February 1980).", "page_number": "Reproduced: p. 157, no. 13; Mentioned: p. 157", "url": null}, {"citation": "Fillin-Yeh, Susan. \"Charles Sheeler and the Machine Age.\" PhD diss., The City University of New York, 1981.", "page_number": "Mentioned: p. xiv, 152 note 58, 153, 206, 210-211, 249 note 18; Reproduced: p. 332, no. 80", "url": null}, {"citation": "Stewart, Patrick Leonard. \"Charles Sheeler, William Carlos Williams, and the Development of the Precisionist Aesthetic, 1917-1931.\" PhD diss., University of Delaware, 1981.", "page_number": "Mentioned: p. 33; Reproduced: p. 190, no. 8", "url": null}, {"citation": "Tsujimoto, Karen. <em>Images of Precisionist Painting: America and Modern Photography</em>. Seattle: University of Washington Press, 1982.", "page_number": "Mentioned: p. 74, 79, 80; Reproduced: no. 18", "url": null}, {"citation": "Menton, Seymour. <em>Magic Realism Rediscovered, 1918-1981</em>. Philadelphia: Art Alliance Press, 1982.", "page_number": "Mentioned: p. 78-79", "url": null}, {"citation": "Albright, Thomas. \"Precisionism's Ambivalent Modernism.\" <em>ARTnews</em> 82, no. 1 (January 1983).", "page_number": "Mentioned p. 88; Reproduced: p. 87", "url": null}, {"citation": "Ricciotti, Dominic. \"The Revolution in Urban Transport: Max Weber and Italian Futurism.\" <em>The American Art Journal</em> 16 (Winter 1984).", "page_number": "Mentioned: p. 61; Reproduced: 61, no. 13", "url": null}, {"citation": "Haskell, Barbara. <em>Ralston Crawford</em>. New York: Whitney Museum of American Art, 1985.", "page_number": "Mentioned: p. 14; Reproduced: p. 15, no. 4", "url": null}, {"citation": "Maroney, Jr., James H. <em>The Elite and Popular Appeal of the Art of Charles Sheeler. </em>New York: James Maroney, Inc., 1986.", "page_number": "Mentioned: p. 11", "url": null}, {"citation": "Wilson, Richard Guy, Dianne H. Pilgrim, and Dickran Tashjian. <em>The Machine Age in America 1918-1941</em>. New York: Harry N. Abrams, 1986.", "page_number": "Mentioned: p. 219; Reproduced: p. 219", "url": null}, {"citation": "Wheat, Ellen Harkins. <em>Jacob Lawrence: American Painter.</em> Seattle: Seattle Art Museum, 1986.", "page_number": "Reproduced: p. 45, no. 24", "url": null}, {"citation": "Schleier, Merrill. <em>The Skyscraper in American Art, 1890-1931. </em>New York: Da Capo Press, 1986.", "page_number": "Mentioned: p. 80", "url": null}, {"citation": "Tichi, Cecelia. <em>Shifting Gears: Technology, Literature, Culture in Modernist America.</em> Charlotte: The University of North Carolina Press, 1987.", "page_number": "Reproduced: p. 253", "url": null}, {"citation": "Stern, Robert A.M., Gregory Gilmart, and Thomas Messins. <em>New York 1930: Architecture and Urbanism Between the Two World Wars</em>. New York: Rizzoli International Publications, Inc., 1987.", "page_number": "Reproduced: p. 53", "url": null}, {"citation": "Baker, John. <em>Henry Lee McFee and Formalist Realism in American Still Life 1923-1936</em>. Cranbury: Associated University Presses, 1987.", "page_number": "Mentioned: p. 99; Reproduced: p. 99, no. 126", "url": null}, {"citation": "Hammer, Martin. \"Exhibition Reviews: New York, Whitney Museum, Charles Sheeler.\" <em>The Burlington Magazine</em> 130, no. 1019 (Feb 1988).", "page_number": "Mentioned: p. 164; Reproduced: p. 164, no. 107", "url": null}, {"citation": "Lubowsky, Susan. <em>George Ault.</em> New York: Whitney Museum of American Art, 1988.", "page_number": "Mentioned: p. 14; Reproduced: p. 14, no. 9", "url": null}, {"citation": "Ricciotti, Dominic. \"City Railways/Modernist Visions.\" In <em>The Railroad in American Art: Representations of Technological Change</em>. Japan: Toppan Printing Company, 1988.", "page_number": "Mentioned: p. 139-140, 143; Reproduced: p. 139, no. 106", "url": null}, {"citation": "Fillin- Yeh, Susan. \"Charles Sheeler's Rolling Power.\" In <em>The Railroad in American Art: Representations of Technological Change</em>, edited by Susan Danly and Leo Marx. Japan: Toppan Printing Company, 1988.", "page_number": "Mentioned: p. 158", "url": null}, {"citation": "Henry, Steven P. \"Exhibition: Charles Sheeler: Prints, Drawings, Photographs.\" <em>Dallas Museum of Art Bulletin</em> (Spring/Summer 1988).", "page_number": "Mentioned: p. 17; Reproduced: p. 16", "url": null}, {"citation": "Lynton, Norbert. <em>The Story of Modern Art</em>. Oxford: Phaidon, 1989.", "page_number": "Mentioned: p. 162-163; Reproduced: p. 164", "url": null}, {"citation": "Lucie-Smith, Edward. <em>Art Deco Painting</em>. Oxford: Phaidon, 1990.", "page_number": "Reproduced: p. 21, no. 11", "url": null}, {"citation": "Cleveland Museum of Art. <em>Handbook of The Cleveland Museum of Art. </em>Cleveland: Cleveland Museum of Art, 1991.", "page_number": "Reproduced: p. 146", "url": "https://archive.org/details/CMAHandbook1991"}, {"citation": "Hinson, Tom E. <em>Sixty-Five Works from the Cleveland Museum of Art. </em>Cleveland: Cleveland Museum of Art, 1991.", "page_number": "Mentioned: p. 38; Reproduced: p. 37", "url": null}, {"citation": "Lucic, Karen. <em>Charles Sheeler and the Cult of the Machine</em>. London: Reaktion Books, 1991.", "page_number": "Mentioned: p. 59-71; Reproduced: no. 33", "url": null}, {"citation": "Harnsberger, R. Scott, and David L. Henderson. <em>Ten Precisionist Artists: Annotated Bibliographies.</em> Westport: Greenwood Press, 1992.", "page_number": "Mentioned: p. 250, note 1080", "url": null}, {"citation": "Chong, Alan. <em>European and American Painting in The Cleveland Museum of Art: A Summary Catalogue,</em> Cleveland: Cleveland Museum of Art, 1993.", "page_number": "Reproduced: p. 222", "url": null}, {"citation": "Schmied, Wieland. \"Precisionsit View and American Scene: The 1920s.\" In <em>American Art in the 20th Century: Painting and Sculpture 1913-1993</em>, edited by Christos M. Joachimides and Norman Rosenthal. New York: Prestel, 1993.", "page_number": "Mentioned: 471; Reproduced: p. 55, no. 8", "url": null}, {"citation": "Benke, Britta. <em>Georgia O'Keeffe 1887-1986: Blumen in der W\u00fcste</em> K\u00f6ln: Benedikt Taschen Verlag, 1994.", "page_number": "Mentioned: p. 52; Reproduced: p. 52", "url": null}, {"citation": "Stavitsky, Gail. \"Reordering Reality: Precisionist Directions in American Art, 1915-1941.\" In <em>Precisionism in America 1915-1941: Reordering Reality. </em>New York: Harry N. Abrams, Inc., 1994.", "page_number": "Mentioned: p. 33, 35; Reproduced: p. 17, no. 5", "url": null}, {"citation": "Handy, Ellen. \"The Idea and the Fact: Painting, Photography, Film, Precisionists, and the Real World.\" In <em>Precisionism in America 1915-1941: Reordering Reality. </em>New York: Harry N. Abrams, Inc., 1994.", "page_number": "Mentioned: p. 42-45", "url": null}, {"citation": "Honour, Hugh, and John Fleming. <em>A World History of Art. </em>4th ed. London: Laurence King Publishing, 1995.", "page_number": "Mentioned: p. 751; Reproduced: p. 752", "url": null}, {"citation": "Turner, Evan H. Foreward to <em>Catalogue of Photography,</em> Tom E. Hinson. Cleveland: Cleveland Museum of Art, 1996.", "page_number": "Mentioned: p. XI", "url": null}, {"citation": "Hughes, Robert. <em>American Visions: The Epic History of Art in America. </em>New York: Alfred A. Knopf, Inc., 1997.", "page_number": "Mentioned: p. 383; Reproduced: p. 384, no. 228", "url": null}, {"citation": "Arnason, H.H., and Marla F. Prather. <em>History of Modern Art.</em> New York: Harry N. Abrams, 1998.", "page_number": "Mentioned:  p. 419; Reproduced: p. 411, no. 216", "url": null}, {"citation": "Shoemaker, Innis Howe, Christa Clarke, and William Wierzbowski. <em>Mad for Modernism: Earl Horter and His Collection</em>. Philadelphia: Philadelphia Museum of Art, 1999.", "page_number": "Mentioned: p. 36, 173, 184; Reproduced: p. 122, no. 78", "url": null}, {"citation": "Haskell, Barbara. <em>The American Century: Art &amp; Culture 1900-1950</em>. New York: Whitney Museum of Art, 1999.", "page_number": null, "url": null}, {"citation": "Brettell, Richard R. <em>Modern Art 1851-1929: Capitalism and Representation. </em>Oxford: Oxford Unviersity Press, 1999.", "page_number": "Reproduced: p. 43", "url": null}, {"citation": "May, Sally Ruth. <em>Knockouts: A Pocket Guide. </em>Cleveland: Cleveland Museum of Art, 2001.", "page_number": "Mentioned: p. 58, 118", "url": null}, {"citation": "Baldacci, Paolo, Jean Clair, Hajo Duchting, Claudia Gian Ferrari, Magdalena Holzhey, Christiane Lange, Gerd Roos, and Wieland Schmied. <em>Der kuhle Blick: Realismus der zwanziger Jahre</em>. New York: Prestel, 2001.", "page_number": "Mentioned: p. 310; Reproduced: p. 311", "url": null}, {"citation": "Honour, Hugh, and John Fleming. <em>A World History of Art. </em>6th ed<em>. </em>London: Laurence King Publishing, 2002.", "page_number": "Mentioned: p. 815", "url": null}, {"citation": "Haas, Karen E. \"Charles Sheeler and Film.\" <em>Magazine Antiques. </em>Nov 2002.", "page_number": "Mentioned: p. 122-129; Reproduced: p. 126, pl XI.", "url": null}, {"citation": "Cameron, Dan.<em> Living Inside the Grid.</em> New York: New Museum of Contemporary Art, 2003.", "page_number": "Reproduced: p. 19", "url": null}, {"citation": "Fontbona, Francesc. <em>El Modernisme. </em>Barcelona: Edicions l'isard, 2003.", "page_number": "Reproduced: p. 168", "url": null}, {"citation": "Solans, Piedad. \"Cosmolgias de la Ciudad.\" In La Ciudad Collage: La Coleccion del IVAM<em>, </em>edited by Institut Valencia d'Art Modern. Valencia: IVAM, 2004.", "page_number": "Reproduced: p. 41, no. 8", "url": null}, {"citation": "Charles, Brock. <em>Charles Sheeler: Across Media.</em> Washington, DC: National Gallery of Art, 2006.", "page_number": "Mentioned: p. 31, 48, 50-52, 116; Reproduced: p. 60", "url": null}, {"citation": "Weber, Bruce. <em>Paintings of New York, 1800-1850</em>. San Francisco: Pomegranate, 2005.", "page_number": "Reproduced: p. 107", "url": null}, {"citation": "Honour, Hugh, and John Fleming. <em>A World History of Art. </em>7th ed<em>. </em>London: Laurence King Publishing, Ltd., 2005.", "page_number": "Reproduced: p. 805, fig. 20.11", "url": null}, {"citation": "Brock, Charles. \"Charles Sheeler: Across Media.\" <em>American Art Review</em> 18, no. 3 (May-June 2006).", "page_number": "Mentioned: p. 165", "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": "Mentioned: p. 12, 129; Reproduced: p. 12, 128", "url": null}, {"citation": "Miller, Angela L., Janet C. Berlo, Bryan J. Wolf, and Jennifer L. Roberts. <em>American Encounters: Art, History and Cultural Identity. </em>Upper Saddle River: Pearson Education, Inc, 2012.", "page_number": "Reproduced: p. 14.7", "url": null}, {"citation": "Arnason, H.H. <em>History of Modern Art: Painting, Sculpture, Architecture, Photography. </em>6th ed. Upper Saddle River: Prentice Hall, 2010.", "page_number": "Mentioned: p. 376-377; Reproduced: p. 37", "url": null}, {"citation": "Carbone, Theresa A., ed. <em>Youth and Beauty: Art of the American Twenties. </em>New York: Skira Rizzolli Publications in association with the Brooklyn Museum, 2011.", "page_number": "Mentioned: p. 141-142  Reproduced: p. 143, no. 105", "url": null}, {"citation": "Franklin, David, and C. Griffith Mann. <em>Treasures from the Cleveland Museum of Art</em>. Cleveland: The Cleveland Museum of Art; London: Scala Publishers Ltd, 2012.", "page_number": "Mentioned: p. 304; Reproduced: p. 305", "url": null}, {"citation": "Troyen, Carol, and Jorge Santis. \"Red-Hot American Painters: The Ashcan School.\" In <em>Return to the Ashcan</em>. Fort Lauderdale: Museum of Art, 2012.", "page_number": "Reproduced: p. 26, no. 3", "url": null}, {"citation": "Jensen, Kirsten M. \"Painting Manhatta: Modernism, Urban Planning, and New York, 1920-1940.\" In<em> Industrial Sublime: Modernism and the Transformation of New York's Rivers, 1900-1940.</em> Yonkers: Hudson River Museum in association with Empire State Editions, 2013.", "page_number": "Reproduced: p. 74, fig. 32.", "url": null}, {"citation": "Bering, Kunibert, and Rolf Niehoff. <em>Bildkompetenz: eine kunstdidaktische Perspektive</em>. Oberhausen, Germany: Athena, 2013.", "page_number": "Reproduced: p. 139", "url": null}, {"citation": "Arnason, H. H. and Elizabeth Mansfield. <em>History of Modern Art: Painting, Sculpture, Architecture, Photography. </em>Boston: Pearson, 2013.", "page_number": "Mentioned & Reproduced: pp.352-353", "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. 56", "url": ""}, {"citation": "Hiller, Susan. \"O'Keeffe as I see her, 1993.\" In <em>Georgia O'Keeffe</em>, edited by Tanya Barson. London: Tate Publishing, 2016.", "page_number": "Mentioned: p. 230", "url": null}, {"citation": "Maroney, Jr., James H. <em>Fresh Perspectives on Grant Wood, Charles Sheeler, and George Durrie. </em>Leicester, VT: Gala Books, Ltd, 2019.", "page_number": "Mentioned: p. 151-154, 170 ; Reproduced: p. 151", "url": null}, {"citation": "Maroney, James H. <em>Fresh Perspectives on Grant Wood, Charles Sheeler, and George H. Durrie</em>. Leicester, VT: Gala Books, Ltd., 2019.", "page_number": "Reproduced: p. 151", "url": null}, {"citation": "Troyen, Carol. \"To Truly Represent Our Age.\" In<em> The Immaculates: Paintings, Photographs and Prints, </em>Menconi &amp; Schoelkopf Fine Art, 6-19. New York, NY: Menconi + Schoelkopf, 2020.", "page_number": "Mentioned and reproduced: p. 8-9, fig. 5", "url": ""}, {"citation": "\u201cRecommendations from Our Curators.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>61, no. 2 (Spring 2021): 31.", "page_number": "Reproduced and Mentioned: P. 31.", "url": ""}], "url": "https://clevelandart.org/art/1977.43", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1977.43/1977.43_web.jpg", "width": "1069", "height": "893", "filesize": "602527", "filename": "1977.43_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1977.43/1977.43_print.jpg", "width": "3400", "height": "2841", "filesize": "5386734", "filename": "1977.43_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1977.43/1977.43_full.tif", "width": "4446", "height": "3715", "filesize": "49578716", "filename": "1977.43_full.tif"}}, "alternate_images": [{"date_created": "2009-08-18T13:23:05", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.43/1977.43_alt0_web.jpg", "width": "900", "height": "780", "filesize": "226350"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.43/1977.43_alt0_print.jpg", "width": "3400", "height": "2946", "filesize": "1564031"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.43/1977.43_alt0_full.tif", "width": "3921", "height": "3397", "filesize": "40001524"}}, {"date_created": "2009-08-18T13:23:05", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.43/1977.43_alt1_web.jpg", "width": "1031", "height": "893", "filesize": "466627"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.43/1977.43_alt1_print.jpg", "width": "3400", "height": "2946", "filesize": "4871552"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.43/1977.43_alt1_full.tif", "width": "3921", "height": "3397", "filesize": "40001524"}}], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Dr. Robert B. Benyo Trust Gallery", "athena_id": 149112, "creators": [{"id": 889, "description": "Charles Sheeler (American, 1883\u20131965)", "extent": null, "qualifier": null, "role": "artist", "biography": "Charles Sheeler American, 1883-1965\r\n\r\nPhiladelphia-born Charles Sheeler was a well-known precisionist painter and photographer. After studying at the School of Industrial Art in Philadelphia (1900-3), he spent the next three years as a student of painter William Merritt Chase at the Pennsylvania Academy of Fine Arts. Around 1910 he took up photography as a way to support himself.\r\n\tSheeler began as an architectural photographer, documenting buildings for Philadelphia architects, but was soon taking pictures of paintings and other works of art. He continued to paint (in 1913 a group of his works were exhibited in the famous Armory Show in New York) and to photograph, often using his photographs as the basis for paintings. In 1917 his photographs were included in a three-person show along with Paul Strand and Morton Schamberg at Marius de Zayas's Modern Gallery in New York.\r\n\tTwo years later Sheeler moved to New York and in 1920 collaborated with Paul Strand on the avant-garde film Manhatta (originally titled New York the Magnificent). In 1923 he began working as a staff photographer for Cond\u00e9 Nast publications. Four years later he received his most important commercial commission when Ford Motor Company hired him to photograph its River Rouge plant. A powerful series of images celebrating American industry resulted and were widely published. They also served as an inspiration for a number of his paintings.\r\n\tIn 1939 a small group of Sheeler's photographs were included in a retrospective of his work organized by the Museum of Modern Art, New York. Over the next decade he worked as staff photographer for the Metropolitan Museum of Art and focused primarily on painting in his own work, especially during the late 1940s and 1950s. In 1959, after suffering a stroke, Sheeler stopped painting and photographing; he died six years later from a second stroke. M.M.", "name_in_original_language": null, "birth_year": "1883", "death_year": "1965", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1977-05-10T00:00:00", "sortable_date": 1920, "date_added_to_oa": null, "date_text": "1920", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": true, "updated_at": "2026-03-27 00:04:31.863000"}, {"id": 124245, "accession_number": "1945.24", "share_license_status": "Copyrighted", "tombstone": "La Vie, 1903. Pablo Picasso (Spanish, 1881\u20131973). Oil on canvas; framed: 239 x 170 x 10 cm (94 1/8 x 66 15/16 x 3 15/16 in.); unframed: 196.5 x 129.2 cm (77 3/8 x 50 7/8 in.). The Cleveland Museum of Art, Gift of the Hanna Fund, 1945.24. \u00a9 Estate of Pablo Picasso / Artists Rights Society (ARS), New York", "current_location": "223 20th Century Avant-Garde", "title": "La Vie", "creation_date": "1903", "creation_date_earliest": 1903, "creation_date_latest": 1903, "artists_tags": ["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: 239 x 170 x 10 cm (94 1/8 x 66 15/16 x 3 15/16 in.); Unframed: 196.5 x 129.2 cm (77 3/8 x 50 7/8 in.)", "dimensions": {"framed": {"height": 2.39, "width": 1.7, "depth": 0.1}, "unframed": {"height": 1.965, "width": 1.292}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of Pablo Picasso / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "Signed upper left: \"Picasso\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301477, "title": "In Memoriam: Leonard C. Hanna, Jr.", "description": "<i>In Memoriam: Leonard C. Hanna, Jr.</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 4-April 7, 1958).", "opening_date": "1958-03-04T05:00:00"}, {"id": 518205, "title": "Picasso", "description": "<i>Picasso</i>. Tate Britain, London (July 5-September 18, 1960).", "opening_date": "1960-07-05T04:00:00"}, {"id": 515796, "title": "Picasso and the Theatre", "description": "<i>Picasso and the Theatre</i>. Mus\u00e9e des Augustins, Toulouse, France (organizer) (June 22-September 15, 1965).", "opening_date": "1965-06-22T04:00:00"}, {"id": 516237, "title": "Hommage a Pablo Picasso, Peintures", "description": "<i>Hommage a Pablo Picasso, Peintures</i>. Galeries Nationales du Grand Palais, 75008 Paris, France (November 20, 1966-February 12, 1967).", "opening_date": "1966-11-20T05:00:00"}, {"id": 442780, "title": "Pablo Picasso: A Retrospective", "description": "<i>Pablo Picasso: A Retrospective</i>. The Museum of Modern Art, New York, NY (organizer) (May 22-September 16, 1980).", "opening_date": "1980-05-22T04:00:00"}, {"id": 442184, "title": "Pablo Picasso", "description": "<i>Pablo Picasso</i>. The National Museum of Modern Art, Tokyo, Tokyo, Japan (organizer) (co-organizer) (April 2-May 29, 1983); Kyoto Municipal Museum of Art, Kyoto, Japan (co-organizer) (June 10-July 24, 1983).", "opening_date": "1983-04-02T05:00:00"}, {"id": 442154, "title": "Pablo Picasso: Fruhwerk und Blaue Periode (Pablo Picasso: Early Work and the Blue Period)", "description": "<i>Pablo Picasso: Fruhwerk und Blaue Periode (Pablo Picasso: Early Work and the Blue Period)</i>. Kunstmuseum Bern, Bern, Switzerland (organizer) (December 6, 1984-February 17, 1985).", "opening_date": "1984-12-06T05:00:00"}, {"id": 177096, "title": "Picasso:  The Early Years, 1892-1906", "description": "<i>Picasso:  The Early Years, 1892-1906</i>. National Gallery of Art (organizer) (March 30-July 27, 1997); Museum of Fine Arts, Boston (September 10, 1997-January 4, 1998).", "opening_date": "1997-03-30T00:00:00"}, {"id": 218074, "title": "Picasso: The Artist's Studio", "description": "<i>Picasso: The Artist's Studio</i>. Wadsworth Atheneum Museum of Art, Hartford, CT (organizer) (June 7-September 23, 2001); The Cleveland Museum of Art, Cleveland, OH (October 28, 2001-January 6, 2002).", "opening_date": "2001-06-07T00:00:00"}, {"id": 179631, "title": "CMA Highlights", "description": "<i>CMA Highlights</i>. The Cleveland Museum of Art (organizer) (June 21-September 11, 2005).", "opening_date": "2005-06-21T00:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. Vancouver Art Gallery, Vancouver, Canada (June 9-September 16, 2007); The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008); Frist Art Museum, Nashville, TN (February 15-June 1, 2008); Utah Museum of Fine Arts, Salt Lake City, UT (June 22-September 21, 2008); The Detroit Institute of Arts, Detroit, MI (October 12, 2008-January 18, 2009).", "opening_date": "2006-05-27T00:00:00"}, {"id": 220287, "title": "Picasso: Tradici\u00f3n y Vanguardia", "description": "<i>Picasso: Tradici\u00f3n y Vanguardia</i>. Museo Nacional del Prado, Madrid, Spain (organizer) (June 5-September 17, 2006).", "opening_date": "2006-06-05T00:00:00"}, {"id": 206339, "title": "Barcelona & Modernity: Picasso, Gaud\u00ed, Mir\u00f3, Dal\u00ed (1868-1939)", "description": "<i>Barcelona & Modernity: Picasso, Gaud\u00ed, Mir\u00f3, Dal\u00ed (1868-1939)</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 15, 2006-January 7, 2007); The Metropolitan Museum of Art, New York, NY (co-organizer) (March 4-June 3, 2007).", "opening_date": "2006-10-15T00:00:00"}, {"id": 200271, "title": "Picasso and the Mysteries of Life: La Vie", "description": "<i>Picasso and the Mysteries of Life: La Vie</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 12, 2012-April 21, 2013); Museu Picasso, Barcelona, Spain (October 10, 2013-January 19, 2014).", "opening_date": "2012-12-12T05:00:00"}, {"id": 218167, "title": "Lend-Back:  Painting the Modern Garden", "description": "<i>Lend-Back:  Painting the Modern Garden</i>. Wadsworth Atheneum Museum of Art, Hartford, CT (organizer) (September 11-December 7, 2015).", "opening_date": "2015-09-11T00:00:00"}, {"id": 291274, "title": "Picasso: Blue and Rose", "description": "<i>Picasso: Blue and Rose</i>. Mus\u00e9e d'Orsay, Paris, France (organizer) (September 18, 2018-January 6, 2019); Fondation Beyeler, CH-4125 Riehen/Basel, Switzerland (February 3-June 16, 2019).", "opening_date": "2018-09-18T04:00:00"}, {"id": 317581, "title": "Picasso and Paper", "description": "<i>Picasso and Paper</i>. Royal Academy of Arts, London, United Kingdom of Great Britain and Northern Ireland (organizer) (co-organizer) (January 25-August 2, 2020) https://www.royalacademy.org.uk/exhibition/picasso-and-paper; The Cleveland Museum of Art, Cleveland, OH (co-organizer) (December 8, 2024-March 23, 2025).", "opening_date": "2024-12-08T05:00:00"}], "legacy": [{"description": "<em>The Art of the Third Republic: French Painting 1870-1940, </em>Worcester Art Museum, Worcester, MA (February 22 - March 16, 1941).", "opening_date": "1941-02-22T05:00:00Z"}, {"description": "<em>Picasso: Forty Years of His Art, </em>Museum of Modern Art, New York. (November 15, 1939 - January 7, 1940).", "opening_date": "1939-11-15T05:00:00Z"}, {"description": "<em>Picasso, </em>Kunsthaus Z\u00fcrich (September 11-October 30, 1932).", "opening_date": "1932-09-11T04:00:00Z"}, {"description": "<em>Exposition Picasso</em>, Galeries Georges Petit, Paris (June 16-July 30, 1932).", "opening_date": "1932-06-16T04:00:00Z"}, {"description": "<em>Thirty Years of Pablo Picasso, </em>Reid and Lef\u00e8vre Gallery (June 1931).", "opening_date": "1931-06-01T04:00:00Z"}, {"description": "<em>Erste Sonderausstellung in Berlin, </em>Galerien Thannhauser (January 9- mid-February 1927).", "opening_date": "1927-01-09T05:00:00Z"}]}, "provenance": [{"description": "Sebasti\u00e0 Junyent [1865-1908], Barcelona, Spain (acquired from Picasso along with The Old Jews in 1904 for 500 pesetas)", "citations": [], "footnotes": [], "date": "1904", "sortorder": 1}, {"description": "(Ambroise Vollard, Paris, France)", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "(Justin K. Thannhauser [1892-1976], Munich/Berlin/Lucerne, acquired by 1926)", "citations": [], "footnotes": [], "date": "1926", "sortorder": 3}, {"description": "(Reid & Lefevre, London, United Kingdom, by 1931, shared with Thannhauser)", "citations": [], "footnotes": null, "date": "1931", "sortorder": 4}, {"description": "(Etienne Bignou, Paris,France, by 1932, shared with Thannhauser and Reid & Lefevre)", "citations": [], "footnotes": [], "date": "1932", "sortorder": 5}, {"description": "Rhode Island School of Design, Providence, RI, 1937", "citations": [], "footnotes": null, "date": "1937", "sortorder": 6}, {"description": "(Theodore Schempp [1904-1988], New York, NY,1944)", "citations": [], "footnotes": [], "date": "1944", "sortorder": 7}, {"description": "(Jacques Seligmann and Company, New York, NY,1944)", "citations": [], "footnotes": null, "date": "1944-1945", "sortorder": 8}, {"description": "(Jacques Seligmann and Company, New York, NY, 1945 sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "1945", "sortorder": 9}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1945-", "sortorder": 10}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Picasso began drawing as a child and studying at an art school at age eleven. He later remarked that \"art is a lie that makes us realize the truth.\"", "description": "The subject of this painting has been interpreted variously as a realistic portrayal of a working-class couple facing the challenges of poverty and as a symbolic representation of the cycle of life, with the infant representing childhood, the couple representing youth, and the draped woman representing age. In 1901, depressed by the suicide of his friend, the poet and painter Carles Casagemas, Pablo Picasso began the melancholic paintings of his Blue Period (1901\u20134). Twenty-one years old and struggling to support himself, he restricted his palette to cool colors suggestive of night, mystery, dreams, and death. His interest in themes of suffering and social alienation culminated in this painting.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q1799228"], "internet_archive": []}, "citations": [{"citation": "\"Pablo Ruiz Picasso.\" <em>El Liberal </em>(June 4, 1903): 2.", "page_number": "Mentioned: p. 2", "url": ""}, {"citation": "Sch\u00fcrer, Oskar. \"Picassos Klassizismus,\" in <em>Die Kunst f\u00fcr Alle</em>, 27 (Munich, April 1926).", "page_number": "Reproduced: p. 204.", "url": null}, {"citation": "<em>The Arts</em>, 9. no. 2 (February 1927)", "page_number": "Reproduced frontispiece, p. 60 in bound edition.", "url": null}, {"citation": "<em>Erste Sonderausstellung in Berlin</em>. Berlin: Galerien Thannhauser, 1927.", "page_number": "Reproduced: p. 117, cat. 175", "url": null}, {"citation": "Zervos, Christian. \"Picasso: Oeuvres in\u00e9dites anciennes.\" <em>Cahiers d'art</em>, 3 (1928).", "page_number": "Reproduced: p. 109.", "url": null}, {"citation": "Gaunt, William. \"Picasso and the Cul-de-sac of Modern Painting.\" <em>Atelier </em>1, no. 3 (June 1931): 410-416.", "page_number": "Reproduced: p. 411", "url": ""}, {"citation": "Lefevre Gallery. <em>Thirty Years of Pablo Picasso : June 1931</em>. London: Alex. Reid &amp; Lefevre Ltd., 1931.", "page_number": "Mentioned and reproduced: cat. 3", "url": ""}, {"citation": "Earp, T.W. \"The Picasso Exhibition.\" <em>Apollo </em>14, no. 79 (July 1931): 40-42.", "page_number": "Mentioned and reproduced: p. 40.", "url": ""}, {"citation": "<em>Exposition Picasso</em>. Paris: Galerie Georges Petit, 1932.", "page_number": "Reproduced:  no. 17.", "url": null}, {"citation": "Zervos, Christian. <em>Pablo Picasso, Vol. 1: Oeuvres de 1895 \u00e0 1906</em>. Paris: \u00c9ditions Cahiers d'art, 1, 1932.", "page_number": "Mentioned: p. 179; Reproduced: plate 83", "url": ""}, {"citation": "George, Waldemar. \"The Picasso Exhibition.\" <em>Formes </em>25 (May 1932): 268-271.", "page_number": "Reproduced", "url": ""}, {"citation": "\"Modern Recognition.\" <em>The Art News </em>30, no. 39 (August 13, 1932): 8.", "page_number": "Reproduced: on cover.", "url": ""}, {"citation": "<em>Pablo Picasso : Kleiner Katalog : 11. September Bis 30. Oktober 1932, Kunsthaus Zu\u0308rich.</em> Zu\u0308rich: Kunsthaus, 1932.", "page_number": "Mentioned: p.2. no. 18 (as Das Leben)", "url": ""}, {"citation": "\"Art Throughout America: Providence: A Newly Acquired Picasso of the Blue Period.\" <em>The Art News </em>36, no. 11 (December 11, 1937): 16.", "page_number": "Mentioned: p. 16.", "url": ""}, {"citation": "\"When Picasso was Blue.\" <em>The Art Digest </em>12, no. 6 (December 15, 1937): 5.", "page_number": "Mentioned and Reproduced: p. 5", "url": ""}, {"citation": "Daly, D. \"La Vie, Picasso.\" <em>Bulletin of the Rhode Island School of Design </em>26, no. 1 (January 1938): 2-3.", "page_number": "Mentioned: p. 2-3; Reproduced: on cover", "url": ""}, {"citation": "Barr, Alfred H., Jr., Picasso: <em>Forty Years of His Art</em>. New York: Museum of Modern Art, 1939.", "page_number": "Reproduced: cat. no. 19.", "url": null}, {"citation": "Worcester Art Museum. <em>The Art of the Third Republic; French Painting 1870-1940.</em> [Worcester, Mass.]: [Printed by the Davis Press], 1941.", "page_number": "Mentioned and reproduced: no. 34", "url": ""}, {"citation": "Slatkin, Charles E. <em>The Enjoyment of Art in America: A Survey of the Permanent Collections of Painting, Sculpture, Ceramics, and Decorative Arts in American and Canadian Museums. </em>Philadelphia and New York: J.B. Lippincott Company, 1942.", "page_number": "", "url": ""}, {"citation": "<em>Paintings in the Cleveland Museum of Art.</em> Cleveland: Cleveland Museum of Art, 1945.", "page_number": "Reproduced: p. [6]", "url": "https://archive.org/details/CMAPaintings1945/page/n14"}, {"citation": "Francis, Henry. \"Picasso's 'La Vie.'\" <em>The Bulletin of the Cleveland Museum of Art </em>32, no. 6 (June 1945): 88, 93-94.", "page_number": "Reproduced: p. 82; Mentioned: p. 88, 93-94", "url": "https://www.jstor.org/stable/25141213"}, {"citation": "Barr, Alfred H., Jr.,<em> Picasso:</em> <em>Fifty</em> <em>Years of His Art</em>. New York: Museum of Modern Art, 1946.", "page_number": "Mentioned and reproduced: p. 26-27", "url": null}, {"citation": "M. Knoedler &amp; Co. <em>Picasso Before 1907: Loan Exhibition for the Benefit of The Public Education Association. </em>New York: Knoedler Galleries, 1947.", "page_number": "Mentioned and Reproduced: cat. 17", "url": ""}, {"citation": "<em>Picasso \"L'atelier:\" Paintings of 1956</em>. Lucerne: Galerie Rosengart, 1957.", "page_number": "Reproduced: p. 91, no. 25", "url": null}, {"citation": "The Cleveland Museum of Art. <em>The Cleveland Museum of Art Handbook.</em> Cleveland: Cleveland Museum of Art, 1958.", "page_number": "Mentioned and reproduced: cat. no. 521", "url": "https://archive.org/details/CMAHandbook1958/page/n96"}, {"citation": "<em>In Memoriam: Leonard C. Hanna, Jr.</em> Cleveland: Cleveland Museum of Art, 1958.", "page_number": "Mentioned and reproduced: no. 68", "url": ""}, {"citation": "Blunt, Anthony, and Phoebe Pool. <em>Picasso, the Formative Years; a Study of His Sources.</em> [Greenwich]: New York Graphic Society, 1962.", "page_number": "Mentioned: p. 20-21", "url": ""}, {"citation": "Milhau, Denis. <em>Picasso et Le the\u0301a\u0302tre.</em> Toulouse: Muse\u0301e des Augustins, 1965.", "page_number": "Mentioned: p. 41-42, cat. 1", "url": ""}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland: Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 196", "url": "https://archive.org/details/CMAHandbook1966/page/n220"}, {"citation": "Daix, Pierre, Georges Boudaille, and Joan Rosselet. <em>Picasso, 1900-1906: Catalogue raisonn\u00e9 de l'oeuvre peint</em>. Neuchatel: Ides et Calends, 1966-88.", "page_number": "Mentioned: 58-60, 64, and 222; Reproduced: p. 222-223, IX.13", "url": ""}, {"citation": "Sutton, Denys and Paolo Lecaldano. <em>The Complete Painting of Picasso: Blue and Rose Periods</em>. New York: Harry N. Abrams, Inc., 1968.", "page_number": "Mentioned and reproduced: p. 94, cat. 89, plate XIII", "url": ""}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland: Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 195", "url": "https://archive.org/details/CMAHandbook1969/page/n219"}, {"citation": "Hennig, Edward B. \"Pablo Picasso: Fan, Salt Box, and Melon.\" <em>The Bulletin of the Cleveland Museum of Art </em>56, no. 8 (October 1969): 273-286.", "page_number": "Mentioned and reproduced: p. 276, fig. 6", "url": "https://www.jstor.org/stable/25152288"}, {"citation": "Penrose, Roland, John Golding, and Daniel Henry Kahnweiler. <em>Picasso, 1881-1973</em>. London: Elek, 1973.", "page_number": null, "url": null}, {"citation": "Reff, Theodore. \"Love and Death in Picasso's Early Work.\" <em>Artforum </em>11, no. 9 (May 1973): 64-73.", "page_number": "Mentioned and reproduced: p. 66, fig. 5", "url": ""}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland: Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 241", "url": "https://archive.org/details/CMAHandbook1978/page/n261"}, {"citation": "McCully, Marilyn and Robert McVaugh. \"New Light on Picasso's <em>La Vie.</em>\" <em>The Bulletin of the Cleveland Museum of Art </em>65 (February 1978): 67-71.", "page_number": "Mentioned: p. 67-71; Reproduced: p. 66", "url": "https://www.jstor.org/stable/25159566"}, {"citation": "Palau i Fabre, Josep. <em>Picasso, the Early Years, 1881-1907</em>. New York: Rizzoli, 1981.", "page_number": "Mentioned: p. 339-341, and 541; Reproduce, p. 341, no. 882", "url": ""}, {"citation": "Gedo, Mary Mathews. \"The Archaeology of a Painting: A Visit to the City of the Dead Beneath Picasso's <em>La Vie.</em>\" <em>Arts </em>56, no. 3 (November 1981): 116-129.", "page_number": "Reproduced: 116, fig. 1", "url": ""}, {"citation": "Kitaj, R. B., and Timothy Hyman. \"A Return to London.\" <em>Kitaj Paintings, Drawings, Pastels.</em> John Ashebury, Joe Shannon, Jane Livingston, 41. New York, NY: Thames and Hudson, 1983.", "page_number": "Mentioned: p. 41", "url": null}, {"citation": "McCully, Marilyn and Ju\u0308rgen Glaesemer. <em>Der Junge Picasso: Fr\u00fchwerk Und Blaue Periode.</em> Bern: Kunstmuseum, 1984.", "page_number": "Mentioned: p.166-176 and p. 283-293; Reproduce: p. 169, p. 283 and p. 293, kat. 194", "url": ""}, {"citation": "Spies, Werner. <em>Kontinent Picasso: Ausgewa\u0308hlte Aufsa\u0308tze aus zwei Jahrzehnten.</em> Mu\u0308nchen: Prestel, 1988.", "page_number": "Mentioned and reproduced: p. 105-106, abb. 105", "url": ""}, {"citation": "Robinson, William H. \"Puvis De Chavannes's <em>Summer</em> and the Symbolist Avant-Garde.\" <em>The Bulletin of the Cleveland Museum of Art</em> 78, no. 1 (1991): 2-27.", "page_number": "Mentioned: p. 16", "url": "https://www.jstor.org/stable/25161310"}, {"citation": "Boggs, Jean Sutherland, Brigitte Le\u0301al, and Marie-Laure Bernadac. <em>Picasso and Things: The Still Lifes of Picasso</em>. Cleveland: Cleveland Museum of Art, 1992.", "page_number": "Reproduced: P. 344", "url": ""}, {"citation": "Daix, Pierre. <em>Picasso: Life and Art</em>. New York: Icon Editions, 1993.", "page_number": null, "url": null}, {"citation": "Gedo, Mary Mathews. <em>Looking at Art from the Inside Out : The Psychoiconographic Approach to Modern Art.</em> Cambridge: Cambridge University Press, 1994.", "page_number": "Discussed: p. 87-118; Reproduced, p. 89, fig. 28", "url": ""}, {"citation": "Daix, Pierre. <em>Dictionnaire Picasso</em>. Paris: R. Laffont, 1995.", "page_number": "Reproduced: p. 628-629, pl. 1", "url": null}, {"citation": "Asahi Shinbunsha. <em>Pikaso: 20-seiki no kyosho\u0304o</em>. Tokyo: Asahi Shinbunsha, 1995.", "page_number": "Reproduced:  fig. 8", "url": null}, {"citation": "Chipp, Herschel, Alan Wofsy, and Fernand Mourlot. <em>Picasso's paintings, watercolors, drawings and sculpture: a comprehensive illustrated catalogue, 1885-1973</em>. San Francisco: Alan Wofsy Fine Arts, 1995.", "page_number": "Reproduced: p. 24, fig. 1903-071", "url": null}, {"citation": "McCully, Marilyn and Natasha Staller. <em>Picasso: the Early Years, 1892-1906</em>. Washington, DC: National Gallery of Art, 1997.", "page_number": "Reproduced: p. 6, 190", "url": null}, {"citation": "Fukaya, Katsunori. <em>Pikaso ten: kaikan 10-shu\u0304nen kinen </em>(Pablo Picasso: 10th anniversary). Japan: Chu\u0304nichi Shinbunsha, 1998.", "page_number": "Reproduced: p. 19, no. 11", "url": null}, {"citation": "Spieler, Reinhard and Hans Belting. <em>Max Beckmann: Bildwelt und Weltbild in den Triptychen</em>. Cologne: DuMont, 1998.", "page_number": "Reproduced: p. 93, no. 15", "url": null}, {"citation": "Arnason, H. Harvard and Marla Prather. <em>History of Modern Art: Painting, Sculpture, Architecture, Photography</em>. New York, NY: Harry N. Abrams, 1998.", "page_number": "Reproduced: p. 165, pl. 87", "url": null}, {"citation": "Warncke, Carsten-Peter, Ingo F. Walther, and Michael Hulse. <em>Pablo Picasso: 1881-1973</em>. Cologne: Taschen, 1998.", "page_number": "Reproduced: p. 39", "url": null}, {"citation": "M\u00f8rstad, Erik. \"Jung og Picasso - Henderson og Pollock: Jungianismen som billedanalytisk verkt\u00f8y.\" <em>Kunst og Kultur </em>81, no. 1 (1998): 18-59.", "page_number": "Mentioned: p. 30; Reproduced, p. 36, ill. 3", "url": ""}, {"citation": "Kosinski, Dorothy M. <em>The Artist and the Camera: Degas to Picasso</em>. Dallas: Dallas Museum of Art, 1999.", "page_number": "Reproduced: p. 300, fig. 146", "url": null}, {"citation": "Richardson, John, and Marilyn McCully. <em>A Life of Picasso</em>. New York: Random House, 1991.", "page_number": "I:269-279.", "url": null}, {"citation": "Hunter, Sam, John M. Jacobus, and Daniel Wheeler. <em>Modern Art: Painting, Sculpture, Architecture</em>. New York, NY: Harry N. Abrams, 2000", "page_number": "Reproduced: p. 134, no. 222", "url": null}, {"citation": "<em>Picasso: Museo Nacional de Colombia: mayo 13-agosto 11, Bogota\u0301, 2000</em>. Bogota\u0301, Colombia: Museo Nacional de Colombia, 2000.", "page_number": "Reproduced: p. 139", "url": null}, {"citation": "Le\u0301al, Brigitte, Christine Piot, and Marie-Laure Bernadac. <em>The Ultimate Picasso</em>. New York, NY: Harry N. Abrams, 2000.", "page_number": "Reproduced: p. 69, no. 133", "url": null}, {"citation": "Cox, Neil. <em>Cubism</em>. London: Phaidon, 2000.", "page_number": "Mentioned: p. 34-35, reproduced: fig. 15", "url": null}, {"citation": "Solender, Katherine, \"From Peacocks to Picasso\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 40 no. 09, November 2000", "page_number": "Mentioned & reproduced: p. 8-9", "url": "https://archive.org/details/CMAMM2000-09/page/8"}, {"citation": "FitzGerald, Michael C., and William H. Robinson. <em>Picasso: The Artist's Studio</em>. Hartford: Wadsworth Atheneum Museum of Art and Yale University Press, 2001.", "page_number": "Mentioned: p. 98-99; p. 19, 22, 24, 63-87; Reproduced pp. 62, 98", "url": null}, {"citation": "Clair, Jean. <em>Picasso E\u0301rotique</em>. Munich: Prestel, 2001.", "page_number": "Reproduced: p. 91, fig. 5", "url": null}, {"citation": "To\u0304kyo\u0304 Sho\u0304ko\u0304 Kaigisho. <em>Kara\u0304 ko\u0304dine\u0304shon no kiso: kara\u0304 ko\u0304dine\u0304ta\u0304 kentei shiken 3-kyu\u0304 ko\u0304shiki tekisuto </em>(Introduction to color coordination). Tokyo: To\u0304kyo\u0304 Sho\u0304ko\u0304 Kaigisho, 2001", "page_number": "Reproduced: p. 28", "url": null}, {"citation": "May, Sally Ruth, Jane Takac, and Barbara J. Bradley. <em>Knockouts: A Pocket Guide</em>. Cleveland: Cleveland Museum of Art, 2001.", "page_number": "Mentioned: p. 54-55; Reproduced: p. 54", "url": null}, {"citation": "Lemoine, Serge. <em>From Puvis De Chavannes to Matisse and Picasso: Toward Modern Art</em>. Milan: Bompiani, 2002.", "page_number": "Reproduced: p. 41, fig. 19", "url": null}, {"citation": "Andersen, Wayne V. <em>Picasso's Brothel: Les Demoiselles D'Avignon</em>. New York, NY: Other Press, 2002", "page_number": "Reproduced: p. 192, fig. 19", "url": null}, {"citation": "Oca\u00f1a, Mar\u00eda Teresa. <em>Picasso joven</em>. La Corun\u0303a: Fundacio\u0301n Pedro Barrie\u0301 de la Maza, Conde de Fenosa, 2002.", "page_number": "Reproduced: p. 72", "url": null}, {"citation": "<em>Sekai bijutsukan no tabi</em>. Tokyo: Sho\u0304gakukan, 2002.", "page_number": "Reproduced: p. 310", "url": null}, {"citation": "Meyer, Richard. <em>Representing the Passions: Histories, Bodies, Visions</em>. Los Angeles: Getty Research Institute, 2003.", "page_number": "Reproduced: p. 236, fig. 10", "url": null}, {"citation": "Becht-Jo\u0308rdens, Gereon and Peter Matthias Wehmeier. <em>Picasso und die christliche Ikonographie: Mutterbeziehung und ku\u0308nstlerische Position</em>. Berlin: Reimer, 2003.", "page_number": "Reproduced: cover and fig. 1", "url": null}, {"citation": "Senzoku, Nobuyuki. <em>Seiyo\u0304 kaiga meisaku hyakuissen</em>. Tokyo: Sho\u0304gakukan, 2003.", "page_number": "Reproduced: p. 182, fig.100", "url": null}, {"citation": "<em>Picasso in Istanbul</em>. Istanbul, Turkey: Sabanci University, Sakip Sabanci Museum, 2005.", "page_number": "Reproduced: p. 19, fig. 2", "url": null}, {"citation": "Lara Elizondo, Lupina. <em>Referencias de Picasso en Me\u0301xico: ocho pintores (1900-1950): Angel Za\u0301rraga, Diego Rivera, Carlos Me\u0301rida, Manuel Rodri\u0301guez Lozano, Alfonso Michel, Rufino Tamayo, Francisco Gutie\u0301rrez, Federico Cantu\u0301</em>. Me\u0301xico, DF: Qualitas Compan\u0303i\u0301a de Seguros, 2005.", "page_number": "Reproduced: p. 53", "url": null}, {"citation": "Burgess, Margaret, \"The Colorful Mr. Hanna\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 45 no. 09, November 2005", "page_number": "Mentioned & reproduced: 6", "url": "https://archive.org/details/CMAMM2005-09/page/6"}, {"citation": "Berggruen, Olivier and Max Hollein. <em>Picasso und das Theater</em>. Ostfildern, Germany: Hatje Cantz, 2006.", "page_number": "Reproduced: p. 28, fig. 1", "url": null}, {"citation": "Adams, Laurie. <em>The Making and Meaning of Art</em>. Upper Saddle River, New Jersey: Pearson Prentice Hall, 2006.", "page_number": "Reproduced: p. 147, fig. 8.2", "url": null}, {"citation": "Serraler, Francisco Calvo and Carmen Gime\u0301nez. <em>Picasso : Tradition and Avant-Garde</em>. Madrid: Museo Nacional del Prado; Museo Nacional Centro de Arte Reina Sofi\u0301a, 2006.", "page_number": "Mentioned: p. 76-89; Reproduced: p. 77, cat. 1", "url": ""}, {"citation": "Robinson, William H., Jordi Falga\u0300s, and Carmen Belen Lord. <em>Barcelona and Modernity: Picasso, Gaudi\u0301, Miro\u0301, Dali\u0301</em>. Cleveland: Cleveland Museum of Art in association with Yale University Press, 2006.", "page_number": "Mentioned: p. 135; Reproduced p. 134", "url": null}, {"citation": "Calvo Serraller, Francisco. <em>Picasso: tradicio\u0301n y vanguardia: gui\u0301a antolo\u0301gica de la exposicio\u0301n, </em>Madrid: Fundacio\u0301n Amigos del Museo del Prado, 2006.", "page_number": "Mentioned: p. 8-9; Reproduced: p. 9", "url": null}, {"citation": "Robinson, William H., Laurence Channing, Barbara J. Bradley, and Margaret Burgess. <em>Monet to Dali\u0301: Impressionist and Modern Masterworks from the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2007.", "page_number": null, "url": null}, {"citation": "Seki, Naoko. <em>Pikaso</em>. Tokyo, Japan: Sho\u0304gakukan, 2006.", "page_number": "Reproduced: p. 51", "url": null}, {"citation": "Hall, James. <em>The Sinister Side: How Left-Right Symbolism Shaped Western Art</em>. Oxford, UK: Oxford University Press, 2008.", "page_number": "Reproduced: p. 333, fig.37", "url": null}, {"citation": "Duchting, Hajo. <em>Pablo Picasso</em>. London: Prestel, 2008.", "page_number": "Reproduced: p. 6", "url": null}, {"citation": "Yu\u0304ki, Masako. <em>Pikaso egakareta koi: yattsu no koigokoro de yomitoku pikaso no miryoku</em>. Tokyo: Sho\u0304gakukan, 2008.", "page_number": "Reproduced: p. 21", "url": null}, {"citation": "Tinterow, Gary, Susan Alyson Stein, Magdalena Dabrowski, et al. <em>Picasso in the Metropolitan Museum of Art</em>. New York: Metropolitan Museum of Art, 2010.", "page_number": "Reproduced: p. 63, fig. 22.4", "url": null}, {"citation": "Arnason, H. Harvard and Elizabeth Mansfield. <em>History of Modern Art: Painting, Sculpture, Architecture, Photography</em>. Upper Saddle River, New Jersey: Pearson Prentice Hall, 2010.", "page_number": "Reproduced: p. 160, no. 8.2", "url": null}, {"citation": "Giedion, Sigfried, Gotthard Jedlicka, and Piet Meyer. <em>Pablo Picasso in Zu\u0308rich--1932</em>. Bern, Switzerland: Meyer, 2010.", "page_number": "Reproduced: p. 80, Abb.15", "url": null}, {"citation": "Cox, Neil. <em>The Picasso Book</em>. London: Tate Publishing, 2010.", "page_number": "Reproduced: p. 10, fig. 2; Mentioned: p. 273-274", "url": null}, {"citation": "Galassi, Susan Grace and Marilyn McCully. <em>Picasso's Drawings, 1890-1921: Reinventing Tradition</em>. New Haven: Yale University Press, 2011.", "page_number": "Reproduced: p. 100, fig. 51", "url": null}, {"citation": "<em>The Picasso Project: Picasso's Paintings, Watercolors, Drawings and Sculpture: A Comprehensive Illustrated Catalogue, 1885-1973: The Blue Period, 1902-1904, Barcelona and Paris</em>. San Francisco: Alan Wofsy Fine Arts, 2011.", "page_number": "Mentioned and reproduced: p. 124, no. 1903-071", "url": ""}, {"citation": "Robinson, William H. <em>Picasso and the Mysteries of Life: La Vie</em>. Cleveland: Cleveland Museum of Art, 2012.", "page_number": "Reproduced: p. 31", "url": null}, {"citation": "Zuffi, Stefano. <em>Colour in Art</em>. Antwerpen, Belgium: Ludion, 2012.", "page_number": "Reproduced: p. 139", "url": null}, {"citation": "<em>Treasures of the Cleveland Museum of Art</em>. London: Scala Books, 2012.", "page_number": "Reproduced: p. 292-293", "url": null}, {"citation": "Ramon, Artur. <em>Nada es bello sin el azar: quince episodios sobre pintura</em>. Barcelona: Elba, 2012.", "page_number": "Reproduced: p. 137, fig. 44", "url": null}, {"citation": "Valle\u0300s, Eduard and Isabel Cendoya. <em>Yo Picasso: self-portraits</em>. Barcelona: Ajuntament de Barcelona, Institut de Cultura: Museu Picasso, 2013.", "page_number": "Reproduced: p. 80, fig. 6, 7", "url": null}, {"citation": "Andral, Jean-Louis, Marilyn McCully, Michael Raeburn, et al. <em>Picasso dans la collection Nahmad</em>. Paris: E\u0301ditions Hazan, 2013.", "page_number": "Reproduced: p. 273-274, fig. 4; Mentioned: p. 419", "url": null}, {"citation": "Bozal Ferna\u0301ndez, Valeriano. <em>Historia de la pintura y la escultura del siglo XX en Espan\u0303a</em>. Madrid: Machado Grupo de Distribucion, 2013.", "page_number": "Reproduced: p. 45", "url": null}, {"citation": "<em>The Art Newspaper 23</em>, no. 252 (December 2013).", "page_number": "Reproduced: p. 32", "url": null}, {"citation": "Gual, Male\u0301n, Reyes Jime\u0301nez, and William H. Robinson. <em>Journey Through the Blue: La Vie. </em>Barcelona: Museu Picasso, 2013.", "page_number": "p. 103, cat. no. 20", "url": null}, {"citation": "Castan\u0303o, Antonia, Maria Teresa Ocan\u0303a, Neil Cox, Brigitte Le\u0301al, Valeriano Bozal Ferna\u0301ndez, Christopher Green. <em>Picasso en el taller</em>. Madrid: Fundaci\u00f3n MAPFRE, Instituto de Cultura, 2014.", "page_number": "Reproduced: p. 15, fig. 3", "url": null}, {"citation": "Cleveland Museum of Art. <em>The CMA Companion: A Guide to the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2014.", "page_number": "Mentioned and reproduced: P. 294-295", "url": ""}, {"citation": "Steele, Marcia. \"A Life Before <em>La Vie</em>: A recent cleaning of Picasso's masterpiece provided a unique opportunity for further research.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 54, no. 1 (January/February 2014): 6-7.", "page_number": "Reproduced and Mentioned: p. 6-7", "url": "https://archive.org/details/CMAMM2015-06"}, {"citation": "Pratesi, Ludovico. \"Le Sfide del Grande Transfiguratore.\" <em>Art e dossier</em>, no. 316 (December 2014).", "page_number": "Mentioned: p. 30-35; Reproduced: p. 31", "url": null}, {"citation": "\"Avec le Bleu une Histoire qui Dure.\" <em>Beaux arts magazine,</em> no. 368 (Fevrier 2015).", "page_number": "Mentioned: p. 52-53; Reproduced: p. 52", "url": null}, {"citation": "Valle\u0300s, Eduard. <em>Picasso: obra catalana</em>. Barcelona: Enciclop\u00e8dia Catalana, 2015.", "page_number": "Reproduced: p. 236-237", "url": null}, {"citation": "Rogla\u0301n, Mark A.<em> Spanish Art in America</em>. Madrid: Ediciones El Viso 2016.", "page_number": "Reproduced: p. 82", "url": null}, {"citation": "Mu\u0308ller, Markus. \"The Many Metamorphoses of the Minotaur.\" In <em>Pablo Picasso</em>. Munich: Hirmer, 2016.", "page_number": "Reproduced: p. 14, fig. 4", "url": null}, {"citation": "Jones, Caroline A. <em>The Global Work of Art: World's Fairs, Biennials, and the</em> <em>Aesthetics of Experience.</em> Chicago: University of Chicago Press, 2016.", "page_number": "Mentioned and reproduced: p. 58-59, fig. 2.8", "url": null}, {"citation": "Cleveland Museum of Art. <em>Museum Masters: 2016-17 Companion Guide.</em> [Cleveland, Ohio]: Cleveland Museum of Art, 2016.", "page_number": "Mentioned and reproduced: P. 46-47", "url": ""}, {"citation": "Kisters, Sandra.<em> The Lure of the Biographical: On the (Self-)Representation of Modern Artists.</em> Amsterdam: Valiz, 2017.", "page_number": "Reproduced: p. 57, n.171", "url": null}, {"citation": "Koldehoff, Stefan. \"Marketing Modernism: The Thannhauser Gallery and Its Clients.\" <em>Marketing Van Gogh</em>. Stefan Koldehoff, and Chris Stolwijk, eds., 56-81. Brussels: Mercatorfonds; Amsterdam: Van Gogh Museum, 2017.", "page_number": "Reproduced: p. 61, fig. 43", "url": null}, {"citation": "Jime\u0301nez-Blanco, Mari\u0301a Dolores. <em>Antes, Desde y Despue\u0301s del Cubismo: Picasso, Gris, Blanchard, Gargallo y Gonza\u0301lez, y Vuelta a Picasso.</em> Boadilla del Monte (Madrid): Machado Libros, 2017.", "page_number": "Reproduced: p. 97, fig. 1", "url": null}, {"citation": "Saragoza, Florence, and Pablo Picasso. Picasso et la maternite\u0301. 2017.", "page_number": "Mentioned and reproduced: pp. 22-23", "url": ""}, {"citation": "Rynck, Patrick de and Jon Thompson. <em>Understanding Painting: From Giotto to Warhol</em>. New York: Ludion, distributed by Abrams, 2018.", "page_number": "Reproduced: p. 237", "url": null}, {"citation": "Tasseau, Verane, and Jean-Louis Andral. <em>Pablo Picasso en 15 questions.</em> [Vanves] : Hazan, 2018.", "page_number": "Mentioned and reproduced: P. 28-31", "url": null}, {"citation": "Moore, John L., Esther Jun, Clodagh Keogh, William H. Robinson, Danni Shen, Enid Shomer, and Reto Thu\u0308ring. Demise: Rina Banerjee, Esperanza Corte\u0301s, Jae Rhim Lee, Brian Maguire, Paolo Pelosini, Levent Tuncer. 2018, 6.", "page_number": "Mentioned and reproduced: pp. 4-6.", "url": ""}, {"citation": "Bernardi, Claire, Stephanie Molins, and E\u0301milia Philippot. <em>Picasso: Bleu et Rose.</em> Vanves: Hazan: M'O, 2018.", "page_number": "Mentioned and reproduced: P. 20-21", "url": ""}, {"citation": "Faerna, Jose\u0301 Mari\u0301a. <em>Picasso</em>. Barcelona: Poli\u0301grafa, 2018.", "page_number": "Reproduced: P. 25", "url": ""}, {"citation": "Lloyd, Christopher. <em>Picasso and the Art of Drawing.</em> London: Modern Art Press, 2018.", "page_number": "Reproduced: p. 44, fig. 25", "url": null}, {"citation": "Betard, D. \"Picasso en bleu, en rose et en chefs-d'oeuvre,\" <em>Beaux arts magazine</em>, 411 (Sept. 2018).", "page_number": "Mentioned: p. 78-86; Reproduced: p. 81", "url": null}, {"citation": "Toscano, F. \"Becoming Picasso.\" <em>Modern Painters</em> (Sept. 2018).", "page_number": "Mentioned: p. 104-110; Reproduced: p. 107", "url": null}, {"citation": "De Micci, L. \"L'alba del Genio e Blu e Rosa.\" <em>Il giornale dell'arte</em> 36, no. 389 (Sept. 2018).", "page_number": "Mentioned: p. 39-40", "url": null}, {"citation": "Toscano, Frank. \"Becoming Picasso: A major exhibition at the Musee d'Orsay looks at six formative years early last century, now known as his Blue and Rose periods.\" <em>Modern painters : a quarterly journal of the fine arts 30, no. 8 (September 2018): 105-110</em>", "page_number": "Mentioned; p. 107", "url": ""}, {"citation": "Le Bon, Laurent, Claire Bernardi, Stephanie Molins, et al. <em>Picasso, Bleu et Rose.</em> Vanves: Hazan, 2018.", "page_number": "Mentioned and reproduced: p. 180-182", "url": null}, {"citation": "Bouvier, Rapha\u00ebl, ed. <em>Picasso: The Blue and Rose Periods.</em> Riehen/Basel: Fondation Beyeler, 2019.", "page_number": "Mentioned and reproduced: P. 118-119; 122-123", "url": null}, {"citation": "Picasso, Pablo. <em>Bijiasuo: yi wei tian cai de dan sheng = Picasso: Birth of a Genius.</em> \u5317\u4eac\u5e02: \u6587\u5316\u85dd\u8853\u51fa\u7248\u793e, 2019.", "page_number": "Reproduced: P. 219, 225", "url": ""}, {"citation": "Michael, Cora. \"Gauguin in the the Buckeye and Hoosier States: Portrait of Teuraheimata and its Midwestern Collectors.\" In <em>Paul Gauguin: Teuraheimata a Potoru, a Rediscovery, </em>11-19. New York: Jill Newhouse Gallery; [Akron, Ohio]: Thomas French Fine Art, 2019.", "page_number": "Mentioned: P. 14", "url": ""}, {"citation": "Bouvier, Raphae\u0308l. <em>Le Jeune Picasso: Pe\u0301riodes Bleue et Rose.</em> Riehen/Ba\u0302le, Suisse : Fondation Beyler ; Berlin : Hatje Cantz, 2019.", "page_number": "Reproduced: P. 22, 27", "url": ""}, {"citation": "Berggruen, Olivier. \"Painting as Drama: Picasso's Late Paintings.\" In <em>Picasso: The Late Work: from the Collection of Jacqueline Picasso.</em> Ortrud Westheider, and Michael Philipp, eds. Munich: Prestel, 2019.", "page_number": "Mentioned and reproduced: P. 29-31", "url": null}, {"citation": "Ormiston, Rosalind. <em>Picasso</em>. Munich; London; New York: Prestel, 2020.", "page_number": "Mentioned and reproduced: P. 50-51", "url": null}, {"citation": "Planas, Claustre Raffart. \"Early Works and the Blue Period.\" In <em>Picasso and Paper</em>. William H. Robinson, et al., 62-79. London: Royal Academy of Arts, 2020.", "page_number": "Reproduced: P. 75, cat. no. 48", "url": ""}, {"citation": "McCully, Marilyn. \"Picasso in the Studio.\" In <em>Picasso: Painting the Blue Period.</em> Kenneth Brummel, and Susan Behrends Frank, eds., 10-23. New York: DelMonico Books \u00b7 D.A.P.; Toronto, Ontario, Canada: Art Gallery of Ontario, 2021.", "page_number": "Mentioned and reproduced: P. 18-19, fig. 16", "url": ""}, {"citation": "Frank, Susan Behrends. \"Chronology.\" In <em>Picasso: Painting the Blue Period.</em> Kenneth Brummel, and Susan Behrends Frank, eds., 294-321. New York: DelMonico Books \u00b7 D.A.P.; Toronto, Ontario, Canada: Art Gallery of Ontario, 2021.", "page_number": "Mentioned and reproduced: P. 306-307, fig. 13", "url": ""}, {"citation": "Michels, Stefanie. <em>Leipziger Schule und Kritischer Realismus: die Sammlung Fritz P. Mayer</em>. Mu\u0308nchen: Hirmer, 2022.", "page_number": "Reproduced: P. 50", "url": ""}, {"citation": "Arn, Jackson. \"From God to 10,000 hours.\" <em>Art in America</em> 110, no.5 (June/July 2022): 42-47", "page_number": "Mentioned and reproduced: p.46", "url": ""}, {"citation": "Conzen, Ina. <em>Picasso</em>. Mu\u0308nchen: C.H.Beck, 2023.", "page_number": "Mentioned and reproduced: P. 20, fig. 5", "url": ""}, {"citation": "Gue\u0301gan, Ste\u0301phane. <em>Picasso: Les Chefs-d\u2019\u0152uvre</em>. Paris: \u00c9ditions El Viso, 2023.", "page_number": "Reproduced: p. 2, 67, no. 22", "url": ""}, {"citation": "Lahuerta, Juan Jose\u0301. <em>Being an Artist : Julio Gonz\u00e1lez. </em>Valencia: Institut Valenci\u00e0 d\u2019Art Modern, 2023.", "page_number": "Mentioned and reproduced: p. 40-41, fig. 54", "url": ""}, {"citation": "Rafart i Planas, Claustre. <em>Picasso Barcelona: A Cartography.</em> Translated by Jofre Homedes and Mark Waudby. Barcelona, Spain: Museu Picasso, Editorial Tenov, Barcelona City Council, 2023.", "page_number": "Reproduced: p. 122", "url": ""}, {"citation": "Maldonado, Guitemie. \"Picasso: Trajectoire d'un Geant.\" <em>Dossiers de l'Art</em> 307, no. 4 (2023): 10-27.", "page_number": "Mentioned and reproduced: P. 12-13", "url": ""}, {"citation": "McPherson, Heather. <em>Picturing the Artist's Studio, from Delacroix to Picasso. </em>London: Lund Humphries, 2024.", "page_number": "Mentioned: p. 101; Reproduced: p. 103, fig. 74", "url": ""}], "catalogue_raisonne": "Zervos I.179; Sutton/Lecaldano 89; Daix, Boudaille, Rosselet IX.13; Palau i Fabre: 882; PP 1903-071", "url": "https://clevelandart.org/art/1945.24", "images": {}, "alternate_images": [], "creditline": "Gift of the Hanna Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Michael J. Horvitz Family Gallery", "athena_id": 124245, "creators": [{"id": 2160, "description": "Pablo Picasso (Spanish, 1881\u20131973)", "extent": null, "qualifier": null, "role": "artist", "biography": "Pablo Ruiz Picasso (1881-1973), the most prolific and influential artist of the 20th century, shifted the emphasis of art from its traditional concern with beauty toward radical innovation. The son of an art teacher, Picasso demonstrated remarkable talents as a child and entered the royal art academy in Madrid at age sixteen. Less than a year later, he abandoned his studies and soon joined several avant-garde artist and anarchist groups in Barcelona and Paris. After passing through a succession of stylistic periods, most notably the Blue (1901-1904) and Rose (1904-1906) Periods, he collaborated with Georges Braque (1882-1963) in 1908 to invent Cubism, a revolutionary method of restructuring pictorial space. Picasso remained active until his death in 1973. Although his art still appears radical, many of his works are over one hundred years old. Cubism, perhaps the most important development in 20th-century art, was invented around 1908 by Pablo Picasso (1881-1973) and Georges Braque (1882-1963). The most revolutionary aspect of the style was not its obvious emphasis on geometric form; rather, it was the introduction of a radically new approach to configuring pictorial space. Since the Renaissance, artists had used various methods to create the illusion of distant space receding behind the canvas surface. The Cubists rejected that idea and collapsed space by compressing foreground, middle ground, and background into a continuous web of overlapping, intersecting planes. During the 1910s, other painters and sculptors embraced or adapted Cubism to their own ends. This revolutionary approach inspired a host of related movements and continues to influence the visual language of artists, architects, and designers throughout the world.", "name_in_original_language": null, "birth_year": "1881", "death_year": "1973", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1945-02-21T00:00:00", "sortable_date": 1903, "date_added_to_oa": null, "date_text": "1903", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": ["Life"], "is_highlight": false, "updated_at": "2026-04-03 13:35:08.713000"}, {"id": 123365, "accession_number": "1943.60", "share_license_status": "Copyrighted", "tombstone": "Gray and Gold, 1942. John Rogers Cox (American, 1915\u20131990). Oil on canvas; framed: 116 x 152 x 12.5 cm (45 11/16 x 59 13/16 x 4 15/16 in.); unframed: 91.5 x 151.8 cm (36 x 59 3/4 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1943.60", "current_location": "226B American Modern", "title": "Gray and Gold", "creation_date": "1942", "creation_date_earliest": 1942, "creation_date_latest": 1942, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 116 x 152 x 12.5 cm (45 11/16 x 59 13/16 x 4 15/16 in.); Unframed: 91.5 x 151.8 cm (36 x 59 3/4 in.)", "dimensions": {"framed": {"height": 1.16, "width": 1.52, "depth": 0.125}, "unframed": {"height": 0.915, "width": 1.518}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower right:  John Rogers Cox 1942", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 318288, "title": "Artists for Victory", "description": "<i>Artists for Victory</i>. The Metropolitan Museum of Art, New York, NY (organizer) (co-organizer) (January 1-February 22, 1943).", "opening_date": "1943-01-01T04:00:00"}, {"id": 318291, "title": "54th Annual Exhibition of American Paintings and Sculpture", "description": "<i>54th Annual Exhibition of American Paintings and Sculpture</i>. The Art Institute of Chicago (organizer) (October 28-December 12, 1943).", "opening_date": "1943-10-28T04:00:00"}, {"id": 318296, "title": "Painting in the United States, 1944", "description": "<i>Painting in the United States, 1944</i>. Carnegie Museum of Art, Pittsburgh, PA (organizer) (co-organizer) (September 5-December 10, 1944).", "opening_date": "1944-09-05T04:00:00"}, {"id": 318697, "title": "Contemporary American Painting", "description": "<i>Contemporary American Painting</i>. Rhode Island School of Design (organizer) (February 6-28, 1946).", "opening_date": "1946-02-06T05:00:00"}, {"id": 318703, "title": "Museum's Choice", "description": "<i>Museum's Choice</i>. Addison Gallery of American Art, Andover, MA (organizer) (March 8-April 30, 1946).", "opening_date": "1946-03-08T05:00:00"}, {"id": 318494, "title": "The 50 Most Popular Paintings in the History of American Art", "description": "<i>The 50 Most Popular Paintings in the History of American Art</i>. The Dallas Museum of Art (organizer) (October 9-November 7, 1948).", "opening_date": "1948-10-09T05:00:00"}, {"id": 318497, "title": "Life in America", "description": "<i>Life in America</i>. Denver Art Museum, Denver, CO (organizer) (co-organizer) (March 4-April 30, 1951).", "opening_date": "1951-03-04T05:00:00"}, {"id": 318500, "title": "Centennial Exhibition", "description": "<i>Centennial Exhibition</i>. Joslyn Art Museum, Omaha, NE (organizer) (co-organizer) (May 11-July 4, 1954).", "opening_date": "1954-05-11T04:00:00"}, {"id": 318505, "title": "Illusion and Reality", "description": "<i>Illusion and Reality</i>. Santa Barbara Museum of Art, Santa Barbara, CA (organizer) (co-organizer) (June 15-July 22, 1956); Pasadena Museum of California Art (August 5-September 9, 1956); Museum of Fine Arts, Houston, Houston, TX (October 5-31, 1956); The Dallas Museum of Art, Dallas, TX (October 31-November 30, 1956).", "opening_date": "1956-08-05T04:00:00"}, {"id": 318547, "title": "20th Anniversary Special Exhibition: 60 Terre Haute Artists", "description": "<i>20th Anniversary Special Exhibition: 60 Terre Haute Artists</i>. Sheldon Swope Art Museum Inc., Terra Haute, IN (organizer) (November 4-December 2, 1962).", "opening_date": "1962-11-04T05:00:00"}, {"id": 318691, "title": "An Unfulfilled Dream: The Neglected Generation of American Scene Painters: 1930-1948", "description": "<i>An Unfulfilled Dream: The Neglected Generation of American Scene Painters: 1930-1948</i>. Wichita Art Museum, Wichita, KS (organizer) (May 2-June 14, 1981).", "opening_date": "1981-05-02T04:00:00"}, {"id": 318694, "title": "A Retrospective Exhibition of the Art of John Rogers Cox", "description": "<i>A Retrospective Exhibition of the Art of John Rogers Cox</i>. Sheldon Swope Art Museum Inc., Terra Haute, IN (organizer) (May 14-June 13, 1982).", "opening_date": "1982-05-14T04:00:00"}, {"id": 221943, "title": "Illusions of Eden: Visions of the American Heartland", "description": "<i>Illusions of Eden: Visions of the American Heartland</i>. Columbus Museum of Art, Columbus, OH (organizer) (February 18-April 30, 2000).", "opening_date": "2000-02-18T00:00:00"}], "legacy": [{"description": "Toronto, Art Gallery of Toronto (February 1945).", "opening_date": "1945-02-01T00:00:00"}, {"description": "Terre Haute, Indiana, Sheldon Swope Art Gallery (May 1945).", "opening_date": "1945-05-01T00:00:00"}, {"description": "Columbus, OH, Columbus Museum of Art, Illusions of Eden: Visions of the American Heartland (18 February - 30 April 2000) cat. ill. cover, pp. 94, 186, p. 271 ; traveled to Vienna, Austria, Museum of Modern Art/Ludwig Foundation Vienna (1 June - 15 August 2000); traveled to Budapest, Hungary, Ludwig Museum/Museum of Contemporary Art (25 September - 26 November 2000); did not travel to Madison, Wisconsin, Madison Art Center (24 February - 13 May 2001); did not travel to Sioux Falls, South Dakota, Washington Pavilion of Arts &amp; Science (June - August 2001).", "opening_date": "2000-02-18T00:00:00"}, {"description": "The Cleveland Museum of Art (03/01/2006 - 06/01/2006); \"American Icons: American Masterworks from the 1930s\"", "opening_date": "2006-03-01T00:00:00"}]}, "provenance": [{"description": "[Artists for Victory, Inc., New York, NY], by 1942", "citations": [], "footnotes": ["<div><!--block-->Purchased with income from the Mr. and Mrs. William H. Marlatt Fund, from Artists for Victory, Inc. The Artists for Victory exhibition, held at the Metropolitan Museum of Art in New York, was also mounted at the Cleveland Museum of Art, in 1943.</div>"], "date": "", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH, purchased in 1943", "citations": [], "footnotes": [], "date": "1943-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "A framed reproduction of this painting is displayed on the living room walls of a farmhouse in the sci-fi film <em>Looper</em>, starring Bruce Willis.", "description": "Cox painted <em>Gray and Gold</em> shortly after the United States joined the Second World War, and its image of amber waves of grain threatened by ominous storm clouds likely has symbolic overtones. The painting's foreground features an intersection of two dirt lanes, as well as a telephone pole emblazoned with political campaign posters. The artist seems to imply that American democracy is at a crossroads during this time of combat against the spread of fascism in Europe and Asia. Interestingly the work was inspired by the landscape around Cox's hometown of Terre Haute, Indiana, a location nicknamed \"The Crossroads of America\" due to the junction of major north-south and east-west national highways within its city limits. The museum purchased this painting out of a traveling exhibition entitled \"Artists for Victory,\" which consisted of works by artists who wanted to assist in the war effort. The exhibition opened at the Metropolitan Museum of Art in New York on the first anniversary of the bombing at Pearl Harbor.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60514906"], "internet_archive": []}, "citations": [{"citation": "<em>Artists for Victory: An Exhibition of Contemporary American Art, Paintings, Sculpture, Prints</em>. 2 vols. New York: Metropolitan Museum of Art, 1942.", "page_number": null, "url": null}, {"citation": "\"Victory Show Sales,\" <em>Art Digest </em>17 (April 1, 1943)", "page_number": "Mentioned p. 15", "url": ""}, {"citation": "Korkow, Cory. \u201cFour Curators, Four Favorites.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>62, no. 2 (2022): 29.", "page_number": "Reproduced and Mentioned: P. 29.", "url": ""}, {"citation": "Waker, Andrew, ed., <em>Joe Jones : Radical Painter of the American Scene, </em>exh. cat., Saint Louis Art Museum, 2010.", "page_number": "Mentioned p, 76; reproduced p. 75.", "url": ""}, {"citation": "Metropolitan Museum of Art.<em> Artists for Victory: An Exhibition of Contemporary American Art, A Picture Book of the Prize Winners. </em>New York, 1942.", "page_number": "Reproduced: fig. 15", "url": null}, {"citation": "Jewell, Edward Alden. \"Artists For Victory: Metropolitan Opens Tomorrow the Huge Contemporary American Survey.\" <em>The New York Times, </em>December 6, 1942.", "page_number": "Reproduced", "url": null}, {"citation": "\"Artists for Victory Score Victory in Metropolitan Exhibition,\" <em>Art Digest </em>17 no. 6 (December, 15 1942).", "page_number": "Mentioned: p. 6; Reproduced: p. 8", "url": null}, {"citation": "\"The Artists for Victory Exhibition: The Paintings,\" <em>Art News</em> 41 (January 1, 1943).", "page_number": "Mentioned: p. 8-9; Reproduced: p. 9", "url": null}, {"citation": "<em>Art News </em>41 (January 15, 1943).", "page_number": "Reproduced: p. 17", "url": null}, {"citation": "\"Cleveland Museum of Art Presents Paintings Selected from National Exhibition,\" <em>Cleveland Plain Dealer, </em>March 21, 1943.", "page_number": "Reproduced", "url": null}, {"citation": "\"Victory Show Sales.\" <em>Art Digest</em> 17 (April 1, 1943).", "page_number": "Mentioned: p.15", "url": ""}, {"citation": "Holme, Bryan. \"New York Commentary.\"<em> London Studio</em> (July 1943).", "page_number": "Reproduced: p. 28", "url": null}, {"citation": "West Virginia Pulp and Paper Company, <em>Westvaco Inspirations for Printers 1942-1943</em> (1943).", "page_number": "Mentioned: p. 143; Reproduced: cover", "url": null}, {"citation": "Cravens, Dargan &amp; Company Insurance Managers, Houston, Texas, Review 25 no. 5 (April 1944).", "page_number": "Reproduced: cover", "url": null}, {"citation": "\"State Artist's Work Displayed.\" <em>The Indianapolis Times, </em>October 18, 1944.", "page_number": "Reproduced", "url": null}, {"citation": "\"Grey and Gold by John Rogers Cox Voted Popular Prize,\" <em>The Carnegie Magazine</em> (December 1944).", "page_number": "Mentioned: p. 195-7; Reproduced: p. 195", "url": null}, {"citation": "\"Hoosier's Painting Carnegie Favorite.\" <em>Indianapolis Star, </em>December 5, 1944.", "page_number": null, "url": null}, {"citation": "\"Cox, Soldier-Artist, Wins Carnegie 'Popular'.\" <em>Art Digest </em>19 (December 15, 1944).", "page_number": "Mentioned: p. 9; Reproduced: p. 9", "url": null}, {"citation": "<em>Time Magazine</em> (December 18, 1944).", "page_number": "Mentioned: p. 50", "url": null}, {"citation": "<em>The Bulletin of the Cleveland Museum of Art</em> 32, no. 7(September 1945).", "page_number": "Mentioned: p. 138; Reproduced: p. 134", "url": null}, {"citation": "Burchfield, Louise. \"Two American Paintings.\" <em>The Bulletin of the Cleveland Museum of Art </em>32, no. 7 (September 1945): 137-139.", "page_number": "Reproduced: p. 134; Mentioned: p. 138", "url": "https://www.jstor.org/stable/25141226"}, {"citation": "Milliken, William M. \"Place of the Museum of Art in the Life of a City.\" <em>The Clevlander</em> (August 1946).", "page_number": "Reproduced: p. 6", "url": null}, {"citation": "\"The Popular Prize.\"<em> The Carnegie Magazine</em> 20 (December 1946).", "page_number": "Mentioned: p. 172-3", "url": null}, {"citation": "\"Cox Popular Choice of Carnegie Visitors.\" <em>Art Digest</em> 21 (December 15, 1946).", "page_number": "Mentioned: p. 9", "url": null}, {"citation": "Dallas Museum of Fine Arts, State Fair of Texas,<em> Famous American Paintings </em>(1948).", "page_number": "Reproduced", "url": null}, {"citation": "<em>Catalogue de Reproductions en Couleurs de la Peinture de 1860 a 1949.</em> Paris: Unesco, 1949.", "page_number": "Mentioned: p. 62-3; Reproduced: p. 63", "url": null}, {"citation": "<em>New York Times Book Review, </em>October 16, 1955.", "page_number": "Reproduced", "url": null}, {"citation": "\"Anniversary Year Exhibit to Open Sunday at Swope Gallery Preview.\" <em>The Terre Haute Sta</em>r, November 2, 1962.", "page_number": "Reproduced", "url": null}, {"citation": "Wahl, Charles William, M.D., \"Psychodynamics of Sexual Humor: Sex and the Salesman.\" <em>Medical Aspects of Human Sexuality</em> (August 1978).", "page_number": "Reproduced: p. 26-7, cover", "url": null}, {"citation": "Szymanski, Ronald, ed. <em>America in Literature: The Midwest. </em>New York: Charles Scribner's Sons, 1979.", "page_number": "Reproduced: cover", "url": null}, {"citation": "Sheldon Swope Art Gallery. \"The Sheldon Swope Art Gallery Newsletter.\" (May-July 1982).", "page_number": "Reproduced: fig. 2", "url": null}, {"citation": "Kinsman, Robert D. \"Art from Swope: Painting looks at forces of nature.\" <em>The Tribune-Star</em>- Terre Haute, May 16, 1982.", "page_number": "Mentioned: p. 12; Reproduced", "url": null}, {"citation": "Hubbard, Guy. \"Teaching Art with Art: Turbulent Skyscapes.\" <em>Arts &amp; Activities</em> 103, no. 3 (April 1988).", "page_number": "Mentioned: p. 26-7", "url": null}, {"citation": "\"A final tribute.\" <em>Tribune-Star, Terre Haute, </em>February 4, 1990.", "page_number": "Reproduced", "url": null}, {"citation": "Chong, Alan. <em>European and American Painting in the Cleveland Museum of Art: A Summary Catalogue. </em>Cleveland Museum of Art: Cleveland, 1993.", "page_number": "Reproduced: p. 46", "url": null}, {"citation": "Chaon, Dan. <em> Fitting Ends and Other Stories by Dan Chaon.</em> Evanston: Northwestern University Press,1995.", "page_number": "Reproduced: cover", "url": null}, {"citation": "Pai\u0308ni, Dominique, and Guy Cogeval. <em>Hitchcock and Art: Fatal Coincidences</em>. Montreal: The Montreal Museum of Fine Arts, 2000.", "page_number": "Mentioned: p. 341", "url": null}, {"citation": "Stearns, Robert. ed. <em>Illusions of Eden. Visions of the American Heartland. </em>Minneapolis: Arts Midwest, 2000.", "page_number": "Mentioned: p. 271; Reproduced: p. 94", "url": null}, {"citation": "Maciejunes, Nannette V. \"Visions of the American Heartland.\" <em>American Art Review </em>12, no. 2 (March-April 2000).", "page_number": "Mentioned: p. 114", "url": null}, {"citation": "\"Vienna and Budapest: Illusions of Eden.\" <em>The Burlington Magazine </em>(November 2000).", "page_number": "Mentioned: p. 719", "url": null}, {"citation": "<em>Academic Medicine: Journal of the Association of American Medical Colleges.</em> (August, 2001).", "page_number": "Reproduced: p. 761; cover", "url": null}, {"citation": "Dijkstra, Bram. <em>American Expressionism: Art and Social Change 1920-1950. </em>New York: Harry N. Abrams, 2003.", "page_number": "Mentioned: p. 188, 196", "url": null}, {"citation": "Norman, Bud. <em>The Things That Are Caesar\u2019s: A Comic Tale of Politics, Religion, and Other Impolite Topics. </em>Wichita: Affiliated Writers of America, 2003.", "page_number": "Reproduced: back cover", "url": null}, {"citation": "Martha Parrish &amp; James Reinish, Inc., <em>19th and 20th Century European and American Art </em>(gallery catalogue) (February, 2005).", "page_number": null, "url": null}, {"citation": "Chandler, Neal, ed. \"Silver Apples of the Moon: Art and Poetry.\" Cleveland: Cleveland State Poetry Center in association with Shaker Heights Public Library, 2006.", "page_number": "Reproduced: p. 53", "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": "Mentioned: p. 141", "url": null}, {"citation": "Walker, Andrew, ed. <em>Joe Jones: Radical Painter of the American Scene. </em>Exh. cat. St. Louis: St. Louis Art Museum, 2010.", "page_number": "Mentioned: p. 76; Reproduced: p. 75", "url": null}, {"citation": "Perry, Dee. \"Personal Favorite.\" <em>Cleveland Art </em>50 (March/April 2010).", "page_number": "Mentioned: p. 10", "url": null}, {"citation": "\"Toward the Vision: The Cleveland Museum of Art.\" Museum publication booklet. 2012.", "page_number": "Reproduced: cover", "url": null}, {"citation": "Kash, Steve. \"Life As an Artist.\" <em>Tribune-Star</em>- Terre Haute, October 7, 2012.", "page_number": "Mentioned: p. D4", "url": null}, {"citation": "Cole, Mark. \"American Art of the 1930s to 1950s.\" <em>Cleveland Art</em> 54 (January/February 2014).", "page_number": "Mentioned: p. 21", "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. 59", "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. 23", "url": ""}, {"citation": "Daiss, Susan Dodge-Peters. \"Art at the Bedside: Reflections on Use of Visual Imagery in Hospital Chaplaincy.\" <em>Journal of Pastoral Care &amp; Counseling</em> 70, no. 1 (March 2016).", "page_number": "Reproduced: p.77", "url": null}, {"citation": "Eldredge, Charles C. W<em>e Gather Together: American Artists and the Harvest</em>. Oakland, California: University of California Press, 2021.", "page_number": "Mentioned and reproduced: P. 89, fig. 44", "url": ""}, {"citation": "Arizpe S., Lourdes, and Je\u0301ro\u0302me Duval-Hamel. Spicil\u00e8ge beaux-arts de l'art faber: quand les beaux-arts et les mondes \u00e9conomiques se rencontrent. <br>Arles : Actes Sud, 2023.", "page_number": "Mentioned: p. 60; Reproduced: p. 60, ill. 4, p. 91", "url": ""}], "url": "https://clevelandart.org/art/1943.60", "images": {}, "alternate_images": [], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Hammond Hemmelgarn Family Gallery", "athena_id": 123365, "creators": [{"id": 3077, "description": "John Rogers Cox (American, 1915\u20131990)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1915", "death_year": "1990", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1943-02-03T00:00:00", "sortable_date": 1942, "date_added_to_oa": null, "date_text": "1942", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": true, "updated_at": "2026-03-27 00:10:34.028000"}, {"id": 140161, "accession_number": "1964.160", "share_license_status": "CC0", "tombstone": "A Woman's Work, 1912. John Sloan (American, 1871\u20131951). Oil on canvas; framed: 97.2 x 82.2 x 6.4 cm (38 1/4 x 32 3/8 x 2 1/2 in.); unframed: 80.3 x 65.4 cm (31 5/8 x 25 3/4 in.). The Cleveland Museum of Art, Gift of Amelia Elizabeth White, 1964.160", "current_location": "208 American Gilded Age and Realism", "title": "A Woman's Work", "creation_date": "1912", "creation_date_earliest": 1912, "creation_date_latest": 1912, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 97.2 x 82.2 x 6.4 cm (38 1/4 x 32 3/8 x 2 1/2 in.); Unframed: 80.3 x 65.4 cm (31 5/8 x 25 3/4 in.)", "dimensions": {"framed": {"height": 0.972, "width": 0.822, "depth": 0.064}, "unframed": {"height": 0.803, "width": 0.654}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right: \"John Sloan -\"", "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": 310260, "title": "American Cities: The Artist's View", "description": "<i>American Cities: The Artist's View</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 17, 1989-January 7, 1990).", "opening_date": "1989-10-17T04:00:00"}], "legacy": [{"description": "<em>Group Exhibition</em>. MacDowell Club, New York, NY (17-29 April 1913); see Elzea, pp. 116 and 449.", "opening_date": "1913-04-17T00:00:00"}, {"description": "<em>Exhibition of Paintings, Drawings and Etchings by John Sloan. </em>Kraushaar Galleries, New York, NY (19 March-7 April 1917); no. 11.", "opening_date": "1917-03-19T00:00:00"}, {"description": "<em>Exhibition of Paintings by George Luks, Augustus Vincent Tack and John Sloan</em>. Wisconsin Art Institute, Milwaukee, WI (March 1918).", "opening_date": "1918-03-01T00:00:00"}, {"description": "<em>Annual Exhibition of Paintings and Sculpture by Members of the Club</em>. Whitney Studio Club, New York, NY (20 March-20 April 1921).", "opening_date": "1921-03-20T00:00:00"}, {"description": "<em>Sculpture, Painting, and Crafts by Greenwich Village Artists</em>. Greenwich House, New York, NY (24 April-2 May 1922); no. 50; see Elzea's publication.", "opening_date": "1922-04-24T00:00:00"}, {"description": "<em>120th Annual Exhibition of the Pennsylvania Academy of the Fine Arts</em>. Pennsylvania Academy of the Fine Arts, Philadelphia, PA (8 February-29 March 1925); no. 236.", "opening_date": "1925-02-08T00:00:00"}, {"description": "<em>Annual Exhibition of Recent American Paintings</em>. Rhode Island School of Design, Providence, RI (13 October-9 November 1925); no. 23.", "opening_date": "1925-10-13T00:00:00"}, {"description": "<em>John Sloan: Paintings, Etchings, and Drawings.</em> Wanamaker Galleries, New York, NY (4 November-? December 1939); traveled to Wanamaker Galleries, Philadelphia, PA (8-29 January 1940); no. 41.", "opening_date": "1940-01-08T00:00:00"}, {"description": "<em>Then and Now</em>. Park Avenue Gallery, New York, NY (7-19 October 1940); see Elzea's publication.", "opening_date": "1940-10-07T00:00:00"}, {"description": "<em>John Sloan</em>. Martha White Memorial Gallery, Santa Fe, NM (15-29 August 1942); see Elzea's publication.", "opening_date": "1942-08-15T00:00:00"}, {"description": "<em>30th Annual Exhibition: Painters and Sculptors of the Southwest</em>. Museum of New Mexico, Santa Fe, NM (1 August-15 September 1943), cat. no. 173.", "opening_date": "1943-08-01T00:00:00"}, {"description": "<em>John Sloan: Paintings, Prints, Drawings</em>. Hood Museum of Art, Dartmouth College, Hanover, NH (2 October 1981-3 January 1982); traveled to Decordova and Dana Museum and Park, Lincoln, MA (23 January-7 March 1982); to Kalamazoo Institute of Arts, Kalamazoo, MI (18 March-2 May 1982); to Elvehjem Museum of Art, University of Wisconsin, Madison, WI (12 June-1 August 1982); to Dayton Art Institute, Dayton, OH (11 September-24 October 1982); to Memorial Art Gallery of the University of Rochester, Rochester, NY (6 November 1982-2 January 1983), cat. no. 15, pp. 17-20, 22, 52-53, illus. p. 53.", "opening_date": "1982-01-23T00:00:00"}, {"description": "<em>American Cities: The Artist's View</em>. The Cleveland Museum of Art, Cleveland, OH (17 October 1989-7 January 1990).", "opening_date": "1989-10-17T00:00:00"}, {"description": "<em>America in Art: Fifty Great Paintings Celebrating Fifty Years</em>. Santa Barbara Museum of Art, Santa Barbara, CA (6 June-11 August 1991) pp. 8-11, 98-99, illus. p. 99, no cat. no.", "opening_date": "1991-06-06T00:00:00"}, {"description": "<em>American Impressionism and Realism: The Painting of Modern Life, 1885-1915</em>. The Metropolitan Museum of Art, New York, NY (2 May-24 July 1994); to Los Angeles County Museum of Art, Los Angeles, CA (6 March-14 May 1995); pp. 286-291, illus. fig. no. 294.", "opening_date": "1994-05-02T00:00:00"}]}, "provenance": [{"description": "Sold c. 1939-1940 to Amelia White, Santa Fe.", "citations": [], "footnotes": [], "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "According to John Sloan's diary, this painting was made in March 1912 at his apartment on East 22nd Street, New York.", "description": "Trained as a journalist, the young Sloan explored social issues more vigorously than most of the painters of his time, portraying working-class urbanites engaged in ordinary activities. He observed this particular scene through a rear window of his Manhattan apartment. Perched on a narrow fire escape, a woman hangs fresh laundry to dry on clotheslines strung between tenements. As evidenced by the painting, the labors of American women at the turn of the 1900s were most often confined to the domestic realm.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60469154"], "internet_archive": []}, "citations": [{"citation": "John Butler Yeats, \"John Sloan's Exhibition,\" <em>The Seven Arts </em>2 (June 1917).", "page_number": "Mentioned p. 259.", "url": ""}, {"citation": "Sloan, John. <em>Gist of Art . </em>New York: 1944.", "page_number": "Reproduced: p.229", "url": null}, {"citation": "Sloan, John. <em>John Sloan</em>. New York, NY: American Artists Group, 1945.", "page_number": "Reproduced: p.45 (unpaginated)", "url": null}, {"citation": "Brooks, Van Wyck. <em>John Sloan: A Painter's Life</em>. London, United Kingdom: J.M. Dent &amp; Sons, Ltd., 1955.", "page_number": "Reproduced: Image reproductions between pp.182-183", "url": null}, {"citation": "\"Year in Review for 1964.\" <em>The Bulletin of The Cleveland Museum of Art (</em>December, 1964)", "page_number": "Mentioned: p.264; Reproduced: p.251, n.87", "url": null}, {"citation": "Sloan, John. <em>John Sloan's New York Scene from the Diaries, Notes, and Correspondence 1906-1913.</em> ed. Bruce St. John. New York, NY: Harper &amp; Row, 1965.", "page_number": "Mentioned: pp.609", "url": null}, {"citation": "Cleveland Museum of Art, \u201cOn Our Cover\u2026,\u201d January 7, 1965, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr1316"}, {"citation": "\"Reports of the Departments: Paintings.\" <em>The Bulletin of The Cleveland Museum of Ar</em>t (June, 1965).", "page_number": "Mentioned: pp.143-144", "url": null}, {"citation": "Cleveland Museum of Art. <em>Handbook of The Cleveland Museum of Ar</em>t Cleveland: Press of Western Reserve University, 1966.", "page_number": "Reproduced: p.191", "url": "https://archive.org/details/CMAHandbook1966/page/n215"}, {"citation": "Wade, Richard C., Howard B. Wilder, and Louise C. Wade.<em> A History of the United State</em>s. Boston, MA: Houghton Mifflin Company, 1966.", "page_number": "Mentioned and reproduced: p.484", "url": null}, {"citation": "\"Recent Acquisitions in the American Field.\" <em>Art in America</em> 54 (May-June, 1966).", "page_number": "Reproduced: p.46", "url": null}, {"citation": "Cleveland Museum of Art. <em>Handbook of The Cleveland Museum of Art. </em>Cleveland, OH: Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p.191", "url": "https://archive.org/details/CMAHandbook1969/page/n215"}, {"citation": "Time-Life Editors. <em>American Painting 1900-1970. </em>New York, NY: Time-Life Books, 1970.", "page_number": "Mentioned: p.13; Reproduced: p.12", "url": null}, {"citation": "St. John, Bruce. <em>John Sloan.</em> New York, NY: Praeger Publishers, 1971.", "page_number": "Reproduced: n.39", "url": null}, {"citation": "Holcomb III, Grant. <em>A Catalogue Raisonn\u00e9 of the Paintings of John Sloan. </em>Ph.D. Dissertation, University of Delaware, 1972.", "page_number": "Mentioned: pp.499-500; Reproduced: p.501", "url": null}, {"citation": "Price, Vincent. <em>The Vincent Price Treasury of American Art</em>. Waukesha, WI: Country Beautiful Corporation, 1972.", "page_number": "Reproduced: p.195", "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.16; Reproduced: p.17", "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>(January, 1973).", "page_number": "Mentioned: p.33", "url": null}, {"citation": "Sharp Young, Mahonri. <em>American Realists: Homer to Hopper.</em> New York, NY: Watson-Guptill Publications, 1977.", "page_number": "Mentioned: pp.161-162; Reproduced: p.168", "url": null}, {"citation": "Lucie-Smith, Edward, and Celestine Dars. <em>Work and Struggle: The Painter As Witness 1870-1914</em>. New York, NY: Paddington Press; Distributed by Grosset &amp; Dunlap,1977.", "page_number": "Reproduced: n.198", "url": null}, {"citation": "Johnson, Mark M. \"American Landscapes... Scenes as Divergent as the Land Itself.\" <em>Arts and Activities</em> 82, no. 4 (December 1977).", "page_number": "Mentioned: p.31; Reproduced: p.30", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of The Cleveland Museum of Art. </em>Cleveland, OH: Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p.238", "url": "https://archive.org/details/CMAHandbook1978/page/n258"}, {"citation": "Hills, Patricia. \"John Sloan's Images of Working Class Women: A Case Study of the Roles and Interrelationships of Politics, Personality, and Patrons in the Development of Sloan's Art, 1905-16.\" <em>Prospect </em>5 (October 1980).", "page_number": "Mentioned: p.175; Reproduced: p.214", "url": "https://www.academia.edu/37112545/_John_Sloans_Images_of_Working_Class_Women_A_Case_Study_of_the_Roles_and_Inter_Relationships_of_Politics_Personality_and_Patrons_in_the_Development_of_Sloans_Art_1905_1916_"}, {"citation": "Unger, Irwin. <em>These United States, The Question of Our Past. </em>Vol.<em> 2. </em>Boston, MA: Little, Brown and Co., 1982.", "page_number": "Mentioned and Reproduced: p.596", "url": null}, {"citation": "Silver, Adele Z. <em>The Cleveland Museum of Art: Guide to the Galleries. </em>Cleveland, OH: Cleveland Museum of Art, 1981.", "page_number": "Mentioned: p.84; Reproduced: p.85", "url": null}, {"citation": "\"In the Background: The Ashcan School.\" <em>The Great Artists, Their Lives, Works, and Inspiration: Hopper. </em>London: Marshall Cavendish Ltd., 1986. Vol.4, Part 88.", "page_number": "Reproduced: p.2812", "url": null}, {"citation": "Elzea, Rowland. <em>John Sloan's Oil Paintings: A Catalogue Raisonn\u00e9. </em>Newark, DE: University of Delaware Press, 1991.", "page_number": "Mentioned and Reproduced: pp.115-116", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of The Cleveland Museum of Art. </em>Cleveland, OH: Cleveland Museum of Art, 1991.", "page_number": "Reproduced: p.144", "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.224", "url": null}, {"citation": "Garraty, John A. <em>Story of America. </em>1994.", "page_number": null, "url": null}, {"citation": "Amon Carter Museum. \"American Impressionists, American Realists: In Search of the New\". Educational video (April 1994).", "page_number": null, "url": null}, {"citation": "Updike, John. \"Beyond the Picturesque.\"<em> The New York Review.</em> June 23,1994.", "page_number": "Mentioned: pp.21, 23; Reproduced: p.21", "url": null}, {"citation": "Loughery, John. <em>John Sloan: Painter and Rebel. </em>New York, NY: Henry Holt and Company, Inc., 1995.", "page_number": "Mentioned: p.347", "url": null}, {"citation": "<em>Elements of Literature, Grade 9. </em>New York, NY: Holt, Rinehart, and Winston, 2000.", "page_number": "Mentioned and Reproduced: p.T203", "url": null}, {"citation": "Perlman, Bennard B.<em> American Artists, Authors, and Collectors: The Walter Pach Letters 1906-1958</em>. Albany, NY: State University of New York Press, 2002.", "page_number": "Reproduced: p.379", "url": null}, {"citation": "Bender, Thomas. <em>The Unfinished City: New York and the Metropolitan Idea</em>. New York, NY: The New Press, 2002.", "page_number": "Mentioned: pp.110-111; Reproduced: p.111", "url": null}, {"citation": "Kramer, Karen and Alexandra Lerman.\"The Ballad of Greenwich Village.\"(New York, 2003?) independent documentary.", "page_number": null, "url": null}, {"citation": "Foa, Emma. <em>Artists in Their Time: Edward Hopper</em>. New York, NY: Franklin Watts, 2003.", "page_number": "Reproduced: p.7", "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: pp.85-86; Reproduced: p.86, n.3.25", "url": null}, {"citation": "Updike, John. <em>Still Looking: Essays on American Art.</em> New York, NY: Alfred A. Knopf, 2005.", "page_number": "Mentioned: pp.110,118; Reproduced: p.111", "url": null}, {"citation": "Coyle, Heather Campbell and Joyce K. Schiller. <em>John Sloan's New York</em>. Wilmington, DE: Delaware Art Museum, 2007.", "page_number": "Mentioned: p.92; Reproduced: p.94", "url": null}, {"citation": "Cole, Mark, \"A Paramount Picture\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 47 no. 01, January 2007", "page_number": "Mentioned & reproduced: p. 9", "url": "https://archive.org/details/CMAMM2007-01/page/8"}, {"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: p.111; Reproduced: p.110", "url": null}, {"citation": "Pohl, Frances K.<em> Framing America: A Social History of American Art</em> . New York, NY: Thames and Hudson, 2008.", "page_number": "Mentioned: p.336; Reproduced: p.336, n.6.19", "url": null}, {"citation": "Dearinger, David B. <em>George Deem: The Art of Art History</em>. Boston, MA: The Boston Athenaeum, 2012.", "page_number": "Reproduced: p.33", "url": null}, {"citation": "Litt, Steven. \"Close Up.\" <em>The</em> <em>Plain Dealer,</em> September 23, 2012.", "page_number": "Mentioned and Reproduced: p.E6", "url": null}, {"citation": "Roehrl, Boris. <em>World History of Realism in Visual Arts, 1830-1990 </em>Hildesheim, Germany: Georg Olms Verlag, 2013.", "page_number": "Mentioned: p.131-132; Reproduced: p.132", "url": null}, {"citation": "Roehrl, Boris. <em>Realismus in der bildenden Kunst. Europa und Nordamerika 1830 bis 2000</em>. Berlin, Germany: Gebr. Mann Verlag, 2013.", "page_number": "Mentioned: pp.79-80; Reproduced: p.80", "url": null}, {"citation": "Griffin, Patrick.<em> America's Revolution</em>. New York and Oxford: Oxford University Press, 2013", "page_number": "Reproduced: p.44", "url": null}, {"citation": "Henretta, James A., Rebecca Edwards, and Robert O. Self. <em>America's History</em>. 7th ed. Boston, MA and New York, NY: Bedford/St. Martin's, 2014.", "page_number": "Mentioned and reproduced: p.583", "url": null}, {"citation": "Belasco, Susan and Link Johnson, eds. <em>The Bedford Anthology of American Literature: Beginnings to the Present</em>. Shorter Second Edition. Boston, MA and New York, NY: Bedford/St. Martin's, 2014.", "page_number": "Mentioned: p.1131; Reproduced: p.1130", "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. 55", "url": ""}, {"citation": "Friese-Oertmann, Sabine. <em>Arbeiter in Malerei und Fotografie des 19. Jahrhunderts: Deutschland, Gro\u00dfbritannien, USA.</em> Berlin: Reimer, 2017.", "page_number": "Reproduced: p 200, Abb.135", "url": null}, {"citation": "Slayton, Robert A. <em>Beauty in the City: The Ashcan Schoo</em>l. Albany, NY: Excelsior Editions, State University of New York Press, 2017.", "page_number": "Mentioned: pp.112-113; Reproduced: p.113, no.7.8", "url": null}, {"citation": "Fagg, John.<em> Re-Envisioning the Everyday: American Genre Scenes, 1905-1945.</em> University Park, Pennsylvania: The Pennsylvania State University Press, 2023.", "page_number": "Mentioned: p. 63-69, 76, 88; Reproduced: pl. 6", "url": ""}, {"citation": "Custer, Lee Ann, \"The Clean, Open Air of John Sloan's Tenement Paintings,\" <em>American Art </em>37 (Summer 2023)", "page_number": "Mentioned pp. 30-31, 40-46, 50; reproduced p. 40.", "url": ""}], "url": "https://clevelandart.org/art/1964.160", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1964.160/1964.160_web.jpg", "width": "730", "height": "900", "filesize": "", "filename": "1964.160_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1964.160/1964.160_print.jpg", "width": "2757", "height": "3400", "filesize": "", "filename": "1964.160_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1964.160/1964.160_full.tif", "width": "5462", "height": "6736", "filesize": "", "filename": "1964.160_full.tif"}}, "alternate_images": [{"date_created": "2007-02-07T13:44:52", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1964.160/1964.160_alt0_web.jpg", "width": "724", "height": "893", "filesize": "105508"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1964.160/1964.160_alt0_print.jpg", "width": "2758", "height": "3400", "filesize": "5774826"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1964.160/1964.160_alt0_full.tif", "width": "4462", "height": "5500", "filesize": "73655260"}}], "creditline": "Gift of Amelia Elizabeth White", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "The Cleveland Foundation Gallery", "athena_id": 140161, "creators": [{"id": 3285, "description": "John Sloan (American, 1871\u20131951)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1871", "death_year": "1951", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1964-10-30T00:00:00", "sortable_date": 1912, "date_added_to_oa": null, "date_text": "1912", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:26.578000"}, {"id": 162080, "accession_number": "2001.34", "share_license_status": "Copyrighted", "tombstone": "The Dream, 1931. Salvador Dal\u00ed (Spanish, 1904\u20131989). Oil on canvas; framed: 120 x 120 x 7.7 cm (47 1/4 x 47 1/4 x 3 1/16 in.); unframed: 96 x 96 cm (37 13/16 x 37 13/16 in.). The Cleveland Museum of Art, John L. Severance Fund, 2001.34. \u00a9 Salvador Dali, Gala-Salvador Dali Foundation / Artists Rights Society (ARS), New York", "current_location": "225 German Expressionism & Surrealism", "title": "The Dream", "creation_date": "1931", "creation_date_earliest": 1931, "creation_date_latest": 1931, "artists_tags": ["Latine and Hispanic Artists", "male"], "culture": ["Spain (Catalonia), 20th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 120 x 120 x 7.7 cm (47 1/4 x 47 1/4 x 3 1/16 in.); Unframed: 96 x 96 cm (37 13/16 x 37 13/16 in.)", "dimensions": {"framed": {"height": 1.2, "width": 1.2, "depth": 0.077}, "unframed": {"height": 0.96, "width": 0.96}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Salvador Dali, Gala-Salvador Dali Foundation / Artists Rights Society (ARS), New York", "inscriptions": [], "exhibitions": {"current": [{"id": 227242, "title": "La R\u00e9volution surr\u00e9aliste", "description": "<i>La R\u00e9volution surr\u00e9aliste</i>. Centre national d'art et de culture Georges Pompidou, Paris cedex O4, France (organizer) (March 6-June 24, 2002).", "opening_date": "2002-03-06T00:00:00"}, {"id": 222595, "title": "Dal\u00ed", "description": "<i>Dal\u00ed</i>. Palazzo Grassi spa, 30124 Venice, Italy (organizer) (September 12, 2004-January 16, 2005); Philadelphia Museum of Art, Philadelphia, PA (February 16-May 30, 2005).", "opening_date": "2004-09-12T00:00:00"}, {"id": 179631, "title": "CMA Highlights", "description": "<i>CMA Highlights</i>. The Cleveland Museum of Art (organizer) (June 21-September 11, 2005).", "opening_date": "2005-06-21T00:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. Vancouver Art Gallery, Vancouver, Canada (June 9-September 16, 2007); The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008); Frist Art Museum, Nashville, TN (February 15-June 1, 2008); Utah Museum of Fine Arts, Salt Lake City, UT (June 22-September 21, 2008); The Detroit Institute of Arts, Detroit, MI (October 12, 2008-January 18, 2009).", "opening_date": "2006-05-27T00:00:00"}, {"id": 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": 536572, "title": "Surr\u00e9alisme", "description": "<i>Surr\u00e9alisme</i>. Centre national d'art et de culture Georges Pompidou, Paris cedex O4, France (organizer) (September 4, 2024-January 13, 2025).", "opening_date": "2024-09-04T04:00:00"}, {"id": 683149, "title": "Dreamworld: Surrealism at 100", "description": "<i>Dreamworld: Surrealism at 100</i>. Philadelphia Museum of Art, Philadelphia, PA (organizer) (November 8, 2025-February 16, 2026) https://philamuseum.org/calendar/exhibition/dreamworld-surrealism.", "opening_date": "2025-11-08T05:00:00"}], "legacy": [{"description": "<em>CMA Highlights</em>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 21, 2005 - September 11, 2005).", "opening_date": "2005-06-21T00:00:00"}]}, "provenance": [{"description": "Vicomte Charles [1891-1981] and Vicomtesse Marie-Laure de Noailles [1902-1970], Paris, by exchange to F\u00e9lix Labisse", "citations": [], "footnotes": ["<div><!--block-->The Vicomte Charles de Noailles, Dal\u00ed's most important patron during his early Surrealist years, may have purchased the painting directly from Dal\u00ed, although further research is required to confirm or disprove this speculation.&nbsp; The Noailles certainly owned the painting by 1931, when they are listed as its owners in an exhibition at the Galerie Pierre Colle in Paris. &nbsp;</div>"], "date": "c. 1930 - c. 1945-1951", "sortorder": 1}, {"description": "F\u00e9lix Labisse [1905-1982], Neuilly-sur-Seine, France", "citations": [], "footnotes": ["<div><!--block-->Fran\u00e7oise Hersaint, wife of Surrealist collector Claude Hersaint and good friend of Labisse, thought that Labisse had acquired <em>The Dream </em>from the Noailles by exchange between 1945 and 1951, and recalled that when she first visited Labisse's home in 1952, the painting was already in his collection.&nbsp; Labisse certainly had the painting by 1956, when he is listed as its owner in a Dal\u00ed exhibition at the Casino de Knokke in Belgium.</div>"], "date": "By 1952 - at least 1972", "sortorder": 2}, {"description": "Gerrit Lansing [1942-2010] New York", "citations": [], "footnotes": null, "date": "Before 1999", "sortorder": 3}, {"description": "Daniel Filipacchi [b. 1928] Paris/New York, sold to the Cleveland Museum of Art \nTransfer Mode: \nUnknown", "citations": [], "footnotes": ["<div><!--block-->Weisberger, Edward. <em>Surrealism, Two Private Eyes: The Nesuhi Ertegun and Daniel Filipacchi Collections</em>. New York, N.Y.: Guggenheim Museum, 1999.</div>"], "date": "By 1999 - 2001", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, Ohio", "citations": [], "footnotes": null, "date": "2001-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Dali and other Surrealist artists created images depicting strange juxtapositions that are sometimes referred to as \"dreamscapes.\"", "description": "<em>The Dream</em> gives visual form to the strange, often disturbing world of dreams and hallucinations. Ants cluster over the face of the central figure, obscuring the mouth, while the sealed, bulging eyelids suggest the sensory confusion and frustration of a dream. The man at the far left\u2014with a bleeding face and amputated left foot\u2014refers to the classical myth of Oedipus, who unwittingly killed his father and married his mother. The column that grows from the man\u2019s back and sprouts into a bust of a bearded man refers to the Freudian father, the punishing superego who suppresses the son\u2019s sexual fantasies. In the distance, two men embrace, one holding a golden key or scepter symbolizing access to the unconscious. Behind them, a naked man reaches into a permeable red form, as if trying to enter it.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60478246"], "internet_archive": []}, "citations": [{"citation": "Pierre Colle (Firm).  <em>Exposition Salvador Dal\u00ed: du 3 au 15 juin 1931.  </em>Paris: Pierre Colle, 1931.", "page_number": null, "url": null}, {"citation": "Exposition internationale du surre\u0301alisme, and Andre\u0301 Breton. <em>The International Surrealist Exhibition: Thursday, June 11th to Saturday, July 4th, 1936, New Burlington Galleries</em>. London: International Surrealist Exhibition, English Committee, 1936.", "page_number": null, "url": null}, {"citation": "Pauwels, Louis.  <em>Salvador Dal\u00ed Exposition, Knokke Le Zoute-Albert Plage, Casino Communal, 1 juillet-10 septembre 1956.  </em>Bruxelles: \u00c9ditions de la Connaissance, 1956.", "page_number": null, "url": null}, {"citation": "<em>Der surrealismus 1922-1942</em>. Mu\u0308nchen: Ausstellunseitung Hans der Kunst, 1972.<ul><li><a href=\"http://cmaweb14.clevelandart.org/field-collection/field-citations/4030/edit?destination=node/331\">Edit</a></li><li><a href=\"http://cmaweb14.clevelandart.org/field-collection/field-citations/4030/delete?destination=node/331\">Delete</a></li></ul>", "page_number": null, "url": null}, {"citation": "Martin-Me\u0301ry, Gilberte. <em>Bosch, Goya, et le fantastique; catalogue. Bordeaux, 20 mai-31 juillet, 1957</em>. [Bordeaux]: [Imprimeries Delmas], 1957.<br><br><em><br></em>", "page_number": null, "url": null}, {"citation": "Sylvain Bellenger, email to William Robinson, April 13, 2001, in CMA curatorial file.", "page_number": null, "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. 59' Mentioned: p. 58-59, 118", "url": null}, {"citation": "\"A Selection of Museum Acquisitions.\" <em>Apollo: The International Magazine for Collectors</em> (December 2001): 56.", "page_number": "Reproduced: p. 56", "url": null}, {"citation": "Cleveland Museum of Art, \u201cMajor Salvador Dali Painting Acquired by the Cleveland Museum of Art,\u201d April 20, 2001, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr4385"}, {"citation": "\"Major Acquisition.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 41, no. 6 (Summer 2001): 2.", "page_number": "Mentioned and reproduced: p. 2", "url": "https://archive.org/details/CMAMM2001-06/page/n1/mode/2up?"}, {"citation": "Spies, Werner. <em>La re\u0301volution surre\u0301aliste: exposition pre\u0301sente\u0301e au Centre Pompidou, Galerie 1, 6 mars-24 juin 2002</em>. Paris, France: Centre Pompidou, 2002.", "page_number": "Reproduced: p. 205", "url": null}, {"citation": "Spies, Werner. <em>Die surrealistische Revolution</em>. Ostfildern-Ruit, Germany: Hatje Cantz, 2002.", "page_number": "Reproduced: p. 209", "url": null}, {"citation": "Spies, Werner. <em>Der Surrealismus: Kanon einer Bewegung</em>. Ko\u0308ln, Germany: DuMont, 2003.", "page_number": "Reproduced: p. 119", "url": null}, {"citation": "Ades, Dawn. <em>Dali\u0301: The Centenary Retrospective</em>. London, United Kingdom: Thames &amp; Hudson, 2004.", "page_number": "Reproduced: p. 152-153", "url": null}, {"citation": "\"Major Acquisitions 2000-2005.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 45, no. 6 (July/August 2005): 6-17.", "page_number": "Mentioned and reproduced: p. 13-14", "url": "https://archive.org/details/CMAMM2005-06/page/14/mode/2up"}, {"citation": "Robinson, William H., Jordi Falga\u0300s, Carmen Belen Lord, and Josefina Alix Trueba. <em>Barcelona and Modernity: Picasso, Gaudi\u0301, Miro\u0301, Dali\u0301</em>. Cleveland, OH: Cleveland Museum of Art in association with Yale University Press, 2006.", "page_number": "Reproduced: p. 352", "url": null}, {"citation": "Kolberg, Gerhard. <em>Salvador Dali\u0301: la Gare de Perpignan ; Pop, Op, Yes-yes, Pompier ; [Museum Ludwig, Ko\u0308ln, 18. Ma\u0308rz bis 25. Juni 2006]</em>. Ostfildern. Germany: Hatje Cantz, 2006.", "page_number": "Reproduced: p, 53, fig. 58", "url": null}, {"citation": "<em>Treasures of the Cleveland Museum of Art</em>. London, United Kingdom: Scala Books, 2012.", "page_number": "Reproduced and mentioned: p. 314-315", "url": null}, {"citation": "Grenier, Catherine, and David Radzinowicz. <em>Salvador Dali\u0301: The Making of an Artist.</em> Paris: Flammarion, 2012.", "page_number": "Reproduced: P. 113", "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. 300", "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. 21", "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. 23", "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. 234, no. 177", "url": null}, {"citation": "Poullain, Christine, Dir. <em>Le re\u0302ve</em>. Paris: R\u00e9union des mus\u00e9es nationaux-Grand Palais, 2016.", "page_number": "Reproduced: p. 21, fig. 3", "url": null}, {"citation": "Rogla\u0301n, Mark A.<em> Spanish Art in America</em>. Madrid, Spain : Ediciones El Viso 2016.", "page_number": "Reproduced: p. 83", "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": "Mentioned: p. 233; reproduced p. 234.", "url": null}, {"citation": "Descharnes, Robert, and Gilles Ne\u0301ret.<em> Salvador Dali: The Paintings 1904-1989. </em>Ko\u0308ln: Taschen, 2019.", "page_number": "Reproduced: P. 165, no. 361", "url": ""}, {"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. 104, abb. 57; Reproduced: P. 244, abb. 57", "url": ""}, {"citation": "Breton, Andre\u0301, and Centre Georges Pompidou. <em>Surrealism.</em> Edited by Didier Ottinger and Marie Sarre\u0301. [England]: ACC Art Books, 2024.", "page_number": "Reproduced: p. 29", "url": ""}, {"citation": "Affron, Matthew. <em>Dreamworld: Surrealism at 100. </em>Philadelphia: Philadelphia Art Museum, 2025.", "page_number": "Mentioned: p. 126; Reproduced: p. 136", "url": ""}], "url": "https://clevelandart.org/art/2001.34", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 162080, "creators": [{"id": 12809, "description": "Salvador Dal\u00ed (Spanish, 1904\u20131989)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1904", "death_year": "1989", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2001-04-18T00:00:00", "sortable_date": 1931, "date_added_to_oa": null, "date_text": "1931", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": true, "updated_at": "2026-04-07 20:16:27.510000"}, {"id": 165157, "accession_number": "2007.158", "share_license_status": "Copyrighted", "tombstone": "Fulton and Nostrand, 1958. Jacob Lawrence (American, 1917\u20132000). Tempera on Masonite; unframed: 60.9 x 76.2 cm (24 x 30 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 2007.158. \u00a9 The Jacob and Gwendolyn Knight Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York.", "current_location": "226B American Modern", "title": "Fulton and Nostrand", "creation_date": "1958", "creation_date_earliest": 1958, "creation_date_latest": 1958, "artists_tags": ["Black American Artists", "male"], "culture": ["America"], "technique": "tempera on Masonite", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Unframed: 60.9 x 76.2 cm (24 x 30 in.)", "dimensions": {"unframed": {"height": 0.609, "width": 0.762}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 The Jacob and Gwendolyn Knight Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York.", "inscriptions": [{"inscription": "signed lower right \"Jacob Lawrence 58\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": [{"description": "Annual Exhibition: Sculpture, Paintings, Watercolors, Drawings, Whitney Museum of American Art, New York, November 19. 1958-January 4, 1959.", "opening_date": "1959-01-04T00:00:00"}, {"description": "American Sculpture and Painting: American National Exhibition in Moscow, The Pushkin Museum of Fine Arts, Moscow, July 25-September 5, 1959; Whitney Museum of American Art, New York, October 28-November 15, 1959.", "opening_date": "1959-07-25T00:00:00"}, {"description": "Between the Fairs: Twenty-Five Years of American Art, 1939-1964, Whitney Museum of American Art, New York, June 24-September 23, 1964.", "opening_date": "1964-06-24T00:00:00"}, {"description": "Contemporary Urban Visions, Wollman Hall, New School Art Center, New School for Social Research, New York, January 25-February 24, 1966.", "opening_date": "1966-01-25T00:00:00"}, {"description": "Crossing State Lines: Twentieth-Century Art from Private Collections in Westchester and Fairfield Counties, Neuberger Museum of Art, Purchase College, State University of New York, March 26-June 18, 1995.", "opening_date": "1995-03-26T00:00:00"}, {"description": "Jacob Lawrence Memorial Exhibition: Paintings, 1937-1999, DC Moore Gallery, New York, February 6-March 3, 2001.", "opening_date": "2001-02-06T00:00:00"}, {"description": "Syncopated Rhythms: 20th-Century African American Art from the George and Joyce Wein Collection, Boston University Art Gallery, November 18, 2005-January 22, 2006.", "opening_date": "2005-11-18T00:00:00"}]}, "provenance": [{"description": "(The Alan Stone Gallery, New York, NY,  sold to Alexander and Sylvian Rittmaster)", "citations": [], "footnotes": ["<div><!--block-->Jacob Lawrence sold the painting directly to the Alan Gallery in 1958.&nbsp;</div>"], "date": "1958", "sortorder": 1}, {"description": "Alexander [1916-1969] and Sylvian Rittmaster [1917-1978], Woodmere, NY", "citations": [], "footnotes": ["<div><!--block-->Although Slyvian Rittmaster died in 1978, the 1981 Sotheby Parke Bernet catalogue lists the painting as coming from their collection, hence listing the painting's dates with the Rittmasters as ending with 1981 rather than 1978.&nbsp;</div>"], "date": "1958-1981", "sortorder": 2}, {"description": "(Sotheby Park Bernet, New York, NY, May 29,1981, lot 182, sold to the Terry Dintenfass Gallery)", "citations": [], "footnotes": null, "date": "1981-1983?", "sortorder": 3}, {"description": "(Terry Dintenfass Gallery, New York, NY, sold to George and Joyce Wein)", "citations": [], "footnotes": [], "date": "1983", "sortorder": 4}, {"description": "George [b. 1925] and Joyce [1928-2005] Wein, New York, NY, consigned to the Michael Rosenfeld Gallery", "citations": [], "footnotes": [], "date": "1983-2007", "sortorder": 5}, {"description": "(Michael Rosenfeld Gallery, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "2007", "sortorder": 6}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2007-", "sortorder": 7}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Lawrence was teaching art at the Pratt Institute in Brooklyn when he created this painting.", "description": "Having moved to Harlem as a teenager, Lawrence would become the first major artist trained entirely within the neighborhood\u2019s African American community. Throughout his long career he believed art should be a quest for both self and social identity, a notion reflected in this work, one of his liveliest and largest paintings. Teeming with more than forty figures, it depicts the vibrant streetscape at the intersection of Fulton Street and Nostrand Avenue in Brooklyn, near where the artist lived at the time.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60480377"], "internet_archive": []}, "citations": [{"citation": "Frascina, Francis. \"Institutions, Culture, and America's 'Cold War Years': The Making of Greenberg's 'Modernist Painting',\" <em>Oxford Art Journal</em> 26 (2003).", "page_number": "Mentioned p. 84.", "url": ""}, {"citation": "Cleveland Museum of Art, 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. 322; reproduced p. 323.", "url": ""}, {"citation": "Annual Exhibition: Sculpture, Paintings, Watercolors, Drawings (New York: Whitney Museum of American Art, 1958).", "page_number": "Unpaginated, [8],[12]", "url": null}, {"citation": "\"Moscow to See Modern U.S. Art,\"<em> New York Times</em> (May 31, 1959).", "page_number": "P. 60", "url": null}, {"citation": "Baur, John I. H. <em>Between the Fairs: 25 Years of America Art, 1939-1964.</em> New York. Whitney Museum. Catalogues. 1962-64. New York: Published for the Whitney Museum of American Art by F.A. Praeger, 1964.", "page_number": "P. 88", "url": null}, {"citation": "Kramer,Hilton. \"In the Museums,\" <em>Art in America</em> 52 (April 1964).", "page_number": "P. 42", "url": null}, {"citation": "Illustration for Victor S. Navasky, \"With Malice Toward All,\" <em>New York Times Book Review </em>(February 27, 1966).", "page_number": "P. 4", "url": null}, {"citation": "Chwast, Seymour, and Steven Heller. <em>The Art of New York</em>. New York: H.N. Abrams, 1983.", "page_number": "P. 18, 76", "url": null}, {"citation": "Berman,Avis. \"Jacob Lawrence and the Making of Americans,\" <em>ARTnews</em> 83 (February 1984).", "page_number": "P. 82", "url": null}, {"citation": "Wheat, Ellen Harkins, Jacob Lawrence, and Patricia Hills. <em>Jacob Lawrence, American Painter.</em> Seattle: University of Washington Press in association with the Seattle Art Museum, 1986.", "page_number": "P. 107,129", "url": null}, {"citation": "Sotheby's (Firm). <em>American Impressionist &amp; 20th Century Paintings, Drawings, Watercolors &amp; Sculpture</em>. May 29, 1981. Lot 182.", "page_number": null, "url": null}, {"citation": "Glueck, Grace. <em>New York: The Painted City</em>. Salt Lake City: Peregrine Smith Books, 1992.", "page_number": "P. 54", "url": null}, {"citation": "Stern, Robert A.M. et al., <em>New York 1960 </em>(New York: Monacelli Press, 1995).", "page_number": "P. 1164", "url": null}, {"citation": "Richard J. Powell, \"Harmonizer of Chaos,\" in Peter T. Nesbett and Michelle DuBois, eds., Over the Line: The Art and Life of Jacob Lawrence (Seattle: University of Washington, 2000).", "page_number": "P. 148-49", "url": null}, {"citation": "Nesbett, Peter T. and Michelle DuBois, <em>Jacob Lawrence: Paintings, Drawings, and Murals (1935-1999)</em>: <em>A Catalogue Raisonn\u00e9.</em> Seattle: University of Washington, 2000.", "page_number": "P. 141", "url": null}, {"citation": "Wright, Gwendolyn. \"Permable Boundaries,\" in Peter Madsen and Richard Plunz, eds., <em>The Urban Lifeworld</em> (London: Routledge, 2002).", "page_number": "Reproduced p. 210", "url": null}, {"citation": "Kushner, Marilyn S.\"Exhibiting Art at the American National Exhibition in Moscow, 1959: Domestic Politics and Cultural Diplomacy,\" <em>Journal of Cold War Studies</em> 4 (Winter 2002), 24.", "page_number": "P. 24", "url": null}, {"citation": "Hills, Patricia, and Melissa Renn. Syncopated Rhythms: 20th-Century African American Art from the George and Joyce Wein Collection. Boston: Boston University Art Gallery, 2005.", "page_number": "P. 64-65", "url": null}, {"citation": "\"Harlem's Knights: Extraordinary $2 Million Bequest for Lawrence Scholars Program,\"<em> Parsons re:D</em> 22 (May 2005).", "page_number": "P. 22", "url": null}, {"citation": "<em>The Cleveland Museum of Art Annual Report </em>(July 1,2006- June 30, 2007).", "page_number": "P. 26-7, 32", "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. 8,13, 144-145", "url": null}, {"citation": "Cole, Mark. \"Jacob Lawrence's Fulton and Nostrand,\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 48, no. 2 (February 2008): 6-7.", "page_number": "Mentioned and reproduced: p. 6-7", "url": "https://archive.org/details/CMAMM2008-02/page/6/mode/2up"}, {"citation": "Gordon, Margery. \"Eyes on the Prizes,\" <em>Art + Auction</em> 31 (February 2008).", "page_number": "Reproduced p. 117", "url": null}, {"citation": "Cole, Mark, \"Jacob Lawrence's Fulton and Nostrand\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 48 no. 2, February 2008", "page_number": "Mentioned & reproduced: p. 6", "url": "https://archive.org/details/CMAMM2008-02/page/6/mode"}, {"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": "P. 322-23", "url": null}, {"citation": "Cole, Mark, Amy Sparks, and Rebecca Michaels.<em> African American Art: The Cleveland Museum of Art.</em> [Cleveland, Ohio]: Cleveland Museum of Art, 2013.", "page_number": "P. 3,18; Reproduced p. 22", "url": null}, {"citation": "Cole, Mark. \"American Art of the 1930s to 1950s,\" <em>Cleveland Art</em> 54 (January/February 2014).", "page_number": "P. 21", "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. 62", "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. 23", "url": ""}, {"citation": "\"Recommendations from Our Curators.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>61, no. 2 (Spring 2021): 31.", "page_number": "Reproduced and Mentioned: P. 31", "url": "https://archive.org/details/CMAMM2021-02/page/30/mode/2up"}, {"citation": "Kushner, Marilyn S., \"Exhibiting Art at the American National Exhibition in Moscow,\" <em>Journal of Cold War Studies </em>4 (Winter 2002).", "page_number": "P. 24", "url": ""}], "url": "https://clevelandart.org/art/2007.158", "images": {}, "alternate_images": [], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Hammond Hemmelgarn Family Gallery", "athena_id": 165157, "creators": [{"id": 4050, "description": "Jacob Lawrence (American, 1917\u20132000)", "extent": null, "qualifier": null, "role": "artist", "biography": "Jacob Lawrence (born 1917) has been a prominent artist since 1941 when, at age 24, he became the first African American to have a work in the permanent collection of the Museum of Modern Art in New York. His career, now spanning seven decades, has been devoted to documenting African-American life and history, from everyday scenes to the universal struggle for freedom, social justice, and human dignity. Moving to Harlem as a teenager in 1930, Lawrence was influenced by the artists, writers, and philosophers of the Harlem Renaissance-among them Romare Bearden, Langston Hughes, and W.E.B. DuBois-who fostered pride in African-American culture. Lawrence's subjects include the legendary abolitionist heroes Frederick Douglass, Harriet Tubman, and John Brown, and the story of the massive migration of African Americans from the rural South to the industrialized, urban North during the early decades of the 20th century. After thorough research, Lawrence chronicles the crucial events of each saga by creating a series of small paintings on paper in a modernist style of flat, brightly-colored forms.", "name_in_original_language": null, "birth_year": "1917", "death_year": "2000", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2007-06-04T00:00:00", "sortable_date": 1958, "date_added_to_oa": null, "date_text": "1958", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_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 00:09:13.808000"}, {"id": 126769, "accession_number": "1949.186", "share_license_status": "CC0", "tombstone": "Fight Between a Tiger and a Buffalo, 1908. Henri Rousseau (French, 1844\u20131910). Oil on fabric; framed: 183 x 203 x 4.5 cm (72 1/16 x 79 15/16 x 1 3/4 in.); unframed: 170 x 189.5 cm (66 15/16 x 74 5/8 in.). The Cleveland Museum of Art, Gift of the Hanna Fund, 1949.186", "current_location": null, "title": "Fight Between a Tiger and a Buffalo", "creation_date": "1908", "creation_date_earliest": 1908, "creation_date_latest": 1908, "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: 183 x 203 x 4.5 cm (72 1/16 x 79 15/16 x 1 3/4 in.); Unframed: 170 x 189.5 cm (66 15/16 x 74 5/8 in.)", "dimensions": {"framed": {"height": 1.83, "width": 2.03, "depth": 0.045}, "unframed": {"height": 1.7, "width": 1.895}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed and dated lower right: Henri Rousseau / 1908\r\n\r\n\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": 518973, "title": "Masterpieces of Art", "description": "<i>Masterpieces of Art</i>. Century 21 Exposition, Seattle, WA (organizer) (April 21-September 4, 1962).", "opening_date": "1962-04-21T05:00:00"}, {"id": 520135, "title": "Henri Rousseau", "description": "<i>Henri Rousseau</i>. Wildenstein & Co., New York, NY (organizer) (April 16-May 25, 1963).", "opening_date": "1963-04-16T05:00:00"}, {"id": 520506, "title": "Le Monde Des Neifs (De Lusthof Der Naieven)", "description": "<i>Le Monde Des Neifs (De Lusthof Der Naieven)</i>. Museum Boijmans Van Beuningen, Rotterdam, Netherlands (organizer) (July 10-September 6, 1964); Mus\u00e9e National d'Art Moderne, Paris, Cedex 04, France (October 14-December 6, 1964).", "opening_date": "1964-07-10T04:00:00"}, {"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": 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": 224431, "title": "Henri Rousseau and the Modern Age", "description": "<i>Henri Rousseau and the Modern Age</i>. K\u00fcnsthalle Tubingen, D-72076 T\u00fcbingen, Germany (organizer) (February 3-June 17, 2001).", "opening_date": "2001-02-03T00:00:00"}, {"id": 229570, "title": "Jungles in Paris: The Paintings of Henri Rousseau", "description": "<i>Jungles in Paris: The Paintings of Henri Rousseau</i>. Tate Modern, London, United Kingdom of Great Britain and Northern Ireland (organizer) (November 3, 2005-February 5, 2006); Galeries Nationales du Grand Palais, 75008 Paris, France (March 13-June 19, 2006); National Gallery of Art, Landover, MD (July 16-October 15, 2006).", "opening_date": "2005-11-03T00:00:00"}, {"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).", "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": 223433, "title": "The Shadow of the Avant-Garde", "description": "<i>The Shadow of the Avant-Garde</i>. Museum Folkwang, 45128 Essen, Germany (organizer) (October 3, 2015-January 10, 2016).", "opening_date": "2015-10-03T00:00:00"}, {"id": 220685, "title": "Le Douanier Rousseau. L'innocence archa\u00efque", "description": "<i>Le Douanier Rousseau. L'innocence archa\u00efque</i>. Mus\u00e9e d'Orsay, Paris, France (organizer) (March 21-July 17, 2016); National Gallery, Prague (September 16, 2016-January 15, 2017).", "opening_date": "2016-03-21T00:00:00"}, {"id": 670844, "title": "Henri Rousseau: A Painter\u2019s Secrets", "description": "<i>Henri Rousseau: A Painter\u2019s Secrets</i>. The Barnes Foundation, Philadelphia, PA (organizer) (October 19, 2025-February 22, 2026) https://www.barnesfoundation.org/whats-on/exhibitions/henri-rousseau-a-painters-secrets?gad_source=1&gad_campaignid=20125069632&gbraid=0AAAAACP5DbL4rs-9EfKRpQcP3HjjlYEfb&gclid=Cj0KCQjw0NPGBhCDARIsAGAzpp0GmWNK1KSSGhKIsZvvTWdQSwfepIT4aDadyzyDDvYho3pdqzpJPgMaAr91EALw_wcB; Mus\u00e9e de l'Orangerie, Paris, France (March 24-July 20, 2026).", "opening_date": "2025-10-19T04:00:00"}], "legacy": [{"description": "Paris, Soci\u00e9t\u00e9 des Artistes Ind\u00e9pendants. 24me exposition (1908), no. 5260, Combat de Tigre et de Buffle (for sale).", "opening_date": "1908-01-01T00:00:00"}, {"description": "Chicago, Arts Club Exhibitions at the Art Institute. Loan Exhibition of Some Modern Paintings (1926-27), no. 14, The Jungle, lent by Mrs. John A. Carpenter.", "opening_date": "1926-01-01T00:00:00"}, {"description": "New York, Reinhardt Gallery. Loan Exhibition of Paintings from Memling, Holbein, and Titian to Renoir and Picasso (1928), no. 27, The Jungle, lent by Mrs. John Alden Carpenter (repr.)", "opening_date": "1928-01-01T00:00:00"}, {"description": "New York, Valentine Gallery. Six Major Paintings by the Modern Masters of France, Braque, Matisse, Derain, Picasso, and One Important Work by Henri Rousseau (1930), no. 7, Le tigre et le rhinoc\u00e9ros-1908.", "opening_date": "1930-01-01T00:00:00"}, {"description": "Arts Club of Chicago. Paintings by Henri Rousseau (1931), no. 7, The Jungle, collection of Mrs. John Alden Carpenter, Chicago.", "opening_date": "1931-01-01T00:00:00"}, {"description": "New York, Museum of Modern Art. Fruit and Flower Paintings (1933), no cat.", "opening_date": "1933-01-01T00:00:00"}, {"description": "Art Institute of Chicago. A Century of Progress Exhibition of Paintings and Sculpture (1933 and 1934), no. 368 (1933); no. 321 (1934), lent by Mrs. Patrick J. Hill to the Joseph Winterbotham Collection, Art Institute of Chicago.", "opening_date": "1933-01-01T00:00:00"}, {"description": "Art Institute of Chicago; New York, Museum of Modern Art. Henri Rousseau (1942-43), 49 (repr.) (lent by Hill, according to 1942 moma label on the back of the frame; according to moma archives, the painting did not travel to other venues after New York), 64.", "opening_date": "1942-01-01T00:00:00"}, {"description": "New York, Pierre Matisse Gallery. Twentieth Century Masters (1948), no. 12, The Jungle (repr.).", "opening_date": "1948-01-01T00:00:00"}, {"description": "Venice. XXV Biennale di Venezia (1950), 235, no. 14, fig. 59.", "opening_date": "1950-01-01T00:00:00"}, {"description": "Montreal Museum of Art. Six Centuries of Landscape (1952), no. 58, 29 (repr.).", "opening_date": "1952-01-01T00:00:00"}, {"description": "Paris, Mus\u00e9e National d'Art Moderne. L'oeuvre du XXe si\u00e8cle (1952), no. 98.", "opening_date": "1952-01-01T00:00:00"}, {"description": "London, Tate Gallery (Organized by the Arts Council). XXth Century Masterpieces (1952), no. 83.", "opening_date": "1952-01-01T00:00:00"}, {"description": "Kansas City, Nelson-Atkins Museum. Twentieth Anniversary Celebration: French Paintings-19th and 20th Centuries-A Loan Exhibition (1953), checklist no. 10.", "opening_date": "1953-01-01T00:00:00"}, {"description": "Buffalo, Albright Art Gallery. Fifty Paintings 1905-1913 (1955), no. 42, 64 (repr.).", "opening_date": "1955-01-01T00:00:00"}, {"description": "Kansas City, Nelson Gallery and Atkins Museum. Twenty-fifth Anniversary Exhibition, in The Nelson Gallery and Atkins Museum Bulletin 1 (December 1958), no. 9.", "opening_date": "1958-12-01T00:00:00"}, {"description": "Seattle World's Fair, Fine Art Pavillion. Masterpieces of Art (1962), no. 53 (repr.).", "opening_date": "1962-01-01T00:00:00"}, {"description": "New York, Wildenstein. Loan Exhibition Henri Rousseau (1963), no. 46 (repr.).", "opening_date": "1963-01-01T00:00:00"}, {"description": "Rotterdam, Museum Boymans-van Beuningen. De Lusthof der Na\u00efeven (1964), no. 20 (repr.).", "opening_date": "1964-01-01T00:00:00"}, {"description": "Paris, Mus\u00e9e National d'Art Moderne. Le Monde des Naifs (1964), no. 20 (repr.).", "opening_date": "1964-01-01T00:00:00"}, {"description": "Los Angeles, ucla Art Galleries; San Francisco Museum of Art; cma. Years of Ferment: The Birth of Twentieth Century Art 1886-1914 (1965), 38 (repr.), no. 47 (repr. on cover).", "opening_date": "1965-01-01T00:00:00"}, {"description": "Paris, Grand Palais; New York, Museum of Modern Art. Henri Rousseau (1984-85), no. 50 (repr.) (not shown in Paris).", "opening_date": "1984-01-01T00:00:00"}, {"description": "CMA. Creativity in Art and Science (1987), no. 18 (repr.).", "opening_date": "1987-01-01T00:00:00"}, {"description": "T\u00fcbingen, Germany: Kunsthalle T\u00fcbingen, Germany. Henri Rousseau and the Modern Age (2/3/01 - 6/17/01), exh. cat. no. 43, pp 209-211, repr. p. 211, detail front and back.", "opening_date": "2001-02-03T00:00:00"}, {"description": "Tate Modern, London (11/3/2005 - 2/5/2006), Galeries du Grand Palais, Paris (3/13/2006 - 6/19/2006) and the National Gallery of Art, Washington, DC (7/16/2006 - 10/15/2006): \"Jungles in Paris: The Paintings of Henri Rousseau\" ex. cat. no. 45, p. 148-149.", "opening_date": "2005-11-03T00:00:00"}, {"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; Vancouver Art Gallery, Vancouver, British Columbia, Canada: June 9 - Sept. 16, 2007; Cleveland Museum of Art, Oct. 21, 2007- January 13, 2008: \"Modern Masters from the Cleveland Museum of Art\"", "opening_date": "2007-04-07T00:00:00"}, {"description": "Mus\u00e9e d'Orsay, Paris, France (3/21/2016 - 7/17/2016): \"Le Douanier Rousseau. L'innocence archa\u00efque\" cat. no. 89, p. 232-233.", "opening_date": "2016-03-21T00:00:00"}]}, "provenance": [{"description": "Bought from the artist by Ambroise Vollard on 14 December 1909.", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "Bought by John Quinn, New York, October 1923.", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "Quinn estate from 1924.", "citations": [], "footnotes": null, "date": null, "sortorder": 3}, {"description": "Mrs. John Alden Carpenter, Chicago, by 1926.", "citations": [], "footnotes": null, "date": null, "sortorder": 4}, {"description": "Mrs. Patrick J. Hill, Washington D.C.", "citations": [], "footnotes": null, "date": null, "sortorder": 5}, {"description": "[Pierre Matisse Gallery, New York, 1948]", "citations": [], "footnotes": null, "date": null, "sortorder": 7}, {"description": "Purchased by the Cleveland Museum of Art on 14 June 1949.", "citations": [], "footnotes": [], "date": null, "sortorder": 8}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Many of Henri Rousseau's paintings depict wild animals and tropical jungles that might lead one to believe he traveled widely. However, Rousseau never left France, but drew inspiration from visiting botanical gardens and reading travel books.", "description": "Having never ventured outside France, Henri Rousseau derived his jungle scenes from reading travel books and visiting the Paris botanical garden. He placed this imaginary scene of a tiger attacking a buffalo within a fantastic jungle environment in which botanical accuracy was of little importance (note the bananas growing upside down). Here, sharply outlined hothouse plants are enlarged to fearsome proportions. Rousseau was working on this painting while imprisoned for fraud in December 1907. Officials granted him an early release to finish it for exhibition at the Salon des Ind\u00e9pendants, where this major composition, one of the artist's largest and most important, appeared in March 1908. A self-taught artist and retired customs inspector, Rousseau was admired by Pablo Picasso and other avant-garde artists for his originality and the na\u00efve purity of his vision.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60515648"], "internet_archive": ["https://archive.org/details/clevelandart-1949.186-fight-between-a-tige"]}, "citations": [{"citation": "Le douanier Rousseau: l'innocence archai\u0308que [exposition au Muse\u0301e d'Orsay, du 22 mars au 17 juillet 2016]. Dossier De L'art (Dijon). Dijon: E\u0301dition Faton, 2016. catalogue number 89", "page_number": "232-233", "url": null}, {"citation": "Fajt, Jir\u030ci\u0301. Celnik Douanier Rousseau: Painter's Paradise Lost : [Exposition National Gallery, Prague, 15.09.2016-15.01.2017]. Prague: National Gallery, 2016.", "page_number": "128-129", "url": null}, {"citation": "Francis, Henry. \"'The Jungle' by Henri-Julien Rousseau.\" <em>The Bulletin of the Cleveland Museum of Art </em>36, no. 9 (November 1949): 170-178.", "page_number": "Reproduced: front cover, p. 173; Mentioned: p. 177", "url": "https://www.jstor.org/stable/25141582"}, {"citation": "\u201cPart II: Annual Report Issue for the Year 1949.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 37, no. 6 (June 1950): 127\u2013161.", "page_number": "Mentioned: p. 129", "url": "http://www.jstor.org/stable/25141645"}, {"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. 515", "url": "https://archive.org/details/CMAHandbook1958/page/n95"}, {"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": "Reproduced: P. 38, no. 47, cover", "url": ""}, {"citation": "Henning, Edward B. <em>The Spirit of Surrealism</em>. Cleveland: The Cleveland Museum of Art, 1979.", "page_number": "Mentioned: p. 49-50, 185; Reproduced: p. 50, fig. 8; colorplate III", "url": null}, {"citation": "Le Pichon, Yann. <em>The World of Henri Rousseau.</em> New York: Viking Press, 1982.", "page_number": "Reproduced: p. 147", "url": null}, {"citation": "Henning, Edward B. \u201cThe Aviator: A Major Painting by Fernand L\u00e9ger.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 69, no. 3 (March 1982): 87\u201393.", "page_number": "Mentioned and reproduced: p. 86-87, fig. 3", "url": "http://www.jstor.org/stable/25159762"}, {"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. 110, no. 18", "url": ""}, {"citation": "Turpin, Ian. <em>Ernst. </em>London: Phaidon Books, 1993.", "page_number": "Mentioned and reproduced: p. 94, fig. 29", "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. 555-559, Vol. II, no. 196", "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": "Reproduced: p. 135", "url": null}, {"citation": "Ko\u0308nig, Kasper, and Falk Wolf, eds. <em>The Shadow of the Avant-Garde: Rousseau and the Forgotten Masters.</em> Ostfildern, Germany: Hatje Cantz Verlag, 2015.", "page_number": "Reproduced: p. 92, fig. 57", "url": null}, {"citation": "Belli, Gabriella. <em>Le Douanier Rousseau: l'innocence archai\u0308que.</em> Vanves: Hazan, 2016.", "page_number": "Reproduced: p. 232-233, no. 89", "url": null}, {"citation": "Broz\u030cova\u0301, Kristy\u0301na. <em>Celni\u0301k Rousseau: mali\u0301r\u030cu\u030av ztraceny\u0301 ra\u0301j = Douanier Rousseau: Painter's Paradise Lost.</em> 2016.", "page_number": "Mentioned: p. 21; Reproduced: p. 128-129", "url": null}, {"citation": "Stabenow, Cornelia, and Charity Scott-Stokes. <em>Henri Rousseau: 1844-1910.</em> Ko\u0308ln: Taschen, 2018.", "page_number": "Reproduced: P. 87", "url": ""}, {"citation": "Homburg, Cornelia. \"Redon's Femmes aux Fleurs.\" In <em>Odilon Redon: Literature and Music.</em> Cornelia Homburg, etal., 174-197. Rotterdam: Nai010 uitgevers, 2018.", "page_number": "Reproduced: p. 184, no. 183", "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. 41", "url": "https://archive.org/details/CMAPaintings1952"}, {"citation": "Ireson, Nancy. \"Henri Rousseau's Secrets.\" In <em>Henri Rousseau: A Painter\u2019s Secrets,</em> edited by Christopher Green and Nancy Ireson, 1-17. Philadelphia: The Barnes Foundation, 2025.", "page_number": "Mentioned: p. 13", "url": ""}, {"citation": "Green, Christopher, and Nancy Ireson, eds. <em>Henri Rousseau: A Painter\u2019s Secrets.</em> Philadelphia: The Barnes Foundation, 2025.", "page_number": "Mentioned: p. 148, 253, 278, 299 n8; Reproduced: p. 154-155, pl. 49", "url": ""}], "url": "https://clevelandart.org/art/1949.186", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1949.186/1949.186_web.jpg", "width": "900", "height": "806", "filesize": "265744", "filename": "1949.186_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1949.186/1949.186_print.jpg", "width": "3400", "height": "3046", "filesize": "3071351", "filename": "1949.186_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1949.186/1949.186_full.tif", "width": "12503", "height": "11202", "filesize": "420208660", "filename": "1949.186_full.tif"}}, "alternate_images": [{"date_created": "2007-10-15T14:41:23", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1949.186/1949.186_alt0_web.jpg", "width": "1001", "height": "893", "filesize": "710062"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1949.186/1949.186_alt0_print.jpg", "width": "3400", "height": "3032", "filesize": "7585688"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1949.186/1949.186_alt0_full.tif", "width": "5361", "height": "4780", "filesize": "76920616"}}], "creditline": "Gift of the Hanna Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 126769, "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": "1949-06-14T00:00:00", "sortable_date": 1908, "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": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:08.209000"}, {"id": 120870, "accession_number": "1941.591", "share_license_status": "Copyrighted", "tombstone": "The Judgment of Paris, 1914. Pierre-Auguste Renoir (French, 1841\u20131919), and Ricard Guin\u00f3 (Spanish, 1890\u20131973). Bronze; overall: 74.3 x 90.2 x 17.2 cm (29 1/4 x 35 1/2 x 6 3/4 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1941.591. \u00a9 Artists Rights Society (ARS), New York", "current_location": "218 European Sculpture", "title": "The Judgment of Paris", "creation_date": "1914", "creation_date_earliest": 1914, "creation_date_latest": 1914, "artists_tags": ["male"], "culture": ["France, 20th century"], "technique": "bronze", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Sculpture 1800-1960", "type": "Sculpture", "measurements": "Overall: 74.3 x 90.2 x 17.2 cm (29 1/4 x 35 1/2 x 6 3/4 in.)", "dimensions": {"overall": {"height": 0.743, "width": 0.902, "depth": 0.172}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "Signed lower right: \"RENOIR 1914 v.\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 312517, "title": "The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition", "description": "<i>The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 26-October 4, 1936).", "opening_date": "1936-06-26T04:00:00"}, {"id": 312333, "title": "French Drawings and Watercolors from French Public and Private Collections", "description": "<i>French Drawings and Watercolors from French Public and Private Collections</i>. The Cleveland Museum of Art, Cleveland, OH (January 6-February 15, 1942).", "opening_date": "1942-01-06T05:00:00"}, {"id": 312176, "title": "19th and 20th Century French Art and Leonard C. Hanna, Jr. Loans", "description": "<i>19th and 20th Century French Art and Leonard C. Hanna, Jr. Loans</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 22-September 1, 1943).", "opening_date": "1943-06-22T04:00:00"}, {"id": 216550, "title": "Renoir in the 20th Century", "description": "<i>Renoir in the 20th Century</i>. Los Angeles County Museum of Art, Los Angeles, CA (organizer) (February 14-May 9, 2010); Philadelphia Museum of Art, Philadelphia, PA (June 12-September 5, 2010).", "opening_date": "2009-09-23T00:00:00"}, {"id": 441481, "title": "Gallery One 2012", "description": "<i>Gallery One 2012</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 12, 2012-March 5, 2017).", "opening_date": "2012-12-12T05:00:00"}], "legacy": [{"description": "Antwerp: \"Exposition Art Francais,\"", "opening_date": null}, {"description": "CMA 1929: \"French Art Since 1800\"", "opening_date": "1929-01-01T00:00:00"}, {"description": "CMA 1933:  \"Collection of Mr. and Mrs. Paul Lamb\"", "opening_date": "1933-01-01T00:00:00"}, {"description": "Chicago Arts Club, 1933:  \"Modern Sculpture\"", "opening_date": "1933-01-01T00:00:00"}, {"description": "CMA 1936: \"20th Anniversary Exhibition,\" cat. 311, repr.", "opening_date": "1936-01-01T00:00:00"}, {"description": "CMA 1937: \"Contemporary Sculpture\"", "opening_date": "1937-01-01T00:00:00"}, {"description": "CMA 1956: \"The Venetian Tradition,\" cat. #79, repr. pl. LVII", "opening_date": "1956-01-01T00:00:00"}, {"description": "Los Angeles County Musuem of Art (2/14/2010 - 5/9/2010) and Philadelphia Museum of Art (6/12/2010 - 9/5/2010): \"Renoir in the 20th Century\"", "opening_date": "2010-02-14T00:00:00"}]}, "provenance": [{"description": "A. Vollard, Paris; Thannhauser, Lucerne; Mrs. Mildred H. Lamb, Cleveland; (Parke-Bernet Gallery, NY, Dec 12, 1941, cat. #58)", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": ["2876.1936", "2312.1933", "2503.1929"], "did_you_know": "Renoir collaborated with Catalan artist Ricard Guin\u00f3 on a series of sculptures produced between 1913 and 1918. Born in Girona, Spain, Guin\u00f3 had studied with Pablo Picasso's father in Barcelona before moving to Paris in 1910 and becoming an assistant to Aristide Maillol.", "description": "This bronze relief, based on a drawing by Renoir, was modelled and cast by Ricard Guin\u00f3 under Renoir\u2019s supervision. It depicts a theme from classical mythology in which Paris of Troy was directed to give a golden apple to the fairest among three goddesses: Aphrodite, Hera, or Athena. Paris chose Aphrodite, the goddess of love, after she promised him Helen of Sparta, the most beautiful woman in the world, as a bride. Paris\u2019 subsequent abduction of Helen sparked the Trojan War between the Greeks and the city of Troy.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780819"], "internet_archive": ["https://archive.org/details/clevelandart-1941.591-the-judgment-of-pari"]}, "citations": [{"citation": "The Cleveland Museum of Art. <em>The Cleveland Museum of Art Handbook.</em> Cleveland, OH: The Cleveland Museum of Art, 1958.", "page_number": "Mentioned and Reproduced: cat. no. 335", "url": "https://archive.org/details/CMAHandbook1958/page/n65"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 176", "url": "https://archive.org/details/CMAHandbook1966/page/n200"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 176", "url": "https://archive.org/details/CMAHandbook1969/page/n200"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 218", "url": "https://archive.org/details/CMAHandbook1978/page/n238"}], "url": "https://clevelandart.org/art/1941.591", "images": {}, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Betty T. and David M. Schneider Gallery", "athena_id": 120870, "creators": [{"id": 1765, "description": "Pierre-Auguste Renoir (French, 1841\u20131919)", "extent": null, "qualifier": null, "role": "artist", "biography": "Renoir's parents, a tailor and a dressmaker, moved their family to Paris in 1844. At age thirteen Renoir apprenticed with the porcelain decorators Levy Fr\u00e8res &amp; Cie. He earned money by painting fans, blinds, and murals for caf\u00e9s. In 1860 he registered to copy Old Master paintings in the Louvre and, the following year, entered the studio of Charles Gleyre (1806-1874), where he met Fr\u00e9d\u00e9ric Bazille (1841-1870), Monet (q.v.), and Sisley (q.v.). In 1862 he was also accepted at the \u00c9cole des Beaux-Arts. With his friends from Gleyre's studio, he began working en plein air and, during a visit to the forest of Fontainebleau, was introduced to Diaz de la Pe\u00f1a (q.v.). After a failed attempt in 1863, Renoir's first painting was accepted at the Salon of 1864, the same year he painted Cleveland's portrait of Romaine Lacaux. More typical of this early period, however, is the painting Diana the Huntress (1867, National Gallery of Art, Washington, D.C.), which reveals Courbet's (q.v.) influence. Around 1867 Renoir shared a studio with Bazille and Monet, the latter becoming an important influence on his art. Renoir and Monet's comparable impressionist style during this period is evident in two paintings each made at La grenouill\u00e8re (all four titled La grenouill\u00e8re, 1869: Nationalmuseum, Stockholm, and Pushkin Museum, Moscow [Renoir]; National Gallery, London, and Metropolitan Museum of Art, New York [Monet]),1 a bathing establishment on the Seine. After Renoir's military service during the Franco-Prussian War (1870-71), Monet introduced him to the dealer Durand-Ruel, who began purchasing his works. Renoir's submissions to the Salon were regularly refused, which encouraged him to participate in the first impressionist exhibition in 1874 and the 1875 auction at H\u00f4tel Drouot, where his works were ridiculed by the critics. At the third impressionist exhibition in 1877, he showed Ball at the Moulin de la Galette (1876, Mus\u00e9e d'Orsay, Paris), in which he addressed a subject of modern life, one of his most characteristic impressionist paintings on a grand scale, with a rich pattern of light and shadow. In 1878 he returned to the Salon and became quite successful, establishing his reputation as a portraitist (1878, Mme Charpentier and her Children, Metropolitan Museum of Art, New York). He continued to use this official venue for the next several years, declining to exhibit with the impressionists. This decision was partly generated by the fact that his newfound clientele would be more appreciative of his participating in the Salon. He was supported by his patrons, particularly the Charpentiers, owners of a publishing house, whose journal La vie moderne furthered Renoir's reputation. After a trip to North Africa and Italy in 1881, he joined C\u00e9zanne at L'Estaque. Throughout the 1880s and 1890s Renoir traveled extensively through Brittany, Normandy, Provence, and Spain. In the mid-1880s he began to experiment with more linear contours, the application of thinner paint layers, and smoother brush strokes. This so-called Ingresque period, which had a very mixed reception, lasted for about six years. He then reflected upon the achievements of the Old Masters and favored a more fluid style, after which he returned to using broader brush strokes and more vibrant colors. In 1886 he was given a one-man show by Durand-Ruel. By 1900 Renoir was an established artist: he became Chevalier of the Legion of Honor in 1900 and four years later was honored at the Salon d'Automne with a gallery devoted to his works. Beginning in 1912 he suffered from rheumatism and began using a wheelchair, yet he continued to work until the end of his life. He now often stayed in southern France, where he owned property in Cagnes-sur-Mer. Renoir regularly exhibited his works at the Durand-Ruel and Bernheim-Jeune galleries in Paris, as well as elsewhere in Europe and in the United States.", "name_in_original_language": null, "birth_year": "1841", "death_year": "1919", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 61535, "description": "Ricard Guin\u00f3 (Spanish, 1890\u20131973)", "extent": null, "qualifier": "and", "role": "artist", "biography": "Guin\u00f3 was Renoir's collaborator during the late years, and French courts have ruled that such sculptures should be attributed to both men.", "name_in_original_language": null, "birth_year": "1890", "death_year": "1973", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1941-12-05T00:00:00", "sortable_date": 1914, "date_added_to_oa": null, "date_text": "1914", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:05:17.540000"}, {"id": 136510, "accession_number": "1960.81", "share_license_status": "CC0", "tombstone": "Water Lilies (Agapanthus), c. 1915\u201326. Claude Monet (French, 1840\u20131926). Oil on canvas; framed: 204.9 x 430.3 x 6 cm (80 11/16 x 169 7/16 x 2 3/8 in.); unframed: 201.3 x 425.6 cm (79 1/4 x 167 9/16 in.). The Cleveland Museum of Art, John L. Severance Fund and an anonymous gift, 1960.81", "current_location": "222 Impressionism & Post-Impressionism", "title": "Water Lilies (Agapanthus)", "creation_date": "c. 1915\u201326", "creation_date_earliest": 1915, "creation_date_latest": 1926, "artists_tags": ["male"], "culture": ["France, late 19th century-early 20th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 204.9 x 430.3 x 6 cm (80 11/16 x 169 7/16 x 2 3/8 in.); Unframed: 201.3 x 425.6 cm (79 1/4 x 167 9/16 in.)", "dimensions": {"framed": {"height": 2.049, "width": 4.303, "depth": 0.06}, "unframed": {"height": 2.013, "width": 4.256}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Estate stamp lower left: Claude Monet\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 302007, "title": "Paths of Abstract Art", "description": "<i>Paths of Abstract Art</i>. The Cleveland Museum of Art, Cleveland, OH (October 5-November 13, 1960).", "opening_date": "1960-10-05T04:00:00"}, {"id": 302015, "title": "Year in Review - Nineteen Hundred Sixty", "description": "<i>Year in Review - Nineteen Hundred Sixty</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 30, 1960-January 1, 1961).", "opening_date": "1960-11-30T05:00:00"}, {"id": 300779, "title": "Juxtapositions", "description": "<i>Juxtapositions</i>. The Cleveland Museum of Art, Cleveland, OH (September 11-October 10, 1965).", "opening_date": "1965-09-11T04:00:00"}, {"id": 300904, "title": "Fifty Years of Modern Art", "description": "<i>Fifty Years of Modern Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 15-July 31, 1966).", "opening_date": "1966-06-15T04:00:00"}, {"id": 301375, "title": "Color and Field, 1890 - 1970", "description": "<i>Color and Field, 1890 - 1970</i>. Buffalo AKG Art Museum, Buffalo, NY (organizer) (September 15-November 1, 1970); Dayton Art Institute, Dayton, OH (November 20, 1970-January 10, 1971); The Cleveland Museum of Art, Cleveland, OH (February 3-March 14, 1971).", "opening_date": "1970-09-15T04:00:00"}, {"id": 343654, "title": "Monet's Years at Giverny: Beyond Impressionism", "description": "<i>Monet's Years at Giverny: Beyond Impressionism</i>. The Metropolitan Museum of Art, New York, NY (organizer) (co-organizer) (April 22-July 9, 1978); Saint Louis Art Museum, St. Louis, MO (co-organizer) (August 1-October 8, 1978).", "opening_date": "1978-04-22T05:00:00"}, {"id": 304401, "title": "The Monet Triptych: Water Lilies", "description": "<i>The Monet Triptych: Water Lilies</i>. The Nelson-Atkins Museum of Art, Kansas City, MO (organizer) (co-organizer) (April 5-June 15, 1979); The Cleveland Museum of Art, Cleveland, OH (September 18, 1979-February 17, 1980); Saint Louis Art Museum, St. Louis, MO (co-organizer) (April 1-September 1, 1980).", "opening_date": "1979-04-05T05:00:00"}, {"id": 310025, "title": "Creativity in Art and Science, 1860-1960", "description": "<i>Creativity in Art and Science, 1860-1960</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 16-November 8, 1987).", "opening_date": "1987-09-16T04:00:00"}, {"id": 179631, "title": "CMA Highlights", "description": "<i>CMA Highlights</i>. The Cleveland Museum of Art (organizer) (June 21-September 11, 2005).", "opening_date": "2005-06-21T00:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008).", "opening_date": "2006-05-27T00:00:00"}, {"id": 208590, "title": "Monet in Normandy", "description": "<i>Monet in Normandy</i>. The Cleveland Museum of Art, Cleveland, OH (February 18-May 28, 2007).", "opening_date": "2006-06-17T00:00:00"}, {"id": 214130, "title": "Monet's Water Lilies", "description": "<i>Monet's Water Lilies</i>. The Nelson-Atkins Museum of Art, Kansas City, MO (organizer) (April 9-August 7, 2011); Saint Louis Art Museum, St. Louis, MO (October 2, 2011-January 22, 2012).", "opening_date": "2011-04-09T00:00:00"}, {"id": 201332, "title": "Painting the Modern Garden: Monet to Matisse", "description": "<i>Painting the Modern Garden: Monet to Matisse</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 6, 2015-January 5, 2016); Royal Academy of Arts, London, United Kingdom of Great Britain and Northern Ireland (January 30-April 20, 2016).", "opening_date": "2015-10-06T00:00:00"}, {"id": 438645, "title": "Monet / Mitchell", "description": "<i>Monet / Mitchell</i>. Fondation Louis Vuitton, Paris, France (organizer) (October 5, 2022-February 27, 2023).", "opening_date": "2022-10-05T04:00:00"}, {"id": 662787, "title": "Monet in Focus", "description": "<i>Monet in Focus</i>. The Cleveland Museum of Art, Cleveland, OH (March 31-August 11, 2024).", "opening_date": "2023-10-28T04:00:00"}], "legacy": [{"description": "<em>Claude Monet.</em> City Art Museum of St. Louis, St. Louis, MO; Minneapolis Institute of Arts, Minneapolis, MN (1957).", "opening_date": "1957-01-01T00:00:00"}, {"description": "<em>Essence of Nations</em>. Valley House Gallery, Dallas, TX (November 1\u201314, 1959).", "opening_date": "1959-11-01T05:00:00Z"}]}, "provenance": [{"description": "Estate of the artist.", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "Michel Monet, Giverny, through 1950 (according to Connaissance des arts 1966).", "citations": [], "footnotes": [], "date": null, "sortorder": 2}, {"description": "Katia Granoff, Paris. Bought from her by Knoedler & Co. (stock number a 6420), July 1956.", "citations": [], "footnotes": [], "date": null, "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1960-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Water lilies were a recurring theme in Monet's work; he painted around 250 water lily compositions.", "description": "A skilled horticulturalist as well as an artist, Claude Monet spent the last 30 years of his life painting the private garden he designed and helped cultivate at his home in Giverny in northern France. The resultant canvases are notable for their varied motifs, formats, and sizes. Monumental in scale, this rendering of his water lily pond focuses on the momentary effects of sunlight as it both penetrates and reflects off its shimmering surface. By zeroing in on the water and omitting its horizon and surrounding banks, Monet infers a limitless expanse\u2014a perception amplified by the painting\u2019s vast horizontal format that fills the viewer\u2019s field of vision.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60465880"], "internet_archive": ["https://archive.org/details/clevelandart-1960.81-water-lilies-agapant"]}, "citations": [{"citation": "City Art Museum of St. Louis. <em>Claude Monet, a Loan Exhibition</em>. 1957.", "page_number": "Reproduced: cat. no. 93", "url": null}, {"citation": "Sloane, J. C. \"The Art of Impressionism: From Romanticism to Avant-Garde.\" In <em>Romantic Art</em>. Hilton Kramer, ed. New York: Art Digest, Inc, 1958.", "page_number": "Reproduced: p. 129", "url": null}, {"citation": "Spaeth, Eloise. <em>American Art Museums and Galleries: An Introduction to Looking</em>. New York, NY: Harper &amp; Brothers, 1960.", "page_number": "Reproduced: p. 20", "url": null}, {"citation": "<em>The Bulletin of the Cleveland Museum of Art XLVII</em>. Cleveland: [The Museum] 1960.", "page_number": "Mentioned: p. 253; No. 66", "url": null}, {"citation": "Francis, Henry. \"Claude Monet-- Water Lilies.\" <em>The Bulletin of the Cleveland Museum of Art </em>47 (October 1960): 192-198.", "page_number": "Reproduced: 192-193", "url": null}, {"citation": "Henning, E. B. \"Cleveland Museum of Art: From Turner to Gaston.\" <em>Apollo: A Journal of the Arts </em>78 (December 1963): 481-488.", "page_number": "Reproduced: p. 484-485", "url": null}, {"citation": "Forge, Andrew. <em>French Impressionists. </em>London United Kingdom: British Broadcasting Corporation, 1966.", "page_number": "Reproduced: fig. 38", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 197", "url": "https://archive.org/details/CMAHandbook1966/page/n221"}, {"citation": "\"Waterlilies.\" <em>Art in America: An Illustrated Magazine </em>54 (March 1966): 32.", "page_number": "Reproduced: p. 32", "url": null}, {"citation": "Alsop, Joseph. \"Les Chefs-d'oeuvre de Premiere Importance du Second Musee des Etats-Unis.\" <em>Connaissance des Arts</em> 172 (June 1966): 54-63.", "page_number": "Reproduced: p. 57, 60", "url": null}, {"citation": "Lee, Sherman E. \"The Forest and the Trees and Chinese Painting.\" <em>National Palace Museum Quarterly </em>\u6545\u5bae\u9031\u520a 1, no. 2 (October 1966): 1\u201314.", "page_number": "Reproduced: Pl. 1-A", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 197", "url": "https://archive.org/details/CMAHandbook1969/page/n221"}, {"citation": "Henning, Edward B. \"Color and Field.\" <em>Art International </em>15 (May 1971): 46-50.", "page_number": "Reproduced: p. 46", "url": null}, {"citation": "Rouart, Denis, Jean Dominique Rey, Robert Maillard. <em>Monet, nymphe\u0301as; ou</em>, <em>Les miroirs du temps</em>. Paris, France: F. Hazan, 1972.", "page_number": "Reproduced: p. 177", "url": null}, {"citation": "Wildenstein, Daniel. Claude Monet: Biographie et Catalogue Raisonne\u0301. Lausanne: La Bibliothe\u0300que des arts, 1974.", "page_number": "Reproduced and mentioned: vol. 4, p. 316-322, no. 1975", "url": null}, {"citation": "House, John. <em>Monet</em>. London, United Kingdom: Oxford, 1977.", "page_number": "Reproduced: pl. 47, Mentioned: p. 12-13", "url": null}, {"citation": "Bell, Clive. <em>The French Impressionists</em>. London, United Kingdom: Phaidon Press, 1978.", "page_number": "Reproduced: Fig. 46", "url": null}, {"citation": "Isaacson, Joel. <em>Claude Monet, Observation and Reflection</em>. Oxford, United Kingdom: Phaidon, 1978.", "page_number": "Reproduced: p. 176", "url": null}, {"citation": "Moffett, Charles S. <em>Monet's Water Lilies</em>. Mount Vernon, NY: Artist's Ltd. Edition, 1978.", "page_number": "Reproduced: Pl 6", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 220", "url": "https://archive.org/details/CMAHandbook1978/page/n240"}, {"citation": "Monet, Claude. <em>Monet's Years at Giverny: Beyond Impressionism</em>. New York: Metropolitan Museum of Art, 1978.", "page_number": "Referenced: cat. no. 76, Reproduced", "url": null}, {"citation": "Gordon, Robert, and Charles F. Stuckey. \"Blossoms and Blunders: Monet and the State.\" <em>Art in America: An Illustrated Magazine </em>67 (January 1979): 102-117.", "page_number": "Reproduced: p. 112, fig. 12", "url": null}, {"citation": "Stuckey, Charles F. \"Blossoms and Blunders: Monet and the State; II.\" <em>Art in America</em> 67 (May 1979): 109-125.", "page_number": "Reproduced: p. 125", "url": null}, {"citation": "Kelder, Diane. <em>The Great Book of French Impressionism</em>. New York, NY: Abbeville Press, 1980.", "page_number": "Reproduced: p. 221-222", "url": null}, {"citation": "<em>The Bulletin of the Cleveland Museum of Art LXVII</em>. Cleveland: [The Museum] 1980.", "page_number": "Reproduced: p. 187; Mentioned: p. 189", "url": null}, {"citation": "Failing, Patricia. \"The Case of the Dismembered Masterpieces.\" <em>ARTnews </em>79 (September 1980): 66-78.", "page_number": "Reproduced: p. 76-77", "url": null}, {"citation": "House, John. <em>Monet</em>. Oxford, United Kingdom: Phaidon, 1981.", "page_number": "Reproduced: No. 47", "url": null}, {"citation": "Cowart, Jack. \"Impressionist and Post-impressionist Paintings.\" <em>Bulletin (St. Louis Art Museum)</em> 16, no. 2 (1982): 1-35.", "page_number": "Reproduced: p. 23", "url": null}, {"citation": "Borowitz, Helen O. \"The Rembrandt and Monet of Marcel Proust.\" <em>The Bulletin of the Cleveland Museum of Art LXX, </em>no. 2 (February, 1983):73-95.", "page_number": "Reproduced: p. 88, fig. 14", "url": null}, {"citation": "Peters, Mike, and Marilyn Jarvis. <em>The World of Cartooning: How Caricatures Develop</em>. Dayton, OH: Landfall Press, 1985.", "page_number": "Reproduced: p. 16", "url": null}, {"citation": "Larson, Dean M. <em>Studying with the Masters: Lessons from Rubens, Vela\u0301zquez, Turner, Degas, Monet, Sargent, Matisse</em>. New York, NY: Watson-Guptill Publications, 1986.", "page_number": "Reproduced: p. 86", "url": null}, {"citation": "Henning, Edward B. <em>Creativity in Art and Science, 1860-1960</em>. [Cleveland, Ohio]: Published by the Cleveland Museum of Art in cooperation with Indiana University Press, 1987.", "page_number": "Mentioned and reproduced: P. 97, no. 4", "url": ""}, {"citation": "Stuckey, Charles F. <em>Waterlilies</em>. New York, NY: H.L. Levin Associates, 1988.", "page_number": "Reproduced: p. 83", "url": null}, {"citation": "Thomson, Belinda, and Michael Howard. <em>Impressionism</em>. London, United Kingdom: Bison Books, 1988.", "page_number": "Reproduced: p. 124-125", "url": null}, {"citation": "Sagner-Du\u0308chting, Karin. <em>Claude Monet, 1840-1926: ein Fest fu\u0308r die Augen</em>. Ko\u0308ln,Germany: Benedikt Taschen Verlag, 1990.", "page_number": "Reproduced: p. 207", "url": null}, {"citation": "Strickland, Carol, and John Boswell. <em>The Annotated Mona Lisa: A Crash Course in Art History from Prehistoric to Post-Modern</em>. Kansas City: Andrews and McMeel, 1992.", "page_number": "Reproduced: p. 103", "url": null}, {"citation": "Cleveland Museum of Art. <em>Masterpieces from East and West.</em> New York, NY: Rizzoli International, 1992.", "page_number": "Reproduced: p. 166-167", "url": null}, {"citation": "Chong, Alan. <em>European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogu</em>e. Cleveland, Ohio: Cleveland Museum of Art, 1993.", "page_number": "Reproduced: p. 159", "url": null}, {"citation": "\"1993 Annual Report.\" <em>The Bulletin of the Cleveland Museum of Art</em> 81, no. 6 (1994): 143-218.", "page_number": "Mentioned: p. 177", "url": "https://www.jstor.org/stable/25161457"}, {"citation": "Pelfrey, Robert H. <em>Art and Mass Media.</em> Dubuque, IA: Kendall/Hunt, 1996.", "page_number": "Reproduced: p. 169, fig. 7,8", "url": null}, {"citation": "Wildenstein, Daniel. <em>Monet</em>. Ko\u0308ln, Germany: Taschen, 1996.", "page_number": "Reproduced: vol. 1, p. 436", "url": null}, {"citation": "Sagner-Duchting, Karin. <em>Claude Monet, 1840-1926: A Feast for the Eyes</em>. Ko\u0308ln, Germany: Benedikt Taschen, 1998.", "page_number": "Reporduced: p. 119", "url": null}, {"citation": "Museo del Palacio de Bellas Artes (Mexico). <em>Maestros del impresionismo</em>. Me\u0301xico, D.F.: Istituto Nacional de Bellas Artes, 1998.", "page_number": "Reproduced: p. 59, fig. 14", "url": null}, {"citation": "D' Argencourt, Louise and Roger Diederen. <em>The Cleveland Museum of Art: Catalogue of Paintings, Part Four; European Paintings of the 19th Century</em>. Cleveland, OH:The Cleveland Museum of Art, 1999.", "page_number": "Reproduced: p. 159", "url": null}, {"citation": "Wildenstein, Daniel. <em>Monet, or, The Triumph of Impressionism</em>. Ko\u0308ln, Germany: Taschen,1999.", "page_number": "Reproduced: p. 436-437.", "url": null}, {"citation": "May, Sally Ruth, Jane Takac, and Barbara J. Bradley. <em>Knockouts: A Pocket Guide</em>. Cleveland, OH: Cleveland Museum of Art, 2001.", "page_number": "Reproduced: p. 56-57, no. 58", "url": null}, {"citation": "Lemonedes, Heather, Lynn Federle Orr, and David H. Steel. <em>Monet in Normandy</em>. New York, NY: Rizzoli, 2006.", "page_number": "Reproduced: p. 178", "url": null}, {"citation": "Lemonedes, Heather, \"FILL THIS\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 47 no. 02, February 2007", "page_number": "Mentioned & reproduced: p. 5", "url": "https://archive.org/details/CMAMM2007-02/page/n3"}, {"citation": "Rey, Jean Dominique, and Denis Rouart. <em>Monet, Water Lilies: The Complete</em> <em>Series</em>. Paris, France: Flammarion, 2008.", "page_number": "Reproduced: p. 145", "url": null}, {"citation": "Franklin, David and C. Griffith Mann. <em>Treasures from the Cleveland Museum of Art.</em> Cleveland, OH: London, United Kingdom: Scala Books, 2012.", "page_number": "Reproduced: p. 302-303", "url": null}, {"citation": "Cleveland Museum of Art. <em>The CMA Companion: A Guide to the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2014.", "page_number": "Mentioned and reproduced: P. 298", "url": ""}, {"citation": "Dumas, Ann, William H. Robinson, Clare A. P. Willsdon, Monty Don, James Priest, and Heather Lemonedes. <em>Painting the Modern Garden: Monet to Matisse</em>. London, United Kingdom : Royal Academy of Arts, 2015.", "page_number": "Reproduced: P. 290", "url": null}, {"citation": "Dumas, Ann, William H. Robinson, Clare A. P. Willsdon, Monty Don, James Priest, Heather Lemonedes, and Lucy I. Zimmerman.<em> Painting the Modern Garden: Monet to Matisse</em>. London: Royal Academy of Arts, 2015.", "page_number": "290, cat no. 139", "url": null}, {"citation": "Robinson, William. \u201cEasels in Eden: Renowned garden historian Eric Haskell is the keynote speaker at the opening for <em>Painting the Modern Garden: Monet to </em>Matisse.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 55, no. 4 (July/August): 10-11.", "page_number": "Reproduced: p. 10; Mentioned: p. 11", "url": "https://archive.org/details/CMAMM2015-04"}, {"citation": "The Burlington Magazine. \"Exhibitions: Paintiing in the Modern Garden.\" <em>The Burlington Magazine </em>158, no. 1357 (April 2016): 300-301.<em><br></em>", "page_number": "Reproduced: p. 301", "url": null}, {"citation": "Adams, Henry. \"The Invisible Man: William Robinson.\" <em>CAN Journal </em>(Spring 2017): 80-83.", "page_number": "Reproduced: p. 83", "url": ""}, {"citation": "Amiot-Saulnier, Emmanuelle. \"Le Jardin de Monet a Matisse.\" <em>L'Estampille, l'objet d'art</em> 521, (Mar. 2016): 28-35.", "page_number": "Reproduced: p. 30", "url": null}, {"citation": "Kelly, Simon. \"\"My Four Best Series\": Monet's Panorama at the Hotel Biron.\" In <em>Monet: the Late Years.</em> Shackelford, George T. M., ed., 46-61. Fort Worth, Texas: Kimbell Art Museum; San Francisco: Fine Arts Museums of San Francisco, New Haven; London: Distributed by Yale University Press, 2019.", "page_number": "Reproduced: P. 48-49,50, 59", "url": null}, {"citation": "Shackelford, George T. M. <em>Monet: the Late Years. </em>Fort Worth, Texas: Kimbell Art Museum; San Francisco: Fine Arts Museums of San Francisco, New Haven; London: Distributed by Yale University Press, 2019.", "page_number": "Reproduced: P. 159", "url": null}, {"citation": "Arendsee, M., and M. Steinman-Arendsee. \"Take the CAN disability aesthetics tour, at the Cleveland Museum of art.\" <em>CAN Journal</em> (Winter 2019/20): 76-87.", "page_number": "Mentioned: p. 81", "url": null}, {"citation": "Goldin, Marco. <em>Il Giardino e la Luna: Arte dell'Ottocento dal Romanticismo all'Impressionismo. </em>Milano: La nave di Teseo, 2021.", "page_number": "Reproduced: P. 508-509", "url": ""}, {"citation": "Page\u0301, Suzanne, Angeline Scherf, and Marianne Mathieu. <em>Claude Monet, Joan Mitchell.</em> Paris: Fondation Louis Vuitton; [Paris]: Muse\u0301e Marmottan Monet, Acade\u0301mie des beaux-arts; Vanves: Hazan, 2022.", "page_number": "Reproduced: Cat. no. 50", "url": ""}, {"citation": "Kelly, Simon. \"A Dialogue with Monet: Mitchell's Years in Vetheuil.\" In <em>Monet/Mitchell: Painting the French Landscape, </em>edited by Simon Kelly, 13-68. St. Louis, Missouri: Saint Louis Art Museum; Munich, Germany: Hirmer Verlag GmbH, 2023.", "page_number": "Mentioned: p. 27; reproduced: p. 31, fig. 12", "url": ""}], "url": "https://clevelandart.org/art/1960.81", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1960.81/1960.81_web.jpg", "width": "900", "height": "419", "filesize": "134866", "filename": "1960.81_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1960.81/1960.81_print.jpg", "width": "3400", "height": "1581", "filesize": "1728905", "filename": "1960.81_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1960.81/1960.81_full.tif", "width": "6388", "height": "2970", "filesize": "56943340", "filename": "1960.81_full.tif"}}, "alternate_images": [{"date_created": "2009-07-01T15:14:35", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1960.81/1960.81_alt0_web.jpg", "width": "1263", "height": "593", "filesize": "574711"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1960.81/1960.81_alt0_print.jpg", "width": "3400", "height": "1596", "filesize": "4366487"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1960.81/1960.81_alt0_full.tif", "width": "6172", "height": "2897", "filesize": "53671228"}}, {"date_created": "2004-09-21T17:46:45", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1960.81/1960.81_alt1_web.jpg", "width": "1263", "height": "608", "filesize": "639185"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1960.81/1960.81_alt1_print.jpg", "width": "3400", "height": "1638", "filesize": "4885519"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1960.81/1960.81_alt1_full.tif", "width": "6227", "height": "3000", "filesize": "56055796"}}, {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1960.81/1960.81_alt2_web.jpg", "width": "900", "height": "434", "filesize": "170216"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1960.81/1960.81_alt2_print.jpg", "width": "3400", "height": "1638", "filesize": "4771145"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1960.81/1960.81_alt2_full.tif", "width": "6227", "height": "3000", "filesize": "56067180"}}, {"date_created": "2015-05-04T11:47:33", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1960.81/1960.81_alt3_web.jpg", "width": "900", "height": "444", "filesize": "135050"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1960.81/1960.81_alt3_print.jpg", "width": "3400", "height": "1677", "filesize": "1763259"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1960.81/1960.81_alt3_full.tif", "width": "15356", "height": "7576", "filesize": "349039268"}}, {"date_created": "2011-02-28T15:52:16", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1960.81/1960.81_alt4_web.jpg", "width": "900", "height": "687", "filesize": "257258"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1960.81/1960.81_alt4_print.jpg", "width": "3400", "height": "2594", "filesize": "3803003"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1960.81/1960.81_alt4_full.tif", "width": "6477", "height": "4941", "filesize": "96035612"}}, {"date_created": "2011-02-28T15:52:16", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1960.81/1960.81_alt5_web.jpg", "width": "900", "height": "687", "filesize": "329605"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1960.81/1960.81_alt5_print.jpg", "width": "3400", "height": "2594", "filesize": "8452393"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1960.81/1960.81_alt5_full.tif", "width": "6477", "height": "4941", "filesize": "96038376"}}], "creditline": "John L. Severance Fund and an anonymous gift", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Nancy F. and Joseph P. Keithley Gallery", "athena_id": 136510, "creators": [{"id": 1844, "description": "Claude Monet (French, 1840\u20131926)", "extent": null, "qualifier": null, "role": "artist", "biography": "Claude Monet spent his youth in Le Havre in Normandy, where his father worked as a wholesale grocer. By the age of sixteen, he had exhibited some of his caricatures in an art supply store, leading to his acquaintance with Boudin (q.v.). It was Boudin who first encouraged him to paint out of doors. In 1859 Monet traveled to Paris, where he saw Boudin's salon debut and met Constant Troyon (1810-1865). A year later he joined the Acad\u00e9mie Suisse, where he was introduced to Pissarro (q.v.), but his studies were interrupted in 1861 when he was drafted for a seven-year stint in the military. His family would pay for his release from military duties only if he gave up painting. Finding this unacceptable, Monet served for one year in Algeria before an early return to France to convalesce after a severe illness. In 1862 he met Jongkind (q.v.), another important influence on the young painter's development. Monet's father then allowed him to pursue his art career in Paris, where he entered the studio of the Swiss painter Charles Gleyre (1806-1874). He studied with Gleyre until 1864 and befriended Fr\u00e9d\u00e9ric Bazille (1841-1870), Renoir (q.v.), and Sisley (q.v.), with whom he painted in the forest of Fontainebleau (D\u00e9jeuner sur l'herbe, 1865, two fragments in Mus\u00e9e d'Orsay, Paris). Monet first exhibited at the Salon of 1865 and would do so again in 1866, 1868, and 1880. In 1868 he shared a studio with Bazille and Renoir but was soon forced to leave Paris to escape his creditors. He took his mistress, Camille Doncieux, and their son, Jean, to F\u00e9camp, then \u00c9tretat, and finally Saint-Michel. There Renoir provided hospitality, and the two also painted at the boating and bathing center of La Grenouill\u00e8re on the Seine. In 1870 Monet married Camille and, to escape the Franco-Prussian War, left for London, where he remained for nine months and met Durand-Ruel, his first dealer. In the summer of 1871 he visited the Netherlands and then settled in Argenteuil, to the west of Paris. He converted a boat into a studio, as Daubigny (q.v.) had done before him, allowing him to explore different viewpoints for his landscapes. He assisted in the organization of the First Impressionist Exhibition in 1874, partly because Durand-Ruel's worsened business situation had prevented the dealer from buying his art. The following year he participated in the H\u00f4tel Drouot sale with Morisot (q.v.), Renoir, and Sisley. In 1878 Monet and his wife moved to V\u00e9theuil with the Hosched\u00e9s, who had previously commissioned some works. Camille died the following year, and, while Ernest Hosched\u00e9 spent most of his time in Paris trying to settle his precarious financial situation, Monet stayed behind with Ernest's wife, Alice. In 1881 he moved with her and her children to Poissy and within two years was living at Giverny, where he would remain for the rest of his life. He painted some of his famous scenes-the haystack and poplar series, for example- in 1890-91. Ernest Hosched\u00e9 died in 1891, and Monet married Alice the following year. At Giverny, Monet explored the themes of his garden and water lilies. He continued to travel, going to Norway in 1895, making three trips to London from 1899 through 1901, and taking Alice to Venice in 1908. The final years of his life were mainly spent working on his Great Decorations, large paintings of a water lily pond designed for two oval rooms at the Paris Orangerie. Monet is generally considered the most typical exponent of impressionism.", "name_in_original_language": null, "birth_year": "1840", "death_year": "1926", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1960-04-25T00:00:00", "sortable_date": 1915, "date_added_to_oa": null, "date_text": "c. 1915\u201326", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": true, "updated_at": "2026-04-02 12:45:16.540000"}, {"id": 163769, "accession_number": "2005.181", "share_license_status": "Copyrighted", "tombstone": "Go Down Death, 1934. Aaron Douglas (American, 1899\u20131979). Oil on Masonite; framed: 124.5 x 94 x 3.8 cm (49 x 37 x 1 1/2 in.); unframed: 121.9 x 91.5 cm (48 x 36 in.). The Cleveland Museum of Art, John L. Severance Fund and Gift of Prof. and Mrs. David C. Driskell, 2005.181. Art \u00a9 Heirs of Aaron Douglas/Licensed by VAGA, New York, NY", "current_location": "226A American Modern", "title": "Go Down Death", "creation_date": "1934", "creation_date_earliest": 1934, "creation_date_latest": 1934, "artists_tags": ["Black American Artists", "male"], "culture": ["America"], "technique": "oil on Masonite", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 124.5 x 94 x 3.8 cm (49 x 37 x 1 1/2 in.); Unframed: 121.9 x 91.5 cm (48 x 36 in.)", "dimensions": {"framed": {"height": 1.245, "width": 0.94, "depth": 0.038}, "unframed": {"height": 1.219, "width": 0.915}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "Art \u00a9 Heirs of Aaron Douglas/Licensed by VAGA, New York, NY", "inscriptions": [{"inscription": "signed \"A. Douglas\" lower right corner in purple paint", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 215369, "title": "Aaron Douglas and the Harlem Renaissance", "description": "<i>Aaron Douglas and the Harlem Renaissance</i>. Spencer Museum of Art, Lawrence, KS (organizer) (September 8-December 2, 2007); Frist Art Museum, Nashville, TN (January 19-April 13, 2008); National Museum of American Art, Washington, DC (May 9-August 3, 2008); Schomburg Center for Research in Black Culture, New York, NY (August 30-November 30, 2008).", "opening_date": "2007-09-08T00:00:00"}, {"id": 200463, "title": "The Jazz Age: American Style in the 1920s", "description": "<i>The Jazz Age: American Style in the 1920s</i>. Cooper Hewitt, Smithsonian Design Museum, New York, NY (April 7-August 20, 2017); The Cleveland Museum of Art, Cleveland, OH (organizer) (September 30, 2017-January 14, 2018).", "opening_date": "2017-04-07T00:00:00"}], "legacy": [{"description": "<em>Two Centuries of Black American Art</em>. Los Angeles County Museum of Art, Los Angeles, CA (September 30-November 21, 1976); High Museum of Art, Atlanta, GA (January 8-February 20, 1977); Museum of Fine Arts, Dallas, TX (March 30-May 15, 1977); The Brooklyn Museum, Brooklyn, NY(June 25-August 21, 1977).", "opening_date": "1976-09-30T00:00:00"}, {"description": "<em>Hidden Heritage: Afro-American Art, 1800-1950</em>. Bellevue Art Museum, Bellevue, WA (September 14-November 10, 1985); Bronx Museum of the Arts, The Bronx, NY (January 14-March 10, 1986); California Afro-American Museum, Los Angeles, CA (April 7-June 2, 1986); Wadsworth Atheneum, Hartford, CT (July 4-August 31, 1986); Mint Museum of Art, Charlotte, NC (September 22-November 17, 1986); San Antonio Museum of Art, San Antonio, TX (December 15, 1986-February 9, 1987); Toledo Museum of Art, Toledo, OH (March 8-May 3, 1987).", "opening_date": "1985-09-14T00:00:00"}, {"description": "<em>Harlem Renaissance: Art of Black America.</em> Studio Museum in Harlem, Harlem, NY (February 12-August 30, 1987); Mary and Leigh Block Museum of Art, Northwestern University, Evanston, IL (April 7-June 5, 1988); High Museum of Art, Alanta, GA (June 28-September 4, 1988); Bowdoin College Museum of Art, Brunswick, ME (September 24-November 20, 1988); Lyndon Baines Johnson Library and Museum, University of Texas, Austin, TX (January 14-February 26, 1989); Virginia Museum of the Fine Arts (March 27-May 21, 1989); Cheekwood Museum of Art, Nashville, TN (June 17-August 6, 1989); New York State Museum, Albany, NY (August 29-October 29, 1989).", "opening_date": "1987-02-12T00:00:00"}, {"description": "<em>Narratives of African American Art and Identity: The Davide C. Driskill Collection</em>. The Art Gallery, University of Maryland, College Park, MD (October 22- December 19, 1998); African American Museum, Dallas, TX (March 13- June 19, 1999); Colby College Museum of Art, Waterville, ME (July 21- October 17, 1999); The Fine Arts Museum of San Francisco, San Francisco, CA (November 20, 1999- February 12, 2000); The High Museum of Art, Atlanta, GA (June 20- September 10, 2000); Newark Museum, Newark, NJ (October 25, 2000- February 25, 2001); Cincinnati Art Museum, Cincinnati, OH (March 17- May 14, 2001); Virginia Museum of Fine Arts, Richmond, VA (July 8- September 30, 2001); Naples Museum of Art, Naples, FL (October 15, 2001- January 13, 2002), FL; Mint Museum of Art, Charlotte, NC (April 23-October 25, 2002).", "opening_date": "1998-10-22T00:00:00"}]}, "provenance": [{"description": "Collection of the artist", "citations": [], "footnotes": null, "date": "until 1977", "sortorder": 2}, {"description": "Dr. and Mrs. David C. Driskell, by gift to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1977-2005", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2005-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Douglas founded the art department at Fisk University, where he also created many celebrated murals.", "description": "The leading painter of the Harlem Renaissance, Douglas based this painting on an illustration he made for <em>God\u2019s Trombones: Seven Negro Sermons in Verse</em> (1927), a book by noted author and civil rights advocate James Weldon Johnson. Its subject tells the story of a winged angel of death who races through the heavens on horseback to rescue a woman from a life of suffering.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60480297"], "internet_archive": []}, "citations": [{"citation": "Driskell, David, C. <em>Two Centuries of Black American Art </em>Los Angeles County Museum of Art, and New York: Alfred A. Knopf, 1976.", "page_number": "Mentioned: p. 153", "url": null}, {"citation": "Driskell, David C. <em>Hidden Heritage: Afro-American Art, 1800-1950.</em> San Francisco, Calif: The Association, 1985.", "page_number": "Cat. no. 50", "url": null}, {"citation": "Driskell, David C. <em>Hidden Heritage: Afro-American Art, 1800\u20131950. </em>Bellevue Art Museum, Washington: Art Museum Association of America, 1985, second printing 1987.", "page_number": "Mentioned: p. 41,94", "url": null}, {"citation": "Campbell, Mary Schmidt. et al., <em>Harlem Renaissance: Art of Black America. </em>New York: Abrams, 1987.", "page_number": "Mentioned: p. 110, 130; Reproduced: color plate 33", "url": null}, {"citation": "Gips, Terry. <em>Narratives of African American Art and Identity: The David C. Driskell Collection.</em> San Francisco, Calif: Pomegranate, 1998.", "page_number": "Cat. no. 14", "url": null}, {"citation": "Holland, Juanita Marie. <em>Narratives of African American Art and Identity: The David C. Driskell Collection. </em>San Francisco: Pomegranate, 1998.", "page_number": "Reproduced: frontispiece, p. 81, n. 14; Mentioned: p. 81, 183", "url": null}, {"citation": "McAleer,Bernard. \u201cAfter Hours: An Inspiring Heritage.\u201d <em>The Network Journal </em>8, no. 4 (January 31, 2001)", "page_number": "Mentioned: p. 34", "url": null}, {"citation": "Litt, Steven. \"Museum buys work by important black painter.\" <em>The Plain Dealer, </em>December 22, 2005.", "page_number": "Mentioned: p. F-1, F-3; Reproduced: p. F-3", "url": null}, {"citation": "\"Mark Cole.\" <em>Cleveland Art </em>46, no. 3 (March 2006)", "page_number": "Mentioned: p. 2, 10", "url": null}, {"citation": "Earle, Susan, ed. <em>Aaron Douglas: African American Modernist. </em>New Haven: Yale University Press, 2007.", "page_number": "Reproduced: p. 172, n. 73", "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. 15, p. 13", "url": ""}, {"citation": "Cole, Mark. \"Jacob Lawrence's <em>Fulton and Nostrand.\" Cleveland Art </em>48 (February 2008).", "page_number": "Reproduced: p. 7; Mentioned: p. 7", "url": null}, {"citation": "Gordon, Margery. \"Eyes on the Prizes.\" <em>Art &amp; Auction </em>31 (February 2008)", "page_number": "Reproduced: p. 117; Mentioned: p. 117", "url": null}, {"citation": "Cole, Mark, \"Jacob Lawrence's Fulton and Nostrand\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 48 no. 2, February 2008", "page_number": "Mentioned & reproduced: p. 7", "url": "https://archive.org/details/CMAMM2008-02/page/6"}, {"citation": "McIntyre, Dianna. \"A Personal Favorite.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 51, no. 2 (March/April 2011): 8.", "page_number": "Mentioned: p. 8; Reproduced: p. 8", "url": "https://archive.org/details/CMAMM2011-02/page/8/mode/2up"}, {"citation": "Cole, Mark. <em>African American Art, The Cleveland Museum of Art. </em>Cleveland: Cleveland Museum of Art, 2013.", "page_number": "Mentioned: p. 16", "url": null}, {"citation": "Anderson, Nancy. \u201cAaron Douglas/The Judgment Day/1939.\u201d In <em>American Paintings, 1900\u20131945, NGA Online Editions.</em>", "page_number": "Reproduced: p. 7", "url": null}, {"citation": "Smith, Roberta. \"A Show's Secret Star: Art Deco steps out incognito with plenty of company in a design exhibition.\" <em>The New York Times, </em>April 7, 2017.", "page_number": "Mentioned: p. C19", "url": null}], "url": "https://clevelandart.org/art/2005.181", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund and Gift of Prof. and Mrs. David C. Driskell", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Dr. Robert B. Benyo Trust Gallery", "athena_id": 163769, "creators": [{"id": 7876, "description": "Aaron Douglas (American, 1899\u20131979)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1899", "death_year": "1979", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2005-12-05T00:00:00", "sortable_date": 1934, "date_added_to_oa": null, "date_text": "1934", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:16.720000"}, {"id": 148753, "accession_number": "1926.1976", "share_license_status": "CC0", "tombstone": "Violette Heymann, 1910. Odilon Redon (French, 1840\u20131916). Pastel on gray wove paper; unframed: 72 x 92 cm (28 3/8 x 36 1/4 in.). The Cleveland Museum of Art, Hinman B. Hurlbut Collection, 1926.1976", "current_location": null, "title": "Violette Heymann", "creation_date": "1910", "creation_date_earliest": 1910, "creation_date_latest": 1910, "artists_tags": ["male"], "culture": ["France, early 20th Century"], "technique": "pastel on gray wove paper", "support_materials": [], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Unframed: 72 x 92 cm (28 3/8 x 36 1/4 in.)", "dimensions": {"unframed": {"height": 0.72, "width": 0.92}}, "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": 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": 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": 355481, "title": "Exhibition of the Month: The Floral Motif in Art", "description": "<i>Exhibition of the Month: The Floral Motif in Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 29-September 30, 1947).", "opening_date": "1947-07-29T04:00:00"}, {"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": 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": 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": 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": 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": 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"}], "legacy": [{"description": "Exposition annuelle, 1er groupe. Galerie E. Druet, Paris (December 4 - 17, 1910).", "opening_date": "1910-12-04T00:00:00"}, {"description": "Exposition r\u00e9trospective d'oeuvres d'Odilon Redon (1840-1916). Galerie Barbazanges, Paris (May - June 1920).", "opening_date": "1920-05-01T00:00:00"}, {"description": "Odilon Redon: Exposition r\u00e9trospective de son oeuvre. Mus\u00e9e des arts d\u00e9coratifs, Paris (March 1926).", "opening_date": "1926-03-01T00:00:00"}, {"description": "Paintings and Pastels by Odilon Redon. Lef\u00e8vre Galleries, London (June - July 1926).", "opening_date": "1926-06-01T00:00:00"}, {"description": "Fifty Years of French Art. The Cleveland Museum of Art, Cleveland, OH (October 29 - November 28, 1926).", "opening_date": "1926-10-29T00:00:00"}]}, "provenance": [{"description": "Marcel Kapferer [1872-1966], Paris", "citations": [], "footnotes": null, "date": "by 1910-1926", "sortorder": null}, {"description": "(Kraushaar Gallery, New York, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": [], "date": "1926", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1926-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1886.1926", "1976.1926"], "did_you_know": "This pastel was acquired by the Cleveland Museum of Art in the same year as several other works by Redon, leading arts writers to describe Cleveland as holding the most important works by the artist outside of Paris at the time.", "description": "Although he was known early in his career for works primarily in black and white, such as charcoal drawings and lithographs, Odilon Redon turned to more colorful media, including pastel, later on. In particular, he focused on commissioned pastel portraits of women with flowers, such as this one. Here, the young niece of the Parisian collector Marcel Kapferer appears alongside colorful blossoms as she looks forward, focused as if in the dreamlike state evoked by her surroundings.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117066460"], "internet_archive": ["https://archive.org/details/clevelandart-1926.1976-violette-heymann"]}, "citations": [{"citation": "<em>Exposition Annuelle, 1er Groupe</em>. Exh. Cat. Paris: Galerie E. Druet, 1910.", "page_number": "Mentioned: no. 27", "url": null}, {"citation": "Salmon, Andr\u00e9. \"Odilon Redon.\" <em>L'Art d\u00e9coratif</em> 15, no. 1 (1913): 5-21.", "page_number": "Reproduced: p. 19", "url": null}, {"citation": "<em>Exposition r\u00e9trospective d'oeuvres d'Odilon Redon (1840-1916)</em>. Exh. Cat. Paris: Galerie Barbazanges, 1920.", "page_number": "Mentioned: no. 124", "url": null}, {"citation": "Mellerio, Andr\u00e9. \"Odilon Redon (1840-1916).\" <em>Gazette des Beaux-Arts</em> 62 (1920): 137-156.", "page_number": "Mentioned: p. 152", "url": null}, {"citation": "Rey, Robert. \"Odilon Redon.\" <em>Art et Decoration</em> 38, no. 224 (1920): 36-45.", "page_number": "Reproduced: p. 43", "url": null}, {"citation": "Mellerio, Andr\u00e9. <em>Odilon Redon: peintre, dessinateur et graveur</em>. Paris: H. Floury, 1923.", "page_number": "Mentioned: p. 136; Reproduced: opposite p. 88", "url": null}, {"citation": "Furst, Herbert. \"Paintings and Pastels by Odilon Redon at the L\u00e9f\u00e8vre Galleries, King Street.\" <em>Apollo</em> 4, no. 19 (July 1926): 46.", "page_number": "Mentioned: p. 46", "url": null}, {"citation": "<em>Odilon Redon, exposition r\u00e9trospective de son oeuvre</em>. Exh. Cat. Paris: Mus\u00e9e des arts d\u00e9coratifs, 1926.", "page_number": "Mentioned: p. 17, no. 137", "url": null}, {"citation": "Karr, Benjamin. \"Notable Painting Added to Art Museum's Display.\" <em>Cleveland News</em> (December 19, 1926): n.p.", "page_number": "Mentioned and reproduced.", "url": null}, {"citation": "Glasier, Jessie C. \"Museum Gets Another French Canvas.\" <em>Cleveland Plain Dealer</em> (December 19, 1926): n.p.", "page_number": "Mentioned.", "url": null}, {"citation": "<em>Paintings and Pastels by Odilon Redon</em>. Exh. Cat. London: Lef\u00e8vre Galleries, 1926.", "page_number": "Mentioned: no. 13", "url": null}, {"citation": "\"Cleveland Museum Buys a Redon.\" <em>The Art News</em> (January 1, 1927): 1-2.", "page_number": "Mentioned: pp. 1-2", "url": null}, {"citation": "W.M.M. \"'Portrait of Mademoiselle Violette H.' by Odilon Redon.\" <em>Bulletin of the Cleveland Museum of Art </em>14, no. 3 (March 1927): 41, 47.", "page_number": "Mentioned: p. 41; Reproduced p. 47", "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": "Dorival, Bernard. <em>La Peinture fran\u00e7aise. </em>Paris: Larousse, 1942.", "page_number": "Reproduced: opposite p. 105", "url": null}, {"citation": "Jewell, Edward Alden and Aim\u00e9e Crane. <em>French Impressionists and their Contemporaries Represented in American Collections</em>. New York: Hyperion Press, 1944.", "page_number": "Reproduced: p. 129", "url": null}, {"citation": "<em>Paintings in the Cleveland Museum of Art.</em> Cleveland: The Cleveland Museum of Art, 1945.", "page_number": "Reproduced: p. 39", "url": "https://archive.org/details/CMAPaintings1945/page/n47"}, {"citation": "Bazin, Germain. <em>History of Modern Painting</em>. Trans. Rosamund Frost (New York: Hyperion Press, 1951.", "page_number": "Reproduced: p. 77", "url": null}, {"citation": "Hartlaub, G.F. <em>Impressionists in France</em>. Milan: Uffici Press, 1951.", "page_number": "Reproduced: p. 35", "url": null}, {"citation": "<em>Odilon Redon, 1840-1916</em>. Exh. Cat. Cleveland: Cleveland Museum of Art, 1951.", "page_number": "Mentioned and reproduced: no. 16", "url": null}, {"citation": "Seligman, Germain. <em>Oh! Fickle Taste: Objectivity in Art</em>. New York: B. Wheelwright, 1952.", "page_number": "Reproduced: p. 51", "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. 28", "url": ""}, {"citation": "Rewald, John. <em>Post-Impressionism from Van Gogh to Gauguin</em>. New York: Museum of Modern Art, 1956.", "page_number": "Reproduced: p. 179", "url": null}, {"citation": "Colombo, Alfredo and Gaston Diehl. <em>Treasury of World Painting</em>. New York: Tudor, 1960.", "page_number": "Reproduced: p. 65", "url": null}, {"citation": "Awazu, Norio. \"Redon's Letters: Letters to Redon (IV).\" <em>Mizue</em>, no. 721 (March 1965): 73-77.", "page_number": "Reproduced: p. 76", "url": null}, {"citation": "Berger, Klaus. <em>Odilon Redon: Fantasy and Colour</em>. Trans. Michael Bullock. New York: McGraw-Hill, 1965.", "page_number": "Mentioned: p. 212, no. 406", "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": "<em>I Maestri del Colore: Redon</em>. Milan: Fratelli Fabbri, 1966.", "page_number": "Mentioned and reproduced: no. VI-VII", "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": "Selz, Jean. <em>Odilon Redon</em>. Lugano: Uffici Press, 1971.", "page_number": "Mentioned: p. 81", "url": null}, {"citation": "<em>Praeger Encyclopedia of Art</em>. London: Praeger, 1971.", "page_number": "Mentioned: vol. 4, p. 1667; Reproduced: vol. 4, p. 1666", "url": null}, {"citation": "Preston, Stuart. <em>Edouard Vuillard. </em>New York: Harry Abrams, 1971.", "page_number": "Reproduced: p. 23", "url": null}, {"citation": "Cassou, Jean. <em>Odilon Redon</em>. Milan: Fratelli Fabbri, 1972.", "page_number": "Reproduced: pp. 16-17.", "url": null}, {"citation": "<em>Die Grosse Enzyklopadie der Malerei</em>. Freiburg: Herder, 1975.", "page_number": "Reproduced: p. 2648", "url": null}, {"citation": "Hobbs, Richard. <em>Odilon Redon</em>. London: Studio Vista, 1977.", "page_number": "Mentioned: p. 139; Reproduced: p. 141", "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": "<em>Phaidon Encyclopedia of Art and Artists</em>. Oxford: Phaidon, 1978.", "page_number": "Mentioned and reproduced: p. 544", "url": null}, {"citation": "Wilson, Michael. <em>Nature and Imagination: The Work of Odilon Redon</em>. Oxford: Phaidon, 1978.", "page_number": "Mentioned: p. 66; Reproduced: p. 67", "url": null}, {"citation": "Bacou, Roseline. <em>Odilon Redon: Pastels</em>. Trans. Beatrice Rehl. New York: George Braziller, 1987.", "page_number": "Mentioned: p. 126, no. 43; Reproduced: p. 127", "url": null}, {"citation": "Vialla, Jean. <em>La vie et l'oeuvre d'Odilon Redon</em>. Paris: ACR, 1988.", "page_number": "Mentioned: pp. 140-141", "url": null}, {"citation": "Fugazza, Stefano. <em>Simbolismo</em>. Milan: Arnoldo Mondadori Arte, 1991.", "page_number": "Reproduced: p. 104", "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 and reproduced: vol. I, p. 50, no. 96", "url": null}, {"citation": "Jarrass\u00e9, Dominique. <em>Odilon Redon, le r\u00eave</em>. Paris: Herscher, 1996.", "page_number": "Mentioned: p. 42; Reproduced: p. 43", "url": null}, {"citation": "<em>Impressionist, Modern and Contemporary Paintings, Drawings, Sculpture and Ceramics</em>. London: Christie's, 1996.", "page_number": "Mentioned: p. 26, lot 53", "url": null}, {"citation": "Takashina, Shuji and Nobuyuki Senzoku. <em>Seikimatsu to shocho shugi, New World History of Art</em>. Tokyo: Shogakukan, 1996.", "page_number": "Reproduced: p. 85", "url": null}, {"citation": "Humair, Sylviane. \"De la fin du XIXe si\u00e8cle au d\u00e9but du XXe.\" <em>Gazette de l'Hotel Drouot</em> (April 17, 1998): 72-74.", "page_number": "Mentioned: p. 73", "url": null}, {"citation": "<em>300 Selected European Paintings</em>. Otsuka: Otsuka Museum of Art, 1998.", "page_number": "Mentioned and reproduced: p. 314", "url": null}, {"citation": "<em>Impressionist and Modern Art</em>. London: Sotheby's, 1999.", "page_number": "Mentioned: p. 17, lot 20", "url": null}, {"citation": "De Grazia, Diane. \"Drawings in Cleveland: The Evolution of a Collection.\" In <em>Master Drawings from the Cleveland Museum of Art</em>, 1-15. Diane De Grazia and Carter E. Foster, eds. Exh. Cat. Cleveland, OH: Cleveland Museum of Art in Association with Rizzoli International Publications, New York, 2000.", "page_number": "Mentioned and Reproduced: p. 11-12, fig. 11", "url": null}, {"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 and Reproduced: P. 11-12, fig. 11", "url": null}, {"citation": "Masini, Lara Vinca and Alessandro Vezzosi. <em>Il Liberty, Art Nouveau. </em>Firenze: Giunti, 2000.", "page_number": "Reproduced: p. 83", "url": null}, {"citation": "Shimizu, Yoshiro. <em>Redon, Moro</em>. Tokyo: Shogakkan, 2000.", "page_number": "Reproduced: p. 12", "url": null}, {"citation": "<em>Sugu wakaru gakabetsu genso bijutsu no mikata</em>. Tokyo: Tokyobijutsu, 2004.", "page_number": "Mentioned and reproduced: p. 57", "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. 4", "url": "https://archive.org/details/CMAMM2007-10/page/4/"}, {"citation": "Yamamoto, Atsuko. <em>Redon, His Life and Works: I Want to Know More</em>. Tokyo: Bijutsu, 2011.", "page_number": "Mentioned: p. 66; Reproduced: p. 67", "url": null}, {"citation": "\"Exhibitions.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 55, no. 5 (September/October 2015): 3.", "page_number": "Reproduced: p. 3", "url": "https://archive.org/details/CMAMM2015-05"}, {"citation": "Lemonedes, Heather. \u201cImaging the Garden: The garden is a ground plot for the mind. --Thomas Hill, <em>The Gardener's Labyrinth</em> (1577).\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 55, no. 6 (November/December 2015): 4-6.", "page_number": "Reproduced: Cover; Mentioned: p. 5.", "url": ""}, {"citation": "De Seta, Cesare. <em>Arti Della Modernit\u00e0</em>. Milano: Jaca Book, 2021.", "page_number": "Reproduced: P. 194-195", "url": ""}, {"citation": "\u201cThe Legacy of Odilon Redon at the CMA.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>61, no. 3 (Summer 2021): 37.", "page_number": "Reproduced and Mentioned: p. 37", "url": "https://archive.org/details/CMAMM2021-03"}, {"citation": "Salsbury, Britany. \"Collecting 19th-Century French Drawings at the Cleveland Museum of Art.\" 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. 18-19, fig. 8", "url": ""}], "catalogue_raisonne": "Wildenstein 96", "url": "https://clevelandart.org/art/1926.1976", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1926.1976/1926.1976_web.jpg", "width": "900", "height": "705", "filesize": "258753", "filename": "1926.1976_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1926.1976/1926.1976_print.jpg", "width": "3400", "height": "2665", "filesize": "3589165", "filename": "1926.1976_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1926.1976/1926.1976_full.tif", "width": "9989", "height": "7831", "filesize": "234695396", "filename": "1926.1976_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1976/1926.1976_alt0_web.jpg", "width": "1164", "height": "893", "filesize": "847648"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1976/1926.1976_alt0_print.jpg", "width": "3268", "height": "2507", "filesize": "6092690"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1976/1926.1976_alt0_full.tif", "width": "3268", "height": "2507", "filesize": "24620796"}}, {"date_created": "2013-11-18T11:28:10", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1976/1926.1976_alt1_web.jpg", "width": "675", "height": "900", "filesize": "217982"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1976/1926.1976_alt1_print.jpg", "width": "2550", "height": "3400", "filesize": "2999902"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1976/1926.1976_alt1_full.tif", "width": "6000", "height": "8000", "filesize": "144024060"}}, {"date_created": "2013-11-18T11:31:56", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1976/1926.1976_alt2_web.jpg", "width": "657", "height": "900", "filesize": "256193"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1976/1926.1976_alt2_print.jpg", "width": "2481", "height": "3400", "filesize": "3540985"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1976/1926.1976_alt2_full.tif", "width": "5838", "height": "8000", "filesize": "140135264"}}], "creditline": "Hinman B. Hurlbut Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 148753, "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": "1926-11-19T00:00:00", "sortable_date": 1910, "date_added_to_oa": null, "date_text": "1910", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Portrait of Mademoiselle Violette Heymann"], "is_highlight": false, "updated_at": "2026-03-27 00:08:50.786000"}, {"id": 140396, "accession_number": "1964.340", "share_license_status": "Copyrighted", "tombstone": "A Bird in the Room, 1955. Kay Sage (American, 1898\u20131963). Oil on canvas; unframed: 99.1 x 81.3 cm (39 x 32 in.). The Cleveland Museum of Art, Bequest of Kay Sage Tanguy, 1964.340. \u00a9 Estate of Kay Sage / Artists Rights Society (ARS), New York", "current_location": "226B American Modern", "title": "A Bird in the Room", "creation_date": "1955", "creation_date_earliest": 1955, "creation_date_latest": 1955, "artists_tags": ["female"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Unframed: 99.1 x 81.3 cm (39 x 32 in.)", "dimensions": {"unframed": {"height": 0.991, "width": 0.813}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of Kay Sage / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "Signed lower left: Kay Sage '55\r\nWritten on back of stretcher: \"A Bird in the Room '55 Kay Sage/Woodbury, Conn.\"", "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": 320904, "title": "Kay Sage, 1898-1963", "description": "<i>Kay Sage, 1898-1963</i>. Herbert F. Johnson Museum of Art, Ithaca, NY (organizer) (January 26-March 13, 1977); Art Gallery, University of Maryland at College Park, College Park, MD (April 5-May 15, 1977); Albany Institute of History and Art, Albany, NY (June 8-July 20, 1977).", "opening_date": "1977-01-26T05:00:00"}, {"id": 218287, "title": "Double Solitaire: The Surrealist Worlds of Kay Sage and Yves Tanguy", "description": "<i>Double Solitaire: The Surrealist Worlds of Kay Sage and Yves Tanguy</i>. Katonah Museum of Art, Katonah, NY (organizer) (June 5-September 18, 2011); Davis Museum and Cultural Center, Wellesley, MA (October 8, 2011-January 8, 2012); Mint Museum of Art, Charlotte, NC (February 11, 2012-May 13, 2013).", "opening_date": "2011-06-05T00:00:00"}], "legacy": [{"description": "Catherine Viviano Gallery, New York, \"Kay Sage: Exhibition of Paintings,\" January 3-28, 1956, no. 7.", "opening_date": "1956-01-03T05:00:00Z"}, {"description": "Catherine Viviano Gallery, New York, \"Kay Sage Retrospective Exhibition, 1937-1958,\" April 5-30, 1960, no. 45.", "opening_date": "1960-04-05T05:00:00Z"}]}, "provenance": [{"description": "Kay Sage [1898-1963], Woodbury, CT, bequest to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1955-1964", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1964-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "To maintain her own identity, Sage often refused to exhibit with her husband, also an artist.", "description": "Sage created this work, one of her most somber and desolate, shortly after the death of her husband, Yves Tanguy (1900\u20131955), who was also an esteemed Surrealist painter. The title likely refers to the folk legend that says a wild bird flying into a house is a premonition of death\u2014an actual event that Sage experienced shortly before Tanguy passed away. Although for most of her career she was a prolific artist, Sage increasingly lost her momentum and inspiration during widowhood. Unable to endure living with her loss, she became reclusive and depressed, eventually succeeding in her second attempt at suicide by shooting herself in the heart.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60469230"], "internet_archive": []}, "citations": [{"citation": "Porter, Fairfield. \"Kay Sage,\" <em>Art News </em>54 (January 1956).", "page_number": "Mentioned: p. 56; Reproduced: p. 56", "url": null}, {"citation": "Breuning, Margaret. \"Kay Sage,\" <em>Arts </em>30 (January 1956).", "page_number": "Mentioned: p. 49", "url": null}, {"citation": "Devree, Howard. \"Reality and Fantasy.\" <em>New York Times</em>, January 8, 1956.", "page_number": "Reproduced: p. 19", "url": null}, {"citation": "<em>Kay Sage Retrospective Exhibition, 1937-1958</em>, exh. cat. (New York: Catherine Viviano Gallery, 1960)", "page_number": "Reproduced: n. 45", "url": null}, {"citation": "\"Annual Report for 1964,\" <em>The Bulletin of The Cleveland Museum of Art</em> 52 (June 1965).", "page_number": "Mentioned: p. 156-157", "url": null}, {"citation": "\"Year in Review,\" <em>The Bulletin of The Cleveland Museum of Art </em>52 (November 1965).", "page_number": "Reproduced: p. 157", "url": null}, {"citation": "Bailey, Holly M. <em>Kay Sage, 1898-1963</em>. Ithaca, NY: Herbert F. Johnson Museum of Art, 1977.", "page_number": "Reproduced: n. 53", "url": null}, {"citation": "Andre, Tomas. \"Kay Sage: Exploring the Conscious Unconscious.\" <em>Ithaca Post, </em>Art section, February 27, 1977.", "page_number": null, "url": null}, {"citation": "Appelhof, Ruth Ann. \"Kay Sage: the Super-Reality of Dreams and Modern Women Artists.\" <em>Syracuse Guide </em>Visual Arts section, May 1977.", "page_number": null, "url": null}, {"citation": "Miller, Stephen R. \"The Surrealist Imagery of Kay Sage,\" <em>Art International</em> 26 (September - October 1983).", "page_number": "Mentioned: p. 45; Reproduced: p. 44", "url": null}, {"citation": "Suther, Judith D. <em>A House of Her Own: Kay Sage, Solitary Surrealist. </em>Lincoln: University of Nebraska Press, 1997.", "page_number": "Mentioned: p. 167-171; Reproduced: p. 39", "url": null}, {"citation": "Miller, Stephen Robeson, Jonathan Stuhlman. <em>Double Solitaire: The Surreal Worlds of Kay Sage and Yves Tanguy</em>. ed. Nancy Wallach. Katonah, N.Y.: Katonah Museum of Art, 2011.", "page_number": "Reproduced: p. 98, no. 44", "url": null}, {"citation": "Miller, Stephen Robeson, Jessie Sentivan, Mary Ann Caws, and Kay Sage. <em>Kay Sage: Catalogue Raisonne\u0301</em>. New York, NY : DelMonico Books/Prestel, 2018.", "page_number": "jMentioned & reproduced: p. 290-291, pl. 1955.3", "url": null}], "url": "https://clevelandart.org/art/1964.340", "images": {}, "alternate_images": [], "creditline": "Bequest of Kay Sage Tanguy", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Hammond Hemmelgarn Family Gallery", "athena_id": 140396, "creators": [{"id": 3631, "description": "Kay Sage (American, 1898\u20131963)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1898", "death_year": "1963", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1964-10-31T00:00:00", "sortable_date": 1955, "date_added_to_oa": null, "date_text": "1955", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:03:50.076000"}, {"id": 129265, "accession_number": "1952.153", "share_license_status": "Copyrighted", "tombstone": "Interior with an Etruscan Vase (Int\u00e9rieur au vase \u00e9trusque), 1940. Henri Matisse (French, 1869\u20131954). Oil on canvas; framed: 102.2 x 129.5 x 12.1 cm (40 1/4 x 51 x 4 3/4 in.); unframed: 73.7 x 108 cm (29 x 42 1/2 in.). The Cleveland Museum of Art, Gift of the Hanna Fund, 1952.153. \u00a9 Succession H. Matisse / Artists Rights Society (ARS), New York", "current_location": null, "title": "Interior with an Etruscan Vase (Int\u00e9rieur au vase \u00e9trusque)", "creation_date": "1940", "creation_date_earliest": 1940, "creation_date_latest": 1940, "artists_tags": ["male"], "culture": ["France, 20th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 102.2 x 129.5 x 12.1 cm (40 1/4 x 51 x 4 3/4 in.); Unframed: 73.7 x 108 cm (29 x 42 1/2 in.)", "dimensions": {"framed": {"height": 1.022, "width": 1.295, "depth": 0.121}, "unframed": {"height": 0.737, "width": 1.08}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Succession H. Matisse / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "Signed lower right: \"Henri Matisse 40\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 701684, "title": "Re\u0301trospective Henri Matisse", "description": "<i>Re\u0301trospective Henri Matisse</i>. Muse\u00e9 National d'art Moderne, Paris, France (organizer) (June 1-November 18, 1956).", "opening_date": "1956-06-01T04:00:00"}, {"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": 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": 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": 517539, "title": "Seventy-Five Masterworks", "description": "<i>Seventy-Five Masterworks</i>. Portland Museum of Art, Portland, ME (organizer) (December 12, 1967-January 21, 1968).", "opening_date": "1967-12-12T05:00:00"}, {"id": 443384, "title": "Henri Matisse", "description": "<i>Henri Matisse</i>. French Academy in Rome, Rome, Italy (organizer) (November 24, 1978-January 28, 1979).", "opening_date": "1978-11-24T05:00:00"}, {"id": 442228, "title": "Henri Matisse Retrospective", "description": "<i>Henri Matisse Retrospective</i>. Kunsthaus Z\u00fcrich, CH-8024 Z\u00fcrich, Switzerland (organizer) (October 14, 1982-January 16, 1983).", "opening_date": "1982-10-14T04:00:00"}, {"id": 442150, "title": "Matisse Retrospective", "description": "<i>Matisse Retrospective</i>. Moderna Museet, Stockholm, Sweden (organizer) (November 3, 1984-January 6, 1985); Louisiana Museum of Modern Art, Humbelbaek, Denmark (January 19-April 14, 1985).", "opening_date": "1984-11-03T05:00:00"}, {"id": 214554, "title": "La r\u00e9v\u00e9lation m'est venue de l'Orient", "description": "<i>La r\u00e9v\u00e9lation m'est venue de l'Orient</i>. Palazzo dei Conservatori (Musei Capitolini, Rome) (September 19, 1997-January 20, 1998).", "opening_date": "1997-09-19T00:00:00"}, {"id": 218577, "title": "Henri Matisse:  La r\u00e9v\u00e9lation me'est venue de l'Orient", "description": "<i>Henri Matisse:  La r\u00e9v\u00e9lation me'est venue de l'Orient</i>. Musei Capitolini, Rome, Italy (September 19, 1997-January 20, 1998).", "opening_date": "1997-09-19T00:00:00"}, {"id": 214256, "title": "Henri Matisse:  Process and Variation", "description": "<i>Henri Matisse:  Process and Variation</i>. National Museum of Western Art, Tokyo, Tokyo, Japan (organizer) (September 10-December 12, 2004).", "opening_date": "2004-09-10T00:00:00"}, {"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": 224310, "title": "Henri Matisse: Interiors with Women", "description": "<i>Henri Matisse: Interiors with Women</i>. Kunstsammlung Nordrhein-Westfalen, D\u00fcsseldorf, Germany (October 29, 2005-February 26, 2006); Fondation Beyeler, CH-4125 Riehen/Basel, Switzerland (organizer) (March 19-July 23, 2006).", "opening_date": "2005-10-29T00:00:00"}, {"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>. 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).", "opening_date": "2015-10-06T00:00:00"}, {"id": 281796, "title": "Matisse in the Studio", "description": "<i>Matisse in the Studio</i>. Museum of Fine Arts, Boston, Boston, MA (organizer) (April 9-July 9, 2017).", "opening_date": "2017-04-09T04:00:00"}, {"id": 380560, "title": "Matisse in the 1930s", "description": "<i>Matisse in the 1930s</i>. Philadelphia Museum of Art, Philadelphia, PA (organizer) (October 13, 2022-January 29, 2023); Mus\u00e9e de l'Orangerie, Paris, France (February 27-May 29, 2023); Mus\u00e9e Matisse, Nice, France (June 23-September 24, 2023).", "opening_date": "2022-10-13T04:00:00"}, {"id": 449908, "title": "Matisse - Invitation to Voyage", "description": "<i>Matisse - Invitation to Voyage</i>. Fondation Beyeler, CH-4125 Riehen/Basel, Switzerland (organizer) (September 22, 2024-January 26, 2025) https://www.fondationbeyeler.ch/ausstellungen/henri-matisse.", "opening_date": "2024-09-22T04:00:00"}], "legacy": []}, "provenance": [{"description": "The artist", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "Paul Rosenberg (1881-1959), Bordeaux, France", "citations": [], "footnotes": null, "date": "1940", "sortorder": 2}, {"description": "Confiscated by Nazi ERR (Einsatzstab Reichsleiter Rosenberg), sent to Paris", "citations": [], "footnotes": null, "date": "", "sortorder": 3}, {"description": "Hermann Goering (1893-1946)", "citations": [], "footnotes": null, "date": "1941", "sortorder": 4}, {"description": "Traded to Gustav Rochlitz (1889-1972)", "citations": [], "footnotes": null, "date": null, "sortorder": 5}, {"description": "Recovered by Allied Forces, Munich Central Collection Point, Germany", "citations": [], "footnotes": null, "date": "1946", "sortorder": 6}, {"description": "[Restituted to Paul Rosenberg Gallery, New York, NY]", "citations": [], "footnotes": null, "date": "1946", "sortorder": 7}, {"description": "Leigh Block, Chicago, IL", "citations": [], "footnotes": null, "date": "about 1947", "sortorder": 8}, {"description": "[Paul Rosenberg Gallery, New York]", "citations": [], "footnotes": null, "date": null, "sortorder": 9}, {"description": "[Pierre Matisse Gallery, New York]", "citations": [], "footnotes": null, "date": "around 1952", "sortorder": 10}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "When Matisse's <em>Blue Nude</em> was shown in the 1913 Armory show, the violent, unnaturalistic colors and distorted forms so enraged students and faculty from the Art Institute of Chicago that they burned a copy in effigy.", "description": "In this interior, a woman is seated at a table with an open book and scattered fruits. The artist painted green potted philodendrons, a red patterned curtain, and an orange antique vase to create an exuberantly colorful composition. Henri Matisse painted this interior in his studio-residence at the H\u00f4tel R\u00e9gina in Nice on the coast of southeastern France about six months after the outbreak of WWII. As he explained in a letter to a friend, making art provided the equilibrium he needed to withstand the tragedy unfolding in the world beyond his studio.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60472163"], "internet_archive": []}, "citations": [{"citation": "Ballou, Mary G. \"\"Interior with Etruscan Vase\" by Henri Matisse.\" <em>The Bulletin of the Cleveland Museum of Art</em> 39, no. 10 (December 1952): 239-241.", "page_number": "Mentioned: P. 239-240; Reproduced: P. 241", "url": "http://www.jstor.org/stable/25141841"}, {"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. 518", "url": "https://archive.org/details/CMAHandbook1958/page/n96"}, {"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. 199", "url": "https://archive.org/details/CMAHandbook1966/page/n223"}, {"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. 199", "url": "https://archive.org/details/CMAHandbook1969/page/n223"}, {"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": "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. 248", "url": "https://archive.org/details/CMAHandbook1978/page/n268"}, {"citation": "Sievers, Ann H., Linda D. Muehlig, and Nancy Rich. <em>Master Drawings from the Smith College Museum of Art</em>. New York, New York: Hudson Hills Press, 2000.", "page_number": "Reproduced: p. 246, fig. 2", "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. 60, no. 63; Mentioned: p. 118", "url": null}, {"citation": "Tanaka, Masayuki, and Chika Amano. <em>Matisu ten</em>. To\u0304kyo\u0304, Japan: Yomiuri Shinbun To\u0304kyo\u0304 Honsha Bunka, 2004.", "page_number": "Reproduced: p. 192. fig. 6", "url": null}, {"citation": "Mu\u0308ller-Tamm, Pia, ed. <em>Henri Matisse: Figure, Color, Space</em>. Ostfildern-Ruit: Hatje Cantz, 2005.", "page_number": "Mentioned and reproduced: p. 248, no. 164; mentioned: p. 370", "url": ""}, {"citation": "Ciuha, Delia. <em>Eros in der Kunst der Moderne: Ausstellung \"Eros in der Kunst der Moderne\", Fondation Beyeler, Riehen/Basel, 8. Oktober 2006-18. Februar 2007 ; BA-CA Kunstforum, Wien, 1. Ma\u0308rz - 22. Juli 2007</em>. Ostfildern, Germany: Hatje Cantz, 2006.", "page_number": "Reproduced: p. 157", "url": null}, {"citation": "<em>Treasures of the Cleveland Museum of Art</em>. London, United Kingdom: Scala Books, 2012.", "page_number": "Reproduced: p. 318-319", "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. 301", "url": ""}, {"citation": "Essers, Volkmar.<em> Henri Matisse, 1869-1954: Master of Colour.</em> K\u00f6ln: Benedikt Taschen, 2016.", "page_number": "Reproduced: p. 74-75", "url": null}, {"citation": "McBreen, Ellen. \"The Studio as Theater.\" In <em>Matisse in the Studio. </em>Ellen McBreen, and Helen Burnham, 113-139. Boston, Massachusetts: MFA publications, Museum of Fine Arts, Boston, 2017.", "page_number": "Reproduced: p. 139, no. 124", "url": null}, {"citation": "Dorfman, John. \"Matisse Madness.\" <em>Art &amp; Antiques</em>, (Apr. 2017): 48-54.", "page_number": "Reproduced: p. 48", "url": null}, {"citation": "Klein, John. <em>Matisse and Decoration</em>. New Haven: Yale University Press, 2018.", "page_number": "Mentioned and reproduced: p. 94, fig 4.1", "url": null}, {"citation": "Gu\u00e9gan, St\u00e9phane. <em>Matisse sans Fronti\u00e8res.</em> [Paris]: Gallimard, 2025.", "page_number": "Mentioned: p. 155' Reproduced: p. 158, fig. 124", "url": ""}, {"citation": "Grammont, Claudine, and Ellen McBreen. <em>Matisse. </em>Translated by Christian Vair. Paris: Citadelles &amp; Mazenod, 2025.", "page_number": "Mentioned and reproduced: p. 263-264, no. 259; Reproduced: p. 7", "url": ""}], "url": "https://clevelandart.org/art/1952.153", "images": {}, "alternate_images": [], "creditline": "Gift of the Hanna Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 129265, "creators": [{"id": 2130, "description": "Henri Matisse (French, 1869\u20131954)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1869", "death_year": "1954", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1952-05-06T00:00:00", "sortable_date": 1940, "date_added_to_oa": null, "date_text": "1940", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": [], "is_highlight": true, "updated_at": "2026-03-27 16:32:36.118000"}, {"id": 164628, "accession_number": "2006.137", "share_license_status": "Copyrighted", "tombstone": "A Paramount Picture, 1934. Reginald Marsh (American, born France, 1898\u20131954). Tempera on Masonite; framed: 107.3 x 86.4 x 4.5 cm (42 1/4 x 34 x 1 3/4 in.); unframed: 90.8 x 70.5 cm (35 3/4 x 27 3/4 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 2006.137. \u00a9 Estate of Reginald Marsh / Art Students League, New York / Artists Rights Society (ARS), New York", "current_location": "226B American Modern", "title": "A Paramount Picture", "creation_date": "1934", "creation_date_earliest": 1934, "creation_date_latest": 1934, "artists_tags": ["male"], "culture": ["America"], "technique": "tempera on Masonite", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 107.3 x 86.4 x 4.5 cm (42 1/4 x 34 x 1 3/4 in.); Unframed: 90.8 x 70.5 cm (35 3/4 x 27 3/4 in.)", "dimensions": {"framed": {"height": 1.073, "width": 0.864, "depth": 0.045}, "unframed": {"height": 0.908, "width": 0.705}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of Reginald Marsh / Art Students League, New York / Artists Rights Society (ARS), New York", "inscriptions": [], "exhibitions": {"current": [{"id": 224514, "title": "Swing Time:  Reginald Marsh and Thirties New York", "description": "<i>Swing Time:  Reginald Marsh and Thirties New York</i>. New-York Historical Society, New York, NY (organizer) (June 21-September 2, 2013).", "opening_date": "2013-06-21T00:00:00"}, {"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": "New-York Historical Society (6/21/2013 - 9/2/2013):  \"Swing Time:  Reginald Marsh and Thirties New York\"", "opening_date": "2013-06-21T00:00:00"}]}, "provenance": [{"description": "Senator William Benton; Marjorie and Charles Benton, Wilmette, IL", "citations": [], "footnotes": [], "date": "By 1973", "sortorder": 1}, {"description": "Merrill C. Berman, New York, NY", "citations": [], "footnotes": [], "date": "By 1996", "sortorder": 2}, {"description": "(D. Wigmore Fine Art, Inc. New York, NY sold to Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": [], "date": "By 2002", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2006-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Marsh kept meticulous records, indicating that he created this painting between September 5\u201324, 1934.", "description": "Contrasting the real lives of everyday people with the reel lives of movie stars, this painting portrays a working-class woman standing by a Times Square theater in front of a large poster advertising Cecil B. DeMille\u2019s blockbuster movie <em>Cleopatra</em>, starring Claudette Colbert in the title role. Enormously popular, such film spectacles offered escapist glamour, romance, and power amid the challenges of the Great Depression. Yet, despite the distraction of the city and its entertainments, the woman remains weary and essentially alone in the crowd.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60480344"], "internet_archive": []}, "citations": [{"citation": "Lant, Antonia, \"The Curse of the Pharaoh, or How Cinema Contracted Egyptomania,\" <em>October </em>59 (Winter 1992).<em><br></em>", "page_number": "Mentioned p. 112; Reproduced p. 111.", "url": null}, {"citation": "Lant, Antonia, \"The Curse of the Pharoah, or How Cinema Contracted Egyptomania,\" in Matthew Bernstein and Gaylyn Studlar, eds., V<em>isions of the East: Orientalism in Film </em>(New Brunswick, NJ: Rutgers University Press, 1997).", "page_number": "Mentioned, p. 93; Reproduced p. 92.", "url": ""}, {"citation": "Lant, Antonia, \"The Curse of the Pharaoh, or How Cinema Contracted Egyptomania,\" in Matthew Bernstein and Gaylyn Studlar, eds., <em>Visions of the East: Orientalism in Film </em>(New Brunswick, NJ: Rutgers University Press, 1997).", "page_number": "Mentioned p. 93; reproduced p. 92.", "url": ""}, {"citation": "\u201c\u2019Art of Today\u2019 Put on Exhibition at Albright Gallery, Buffalo.\u201d <em>The Art Digest </em>10 (January 15th, 1936).", "page_number": "Rerpoduced: p. 20", "url": null}, {"citation": "Goodrich, Lloyd. <em>Reginald Marsh. </em>New York: Harry N. Abrams Inc. Publishers, 1972.", "page_number": "Reproduced: p. 63", "url": null}, {"citation": "Sokol, David M. \u201cSolitude: Inner Visions in American Art.\u201d In <em>Solitude: Inner Visions in American Art</em> <em>September 25- December 30,1982. </em>Evanston: Terra Museum of American Art, 1982.", "page_number": "Mentioned: p. 13,15", "url": null}, {"citation": "Cohen, Marilyn. <em>Reginald Marsh\u2019s New York: Paintings, Drawings, Prints and Photographs. </em>New York: Whitney Museum of Art, 1983.", "page_number": "Mentioned: p. 52; Reproduced: inside front cover", "url": null}, {"citation": "Doss, Erika. \u201cImages of American Women in the 1930s: Reginald Marsh and <em>Paramount Picture.</em>\u201d <em>Woman\u2019s Art Journal </em>4 (Fall/Winter 1983).", "page_number": "Mentioned: p. 1,3", "url": null}, {"citation": "\u201cSpellbound in Darkness.\u201d In <em>Hollywood: Legend and Reality, </em>reproduction 17. Michael Webb, ed. Boston: Little, Brown and Company, in association with Smithsonian Institution Traveling Exhibition Service, 1986.", "page_number": "Mentioned: p. 17", "url": null}, {"citation": "Cohen, Marilyn Ann. \u201cReginald Marsh: An Interpretation of His Art.\u201d PhD. Diss., New York University, 1987.", "page_number": "Mentioned: p. 73,92,182", "url": null}, {"citation": "Todd, Ellen Wiley. \u201cSex for Sale: Reginald Marsh\u2019s Voluptuous Shopper.\u201d In <em>The \u2018New Woman\u2019 Revised: Painting and Gender Politics on Fourteenth Street. </em>Berkeley: University of California Press, 1993.", "page_number": "Mentioned: p. 200, 211-217,355-358", "url": null}, {"citation": "Berman, Avis. \u201cReginald Marsh: Eros and the City.\u201d In <em>Reginald Marsh\u2019s New York. </em>New York: D C Moore Gallery, 1996.", "page_number": "Mentioned: p. 1, 6-7", "url": null}, {"citation": "Charney, Leo. \u201cIn Order: Fragmentation in Film and Vaudeville.\u201d In <em>On the Edge of Your Seat: Popular Theater and Film in Early Twentieth-Century American Art, </em>107-123. Robert C. Allen, C. Lance Brockman, Leo Charney, Walter Murch, David Nasaw, Robert Silberman, Laural Weintraub, Sylvia Yount, and Rebecca Zurier. New Haven: Yale University Press, 2002.", "page_number": "Reproduced: p. 118", "url": null}, {"citation": "\u201cHighlights from the Collection.\u201d In D. Wigmore Fine Art, Inc. catalog, 2004.", "page_number": "Reproduced: p. 22", "url": null}, {"citation": "Litt, Steven. \u201cMuseum buys Marsh\u2019s \u2018Paramount\u2019.\u201d <em>Plain Dealer, </em>September 14, 2006.", "page_number": "Mentioned: p. F1, F4", "url": null}, {"citation": "Cole, Mark, \"A Paramount Picture\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 47 no. 01, January 2007", "page_number": "Mentioned & reproduced: p. 8", "url": "https://archive.org/details/CMAMM2007-01/page/8"}, {"citation": "\u201cAcquisitions.\u201d <em>The Cleveland Museum of Art Annual Report </em>July 1, 2006- June 30, 2007.", "page_number": "Mentioned: p. 25", "url": "https://ingallslibrary.on.worldcat.org/atoztitles/link?rft.issn=1922-2009"}, {"citation": "Cole, Mark. \u201cObjects of Desire: Collecting American Paintings at the Cleveland Museum of Art.\u201d In <em>What\u2019s American about American Art? A Gallery Tour in the Cleveland Museum of Art, </em>Henry Adams. Manchester: the Cleveland Museum of Art in association with Hudson Hills Press, 2008.", "page_number": "Mentioned: p. 13; Reproduced: p. 11", "url": null}, {"citation": "Adams, Henry. <em>What\u2019s American about American Art? A Gallery Tour in the Cleveland Museum of Art. </em>Manchester: The Cleveland Museum of Art in association with Hudson Hills Press, 2008.", "page_number": "Mentioned: p. 134-135", "url": null}, {"citation": "Cole, Mark. \u201cA Picture Finds Its Frame.\u201d <em>Cleveland Art </em>50 no. 4 (July/August 2010).", "page_number": "Mentioned: p. 26-27", "url": null}, {"citation": "Cole, Mark. \"A Picture Finds Its Frame.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 50, no. 4 (July/August 2010): 26-27.", "page_number": "Mentioned and reproduced: p. 26-27", "url": "https://archive.org/details/CMAMM2010-04/page/n25/mode/2up"}, {"citation": "Franklin, David. \u201cRecent Acquisitions (2005-11) at the Cleveland Museum of Art.\u201d <em>The Burlington Magazine </em>154, no. 1312 (July 2012).", "page_number": "Mentioned: p. 532", "url": null}, {"citation": "Bronfen, Elisabeth. \u201cAuf der Suche nach Kleopatra: Das Nachleben einer kulturellen Ikone.\u201d In <em>Kleopatra: Die Ewige Diva. </em>Italy: Alle Rechte vorbehalten, in association with Kunst-und Ausstellungshalle de Bundespreublik Deutschland, Bonn, 2013.", "page_number": "Mentioned: p. 8,18", "url": null}, {"citation": "Russeth, Andrew. \u201c\u2019Swing Time: Reginald Marsh and Thirties New York\u2019 at the New-York Historical Society.\u201d <em>Gallerist NY, </em>June 25, 2013.", "page_number": null, "url": null}, {"citation": "Russeth, Andrew. \u201c\u2019Swing Time: Reginald Marsh and Thirties New York\u2019 at the New-York Historical Society.\u201d <em>Observer, </em>June 25, 2013.", "page_number": null, "url": null}, {"citation": "The Cleveland Museum of Art. <em>The CMA Companion: A Guide to the Cleveland Museum of Art. </em>New York: Scala Arts Publishers, 2014.", "page_number": "Mentioned: p. 58", "url": null}, {"citation": "Doss, Erika. \u201cParamount Pictures: Reginald Marsh and the Image of the American Woman in the 1930s.\u201d <em>American Studies Exchange </em>(Fall 1982).", "page_number": "Mentioned: p. 3-12", "url": null}, {"citation": "Bovot, Jean-Luc. \"Le Cin\u00e9ma \u00c9gyptisant \u00c0 l'\u00c9poque de l'Art D\u00e9co.\" In <em>Art de\u0301co: \u00c9gyptomanie, </em>edited by Jean-Marcel Humbert, 167-179. Paris, France: Norma E\u0301ditions, 2022.", "page_number": "Reproduced: p. 175", "url": ""}], "url": "https://clevelandart.org/art/2006.137", "images": {}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Hammond Hemmelgarn Family Gallery", "athena_id": 164628, "creators": [{"id": 31614, "description": "Reginald Marsh (American, born France, 1898\u20131954)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1898", "death_year": "1954", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2006-09-05T00:00:00", "sortable_date": 1934, "date_added_to_oa": null, "date_text": "1934", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:05:23.841000"}, {"id": 126758, "accession_number": "1949.18", "share_license_status": "Copyrighted", "tombstone": "The Dessert, 1921. Pierre Bonnard (French, 1867\u20131947). Oil on fabric; framed: 114.6 x 117.5 x 7.9 cm (45 1/8 x 46 1/4 x 3 1/8 in.); unframed: 76.2 x 80 cm (30 x 31 1/2 in.). The Cleveland Museum of Art, Gift of the Hanna Fund, 1949.18. \u00a9 Artists Rights Society (ARS), New York / ADAGP, Paris", "current_location": "223 20th Century Avant-Garde", "title": "The Dessert", "creation_date": "1921", "creation_date_earliest": 1921, "creation_date_latest": 1921, "artists_tags": ["Nabis", "male"], "culture": ["France, 20th century"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 114.6 x 117.5 x 7.9 cm (45 1/8 x 46 1/4 x 3 1/8 in.); Unframed: 76.2 x 80 cm (30 x 31 1/2 in.)", "dimensions": {"framed": {"height": 1.146, "width": 1.175, "depth": 0.079}, "unframed": {"height": 0.762, "width": 0.8}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Artists Rights Society (ARS), New York / ADAGP, Paris", "inscriptions": [{"inscription": "Signed dark red at lower left: Bonnard\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": 191797, "title": "Object in Focus: Pierre Bonnard's The Dessert", "description": "<i>Object in Focus: Pierre Bonnard's The Dessert</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 1-October 14, 1997).", "opening_date": "1997-09-01T00:00:00"}, {"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": 396695, "title": "Impressionism to Modernism: The Keithley Collection", "description": "<i>Impressionism to Modernism: The Keithley Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 11, 2022-January 8, 2023).", "opening_date": "2022-09-11T04:00:00"}], "legacy": [{"description": "Possibly Paris. Premi\u00e8re exposition des collections au profit de la Soci\u00e9t\u00e9 des Amis du Luxembourg (according to damaged label on the back).", "opening_date": null}, {"description": "Antwerp, Kunst van Heden/Art Contemporain. Exposition d'art fran\u00e7ais moderne (1926), no. 3, Au dessert, App. \u00e0 M. A. Kapferer.", "opening_date": "1926-01-01T00:00:00"}, {"description": "Possibly Brussels, Palais des Beaux-Arts. Exposition d'Art Fran\u00e7ais Moderne (1929), no. 418, Apr\u00e8s le d\u00e9jeuner; or no. 421, Dessert, both owned by Kapferer.", "opening_date": "1929-01-01T00:00:00"}, {"description": "Paris, Galerie O. P\u00e9trid\u00e8s. 18 peintures de Bonnard (1943), no. 15 (repr.), Apr\u00e8s le d\u00e9jeuner.", "opening_date": "1943-01-01T00:00:00"}, {"description": "New York, Paul Rosenberg. Bonnard (1956), no. 6, 10 (repr.).", "opening_date": "1956-01-01T00:00:00"}, {"description": "Akron (Ohio) Art Institute. Masterpiece Series (1957), no catalogue.", "opening_date": "1957-01-01T00:00:00"}, {"description": "Cleveland, Ohio:  The Cleveland Museum of Art; September 1 - October 14, 1997.  \"Object in Focus:  Pierre Bonnard's The Dessert.\"", "opening_date": "1997-09-01T00:00:00"}, {"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 Kapferer [1870-1956] and Marcel Kapferer [1872-1966], Paris", "citations": [], "footnotes": ["<div><!--block-->The Kapferer brothers are listed as the lenders/owners of Bonnard\u2019s <em>Le Dessert</em>, no. 108 in the <em>Premi\u00e8re exposition au profit de la Soci\u00e9t\u00e9 des Amis du Luxembourg.</em>&nbsp; The Bonnard catalogue raisonn\u00e9 incorrectly lists this exhibition as taking place in 1932.</div>"], "date": "By 1924", "sortorder": 1}, {"description": "(Galerie O. P\u00e9trid\u00e8s, Paris", "citations": [], "footnotes": ["<div><!--block-->While there have been some suggestions that the Bonnard was with Galerie P\u00e9trid\u00e8s in 1932, there does not appear to be any confirming documentation; however, the painting does appear in a 1943 Bonnard exhibition at the gallery (no. 15, <em>Apr\u00e8s le d\u00e9jeuner</em>). &nbsp;</div>"], "date": "By 1943", "sortorder": 2}, {"description": "(Paul Rosenberg & Co., New York, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "Until 1949", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, Ohio", "citations": [], "footnotes": [], "date": "1949-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In this painting Pierre Bonnard gives us a colorful glimpse of an intimate dinner scene at the beginning of the 2. He places us close to the figures and a little bit higher, as if we were just standing to leave the table, allowing the viewer to imagine being part of the scene.", "description": "This domestic scene depicts a woman at a dining table accompanied by a young man at whose side is a small dog, just visible at the edge of the table. The woman is the artist\u2019s wife, Marthe. The boy has been identified as Ari Redon, the son of artist Odilon Redon; and the dachshund is the Bonnard family pet, Poucette. The painting explores the simple pleasures of daily life\u2014a shared meal, quiet companionship\u2014enriched through the application of glowing, sensual color.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60515635"], "internet_archive": []}, "citations": [{"citation": "Paul Rosenberg &amp; Co., invoice to the Cleveland Museum of Art, Feb. 7, 1949, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Galerie O. Pe\u0301tride\u0300s.  <em>18 peintures de Bonnard.</em> Paris: Galerie O. Pe\u0301tride\u0300s, 1943.", "page_number": null, "url": null}, {"citation": "Socie\u0301te\u0301 des amis du Luxembourg. <em>1re exposition de collectionneurs: ouverte du 10 mars au 10 avril 1924 au profit de la Soci\u02b9et\u02b9e des Amis du Luxembourg en l'Hotel de la Curiosit\u02b9e et des Beaux-Arts</em>. Paris: Frazier-Soye, 1924.", "page_number": null, "url": null}, {"citation": "Francis, Henry S. \u201cThe Art of Pierre Bonnard.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 37, no. 1 (January 1950): 2, 5\u20138.", "page_number": "Reproduced: p. 2; Mentioned: p. 5-8", "url": "http://www.jstor.org/stable/25141599"}, {"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. 516", "url": "https://archive.org/details/CMAHandbook1958/page/n95"}, {"citation": "Henning, Edward B. \u201cSouth of His House, North of His House: Nyack, a Painting by Fairfield Porter.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 58, no. 3 (March 1971): 85\u201390.", "page_number": "Mentioned and reproduced: p. 86-87, fig. 3", "url": "http://www.jstor.org/stable/25152366"}, {"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. 226", "url": "https://archive.org/details/CMAHandbook1978/page/n246"}, {"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, fig. 5", "url": "http://www.jstor.org/stable/25159565"}, {"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. 46-47, Vol. I, no. 17", "url": ""}, {"citation": "Franklin, David. <em>The Cleveland Museum of Art.</em> London: Scala Arts &amp; Heritage Publishers Ltd., 2012.", "page_number": "Reproduced: p. 68 - 69", "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. 299", "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. 42", "url": "https://archive.org/details/CMAPaintings1952"}, {"citation": "Serrano, Ve\u0301ronique. <em>Bonnard et la Po\u00e9sie d'un Objet Ordinaire. </em>Cinisello Balsamo, Milano: Silvana Editoriale, 2024.", "page_number": "Reproduced: p. 10, p. 53; Mentioned: p. 11", "url": ""}], "url": "https://clevelandart.org/art/1949.18", "images": {}, "alternate_images": [], "creditline": "Gift of the Hanna Fund", "image_credit": null, "sketchfab_id": "49047a8dc9424533afb31095f3a55c27", "sketchfab_url": "https://sketchfab.com/models/49047a8dc9424533afb31095f3a55c27", "gallery_donor_text": "Michael J. Horvitz Family Gallery", "athena_id": 126758, "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": "1949-02-03T00:00:00", "sortable_date": 1921, "date_added_to_oa": null, "date_text": "1921", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": ["After Dinner"], "is_highlight": false, "updated_at": "2026-04-07 22:03:15.643000"}, {"id": 142792, "accession_number": "1966.49", "share_license_status": "CC0", "tombstone": "Wrestlers in a Circus, 1909. Ernst Ludwig Kirchner (German, 1880\u20131938). Oil on canvas; framed: 107.5 x 121 x 7 cm (42 5/16 x 47 5/8 x 2 3/4 in.); unframed: 80.5 x 94 cm (31 11/16 x 37 in.). The Cleveland Museum of Art, Contemporary Collection of The Cleveland Museum of Art and Bequest of William R. Valentiner, 1966.49", "current_location": "225 German Expressionism & Surrealism", "title": "Wrestlers in a Circus", "creation_date": "1909", "creation_date_earliest": 1909, "creation_date_latest": 1909, "artists_tags": ["male"], "culture": ["Germany, 20th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 107.5 x 121 x 7 cm (42 5/16 x 47 5/8 x 2 3/4 in.); Unframed: 80.5 x 94 cm (31 11/16 x 37 in.)", "dimensions": {"framed": {"height": 1.075, "width": 1.21, "depth": 0.07}, "unframed": {"height": 0.805, "width": 0.94}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower left:  E. L. Kirchner.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 445095, "title": "Brucke Artists 1905 - 1910", "description": "<i>Brucke Artists 1905 - 1910</i>. Br\u00fccke-Museum Berlin, Berlin (Dahlem), Germany (organizer) (September 8-October 28, 1973).", "opening_date": "1973-09-08T04:00:00"}], "legacy": []}, "provenance": [{"description": "Artist\u2019s estate, sold to Grosshennig Gallery", "citations": [], "footnotes": ["<div><!--block-->After Kirchner\u2019s death in 1938, his estate passed into the hands of his wife, Erna.&nbsp; The contents of the estate remained in the Kirchner home in Davos until 1946, when they were transferred to the Kunstmuseum Basel. In 1948 the collection was inventoried, and it remained at the Kunstmuseum Basel until 1954 under the supervision of the museum\u2019s director, Georg Schmidt.&nbsp; From 1954, Kirchner\u2019s works were in the care of the estate administrator, Roman Norbert Ketterer, appointed by Kirchner\u2019s heirs, who sold the CMA picture to Galerie Grosshennig on February 14, 1957.&nbsp;</div>"], "date": "1938-1957", "sortorder": 1}, {"description": "(Galerie Grosshennig, D\u00fcsseldorf, Germany, sold to Otto Gerson Gallery)", "citations": [], "footnotes": [], "date": "1957", "sortorder": 2}, {"description": "(Otto Gerson Gallery, New York, lent to Grosshennig Gallery on commission)", "citations": [], "footnotes": ["<div><!--block-->Although the mode of transfer of the Kirchner painting from Galerie Grosshennig to Otto Gerson Gallery is unclear, it occurred quickly, as the painting appears in a 1957 exhibition mounted by Gerson.&nbsp; The Kirchner is also recorded in the Otto Gerson stock books by June 1958 (stock no. P47), and in the gallery inventory by October 31 of that year.&nbsp; Neither the stock book nor the inventory clarify the circumstances of the transfer of the painting from Grosshennig to Gerson.&nbsp; Because Wilhelm Grosshennig and the Gerson Gallery worked very closely together throughout the 1950s and 1960s, it is quite possible the painting was under joint ownership.&nbsp;</div>"], "date": "1957 - by 1960", "sortorder": 3}, {"description": "(Galerie Grosshennig, D\u00fcsseldorf, Germany, returned unsold to Marlborough-Gerson Gallery)", "citations": [], "footnotes": ["<div><!--block-->The Kirchner was once again with Galerie Grosshennig, having been lent on commission by Gerson.&nbsp; It appeared in Grosshennig exhibitions in 1960 and 1962. &nbsp;</div>"], "date": "By 1960-1963", "sortorder": 4}, {"description": "(Marlborough-Gerson Gallery, New York, sold to Allan Frumkin)", "citations": [], "footnotes": ["<div><!--block-->After failing to sell at Grosshennig, the painting was returned to the Marlborough-Gerson Gallery, which had absorbed Gerson\u2019s stock after his death in 1960.&nbsp; After Gerson died, his widow, Ilse, Ralph Colin, executor of Gerson\u2019s estate, and Frank Lloyd and Harry Fischer, who had founded Marlborough Fine Art in London, created the Marlborough-Gerson Gallery in New York in 1963.&nbsp;</div>"], "date": "1963-1964", "sortorder": 5}, {"description": "(Allan Frumkin Gallery, New York, NY, sold to E.V. Thaw)", "citations": [], "footnotes": ["<div><!--block-->Several pieces of correspondence indicate that Frumkin purchased the painting in Germany, which could mean that he saw it at Grosshennig but purchased it through Marlborough-Gerson shortly thereafter, or that Grosshennig was involved in the sale in some capacity, as the two dealers were still closely associated. In any case, the Kirchner was certainly back with Marlborough-Gerson by 1963, and therefore Frumkin could not have purchased it directly from Grosshennig.&nbsp;</div>"], "date": "1964-1966", "sortorder": 6}, {"description": "(E. V. Thaw, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "1966", "sortorder": 7}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1966-", "sortorder": 8}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "During the 1930s, 639 works by Kirchner were removed from German museums and either destroyed or sold to foreign collectors and museums. The year after the Nazis organized the Degenerate Art exhibition in Munich, Kirchner committed suicide.", "description": "Locked in a dangerous embrace, beefy wrestlers writhe on a brightly colored mat. Famous for his scenes of urban life, Kirchner uses loose brushstrokes to capture the blur of bodies in motion. Imagine watching this intense match, surrounded by screaming spectators.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60469727"], "internet_archive": ["https://archive.org/details/clevelandart-1966.49-wrestlers-in-a-circu"]}, "citations": [{"citation": "Schmalenbach, Werner, and Rene\u0301 Wehrli. <em>Ernst Ludwig Kirchner, 1880-1938.  </em>Zu\u0308rich: Kunsthaus Zu\u0308rich, 1952.", "page_number": null, "url": null}, {"citation": "Gordon, Donald E. <em>Ernst Ludwig Kirchner</em>. Cambridge: Harvard University Press, 1968.", "page_number": null, "url": null}, {"citation": "<br>Wolfgang Henze, email to Victoria Sears Goldman, Jan. 7, 2015, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Wolfgang Henze, email to Victoria Sears Goldman, Dec. 11, 2014, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Wolfgang Henze, email to Victoria Sears Goldman, Jan. 7, 2015, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Wolfgang Henze, email to Victoria Sears Goldman, Dec. 11, 2014, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Otto and Ilse Gerson Papers, Business Records, reel 4051, Archives of American Art, Smithsonian Institution.", "page_number": null, "url": null}, {"citation": "Myers, Bernard Samuel.  <em>Ernst Ludwig Kirchner: New York, Fine Arts Associates Otto M. Gerson, November 12 - December 7, 1957</em>. New York: Fine Arts Associates, 1957.", "page_number": null, "url": null}, {"citation": "Eugene Victor Thaw, letter to Edward B. Henning, Nov. 17, 1967, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Otto and Ilse Gerson Papers, Business Records, reel 4051, Archives of American Art, Smithsonian Institution.", "page_number": null, "url": null}, {"citation": "Galerie Wilhelm Grosshennig. <em>Einladung zum Besuch meiner Ausstellung auserlesener Meisterwerke des 19. und 20. Jahrhunderts: Juni-August 1962</em>. 1962.", "page_number": null, "url": null}, {"citation": "Gordon, Donald E. <em>Ernst Ludwig Kirchner</em>. Cambridge: Harvard University Press, 1968.<em><br></em>", "page_number": null, "url": null}, {"citation": "Margaret Heuser-Mantell, letter to Margaret Burgess, Aug. 11, 2004, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Tuchman, Maurice. <em>Van Gogh and Expressionism: [Commentary]</em>. New York: Guggenheim Museum. 1964. New York: Solomon R. Guggenheim Museum, 1964.", "page_number": null, "url": null}, {"citation": "Margaret Heuser-Mantell, letter to Margaret Burgess, Aug. 11, 2004, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Eugene Victor Thaw, letter to Edward B. Henning, Nov. 17, 1967, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Eugene Victor Thaw, letter to Edward B. Henning, Nov. 17, 1967, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "<br>Margaret Burgess, fax to Alice Adam (handwritten notation on fax), July 20, 2004, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Eugene Victor Thaw, letter to Edward B. Henning, Nov. 17, 1967, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "", "page_number": "", "url": ""}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 196", "url": "https://archive.org/details/CMAHandbook1966/page/n220"}, {"citation": "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. 240; Mentioned: p. 283, no. 117", "url": "http://www.jstor.org/stable/25152110"}, {"citation": "Henning, Edward B. \u201cTwo German Expressionist Paintings.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 55, no. 4 (April 1968): 95\u2013102.", "page_number": "mentioned and reproduced: p. 95-96, fig. 1", "url": "http://www.jstor.org/stable/25152208"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 196", "url": "https://archive.org/details/CMAHandbook1969/page/n220"}, {"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": "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": "Lovleva, L. I.\" <em>Natalia Goncharova: Between East and West\"</em>. Moscow, Soviet Union; State Tretyakov Gallery, (2013): 40-51.", "page_number": "Reproduced: p. 46", "url": null}, {"citation": "Kunsthaus Zu\u0308rich, Kunsthaus. <em>Expressionismus in Deutschland und Frankreich Von Matisse zum Blauen Reiter</em>. Mu\u0308nchen. Germany: Prestel, 2014.", "page_number": "Reproduced: p. 59", "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. 296", "url": ""}, {"citation": "Moeller, Magdalena M. <em>Die Bru\u0308cke 1905-14</em>. Baden-Baden: Museum Frieder Burda; M\u00fcnchen: Hirmer, 2018.", "page_number": "Mentioned and reproduced: p. 118-119", "url": null}], "url": "https://clevelandart.org/art/1966.49", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1966.49/1966.49_web.jpg", "width": "1046", "height": "893", "filesize": "800337", "filename": "1966.49_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1966.49/1966.49_print.jpg", "width": "3400", "height": "2902", "filesize": "8456180", "filename": "1966.49_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1966.49/1966.49_full.tif", "width": "5500", "height": "4694", "filesize": "77487384", "filename": "1966.49_full.tif"}}, "alternate_images": [], "creditline": "Contemporary Collection of The Cleveland Museum of Art and Bequest of William R. Valentiner", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 142792, "creators": [{"id": 3155, "description": "Ernst Ludwig Kirchner (German, 1880\u20131938)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1880", "death_year": "1938", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1966-05-25T00:00:00", "sortable_date": 1909, "date_added_to_oa": null, "date_text": "1909", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": [], "is_highlight": true, "updated_at": "2026-03-27 00:10:28.455000"}, {"id": 149388, "accession_number": "1978.45", "share_license_status": "Copyrighted", "tombstone": "Still Life with Biscuits, 1924. Pablo Picasso (Spanish, 1881\u20131973). Oil, sand, other materials on canvas; framed: 119.4 x 138.8 x 10.2 cm (47 x 54 5/8 x 4 in.); unframed: 80.8 x 100.4 cm (31 13/16 x 39 1/2 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1978.45. \u00a9 Estate of  Pablo Picasso / Artists Rights Society (ARS), New York", "current_location": "223 20th Century Avant-Garde", "title": "Still Life with Biscuits", "creation_date": "1924", "creation_date_earliest": 1924, "creation_date_latest": 1924, "artists_tags": ["male", "Latine and Hispanic Artists"], "culture": ["Spain, 20th century"], "technique": "oil, sand, other materials on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 119.4 x 138.8 x 10.2 cm (47 x 54 5/8 x 4 in.); Unframed: 80.8 x 100.4 cm (31 13/16 x 39 1/2 in.)", "dimensions": {"framed": {"height": 1.194, "width": 1.388, "depth": 0.102}, "unframed": {"height": 0.808, "width": 1.004}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of  Pablo Picasso / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "Signed lower left: \"Picasso / 24 [probably added later]\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304286, "title": "Year in Review: 1978", "description": "<i>Year in Review: 1978</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 13-March 18, 1979).", "opening_date": "1979-02-13T05:00:00"}, {"id": 310025, "title": "Creativity in Art and Science, 1860-1960", "description": "<i>Creativity in Art and Science, 1860-1960</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 16-November 8, 1987).", "opening_date": "1987-09-16T04:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008).", "opening_date": "2006-05-27T00:00:00"}, {"id": 441481, "title": "Gallery One 2012", "description": "<i>Gallery One 2012</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 12, 2012-March 5, 2017).", "opening_date": "2012-12-12T05:00:00"}], "legacy": []}, "provenance": [{"description": "Paul Rosenberg [1881-1959], Paris, France", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "(E. V. Thaw, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "-1978", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1978-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Picasso created a wide variety of textures and patterns in this still life. The off-white paint used to represent the biscuits was applied like cake frosting in smooth, thick strokes, probably with a palette knife.", "description": "The white geometric shape in the center of this painting represents a compote (a bowl with a base and stem) upon which three green fruits are arranged. To the right is a plate of long, wafer-thin biscuits that could be <em>langues-de-chat </em>(French for \u201ccats\u2019 tongues\u201d), named for their shape. This painting is among the last of the artist\u2019s forays into the style of Synthetic Cubism in which lively colors and large, geometric shapes were used to depict recognizable objects.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60473489"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art, \u201cThe Cleveland Museum of Art Acquires 1924 Picasso Still Life,\u201d October 2, 1978, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr2589"}, {"citation": "Lee, Sherman E. \u201cThe Year in Review for 1978.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 66, no. 1 (January 1979): 3\u201348.", "page_number": "Reproduced: p. 26; Mentioned: p. 46, no. 126", "url": "http://www.jstor.org/stable/25159613"}, {"citation": "Henning, Edward B. \u201cTwo New Cubist Paintings by Juan Gris and Pablo Picasso.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 68, no. 2 (February 1981): 39\u201350.", "page_number": "Mentioned and reproduced: p. 46-47, fig. 15, Back Cover", "url": "http://www.jstor.org/stable/25159711"}, {"citation": "Henning, Edward B. <em>Creativity in Art and Science, 1860-1960.</em> [Cleveland, Ohio]: Published by the Cleveland Museum of Art in cooperation with Indiana University Press, 1987.", "page_number": "Mentioned and reproduced: P. 117, no. 25", "url": ""}, {"citation": "Boggs, Jean Sutherland, Brigitte Le\u0301al, and Marie-Laure Bernadac. <em>Picasso and Things: The Still Lifes of Picasso. </em>Cleveland: Cleveland Museum of Art, 1992.", "page_number": "Mentioned and reproduced: P. 210-211, no. 82", "url": ""}], "url": "https://clevelandart.org/art/1978.45", "images": {}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Michael J. Horvitz Family Gallery", "athena_id": 149388, "creators": [{"id": 2160, "description": "Pablo Picasso (Spanish, 1881\u20131973)", "extent": null, "qualifier": null, "role": "artist", "biography": "Pablo Ruiz Picasso (1881-1973), the most prolific and influential artist of the 20th century, shifted the emphasis of art from its traditional concern with beauty toward radical innovation. The son of an art teacher, Picasso demonstrated remarkable talents as a child and entered the royal art academy in Madrid at age sixteen. Less than a year later, he abandoned his studies and soon joined several avant-garde artist and anarchist groups in Barcelona and Paris. After passing through a succession of stylistic periods, most notably the Blue (1901-1904) and Rose (1904-1906) Periods, he collaborated with Georges Braque (1882-1963) in 1908 to invent Cubism, a revolutionary method of restructuring pictorial space. Picasso remained active until his death in 1973. Although his art still appears radical, many of his works are over one hundred years old. Cubism, perhaps the most important development in 20th-century art, was invented around 1908 by Pablo Picasso (1881-1973) and Georges Braque (1882-1963). The most revolutionary aspect of the style was not its obvious emphasis on geometric form; rather, it was the introduction of a radically new approach to configuring pictorial space. Since the Renaissance, artists had used various methods to create the illusion of distant space receding behind the canvas surface. The Cubists rejected that idea and collapsed space by compressing foreground, middle ground, and background into a continuous web of overlapping, intersecting planes. During the 1910s, other painters and sculptors embraced or adapted Cubism to their own ends. This revolutionary approach inspired a host of related movements and continues to influence the visual language of artists, architects, and designers throughout the world.", "name_in_original_language": null, "birth_year": "1881", "death_year": "1973", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1978-08-10T00:00:00", "sortable_date": 1924, "date_added_to_oa": null, "date_text": "1924", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-04-03 13:35:09.232000"}, {"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": 155637, "accession_number": "1990.8", "share_license_status": "Copyrighted", "tombstone": "Lot's Wife, 1989. Anselm Kiefer (German, 1945-). Oil paint, ash, stucco, chalk, linseed oil, polymer emulsion, salt, and applied elements (copper heating coil), on canvas, attached to lead foil, on plywood panels; framed: 350 x 410 cm (137 13/16 x 161 7/16 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1990.8. \u00a9 Anselm Kiefer", "current_location": "229B Contemporary", "title": "Lot's Wife", "creation_date": "1989", "creation_date_earliest": 1989, "creation_date_latest": 1989, "artists_tags": ["male"], "culture": ["Germany, 20th century"], "technique": "oil paint, ash, stucco, chalk, linseed oil, polymer emulsion, salt, and applied elements (copper heating coil), on canvas, attached to lead foil, on plywood panels", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "measurements": "Framed: 350 x 410 cm (137 13/16 x 161 7/16 in.)", "dimensions": {"framed": {"height": 3.5, "width": 4.1}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Anselm Kiefer", "inscriptions": [{"inscription": "Titled in chalk on recto of lower panel: Lots Frau", "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": 393229, "title": "Contemporary Installation", "description": "<i>Contemporary Installation</i>. The Cleveland Museum of Art (organizer).", "opening_date": "2021-04-12T04:00:00"}], "legacy": []}, "provenance": [{"description": "The Cleveland Museum of Art, Cleveland, OH, purchased from the artist", "citations": [], "footnotes": [], "date": "1990 -", "sortorder": 1}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The subject of railroad tracks was inspired by the artist\u2019s photograph of the Bordeaux rail facility.", "description": "Born in the final year of World War II, Anselm Kiefer addresses the history and legacy of the Third Reich in his native Germany. \"We see railway tracks anywhere and think about Auschwitz,\" the artist said soon after painting <em>Lot's Wife.</em> \"It will remain that way in the long run.\" The drama of the railway tracks dissecting a barren landscape is heightened by the work's surface, dense with gesture and a range of materials, including salt. Referring to the fate of Lot's wife in the Book of Genesis\u2014who was turned to a pillar of salt when she looked back at the destruction of Sodom\u2014Kiefer frames a historical narrative within a biblical one.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60476539"], "internet_archive": []}, "citations": [{"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. 109", "url": "https://www.jstor.org/stable/25161319"}, {"citation": "Hinson, Tom E. \"Anselm Kiefer: \"Lot's Wife\".\" <em>The Bulletin of the Cleveland Museum of Art</em> 80, no. 4 (1993): 180-85.", "page_number": "Reproduced: p. 180, 183; Mentioned: p. 180-85", "url": "https://www.jstor.org/stable/25161410"}, {"citation": "Cleveland Museum of Art, \u201cThe Cleveland Museum of Art Acquires Major Works,\u201d December 20, 1995, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr4002"}, {"citation": "Arasse, Daniel. <em>Anselm Kiefer</em>. London: Thames &amp; Hudson, 2014.", "page_number": "Reproduced: P. 84", "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. 121", "url": ""}, {"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, 8.", "page_number": "Mentioned: p. 5; reproduced: p. 8.", "url": ""}, {"citation": "Gallagher, Lowell. <em>Sodomscapes: Hospitality in the Flesh</em>. New York: Fordham University Press, 2017.", "page_number": "1, 2", "url": null}], "url": "https://clevelandart.org/art/1990.8", "images": {}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Paula and Eugene Stevens Gallery", "athena_id": 155637, "creators": [{"id": 533, "description": "Anselm Kiefer (German, 1945-)", "extent": null, "qualifier": null, "role": "artist", "biography": "Anselm Kiefer German, 1945-\r\n\r\nOne of the most significant and reclusive artists of the past 20 years, Anselm Kiefer was born in Donaueschingen, Bavaria, two months before the end of World War II. His enormous mixed-media canvases, as well as his smaller bookworks, are laden with cultural, political, mythic, and religious symbolism. These works are made in direct response to his Teutonic heritage and, in particular, Germany's war experience. Kiefer addresses questions regarding German identity in the postwar world, a highly sensitive subject that has brought him both critical acclaim and adamant opposition.\r\n\tKiefer studied law and French at the University of Freiburg in 1965 before turning to painting. He graduated in 1970 and began informal study at the Staatliche Kunstakademie in D\u00fcsseldorf with Joseph Beuys, who encouraged him to paint despite dominance of conceptual art at the time and the declaration that painting was dead. Kiefer often spends years on a piece, working intermittently, and retains rigid control of the placement of his paintings after they leave his studio.\r\n\tAlthough Kiefer's work has changed little throughout his career, his earlier imagery relied on figurative elements and his later paintings have become more abstract, often incorporating architectural elements. He frequently begins with an enlarged photographic image, which he distorts by such techniques as scorching, staining, and burning. His materials include molten lead, tar, straw, and clay, metaphorical substances associated with the German land and its mythologies. The transformative process also recalls alchemy, a subject that interested Beuys, who believed art had the power to evoke a change of state from physical to spiritual.\r\n\tKiefer has had numerous international exhibitions and published monographs, and is represented in major American and European collections. In addition to one-person exhibitions in Germany, the Netherlands, Italy, France, Israel, and England, the Philadelphia Museum of Art organized a retrospective of his work that toured the United States in 1987-88. In recent years, Kiefer has begun to make films that, rooted in the medium of photography, extend the physical and narrative qualities characteristic of all his work into the realms of motion and time. He lives in Barjac, France. A.W.", "name_in_original_language": null, "birth_year": "1945", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1990-01-29T00:00:00", "sortable_date": 1989, "date_added_to_oa": null, "date_text": "1989", "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 00:08:27.848000"}, {"id": 172954, "accession_number": "1931.2647", "share_license_status": "Copyrighted", "tombstone": "Hills, South Truro, 1930. Edward Hopper (American, 1882\u20131967). Oil on canvas; framed: 83 x 123.5 x 6.5 cm (32 11/16 x 48 5/8 x 2 9/16 in.); unframed: 69.5 x 109.5 cm (27 3/8 x 43 1/8 in.). The Cleveland Museum of Art, Hinman B. Hurlbut Collection, 1931.2647. \u00a9  Heirs of Josephine N. Hopper / Licensed by Artists Rights Society (ARS), NY", "current_location": "226A American Modern", "title": "Hills, South Truro", "creation_date": "1930", "creation_date_earliest": 1930, "creation_date_latest": 1930, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 83 x 123.5 x 6.5 cm (32 11/16 x 48 5/8 x 2 9/16 in.); Unframed: 69.5 x 109.5 cm (27 3/8 x 43 1/8 in.)", "dimensions": {"framed": {"height": 0.83, "width": 1.235, "depth": 0.065}, "unframed": {"height": 0.695, "width": 1.095}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  Heirs of Josephine N. Hopper / Licensed by Artists Rights Society (ARS), NY", "inscriptions": [{"inscription": "signed lower left:  EDWARD HOPPER", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 360881, "title": "An Exhibition of Paintings, Water Colors, and Etchings by Edward Hopper", "description": "<i>An Exhibition of Paintings, Water Colors, and Etchings by Edward Hopper</i>. Carnegie Institute, Pittsburgh, PA (organizer) (March 11-April 25, 1937).", "opening_date": "1937-03-11T05:00:00"}, {"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": 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": 441857, "title": "The Truth of the Real, Edward Hopper and Photography", "description": "<i>The Truth of the Real, Edward Hopper and Photography</i>. Museum Folkwang, 45128 Essen, Germany (organizer) (June 28-September 27, 1992).", "opening_date": "1992-06-28T04:00:00"}, {"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": 229563, "title": "Edward Hopper Retrospective", "description": "<i>Edward Hopper Retrospective</i>. Tate Modern, London, United Kingdom of Great Britain and Northern Ireland (organizer) (May 27-September 5, 2004); Museum Ludwig,  K\u00f6ln, Germany (October 9, 2004-January 9, 2005).", "opening_date": "2004-05-27T00:00:00"}, {"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": 177342, "title": "Edward Hopper", "description": "<i>Edward Hopper</i>. Museum of Fine Arts, Boston, Boston, MA (organizer) (May 6-August 19, 2007); National Gallery of Art, Landover, MD (September 16, 2007-January 21, 2008); The Art Institute of Chicago, Chicago, IL (February 16-May 11, 2008).", "opening_date": "2007-05-06T00:00:00"}, {"id": 396894, "title": "Train Zug Treno Tren. Voyages imaginaires", "description": "<i>Train Zug Treno Tren. Voyages imaginaires</i>. Plateforme 10 /Mus\u00e9e cantonal des Beaux-Arts, Lausanne, Switzerland (organizer) (June 17-September 25, 2022) https://www.mcba.ch/en/exhibitions/voyages-imaginaires/#description.", "opening_date": "2022-06-17T04:00:00"}], "legacy": [{"description": "<em>The Eleventh Exhibition of Contemporary American Oils. </em>Cleveland Museum of Art, Cleveland, OH (June 12-July 12, 1931).", "opening_date": "1931-06-12T00:00:00"}, {"description": "<em>Edward Hopper: Retrospective Exhibition. </em>The Museum of Modern Art, New York, NY (November 1-December 7, 1993).", "opening_date": "1993-11-01T00:00:00"}, {"description": "<em>Exhibitions of Painting by Edward Hopper. </em>The Arts Club of Chicago, Chicago, IL (January 2-January 16, 1934).", "opening_date": "1934-01-02T00:00:00"}, {"description": "<em>An American Show: The Cincinnati Art Museum Presents a Selection of Paintings by Six Living American Artists: Louis Bouche, Edward Hopper, Walt Kuhn, Yasuo Kuniyoshi, John Marin, Max Weber. </em>The Cincinnati Art Museum, Cincinnati, OH (October 1-November 5, 1948).", "opening_date": "1948-10-01T00:00:00"}, {"description": "<em>Edward Hopper: Retrospective Exhibition. </em>Whitney Museum of American Art, New York, NY (February 11-March 26, 1950); Museum of Fine Arts, Boston, MA (April 13-May 14, 1950); Detroit Institute of Arts, Detroit, MI (June 4-July 2, 1950).", "opening_date": "1950-02-11T00:00:00"}, {"description": "<em>Five Painters of America: Louis Bouch\u00e9, Edward Hopper, Ben Shahn, Charles Sheeler, Andrew Wyeth. </em>Worcester Art Museum, Worcester, MA (February 17-April 3, 1955).", "opening_date": "1955-02-17T00:00:00"}, {"description": "<em>Works of Hopper and Corbino. </em>Rhode Island School of Design, Providence, RI (March 7-March 28, 1956).", "opening_date": "1956-03-07T00:00:00"}, {"description": "<em>Living New England Artists Associated with the New England Coast. </em>Currier Gallery of Art, Manchester, NH (July 18-September 2, 1956).", "opening_date": "1956-07-18T00:00:00"}, {"description": "<em>Sesquicentennial Celebration. </em>Miami University, Miami, OH (May 15-June 15, 1959).", "opening_date": "1959-05-15T00:00:00"}, {"description": "<em>American Landscape, 1760-1960</em>. Flint Institute of Arts, Flint, MI (March 3-April 3, 1960).", "opening_date": "1960-03-03T00:00:00"}, {"description": "<em>A Retrospective Exhibition of Oils and Watercolors by Edward Hopper. </em>The University of Arizona Art Gallery, Tucson, AZ (April 20-May 19, 1963).", "opening_date": "1963-04-20T00:00:00"}, {"description": "<em>Edward Hopper</em>. Whitney Museum of American Art, New York, NY (September 29-November 29, 1964); The Art Institute of Chicago (December 18, 1964-January 31, 1965); Detroit Institute of Art, Detroit, MA (February 18-March 21, 1965); City Art Museum of St. Louis, St. Louis, MO (April 7-May 9, 1965).", "opening_date": "1964-09-29T00:00:00"}, {"description": "<em>America, ca. 1930. </em>The Ohio State University School of Art Gallery, Columbus, OH (October 13-October 31, 1968).", "opening_date": "1968-10-13T00:00:00"}, {"description": "<em>Edward Hopper und die Fotografie. </em>Museum Folkwang, Essen, Germany (June 28-September 27, 1992).", "opening_date": "1992-06-28T00:00:00"}, {"description": "<em>CMA Highlights. </em>Cleveland Museum of Art, Cleveland, OH (June 21-September 11, 2005).", "opening_date": "2005-06-21T00:00:00"}, {"description": "<em>American Icons: American Masterworks from the 1930s. </em>Cleveland Museum of Art, Cleveland, OH (March 1-June 1, 2006).", "opening_date": "2006-03-01T00:00:00"}, {"description": "<em>Hopper Drawing. </em>Whitney Museum of American Art, New York, NY (May 23-October 6, 2013).", "opening_date": "2013-05-23T00:00:00"}]}, "provenance": [{"description": "(Rehn Gallery, New York, 1931).", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": ["2585.1931", "2647.1931"], "did_you_know": "Hopper loved this area of Cape Cod so much that he later built his home there.", "description": "A deeply reserved individual and intensely independent artist, Hopper sought to capture, in his words, \"the sad desolation\" of America. His works\u2014including this Cape Cod landscape of a lone house next to a railroad track amid a backdrop of rolling hills\u2014typically inject mundane scenes with a profound sense of solitude. The painter Charles Burchfield once described Hopper\u2019s art as \"silent poetry.\"", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117230202"], "internet_archive": []}, "citations": [{"citation": "Pe\u0300ne du Bois, Guy. <em>Edward Hopper</em>. New York: Whitney Museum of American Art, 1931.", "page_number": "Mentioned: p. 10-11; Reproduced: fig. 20", "url": null}, {"citation": "Milliken, William M. \"The Eleventh Exhibition of Contemporary American Oils.\" <em>The Bulletin of the Cleveland Museum of Art</em> 18, no. 6 (June 1931).", "page_number": "Mentioned: p. 111; Reproduced", "url": null}, {"citation": "Kelly, Grace. \"Oil Painting Exhibition at Art Museum Represents Current American Trends.\" <em>Cleveland Plain Dealer, </em>June 14, 1931.", "page_number": "Mentioned: p. 14", "url": null}, {"citation": "Kelly, Grace. \"Concerning Landscapes in Exhibit.\" <em>Cleveland Plain Dealer, </em>June 28, 1931.", "page_number": "Mentioned: p. 11", "url": null}, {"citation": "Kelly, Grace. \"Interest in Prints Grows at the Museum of Art Among Cleveland Residents.\" <em>Cleveland Plain Dealer, </em>July 12, 1931.", "page_number": "Mentioned: p. 11", "url": null}, {"citation": "Frary, JT. \"Oils Lead Water Colors in 'Area' at Art Museum\". <em>Cleveland Plain Dealer, </em>August 9, 1931.", "page_number": "Mentioned: p. 14", "url": null}, {"citation": "Francis, Henry Sayles. \"A New England Landscape by Edward Hopper.\" <em>The Bulletin of the Cleveland Museum of Art </em>19, no. 6 (February 1932).", "page_number": "Mentioned: 22-23; Reproduced", "url": null}, {"citation": "\"Museum Accessions.\" <em>The American Magazine of Art </em>24, no. 3 (March 1932).", "page_number": "Reproduced: p. 224", "url": null}, {"citation": "Museum of Modern Art. <em>Edward Hopper: Retrospective Exhibition, November 1-December 7, 1933</em>. New York: The Museum of Modern Art, 1933.", "page_number": "Mentioned: p. 26", "url": null}, {"citation": "Sherburne, E. C. \"The Hopper Exhibition.\" <em>Christian Science Monitor</em>, November 6, 1933.", "page_number": "Mentioned", "url": null}, {"citation": "Arts Club of Chicago. <em>Paintings by Edward Hopper: Arts Club of Chicago, January Second to Sixteenth, Nineteen Hundred Thirty-Four</em>. Chicago: The Club, 1934.", "page_number": "Mentioned", "url": null}, {"citation": "\"Hills, South Truro.\" <em>The Christian Science Monitor, </em>April 6, 1934.", "page_number": "Mentioned; Reproduced", "url": null}, {"citation": "The 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, 1937.", "page_number": "Mentioned: p. 27, no. 95", "url": null}, {"citation": "Hopper, Edward. <em>Edward Hopper</em>. New York: American Artists Group, 1945.", "page_number": "Reproduced", "url": null}, {"citation": "Bouche\u0301, Louis, Edward Hopper, Walt Kuhn, Yasuo Kuniyoshi, John Marin, and Max Weber. <em>An American Show: The Cincinnati Art Museum Presents a Selection of Paintings by Six Living American Artists: Louis Bouche\u0301, Edward Hopper, Walt Kuhn, Yasuo Kuniyoshi, John Marin, Max Weber</em>. Cincinnati: Cincinnati Art Museum, 1948.", "page_number": "Mentioned", "url": null}, {"citation": "Goodrich, Lloyd. <em>Edward Hopper Retrospective Exhibition</em>. New York: Whitney Museum of American Art, 1950.", "page_number": "Mentioned: p. 55", "url": null}, {"citation": "Burchfield, Charles. \"Portrait of a Realist: Edward Hopper at Sixty-Seven.\" <em>Art News</em> (March 1950).", "page_number": "Mentioned: p.62", "url": null}, {"citation": "Worcester Art Museum. <em>Five Painters of America: A Loan Exhibition,</em> 1955.", "page_number": "Mentioned: p. 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; Reproduced n. 551", "url": "https://archive.org/details/CMAHandbook1958/page/n102"}, {"citation": "Flint Institute of Arts. <em>American Landscape, 1760-1960</em>. Flint, MI: The Institute, 1960.", "page_number": "Mentioned", "url": null}, {"citation": "University of Arizona. <em>The University of Arizona Art Gallery Presents a Retrospective Exhibition of Oils and Watercolors by Edward Hopper, April 20-May 19, 1963</em>. Tucson: University of Arizona, 1963.", "page_number": "Mentioned: p. 35; Reproduced: p. 7", "url": null}, {"citation": "Goodrich, Lloyd. <em>Edward Hopper, Exhibition and Catalogue</em>. Tucson: University of Arizona, 1964.", "page_number": "Mentioned: p. 38, 28", "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. 192", "url": "https://archive.org/details/CMAHandbook1966/page/n216"}, {"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. 192", "url": "https://archive.org/details/CMAHandbook1969/page/n216"}, {"citation": "Gillies, Jean. \"The Timeless Space of Edward Hopper.\" <em>Art Journal</em> 31, no. 4 (Summer 1972).", "page_number": "Mentioned: p. 411-412; Reproduced: p. 411", "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: Cleveland Museum of Art, 1972.", "page_number": "Mentioned p. 17; Reproduced p. 17", "url": null}, {"citation": "Heller, Nancy, and Julia Williams. <em>The Regionalists</em>. New York: Watson-Guptill Publications,1976.", "page_number": "Reproduced: p. 67", "url": null}, {"citation": "Johnson, Mark M. \"American Landscapes...Scenes as Divergent as the Land Itself.\" <em>Arts and Activities </em>82, no. 4 (December 1977).", "page_number": "Mentioned: p. 6; Reproduced p. 6", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 238", "url": "https://archive.org/details/CMAHandbook1978/page/n258"}, {"citation": "Billeter, Erika. \"Edward Hopper und die Amerikanische Szene.\" <em>Du, Die Kunstzeitschrift </em>4 (1980).", "page_number": "Mentioned; Reproduced", "url": null}, {"citation": "Levin, Gail. <em>Edward Hopper: The Art and the Artist. </em>New York; London: Norton in association with the Whitney Museum of American Art, 1980.", "page_number": "Mentioned: p. 46-50, 61-64; Reproduced: p. 282", "url": null}, {"citation": "Goodrich, Lloyd. <em>Edward Hopper.</em> New York: Abradale Press, 1983.", "page_number": "Mentioned: p. 89; Reproduced: p. 88", "url": null}, {"citation": "Goodrich, Lloyd. <em>Edward Hopper</em>. New York: H.N. Abrams, 1989.", "page_number": "Mentioned: 119-124; Reproduced: p. 121", "url": null}, {"citation": "Robertson, Bruce. <em>Reckoning with Winslow Homer: His Late Paintings and their Influence</em>. Cleveland: Cleveland Museum of Art in cooperation with Indiana University Press, 1990.", "page_number": "Mentioned: p. 133; Reproduced: p. 134", "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.", "page_number": "Reproduced: p.148", "url": null}, {"citation": "Robertson, Bruce. \"Edward Hopper.\" In <em>Masterpieces from East and West</em>. New York, NY: Rizzoli International, 1992.", "page_number": "Mentioned: p. 170; Reproduced p. 171", "url": null}, {"citation": "Ko\u0308ltzsch, Georg-Wilhelm, and Gerd Blum. <em>Edward Hopper und die Fotografie: die Wahrheit des Sichtbaren: Museum Folkwang Essen, 28. Juni - 27. September 1992</em>. Ko\u0308ln: DuMont, 1992.", "page_number": "Reproduced: p. 51", "url": null}, {"citation": "Little, Carl. <em>Edward Hopper's New England. </em>San Francisco: Pomegranate Artbooks, 1993.", "page_number": "Mentioned: 6, 13-15; 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. 108", "url": null}, {"citation": "Levin, Gail. <em>Edward Hopper: A Catalogue Raisonne\u0301</em>. New York: Whitney Museum of American Art, 1995.", "page_number": "Reproduced: p. 203", "url": null}, {"citation": "Costantino, Maria. <em>Edward Hopper</em>. New York: Barnes &amp; Noble, 1995.", "page_number": "Reproduced: p. 62", "url": null}, {"citation": "Levin, Gail. <em>Edward Hopper: An Intimate Biography</em>. New York: Knopf, 1995.", "page_number": "Mentioned: p. 230-234", "url": null}, {"citation": "Lyons, Deborah, and Brian O'Doherty. <em>Edward Hopper: A Journal of His Work</em>. New York: Whitney Museum of American Art in association with W.W. Norton &amp; Co, 1997.", "page_number": "Mentioned: p. 31, 40", "url": null}, {"citation": "Kranzfelder, Ivo, and Edward Hopper. <em>Edward Hopper, 1882-1967: Vision of Reality</em>. Ko\u0308ln: B. Taschen, 1998.", "page_number": "Reproduced: p. 29", "url": null}, {"citation": "Harris, Patricia, and David Lyon. <em>Massachusetts: The Spirit of America</em>. New York: H.N. Abrams, 1999.", "page_number": "Mentioned: p. 22-23; Reproduced: p. 23", "url": null}, {"citation": "Chassey, E\u0301ric de. <em>Made in USA l'art ame\u0301ricain, 1908-1947. </em>Paris: Re\u0301union des Muse\u0301es Nationaux, 2001.", "page_number": "Reproduced: p. 168", "url": null}, {"citation": "Anfam, David, and Sheena Wagstaff. <em>Edward Hopper</em>. London: Tate Publishing, 2004.", "page_number": "Mentioned: p. 246; Reproduced: p. 158-159", "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. 8", "url": "https://archive.org/details/CMAMM2006-01/page/8"}, {"citation": "Troyen, Carol, Judith A. Barter, Janet L. Comey, Elliot Bostwick Davis, and Ellen E. Roberts. <em>Edward Hopper</em>. Boston, MA: MFA Publications, 2007.", "page_number": "Mentioned: p. 147-155; Reproduced: p. 151", "url": null}, {"citation": "Wells, Walter. <em>Silent Theater: The Art of Edward Hopper</em>. London: Phaidon Press, 2007.", "page_number": "Mentioned: p.154; Reproduced: p. 155", "url": null}, {"citation": "Zezima, Katie. \"A Town Tries to Protect an Artist's Inspiration.\" <em>The New York Times, </em>September 19, 2007.", "page_number": "Mentioned; Reproduced", "url": null}, {"citation": "Klinkenborg, Verlyn. \"The Hopper Landscape.\" <em>The New York Times, </em>September 26, 2007. <a href=\"https://www.nytimes.com/2007/09/26/opinion/26weds4.html\">https://www.nytimes.com/2007/09/26/opinion/26weds4.html</a>.", "page_number": "Mentioned: p. A 26", "url": null}, {"citation": "Simon, L. Marcia. Letter to the editor. <em>The New York Times, </em>October 2, 2007.", "page_number": "Mentioned: p. A 24", "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": "Mentioned : p. 136; Reproduced: 136-137", "url": null}, {"citation": "Vincent, Marc. \"Essays Shed Light on Complex American Artist.\" <em>The Plain Dealer, </em>February 17, 2008.", "page_number": "Mentioned: p. M5", "url": null}, {"citation": "Farre\u0301s, Ernest, and Lawrence Venuti. <em>Edward Hopper: Poems</em>. Saint Paul, MN: Graywolf Press, 2009.", "page_number": "Mentioned: p. 93, 134", "url": null}, {"citation": "Little, Carl. <em>Edward Hopper's New England</em>. San Francisco: Pomegranate, 2011.", "page_number": "Mentioned: p. 16; Reproduced", "url": null}, {"citation": "Foster, Carter E., and Daniel S. Palmer. <em>Hopper Drawing</em>. New York: Whitney Museum of American Art, 2013.", "page_number": "Mentioned: p. 180; Reproduced: p. 181", "url": null}], "url": "https://clevelandart.org/art/1931.2647", "images": {}, "alternate_images": [], "creditline": "Hinman B. Hurlbut Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Dr. Robert B. Benyo Trust Gallery", "athena_id": 172954, "creators": [{"id": 6568, "description": "Edward Hopper (American, 1882\u20131967)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1882", "death_year": "1967", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1931-06-18T00:00:00", "sortable_date": 1930, "date_added_to_oa": null, "date_text": "1930", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:03:57.311000"}, {"id": 152776, "accession_number": "1985.57", "share_license_status": "Copyrighted", "tombstone": "Bull Skull, Fruit, Pitcher, 1939. Pablo Picasso (Spanish, 1881\u20131973). Oil on canvas; framed: 85.7 x 117.2 x 7 cm (33 3/4 x 46 1/8 x 2 3/4 in.); unframed: 65 x 92 cm (25 9/16 x 36 1/4 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1985.57. \u00a9 Estate of  Pablo Picasso / Artists Rights Society (ARS), New York", "current_location": "223 20th Century Avant-Garde", "title": "Bull Skull, Fruit, Pitcher", "creation_date": "1939", "creation_date_earliest": 1939, "creation_date_latest": 1939, "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: 85.7 x 117.2 x 7 cm (33 3/4 x 46 1/8 x 2 3/4 in.); Unframed: 65 x 92 cm (25 9/16 x 36 1/4 in.)", "dimensions": {"framed": {"height": 0.857, "width": 1.172, "depth": 0.07}, "unframed": {"height": 0.65, "width": 0.92}}, "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 center: \"12.1.39. Picasso\"", "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": 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": 379356, "title": "Picasso: The Love and the Anguish--The Road to Guernica", "description": "<i>Picasso: The Love and the Anguish--The Road to Guernica</i>. National Museum of Modern Art, Kyoto (organizer); Tobu Museum of Art.", "opening_date": "1995-10-31T05:00:00"}, {"id": 216656, "title": "Picasso and the War:  1937-1945", "description": "<i>Picasso and the War:  1937-1945</i>. Fine Arts Museum of San Francisco, Legion of Honor, San Francisco, CA (organizer) (October 10, 1998-January 3, 1999); Guggenheim Museum Soho, New York (January 27-April 26, 1999).", "opening_date": "1998-10-10T00:00:00"}, {"id": 211319, "title": "Picasso.  Indoor, Outdoor Landscapes", "description": "<i>Picasso.  Indoor, Outdoor Landscapes</i>. Museu Picasso, Barcelona, Spain (organizer) (October 26, 1999-January 30, 2000).", "opening_date": "1999-10-26T00:00:00"}, {"id": 223983, "title": "Picasso. Sous le soleil de Mithra", "description": "<i>Picasso. Sous le soleil de Mithra</i>. Mus\u00e9e national Picasso-Paris, Paris, France (organizer) (November 27, 2001-March 4, 2002).", "opening_date": "2001-06-29T00:00:00"}, {"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).", "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": 230443, "title": "Picasso's Studio", "description": "<i>Picasso's Studio</i>. Fundaci\u00f3n MAPFRE (organizer) (February 10-May 11, 2014).", "opening_date": "2014-02-10T00:00:00"}, {"id": 317581, "title": "Picasso and Paper", "description": "<i>Picasso and Paper</i>. The Cleveland Museum of Art, Cleveland, OH (co-organizer) (December 8, 2024-March 23, 2025).", "opening_date": "2024-12-08T05:00:00"}], "legacy": []}, "provenance": [{"description": "(P. Rosenberg, New York, NY)", "citations": [], "footnotes": [], "date": null, "sortorder": null}, {"description": "Walter Bareiss [1919-2007] Greenwich, CT", "citations": [], "footnotes": [], "date": "1950", "sortorder": 2}, {"description": "(E. V. Thaw, New York, NY, 1985, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "1985", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1985-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The flowering tree in the background was added by Picasso in the final stages of the painting\u2019s creation.", "description": "Pablo Picasso painted this still life following the surrender of his beloved Barcelona to General Francisco Franco\u2019s fascist army, an event signaling the defeat of the Spanish Republic. Spain\u2014because of its association with bullfighting\u2014is represented by a bull\u2019s skull. Outside the window, a flowering tree grows in the moonlight. The tree likely references the sacred oak of Guernica in the Basque region of Spain that survived a 1937 bombing by German and Italian air forces ordered by the Spanish Nationalists, a coalition of groups opposed to the Spanish Republic. Symbolic of freedom for the Basque people, the tree suggests hope for the rebirth of democracy in Spain.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60475707"], "internet_archive": []}, "citations": [{"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. 118, no. 26", "url": ""}, {"citation": "Richardson, John. <em>A Life of Picasso.</em> First edition. New York: Random House, 1991.", "page_number": "Reproduced: Color plates", "url": ""}, {"citation": "Boggs, Jean Sutherland, Brigitte Le\u0301al, and Marie-Laure Bernadac. <em>Picasso and Things: The Still Lifes of Picasso. </em>Cleveland: Cleveland Museum of Art, 1992.", "page_number": "Mentioned and reproduced: P. 258-259, no. 102", "url": ""}, {"citation": "Boggs, Jean Sutherland. \"Evan Turner: Colleague and Friend.\" <em>The Bulletin of the Cleveland Museum of Art</em> 80, no. 4 (1993): 118-21.", "page_number": "Mentioned: p. 121", "url": "https://www.jstor.org/stable/25161397"}, {"citation": "Herschel Browning Chipp, Alan Wofsy, and Fernand Mourlot. <em>Picasso's paintings, watercolors, drawings and sculpture: a comprehensive illustrated catalogue, 1885-1973</em>. San Francisco, CA: Alan Wofsy Fine Arts, 1995.", "page_number": "Reproduced: p. 216", "url": null}, {"citation": "Nash, Steven A., Robert Rosenblum, and Brigitte Baer. <em>Picasso and the War Years, 1937-1945</em>. New York, NY.: Thames and Hudson, 1998.", "page_number": "Reproduced: no. 27", "url": null}, {"citation": "Warncke, Carsten-Peter, Ingo F. Walther, and Michael Hulse. <em>Pablo Picasso: 1881-1973</em>. Koln, Germany: Taschen, 1998.", "page_number": "Mentioned: p. 37; Reproduced: p. 39", "url": null}, {"citation": "Ocan\u0303a, Naria-Teresa. <em>Picasso: Indoor &amp; Outdoor Landscapes</em>. Madrid, Spain: Electa, 1999.", "page_number": "Reproduced: p. 39", "url": null}, {"citation": "Robinson, William H., Jordi Falga\u0300s, Carmen Belen Lord, and Josefina Alix Trueba. <em>Barcelona and Modernity: Picasso, Gaudi\u0301, Miro\u0301, Dali\u0301</em>. Cleveland, OH: Cleveland Museum of Art in association with Yale University Press, 2006.", "page_number": "Reproduced: p. 478", "url": null}, {"citation": "Kelly, Raymond J. <em>To Be, or Not to Be: Four Hundred Years of Vanitas Painting</em>. Flint, MI: Flint Institute of Arts, 2006.", "page_number": "Reproduced: p. 45, fig. 20", "url": null}, {"citation": "Fundacio\u0301n Mapfre, Antonia Castan\u0303o, M. Teresa Ocan\u0303a, Neil Cox, Brigitte Le\u0301al, Valeriano Bozal Ferna\u0301ndez, and Christopher Green. <em>Picasso en el taller: </em>Madrid, Spain : Fundaci\u00f3n MAPFRE, Instituto de Cultura, 2014.", "page_number": null, "url": null}, {"citation": "Fundacio\u0301n Mapfre, Antonia Castan\u0303o, M. Teresa Ocan\u0303a, Neil Cox, Brigitte Le\u0301al, Valeriano Bozal Ferna\u0301ndez, Christopher Green, and Pablo Picasso. <em>Picasso en el taller: 12 febrero-11 mayo 2014</em>. Madrid, Spain : Fundaci\u00f3n MAPFRE, Instituto de Cultura, 2014.", "page_number": "Mentioned and reproduced: p. 170-171", "url": null}, {"citation": "Robinson, William H. \"Guernica and the War Years.\" In <em>Picasso and Paper</em>. William H. Robinson, et al., 202-241. London: Royal Academy of Arts, 2020.", "page_number": "Reproduced: P. 218-219, cat. no. 212", "url": ""}, {"citation": "Absolon, Kurt, Bernhard Hainz, and Stefan U\u0308ner. Kurt Absolon: Monografie und Werkverzeichnis. <br>[Weitra] : Verlag Bibliothek der Provinz, 2021.", "page_number": "Reproduced: p. 60", "url": ""}], "catalogue_raisonne": "Zervos IX.238", "url": "https://clevelandart.org/art/1985.57", "images": {}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Michael J. Horvitz Family Gallery", "athena_id": 152776, "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": "1985-05-29T00:00:00", "sortable_date": 1939, "date_added_to_oa": null, "date_text": "1939", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": ["Still Life with Bull's Skull"], "is_highlight": false, "updated_at": "2026-04-03 13:35:09.282000"}, {"id": 159583, "accession_number": "1996.325", "share_license_status": "Copyrighted", "tombstone": "The White Dam, 1939. Raphael Gleitsmann (American, 1910\u20131995). Oil on Masonite; framed: 103.5 x 116 x 5 cm (40 3/4 x 45 11/16 x 1 15/16 in.); unframed: 97.8 x 112.7 cm (38 1/2 x 44 3/8 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1996.325", "current_location": "228B Cleveland Artists", "title": "The White Dam", "creation_date": "1939", "creation_date_earliest": 1939, "creation_date_latest": 1939, "artists_tags": ["male"], "culture": ["America, Ohio, Cleveland"], "technique": "oil on Masonite", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Cleveland School", "type": "Painting", "measurements": "Framed: 103.5 x 116 x 5 cm (40 3/4 x 45 11/16 x 1 15/16 in.); Unframed: 97.8 x 112.7 cm (38 1/2 x 44 3/8 in.)", "dimensions": {"framed": {"height": 1.035, "width": 1.16, "depth": 0.05}, "unframed": {"height": 0.978, "width": 1.127}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower left: \"Raphael Gleitsman\"", "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": 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": 227934, "title": "The State of the Arts:  A Celebration of Ohio's Rich Artistic Heritage", "description": "<i>The State of the Arts:  A Celebration of Ohio's Rich Artistic Heritage</i>. Riffe Gallery, Columbus, OH (organizer) (March 3-May 4, 2003); The Butler Institute of American Art, Youngstown, OH (January 18-March 28, 2004).", "opening_date": "2003-03-03T00:00:00"}, {"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": 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>American Art Today</em>. 1939 New York World's Fair, New York, NY (April 30, 1939-October 27, 1940).", "opening_date": "1939-04-30T05:00:00Z"}, {"description": "<em>Raphael Gleitsman: Paintings 1934-1954</em>. The Butler Institute of American Art, Youngstown, OH (March 7-28, 1971).", "opening_date": "1971-03-07T05:00:00Z"}, {"description": "<em>A Clevelander Collects Clevelanders: An Exhibit from the Collection of Joseph M. and Elsie Erdelac</em>. Kenneth C. Beck Center for the Cultural Arts, Lakewood, OH (February 12-March 11, 1984).", "opening_date": "1984-02-12T05:00:00Z"}]}, "provenance": [{"description": "The Cleveland Museum of Art, Cleveland, Ohio", "citations": [], "footnotes": [], "date": "1996-", "sortorder": 1}, {"description": "(Sale, Christie\u2019s, New York, Dec. 4, 1996, lot 266, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": ["<div><!--block-->Consigned by Robert Horton.</div>"], "date": "1996", "sortorder": 2}, {"description": "Robert B. Horton [1939-2012], Cleveland/London", "citations": [], "footnotes": [], "date": "1987-1996", "sortorder": 3}, {"description": "(Sale, Wolfs Gallery, Cleveland, OH, April 26, 1987, no. 197, sold to Robert B. Horton)", "citations": [], "footnotes": [], "date": "1987", "sortorder": 4}, {"description": "Joe Erdelac [1914-2005], Cleveland, Ohio, consigned to Wolf", "citations": [], "footnotes": ["<div><!--block-->Erdelac purchased the painting from the artist or his family.</div>"], "date": "Possibly the 1960s-1987", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Gleitsmann gave up painting entirely in 1954, claiming he \u201chad nothing to say anymore.\u201d", "description": "Unable to afford tuition, Akron-based Gleitsmann befriended faculty and students at the Cleveland School (now Institute) of Art where eventually he was invited to take classes without registering. <em>The White Dam</em>, a fantastical image of an industrial complex that dwarfs two nude workers, earned his greatest success when it was featured in the New York World\u2019s Fair of 1939. Gleitsmann\u2019s unsettling vision of industry contrasts with the favorable attitudes typically adopted by artists of a previous generation.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60477346"], "internet_archive": []}, "citations": [{"citation": "\"Cleveland's Artistic Tradition Highlighted in Museum Exhibition.\"<em> Spotlights</em> Volume 1, Issue 27 (May 16-23, 1996).", "page_number": "Mentioned and Reproduced: Section B", "url": null}, {"citation": "Christie, Manson &amp; Woods. <em>Important American Paintings, Drawings and Sculpture</em>. 1996. Dec. 4, 1996.", "page_number": null, "url": null}, {"citation": "National Art Society.<em> American Art Today: New York World's Fair</em>. New York: National Art Society, 1939.", "page_number": "Reproduced: p.84", "url": null}, {"citation": "<em>Raphael Gleitsman: Paintings 1934-1954</em>. Exh. Cat. Youngstown, OH: The Butler Institute of American Art, 1971.", "page_number": "Mentioned: p.3", "url": null}, {"citation": "Singer, Clyde. \"Akron Artist Honored at Butler Show.\" <em>Youngstown Vindicator</em>, March 7, 1971.", "page_number": "Mentioned: p.A30", "url": null}, {"citation": "Cullinan, Helen. \"Collector shares his treasures of city.\" <em>The Plain Dealer</em>, February 12, 1984.", "page_number": "Reproduced: p.12D", "url": null}, {"citation": "Beck Center for the Cultural Arts.<em> A Clevelander Collects Clevelanders: An Exhibit from the Collection of Joseph M. and Elsie Erdelac</em>. Exh. Cat. Cleveland: Beck Center for the Cultural Arts, 1984.", "page_number": "Reproduced: p.12 (unpaginated)", "url": null}, {"citation": "Cullinan, Helen. \"Standard Oil chief is bullish on art.\" <em>The Plain Dealer</em>, May 9, 1987.", "page_number": "Mentioned and Reproduced: p.20A", "url": null}, {"citation": "Robinson, William H., et. al. <em>Transformations in Cleveland Art, 1796-1946: Community and Diversity in Early Modern America</em>. Cleveland, Ohio: Cleveland Museum of Art, 1996.", "page_number": "Mentioned and Reproduced: p. 97", "url": null}, {"citation": "\"'96 Spring Arts Preview. Transformations in Cleveland Art: 1825-1945.\"<em> Northern Ohio Live</em> (March 1996).", "page_number": "Reproduced", "url": null}, {"citation": "Kempthorne-Snow, Jan C. \"Transformations in Cleveland Art: A Landmark Exhibition Celebrates Cleveland's Bicentennial.\" <em>Cultural Arts Preview</em> 3 (May-August 1996).", "page_number": "Reproduced: p.3", "url": null}, {"citation": "Schaefer, Karen. \"A City and its Artists.\"<em> Northern Ohio Live</em> (May 1996).", "page_number": "Mentioned and Reproduced: p.12", "url": null}, {"citation": "\"Show Documents 'Transformations'\" <em>Canton Repository</em>, May 17, 1996.", "page_number": "Reproduced (unpaginated)", "url": null}, {"citation": "\"Transformations in Cleveland Art, 1796-1946.\" <em>Antiques &amp; The Arts Weekly</em>, May 17, 1996.", "page_number": "Reproduced (unpaginated)", "url": null}, {"citation": "Litt, Steven. \"Museum's gift to city: Big bicentennial show is the best imaginable.\" <em>The Plain Dealer</em>, May 19, 1996.", "page_number": "Reproduced: p.4-K", "url": null}, {"citation": "\"Week: What To Do.\" <em>Cleveland Free Times</em>, May 22, 1996.", "page_number": "Reproduced (unpaginated)", "url": null}, {"citation": "Vallongo, Sally. \"Cleveland proudly shows off its rich, varied art heritage.\" <em>Toledo Blade</em>, May 26, 1996.", "page_number": "Mentioned p.2", "url": ""}, {"citation": "\"Cleveland Museum of Art Hosts 'Transformations' through July 21.\" <em>Antique Collector: A Weekly Section of Farm and Dairy</em>, May 30, 1996.", "page_number": "Mentioned and Reproduced: B1", "url": null}, {"citation": "Von Glahn, Michael. \"Painting the Town: A Look Along the Timeline of Cleveland's Artistic Heritage.\" <em>Small Business News</em> (June 1996).", "page_number": "Reproduced: p.47", "url": null}, {"citation": "Busta, William. \"Art Museum Greatly Honors Our Own.\" <em>The Cleveland Free Times</em>, June 5, 1996.", "page_number": "Mentioned and Reproduced: p.26", "url": null}, {"citation": "Harrist Jr., Robert E. \"Book chronicles Cleveland artists and their works.\" <em>The Plain Dealer</em>, August 11, 1996.", "page_number": "Reproduced: p.10J", "url": null}, {"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"}, {"citation": "Chassey, Eric de.<em> Made in USA: l'art ame\u0301ricain, 1908-1947</em>. Exh. Cat. Paris: Re\u0301union des muse\u0301es nationaux, 2001.", "page_number": "Mentioned: p.142; Reproduced: p.175", "url": null}, {"citation": "\"L'art americain en quete de son identite.\" <em>Demeures et Chateaux</em> 130 (fevrier-mars 2002).", "page_number": "Mentioned and Reproduced", "url": null}, {"citation": "Ohio Historical Society, and Ohio History Connection. <em>Timeline: A Publication of the Ohio Historical Society </em>20, Nos.2,3 (March-June 2003).", "page_number": "Mentioned and Reproduced: 81", "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": "Mentioned: p.130; Reproduced: p.131", "url": null}, {"citation": "Jones, Jennie. \"Personal Favorite.\" <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em> 53, No.3 (May/June 2013).", "page_number": "Mentioned and Reproduced: p.9", "url": null}], "url": "https://clevelandart.org/art/1996.325", "images": {}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "William P. and Amanda C. Madar Gallery", "athena_id": 159583, "creators": [{"id": 5913, "description": "Raphael Gleitsmann (American, 1910\u20131995)", "extent": null, "qualifier": null, "role": "artist", "biography": "Born in Dayton, Gleitsmann moved to Akron at an early age when his father, an architectural engineer and amateur painter, secured a job in the area. After graduating from high school, he took private drawing lessons for one year with Katherine Calvin. Lacking the funds for tuition, he accepted the invitation of Paul Travis to attend classes informally at the Cleveland School of Art and became friends with other artists there. Primarily a landscape painter, he first exhibited in the annual of the Butler Institute of Art in Youngstown (1936) and had his first solo show at the Massillon (Ohio) Museum (1939). He also exhibited at the New York World\u2019s Fair that year. The Little Gallery of Cleveland College organized his second solo exhibition (1940). In 1943 he began an association with Macbeth Galleries in New York, where he was featured in solo exhibitions (1940s\u201350s). He exhibited in the annuals of the Art Institute of Chicago (1937\u201349), Pennsylvania Academy of Fine Arts in Philadelphia (1944 52), and Carnegie Institute of Art in Pittsburgh (1943\u201348). In 1944\u201345 he served in the U.S. Army as a combat engineer in Europe, an experience that profoundly affected his subsequent subject matter. Previously specializing in American scene depictions, after the war he created images inspired by the bombed cities of Europe. In the late 1940s and early 1950s he taught studio courses at the Akron Art Institute and continued to exhibit on a regular basis. The Akron Art Institute mounted a solo exhibition of his paintings (1948). By the early 1960s Gleitsmann had stopped painting \u201cfor reasons known entirely only to himself.\u201d <br>\"Transformations in Cleveland Art\" (CMA, 1996), p. 229", "name_in_original_language": null, "birth_year": "1910", "death_year": "1995", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1996-12-02T00:00:00", "sortable_date": 1939, "date_added_to_oa": null, "date_text": "1939", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:21.512000"}, {"id": 123168, "accession_number": "1943.392", "share_license_status": "CC0", "tombstone": "The Call, 1902. Paul Gauguin (French, 1848\u20131903). Oil on fabric; framed: 160.5 x 119 x 9.5 cm (63 3/16 x 46 7/8 x 3 3/4 in.); unframed: 131.3 x 89.5 cm (51 11/16 x 35 1/4 in.). The Cleveland Museum of Art, Gift of the Hanna Fund, 1943.392", "current_location": "222 Impressionism & Post-Impressionism", "title": "The Call", "creation_date": "1902", "creation_date_earliest": 1902, "creation_date_latest": 1902, "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: 160.5 x 119 x 9.5 cm (63 3/16 x 46 7/8 x 3 3/4 in.); Unframed: 131.3 x 89.5 cm (51 11/16 x 35 1/4 in.)", "dimensions": {"framed": {"height": 1.605, "width": 1.19, "depth": 0.095}, "unframed": {"height": 1.313, "width": 0.895}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right: P. Gauguin / 1902\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 338414, "title": "A Loan Exhibition of Paul Gauguin for the Benefit of the New York Infirmary", "description": "<i>A Loan Exhibition of Paul Gauguin for the Benefit of the New York Infirmary</i>. Wildenstein & Co. (organizer) (April 3-27, 1946).", "opening_date": "1946-04-03T05:00:00"}, {"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": 338417, "title": "The Variety of Artistic Production", "description": "<i>The Variety of Artistic Production</i>. Akron Art Museum (January 12-February 26, 1950).", "opening_date": "1950-01-12T05:00:00"}, {"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": 338424, "title": "Masterpieces From Museums and Private Collections", "description": "<i>Masterpieces From Museums and Private Collections</i>. Wildenstein & Co. (organizer) (November 7-December 15, 1951).", "opening_date": "1951-11-07T05:00:00"}, {"id": 338427, "title": "Paul Gauguin, His Place in the Meeting of East and West", "description": "<i>Paul Gauguin, His Place in the Meeting of East and West</i>. Museum of Fine Arts, Houston (March 27-April 25, 1954).", "opening_date": "1954-03-27T05:00:00"}, {"id": 338430, "title": "An Exhibition of Paintings, Engravings and Sculpture by Gauguin", "description": "<i>An Exhibition of Paintings, Engravings and Sculpture by Gauguin</i>. Gallery of the Royal Scottish Academy, Edinburgh (August 21-September 18, 1955); Tate Britain, London (September 29-October 26, 1955).", "opening_date": "1955-09-29T04:00:00"}, {"id": 338442, "title": "The Turn of the Century-Exhibition of Masterpieces", "description": "<i>The Turn of the Century-Exhibition of Masterpieces</i>. Denver Art Museum, Denver, CO (organizer) (October 1-November 18, 1956).", "opening_date": "1956-10-01T04:00:00"}, {"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": 338449, "title": "Gauguin: Paintings, Drawings, Prints, Sculpture", "description": "<i>Gauguin: Paintings, Drawings, Prints, Sculpture</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 30, 1959).", "opening_date": "1959-02-12T05:00:00"}, {"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": 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"}], "legacy": [{"description": "<em>Exposition Paul Gauguin.</em> Galerie Ambroise Vollard, Paris, France (1903).", "opening_date": "1903-01-01T00:00:00"}, {"description": "<em>Manet and the Post-Impressionists</em>. Grafton Galleries, London, United Kingdom (1910-1911).", "opening_date": "1910-01-01T00:00:00"}, {"description": "<em>St\u00e4dtische Ausstellungshalle am Aachener Tor.</em> Internationale Kunstausstellung des Sonderbundes westdeutscher Kunstfreunde und K\u00fcnstler. Cologne, Germany (1912).", "opening_date": "1912-01-01T00:00:00"}, {"description": "<em>Exhibition of Modern French Paintings</em>. Detroit Institute of Arts, Detroit, MI (1931).", "opening_date": "1931-01-01T00:00:00"}, {"description": "<em>Five Centuries of European Painting</em>. Los Angeles Museum, Los Angeles, CA (1933).", "opening_date": "1933-01-01T00:00:00"}, {"description": "<em>An Exhibition of Literature and Poetry in Painting since 1850</em>. Wadsworth Atheneum, Hartford, CT (1933).", "opening_date": "1933-01-01T00:00:00"}, {"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"}, {"description": "<em>Paul Gauguin 1848-1903.</em> Wildenstein &amp; Co, New York, NY: 1936; Fogg Art Museum, Cambridge, MA: 1936. Baltimore Museum of Art, Baltimore, MD (1936).", "opening_date": "1936-01-01T00:00:00"}, {"description": "<em>Masters of French 19th Century Painting.</em> New Burlington Galleries, London. United Kingdom (1936).", "opening_date": "1936-01-01T00:00:00"}, {"description": "<em>The Great Tradition of French Painting</em>. Wildenstein &amp; Co, New York, NY (1939).", "opening_date": "1939-01-01T00:00:00"}]}, "provenance": [{"description": "Ambroise Vollard [1866-1939], Paris, France", "citations": [], "footnotes": [], "date": null, "sortorder": null}, {"description": "Baron Wolf Kohner [1866-1937], Budapest, Hungary", "citations": [], "footnotes": [], "date": "by 1912-1933", "sortorder": 2}, {"description": "(Wildenstein & Co., New York, NY, November 9, 1943, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "by 1933-1943", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1943-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Although known as one of the founders of modern art, Gauguin found inspiration in ancient Greek, Roman, and Egyptian art. The woman with the pointing finger on the right side of this painting was taken from a figure on the Parthenon frieze.", "description": "Painted on a remote island in Polynesia a year before the artist's death, <em>The Call</em> belongs to a series of late works that explore the mysteries of life and death. Two women stand with bare feet, as if on sacred ground. One woman gestures to someone outside the picture, perhaps responding to a \"call\" from fate or destiny. Gauguin realized his ambition of painting from memory and the imagination through such mysterious, dreamlike images.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60024293"], "internet_archive": ["https://archive.org/details/clevelandart-1943.392-the-call"]}, "citations": [{"citation": "Haberfeld, Hugo. \"Die franz\u00f6sischen Bilder der Sammlung Kohner.\" <em>Der Cicerone</em> 3 (1911): 579-589.", "page_number": "Reproduced: p. 587, abb. 8; mentioned: p. 589", "url": null}, {"citation": "Petrovics, Elek. \"B\u00e1r\u00f3 Kohner Adolf Gy\u00fcjt\u00e9menye.\" <em>Magyar M\u00fcv\u00e9szet</em> <em>(Hungarian Art)</em> 6 (1929): 300-322.", "page_number": "Reproduced: p. 319; mentioned: p. 321", "url": null}, {"citation": "\"List of Paintings.\" <em>Art Digest </em>8 (June 1, 1934): 12-24.", "page_number": "Mentioned: p. 17", "url": null}, {"citation": "Gauguin, Paul. translated by Van Wyck Brooks. <em>Paul Gauguin's Intimate Journals</em>. New York: Crown Publishers, 1936.", "page_number": "Reproduced: p.51", "url": null}, {"citation": "Frankfurter, Alfred M. \u201cGauguin: Fifty Paintings in a First American One Man Loan Exhibition.\u201d <em>ARTnews</em> 34 (March 21, 1936): 5\u20136.", "page_number": "Reproduced: p. 6", "url": null}, {"citation": "<em>Apollo: A Journal of the Arts </em>24 (July to December 1936): 278.", "page_number": "Reproduced: p. 278", "url": null}, {"citation": "Rewald, John, and Andre\u0301 Gloeckner. <em>Gauguin</em>. New York, NY: French and European Publications, 1938.", "page_number": "Reproduced: p. 134", "url": null}, {"citation": "Gaunt, William. \u201cPaul Gauguin.\u201d <em>London Studio</em> 16 (November 1938): 232\u201338.", "page_number": "Reproduced: p. 232", "url": null}, {"citation": "Malingue, Maurice. <em>Gauguin.</em> Monaco: Les Documents d'Art, 1943.", "page_number": "Reproduced: pl. xii", "url": null}, {"citation": "Francis, Henry S. \"L'Appel by Paul Gauguin.\"<em> The Bulletin of the Cleveland Museum of Art,</em> no. XXXI, no. 31 (January, 1944): 3-5.", "page_number": "Reproduced: cover, mentioned: p. 3-5", "url": null}, {"citation": "\u201cGauguin\u2019s L\u2019Appel Given to Cleveland.\u201d <em>Art Digest</em> 18 (January 15, 1944): 8.", "page_number": "Reproduced: p. 8", "url": null}, {"citation": "\"Gauguin l'Appel.\" <em>ARTnews</em> 42, no. 17 (15-31 January, 1944): 15.", "page_number": "Reproduced: p. 15", "url": null}, {"citation": "\u201cYear in Art: A Review of 1944 Including Art News\u2019 Selection of the Ten Outstanding One Man Shows.\u201d <em>ARTnews</em> 43 (January 1, 1945): 26\u201327.", "page_number": "Reproduced: p. 26", "url": null}, {"citation": "<em>Paintings in the Cleveland Museum of Art.</em> [Cleveland]: The Cleveland Museum of Art, 1945.", "page_number": "Reproduced: p. [4]", "url": "https://archive.org/details/CMAPaintings1945/page/n12"}, {"citation": "\u201cL\u2019appel.\u201d <em>American Artist</em> 9 (December 1945): 23.", "page_number": "Reproduced: p. 23", "url": null}, {"citation": "Kunstverein fu\u0308r die Rheinlande und Westfalen. <em>Franzo\u0308sische Impressionisten und ihre Zeitgenossen in Farbdrucken; eine Auswahl von siebzig Gema\u0308lden mit neun Biographien und vierundzwanzig Abbildungen</em>. Baden-Baden, Germany: W. Klein, 1946.", "page_number": "Reproduced: p. 58", "url": null}, {"citation": "Wildenstein and Company (New York, N.Y.), Vladimir Visson, and Raymond Cogniat. <em>A Loan Exhibition of Paul Gauguin, For the Benefit of the New York Infirmary. April 3-May 4, 1946 at Wildenstein</em>. 1946.", "page_number": "Mentioned and Reproduced: cat. no. 39", "url": null}, {"citation": "Cogniat, Raymond. <em>Gauguin</em>. Paris, FR: P. Tisne, 1947.", "page_number": "Reproduced: pl. 116", "url": null}, {"citation": "Unesco. <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. 113", "url": null}, {"citation": "Elgar, Frank. <em>Gauguin</em>. Paris, FR: F. Hazan, 1949.", "page_number": "Reproduced: pl. 22", "url": null}, {"citation": "Sutton, Denys. \"Paul Gauguin 1848-1903.\" <em>Maandblad voor Beeldende Kunsten </em>25 (1949): 106-110.", "page_number": "Mentioned and reproduced: p. 110", "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. 173, fig. 177", "url": null}, {"citation": "Dovski, Lee van. <em>Paul Gauguin, oder, Die Flucht vor der Zivilisation.</em> Olten: Delphi, 1950.", "page_number": "Mentioned: p. 355,no. 396", "url": null}, {"citation": "Davis, Richard S. \"Gauguin Landscape Purchased from Eliel Memorial Fund.\" <em>Minneapolis Institute of Arts Bulletin</em> 39, no. 13 (April 1, 1950): 62-67.", "page_number": "Reproduced: p. 67", "url": null}, {"citation": "\"Gauguin in Tahiti\" <em>Bulletin of the Minneapolis Institute of Arts</em> 39 (1 April 1950): 66-67", "page_number": null, "url": null}, {"citation": "Bazin, Germain, and Marc Loge\u0301. <em>History of Painting</em>. New York, NY: Hyperion Press, 1951.", "page_number": "Reproduced: p. 86, vol. 2", "url": null}, {"citation": "Dorival, Bernard. \"Sources of the Art of Gauguin from Java, Egypt and Ancient Greece.\" <em>Burlington Magazine</em> 93 (1951): 118-123.", "page_number": "Reproduced: fig. 25; mentioned: fig. 25", "url": null}, {"citation": "Robb, David M. <em>The Harper History of Painting: The Occidental Tradition. </em>New York: Harper, 1951.", "page_number": "Mentioned: p. 789-790, 794, 806-807; reproduced: p. 788", "url": null}, {"citation": "Wildenstein and Company (New York, N.Y.). <em>Masterpieces from Museums and Private Collections: Wildenstein Jubilee Loan Exhibition, 1901-1951 ... November 8 - December 15, 1951 ... New York</em>. [New York]: Wildenstein, 1951.", "page_number": "Mentioned and Reproduced: cat. no. 52", "url": null}, {"citation": "\u201cL\u2019appel.\u201d <em>Journal of Aesthetics &amp; Art Criticism</em> 12 (December 1953): 144.", "page_number": "Reproduced: p. 144", "url": null}, {"citation": "Dorra, Henri. \u201cGauguin and His Century; a Houston Museum Show Reveals How East Meets West in Gauguin\u2019s Style.\u201d <em>Art Digest</em> 28 (March 15, 1954): 12\u201313.", "page_number": "Reproduced: p. 13", "url": null}, {"citation": "Gauguin, Paul. <em>Paul Gauguin: His Place in the Meeting of East and West : Museum of Fine Arts of Houston, March 27-April 25, 1954</em>. Houston [Tex.]: Museum of Fine Arts of Houston, 1954.", "page_number": "Mentioned and Reproduced: cat. no. 33", "url": null}, {"citation": "Gauguin, Paul. <em>An Exhibition of Paintings, Engravings &amp; Sculpture [by] Gauguin</em>. Edinburgh: Royal Scottish Academy, 1955.", "page_number": "Mentioned cat. no. 63, p. 35, Reproduced: frontispiece", "url": null}, {"citation": "Gauguin, Paul, Sigurd Willoch, and Kunstnervorbundet (Norway). <em>Paul Gauguin : 11. November-1. December 1955</em>. Oslo: Kunstnerforbundet, 1955.", "page_number": "Mentioned: cat. no. 35, Reproduced: opp. title page", "url": null}, {"citation": "<br>Tralbaut, M. E. \"De Gauguin-tentoonstelling te Londen.\" <em>Museumjournaal </em>1, no. 5/6 (December 1955): 93-97.", "page_number": "Reproduced: p. 104", "url": null}, {"citation": "Sutton, Denys. \"Notes on Paul Gauguin Apropos a Recent Exhibition.\" <em>Burlington Magazine </em>98 (March 1956): 84-92.", "page_number": "Mentioned: p. 91", "url": null}, {"citation": "Goldwater, Robert. <em>Paul Gauguin</em>. New York, NY: H.N. Abrams, 1957.", "page_number": "Reproduced: p. 156-157", "url": null}, {"citation": "Rewald, John. <em>Gauguin Drawings</em>. New York, NY: T. Yoseloff, 1958.", "page_number": "Mentioned: p. 111-115", "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. 511", "url": "https://archive.org/details/CMAHandbook1958/page/n94"}, {"citation": "Cleveland Museum of Art. <em>In Memoriam: Leonard C. Hanna, J</em>r. Cleveland: The Cleveland Museum of Art, 1958.", "page_number": "Reproduced: no. 51", "url": null}, {"citation": "Milliken, William Mathewson. <em>The Cleveland Museum of Ar</em>t. New York: H.N. Abrams, 1958.", "page_number": "Reproduced: p. 56", "url": null}, {"citation": "Frankfurter, Alfred. \"Cleveland: Model Museum for a Modern Cosmopolis.\" ARTnews 57, no. 1 (March 1958): 24-37.", "page_number": "Reproduced: p. 36, fig. 27", "url": null}, {"citation": "Gauguin, Paul, and Theodore Rousseau. <em>Gauguin--Paintings, Drawings, Prints, Sculpture: [Exhibition], the Art Institute of Chicago, [Feb. 12-Mar. 29, 1959], the Metropolitan Museum of Art, [Apr. 23-May 31, 1959]</em>. Chicago: Art Institute of Chicago, 1959.", "page_number": "Mentioned and Reproduced: cat. no. 68, p. 21-22", "url": null}, {"citation": "\"Gauguin at the Metropolitan.\" <em>Pictures on Exhibit</em> 22, no. 8 (May 1959): 4-5.", "page_number": "Reproduced: p. 5", "url": null}, {"citation": "Henning, Edward. \"From Turner to Guston.\" <em>Apollo: A Journal of the Arts </em>68, no. 22 (December 1963): 481-488.", "page_number": "Reproduced: p. 485; mentioned: p. 487", "url": null}, {"citation": "Wildenstein, Georges. <em>Gauguin</em>. Paris, FR: Les Beaux-Arts, E\u0301ditions d'E\u0301tudes et de Documents, 1964.", "page_number": "Reproduced: no. 612", "url": null}, {"citation": "Alley, Ronald. <em>Gauguin</em>. London: Spring Books, 1964.", "page_number": "Mentioned: p. 48; Reproduced: pl. XLVIII", "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. 181", "url": "https://archive.org/details/CMAHandbook1966/page/n205"}, {"citation": "Cachin, Franc\u0327oise. <em>Gauguin</em>. Paris, FR: Librairie ge\u0301ne\u0301rale franc\u0327ais], 1968.", "page_number": "Reproduced: p. 313-315", "url": null}, {"citation": "Krause, Joseph H. <em>The Nature of Art</em>. Englewood Cliffs, NJ.: Prentice-Hall, 1969.", "page_number": "Reproduced: pl. 32", "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": "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": "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. VII", "url": null}, {"citation": "Pickvance, Ronald . <em>The Drawings of Gauguin</em>. Feltham, UK: Hamlyn, 1970.", "page_number": "Reproduced: p. 106", "url": null}, {"citation": "Awazu, Norio. <em>Go\u0304gyan Gauguin.</em> Tokyo: Shu\u0304eisha, 1971.", "page_number": "Reproduced: pl. 64", "url": null}, {"citation": "Mandel, Gabriele. <em>L'opera completa di Gauguin</em>. Milano, IT: Rizzoli, 1972.", "page_number": "Reproduced: no. 440", "url": null}, {"citation": "Bowness, Alan. <em>Modern European Art.</em> [New York]: Harcourt, Brace, Jovanovich, 1972.", "page_number": "Reproduced: p. 62, fig. 57", "url": null}, {"citation": "Wadley, Nicholas. <em>Gauguin: 116 Reproductions</em>. Oxford, UK: Phaidon, 1978.", "page_number": "Reproduced: pl. 94", "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": "Henning, Edward B. <em>The Spirit of Surrealism</em>. Cleveland: The Cleveland Museum of Art, 1979.", "page_number": "Mentioned: p. 46-47, 185; Reproduced: p. 46, fig. 5; colorplate I", "url": null}, {"citation": "Fezzi, Elda. <em>Gauguin: Every Painting I-II.</em> New York: Rizzoli, 1980.", "page_number": "Reproduced: p. 90, no. 594", "url": null}, {"citation": "Amann, Per Amann. <em>Paul Gauguin</em>. Ramerding, Germany: Berghaus, 1980.", "page_number": "Pl. 69", "url": null}, {"citation": "Yasunori, Tan\u02bco. <em>Go\u0304gan</em>. To\u0304kyo\u0304, Japan: Ko\u0304dansha, 1980.", "page_number": "Reproduced: p. 124, no. 57", "url": null}, {"citation": "Goldwater, Robert. <em>Paul Gauguin</em>. Norwalk, Conn: Easton Press, 1983.", "page_number": "Reproduced: p. 124-125", "url": null}, {"citation": "Vance, Mary Lynn Zink. <em>Gauguin's Polynesian Pantheon As a Visual Language.</em> Thesis Ph.D. University of California, Santa Barbara 1983.", "page_number": "Mentioned: p. 171, 189", "url": null}, {"citation": "Henning, Edward B. \u201cLooking at Art: The Woman in the Waves.\u201d <em>ARTnews</em> 83 (March 1984): 104\u20136.", "page_number": "Mentioned and reproduced: p. 104-106", "url": null}, {"citation": "Le Pichon, Yann. <em>Sur les traces de Gauguin</em>. Paris, FR: R. Laffont, 1986.", "page_number": "Reproduced: p. 6", "url": null}, {"citation": "Motoe, Kunio. <em>Go\u0304gyan</em>. To\u0304kyo\u0304: Shu\u0304eisha, 1986.", "page_number": "Reproduced: pl. 59", "url": null}, {"citation": "Abe, Nobuo, and Kimio Nakayama. <em>Go\u0304gyan: rakuen no maboroshi</em>. Tokyo, Japan: Sankei Shinbun Shashin Nyu\u0304su Senta\u0304, 1987.", "page_number": "Reproduced: p. 37", "url": null}, {"citation": "Faulkner, Ray, Edwin Ziegfeld, and Howard J. Smagula. <em>Art Today: An Introduction to the Visual Arts</em>. New York, NY: Holt, Rinehart and Winston, 1987.", "page_number": "Reproduced: p. 64, pl. 10", "url": null}, {"citation": "Hoog, Michel. <em>Paul Gauguin, Life and Work</em>. New York, NY: Rizzoli, 1987.", "page_number": "Reproduced: pl. 204; mentioned: p. 269, 281", "url": null}, {"citation": "Le Pichon, Yann. <em>Gauguin: Life, Art, Inspiration</em>. New York, NY: H.N. Abrams, 1987.", "page_number": "Reproduced: p. 6", "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: p. 346", "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. 109", "url": null}, {"citation": "Brettell, Richard R. <em>The Art of Paul Gauguin</em>. Washington, DC: National Gallery of Art, 1988.", "page_number": "Reproduced: p. 494, Mentioned: p. 492-494", "url": null}, {"citation": "Cachin, Franc\u0327oise. <em>Gauguin</em>. Paris, FR: Flammarion, 1988.", "page_number": "Reproduced: p. 274", "url": null}, {"citation": "Cachin, Franc\u0327oise. <em>Gauguin \"ce malgre\u0301 moi de sauvage\"</em>. Paris, FR: Gallimard, 1989.", "page_number": "Reproduced: p. 124", "url": null}, {"citation": "Cahn, Isabelle. <em>Gauguin</em>. Milano, IT: Giorgio Mondadori, 1990.", "page_number": "Reproduced: pl. 68", "url": null}, {"citation": "Motoe, Kunio. Go\u0304gyan = Paul Gauguin. To\u0304kyo\u0304: Asahi Shinbunsha, 1990.", "page_number": "Reproduced: pl. 66", "url": null}, {"citation": "Schneeberger, Pierre-Francis. <em>Gauguin, Tahiti</em>. Paris, FR: Bibliothe\u0300que des Arts, 1991.", "page_number": "Reproduced: p. 74-75", "url": null}, {"citation": "Turner, Evan H. <em>Object Lessons: Cleveland Creates an Art Museum.</em> Cleveland: Cleveland Museum of Art, 1991.", "page_number": "Mentioned: p. 85, 113; Reproduced: p. 113", "url": null}, {"citation": "Kimura, Shigenobu, Shu\u0304ji Takashina, Ko\u0304ichi Kabayama, Yasuto O\u0304ta, and Yasunori Tan\u02bco. <em>Seikimatsu no yume = The dream of fin de sie\u0300cle</em>. To\u0304kyo\u0304, Japan: Ko\u0304dansha, 1992.", "page_number": "Reproduced: p. 23", "url": null}, {"citation": "Thomson, Belinda. <em>Gauguin by Himself</em>. Boston, MA: Little, Brown, 1993.", "page_number": "Reproduced: pl. 220", "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": "Maillol, Aristide, Ursel Berger, and Jo\u0308rg Zutter. <em>Aristide Maillol</em>. Paris, FR: Flammarion, 1996.", "page_number": "Reproduced: p. 26", "url": null}, {"citation": "Pelfrey, Robert H. <em>Art and Mass Media</em>. Dubuque, Iowa: Kendall/Hunt, 1996.", "page_number": "Reproduced: fig. 7, p. 26; Mentioned: p, 188", "url": null}, {"citation": "Eisenman, Stephen. <em>Gauguin's Skirt</em>. New York, NY: Thames and Hudson, 1997.", "page_number": "Reproduced: p. 101, Mentioned: p. 100", "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. 282-286, no. 102", "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. p. 53, Mentioned: p. 52-53, Listed: p.118", "url": null}, {"citation": "Natter, Tobias G. <em>Die Galerie Miethke: eine Kunsthandlung im Zentrum der Moderne</em>. Wien, Austria: Ju\u0308disches Museum der Stadt Wien, 2003.", "page_number": "Reproduced: p. 172", "url": null}, {"citation": "Rebeyrotte, Jean-Franc\u0327ois. Rebeyrotte. <em>Paul Gauguin</em>. Paris: Somogy Editions d'Art, 2003.", "page_number": "Mentioned and reproduced: p. 48-49", "url": null}, {"citation": "Cahn, Isabelle, and Bernadette Caille. <em>Gauguin - Tahiti- l'Atelier des Tropiques: [3 octobre 2003-19 janvier 2004, Galeries Nationales du Grand P alais, Paris]</em>. Paris: Re\u0301union des Muse\u0301es Nationaux, 2004.", "page_number": "Reproduced: p. 257, fig. 4", "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. 4", "url": "https://archive.org/details/CMAMM2007-08/page/2/"}, {"citation": "Eisenman, Stephen, and Guillermina Rosenkrantz. <em>Paul Gauguin</em>. Barcelona, Spain: Estudi Poligrafa, 2010.", "page_number": "Reproduced: p. 87", "url": null}, {"citation": "Walther, Ingo F. <em>Paul Gauguin, 1848-1903 : the primitive sophisticate. </em>Taschen America Llc, 2013.", "page_number": "Reproduced: p. 84-85", "url": null}, {"citation": "Figura, Starr, Elizabeth C. Childs, Hal Foster, and Erika Mosier. <em>Gauguin: Metamorphoses</em>. The Museum of Modern Art, NY: 2014.", "page_number": "Reproduced: p. 219, fig. 184", "url": null}, {"citation": "Molnos, Pe\u0301ter. <em>Aranykorok romjain: tanulma\u0301nyok a modern magyar feste\u0301szet e\u0301s mu\u030bgyu\u030bjte\u0301s to\u0308rte\u0301nete\u0301bo\u030bl a Kieselbach Gale\u0301ria alapi\u0301ta\u0301sa\u0301nak huszadik e\u0301vfordulo\u0301ja\u0301n.</em> Budapest: Kieselbach, 2015.", "page_number": "Reproduced: p. 98", "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. 30", "url": null}, {"citation": "<em>Paul Gauguin: Teuraheimata a Potoru, a Rediscovery.</em> New York: Jill Newhouse Gallery; [Akron, Ohio]: Thomas French Fine Art, 2019.", "page_number": "Mentioned: P. 7", "url": ""}], "url": "https://clevelandart.org/art/1943.392", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1943.392/1943.392_web.jpg", "width": "606", "height": "900", "filesize": "243342", "filename": "1943.392_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1943.392/1943.392_print.jpg", "width": "2291", "height": "3400", "filesize": "3236257", "filename": "1943.392_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1943.392/1943.392_full.tif", "width": "10517", "height": "15608", "filesize": "492479392", "filename": "1943.392_full.tif"}}, "alternate_images": [{"date_created": "2007-07-23T17:54:31", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1943.392/1943.392_alt0_web.jpg", "width": "601", "height": "893", "filesize": "422433"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1943.392/1943.392_alt0_print.jpg", "width": "2287", "height": "3400", "filesize": "5787885"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1943.392/1943.392_alt0_full.tif", "width": "3968", "height": "5899", "filesize": "70255276"}}, {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1943.392/1943.392_alt1_web.jpg", "width": "603", "height": "893", "filesize": "440145"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1943.392/1943.392_alt1_print.jpg", "width": "2294", "height": "3400", "filesize": "5682615"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1943.392/1943.392_alt1_full.tif", "width": "3374", "height": "5000", "filesize": "50638868"}}, {"date_created": "2017-08-03T11:30:12", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1943.392/1943.392_alt2_web.jpg", "width": "900", "height": "675", "filesize": "277730"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1943.392/1943.392_alt2_print.jpg", "width": "3400", "height": "2550", "filesize": "4029853"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1943.392/1943.392_alt2_full.tif", "width": "15994", "height": "11995", "filesize": "575574160"}}, {"date_created": "2018-10-15T10:14:29", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1943.392/1943.392_alt3_web.jpg", "width": "620", "height": "900", "filesize": "154264"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1943.392/1943.392_alt3_print.jpg", "width": "2344", "height": "3400", "filesize": "2109862"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1943.392/1943.392_alt3_full.tif", "width": "5257", "height": "7624", "filesize": "120267220"}}, {"date_created": "2018-10-15T10:38:03", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1943.392/1943.392_alt4_web.jpg", "width": "720", "height": "900", "filesize": "252101"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1943.392/1943.392_alt4_print.jpg", "width": "2720", "height": "3400", "filesize": "2517791"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1943.392/1943.392_alt4_full.tif", "width": "5855", "height": "7320", "filesize": "128604832"}}, {"date_created": "2018-10-15T10:32:49", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1943.392/1943.392_alt5_web.jpg", "width": "900", "height": "588", "filesize": "220226"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1943.392/1943.392_alt5_print.jpg", "width": "3400", "height": "2221", "filesize": "2406568"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1943.392/1943.392_alt5_full.tif", "width": "5943", "height": "3882", "filesize": "69241656"}}, {"date_created": "2018-10-15T10:25:59", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1943.392/1943.392_alt6_web.jpg", "width": "900", "height": "753", "filesize": "252174"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1943.392/1943.392_alt6_print.jpg", "width": "3400", "height": "2846", "filesize": "2602845"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1943.392/1943.392_alt6_full.tif", "width": "5528", "height": "4628", "filesize": "76779696"}}], "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": 123168, "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": "1943-11-09T00:00:00", "sortable_date": 1902, "date_added_to_oa": null, "date_text": "1902", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["L'appel (The Call)"], "is_highlight": false, "updated_at": "2026-03-27 00:08:06.425000"}, {"id": 147066, "accession_number": "1972.8", "share_license_status": "Copyrighted", "tombstone": "Bottle, Glass, Fork, 1911\u201312. Pablo Picasso (Spanish, 1881\u20131973). Oil on canvas; framed: 92.4 x 75.9 x 8.3 cm (36 3/8 x 29 7/8 x 3 1/4 in.); unframed: 72 x 52.7 cm (28 3/8 x 20 3/4 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1972.8. \u00a9 Estate of  Pablo Picasso / Artists Rights Society (ARS), New York", "current_location": null, "title": "Bottle, Glass, Fork", "creation_date": "1911\u201312", "creation_date_earliest": 1911, "creation_date_latest": 1912, "artists_tags": ["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: 92.4 x 75.9 x 8.3 cm (36 3/8 x 29 7/8 x 3 1/4 in.); Unframed: 72 x 52.7 cm (28 3/8 x 20 3/4 in.)", "dimensions": {"framed": {"height": 0.924, "width": 0.759, "depth": 0.083}, "unframed": {"height": 0.72, "width": 0.527}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of  Pablo Picasso / Artists Rights Society (ARS), New York", "inscriptions": [], "exhibitions": {"current": [{"id": 301752, "title": "Year in Review: 1972", "description": "<i>Year in Review: 1972</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 27-March 18, 1973).", "opening_date": "1973-02-27T05:00:00"}, {"id": 360871, "title": "Modern Masters: Manet to Matisse", "description": "<i>Modern Masters: Manet to Matisse</i>. Art Gallery of New South Wales, Sydney, Australia (April 9-May 11, 1975); National Gallery of Victoria, Melbourne, Australia (May 26-June 23, 1975); The Museum of Modern Art, New York, NY (organizer) (August 4-September 1, 1975).", "opening_date": "1975-04-09T04:00:00"}, {"id": 442780, "title": "Pablo Picasso: A Retrospective", "description": "<i>Pablo Picasso: A Retrospective</i>. The Museum of Modern Art, New York, NY (organizer) (May 22-September 16, 1980).", "opening_date": "1980-05-22T04:00:00"}, {"id": 442184, "title": "Pablo Picasso", "description": "<i>Pablo Picasso</i>. The National Museum of Modern Art, Tokyo, Tokyo, Japan (organizer) (co-organizer) (April 2-May 29, 1983); Kyoto Municipal Museum of Art, Kyoto, Japan (co-organizer) (June 10-July 24, 1983).", "opening_date": "1983-04-02T05:00:00"}, {"id": 442168, "title": "Picasso", "description": "<i>Picasso</i>. National Gallery of Victoria, Melbourne, Australia (co-organizer) (July 27-September 23, 1984); Art Gallery of New South Wales, Sydney, Australia (October 9-December 2, 1984).", "opening_date": "1984-07-27T04:00:00"}, {"id": 310012, "title": "The Magic of Still Life", "description": "<i>The Magic of Still Life</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 4, 1986-February 1, 1987).", "opening_date": "1986-11-04T05:00:00"}, {"id": 310025, "title": "Creativity in Art and Science, 1860-1960", "description": "<i>Creativity in Art and Science, 1860-1960</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 16-November 8, 1987).", "opening_date": "1987-09-16T04:00:00"}, {"id": 441650, "title": "Picasso und Braque: Die Geburt des Kubismus (Picasso & Braque: Pioneering Cubism)", "description": "<i>Picasso und Braque: Die Geburt des Kubismus (Picasso & Braque: Pioneering Cubism)</i>. Kunstmuseum Basel, Basel, Switzerland (organizer) (February 25-June 18, 1990).", "opening_date": "1990-02-25T05:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. Beijing World Art Museum (May 26-August 27, 2006); Mori Art Center (September 16-November 26, 2006); Seoul Art Center, South Korea (December 22, 2006-March 28, 2007); Seoul Olympic Museum of Art, South Korea (April 7-May 20, 2007); Vancouver Art Gallery, Vancouver, Canada (June 9-September 16, 2007); The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008); Frist Art Museum, Nashville, TN (February 15-June 1, 2008); Utah Museum of Fine Arts, Salt Lake City, UT (June 22-September 21, 2008); The Detroit Institute of Arts, Detroit, MI (October 12, 2008-January 18, 2009).", "opening_date": "2006-05-27T00:00:00"}, {"id": 222734, "title": "Picasso and Braque: The Cubist Experiment, 1910-12", "description": "<i>Picasso and Braque: The Cubist Experiment, 1910-12</i>. Kimbell Art Museum, Fort Worth, TX (May 29-August 21, 2011); Santa Barbara Museum of Art, Santa Barbara, CA (organizer) (September 17, 2011-January 9, 2012).", "opening_date": "2011-05-29T00:00:00"}], "legacy": [{"description": "<em>Jasper Johns Numbers</em>. Cleveland Museum of Art, Cleveland, OH (October 26, 2003-January 1, 2004); Los Angeles County Museum of Art, Los Angeles, CA (February 1-April 18, 2004).", "opening_date": "2004-02-01T00:00:00"}]}, "provenance": [{"description": "(Kahnweiler, Paris, France)", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "Carlo Frua de Angeli [1895-1969] Milan, Italy", "citations": [], "footnotes": [], "date": "1959", "sortorder": 2}, {"description": "(Galerie Beyerler, Basel, Switzerland, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "1972", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1972-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Just before the First World War, Pablo Picasso and Georges Braque invented a radically new kind of painting that dispensed almost completely with visual resemblance to the world, substituting an intellectual method of abstraction that challenged every convention and created a revolutionary conception of space, even a redefinition of reality in art.", "description": "This still life depicts a variety of objects found on a caf\u00e9 table: a bottle, glass, folded newspaper, and utensils. Intricate in its composition and subtle in palette, this painting exemplifies Analytic Cubism, an artistic style devised by Picasso and Georges Braque between 1908\u201312 characterized by the fragmentary appearance of multiple, simultaneous viewpoints and overlapping planes. Maintaining a connection to the real world, Picasso inserted letters and numbers with personal and political meanings. The \u201cfe 20\u201d could refer to the word \u201ccaf\u00e9\u201d and a street address. \u201cEAN\u201d above [P] ARIS may allude to the newspaper <em>L\u2019Intransigeant </em>founded in 1880 in Paris; but ultimately, the meaning of these fragments remains mysterious and known only to the artist.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q4949030"], "internet_archive": []}, "citations": [{"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 242", "url": "https://archive.org/details/CMAHandbook1978/page/n262"}, {"citation": "Boggs, Jean Sutherland, Brigitte Le\u0301al, and Marie-Laure Bernadac. <em>Picasso and Things: The Still Lifes of Picasso</em>. Cleveland: Cleveland Museum of Art, 1992.", "page_number": "Mentioned and reproduced: P. 94-95, no. 25", "url": ""}, {"citation": "Perl, Jed. <em>Art in America, 1945-1970: Writings from the Age of Abstract Expressionism, Pop Art, and Minimalism</em>. New York, NY : Library of America, 2014.", "page_number": "Reproduced: P. 139", "url": null}, {"citation": "Arendsee, M., and M. Steinman-Arendsee. \"Take the CAN disability aesthetics tour, at the Cleveland Museum of art.\" <em>CAN Journal</em> (Winter 2019/20): 76-87.", "page_number": "Mentioned: p. 85", "url": null}, {"citation": "Henning, Edward B. <em>Creativity in Art and Science, 1860-1960.</em> [Cleveland, Ohio]: Published by the Cleveland Museum of Art in cooperation with Indiana University Press, 1987.", "page_number": "Mentioned and reproduced: P. 113, no. 21", "url": ""}], "url": "https://clevelandart.org/art/1972.8", "images": {}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 147066, "creators": [{"id": 2160, "description": "Pablo Picasso (Spanish, 1881\u20131973)", "extent": null, "qualifier": null, "role": "artist", "biography": "Pablo Ruiz Picasso (1881-1973), the most prolific and influential artist of the 20th century, shifted the emphasis of art from its traditional concern with beauty toward radical innovation. The son of an art teacher, Picasso demonstrated remarkable talents as a child and entered the royal art academy in Madrid at age sixteen. Less than a year later, he abandoned his studies and soon joined several avant-garde artist and anarchist groups in Barcelona and Paris. After passing through a succession of stylistic periods, most notably the Blue (1901-1904) and Rose (1904-1906) Periods, he collaborated with Georges Braque (1882-1963) in 1908 to invent Cubism, a revolutionary method of restructuring pictorial space. Picasso remained active until his death in 1973. Although his art still appears radical, many of his works are over one hundred years old. Cubism, perhaps the most important development in 20th-century art, was invented around 1908 by Pablo Picasso (1881-1973) and Georges Braque (1882-1963). The most revolutionary aspect of the style was not its obvious emphasis on geometric form; rather, it was the introduction of a radically new approach to configuring pictorial space. Since the Renaissance, artists had used various methods to create the illusion of distant space receding behind the canvas surface. The Cubists rejected that idea and collapsed space by compressing foreground, middle ground, and background into a continuous web of overlapping, intersecting planes. During the 1910s, other painters and sculptors embraced or adapted Cubism to their own ends. This revolutionary approach inspired a host of related movements and continues to influence the visual language of artists, architects, and designers throughout the world.", "name_in_original_language": null, "birth_year": "1881", "death_year": "1973", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1972-01-12T00:00:00", "sortable_date": 1911, "date_added_to_oa": null, "date_text": "1911\u201312", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-04-03 13:35:09.161000"}, {"id": 135420, "accession_number": "1958.42", "share_license_status": "CC0", "tombstone": "Morning Glory with Black, 1926. Georgia O'Keeffe (American, 1887\u20131986). Oil on canvas; framed: 96.5 x 81.3 x 5.4 cm (38 x 32 x 2 1/8 in.); unframed: 91 x 75.5 cm (35 13/16 x 29 3/4 in.). The Cleveland Museum of Art, Bequest of Leonard C. Hanna Jr., 1958.42", "current_location": "226A American Modern", "title": "Morning Glory with Black", "creation_date": "1926", "creation_date_earliest": 1926, "creation_date_latest": 1926, "artists_tags": ["female"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 96.5 x 81.3 x 5.4 cm (38 x 32 x 2 1/8 in.); Unframed: 91 x 75.5 cm (35 13/16 x 29 3/4 in.)", "dimensions": {"framed": {"height": 0.965, "width": 0.813, "depth": 0.054}, "unframed": {"height": 0.91, "width": 0.755}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Verso:  \"G OKeeffe -- 1926\" (white paint)", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 318718, "title": "January Show", "description": "<i>January Show</i>. Kingwood Center Gardens, Mansfield, OH (organizer) (January 11-31, 1959).", "opening_date": "1959-01-11T05:00:00"}, {"id": 703004, "title": "1959 January Show", "description": "<i>1959 January Show</i>. Kingwood Center Gardens, Mansfield, OH (organizer) (January 11-31, 1959).", "opening_date": "1959-01-11T05:00:00"}, {"id": 318721, "title": "The Precisionist View in American Art", "description": "<i>The Precisionist View in American Art</i>. Walker Art Center, Minneapolis, MN (organizer) (November 13-December 25, 1960); Whitney Museum of American Art, New York, NY (January 24-February 28, 1961); The Detroit Institute of Arts, Detroit, MI (March 21-April 23, 1961); Los Angeles County Museum of Art, Los Angeles, CA (May 17-June 18, 1961); Fine Arts Museum of San Francisco, Legion of Honor, San Francisco, CA (July 2-August 6, 1961).", "opening_date": "1960-11-13T05:00:00"}, {"id": 315762, "title": "Four Centuries of American Art", "description": "<i>Four Centuries of American Art</i>. Minneapolis Institute of Arts, MN (organizer) (co-organizer) (November 27, 1963-January 19, 1964).", "opening_date": "1963-11-27T05:00:00"}, {"id": 318730, "title": "Georgia O'Keeffe: An Exhibition of the work of the artist from 1915-1966", "description": "<i>Georgia O'Keeffe: An Exhibition of the work of the artist from 1915-1966</i>. Amon Carter Museum, Fort Worth, TX (organizer) (March 17-May 8, 1966).", "opening_date": "1966-03-17T05:00:00"}, {"id": 318738, "title": "First Indian Triennale of World Art", "description": "<i>First Indian Triennale of World Art</i>. Indian National Academy of Art, New Delhi, India (organizer) (February 10-March 30, 1968).", "opening_date": "1968-02-10T05:00:00"}, {"id": 301294, "title": "Works from the Contemporary Collection", "description": "<i>Works from the Contemporary Collection</i>. The Cleveland Museum of Art, Cleveland, OH (July 1-October 15, 1969).", "opening_date": "1969-07-01T04:00:00"}, {"id": 319852, "title": "Georgia O'Keeffe Retrospective Exhibition", "description": "<i>Georgia O'Keeffe Retrospective Exhibition</i>. Whitney Museum of American Art, New York, NY (organizer) (October 8-November 29, 1970); The Art Institute of Chicago, Chicago, IL (January 6-February 7, 1971); Fine Arts Museum of San Francisco, Legion of Honor, San Francisco, CA (March 15-April 30, 1971).", "opening_date": "1970-10-08T04:00:00"}, {"id": 310024, "title": "The Georgia O'Keeffe Gift", "description": "<i>The Georgia O'Keeffe Gift</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 4-November 15, 1987).", "opening_date": "1987-09-04T04:00:00"}, {"id": 310243, "title": "The Precisionist Aesthetic in American Art", "description": "<i>The Precisionist Aesthetic in American Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 24-April 9, 1989).", "opening_date": "1989-01-24T05:00:00"}, {"id": 213897, "title": "Georgia O'Keeffe: The Poetry of Things", "description": "<i>Georgia O'Keeffe: The Poetry of Things</i>. The Phillips Collection (organizer) (April 24-July 18, 1999); Georgia O'Keeffe Museum (August 14-October 10, 1999); The Dallas Museum of Art (October 30, 1999-January 30, 2000); Fine Arts Museum of San Francisco, Legion of Honor (February 19-May 14, 2000).", "opening_date": "1999-04-24T00:00:00"}, {"id": 177143, "title": "Modern Art in America: Alfred Stieglitz and His New York Galleries", "description": "<i>Modern Art in America: Alfred Stieglitz and His New York Galleries</i>. National Gallery of Art, Landover, MD (organizer) (January 28-April 22, 2001).", "opening_date": "2001-01-28T00:00:00"}, {"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": 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": 224250, "title": "Georgia O'Keeffe and the Women of the Stieglitz Circle", "description": "<i>Georgia O'Keeffe and the Women of the Stieglitz Circle</i>. High Museum of Art, Atlanta, GA (organizer) (February 9-May 4, 2008).", "opening_date": "2008-02-09T00:00:00"}, {"id": 218458, "title": "Georgia O'Keeffe: Abstraction", "description": "<i>Georgia O'Keeffe: Abstraction</i>. Whitney Museum of American Art, New York, NY (organizer) (September 17, 2009-January 17, 2010).", "opening_date": "2009-09-17T00:00:00"}, {"id": 317416, "title": "Georgia O'Keeffe: Living Modern", "description": "<i>Georgia O'Keeffe: Living Modern</i>. The Cleveland Museum of Art, Cleveland, OH (November 21, 2018-March 3, 2019).", "opening_date": "2018-11-23T05:00:00"}, {"id": 176944, "title": "Georgia O'Keeffe: Living Modern", "description": "<i>Georgia O'Keeffe: Living Modern</i>. The Cleveland Museum of Art, Cleveland, OH (November 21, 2018-March 3, 2019); Wichita Art Museum, Wichita, KS (March 29-June 23, 2019); Nevada Museum of Art, Reno, NV (July 18-October 20, 2019); Norton Museum of Art, West Palm Beach, FL (November 21, 2019-February 9, 2020).", "opening_date": "2019-03-29T04:00:00"}], "legacy": [{"description": "<em>Georgia O'Keeffe Paintings. </em>The Intimate Gallery, New York (January 11-February 27, 1927).", "opening_date": "1927-01-11T05:00:00Z"}, {"description": "Speed Memorial Museum. Louisville, KY (February 13-March 5, 1944).", "opening_date": "1944-02-13T04:00:00Z"}, {"description": "<em>Georgia O\u2019Keeffe. </em>Museum of Modern Art, New York (May 14-August 25, 1946).", "opening_date": "1946-05-14T04:00:00Z"}, {"description": "<em>Contemporary Painting in the United States: A Special Exhibition. </em>The Metropolitan Museum of Art. New York, NY (April 19-April 27, 1941).", "opening_date": "1941-04-19T05:00:00Z"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The morning glory rests against a black petunia, seen partially at lower right.", "description": "O'Keeffe is best known for close-up flower subjects whose magnified forms fill the entire space of each canvas. Likely inspired by similar compositions in modern photography, these images are not only celebrations of nature, but also striking essays in abstract design. Although many critics interpreted O'Keeffe's flower paintings as reflections of femininity in general and female sexuality in particular, the artist strongly opposed such readings. Throughout most of her career, she frequently attempted to persuade others to discuss her work without referring to her gender, writing on one occasion, \"I have always been very annoyed at being referred to as a 'woman artist' rather than an 'artist.'\"", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60465130"], "internet_archive": []}, "citations": [{"citation": "Messinger, Lisa Mintz. <em>Georgia O'Keeffe</em>. New York: Thames &amp; Hudson, 2001.", "page_number": "Mentioned: p. 74; Reproduced: p. 73", "url": null}, {"citation": "O'Keeffe, Georgia, Alfred Stieglitz, and Sarah Greenough. <em>My Faraway One: Selected Letters of Georgia O'Keeffe and Alfred Stieglitz.</em> New Haven [Conn.]: Yale University Press, 2011.", "page_number": "Mentioned p. 539, n. 219.", "url": ""}, {"citation": "Cole, Mark, \"Exhibition: Georgia O'Keeffe,\" <em>Cleveland Art</em> 58, no. 6 (November/December 2018).", "page_number": "Reproduced cover (detail).", "url": ""}, {"citation": "Metropolitan Museum of Art. <em>Contemporary Painting in the United States: A Special Exhibition April 19 Through April 27</em>. New York: The Museum Press, 1941.", "page_number": "Mentioned: p. 16", "url": null}, {"citation": "Milliken, William Mathewson. <em>In Memoriam Leonard C. Hanna, Jr</em>. Cleveland: Cleveland Museum of Art, 1958.", "page_number": "Mentioned, unpaginated [p.2]; reproduced, fig. 26", "url": null}, {"citation": "Friedman, Martin. <em>The Precisionist View in American Art: November 13 Through December 25, 1960: An Exhibition</em>. Minneapolis, MN: Walker Art Center, 1960.", "page_number": "Mentioned: p. 57", "url": null}, {"citation": "Wilder, Mitchell. <em>Georgia O'Keeffe: An Exhibition of the Work of the Artist from 1915 to 1966</em>. Fort Worth: Amon Carter Museum of Western Art,1966.", "page_number": "Mentioned: p. 28", "url": null}, {"citation": "Goodrich, Lloyd, and Doris Bry. <em>Georgia O'Keeffe</em>. New York, NY: Published for the Whitney Museum of American Art by Praeger, 1970.", "page_number": "Mentioned: p. 18-19", "url": null}, {"citation": "Hoffman, Katherine. <em>An Enduring Spirit: The Art of Georgia O'Keeffe</em>. Metuchen, NJ: Scarecrow Press, 1984.", "page_number": "Mentioned: p. 103; Reproduced: fig. Q", "url": null}, {"citation": "Castro, Jan Garden. <em>The Art &amp; Life of Georgia O'Keeffe</em>. New York: Crown Publishers, Inc., 1985.", "page_number": "Reproduced: p. 28", "url": null}, {"citation": "\"Art Museum Gets O'Keeffe Paintings.\" <em>The Cleveland Plain Dealer</em>, April 22, 1986.", "page_number": "Mentioned: p. 5C", "url": null}, {"citation": "Callaway, Nicholas. <em>Georgia O'Keeffe: One Hundred Flowers</em>. New York: Knopf in association with Callaway Editions, 1987.", "page_number": "Reproduced: p. 40, 110", "url": null}, {"citation": "Culllinan, Helen. \"Georgia On Our Minds; O'Keeffe Legacy: 5 Glowing New Oils at Museum.\" <em>The Cleveland Plain Dealer, </em>September 5, 1987.", "page_number": "Mentioned", "url": null}, {"citation": "Callaway, Nicholas. \"Ostentatious Perfectionism.\" Interview by Ingrid Sischy. <em>Artforum International </em>26, no. 5 (January 1988).", "page_number": "Reproduced: p. 100", "url": null}, {"citation": "Bry, Doris, Nicholas Callaway, and Bram Dijkstra. <em>Georgia O'Keeffe: The New York Years</em>. New York: A.A. Knopf in association with Callaway, 1991.", "page_number": "Reproduced: p. 54", "url": null}, {"citation": "Montgomery, Elizabeth Miles. <em>Georgia O'Keeffe</em>. New York: Barnes &amp; Noble Books, 1993.", "page_number": "Reproduced: p. 42", "url": null}, {"citation": "Chong, Alan. <em>European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogue</em>. Cleveland: Cleveland Museum of Art, 1993.", "page_number": "Reproduced: p. 170", "url": null}, {"citation": "Welton, Jude. <em>Looking at Paintings</em>. London: Dorling Kindersley, 1994.", "page_number": "Mentioned: p. 9; Reproduced: p. 9", "url": null}, {"citation": "Pelfrey, Robert H. <em>Art and Mass Media</em>. Dubuque, Iowa: Kendall/Hunt, 1996.", "page_number": "Mentioned: p. 311; Reproduced: p. 312", "url": null}, {"citation": "Tsutsumi, Tomoko, and Y\u014dko Yano. <em>Seiy\u014d kaiga no naka no hana</em>. Tokyo: Asahi Shinbunsha, 1997.", "page_number": "Reproduced: fig. 73", "url": null}, {"citation": "Hutton Turner, Elizabeth, and Marjorie P. Balge-Crozier. <em>Georgia O'Keeffe: The Poetry of Things</em>. Washington, DC: Phillips Collection, 1999.", "page_number": "Mentioned: p. 150; Reproduced: p. 85, pl. 31", "url": null}, {"citation": "Lynes, Barbara Buhler. <em>Georgia O'Keeffe: Catalogue Raisonn\u00e9</em>, 2 vols. New Haven: Yale University Press, 1999.", "page_number": "Mentioned; Reproduced: p. 320", "url": null}, {"citation": "Greenough, Sarah. <em>Modern Art and America: Alfred Stieglitz and His New York Galleries</em>. Washington, D.C.; Boston, MA: National Gallery of Art; Bulfinch Press, 2000.", "page_number": "Mentioned: p. 535; Reproduced: p. 311, pl. 106", "url": null}, {"citation": "de Chassey, Eric. <em>Made in USA: l'art am\u00e9ricain, 1908-1947. </em>Paris: R\u00e9union des mus\u00e9es nationaux, 2001.", "page_number": "Reproduced: p. 133", "url": null}, {"citation": "\"L\u2019art Am\u00e9ricain d\u00e9barqu.\" <em>Le Magazine: Arts &amp; Spectacles, </em>no. 328 (January 2002).", "page_number": "Reproduced", "url": null}, {"citation": "Souter, Janet. <em>Georgia O'Keeffe</em>. New York: Parkstone Press, 2005.", "page_number": "Reproduced: p. 95", "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.", "page_number": "Reproduced: p. 119, no. 68; p. 70", "url": null}, {"citation": "Haskell, Barbara and Sasha Nicholas. <em>Georgia O'Keeffe: Abstraction</em>. New Haven, CT: Yale University Press, 2009.", "page_number": "Reproduced: p. 111", "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. 57", "url": ""}, {"citation": "Bernard, Sophie. <em>Georgia O'Keeffe et ses amis photographes.</em> Paris: Somogy; Grenoble: Mus\u00e9e de Grenoble, 2015.", "page_number": "Mentioned: p. 52; Reproduced: p. 53, fig. 34", "url": null}, {"citation": "Corn, Wanda M., <em>Georgia O'Keeffe: Living Modern</em>. Brooklyn, NY: Brooklyn Museum; DelMonico Books/Prestel, 2017.", "page_number": "Mentioned: p. 75, Reproduced: fig. 64, p. 76", "url": null}, {"citation": "\"New in the Galleries.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 57, no. 5 (September/October 2017): Back cover.", "page_number": "Reproduced and Mentioned: Back cover", "url": "https://archive.org/details/CMAMM2017-05/page/n13/mode/2up"}], "url": "https://clevelandart.org/art/1958.42", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1958.42/1958.42_web.jpg", "width": "749", "height": "900", "filesize": "141963", "filename": "1958.42_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1958.42/1958.42_print.jpg", "width": "2829", "height": "3400", "filesize": "2335959", "filename": "1958.42_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1958.42/1958.42_full.tif", "width": "6000", "height": "7210", "filesize": "129811784", "filename": "1958.42_full.tif"}}, "alternate_images": [{"date_created": "2007-06-07T17:56:30", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.42/1958.42_alt0_web.jpg", "width": "738", "height": "893", "filesize": "330136"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.42/1958.42_alt0_print.jpg", "width": "2810", "height": "3400", "filesize": "5767428"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.42/1958.42_alt0_full.tif", "width": "4959", "height": "6000", "filesize": "89293372"}}, {"date_created": "2017-03-27T11:17:19", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.42/1958.42_alt1_web.jpg", "width": "703", "height": "900", "filesize": "125322"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.42/1958.42_alt1_print.jpg", "width": "2656", "height": "3400", "filesize": "1585698"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.42/1958.42_alt1_full.tif", "width": "6000", "height": "7682", "filesize": "138313048"}}], "creditline": "Bequest of Leonard C. Hanna Jr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Dr. Robert B. Benyo Trust Gallery", "athena_id": 135420, "creators": [{"id": 3228, "description": "Georgia O'Keeffe (American, 1887\u20131986)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1887", "death_year": "1986", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1958-11-29T00:00:00", "sortable_date": 1926, "date_added_to_oa": null, "date_text": "1926", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Morning Glory with Black, No. 3 (White Flower)"], "is_highlight": true, "updated_at": "2026-03-27 00:00:10.056000"}, {"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": 88940, "accession_number": "2020.104", "share_license_status": "Copyrighted", "tombstone": "The Port of l'Estaque, the Pier, 1906. Georges Braque (French, 1882\u20131963). Oil on canvas; unframed: 59.7 x 73 cm (23 1/2 x 28 3/4 in.). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift, 2020.104. \u00a9 Artists Right Society (ARS), New York / ADAGP, Paris", "current_location": "223 20th Century Avant-Garde", "title": "The Port of l'Estaque, the Pier", "creation_date": "1906", "creation_date_earliest": 1906, "creation_date_latest": 1906, "artists_tags": ["male"], "culture": ["France, early 20th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 59.7 x 73 cm (23 1/2 x 28 3/4 in.)", "dimensions": {"unframed": {"height": 0.597, "width": 0.73}, "framed": {"height": 0.803, "width": 0.93, "depth": 0.083}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Artists Right Society (ARS), New York / ADAGP, Paris", "inscriptions": [], "exhibitions": {"current": [{"id": 396695, "title": "Impressionism to Modernism: The Keithley Collection", "description": "<i>Impressionism to Modernism: The Keithley Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 11, 2022-January 8, 2023).", "opening_date": "2022-09-11T04:00:00"}], "legacy": [{"description": "(Possibly) <em>Salon des Independents. </em>Paris, France (1907). (possibly no. 723 or 725)", "opening_date": "1907-01-01T00:00:00"}, {"description": "<em>Georges Braque</em>. Haus der Kunst, Munich, Germany (October \u2013 December 1963)", "opening_date": "1963-12-01T00:00:00"}, {"description": "<em>Chefs d'Oeuvres des Collections Suisses</em>. Palais de Beaulieu, Lausanne, Switzerland (1964).", "opening_date": "1964-01-01T00:00:00"}, {"description": "<em>Le Fauvism francais et les debuts de l'Expressionisme allemande.</em> Musee Nationale d'Art Modern, Paris, France (January \u2013 March 1966); Haus der Kunst, Munich, Germany (March \u2013 May 1966).", "opening_date": "1966-03-01T00:00:00"}]}, "provenance": [{"description": "(Galerie Kahnweiler, Paris, France, no. K1141)", "citations": [], "footnotes": ["<div><!--block-->According to George Isarlov, <em>Georges Braque</em> (Paris: J. Corti, 1932), p. 14.</div>"], "date": null, "sortorder": 1}, {"description": "Wilhelm Uhde [1874\u20131947], Paris, France", "citations": [], "footnotes": ["<div><!--block-->According to the 1997 Christie\u2019s sale catalogue.</div>"], "date": null, "sortorder": 2}, {"description": "Possibly Paul Roemer, Berlin, Germany", "citations": [], "footnotes": ["<div><!--block-->A label on back of the painting notes, \u201cPaul Roemer, Bellevuestr. 10, Berlin W9 59 Braque\u201d. Paul Roemer (1878-1945) was an art dealer in Berlin. Roemer\u2019s gallery was located at 10 Bellevuestrasse, L\u00fctzowplatz, from 1938 to 1939.&nbsp;</div>"], "date": "about 1938", "sortorder": 3}, {"description": "Dr. A. Fuchs, Berlin, Germany", "citations": [], "footnotes": [], "date": "1950s", "sortorder": 4}, {"description": "possibly by descent in the family", "citations": [], "footnotes": ["<div><!--block-->According to the 1997 Christie\u2019s sale catalogue. A label on the back of the painting gives the name \u201cDr. A. Fuchs\u201d as the lender to the Haus der Kunst Fauves-Expressionisten exhibition, cat. no. 8.&nbsp;</div>"], "date": "", "sortorder": 5}, {"description": "Private German Collector", "citations": [], "footnotes": null, "date": null, "sortorder": 6}, {"description": "(Christie\u2019s, London, December 9, 1997, lot 24, sold to a private collector)", "citations": [], "footnotes": null, "date": "December 9, 1997", "sortorder": 7}, {"description": "(C&M Arts, New York, NY, sold to Nancy F. and Joseph P. Keithley)", "citations": [], "footnotes": null, "date": "before 2013", "sortorder": 8}, {"description": "Nancy F. and Joseph P. Keithley, Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "before 2013\u20132020", "sortorder": 9}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2020\u2013", "sortorder": 10}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Inspired by the light and atmosphere of Port of l'Estaque, Braque wrote, \u201cIt\u2019s there that I felt all the elation. All the joy, welling up inside me.\u201d", "description": "Early in his career, Georges Braque was a member of the French Fauves (\u201cwild beasts\u201d), a group of artists active between 1905 and 1908. Their principal aim was to liberate color from its descriptive role and instead to use it for purely expressive purposes. Braque painted this marine view during his first visit to the south of France when he was 24 years old. His excitement is felt in the undulating hills and short, powerful brushstrokes, often applied in complementary color contrasts.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q87480998"], "internet_archive": []}, "citations": [{"citation": "Isarlov, George. <em>Georges Braque</em>. Paris: Jos\u00e9 Corti, 1932.", "page_number": "Reproduced: no. 14", "url": null}, {"citation": "Zervos, Christian. \"Georges Braque.\" <em>Cahiers d' Art</em> VIII (1933): 1-15.", "page_number": "Reproduced: p. 10", "url": null}, {"citation": "Cooper, Douglas. <em>Georges Braque; Pra\u0308dikat des ICOM: \"agree</em>.\" Mu\u0308nchen, Germany: Franzis-Druck, 1963.", "page_number": "Reproduced: no. 7", "url": null}, {"citation": "Palais de Beaulieu (Lausanne, Suisse). Chefs d'oeuvres des collections suisses: de Manet a\u0300 Picasso. Lausanne: Skira, 1964.", "page_number": "Reproduced: no. 162", "url": null}, {"citation": "Hoog, Michel et al. <em>Le Fauvisme franc\u0327ais et les de\u0301buts de l'expressionnisme allemand. </em>Paris: Mus\u00e9e Nationale d'Art Moderne, 1966.", "page_number": "Mentioned: P. 35; Reproduced: P. 43, no.8", "url": null}, {"citation": "Pouillon, Nadine and Isabelle Monod-Fontaine. <em>Braque: \u0153uvres de Georges Braque, 1882-1963</em>. Paris: Centre Georges Pompidou, Muse\u0301e national d'art moderne, 1982.", "page_number": "Mentioned and Reproduced: P. 24-25", "url": null}, {"citation": "Freeman, Judi. <em>The Fauve Landscape</em>. Los Angeles: Los Angeles County Museum of Art, 1990.", "page_number": "Reproduced: p. 45, pl. 52", "url": null}, {"citation": "\"A Historic Gift: Highlights from the Keithley Gift,\" <em>Cleveland Museum of Art Members Magazine</em> (Summer 2020).", "page_number": "Mention and reproduction pp. 6-7.", "url": null}, {"citation": "\u201cA Historic Gift. Longtime CMA supporters Joseph and Nancy Keithley give 114 works, the largest gift in more than 60 years.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>60, no. 3 (Summer 2020): Cover, 6-9.", "page_number": "Reproduced: P. 6; Mentioned: P. 7.", "url": ""}, {"citation": "Griswold, William M. \u201cRecent Acquisitions (2013-20) at the Cleveland Museum of Art.\u201d <em>Burlington Magazine </em>163, no. 1414 (January 2021): 93-104.", "page_number": "Mentioned and reproduced: P. 98, no. 9; mentioned: P. 93", "url": ""}, {"citation": "Robinson, William H. \"Modern European Painting.\" In <em>The Keithley Collection at the Cleveland Museum of Art, </em>edited by Heather Lemonedes Brown, 132-139, 142-149. Cleveland, OH: The Cleveland Museum of Art, 2022.", "page_number": "Mentioned and reproduced: p. 142-143; Mentioned: p. 257-258", "url": ""}, {"citation": "Brown, Heather Lemonedes. \u201cColor, Sensation, and Memory: Themes in the Keithleys\u2019 gift and promised gift.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>62, no. 3 (2022): Cover, 4-7.", "page_number": "Reproduced: P. 4; Mentioned: P. 4, 5", "url": "https://archive.org/details/CMAMM2022-03/page/4/mode/2up"}, {"citation": "\"Exhibitions: Transformative Gift.\" <em>Art &amp; Antiques </em>XLV, no. 10 (November 2022): 48-53.", "page_number": "Reproduced: p. 51", "url": ""}], "url": "https://clevelandart.org/art/2020.104", "images": {}, "alternate_images": [], "creditline": "Nancy F. and Joseph P. Keithley Collection Gift", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Michael J. Horvitz Family Gallery", "athena_id": 88940, "creators": [{"id": 3029, "description": "Georges Braque (French, 1882\u20131963)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1882", "death_year": "1963", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2020-03-02T00:00:00-05:00", "sortable_date": 1906, "date_added_to_oa": null, "date_text": "1906", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:02:32.088000"}, {"id": 294175, "accession_number": "2017.1", "share_license_status": "Copyrighted", "tombstone": "Alabama, 1960. Norman Lewis (American, 1909\u20131979). Oil on canvas; overall: 122.6 x 184.5 cm (48 1/4 x 72 5/8 in.). The Cleveland Museum of Art, John L. Severance Fund, 2017.1. \u00a9 Estate of Norman W. Lewis; Courtesy of Michael Rosenfeld Gallery LLC, New York, NY", "current_location": "227 Abstract Expressionism", "title": "Alabama", "creation_date": "1960", "creation_date_earliest": 1960, "creation_date_latest": 1960, "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": "Overall: 122.6 x 184.5 cm (48 1/4 x 72 5/8 in.)", "dimensions": {"overall": {"height": 1.226, "width": 1.845}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of Norman W. Lewis; Courtesy of Michael Rosenfeld Gallery LLC, New York, NY", "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": 443702, "title": "Currents and Constellations: Black Art in Focus", "description": "<i>Currents and Constellations: Black Art in Focus</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 20-June 26, 2022).", "opening_date": "2022-02-20T05:00:00"}], "legacy": [{"description": "<em>Recent Acquisitions 2014-20</em>17. The Cleveland Museum of Art, Cleveland, OH (March 17, 2018-June 6, 2018).", "opening_date": "2018-03-17T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Norman Lewis was the son of parents who had emigrated to the U.S. from Bermuda.", "description": "During the Civil Rights Movement, Lewis sought to align his interest in abstraction with current events. With its black and white palette, <em>Alabama</em> offers a symbolic duality for a time entrenched in racial conflict. Furthermore, the painting's composition has prompted viewers to draw additional associations from its abstract shapes, such as a nighttime Ku Klux Klan gathering.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60482854"], "internet_archive": []}, "citations": [{"citation": "Litt, Steven. \"'Alabama:' A Top Acquisition.\" <em>The Plain Dealer </em>(Cleveland, OH), March 26, 2017.", "page_number": "Mentioned: p. A6; Reproduced: p. A6", "url": null}, {"citation": "O'Grady, Megan, \"Once Overlooked, Black Abstract Painters Are Finally Given Their Due,\" <em>New York Times Style Magazine, </em>February 14, 2021.<em><br></em>", "page_number": "Mentioned and Reproduced", "url": ""}, {"citation": "Litt, Steven. \"Cleveland Museum of Art Survey's America's Racial History Through Works by Modern, Contemporary Black Artists,\" <em>Plain Dealer, </em>February 27, 2022.", "page_number": "p. D-2.", "url": ""}, {"citation": "Bittencourt, Renata, \"Art for Times of Insurrection,\" in Adriano Pederosa and Rodrigo Moura, eds., <em>Melvin Edwards: Lynch Fragments</em>, exh. cat. (Museu de arte de S\u00e3o Paulo Assis Chateaubriand, Brazil, 2018).", "page_number": "Mentioned p. 16-17; reproduced p. 17.", "url": ""}, {"citation": "Amaki, Amalia K. \"The African American Aspect of American Art,\" in Stephen M. Sessler, ed., <em>American Art: Collecting and Connoisseurship</em> (London: Merrell, 2020).", "page_number": "Mention, P. 115.", "url": ""}, {"citation": "Disman, Barry. <em>Norman Lewis: A Retrospective: Catalogue</em>. New York: City University of New York, 1976.", "page_number": "Mentioned: p. 11", "url": null}, {"citation": "Conwill, Kinshasha, and David Craven. <em>Norman Lewis: Black Paintings 1946-1977</em>. New York: Studio Museum in Harlem, 1998.", "page_number": "Mentioned: p. 13, 23, 27, 32, 39; Reproduced: fig. 18", "url": null}, {"citation": "McNally, Owen. \"Black Tones, Bright Star.\" <em>Hartford Courant </em>(Hartford, CT), March 28, 1999.", "page_number": "Mentioned", "url": "https://www.courant.com/news/connecticut/hc-xpm-1999-03-28-9903280453-story.html"}, {"citation": "Damsker, Matt. \"Transcending Race, Refining Abstraction.\" <em>Hartford Courant </em>(Hartford, CT), April 4, 1999.", "page_number": "Mentioned", "url": null}, {"citation": "Zimmer, William. \"The Color Black: On the Painter's Canvas and the World.\" <em>The New York Times </em>(New York, NY), May 30, 1999.", "page_number": "Mentioned", "url": null}, {"citation": "Gibson, Ann Eden. \"Diaspora and Ritual: Norman Lewis's Civil Rights Paintings.\" <em>Third Text </em>45 (June 2008).", "page_number": "Mentioned: 31, 39, 42", "url": null}, {"citation": "Wood, Sara. \"\"Pure Eye Music\": Norman Lewis, Abstract Expressionism, and Bebop. In <em>The Hearing Eye: Jazz &amp; Blues Influences in African American Visual Art, </em>edited by Graham Lock and David Murray. New York: Oxford University Press, 2009.", "page_number": "Mentioned: p. 101", "url": null}, {"citation": "Jones, Kellie. <em>EyeMinded: Living and Writing Contemporary Art. </em>Duke University Press, 2011.", "page_number": null, "url": null}, {"citation": "Tan, Mindy. \"Canvas Politics: Norman Lewis and the Art of Abstract Resistance.\" PhD diss., Purdue University, 2015.", "page_number": "Mentioned: p. 30; Reproduced: p. 139", "url": null}, {"citation": "Welch, John. \"Norman Lewis, Artist, Visionary, Humanist.\" <em>IRAAA, </em>2015.", "page_number": "Mentioned; Reproduced", "url": "http://iraaa.museum.hamptonu.edu/page/Norman-Lewis,-Artist,-Visionary,-Humanist"}, {"citation": "Welch, John. \"Discovering the Artistic Genius of Norman Lewis.\" <em>The Root</em>, December 20, 2015.", "page_number": "Reproduced", "url": "https://www.theroot.com/discovering-the-artistic-genius-of-painter-norman-lewis-1790862122"}, {"citation": "Bradford, Mark. \"Social Abstraction.' <em>The International Review of African American Art,</em> vol. 26 no. 1: 41-42.", "page_number": "Reproduced; p. 42", "url": ""}, {"citation": "Blood, Anne. \"The Indefatigable Curiosity of Norman Lewis.\" <em>Hyperallergic, </em>March 28, 2016.", "page_number": "Mentioned; Reproduced", "url": "https://hyperallergic.com/286221/the-indefatigable-curiosity-of-norman-lewis/"}, {"citation": "Vali, Murtaza.\"Norman Lewis: Pennsylvania Academy of Fine Arts.\" <em>Artforum </em>54 (April 2016).", "page_number": "Mentioned: p. 240", "url": null}, {"citation": "Qui, Serena. \"Norman Lewis: Pennsylvania Academy of Fine Arts.\" <em>Art in America </em>104 (June/July 2016).", "page_number": "Mentioned: p. 149; Reproduced: p. 149", "url": null}, {"citation": "Eisenman, Stephen. \"Painting Black and Blue: A Review of Norman Lewis at the Chicago Cultural Center.\" <em>Newcity Art </em>(Chicago, IL), December 16, 2016.", "page_number": "Mentioned: Reproduced", "url": "https://art.newcity.com/2016/12/16/painting-black-and-blue/"}, {"citation": "Litt, Steven. \"Civil Rights Era Masterpiece by Norman Lewis Leads Acquisitions at Cleveland Museum of Art.\" <em>Cleveland.com </em>(Cleveland, OH), March 21, 2017.", "page_number": "Mentioned", "url": "https://www.cleveland.com/arts/2017/03/norman_lewis_masterpiece_evoki.html"}, {"citation": "Schreiber, Kelley Notaro. \"Cleveland Museum of Art Announces New Acquisitions.\" The Cleveland Museum of Art, March 21, 2017,", "page_number": "Mentioned; Reproduced", "url": "https://www.clevelandart.org/about/press/media-kit/cleveland-museum-art-announces-new-acquisitions-4"}, {"citation": "Litt, Steven. \"Museum Director Wants More.\" <em>Sunday Plain Dealer </em>(Cleveland, OH), August 6, 2017.", "page_number": "Mentioned: p. A14", "url": null}, {"citation": "Grant, Daniel. \"Top Museum Acquisitions: 2017 In Review.\" <em>Antiques &amp; Fine Art Magazine, </em>Spring 2018.", "page_number": "Mentioned: p. 101", "url": null}, {"citation": "Cole, Mark. \u201cAcquisition Highlights: American Art.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 58, no. 2 (March/April 2018): 18.", "page_number": "Reproduced and Mentioned: P. 18", "url": "https://archive.org/details/CMAMM2018-02/page/n9/mode/2up"}, {"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. 99, no. 12; mentioned: P. 93", "url": ""}, {"citation": "Franke, Anselm. Parapolitics: Cultural Freedom and the Cold War. <br>Berlin : Haus der Kulturen der Welt ; Berlin : Sternberg Press 2021.", "page_number": "Reproduced: p. 434", "url": ""}], "url": "https://clevelandart.org/art/2017.1", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Frank H. and Nancy L. Porter Gallery", "athena_id": 294175, "creators": [{"id": 7921, "description": "Norman Lewis (American, 1909\u20131979)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1909", "death_year": "1979", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2017-02-27T00:00:00-05:00", "sortable_date": 1960, "date_added_to_oa": null, "date_text": "1960", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:07:07.283000"}, {"id": 156112, "accession_number": "1991.45", "share_license_status": "CC0", "tombstone": "Tea Table, c. 1907. Carlo Bugatti (Italian, 1856\u20131940). Inlaid wood (mahogany?), cast and gilded bronze mounts, inlays of ivory or bone, metal, and mother-of-pearl (marine mussels or pearl oysters); overall: 71.5 x 67.1 x 41.3 cm (28 1/8 x 26 7/16 x 16 1/4 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1991.45", "current_location": null, "title": "Tea Table", "creation_date": "c. 1907", "creation_date_earliest": 1902, "creation_date_latest": 1912, "artists_tags": ["male"], "culture": ["France, Paris"], "technique": "inlaid wood (mahogany?), cast and gilded bronze mounts, inlays of ivory or bone, metal, and mother-of-pearl (marine mussels or pearl oysters)", "support_materials": [], "department": "Decorative Art and Design", "collection": "Furniture", "type": "Furniture and woodwork", "measurements": "Overall: 71.5 x 67.1 x 41.3 cm (28 1/8 x 26 7/16 x 16 1/4 in.)", "dimensions": {"overall": {"height": 0.715, "width": 0.671, "depth": 0.413}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed in ligature in white metal inlay on central shelf:  Bugatti.", "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": 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"}, {"id": 220633, "title": "Carlo Bugatti", "description": "<i>Carlo Bugatti</i>. Mus\u00e9e d'Orsay, Paris, France (organizer) (April 9-July 15, 2001).", "opening_date": "2001-04-09T00:00:00"}, {"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": 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": [{"description": "Possibly exhibited at the Galerie Hebrard, Paris, France (1907).", "opening_date": "1907-01-01T00:00:00"}, {"description": "Possibly exhibited at the Prima Esposizione Internazionale d'Arte Decorativa Moderna, Turin, Italy (May 10-November 10, 1902).", "opening_date": "1902-05-10T00:00:00"}]}, "provenance": [{"description": "First owned by Mrs. Anna Blake [d. 1956] who took it to Cape Town, South Africa.", "citations": [], "footnotes": [], "date": "c. 1907-c. 1956", "sortorder": 1}, {"description": "Inherited by her son Robert da Costa Blake.", "citations": [], "footnotes": [], "date": "c. 1956-1965", "sortorder": 2}, {"description": "His sale Kirkcaldzs, Cape Town, South Africa, 24 May 1965, lot 34.", "citations": [], "footnotes": [], "date": "1965", "sortorder": 3}, {"description": "Private collection, South Africa", "citations": [], "footnotes": [], "date": "until c. 1991", "sortorder": 4}, {"description": "(Galerie Moderne, Ltd., London)", "citations": [], "footnotes": [], "date": null, "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1991-", "sortorder": 6}], "find_spot": null, "related_works": [{"id": 156113, "description": "Salver, c. 1907. Carlo Bugatti (Italian, 1856\u20131940), Adrien-Aur\u00e9lien Hebrard (French, 1866\u20131937). Gilt silver and ivory; overall: 14.6 x 33 cm (5 3/4 x 13 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1991.46", "relationship": null}, {"id": 150156, "description": "Tea and Coffee Service, c. 1907. Carlo Bugatti (Italian, 1856\u20131940), Adrien-Aur\u00e9lien Hebrard (French, 1866\u20131937). Gilt silver and ivory. The Cleveland Museum of Art, The Thomas L. Fawick Memorial Collection, 1980.74", "relationship": null}], "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": "Luxurious materials might catch the eye first, but a closer look reveals the imaginary creatures that adorn the surface of this table. Featuring elaborate arches, a favorite motif that appeared throughout Bugatti's furniture, this fantastical imagery is a window into the designer's expressive imagination.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60779075"], "internet_archive": ["https://archive.org/details/clevelandart-1991.45-tea-table"]}, "citations": [{"citation": "<em>L'Art Decoratif</em> 25, no. 1 (June 1911).", "page_number": "Mentioned P 307", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=1514270"}, {"citation": "Duncan, J. Alastair. \"The Silver of Carlo Bugatti,\" <em>The Magazine Antiques </em>136, no. 6, (December 1989): 1344-55.", "page_number": "Reproduced P 157", "url": "http://library.clevelandart.org/opac/?func=item-global&doc_library=CMA01&doc_number=000001278&year=&volume=&sub_library=CMA"}, {"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. 82", "url": "https://www.jstor.org/stable/25161319"}, {"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: cover, p. 137-39; Mentioned: p. 130-43", "url": "https://www.jstor.org/stable/25161359"}, {"citation": "Hawley, Henry H., Ve\u0301ronique Fromanger Des Cordes, and Mickey Mishne. <em>Bugatti</em>. Cleveland, OH: Cleveland Museum of Art, 1999.", "page_number": "Mentioned & reproduced P 27, cat. no. 40, fig. 39A-B", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=41002835"}, {"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 55-6", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=50820863"}, {"citation": "Masse\u0301, Marie-Madeleine. <em>Carlo Bugatti au Muse\u0301e d'Orsay: catalogue sommaire illustre\u0301 du fonds d'archives et des collections</em>. Paris, France: Re\u0301union des muse\u0301es nationaux, 2001.", "page_number": "Exh. Cat. No. 139, Pg. 41; Repr. Pg. 41", "url": null}, {"citation": "Fromanger, Ve\u0301ronique. <em>Rembrandt Bugatti Sculpteur: Re\u0301pertoire Monographique</em>. Paris: L'Amateur, 2009.", "page_number": "Mentioned P 8, fig. 69", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=537862059"}, {"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 & reproduced PP 35-6, 57, 324-5, cat. no. 9", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=230187932"}, {"citation": "Pin\u0303a, Leslie A. <em>Furniture in History, 3000 B.C.-2000 A.D.</em> Boston: Prentice Hall, 2010.", "page_number": "Mentioned P 30", "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": "Reproduced & Discussed: Pgs. 295-295", "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": "Reproduced & Discussed: Pg. 144", "url": null}], "url": "https://clevelandart.org/art/1991.45", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1991.45/1991.45_web.jpg", "width": "720", "height": "900", "filesize": "159356", "filename": "1991.45_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1991.45/1991.45_print.jpg", "width": "2720", "height": "3400", "filesize": "1291337", "filename": "1991.45_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1991.45/1991.45_full.tif", "width": "4269", "height": "5336", "filesize": "68367796", "filename": "1991.45_full.tif"}}, "alternate_images": [{"date_created": "2007-10-24T18:26:07", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.45/1991.45_alt0_web.jpg", "width": "714", "height": "893", "filesize": 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Ellsworth Kelly (American, 1923\u20132015). Oil on canvas; framed: 230 x 178 x 4 cm (90 9/16 x 70 1/16 x 1 9/16 in.); unframed: 228.6 x 176.4 cm (90 x 69 7/16 in.). The Cleveland Museum of Art, Contemporary Collection of The Cleveland Museum of Art, 1964.142. \u00a9 Ellsworth Kelly", "current_location": "224A Contemporary Corridor", "title": "Red Blue", "creation_date": "1962", "creation_date_earliest": 1962, "creation_date_latest": 1962, "artists_tags": ["male", "LGBTQ+ (after 1900)"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "measurements": "Framed: 230 x 178 x 4 cm (90 9/16 x 70 1/16 x 1 9/16 in.); Unframed: 228.6 x 176.4 cm (90 x 69 7/16 in.)", "dimensions": {"framed": {"height": 2.3, "width": 1.78, "depth": 0.04}, "unframed": {"height": 2.286, "width": 1.764}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Ellsworth Kelly", "inscriptions": [{"inscription": "Signed, dated and titled on back of cardboard backing", "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": 301294, "title": "Works from the Contemporary Collection", "description": "<i>Works from the Contemporary Collection</i>. The Cleveland Museum of Art, Cleveland, OH (July 1-October 15, 1969).", "opening_date": "1969-07-01T04:00:00"}, {"id": 393229, "title": "Contemporary Installation", "description": "<i>Contemporary Installation</i>. The Cleveland Museum of Art (organizer).", "opening_date": "2021-04-12T04:00:00"}], "legacy": [{"description": "<em>The Dunn International</em>. Beaverbrook Art Gallery, Fredericton, New Brunswick, Canada; (September 7\u2013 October 6, 1963); The Tate Gallery, London, England (November 14-December 22, 1963)", "opening_date": "1963-11-14T00:00:00"}]}, "provenance": [{"description": "(Betty Parsons Gallery, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "1964", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1964\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Kelly's abstract shapes were often based on observed reality, such as the plants that he kept in his studio.", "description": "Red Blue is all about the relation of two different colors and two different forms. On the surface of the canvas, two elements come together, interact with each other, and affect each other\u2019s appearance. The arrangement of the two colors red and blue, which work to intensify one another, is one essential component of the work. The other is the confrontation of two different forms: The edges of one shape-the blue rectangle-are given by the edges of the canvas and are therefore logical and measurable, while the organic form of the red color field, despite the clean, precise rendering, seems to breathe and float, activating the composition as a whole. In this way, even though there is no trace of the artist\u2019s hand, the painting refers to very natural and organic forms and ways of perception.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60469125"], "internet_archive": []}, "citations": [{"citation": "Richardson, John. Dunn International; An Exhibition of Contemporary Painting Sponsored by the Sir James Dunn Foundation. Great Britain, Arts Council. Catalogues. 1963. Volume 2. [London]: Arts Council, 1963.", "page_number": "Reproduced: fig. 41", "url": null}, {"citation": "Greenberg, Clement. \u201cPost Painterly Abstraction,\u201d Art International 8 (Summer 1964).", "page_number": "Reproduced: p. 64", "url": null}, {"citation": "Henning, Edward B. \u201cThe Language of Art,\u201d Bulletin of The Cleveland Museum of Art (November 1964).", "page_number": "Reproduced: p. 226; Mentioned p. 227", "url": null}, {"citation": "\u201cYear in Review for 1964,\u201d Bulletin of The Cleveland Museum of Art (December 1964).", "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. 203", "url": "https://archive.org/details/CMAHandbook1966/page/n227"}, {"citation": "\u201cRecent Accessions in the American Field,\u201d Art in America 54 (May/June 1966).", "page_number": "Reproduced: p. 48", "url": null}, {"citation": "Handbook of The Cleveland Museum of Art (1969).", "page_number": "Reproduced: p. 203", "url": null}, {"citation": "Cleveland Museum of Art. Art of the Twentieth Century in the Cleveland Museum of Art. [Cleveland]: Dept. of Art History &amp; Education, CMA, 1969.", "page_number": "Mentioned and Reproduced: p. 5", "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. 203", "url": "https://archive.org/details/CMAHandbook1969/page/n227"}, {"citation": "Cleveland Museum of Art. <em>Art of the Twentieth Century in the Cleveland Museum of Art</em>. Cleveland, OH: Dept. of Art History &amp; Education, CMA, 1969.", "page_number": "Mentioned and Reproduced: p. 5", "url": "https://archive.org/details/20thCenturyArtCMA/page/n5"}, {"citation": "Henning, Edward B. \u201cReconstruction: A Painting by Jasper Johns,\u201d Bulletin of The Cleveland Museum of Art (October 1973).", "page_number": "Mentioned p. 239; Reproduced: p. 241", "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. 254", "url": "https://archive.org/details/CMAHandbook1978/page/n274"}, {"citation": "Greenberg, Clement. \u201cAvant-Garde Attitudes: New Art in the Sixties,\u201d American Art-Readings from the Colonial Era to the Present (New York: Charles Scribner\u2019s Sons, 1980).", "page_number": "Mentioned p. 326; Reproduced: p. 327", "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. 116", "url": ""}, {"citation": "Paik, Tricia Y., Ellsworth Kelly, Gavin Delahunty, Gary Garrels, Richard Shiff, and Robert Storr. Ellsworth Kelly, 2015.", "page_number": "Reproduced: p. 183, 362", "url": null}], "url": "https://clevelandart.org/art/1964.142", "images": {}, "alternate_images": [], "creditline": "Contemporary Collection of The Cleveland Museum of Art", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Betty and Max Ratner Gallery", "athena_id": 140139, "creators": [{"id": 3488, "description": "Ellsworth Kelly (American, 1923\u20132015)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1923", "death_year": "2015", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1964-12-19T00:00:00", "sortable_date": 1962, "date_added_to_oa": null, "date_text": "1962", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:22.432000"}, {"id": 162625, "accession_number": "2003.227", "share_license_status": "Copyrighted", "tombstone": "Celebration, 1960. Lee Krasner (American, 1908\u20131984). Oil on canvas; framed: 238.1 x 471.8 x 8.3 cm (93 3/4 x 185 3/4 x 3 1/4 in.); unframed: 234.3 x 468.6 cm (92 1/4 x 184 1/2 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 2003.227. \u00a9  The Pollock-Krasner Foundation / Artists Rights Society (ARS), New York", "current_location": "227 Abstract Expressionism", "title": "Celebration", "creation_date": "1960", "creation_date_earliest": 1960, "creation_date_latest": 1960, "artists_tags": ["female", "Jewish artists"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 238.1 x 471.8 x 8.3 cm (93 3/4 x 185 3/4 x 3 1/4 in.); Unframed: 234.3 x 468.6 cm (92 1/4 x 184 1/2 in.)", "dimensions": {"framed": {"height": 2.381, "width": 4.718, "depth": 0.083}, "unframed": {"height": 2.343, "width": 4.686}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  The Pollock-Krasner Foundation / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "signed and dated lower right:  \"Lee Krasner '60\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Christie's, New York", "citations": [], "footnotes": [], "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Krasner repurposed this large canvas when she painted over an earlier composition that dissatisfied her.", "description": "After the death of her husband Jackson Pollock, Lee Krasner took over his studio located in a barn on their property. With this expansion of studio space, she began creating large-scale paintings like <em>Celebration</em>, using expansive gestures to express her feelings on canvas.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60479609"], "internet_archive": []}, "citations": [{"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. 324; reproduced, p. 324 and p. 325 (detail).", "url": ""}, {"citation": "Rose, Barbara. <em>Lee Krasner: A Retrospective.</em> Houston: Museum of Fine Arts, 1983.", "page_number": "Mentioned and reproduced: P. 112-114, fig. 109", "url": ""}, {"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": "Reproduced and Mentioned: p. 16-17", "url": "https://archive.org/details/CMAMM2005-06/page/16/mode/2up"}, {"citation": "<em>Treasures of the Cleveland Museum of Art</em>. London, United Kingdom,Scala Books, 2012.", "page_number": "Reproduced: p. 324-325", "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. 63", "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. 21", "url": "https://archive.org/details/CMAMM2014-01/page/n19/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. 23", "url": ""}, {"citation": "Anfam, David. <em>Lee Krasner: The Umber Paintings 1959-1962</em>. [New York]: Paul Kasmin Gallery, 2018.", "page_number": "Mentioned: p. 50; Reproduced p. 51, 53", "url": null}], "url": "https://clevelandart.org/art/2003.227", "images": {}, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Frank H. and Nancy L. Porter Gallery", "athena_id": 162625, "creators": [{"id": 15639, "description": "Lee Krasner (American, 1908\u20131984)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1908", "death_year": "1984", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2003-12-01T00:00:00", "sortable_date": 1960, "date_added_to_oa": null, "date_text": "1960", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_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 00:01:10.300000"}, {"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": 92936, "accession_number": "1922.1132", "share_license_status": "CC0", "tombstone": "Maine Coast, 1907. Rockwell Kent (American, 1882\u20131971). Oil on canvas; framed: 104.5 x 130.2 x 6.5 cm (41 1/8 x 51 1/4 x 2 9/16 in.); unframed: 86.4 x 111.7 cm (34 x 44 in.). The Cleveland Museum of Art, Hinman B. Hurlbut Collection, 1922.1132", "current_location": "208 American Gilded Age and Realism", "title": "Maine Coast", "creation_date": "1907", "creation_date_earliest": 1907, "creation_date_latest": 1907, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 104.5 x 130.2 x 6.5 cm (41 1/8 x 51 1/4 x 2 9/16 in.); Unframed: 86.4 x 111.7 cm (34 x 44 in.)", "dimensions": {"framed": {"height": 1.045, "width": 1.302, "depth": 0.065}, "unframed": {"height": 0.864, "width": 1.117}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower left:  Rockwell Kent / 1907.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 616736, "title": "Second Exhibition of Contemporary American Painting", "description": "<i>Second Exhibition of Contemporary American Painting</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 8-July 10, 1922).", "opening_date": "1922-06-08T00:00:00"}, {"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": 300832, "title": "Western Landscape Painting and Drawing", "description": "<i>Western Landscape Painting and Drawing</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 29, 1954-January 6, 1955).", "opening_date": "1954-10-29T04:00:00"}, {"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": 214577, "title": "Blanketed in Snow:  American Winter Scenes", "description": "<i>Blanketed in Snow:  American Winter Scenes</i>. Norton Museum of Art (December 6, 1997-February 22, 1998); Newark Museum (March 7-May 31, 1998); Columbus Museum of Art (July 10-September 13, 1998).", "opening_date": "1997-12-06T00:00:00"}], "legacy": [{"description": "<em>Rockwell Kent: A Retrospective Loan Exhibition of Paintings, Lithographs, and Woodcuts</em>. Syracuse Museum of Fine Arts, Syracuse, NY (January 6\u2013February 7, 1937)", "opening_date": "1937-01-06T00:00:00"}, {"description": "<em>Made in the U.S.A.</em> Hackley Art Gallery, Muskegen, MI (\u2013November 29, 1950)", "opening_date": "1950-11-01T00:00:00"}, {"description": "<em>Picture of the Month</em>. Thiel College, Greenville, PA (April 1\u201330, 1960)", "opening_date": "1960-04-01T00:00:00"}, {"description": "<em>Maine: 100 Artists of the 20th Century</em>. Colby College Museum of Art, Waterville, ME(June 25\u2013September 30, 1964) illus. p. 3, listed p. 34.", "opening_date": "1964-06-25T00:00:00"}, {"description": "<em>Rockwell Kent: The Early Years.</em> Walker Art Museum, Bowdoin College, Brunswick, ME (August 15\u2013October 15, 1969)", "opening_date": "1969-08-15T00:00:00"}, {"description": "<em>The American Landscape</em>. Mansfield, OH, The Mansfield Art Center,  (8 March-5 April 1981)", "opening_date": "1981-03-08T00:00:00"}, {"description": "Santa Barbara, Santa Barbara Museum of Art, \"An Enkindled Eye:\" The Paintings of Rockwell Kent: A Retrospective Exhibition (29 June-1 September 1985); traveled to Columbus, Columbus Museum of Art (12 October-13 November 1985); to Portland, ME, Portland Museum of Art (21 January-2 March 1986); to Syracuse, NY, Everson Museum of Art (11 April-18 May 1986), pp. 15-25, cat. no. 10, illus. p. 37.", "opening_date": "1985-06-29T00:00:00"}, {"description": "Cleveland, The Cleveland Museum of Art, Reckoning with Winslow Homer: His Late Paintings and Their Influence (19 September-18 November 1990); traveled to Columbus, Columbus Museum of Art (16 December 1990-10 February 1991); to Washington, D.C., The Corcoran Gallery of Art (16 March-12 May 1991), pp. 101-106, 182-183, cat. no. 74, illus. p. 102.", "opening_date": "1990-09-19T00:00:00"}, {"description": "New York, The Metropolitan Museum of Art, American Impressionism and Realism: The Painting of Modern Life, 1885-1915 (2 May-24 July 1994); traveled to Fort Worth, Amon Carter Museum (22 August-30 October 1994); to Denver, Denver Art Museum (28 November 1994-5 February 1995); to Los Angeles, Los Angeles County Museum of Art (6 March-14 May 1995).", "opening_date": "1994-05-02T00:00:00"}, {"description": "Richmond, VA, Virginia Museum of Fine Arts, America Around 1900: Impressionism, Realism, and Modern Life (12 June-17 September 1995 )", "opening_date": "1995-06-12T00:00:00"}]}, "provenance": [{"description": "(Mrs. Albert (Marie) Sterner [1880-1953], New York, NY sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "-1922", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1922-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1058.1922", "1132.1922"], "did_you_know": "Kent loved to paint landscapes in cold, remote areas, including Maine, Alaska, Newfoundland, and Greenland.", "description": "Located off the coast of Maine, Monhegan Island has long drawn artists attracted to its rugged headlands, brooding forests, and dramatic ocean vistas. Unlike most colleagues who visited during summer, Kent built a home and lived there year-round, working as a well digger, lobsterman, and carpenter from 1906\u20138. This boldly rendered winter scene was painted from his studio window.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q106799690"], "internet_archive": ["https://archive.org/details/clevelandart-1922.1132-maine-coast"]}, "citations": [{"citation": "Brunswick, ME, Walker Art Museum, Bowdoin College, <em>Rockwell Kent: The Early Years</em> (15 August-15 October 1969)", "page_number": "cat. no. 4, illus.", "url": ""}, {"citation": "Milliken, William M. \"The Second Exhibition of Contemporary American Painting.\" <em>The Bulletin of the Cleveland Museum of Art</em> 9:6 (June 1922): 95-98.", "page_number": "Mentioned: p. 97", "url": null}, {"citation": "Glasier, Jessie C. \"Museum Gets Prize-Winning Canvases: Bellows Subject, Kent Landscape Are Acquisitions.\" <em>The Plain Dealer </em>(Cleveland, OH), June 18, 1922.", "page_number": "Mentioned: p. 3", "url": null}, {"citation": "\"Cleveland Museum Acquires Typical Pictures by Bellows and Kent.\" <em>American Art News</em> 20:37 (24 June 1922).", "page_number": "Reproduced: p. 6", "url": null}, {"citation": "\"Painter Exchanges Maine Pines for Scenes in South America.\" <em>The Plain Dealer </em>(Cleveland, OH), Sept. 2, 1922.", "page_number": "Reproduced: p. 48", "url": null}, {"citation": "Milliken, William M. \"Two Examples of Modern Painting: The Maine Coast, by Rockwell Kent.\" <em>The Bulletin of the Cleveland Museum of Art</em>. 9:10 (December, 1922). pp. 171-175.", "page_number": "Mentioned: p. 171-172", "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. 36", "url": "https://archive.org/details/CMAHandbook_80839/page/n38"}, {"citation": "<em>The American Magazine of Art</em>. 16 (July, 1925).", "page_number": "Reproduced: p. 347", "url": null}, {"citation": "Isham, Samuel, and Royal Cortissoz. <em>The History of American Painting</em>. New York, NY: Macmillan Company, 1927.", "page_number": "Mentioned: p. 563-564, 588-589; Reproduced: pl. 136", "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. 44", "url": "https://archive.org/details/CMAHandbook1928/page/n48"}, {"citation": "Neuhaus, Eugen. <em>The History and Ideals of American Art</em>. Stanford University, CA: Stanford University Press; London: Oxford University Press, 1931.", "page_number": "Mentioned: p. 358-359", "url": null}, {"citation": "Pollak, Frances M., and Greta A. Cornell. \"Rockwell Kent-Painter and Graver.\" <em>The Index of Twentieth Century Artists</em>. New York, NY: Research Institute of the College Art Association, 1934.", "page_number": "Mentioned: p. 97, 104-110", "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. 30, no. 112", "url": ""}, {"citation": "<em>Rockwell Kent: A Retrospective Loan Exhibition of Paintings, Lithographs, and Woodcuts</em>. Syracuse Museum of Fine Arts, Syracuse, NY (January 6\u2013February 7, 1937)", "page_number": "cat. no. 5, not illus.", "url": ""}, {"citation": "<em>Maine: 100 Artists of the 20th Century</em>. Colby College Museum of Art, Waterville, ME (June 25\u2013September 30, 1964)", "page_number": "illus. p. 3, listed p. 34.", "url": ""}, {"citation": "Young, Mahonri Sharp. <em>American Realists, Homer to Hopper</em>. New York, NY: Watson-Guptill Publications, 1977.", "page_number": "Mentioned: p. 182; Reproduced: p. 183", "url": null}, {"citation": "West, Richard V. \"Rockwell Kent Reconsidered.\" <em>American Art Review</em>. 4:3 (December, 1977).", "page_number": "Mentioned: p. 84-93, 130-136", "url": null}, {"citation": "<em>The American Landscape</em>. Mansfield, OH, The Mansfield Art Center,  (8 March-5 April 1981)", "page_number": "cat. no. 41, not illus", "url": ""}, {"citation": "Johnson, Fridolf. <em>Rockwell Kent: An Anthology of His Works</em>. New York, NY: Knopf, 1982.", "page_number": "Mentioned: p. 33-34, 107-115; Reproduced: p. 244", "url": null}, {"citation": "Clark, Jeff. \"The Return of Rockwell Kent: A Portland Retrospective Recalls an Adventurous and Controversial Life.\" <em>Down East</em>, March 1986.", "page_number": "Mentioned: p. 24-28; Reproduced: pl. 26.", "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. 121", "url": null}, {"citation": "<em>Antiques</em>. vol. 143 (April, 1993).", "page_number": "Mentioned: p. 503", "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, distributed by H.N. Abrams, 1994.", "page_number": "Reproduced: fig. 73; Mentioned: p. 86", "url": null}, {"citation": "Cummer Gallery of Art, Jacksonville. \"Exhibition Reviews: Fort Worth: American Impressionsim and Realism.\" <em>The Burlington Magazine</em>. 136:1100 (November, 1994). pp. 786-787.", "page_number": "Mentioned: p. 787; Reproduced: p. 787", "url": null}, {"citation": "Ferris, Scott R. \"The Bestowal.\" In <em>Rockwell Kent's Forgotten Landscapes</em>. Camden, ME: Down East Books, 1998.", "page_number": "Mentioned: pp. 22, 76-78.", "url": null}], "url": "https://clevelandart.org/art/1922.1132", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1922.1132/1922.1132_web.jpg", "width": "1175", "height": "893", "filesize": "642669", "filename": "1922.1132_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1922.1132/1922.1132_print.jpg", "width": "3400", "height": "2584", "filesize": "4664022", "filename": "1922.1132_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1922.1132/1922.1132_full.tif", "width": "4961", "height": "3771", "filesize": "56144648", "filename": "1922.1132_full.tif"}}, "alternate_images": [{"date_created": "2008-08-13T14:04:08", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1922.1132/1922.1132_alt0_web.jpg", "width": "1111", "height": "893", "filesize": "725097"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1922.1132/1922.1132_alt0_print.jpg", "width": "3400", "height": "2732", "filesize": "6618550"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1922.1132/1922.1132_alt0_full.tif", "width": "4336", "height": "3484", "filesize": "45361336"}}], "creditline": "Hinman B. Hurlbut Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "The Cleveland Foundation Gallery", "athena_id": 92936, "creators": [{"id": 14219, "description": "Rockwell Kent (American, 1882\u20131971)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1882", "death_year": "1971", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1922-06-09T00:00:00", "sortable_date": 1907, "date_added_to_oa": null, "date_text": "1907", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:08.497000"}, {"id": 172828, "accession_number": "1933.2291", "share_license_status": "CC0", "tombstone": "Holiday on the Hudson, c. 1912. George Luks (American, 1866\u20131933). Oil on canvas; framed: 96.5 x 111.5 x 6 cm (38 x 43 7/8 x 2 3/8 in.); unframed: 76.2 x 91.7 cm (30 x 36 1/8 in.). The Cleveland Museum of Art, Hinman B. Hurlbut Collection, 1933.2291", "current_location": "208 American Gilded Age and Realism", "title": "Holiday on the Hudson", "creation_date": "c. 1912", "creation_date_earliest": 1907, "creation_date_latest": 1917, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 96.5 x 111.5 x 6 cm (38 x 43 7/8 x 2 3/8 in.); Unframed: 76.2 x 91.7 cm (30 x 36 1/8 in.)", "dimensions": {"framed": {"height": 0.965, "width": 1.115, "depth": 0.06}, "unframed": {"height": 0.762, "width": 0.917}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower right:  George Luks", "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": 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": 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": 445223, "title": "George Luks 1866-1933: An Exhibition of Paintings and Drawings Dating from 1889 to 1931", "description": "<i>George Luks 1866-1933: An Exhibition of Paintings and Drawings Dating from 1889 to 1931</i>. Munson Museum of Art, Utica, NY (organizer) (April 1-May 20, 1973).", "opening_date": "1973-04-01T05:00:00"}, {"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"}], "legacy": [{"description": "<em>An Important Collection of Paintings and Bronzes by Modern Masters of American and European Art. </em>C.W. Kraushaar Art Galleries, New York(December 3\u2013December 31, 1921)", "opening_date": "1921-12-03T00:00:00"}, {"description": "New York, C.W. Kraushaar Art Galleries,<em> Retrospective Exhibition of Paintings by George Luks</em> (8 January-27 January 1923); cat. no. 28, not illus.", "opening_date": "1923-01-08T00:00:00"}, {"description": "New York, Radio City assembled by The College Art Association, (May, 1933) Cleveland, The Cleveland Museum of Art, Philadelphia, Philadelphia Museum of Art, <em>Artists of the Philadelphia Press </em>(14 October-18 November 1945), pp. 5-15, cat. no. 24, not illus., includes essays by John Sloan and Everett Shin; catalogue in The Philadelphia Museum Bulletin (November, 1945), vol. XLI, no. 207. (16 June-16 July 1933), The Bulletin of The Cleveland Museum of Art (June, 1933), pp. 98-102, listed p. 101.", "opening_date": "1933-06-16T00:00:00"}, {"description": "Milwaukee, Milwaukee Art Institute, <em>Sports and Adventure in American Art</em> (15 February-30 March 1947), cat. no. 50, not illus.", "opening_date": "1947-02-15T00:00:00"}, {"description": "Palm Beach, Fla, <em>The Society of the Four Arts</em>, From Plymouth Rock to the Armory (9 February-5 March 1950), cat. no. 45, not illus.", "opening_date": "1950-02-09T00:00:00"}, {"description": "Vancouver, Vancouver Art Gallery, <em>Two Hundred Years of American Painting </em>(8 March-3 April 1955), cat. no. 38, illus.", "opening_date": "1955-03-08T00:00:00"}, {"description": "Oxford, OH, Miami University, <em>Sesquicentennial Celebration </em>(15 May-15 June 1959)", "opening_date": "1959-05-15T00:00:00"}, {"description": "San Diego, The Fine Arts Gallery of San Diego, <em>Modern American Painting: 1915</em> (6 December 1962-6 January 1963), cat. no. 30, pp. 5-9, listed p. 18, illus. on back of catalogue.", "opening_date": "1962-12-06T00:00:00"}, {"description": "Utica, New York, Munson-Williams-Proctor Institute, <em>George Luks 1866-1933: An Exhibition of Paintings and Drawings Dating from 1889 to 1931</em> (1 April-20 May 1973); pp. 5-9, 14-19, cat. no. 83, listed p. 49, illus. p. 15.", "opening_date": "1973-04-01T00:00:00"}, {"description": "Buffalo, Albright-Knox Art Gallery, <em>Heritage and Horizon: American Painting, 1776-1976 </em>(6 March-11 April 1976); traveled to Detroit, 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); cat. no. 37.", "opening_date": "1976-03-06T00:00:00"}, {"description": "Milwaukee, Milwaukee Art Museum, <em>Painters of a New Century: The Eight &amp; American Art</em> (6 September-3 November 1991); traveled to Denver, The Denver Art Museum (7 December 1991-16 February 1992); to Ottawa, National Gallery of Canada (16 April-7 June 1992); to Brooklyn, The Brooklyn Museum (26 June-21 September 1992); cat. no. 82, listed p. 179, illus. p. 14.", "opening_date": "1991-09-06T00:00:00"}, {"description": "Philadelphia, Philadelphia Museum of Art, Artists of the Philadelphia Press (14 October-18 November 1945).", "opening_date": "1945-10-14T05:00:00Z"}]}, "provenance": [{"description": "(C. W. Kraushaar Galleries, New York).", "citations": [], "footnotes": [], "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": ["2231.1933", "2291.1933"], "did_you_know": "Luks often boasted about being an amateur boxing champion, but this was later revealed to be a tall tale.", "description": "A sun-dappled scene of middle-class leisure, <em>Holiday on the Hudson</em> is an atypical work by Luks, who more often turned to gritty tenement subjects for inspiration. Throughout his career, the painter fashioned himself as a brash, profane, and hard-drinking antagonist to New York\u2019s genteel art-world establishment. The museum purchased this work just four months before the artist was beaten to death in the wake of a speakeasy argument.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117230189", "https://www.wikidata.org/wiki/Q60482529"], "internet_archive": ["https://archive.org/details/clevelandart-1933.2291-holiday-on-the-hudso"]}, "citations": [{"citation": "C. Owen Lublin, \"Arts and Decoration,\" <em>Town and Country</em> (1 February 1916), vol. 39.", "page_number": "pp. 20-21, illus. p. 21", "url": null}, {"citation": "New York, C.W. Kraushaar Art Galleries, <em>An Important Collection of Paintings and Bronzes by Modern Masters of American and European Art </em>(December 3\u2013December 31, 1921)", "page_number": "cat. no. 6, illus.", "url": ""}, {"citation": "Francis, Henry S. \"Memorial Note on a Picture by George Luks.\" <em>The</em> <em>Bulletin of The Cleveland Museum of Art XXXIII</em>, no.1 (January, 1934): 6-8.", "page_number": "Reproduced: p. 2", "url": "https://www.jstor.org/stable/25137592"}, {"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": "cat. no. 363, listed p. 134-135, not illus.", "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": "cat. no. 127, listed p. 32, not illus.", "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. 32, no. 127", "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. 547", "url": "https://archive.org/details/CMAHandbook1958/page/n101"}, {"citation": "<em>The Beauty of America in Great American Art: With Selections from the Writings of Renowned American Authors</em>. Waukesha, WS. : Country Beautiful Foundation in association with W. Morrow, New York,1965.", "page_number": "Reproduced: p. 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. 190", "url": "https://archive.org/details/CMAHandbook1966/page/n214"}, {"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. 190", "url": "https://archive.org/details/CMAHandbook1969/page/n214"}, {"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. 16-17; Reproduced: p. 16", "url": null}, {"citation": "\"A Check List: American Paintings and Water Colors of the Eighteen, Nineteenth, and Early Twentieth Centuries in The Cleveland Museum of Art.\" <em>The Bulletin of the Cleveland Museum of Art LX</em>, no.1 (January, 1973): 21-35.", "page_number": "Reproduced: p. 30, fig. 125", "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 and reproduced: p. 30, no. 125", "url": "http://www.jstor.org/stable/25152465"}, {"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. 51", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 237", "url": "https://archive.org/details/CMAHandbook1978/page/n257"}, {"citation": "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. 137", "url": null}, {"citation": "Gambone, Robert L. <em>Lusty Luks: The Art, Life and Times of George Benjamin Luks</em>. San Bernardino,CA : Robert L. Gambone, 2015.", "page_number": "Mentioned: P. 6, 72-73, 83; reproduced: fig. 2", "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. 18", "url": "https://archive.org/details/CMAPaintings1952/page/n19/mode/2up"}], "url": "https://clevelandart.org/art/1933.2291", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1933.2291/1933.2291_web.jpg", "width": "900", "height": "752", "filesize": "389609", "filename": "1933.2291_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1933.2291/1933.2291_print.jpg", "width": "3400", "height": "2839", "filesize": "4821239", "filename": "1933.2291_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1933.2291/1933.2291_full.tif", "width": "11189", "height": "9344", "filesize": "313682428", "filename": "1933.2291_full.tif"}}, "alternate_images": [{"date_created": "2023-03-06T15:30:08", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1933.2291/1933.2291_alt0_web.jpg", "width": "900", "height": "680", "filesize": "304112"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1933.2291/1933.2291_alt0_print.jpg", "width": "3400", "height": "2570", "filesize": "3268186"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1933.2291/1933.2291_alt0_full.tif", "width": "14061", "height": "10627", "filesize": "448312512"}}, {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1933.2291/1933.2291_alt1_web.jpg", "width": "1066", "height": "893", "filesize": "745088"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1933.2291/1933.2291_alt1_print.jpg", "width": "3400", "height": "2849", "filesize": "2180193"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1933.2291/1933.2291_alt1_full.tif", "width": "4664", "height": "3908", "filesize": "54711780"}}], "creditline": "Hinman B. Hurlbut Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "The Cleveland Foundation Gallery", "athena_id": 172828, "creators": [{"id": 4062, "description": "George Luks (American, 1866\u20131933)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1866", "death_year": "1933", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1933-06-19T00:00:00", "sortable_date": 1907, "date_added_to_oa": null, "date_text": "c. 1912", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:57.045000"}, {"id": 159976, "accession_number": "1997.246", "share_license_status": "Copyrighted", "tombstone": "Marilyn x 100, 1962. Andy Warhol (American, 1928\u20131987). Screenprint ink and synthetic polymer paint on canvas; framed: 210.2 x 573.2 x 6.4 cm (82 3/4 x 225 11/16 x 2 1/2 in.); unframed: 205.7 x 567.7 cm (81 x 223 1/2 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, and Anonymous Gift, 1997.246. \u00a9 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York", "current_location": "229A Contemporary", "title": "Marilyn x 100", "creation_date": "1962", "creation_date_earliest": 1962, "creation_date_latest": 1962, "artists_tags": ["male", "LGBTQ+ (after 1900)"], "culture": ["America"], "technique": "screenprint ink and synthetic polymer paint on canvas", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "measurements": "Framed: 210.2 x 573.2 x 6.4 cm (82 3/4 x 225 11/16 x 2 1/2 in.); Unframed: 205.7 x 567.7 cm (81 x 223 1/2 in.)", "dimensions": {"framed": {"height": 2.102, "width": 5.732, "depth": 0.064}, "unframed": {"height": 2.057, "width": 5.677}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York", "inscriptions": [], "exhibitions": {"current": [{"id": 393229, "title": "Contemporary Installation", "description": "<i>Contemporary Installation</i>. The Cleveland Museum of Art (organizer).", "opening_date": "2021-04-12T04:00:00"}], "legacy": [{"description": "<em>Art of Our Time</em>. Royal Scottish Academy, Edinburgh, 1980.", "opening_date": "1980-01-01T00:00:00"}, {"description": "<em>Andy Warhol: A Retrospective</em>. Museum of Modern Art, New York (organizer) (February 5-May 2, 1989); The Art Institute of Chicago, Chicago, Illinois (Jun 3-August 13, 1989); the Hayward Gallery, London (September-November 1989); The Museum Ludwig, Cologne (November 1989-February 1990); Palazzo Reale, Milan (February-May 1990); Mus\u00e9e National d'Art Moderne, Centre Georges Pompidou, Paris (June 21-September 10 1990)", "opening_date": "1990-09-10T00:00:00"}]}, "provenance": [{"description": "Collection of the artist", "citations": [], "footnotes": [], "date": "1962-1984", "sortorder": 1}, {"description": "Saatchi Collection, London", "citations": [], "footnotes": [], "date": "1984-1991", "sortorder": 2}, {"description": "Private Collection, Japan", "citations": [], "footnotes": [], "date": "1991-1997", "sortorder": 3}, {"description": "Sold at auction to CMA, Sotheby's, New York, 1997.", "citations": [], "footnotes": [], "date": "1997-present", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This work's palette suggests clashing representations of Marilyn Monroe: technicolor filmstrip and black-and-white newsreel footage of the 1940s and \u201950s.", "description": "The image of Marilyn Monroe in <em>Marilyn x 100,</em> the largest of Andy Warhol's many paintings featuring the celebrity, comes from a publicity still for the 1953 film <em>Niagara.</em> Warhol reproduces this iconic image through silk screening, a commercial printing technique from which the artist's hand is absent, on top of a unique underpainting made by Warhol. As was common throughout Warhol's work, <em>Marilyn x 100</em> explores the relationship\u2014and suggests overlaps\u2014among mass media, technology, pop culture, and fine art.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60477452"], "internet_archive": []}, "citations": [{"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. 25", "url": ""}, {"citation": "Baker, Kenneth. \"Report from London: the Saatchi Museum Opens\" <em>Art in America </em>73, no. 7 (July 1985): 23-27.", "page_number": "Reproduced: p. 24; mentioned: p. 25", "url": null}, {"citation": "Cleveland Museum of Art, \u201cMajor Andy Warhol Painting Added to CMA\u2019s Permanent Collection,\u201d December 3, 1997, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr4166"}, {"citation": "Bergman, Robert, \"A Defining Signifier\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 38 no. 09, November 1998", "page_number": "Mentioned & reproduced: p. 8-9", "url": "https://archive.org/details/CMAMM1998-09/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. 115", "url": ""}, {"citation": "Bergman, Robert P. \u201cA Defining Signifier.\u201d <em>The Bulletin of the Cleveland Museum of Art </em>(November 1998)", "page_number": "Reproduced p. 8-9.", "url": null}, {"citation": "McShine, Kynaston, ed. <em>Andy Warhol, a retrospective</em>. Exh. Cat. New York: Museum of Modern Art, 1989.", "page_number": "Reproduced p. 216, plate 205.", "url": null}, {"citation": "Franklin, David, and C. Griffith Mann. <em>Treasures from the Cleveland Museum of Art</em>. Cleveland: The Cleveland Museum of Art; London Scala, 2012.", "page_number": "Reproduced p. 329; mentioned p. 328.", "url": null}, {"citation": "Frei, Georg and Neil Printz, eds. and Sponsored by the Thomas Ammann Fine Art Ag Zurich and The Andy Warhol Foundation for the Visual Arts, Inc., New York. <em>The Andy Warhol Catalogue Raisonn\u00e9: Paintings and Sculpture 1961-1963</em>. London: Phaidon, 2002", "page_number": "Reproduced p. 246, Plate 236; mentioned 234-235.", "url": null}, {"citation": "\u201cSotheby\u2019s Contemporary Art, Part 1, Andy Warhol\u2019s Marilyn x 100, Evening Session: Tuesday, November 17, 1992, Lot 25.\u201d New York: Sotheby\u2019s, 1992.", "page_number": "Reproduced on cover", "url": null}, {"citation": "Hicks, Alistair, ed. <em>Art of Our Time. Royal Scottish Academy</em>. Exh. Cat. Edinburgh: The Royal Scottish Academy, 1980.", "page_number": "Reproduced front and back covers and on p. 73", "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.87", "url": null}, {"citation": "Agee, William C., Max Weber, and Pamela N. Koob. Max Weber &amp; American Cubism. New York, NY : Rizzoli Electa, 2023.", "page_number": "Mentioned: p. 266, 268; Reproduced: p. 264-265, fig. 166", "url": ""}], "url": "https://clevelandart.org/art/1997.246", "images": {}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund, and Anonymous Gift", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Toby's Gallery for Contemporary Art", "athena_id": 159976, "creators": [{"id": 3748, "description": "Andy Warhol (American, 1928\u20131987)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1928", "death_year": "1987", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1997-12-01T00:00:00", "sortable_date": 1962, "date_added_to_oa": null, "date_text": "1962", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": true, "updated_at": "2026-03-27 00:07:46.904000"}, {"id": 144338, "accession_number": "1969.15", "share_license_status": "Copyrighted", "tombstone": "Filtered Yellow, 1968. Julian Stanczak (American, 1928\u20132017). Acrylic on canvas; unframed: 182.8 x 243.8 cm (71 15/16 x 96 in.). The Cleveland Museum of Art, Contemporary Collection of The Cleveland Museum of Art, 1969.15. \u00a9 Julian Stanczak", "current_location": "228A Cleveland Artists", "title": "Filtered Yellow", "creation_date": "1968", "creation_date_earliest": 1968, "creation_date_latest": 1968, "artists_tags": ["Cleveland School", "male", "Cleveland Institute of Art (alumni)"], "culture": ["America"], "technique": "acrylic on canvas", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "measurements": "Unframed: 182.8 x 243.8 cm (71 15/16 x 96 in.)", "dimensions": {"unframed": {"height": 1.828, "width": 2.438}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Julian Stanczak", "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": 302349, "title": "Materials and Techniques of 20th-Century Artists", "description": "<i>Materials and Techniques of 20th-Century Artists</i>. The Cleveland Museum of Art, Cleveland, OH (November 17, 1976-January 2, 1977).", "opening_date": "1976-11-17T05:00:00"}, {"id": 309579, "title": "The Cleveland Institute of Art: 100 Years", "description": "<i>The Cleveland Institute of Art: 100 Years</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 22, 1982-January 30, 1983).", "opening_date": "1982-12-22T05:00:00"}, {"id": 309861, "title": "Contemporary Art and Textiles Collection", "description": "<i>Contemporary Art and Textiles Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 13-August 26, 1984).", "opening_date": "1984-07-13T04:00:00"}], "legacy": [{"description": "Cleveland Museum of Art, (04//11/2011 - 02/26/2012); \"Op Art\"", "opening_date": "2012-02-26T00:00:00"}]}, "provenance": [{"description": "Purchased from Martha Jackson Gallery, New York, NY.", "citations": [], "footnotes": null, "date": "1969", "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": "After losing the use of his right arm in a Siberian labor camp during World War II, Julian Stanczak fled to a Polish refugee camp in Uganda where he learned how to paint and write left-handed.", "description": "For more than a half century, Julian Stanczak maintained a distinguished career as an abstract painter interested in how vision works. <em>Filtered Yellow</em> features hundreds of alternating reddish and greenish razor-sharp vertical bands that create the illusion of a yellow shape, despite the absence of pure yellow paint. As typical of his work, it emphasizes a high level of technical mastery rivaled by few.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60470411"], "internet_archive": []}, "citations": [{"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. 4", "url": "https://archive.org/details/20thCenturyArtCMA/page/n5"}, {"citation": "Lee, Sherman E. \"The Year in Review for 1969.\" <em>The Bulletin of the Cleveland Museum of Art</em> 57, no. 1 (1970): 26.", "page_number": "26", "url": "http://www.jstor.org/stable/25152307"}, {"citation": "McClelland, Elizabeth. \"Julian Stanczak.\" <em>Arts Magazine</em> 51, no. 1 (Jan 1976): 9.", "page_number": "9", "url": ""}, {"citation": "Cole, Mark. \"Good Vibrations: A New Exhibition Celebrates the Dazzling Op Art Movement Centered in Cleveland.\" <em>Cleveland Art Members Magazine</em> (Mar/Apr 2011): 7.", "page_number": "7", "url": "http://www.clevelandart.org/magazine/cleveland-art-2011-highlights/good-vibrations"}], "url": "https://clevelandart.org/art/1969.15", "images": {}, "alternate_images": [], "creditline": "Contemporary Collection of The Cleveland Museum of Art", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "David and Helen Kangesser Gallery", "athena_id": 144338, "creators": [{"id": 3643, "description": "Julian Stanczak (American, 1928\u20132017)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1928", "death_year": "2017", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1969-12-13T00:00:00", "sortable_date": 1968, "date_added_to_oa": null, "date_text": "1968", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:07:26.178000"}, {"id": 135456, "accession_number": "1958.45", "share_license_status": "Copyrighted", "tombstone": "The Harem , spring\u2013summer 1906. Pablo Picasso (Spanish, 1881\u20131973). Oil and graphite on canvas; framed: 174 x 130.5 x 11.4 cm (68 1/2 x 51 3/8 x 4 1/2 in.); unframed: 154.3 x 110 cm (60 3/4 x 43 5/16 in.); former: 163.2 x 120 x 6.1 cm (64 1/4 x 47 1/4 x 2 3/8 in.). The Cleveland Museum of Art, Bequest of Leonard C. Hanna Jr., 1958.45. \u00a9 Estate of  Pablo Picasso / Artists Rights Society (ARS), New York", "current_location": "223 20th Century Avant-Garde", "title": "The Harem ", "creation_date": "spring\u2013summer 1906", "creation_date_earliest": 1906, "creation_date_latest": 1906, "artists_tags": ["male", "Latine and Hispanic Artists"], "culture": ["Spain, 20th century"], "technique": "oil and graphite on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 174 x 130.5 x 11.4 cm (68 1/2 x 51 3/8 x 4 1/2 in.); Unframed: 154.3 x 110 cm (60 3/4 x 43 5/16 in.); Former: 163.2 x 120 x 6.1 cm (64 1/4 x 47 1/4 x 2 3/8 in.)", "dimensions": {"framed": {"height": 1.74, "width": 1.305, "depth": 0.114}, "unframed": {"height": 1.543, "width": 1.1}, "former": {"height": 1.632, "width": 1.2, "depth": 0.061}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of  Pablo Picasso / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "Signed upper left: \"Picasso\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 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": 442780, "title": "Pablo Picasso: A Retrospective", "description": "<i>Pablo Picasso: A Retrospective</i>. The Museum of Modern Art, New York, NY (organizer) (May 22-September 16, 1980).", "opening_date": "1980-05-22T04:00:00"}, {"id": 442184, "title": "Pablo Picasso", "description": "<i>Pablo Picasso</i>. The National Museum of Modern Art, Tokyo, Tokyo, Japan (organizer) (co-organizer) (April 2-May 29, 1983); Kyoto Municipal Museum of Art, Kyoto, Japan (co-organizer) (June 10-July 24, 1983).", "opening_date": "1983-04-02T05:00:00"}, {"id": 442168, "title": "Picasso", "description": "<i>Picasso</i>. National Gallery of Victoria, Melbourne, Australia (co-organizer) (July 27-September 23, 1984); Art Gallery of New South Wales, Sydney, Australia (October 9-December 2, 1984).", "opening_date": "1984-07-27T04:00:00"}, {"id": 441970, "title": "Les Demoiselles D'Avignon (The Ladies of Avignon)", "description": "<i>Les Demoiselles D'Avignon (The Ladies of Avignon)</i>. Mus\u00e9e national Picasso-Paris, Paris, France (January 26-April 18, 1988); Museu Picasso, Barcelona, Spain (May 10-July 14, 1988).", "opening_date": "1988-01-26T05:00:00"}, {"id": 361423, "title": "Picasso, 1905-1906", "description": "<i>Picasso, 1905-1906</i>. Museu Picasso, Barcelona, Spain (organizer) (February 5-April 19, 1992); Kunstmuseum Bern, Bern, Switzerland (May 8-July 26, 1992).", "opening_date": "1992-02-05T05:00:00"}, {"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": 219144, "title": "1900", "description": "<i>1900</i>. Galeries Nationales du Grand Palais, 75008 Paris, France (March 14-June 26, 2000).", "opening_date": "2000-03-10T00:00:00"}, {"id": 219149, "title": "Picasso Erotique", "description": "<i>Picasso Erotique</i>. Galerie national du Jeu de Paume, Paris, France (February 19-May 15, 2001); Montr\u00e9al Museum of Fine Arts (June 15-September 15, 2001); Museu Picasso (October 25, 2001-January 20, 2002).", "opening_date": "2001-02-19T00:00:00"}, {"id": 219731, "title": "Picasso et Ingres", "description": "<i>Picasso et Ingres</i>. Mus\u00e9e national Picasso-Paris, Paris, France (March 16-June 21, 2004).", "opening_date": "2004-03-16T00:00:00"}, {"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>. Vancouver Art Gallery, Vancouver, Canada (June 9-September 16, 2007); The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008); Frist Art Museum, Nashville, TN (February 15-June 1, 2008); Utah Museum of Fine Arts, Salt Lake City, UT (June 22-September 21, 2008); The Detroit Institute of Arts, Detroit, MI (October 12, 2008-January 18, 2009).", "opening_date": "2006-05-27T00:00:00"}, {"id": 220287, "title": "Picasso: Tradici\u00f3n y Vanguardia", "description": "<i>Picasso: Tradici\u00f3n y Vanguardia</i>. Museo Nacional del Prado, Madrid, Spain (organizer) (June 5-September 17, 2006).", "opening_date": "2006-06-05T00:00:00"}, {"id": 206339, "title": "Barcelona & Modernity: Picasso, Gaud\u00ed, Mir\u00f3, Dal\u00ed (1868-1939)", "description": "<i>Barcelona & Modernity: Picasso, Gaud\u00ed, Mir\u00f3, Dal\u00ed (1868-1939)</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 15, 2006-January 7, 2007); The Metropolitan Museum of Art, New York, NY (co-organizer) (March 4-June 3, 2007).", "opening_date": "2006-10-15T00:00:00"}, {"id": 367808, "title": "Picasso 1906. La Gran Transformaci\u00f3n", "description": "<i>Picasso 1906. La Gran Transformaci\u00f3n</i>. Museo Nacional Centro de Arte Reina Sof\u00cda, Madrid, Spain (organizer) (November 14, 2023-March 4, 2024) https://www.museoreinasofia.es/exposiciones/picasso-1906.", "opening_date": "2023-11-14T05:00:00"}, {"id": 317581, "title": "Picasso and Paper", "description": "<i>Picasso and Paper</i>. Royal Academy of Arts, London, United Kingdom of Great Britain and Northern Ireland (organizer) (co-organizer) (January 25-August 2, 2020) https://www.royalacademy.org.uk/exhibition/picasso-and-paper; The Cleveland Museum of Art, Cleveland, OH (co-organizer) (December 8, 2024-March 23, 2025).", "opening_date": "2024-12-08T05:00:00"}], "legacy": [{"description": "<em>In Memoriam: Leonard C. Hanna, Jr.</em>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 4-April 7, 1958).", "opening_date": "1958-03-04T05:00:00Z"}, {"description": "<em>Pictures Collected by Yale Alumni. </em>Yale University Art Gallery, New Haven, CT (organizer) (May 8-June 18, 1956)", "opening_date": "1956-05-08T04:00:00Z"}, {"description": "<em>Picasso \"Blue\" and \"Rose\" Periods: 1901\u20131906. </em>Jacques Seligmann &amp; Co., New York (organizer) (November 2-November 26, 1936)", "opening_date": "1936-11-02T05:00:00Z"}, {"description": "<em>The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition</em>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 26-October 4, 1936).", "opening_date": "1936-06-26T04:00:00Z"}, {"description": "<em>Century of Progress. </em>Art Institute of Chicago, Chicago, IL (June 1-November 1, 1933) (as Figures [Pink])", "opening_date": "1933-06-01T04:00:00Z"}, {"description": "<em>French Art Since Eighteen Hundred</em>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 8-December 8, 1929). [as Figures [Pink])", "opening_date": "1929-11-08T05:00:00Z"}, {"description": "<em>Twenty-Seventh International Exhibition of Paintings, </em>Carnegie Institute, Pittsburgh, PA (October 18-December 9, 1928). [as Figure (pink)]", "opening_date": "1928-10-18T05:00:00Z"}]}, "provenance": [{"description": "John Quinn [1870-1924], New York, NY", "citations": [], "footnotes": null, "date": "before 1924", "sortorder": null}, {"description": "(P. Rosenberg, New York, NY, 1928)", "citations": [], "footnotes": [], "date": "1928", "sortorder": 2}, {"description": "Leonard C. Hanna, Jr. [1889-1957], Cleveland, OH, by bequest to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1929-1958", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1958-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This painting dates from Picasso's Rose Period, named for the rosy pink and orange hues that dominate many of his compositions during this time. The Rose Period followed his Blue Period, and the colors are reflective of his mood. The Blue Period is connected to a period of depression following the death of his close friend Carlos Casagemas, while the happier tones of the Rose Period coincide with his happiness in his relationship with Fernande Olivier.", "description": "In 1904, Pablo Picasso abandoned the cool palette and somber mood of his Blue Period (1901\u20134)\u2014 exemplified by La Vie of 1903\u2014for the warmer, more sensual imagery of the Rose Period (1904\u20136). In the summer of 1906, he and his romantic partner Fernande Olivier visited Spain. Picasso sketched Olivier, who often served as a model for the artist, in private moments bathing and combing her hair. Such studies came to life in The Harem, Picasso\u2019s first large-scale representation of nude figures. He added a seated man who clasps a flower in one hand and a porr\u00f3n (a phallic-shaped drinking vessel) in the other.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60465144"], "internet_archive": []}, "citations": [{"citation": "Watson, F. <em>John Quinn Collection of Paintings, Watercolors, Drawings and Sculpture. </em>Huntington: Pidgeon Hill Press, 1926.", "page_number": "Mentioned: p. 13; Reproduced: p. 89.", "url": ""}, {"citation": "<em>Twenty-Seventh International Exhibition of Paintings, Carnegie Institute, Pittsburgh October 18-December 9, 1928. </em>Pittsburgh: Carnegie Institute, 1928.", "page_number": "Mentioned and reproduced: cat. 201", "url": ""}, {"citation": "Steinberg, Leo. \"The Philosophical Brothel, Part 1.\" <em>Art News </em>71, no. 5 (September 1972): 20-29.", "page_number": "Reproduced: p. 29. fig. 28", "url": ""}, {"citation": "Henning, Edward. \"Pablo Picasso: Bouteille, Verre, et Fourchette.\" <em>The Bulletin of the Cleveland Museum of Art </em>59, no. 7 (September 1972): 194-203.", "page_number": "Reproduced: p. 196, fig. 4", "url": "https://www.jstor.org/stable/25152438"}, {"citation": "Daix, Pierre. \"Picasso's Time of Decisive Encounters.\" <em>Art News </em>(April 1987): 136-141.", "page_number": "Mentioned and reproduced; p. 140", "url": ""}, {"citation": "Steinberg, Leo. \"The Philosophical Brothel.\" <em>October </em>44 (Spring 1988): 7-74.", "page_number": "Mentioned: p. 35; Reproduced: p. 34, fig. 30", "url": "985004319"}, {"citation": "Robert, Rosenblum. \"Picasso in G\u00f3sol: The Calm before the Storm.\" In <em>Picasso: The Early Years, 1892-1906. </em>Marilyn McCully, ed., 263-275. Washington: National Gallery of Art, 1997.", "page_number": "Mentioned: p. 265-266; Reproduced: p. 264, fig. 1", "url": ""}, {"citation": "<em>Picasso and Celestina: The Artist's Vision of the Procuress</em>. Newark, Delaware: Juan de la Cuesta, 2015.", "page_number": "Reproduced: p. 82, figure 17", "url": ""}, {"citation": "Steinberg, Leo. <em>Picasso: Selected Essays.</em> Edited by Sheila Schwartz. Chicago: The University of Chicago Press, 2022.", "page_number": "Mentioned and reproduced: p. 90-91, fig. 4.30", "url": ""}], "catalogue_raisonne": "Zervos I.321; Sutton/Lecaldano 274; Daix, Boudaille, Rosselet XV.40; Palau i Fabre 1266; PP 1906-073", "url": "https://clevelandart.org/art/1958.45", "images": {}, "alternate_images": [], "creditline": "Bequest of Leonard C. Hanna Jr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Michael J. Horvitz Family Gallery", "athena_id": 135456, "creators": [{"id": 2160, "description": "Pablo Picasso (Spanish, 1881\u20131973)", "extent": null, "qualifier": null, "role": "artist", "biography": "Pablo Ruiz Picasso (1881-1973), the most prolific and influential artist of the 20th century, shifted the emphasis of art from its traditional concern with beauty toward radical innovation. The son of an art teacher, Picasso demonstrated remarkable talents as a child and entered the royal art academy in Madrid at age sixteen. Less than a year later, he abandoned his studies and soon joined several avant-garde artist and anarchist groups in Barcelona and Paris. After passing through a succession of stylistic periods, most notably the Blue (1901-1904) and Rose (1904-1906) Periods, he collaborated with Georges Braque (1882-1963) in 1908 to invent Cubism, a revolutionary method of restructuring pictorial space. Picasso remained active until his death in 1973. Although his art still appears radical, many of his works are over one hundred years old. Cubism, perhaps the most important development in 20th-century art, was invented around 1908 by Pablo Picasso (1881-1973) and Georges Braque (1882-1963). The most revolutionary aspect of the style was not its obvious emphasis on geometric form; rather, it was the introduction of a radically new approach to configuring pictorial space. Since the Renaissance, artists had used various methods to create the illusion of distant space receding behind the canvas surface. The Cubists rejected that idea and collapsed space by compressing foreground, middle ground, and background into a continuous web of overlapping, intersecting planes. During the 1910s, other painters and sculptors embraced or adapted Cubism to their own ends. This revolutionary approach inspired a host of related movements and continues to influence the visual language of artists, architects, and designers throughout the world.", "name_in_original_language": null, "birth_year": "1881", "death_year": "1973", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1958-11-29T00:00:00", "sortable_date": 1906, "date_added_to_oa": null, "date_text": "spring\u2013summer 1906", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Figures in Pink"], "is_highlight": false, "updated_at": "2026-04-03 13:35:08.927000"}, {"id": 93234, "accession_number": "1926.1653", "share_license_status": "CC0", "tombstone": "On the Beach, No. 3, c. 1915\u201318. Maurice Prendergast (American, born Newfoundland [now Canada], 1858\u20131924). Oil on canvas; framed: 81 x 103 x 6.5 cm (31 7/8 x 40 9/16 x 2 9/16 in.); unframed: 66 x 85.1 cm (26 x 33 1/2 in.). The Cleveland Museum of Art, Hinman B. Hurlbut Collection, 1926.1653", "current_location": "208 American Gilded Age and Realism", "title": "On the Beach, No. 3", "creation_date": "c. 1915\u201318", "creation_date_earliest": 1915, "creation_date_latest": 1915, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 81 x 103 x 6.5 cm (31 7/8 x 40 9/16 x 2 9/16 in.); Unframed: 66 x 85.1 cm (26 x 33 1/2 in.)", "dimensions": {"framed": {"height": 0.81, "width": 1.03, "depth": 0.065}, "unframed": {"height": 0.66, "width": 0.851}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower left:  Prendergast; annotated on verso, \"The Beach.\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 354889, "title": "The Maurice Prendergast Memorial Exhibition", "description": "<i>The Maurice Prendergast Memorial Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 15-February 15, 1926).", "opening_date": "1926-01-15T05:00:00"}, {"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": 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": 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": 444775, "title": "Puvis de Chavannes and The Modern Tradition", "description": "<i>Puvis de Chavannes and The Modern Tradition</i>. Art Gallery of Ontario, Ontario M5T 1G4, Canada (organizer) (October 24-November 30, 1975).", "opening_date": "1975-10-24T04:00:00"}, {"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": 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, C.W.Kraushaar Art Galleries, Memorial Exhibition of Paintings and Water Colors by Maurice Prendergast (16 February-4 March 1925), cat. no. 33, title given: Beach Scene, No. 3.", "opening_date": "1925-02-16T00:00:00"}, {"description": "Chicago, Art Insitute of Chicago, Special Exhibition: Sculpture by Nancy Cox-McCormack, Mural Paintings by Puvis de Chavvanes, Albert Besnard, and the National Society of Mural Painters, Decorative Paintings by Eduard Buk Ulreich, Drawings and Lithographs by C.O. Woodbury, Paintings by Maurice Prendergast (17 March-24 April 1925), cat. no. 22", "opening_date": "1925-03-17T00:00:00"}, {"description": "Cleveland, The Cleveland Museum of Art, The Maurice Prendergast Memorial Exhibition (16 January-15 February 1926), cat. no. 9.", "opening_date": "1926-01-16T00:00:00"}, {"description": "New York, Whitney Museum of American Art, Maurice Prendergast Memorial Exhibition (21 February-22 March 1934).", "opening_date": "1934-02-21T00:00:00"}, {"description": "Saginaw, MI, Saginaw Museum, An Exhibition of American Painting from Colonial Times Until Today (10 January-15 February 1948), no. 46.", "opening_date": "1948-01-10T00:00:00"}, {"description": "Boston, Museum of Fine Arts, Maurice Prendergast, 1859-1924 (26 October-4 December 1960); traveled to Hartford, Wadsworth Athenaeum (29 December 1960-5 February 1961); to New York, Whitney Museum of American Art (21 February-2 April 1961); to San Francisco, California Palace of the Legion of Honor (22 April-3 June 1961); to Cleveland, The Cleveland Museum of Art (20 June-30 July 1961); cat. no. 43, illus. p. 57.", "opening_date": "1960-10-26T00:00:00"}, {"description": "San Francisco, San Francisco Museum of Art; simultaneously held at San Francisco, M. H. de Young Memorial Museum, and San Francisco, California Palace of the Legion of Honor (see Foreword), Man: Glory, Jest, Riddle, A Survey of the Human Form Through the Ages (10 November 1964-3 January 1965), cat. no. 277.", "opening_date": "1964-11-10T00:00:00"}, {"description": "Grand Rapids, MI, Grand Rapids Museum, 20th Century American Painting (1-30 April 1967), cat. no. 7, illus. p. 7.", "opening_date": "1967-04-01T00:00:00"}, {"description": "Toronto, Art Gallery of Ontario, Puvis de Chavannes and The Modern Tradition (24 October-30 November 1970), cat. no. 84, illus. p. 188.", "opening_date": "1970-10-24T00:00:00"}]}, "provenance": [{"description": "(Kraushaar Galleries, New York). (bought by CMA 1926)", "citations": [], "footnotes": [], "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": ["209.1926", "1653.1926"], "did_you_know": "Three modes of transportation appear in this composition: a ship, horse, and donkey cart.", "description": "Prendergast developed a distinctive painting style featuring rounded patches of thickly applied color. Like many of his works, <em>On the Beach, No. 3</em> visually approximates a densely woven tapestry.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q107336327", "https://www.wikidata.org/wiki/Q60502128"], "internet_archive": []}, "citations": [{"citation": "Whitney Museum of American Art. Maurice Prendergast Memorial Exhibition, February Twenty-First to March Twenty-Second, Nineteen-Thirty-Four. New York: Whitney Museum of American Art, 1934.", "page_number": "cat. no. 63, listed p. 14.", "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": "cat. no. 365", "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. 36, no. 154", "url": null}, {"citation": "Milliken, William M. \"Department of Paintings.\" <em>Annual Report</em>. 11. Cleveland, OH: Cleveland Museum of Art, 1922.", "page_number": "Mentioned: pp. 33-35", "url": null}, {"citation": "Milliken, William M. \"Two Recent American Paintings Acquired for the Hinman B. Hurlbut Collection.\" <em>The Bulletin of The Cleveland Museum of Art. </em>14:1 (January, 1927).", "page_number": "Mentioned: pp. 9-11; Reproduced: p. 15", "url": null}, {"citation": "\"The Story of American Painting is Retold in Cleveland Exhibition.\" <em>The Art Digest. </em>11:19 (1 August 1937). pp. 5-9.", "page_number": null, "url": null}, {"citation": "<em>National Cyclopedia of American Biography</em>. New York: 1943.", "page_number": "Mentioned: pp. 398-399", "url": null}, {"citation": "Rhys, Hadley Howell<em>. Maurice Prendergast: The Sources and Development of His Style.</em> Ph.D. dissertation,Harvard University, 1952.", "page_number": "Mentioned: p. 162", "url": null}, {"citation": "Simon, John. \"Maurice Prendergast.\" <em>The New York Times,</em> February 26, 1967.", "page_number": "Reproduced", "url": null}, {"citation": "Hamilton, George Heard. <em>19th and 20th Century Art: Painting, Sculpture, Architecture</em>. New York: H.N. Abrams, 1970.", "page_number": "Mentioned: pp. 281, 283; Reproduced: p. 287", "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. 32", "url": null}, {"citation": "Argan, Giulio Carlo, and Rossana Bossaglia. <em>Die Kunst des 20. Jahrhunderts, 1880-1940</em>. Berlin: Propyla\u0308en-Verlag, 1977.", "page_number": "Mentioned: pp. 115-116, 139; Reproduced: 38b", "url": null}, {"citation": "\"Selection VII: American Paintings from the Museum's Collection, c.1800-1930.\" <em>Bulletin of Rhode Island School of Design. </em>63:5 (April, 1977).", "page_number": "Reproduced: cat. 100", "url": null}, {"citation": "Sims, Patterson. <em>Maurice B. Prendergast: A Concentration of Works from the Permanent Collection. </em>New York: Whitney Museum of American Art, 1979.", "page_number": "Mentioned: pp. 3-9, 26, 30-31", "url": null}, {"citation": "Clark, Carol, Nancy Mowll Mathews, and Gwendolyn Owens. <em>Maurice Brazil Prendergast, Charles Prendergast: A Catalogue Raisonne\u0301</em>. Williamstown, MA: Williams College Museum of Art, 1990.", "page_number": "Mentioned: p. 308; Reproduced: cat. 430", "url": null}, {"citation": "Adams, Henry. \"Maurice Prendergast.\" <em>International Dictionary of Art and Artists,</em> ed. James Vinson. Chicago: St. James Press, 1990.", "page_number": "Reproduced: p. 751", "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. 186", "url": null}, {"citation": "Wattenmaker, Richard J. <em>Maurice Prendergast</em>. New York: Harry N. Abrams in association with the National Museum of American Art, Smithsonian Institution, 1994. pp. 117-156", "page_number": "Reproduced: p. 136, fig. 119", "url": null}, {"citation": "Clark, Carol. \"Prendergast, Maurice (Brazil).\" <em>The</em> <em>Dictionary of Art, </em>ed. J. S. Turner<em>. </em>25.New York: Grove, 1996.", "page_number": "Mentioned: pp. 552-554; Reproduced: p. 553", "url": null}, {"citation": "Hughes, Robert. <em>American Visions: The Epic History of Art in America</em>. New York: Alfred A. Knopf, 1997.", "page_number": "Mentioned: pp. 266-269; Reproduced: p. 269", "url": null}, {"citation": "Lemoine, Serge. <em>From Puvis De Chavannes to Matisse and Picasso: Toward Modern Art.</em> Milano: Bompiani, 2002.", "page_number": "Reproduced: p. 450, fig. 156", "url": null}], "url": "https://clevelandart.org/art/1926.1653", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1926.1653/1926.1653_web.jpg", "width": "900", "height": "683", "filesize": "507062", "filename": "1926.1653_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1926.1653/1926.1653_print.jpg", "width": "3400", "height": "2581", "filesize": "5625392", "filename": "1926.1653_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1926.1653/1926.1653_full.tif", "width": "12613", "height": "9576", "filesize": "362380236", "filename": "1926.1653_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1653/1926.1653_alt0_web.jpg", "width": "1164", "height": "893", "filesize": "1072006"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1653/1926.1653_alt0_print.jpg", "width": "3400", "height": "2608", "filesize": "3340305"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1653/1926.1653_alt0_full.tif", "width": "5000", "height": "3836", "filesize": "57580984"}}, {"date_created": "2023-08-14T14:07:05", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1653/1926.1653_alt1_web.jpg", "width": "900", "height": "684", "filesize": "509897"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1653/1926.1653_alt1_print.jpg", "width": "3400", "height": "2583", "filesize": "5306340"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1653/1926.1653_alt1_full.tif", "width": "12619", "height": "9588", "filesize": "363007528"}}, {"date_created": "2023-08-14T14:17:50", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1653/1926.1653_alt2_web.jpg", "width": "900", "height": "677", "filesize": "188328"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1653/1926.1653_alt2_print.jpg", "width": "3400", "height": "2559", "filesize": "1565314"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1653/1926.1653_alt2_full.tif", "width": "12917", "height": "9721", "filesize": "376725572"}}, {"date_created": "2023-08-14T10:13:29", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1653/1926.1653_alt3_web.jpg", "width": "900", "height": "727", "filesize": "434526"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1653/1926.1653_alt3_print.jpg", "width": "3400", "height": "2748", "filesize": "4646954"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1653/1926.1653_alt3_full.tif", "width": "11058", "height": "8936", "filesize": "296475816"}}], "creditline": "Hinman B. Hurlbut Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "The Cleveland Foundation Gallery", "athena_id": 93234, "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": "1926-02-18T00:00:00", "sortable_date": 1915, "date_added_to_oa": null, "date_text": "c. 1915\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": "2026-03-27 00:01:58.705000"}, {"id": 156593, "accession_number": "1992.298", "share_license_status": "Copyrighted", "tombstone": "The Secret Life, 1928. Ren\u00e9 Magritte (Belgian, 1898\u20131967). Oil on canvas; unframed: 57.2 x 75.9 x 2.9 cm (22 1/2 x 29 7/8 x 1 1/8 in.). The Cleveland Museum of Art, Bequest of Lockwood Thompson, 1992.298. \u00a9  C. Herscovici / Artists Rights Society (ARS), New York", "current_location": "225 German Expressionism & Surrealism", "title": "The Secret Life", "creation_date": "1928", "creation_date_earliest": 1928, "creation_date_latest": 1928, "artists_tags": ["male"], "culture": ["Belgium, 20th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 57.2 x 75.9 x 2.9 cm (22 1/2 x 29 7/8 x 1 1/8 in.)", "dimensions": {"unframed": {"height": 0.572, "width": 0.759, "depth": 0.029}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  C. Herscovici / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "signed lower left:  Magritte [inscribed on back:  \"LA VIE SECR\u00c8TE\" (II.) 20P.]", "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": 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": 360357, "title": "The Magritte Machine", "description": "<i>The Magritte Machine</i>. Museo Nacional Thyssen-Bornemisza, Madrid, Spain (organizer) (September 14, 2021-January 30, 2022) https://www.museothyssen.org/exposiciones/maquina-magritte; Fundaci\u00f3 \"la Caixa\", Barcelona, Spain (February 24-June 6, 2022).", "opening_date": "2021-09-14T04:00:00"}], "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": "(Probably Paul-Gustave van Hecke/Galerie L'Epoque/Galerie le Centaure, Brussels)", "citations": [], "footnotes": ["<div><!--block-->In his 1992 catalogue raisonn\u00e9, David Sylvester notes that a \u201cGS\u201d label on the back of the painting indicates that was in van Hecke\u2019s stock at the Galerie l\u2019Epoque at the time its takeover by Galerie le Centaure in early 1929.&nbsp; Currently, there are no labels or markings on the back of the painting, likely at least in part because the stetcher appears new, possibly dating to after Sylvester\u2019s catalogue raisonn\u00e9. The path the painting took from van Hecke to Cosyn is unknown.&nbsp; Magritte\u2019s contract was initially with van Hecke and Galerie l\u2019Epoque, and he then remained under contract with Galerie le Centaure until it closed in 1932.&nbsp; On October 21 of that year, it held a liquidation sale of its stock, but the Cleveland picture is not among the works listed.&nbsp; In 1932, E.L.T. Mesens, director, under owner van Hecke, of L\u2019Epoque from 1928, bought up 150 of Magritte\u2019s works at the liquidation sale of Le Centaure and became the artist\u2019s dealer, and so Mesens may have been involved in the painting\u2019s provenance after the dissolution of Galerie le Centaure.&nbsp; Or, because <em>Secret Life </em>does not appear in the catalogue of the liquidation sale, Mesens may also have acquired the painting prior to 1932.&nbsp; However, exhibitions of Magritte\u2019s work mounted by Mesens in 1931 and as late as 1937 do not include the CMA painting.</div><div><!--block--><br><br></div>"], "date": "By 1929", "sortorder": 1}, {"description": "(Lou Cosyn, Brussels, sold to Lockwood Thompson)", "citations": [], "footnotes": ["<div><!--block-->In 1942, Lou Cosyn, along with her husband Camille Goemans, whose relationship with Magritte went back to the late 1920s, opened a gallery in Brussels.&nbsp; Cosyn remained Magritte\u2019s dealer until 1947.&nbsp; In 1943, they held an exhibition in semi-secrecy in order to escape the notice of the occupying Germans.&nbsp; There does not appear to have been a catalogue for this exhibition, so it is not known whether the Cleveland picture was among the exhibited works. Cosyn sold the painting to Lockwood Thompson, an American GI, in November 1945.&nbsp;</div>"], "date": "Until 1945", "sortorder": 2}, {"description": "Lockwood Thompson (1901-1992), Cleveland, OH, bequeathed to the Cleveland Museum of Art", "citations": [], "footnotes": ["<div><!--block-->When Thompson purchased the painting, a length of rope looped at the center served as the painting\u2019s \u201cframe.\u201d While there are no other known instances of Magritte\u2019s having used this framing device, it likely originated with the artist.&nbsp;</div>"], "date": "1945-1992\n\n:", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1982-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This is the first of many paintings Magritte made with the title <em>The Secret Life</em>.", "description": "An important Surrealist active in Brussels and Paris, Ren\u00e9 Magritte used traditional painting techniques to create images of realistically rendered objects juxtaposed illogically. Magritte and other Surrealists were inspired by the poetry of Isidore Ducasse (1846\u20131870), who wrote under the pseudonym Comte de Lautr\u00e9amont, and defined beauty as \u201cthe chance meeting on a dissection table of a sewing machine and an umbrella.\u201d Magritte\u2019s visual paradoxes, which may seem contradictory or irrational, are designed to undermine our complacent belief in a stable, predictable world.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60476836"], "internet_archive": []}, "citations": [{"citation": "Sylvester, David. <em>Magritte</em>. London: Thames and Hudson, 1992.", "page_number": null, "url": null}, {"citation": "Sylvester, David. <em>Magritte</em>. London: Thames and Hudson, 1992.", "page_number": null, "url": null}, {"citation": "Sylvester, David. <em>Magritte</em>. London: Thames and Hudson, 1992.", "page_number": null, "url": null}, {"citation": null, "page_number": null, "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. 66", "url": "http://www.jstor.org/stable/25161388"}], "url": "https://clevelandart.org/art/1992.298", "images": {}, "alternate_images": [], "creditline": "Bequest of Lockwood Thompson", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 156593, "creators": [{"id": 3173, "description": "Ren\u00e9 Magritte (Belgian, 1898\u20131967)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1898", "death_year": "1967", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1992-12-07T00:00:00", "sortable_date": 1928, "date_added_to_oa": null, "date_text": "1928", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:07:29.075000"}, {"id": 318300, "accession_number": "2019.58", "share_license_status": "Copyrighted", "tombstone": "Blue Rational/Irrational, 1969. Al Loving (American, 1935\u20132005). Acrylic on canvas; 147 x 322.5 cm (57 7/8 x 126 15/16 in.). The Cleveland Museum of Art, Gift of the KeyBank Collection, 2019.58. \u00a9 The Estate of Al Loving and Garth Greenan Gallery, New York", "current_location": "224A Contemporary Corridor", "title": "Blue Rational/Irrational", "creation_date": "1969", "creation_date_earliest": 1964, "creation_date_latest": 1974, "artists_tags": ["Black American Artists", "male"], "culture": ["America"], "technique": "Acrylic on canvas", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "measurements": "147 x 322.5 cm (57 7/8 x 126 15/16 in.)", "dimensions": {"No Extent Specified": {"height": 1.47, "width": 3.225}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 The Estate of Al Loving and Garth Greenan Gallery, New York", "inscriptions": [], "exhibitions": {"current": [{"id": 393229, "title": "Contemporary Installation", "description": "<i>Contemporary Installation</i>. The Cleveland Museum of Art (organizer).", "opening_date": "2021-04-12T04:00:00"}, {"id": 443702, "title": "Currents and Constellations: Black Art in Focus", "description": "<i>Currents and Constellations: Black Art in Focus</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 20-June 26, 2022).", "opening_date": "2022-02-20T05:00:00"}], "legacy": [{"description": "<em>Alvin Loving: Paintings</em>. Whitney Museum of American Art, New York, NY (December 19, 1969\u2013January 25, 1970).", "opening_date": "1969-12-19T00:00:00"}, {"description": "<em>Frieze Masters. </em>Garth Greenan Gallery, New York, NY (October 5 - October 9, 2016)", "opening_date": "2016-10-05T00:00:00"}]}, "provenance": [{"description": "Collection of the artist", "citations": [], "footnotes": null, "date": "1969-?", "sortorder": 1}, {"description": "(KeyBank Collection, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": [], "date": "early 1990s-2019", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2019-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This work debuted in <em>Al Loving: Paintings </em>(1969) at the Whitney Museum, the museum\u2019s first solo exhibition by an African American artist.", "description": "Across both canvases of this large-scale diptych, Loving evokes a three-dimensional space on a two-dimensional surface through strategic layerings of cubic forms and carefully calibrated color juxtapositions. Around the time Loving made this work he wrote, \u201cI am tired of objects on walls. The wall must be pierced, brought forward, pushed back.\u201d <em>Blue Rational/Irrational</em> is a bold manifestation of this sentiment.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79875896"], "internet_archive": []}, "citations": [{"citation": "Cochrane, Mary, ed. <em>The Appropriate Object.</em> Buffalo, NY: Albright-Knox Art Gallery, 1989.", "page_number": "Mentioned: pp. 41- 49", "url": null}, {"citation": "Patel, Samir S, ed. <em>Energy/Experimentation: Black Artists and Abstraction 1964-1980. </em>New York: Studio Museum in Harlem, 2006.", "page_number": "54-55", "url": null}, {"citation": "Cooke, Lynne, Douglas Crimp, et al. <em>Outliers and American Vanguard Art</em>. Washington: National Gallery of Art, 2018.", "page_number": "96-97", "url": null}, {"citation": "Collection. \"Building Blocks: A Look at Al Loving's <em>Blue Rational/Irrational, </em>1969.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>60, no. 3 (Summer 2020): 18-19.", "page_number": "Reproduced: P. 19; Mentioned: P. 18-19.", "url": ""}, {"citation": "Yoder, Dean. \u201cHidden Complexities: The Conservation of Al Loving's <em>Blue Rational/Irrational</em>.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>61, no. 2 (Spring 2021): 36-37.", "page_number": "Reproduced: P. 36, 37: Mentioned: P. 4, 36-37.", "url": ""}], "url": "https://clevelandart.org/art/2019.58", "images": {}, "alternate_images": [], "creditline": "Gift of the KeyBank Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Betty and Max Ratner Gallery", "athena_id": 318300, "creators": [{"id": 63955, "description": "Al Loving (American, 1935\u20132005)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1935", "death_year": "2005", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2019-03-04T00:00:00-05:00", "sortable_date": 1964, "date_added_to_oa": null, "date_text": "1969", "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 00:05:49.182000"}, {"id": 149947, "accession_number": "1980.180", "share_license_status": "Copyrighted", "tombstone": "Number 5, 1950, 1950. Jackson Pollock (American, 1912\u20131956). Oil on canvas; framed: 138 x 102 x 5 cm (54 5/16 x 40 3/16 x 1 15/16 in.); unframed: 136.5 x 99.1 cm (53 3/4 x 39 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1980.180. \u00a9 Pollock-Krasner Foundation / Artists Rights Society (ARS), New York", "current_location": "227 Abstract Expressionism", "title": "Number 5, 1950", "creation_date": "1950", "creation_date_earliest": 1950, "creation_date_latest": 1950, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 138 x 102 x 5 cm (54 5/16 x 40 3/16 x 1 15/16 in.); Unframed: 136.5 x 99.1 cm (53 3/4 x 39 in.)", "dimensions": {"framed": {"height": 1.38, "width": 1.02, "depth": 0.05}, "unframed": {"height": 1.365, "width": 0.991}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Pollock-Krasner Foundation / Artists Rights Society (ARS), New York", "inscriptions": [], "exhibitions": {"current": [{"id": 304404, "title": "The Spirit of Surrealism", "description": "<i>The Spirit of Surrealism</i>. The Cleveland Museum of Art, Cleveland, OH (October 3-November 25, 1979).", "opening_date": "1979-10-03T04:00:00"}, {"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": 310025, "title": "Creativity in Art and Science, 1860-1960", "description": "<i>Creativity in Art and Science, 1860-1960</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 16-November 8, 1987).", "opening_date": "1987-09-16T04:00:00"}, {"id": 179631, "title": "CMA Highlights", "description": "<i>CMA Highlights</i>. The Cleveland Museum of Art (organizer) (June 21-September 11, 2005).", "opening_date": "2005-06-21T00:00:00"}, {"id": 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": 677076, "title": "Landscapes by Arnold Chang: A Retrospective and Recent Acquisitions \u5f35\u6d2a\u5c71\u6c34\u756b\u56de\u9867\u5c55", "description": "<i>Landscapes by Arnold Chang: A Retrospective and Recent Acquisitions \u5f35\u6d2a\u5c71\u6c34\u756b\u56de\u9867\u5c55</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 8-November 9, 2025).", "opening_date": "2025-03-08T05:00:00"}], "legacy": [{"description": "<em>Jackson Pollock. </em>Betty Parsons Gallery, New York, NY (November 28-December 16, 1950).", "opening_date": "1950-11-28T00:00:00"}, {"description": "<em>Jackson Pollock 1948-1951</em>. Studio Paul Facchetti, Paris, France (March 7-31, 1952).", "opening_date": "1952-03-07T00:00:00"}, {"description": "<em>Object and Image in Modern Art and Poetry</em>. Yale University Art Gallery, New Haven, CT (April 30-June 14, 1954).", "opening_date": "1954-04-30T00:00:00"}, {"description": "<em>Pollock</em>. Museo de Arte Moderna, Sao Paulo, Brazil (1957).", "opening_date": "1957-01-01T00:00:00"}, {"description": "<em>The New American Painting</em>. Basel, Kunsthalle, (April 19-May 26, 1958); traveled to Hamburg, Kunstverein, (July 19-August 17, 1958); organized by the Museum of Modern Art, New York (International Council); possibly traveled to Galleria civica d'arte moderna, Milan, Italy (June 1-29, 1958); Hochscule fur Bildende Kunst, Berlin, Germany (September 1-October 1, 1958); Stedelijk Museum, Amsterdam, The Netherlands (October 17-November 24, 1958); Palais des Beaux-Arts, Brussels, Belgium (December 6, 1958-January 4, 1959); Tate Gallery, London, England (February 24- March 23, 1959); Museum of Modern Art, New York, NY (May 28-September 8, 1959).", "opening_date": "1958-04-19T00:00:00"}, {"description": "<em>Jackson Pollock and the New American Painting</em>. Mus\u00e9e National D'Art Moderne, Paris, France (January 16-February 15, 1959); organized by the Museum of Modern Art, New York (International Council).", "opening_date": "1959-01-16T00:00:00"}, {"description": "<em>Recent Acquisitions</em>. Museum of Modern Art, New York, NY (1959\u20131960).", "opening_date": "1959-01-01T00:00:00"}, {"description": "<em>First International Modern Art Exhibition</em>. Museo de Arte Moderno, Buenos Aires, Argentina (1960).", "opening_date": "1960-01-01T00:00:00"}, {"description": "<em>Painting and Sculpture and Graphic Art from the Museum Collection. </em>Museum of Modern Art, New York, NY (1962\u2013196\u000f3).", "opening_date": "1962-01-01T00:00:00"}, {"description": "<em>Two Decades of Americian Painting, selected by Waldo Rasmussen</em>. Organized by Museum of Modern Art, New York, shown at: National Museum of Modern Art, Tokyo, Japan, (October 15-November 27, 1966); National Museum of Modern Art, Kyoto, Japan (December 10, 1966-January 22, 1967); Lalit Kala Akademi, New Delhi, India (March 28-April 15, 1967); National Gallery of Victoria, Melbourne, Australia (June 6-July 9, 1967); Art Gallery of New South Wales, Sydney, Australia (July 17-August 13, 1967).", "opening_date": "1966-10-15T00:00:00"}, {"description": "<em>The Art of the Real: An Aspect of American Painting and Sculpture 1948-1968. </em>Tate Gallery, London, England. Organized by the Museum of Modern Art, New York (International Council) (April 24-June 1, 1969).", "opening_date": "1969-04-24T00:00:00"}]}, "provenance": [{"description": "(Betty Parsons Gallery, New York, NY, sold to Mr. and Mrs. Walter Bareiss)", "citations": [], "footnotes": null, "date": "1950", "sortorder": 1}, {"description": "Walter [1919\u20132007] and Molly Bareiss [1920\u20132006], Greenwich, CT, given to the Museum of Modern Art, New York", "citations": [], "footnotes": null, "date": "1950\u20131957", "sortorder": 2}, {"description": "Museum of Modern Art, New York, NY, sold to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1957\u20131980", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1980\u2013", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Although he was born Paul Jackson Pollock, he always went by his middle name.", "description": "Notoriously nicknamed \"Jack the Dripper\" by <em>Time</em> magazine, Pollock pioneered the technique of flinging pigment from store-bought cans of paint onto canvas placed flat on the floor. Filled with intricate webs of lines and intermingled spatters, paintings such as <em>Number 5, 1950</em> are unusually direct records of the artist's moving body and hand gestures.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60474349"], "internet_archive": []}, "citations": [{"citation": "Betty Parsons Gallery, Sales and Purchases: Sales Invoices, Barc-Bart, 1950-1973, Box 25, Folder 29, frame 3, Archives of American Art, New York, NY", "page_number": null, "url": null}, {"citation": "Hamilton, George Heard. <em>Object and Image in Modern Art and Poetry: An Essay and an Exhibition at the Yale University Art Gallery, 30 April, 1954, through 14 June, 1954</em>. New Haven, CT: Yale University Art Gallery, 1954.", "page_number": "cat. no. 27", "url": ""}, {"citation": "Hunter, Sam, Museum of Modern Art (New York, N.Y.), International Council of the Museum of Modern Art (New York, N.Y.), and Bienal Internacional de Sa\u0303o Paulo 1957). <em>Pollock</em>. New York: The Council, 1957.", "page_number": "cat. no. 19", "url": ""}, {"citation": "<em>The New American Painting, as Shown in Eight European Countries, 1958-1959</em>. New York: Museum of Modern Art; distributed by Doubleday, Garden City, NY, 1959.", "page_number": "cat. no. 18", "url": ""}, {"citation": "\"Painting and Sculpture Acquisitions January 1, 1957 through December 31, 1957,\" <em>The Bulletin of the Museum of Modern Art</em> 25.4 (July 1958): 3\u201324.", "page_number": null, "url": null}, {"citation": "Muse\u0301e national d\u2019art moderne (France), and Jackson Pollock. J<em>ackson Pollock et La Nouvelle Peinture Ame\u0301ricaine</em>. Paris: Editions des Muse\u0301es Nationaux, 1959.", "page_number": "cat. no. 16", "url": ""}, {"citation": "Goossen, E. C.. <em>The Art of the Real; an Aspect of American Painting and Sculpture 1948-1968</em>. Great Britain. Arts Council. Catalogues. 1969. Volume 1. London: Arts Council, 1968.", "page_number": "Mentioned: p. 54, cat. no. 37; Reproduced: p. 16", "url": ""}, {"citation": "O\u2019Connor, Francis V. and Eugene Victor Thaw, eds. <em>A Catalogue Raisonne\u0301 of Paintings, Drawings, and Other Works.</em> New Haven: Yale University Press, 1978.", "page_number": "Mentioned and reproduced: p. 89, vol. 2, no. 266", "url": null}, {"citation": "Henning, Edward B. <em>The Spirit of Surrealism</em>. Cleveland, OH: The Cleveland Museum of Art, 1979.", "page_number": "cat. no. 94", "url": ""}, {"citation": "Cleveland Museum of Art, \u201cThe Cleveland Museum of Art Has Purchased a Major Work by Jackson Pollock,\u201d January 6, 1981, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr2845"}, {"citation": "Lee, Sherman E. \u201cThe Year in Review for 1980.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 68, no. 6 (1981): 163\u2013219.", "page_number": "Mentioned: no. 106, pp. 163, 199, 214; Reproduced: no. 106, p. 198", "url": "http://www.jstor.org/stable/25159730"}, {"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. 81, pl. VIII; Mentioned and reproduced: P. 132, no. 42", "url": ""}, {"citation": "Donley, Gregory M., \"Geometric Means\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 46 no. 05, May/June 2006", "page_number": "Mentioned & reproduced: p. 7", "url": "https://archive.org/details/CMAMM2006-05/page/6"}, {"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: The Cleveland Museum of Art, 2006.", "page_number": "Mentioned: no. 91, p. 121; Reproduced: p. 100", "url": ""}, {"citation": "Adams, Henry. <em>What's American about American art?: a gallery tour in the Cleveland Museum of Art. </em>Cleveland: Cleveland Museum of Art, 2008.", "page_number": "Reproduced: p. 146 - 147", "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.86", "url": null}], "url": "https://clevelandart.org/art/1980.180", "images": {}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Frank H. and Nancy L. Porter Gallery", "athena_id": 149947, "creators": [{"id": 3591, "description": "Jackson Pollock (American, 1912\u20131956)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1912", "death_year": "1956", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1980-11-13T00:00:00", "sortable_date": 1950, "date_added_to_oa": null, "date_text": "1950", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:02.059000"}, {"id": 137308, "accession_number": "1962.239", "share_license_status": "Copyrighted", "tombstone": "No. 2 (Red Maroons), 1962. Mark Rothko (American, 1903\u20131970). Oil on canvas; framed: 202 x 207 x 3.5 cm (79 1/2 x 81 1/2 x 1 3/8 in.); unframed: 200.7 x 205.7 cm (79 x 81 in.). The Cleveland Museum of Art, Contemporary Collection and Friends of The Cleveland Museum of Art, 1962.239. \u00a9 1998 Kate Rothko Prizel & Christopher Rothko / Artists Rights Society (ARS), New York", "current_location": "227 Abstract Expressionism", "title": "No. 2 (Red Maroons)", "creation_date": "1962", "creation_date_earliest": 1962, "creation_date_latest": 1962, "artists_tags": ["male", "Jewish artists"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "measurements": "Framed: 202 x 207 x 3.5 cm (79 1/2 x 81 1/2 x 1 3/8 in.); Unframed: 200.7 x 205.7 cm (79 x 81 in.)", "dimensions": {"framed": {"height": 2.02, "width": 2.07, "depth": 0.035}, "unframed": {"height": 2.007, "width": 2.057}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 1998 Kate Rothko Prizel & Christopher Rothko / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "Signed on back of canvas: \"Mark Rothko 1962 #2\"", "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": 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": 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"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Rothko once stated, \u201cA painting is not a picture of an experience, but is the experience.\u201d", "description": "When asked to explain the aims of his art, Rothko answered, \u201cI\u2019m interested only in expressing basic human emotions\u2014tragedy, ecstasy, doom, and so on. . . .\u201d Most of his mature works feature diffuse areas of color appearing to float against a background of a different hue. Rothko typically applied several layers of diluted paint to each canvas, sometimes rubbing the wet surfaces with cloths to achieve his ethereal effects. Born Marcus Rothkowitz, the artist altered his name in 1940, partly in response to antisemitism. He and fellow Jewish artists\u2014including Lee Krasner, Morris Louis, and Louise Nevelson, all represented in this gallery\u2014made major contributions toward the development of American abstract art during the mid-1900s.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60466138"], "internet_archive": []}, "citations": [{"citation": "Henning, Edward B. \u201cIn Pursuit of: Content.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 50, no. 8 (October 1963): 219\u2013239.", "page_number": "Mentioned and reproduced: p. 229-231, fig. 4", "url": "http://www.jstor.org/stable/25151964"}, {"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. 203", "url": "https://archive.org/details/CMAHandbook1966/page/n227"}, {"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. 203", "url": "https://archive.org/details/CMAHandbook1969/page/n227"}, {"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. 4", "url": "https://archive.org/details/20thCenturyArtCMA/page/n5"}, {"citation": "Henning, Edward B. \u201cPlanes, Structure, Color, and Content.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 61, no. 7 (September 1974): 223\u2013239.", "page_number": "Mentioned and reproduced: p. 231, fig. 17", "url": "http://www.jstor.org/stable/25152534"}, {"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. 250", "url": "https://archive.org/details/CMAHandbook1978/page/n270"}, {"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. 133, no. 44", "url": ""}, {"citation": "Anfam, David. <em>Mark Rothko: The Works on Canvas: Catalogue Raisonne\u0301.</em> New Haven: Yale University Press, 1998.", "page_number": "Reproduced:  p. 571, no. 718", "url": ""}], "url": "https://clevelandart.org/art/1962.239", "images": {}, "alternate_images": [], "creditline": "Contemporary Collection and Friends of The Cleveland Museum of Art", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Frank H. and Nancy L. Porter Gallery", "athena_id": 137308, "creators": [{"id": 3627, "description": "Mark Rothko (American, 1903\u20131970)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1903", "death_year": "1970", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1962-11-17T00:00:00", "sortable_date": 1962, "date_added_to_oa": null, "date_text": "1962", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Red Maroons"], "is_highlight": false, "updated_at": "2026-03-27 00:04:37.462000"}, {"id": 160090, "accession_number": "1997.59", "share_license_status": "Copyrighted", "tombstone": "Paul III, 1996. Chuck Close (American, 1940\u20132021). Oil on canvas; framed: 259.6 x 213.5 x 7.5 cm (102 3/16 x 84 1/16 x 2 15/16 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1997.59. \u00a9 Chuck Close, courtesy The Pace Gallery", "current_location": null, "title": "Paul III", "creation_date": "1996", "creation_date_earliest": 1996, "creation_date_latest": 1996, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "measurements": "Framed: 259.6 x 213.5 x 7.5 cm (102 3/16 x 84 1/16 x 2 15/16 in.)", "dimensions": {"framed": {"height": 2.596, "width": 2.135, "depth": 0.075}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Chuck Close, courtesy The Pace Gallery", "inscriptions": [{"inscription": "Written on verso: \"Paul / \u00a9 1996 / C.Close\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 176597, "title": "Chuck Close Retrospective", "description": "<i>Chuck Close Retrospective</i>. Museum of Modern Art, NY (February 25-May 26, 1998); Museum of Contemporary Art, Chicago (June 1-September 6, 1998); Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC (October 15, 1998-January 9, 1999); Seattle Art Museum (February 1-May 1, 1999).", "opening_date": "1998-02-25T00:00:00"}, {"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": 228063, "title": "Familiar Faces: Chuck Close in Ohio Collections", "description": "<i>Familiar Faces: Chuck Close in Ohio Collections</i>. Akron Art Museum, Akron, OH (organizer) (September 5, 2009-January 3, 2010).", "opening_date": "2009-09-05T00:00:00"}, {"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": "NY, Museum of Modern Art; Chicago, Museum of Contemporary Art; DC, Hirshhorn Museum &amp; Sculpture Garden; Seattle Art Museum \"Chuck Close Retrospective\" (2/25/98 - 5/9/99) p. 197.", "opening_date": "1998-02-25T00:00:00"}, {"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. 141,  p. 124, color repr. p. 93.", "opening_date": "2006-06-09T00:00:00"}, {"description": "Akron Art Museum (9/5/2009 - 1/3/2010):  \"Familiar Faces: Chuck Close in Ohio Collections\"", "opening_date": "2009-09-05T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In 2005, composer Phillip Glass was commissioned by concert pianist Bruce Levingston to write a 15-minute musical portrait of Close.", "description": "Throughout his career, Chuck Close has relied on portraiture as the key component in his art and is known for paintings in which his subjects' faces loom large. This monumental painting represents a new direction his work took in the mid-1990s. The entire canvas is filled with a portion of the subject's tightly cropped, frontally positioned face, and background space is almost totally eliminated. Close does not accept commissions\u2014he paints only self-portraits, members of his family, friends, and people associated with the art world. His paintings are derived from photographs taken of his subjects. For this work, his model was Paul Cadmus (1904\u20131999), a prominent American figurative painter best known for his works of the 1930s. In the 1960s Close began to use a grid to organize his compositions. In <em>Paul III</em> this grid is rotated 45 degrees, forming diamond shapes that are filled with bright, multicolored circles, loops, and dots. Each diamond is an independent abstract painting, bursting with energy, gesture, and color. The overall effect is like a kaleidoscope, always changing as the viewer moves. Up close, the image is nearly impossible to read. At a distance, however, the individual elements crystallize into recognizable facial features.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60477485"], "internet_archive": []}, "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": "Glaubinger, Jane, \"Chuck Close\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 38 no. 01, January 1998", "page_number": "Mentioned & reproduced: p. 8", "url": "https://archive.org/details/CMAMM1998-01/page/n7"}], "url": "https://clevelandart.org/art/1997.59", "images": {}, "alternate_images": [], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 160090, "creators": [{"id": 6583, "description": "Chuck Close (American, 1940\u20132021)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1940", "death_year": "2021", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1997-06-02T00:00:00", "sortable_date": 1996, "date_added_to_oa": null, "date_text": "1996", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:32.602000"}, {"id": 168182, "accession_number": "2009.78", "share_license_status": "Copyrighted", "tombstone": "Title Unknown, 1928. Yves Tanguy (French, 1900\u20131955). Oil on canvas; framed: 105.4 x 93.3 x 2.3 cm (41 1/2 x 36 3/4 x 7/8 in.); unframed: 80 x 65.4 cm (31 1/2 x 25 3/4 in.). The Cleveland Museum of Art, John L. Severance Fund, 2009.78. \u00a9 Estate of Yves Tanguy / Artists Rights Society (ARS), New York", "current_location": "225 German Expressionism & Surrealism", "title": "Title Unknown", "creation_date": "1928", "creation_date_earliest": 1928, "creation_date_latest": 1928, "artists_tags": ["male"], "culture": ["France, 20th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 105.4 x 93.3 x 2.3 cm (41 1/2 x 36 3/4 x 7/8 in.); Unframed: 80 x 65.4 cm (31 1/2 x 25 3/4 in.)", "dimensions": {"framed": {"height": 1.054, "width": 0.933, "depth": 0.023}, "unframed": {"height": 0.8, "width": 0.654}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of Yves Tanguy / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "signed and dated, lower right: \"Yves Tanguy 28\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Henri Seyrig; private collection", "citations": [], "footnotes": [], "date": null, "sortorder": 1}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This painting is an example of a Surrealist \"dreamscape,\" a landscape with dreamlike or nightmarish qualities.", "description": "One of the most influential members of the Surrealist movement, Yves Tanguy painted this composition only four years after the movement was founded and two years after he developed his mature style. The composition depicts a series of mysterious forms floating in a dark, dreamlike landscape. Although the objects could indicate rocks, plants, internal organs, or menacing creatures, Tanguy deliberately ensures that the forms remain mysterious. The setting may suggest the ocean floor or a lunar landscape; it, like the objects that seem to animate the scene, is left up to the viewer to interpret according to their own imagination.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60480572"], "internet_archive": []}, "citations": [{"citation": "Robinson, William H. \"Dreamscape.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 49, no. 10 (December 2009): 3-5.", "page_number": "Mentioned and reproduced: p. 3-5", "url": "https://archive.org/details/CMAMM2009-10/page/2/mode/2up"}, {"citation": "Mann, Griffith C. \"Acquisitions 2009.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 50, no. 2 (March/April 2010): 12-27.", "page_number": "Mentioned and reproduced: p. 15", "url": "https://archive.org/details/CMAMM2010-02/page/n11/mode/2up"}], "url": "https://clevelandart.org/art/2009.78", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 168182, "creators": [{"id": 12379, "description": "Yves Tanguy (French, 1900\u20131955)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1900", "death_year": "1955", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2009-06-08T00:00:00", "sortable_date": 1928, "date_added_to_oa": null, "date_text": "1928", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:56.920000"}, {"id": 124679, "accession_number": "1946.164", "share_license_status": "CC0", "tombstone": "The Rathskeller, 1901. John Sloan (American, 1871\u20131951). Oil on canvas; framed: 110.6 x 89.2 x 7 cm (43 9/16 x 35 1/8 x 2 3/4 in.); unframed: 90.5 x 69 cm (35 5/8 x 27 3/16 in.). The Cleveland Museum of Art, Gift of the Hanna Fund, 1946.164", "current_location": "208 American Gilded Age and Realism", "title": "The Rathskeller", "creation_date": "1901", "creation_date_earliest": 1901, "creation_date_latest": 1901, "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: 110.6 x 89.2 x 7 cm (43 9/16 x 35 1/8 x 2 3/4 in.); Unframed: 90.5 x 69 cm (35 5/8 x 27 3/16 in.)", "dimensions": {"framed": {"height": 1.106, "width": 0.892, "depth": 0.07}, "unframed": {"height": 0.905, "width": 0.69}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right: \"John / Sloan [JS in monogram]\"", "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": 518907, "title": "The Life and Times of John Slaon", "description": "<i>The Life and Times of John Slaon</i>. Delaware Art Museum, Wilmington, DE (organizer) (September 22-October 29, 1961); Pennsylvania Academy of Fine Arts, Museum of American Art, Philadelphia, PA (November 17-December 23, 1961); Bowdoin College Museum of Art, Brunswick, ME (January 20-February 28, 1962).", "opening_date": "1961-09-22T04:00:00"}, {"id": 315773, "title": "Triumph of Realism: An Exhibition of European and American Realist Paintings 1850-1910", "description": "<i>Triumph of Realism: An Exhibition of European and American Realist Paintings 1850-1910</i>. Virginia Museum of Fine Arts, Richmond, VA (December 12, 1967-January 14, 1968); Fine Arts Museum of San Francisco, Legion of Honor, San Francisco, CA (February 16-March 31, 1968).", "opening_date": "1967-10-03T04:00:00"}, {"id": 445307, "title": "John Sloan, 1871 - 1951", "description": "<i>John Sloan, 1871 - 1951</i>. National Gallery of Art, Washington, DC (organizer) (September 18-October 31, 1971); Georgia Museum of Art, Athens, GA (November 20, 1971-January 16, 1972); Fine Arts Museums of San Francisco, de Young Museum, San Francisco, CA (February 15-April 2, 1972); Saint Louis Art Museum, St. Louis, MO (May 4-June 18, 1972).", "opening_date": "1971-09-18T04:00:00"}, {"id": 222479, "title": "1900:  Art at the Crossroads", "description": "<i>1900:  Art at the Crossroads</i>. Solomon R. Guggenheim Museum, New York, NY (May 18-September 10, 2000).", "opening_date": "2000-05-18T00:00:00"}], "legacy": [{"description": "Philadelphia, Philadelphia Art Club, title not known (-15 December 1901); see Elzea's publication p. 445.", "opening_date": "1901-12-01T00:00:00"}, {"description": "Philadelphia, Pennsylvania Academy of the Fine Arts, Third Annual Sketch Exhibition of the Fellowship fo the Academy (31 March-19 April 1902), no. 165.", "opening_date": "1902-03-31T00:00:00"}, {"description": "Chicago, Art Insitute of Chicago, 17th Annual Exhibition of American Painting &amp; Sculpture (20 October-27 November 1904); no. 374; listed p. 59.", "opening_date": "1904-10-20T00:00:00"}, {"description": "Portland, Or, Lewis and Clark Centennial Exhibition (1905), no. 203.", "opening_date": "1905-01-01T00:00:00"}, {"description": "New York, New York School of Art, title not known, (17-31 December 1907), see Elzea's publication p. 447.", "opening_date": "1907-12-17T00:00:00"}, {"description": "New York, C. W. Kraushaar Galleries, Exhibition of Paintings by John Sloan (11-30 April 1921), no. 4.", "opening_date": "1921-04-11T00:00:00"}, {"description": "New York, Wanamaker Galleries, John Sloan: Paintings, Etchings, and Drawings (4 November-? December 1939); traveled to, Philadelphia, Wanamaker Galleries (8-29 January 1940), no. 22.", "opening_date": "1940-01-08T00:00:00"}, {"description": "Philadelphia, Philadelphia Museum of Art, Life in Philadelphia (20 June-13 September 1940), cat. no. 60, illus., catalogue found in Philadelphia Museum of Art Bulletin (May, 1940)", "opening_date": "1940-06-20T00:00:00"}, {"description": "New York, Whitney Museum of American Art, John Sloan 1871-1951 (10 January-2 March 1952); traveled to Washington, D.C., Corcoran Gallery, (15 March-20 April 1952); to Toledo, Toledo Museum of Art (4 May-8 June 1952); illus. cat. no. 3.", "opening_date": "1952-01-10T00:00:00"}, {"description": "Philadelphia, The Pennsylvania Academy of the Fine Arts, The One Hundred and Fiftieth Anniversary Exhibition (15 January-13 March 1955), pp. 130-133, cat. no. 221, illus. p. 131.", "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.:", "opening_date": null}, {"description": "Madrid, Sala de la Direccion General de Belles Artes, National Library, Exposicion del 150 Aniversario de la Academie de Belles Artes de Pennsilvania (21 April-8 May 1955), cat. no. 73, illus. 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), pp. 44-45. Cat. no. 78, not illus.", "opening_date": "1955-06-01T00:00:00"}, {"description": "Innsbruck, Ferdinandeum Museum, (16 July-20 August 1955), cat. no. 78.", "opening_date": "1955-07-16T00:00:00"}, {"description": "Ghent, The Ghent Museum (3 September-2 October 1955), cat. no. 84.", "opening_date": "1955-09-03T00:00:00"}, {"description": "Stockholm, Swedish Royal Academy of the Free Arts, (4 -27 November 1955)", "opening_date": "1955-11-04T00:00:00"}, {"description": "Wilmington, Delaware, The Wilmington Society of the Fine Arts, The Life and Times of John Sloan (22 September-29 October 1961); traveled to Philadelphia, Pennsylvania Academy of Fine Arts (17 November-23 December 1961); cat. no. 6, not illus.", "opening_date": "1961-09-22T00:00:00"}, {"description": "Philadelphia, Pennsylvania Academy of the Fine Arts, Oil Paintings by John Sloan (19 November-23 December 1961), cat. no. 35.", "opening_date": "1961-11-19T00:00:00"}, {"description": "Brunswisck, ME, Bowdoin College Museum of Fine Arts (20 January-28 February 1962); cat. no. 1, illus. p. 33.", "opening_date": "1962-01-20T00:00:00"}, {"description": "Brooklyn, Brooklyn Museum The Triumph of Realism (3 October-19 November 1967); traveled to Richmond, VA, Museum of Fine Arts, (11 December 1967-14 January 1968); to San Francisco, California Palace of the Legion of Honor, (17 February-31 March 1968), pp. 84-85, 177, illus. cat. no. 96, p. 177.", "opening_date": "1967-10-03T00:00:00"}, {"description": "Washington, D.C., National Gallery of Art, John Sloan 1871-1951 (18 September-31 October 1971); traveled to Athens, GA, Georgia Museum of Art (20 November 1971-16 January 1972); to San Francisco, M. H. De Young Memorial Museum (15 February-2 April 1972); to St. Louis, City Art Museum of St. Louis (4 May-18 June 1972); to Columbus, Columbus Gallery of Fine Arts (13 July-13 August 1972); Philadelphia, Pennsylvania Academy of the Fine Arts (6 September-22 October 1972); cat. no. 22, illus. p. 68.", "opening_date": "1971-09-18T00:00:00"}, {"description": "New York, IBM Gallery of Science and Art,  John Soan: Spectator of Life (26 April-18 June 1988); traveled to Wilmington, DE, Delaware Museum of Art (15 July-4 September 1988); to Columbus, Columbus Museum of Art (17 September-6 November 1988); to Fort Worth, TX, Amon Carter Museum (19 November-31 December 1988); cat. no. 5, illus. p. 41.", "opening_date": "1988-04-26T00:00:00"}, {"description": "London, Royal Academy of Arts, 1900: Art at the Crossroads (16 January-3 April 2000); traveled to New York, Solomon R. Guggenheim Museum (18 May-10 September 2000); cat. no. 147, illus. p. 216.", "opening_date": "2000-01-16T00:00:00"}]}, "provenance": [{"description": "(C. W. Kraushaar Galleries)", "citations": [], "footnotes": [], "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Sloan worked as an illustrator for various newspapers before becoming a professional painter and printmaker.", "description": "Economic differences infuse Sloan\u2019s scene of patrons at a Philadelphia bar. Here, a working-class woman sharing a beer with a companion captures the attention of a lone man who has ordered the more costly champagne. One contemporary critic characterized this wealthier man as \u201ca spider watching for the fly.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60515238"], "internet_archive": ["https://archive.org/details/clevelandart-1946.164-the-rathskeller"]}, "citations": [{"citation": "Milliken, William Mathewson. <em>In Memoriam: Leonard C. Hanna, Jr.</em> [Cleveland]: [Cleveland Museum of Art], 1958.", "page_number": "Reproduced, fig. 76.", "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. 33, no. 163", "url": "http://www.jstor.org/stable/25152465"}], "url": "https://clevelandart.org/art/1946.164", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1946.164/1946.164_web.jpg", "width": "683", "height": "893", "filesize": "374869", "filename": "1946.164_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1946.164/1946.164_print.jpg", "width": "2599", "height": "3400", "filesize": "5961235", "filename": "1946.164_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1946.164/1946.164_full.tif", "width": "4228", "height": "5530", "filesize": "70165864", "filename": "1946.164_full.tif"}}, "alternate_images": [{"date_created": "2012-02-27T18:20:04", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1946.164/1946.164_alt0_web.jpg", "width": "680", "height": "893", "filesize": "70115"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1946.164/1946.164_alt0_print.jpg", "width": "2590", "height": "3400", "filesize": "1399413"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1946.164/1946.164_alt0_full.tif", "width": "4420", "height": "5802", "filesize": "76965676"}}], "creditline": "Gift of the Hanna Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "The Cleveland Foundation Gallery", "athena_id": 124679, "creators": [{"id": 3285, "description": "John Sloan (American, 1871\u20131951)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1871", "death_year": "1951", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1946-07-15T00:00:00", "sortable_date": 1901, "date_added_to_oa": null, "date_text": "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": [], "is_highlight": false, "updated_at": "2026-03-27 00:03:41.417000"}, {"id": 150530, "accession_number": "1981.83", "share_license_status": "Copyrighted", "tombstone": "Military, 1914\u20131915. Marsden Hartley (American, 1877\u20131943). Oil on canvas; framed: 73.5 x 63.5 x 3.5 cm (28 15/16 x 25 x 1 3/8 in.); unframed: 60.6 x 50.2 cm (23 7/8 x 19 3/4 in.). The Cleveland Museum of Art, Gift of Professor Nelson Goodman, 1981.83", "current_location": "226A American Modern", "title": "Military", "creation_date": "1914\u20131915", "creation_date_earliest": 1914, "creation_date_latest": 1915, "artists_tags": ["male", "LGBTQ+ (after 1900)"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 73.5 x 63.5 x 3.5 cm (28 15/16 x 25 x 1 3/8 in.); Unframed: 60.6 x 50.2 cm (23 7/8 x 19 3/4 in.)", "dimensions": {"framed": {"height": 0.735, "width": 0.635, "depth": 0.035}, "unframed": {"height": 0.606, "width": 0.502}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed on reverse of fabric:  Marsden Hartley", "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": 321951, "title": "Dictated by Life: Marsden Hartley's German Paintings and Robert Indiana's Hartley Elegies", "description": "<i>Dictated by Life: Marsden Hartley's German Paintings and Robert Indiana's Hartley Elegies</i>. Frederick R. Weisman Art Museum, Minneapolis, MN (organizer) (co-organizer) (April 14-June 11, 1995); Terra Museum of American Art (July 1-September 10, 1995); The Patricia & Phillip Frost Art Museum, Miami, FL (October 1-December 2, 1995).", "opening_date": "1995-04-14T04:00:00"}, {"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": 181802, "title": "The Persistence of Geometry: Form, Content and Culture in the Collection of the Cleveland Museum of Art", "description": "<i>The Persistence of Geometry: Form, Content and Culture in the Collection of the Cleveland Museum of Art</i>. Museum of Contemporary Art Cleveland (MOCA), Cleveland, OH (June 9-August 20, 2006).", "opening_date": "2006-06-09T00:00:00"}], "legacy": []}, "provenance": [{"description": "The Cleveland Museum of Art, Cleveland, Ohio", "citations": [], "footnotes": [], "date": "1981-", "sortorder": 1}, {"description": "Professor Nelson Goodman [1906-1998], Cambridge, MA, sold to the Cleveland Museum of Art", "citations": [], "footnotes": ["<div><!--block-->Goodman purchased the painting directly from Charles Demuth's heir, Robert Locher, and his partner, Richard Weyand.</div>"], "date": "Probably 1956-1981", "sortorder": 2}, {"description": "Robert Locher [1888-1956], Lancaster, PA, sold to Nelson Goodman", "citations": [], "footnotes": ["<div><!--block-->Locher, Demuth's longtime companion, was the principal beneficiary of his estate.&nbsp; According to Nelson Goodman, the painting had been hanging in the Demuth house in Lancaster, PA, where Locher had resided with his partner, Richard Weyand, since Demuth\u2019s death in 1935.&nbsp; Goodman indicates that he purchased the painting from Demuth's \"heirs,\" Locher and Weyand; however, only Locher was Demuth's heir.&nbsp; It is possible that Weyand should also be included in this provenance: if Goodman bought the painting in 1956 after Locher's death but before Weyand's several months later, than Weyand would have been the owner at the time of the purchase.</div>"], "date": "1935-probably 1956", "sortorder": 3}, {"description": "Charles Demuth [1883-1935], Lancaster, PA, by descent to Robert Locher", "citations": [], "footnotes": ["<div><!--block-->At some point, Charles Demuth, Hartley's close friend, obtained the painting.&nbsp; While Demuth knew Barnes well and often visited him, the exact circumstances surrounding the former's acquisition of the painting are unknown.&nbsp;</div>"], "date": "After 1921-1935", "sortorder": 4}, {"description": "Albert C. Barnes [1872-1951], Philadelphia, PA", "citations": [], "footnotes": ["<div><!--block-->Barnes purchased this painting, along with three others, at the sale of Hartley's collection on May 10, 1921.&nbsp; Shortly after the auction, Barnes asked Hartley about the possibility of purchasing two more paintings, which Hartley was offering for $350 each.&nbsp; Barnes offered only $50, and Hartley passed the letter to his dealer, Alfred Stieglitz, who never responded.&nbsp; After the incident, Barnes stopped acquiring works by Hartley and eventually removed <em>Military </em>from his collection.</div>"], "date": "1921-", "sortorder": 5}, {"description": "(Hartley sale, Anderson Galleries, New York, May 10, 1921, as \u201cPre-War Pageant, 1913,\" sold to Albert C. Barnes)", "citations": [], "footnotes": ["<div><!--block-->By the spring of 1921, Hartley had become desperately poor, having failed to attract any real following in the United States, and so he was forced to sell off a large portion of his oeuvre at auction.</div>"], "date": "1921", "sortorder": 6}, {"description": "Collection of the artist", "citations": [], "footnotes": [], "date": "1914/1915-1921", "sortorder": 7}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Hartley was one of the first modern artists to paint abstractions.", "description": "This abstract portrait is a memorial tribute to a German lieutenant named Karl von Freyburg with whom Hartley had been in love. The artist described von Freyburg\u2019s death as an \"unendurable agony,\" and created a series of deeply personal paintings in response. Here the shapes and color patterns suggest flags, banners, targets, epaulets, and other military paraphernalia.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60474821"], "internet_archive": []}, "citations": [{"citation": "Anderson Galleries, Inc. <em>Seventy-Five Pictures by James N. Rosenburg and 117 Pictures by Marsden Hartley</em>. 1921.", "page_number": null, "url": null}, {"citation": "Levin, Gail. \"Hidden Symbolism in Marsden Hartley's Military Pictures.\" <em>Arts Magazine</em> 54, no. 2 (October 1979).", "page_number": "Mentioned: p. 58", "url": null}, {"citation": "Haskell, Barbara. <em>Marsden Hartley</em>. New York: Whitney Museum of American Art in association with New York University Press, 1980.", "page_number": "Reproduced: p. 45, n. 43", "url": null}, {"citation": "\"The Year in Review for 1984.\" <em>The Bulletin of the Cleveland Museum of Art </em>72 (April 1985)", "page_number": "Reproduced: n. 49", "url": null}, {"citation": "Robinson, William H. \"Marsden Hartley's Military.\" <em>The Bulletin of the Cleveland Museum of Art</em> 76 (January 1989)", "page_number": "Mentioned:  p. 2, 13, 15, 17, 18, 19, 20, 21, 22; Reproduced: front cover illustration", "url": null}, {"citation": "McDonnell, Patricia. \"<em>Indian Fantasy</em>: Marsden Hartley's <em>Myth of Amerika</em> in Expressionist Berlin.\" <em>North Carolina Museum of Art Bulletin </em>XVI (1993)", "page_number": "Mentioned: p. 56; Reproduced: p. 58, no. 9", "url": null}, {"citation": "Chong, Alan. <em>European and American Painting in The Cleveland Museum of Art. </em>Cleveland: The Cleveland Museum of Art, 1993.", "page_number": "Reproduced: p. 100", "url": null}, {"citation": "Robertson, Bruce. <em>Marsden Hartley.</em> New York: Harry N. Abrams in association with The National Museum of American Art, Smithsonian Institution, 1995.", "page_number": "Reproduced: p. 63", "url": null}, {"citation": "French Regional &amp; American Museums Exchange. <em>Made in USA: L'art am\u00e9ricain, 1908-1947.</em> Paris: \u00c9ditions de la R\u00e9union des mus\u00e9es nationaux, 2001.", "page_number": "Reproduced: p. 91", "url": null}, {"citation": "\"L\u2019art Am\u00e9ricain d\u00e9barque.\" <em>Le Magazine: Arts &amp; Spectacles </em>(January 2002)", "page_number": "Reproduced: unpaginated", "url": null}, {"citation": "McDonnell, Patricia. \"'Portrait of Berlin': Marsden Hartley and Urban Modernity in Expressionist Berlin.\" In <em>Marsden Hartley,</em> edited by Elizabeth Mankin Kornhauser. New Haven: Wadsworth Atheneum Museum of Art in association with Yale University Press, 2002.", "page_number": "Mentioned: p. 40, 51, 54", "url": null}, {"citation": "Voorhies, James Timothy, ed. <em>My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912-1915. </em>Columbia: University of South Carolina Press, 2002.", "page_number": "Reproduced: no. 6, unpaginated", "url": null}, {"citation": "McDonnell, Patricia. <em>Painting Berlin Stories: Marsden Hartley, Oscar Bluemner, and the First American Avant-Garde in Expressionist Berlin.</em> New York: Peter Lang, 2003.", "page_number": "Mentioned: p. 97; Reproduced: p. 98, fig. 10", "url": null}, {"citation": "Litt,Steven. \"'Geometry' draws us in, yet theme fails to come full circle.\" <em>The</em> <em>Cleveland Plain Dealer</em>, June 18, 2006.", "page_number": "Reproduced: p. J5", "url": null}, {"citation": "Adams, Henry. <em>Whats American about American Art? A Gallery Tour in the Cleveland Museum of Art. </em>Cleveland: Cleveland Museum of Art, 2008.", "page_number": "Mentioned: p. 123; Reproduced: p. 122", "url": null}, {"citation": "Cash, Sarah \"Berlin Abstraction.\" In <em>Corcoran Gallery of Art: American Paintings to 1945, </em>edited by Sarah Cash. Seattle: Marquand Books, Inc., 2011.", "page_number": "Mentioned: p. 211", "url": null}, {"citation": "McDonnell, Patricia, and Michael Plante. <em>Dictated by Life: Marsden Hartley's German Paintings and Robert Indiana's Hartley Elegies</em>. Minneapolis, MN: Frederick R. Weisman Art Museum, University of Minnesota; New York, NY: Distributed by D.A.P./Distributed Art Publishers, 1995.", "page_number": "Reproduced: pp. 30, 55", "url": null}, {"citation": "Chassey, Eric de. <em>Made in USA: l'art ame\u0301ricain, 1908-1943, entre nationalisme et internationalisme</em>. Paris: Re\u0301union des muse\u0301es nationaux, 2001.", "page_number": "Reproduced: p. 91", "url": null}, {"citation": "Sims, Lowery Stokes. <em>The Persistence of Geometry: Form, Content, and Culture in the Collection of the Cleveland Museum of Ar</em>t. Cleveland: Cleveland Museum of Art, 2006.", "page_number": "Mentioned: p. 118, no. 58; Reproduced: pp. 57, 64", "url": null}], "url": "https://clevelandart.org/art/1981.83", "images": {}, "alternate_images": [], "creditline": "Gift of Professor Nelson Goodman", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Dr. Robert B. Benyo Trust Gallery", "athena_id": 150530, "creators": [{"id": 3104, "description": "Marsden Hartley (American, 1877\u20131943)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1877", "death_year": "1943", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1982-03-08T00:00:00", "sortable_date": 1914, "date_added_to_oa": null, "date_text": "1914\u20131915", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:47.839000"}, {"id": 128074, "accession_number": "1950.90", "share_license_status": "CC0", "tombstone": "Caf\u00e9 Wepler, c. 1908\u201310, reworked in 1912. \u00c9douard Vuillard (French, 1868\u20131940). Oil on fabric; framed: 91.8 x 132.7 x 13 cm (36 1/8 x 52 1/4 x 5 1/8 in.); unframed: 62.2 x 103.2 cm (24 1/2 x 40 5/8 in.). The Cleveland Museum of Art, Gift of the Hanna Fund, 1950.90", "current_location": null, "title": "Caf\u00e9 Wepler", "creation_date": "c. 1908\u201310, reworked in 1912", "creation_date_earliest": 1908, "creation_date_latest": 1912, "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: 91.8 x 132.7 x 13 cm (36 1/8 x 52 1/4 x 5 1/8 in.); Unframed: 62.2 x 103.2 cm (24 1/2 x 40 5/8 in.)", "dimensions": {"framed": {"height": 0.918, "width": 1.327, "depth": 0.13}, "unframed": {"height": 0.622, "width": 1.032}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed bottom right in red (stamp?): E. Vuillard", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"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": 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": 520802, "title": "Vuillard", "description": "<i>Vuillard</i>. Wildenstein & Co., New York, NY (organizer) (October 14-November 15, 1964).", "opening_date": "1964-10-14T04:00:00"}, {"id": 445672, "title": "Retrospective Exhibition: Work of Edouard Vuillard", "description": "<i>Retrospective Exhibition: Work of Edouard Vuillard</i>. Art Gallery of Ontario, Ontario M5T 1G4, Canada (organizer) (September 10-October 24, 1971).", "opening_date": "1971-09-10T04:00:00"}, {"id": 444640, "title": "Celebration", "description": "<i>Celebration</i>. Carnegie Museum of Art, Pittsburgh, PA (organizer) (October 25, 1974-January 5, 1975).", "opening_date": "1974-10-25T04:00:00"}, {"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>. 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": 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": 687893, "title": "Caf\u00e9 Society: Art and Sociability in Paris, 1855 - 1914", "description": "<i>Caf\u00e9 Society: Art and Sociability in Paris, 1855 - 1914</i>. Ordrupgaard, Charlottenlund, Copenhagen, Denmark (February 5-May 31, 2026); The Dixon Gallery and Gardens, Memphis, TN (organizer) (June 18-September 6, 2026); Joslyn Art Museum, Omaha, NE (September 26, 2026-January 17, 2027).", "opening_date": "2026-02-06T05:00:00"}], "legacy": [{"description": "<em>\u00c9douard Vuillard</em>. Bernheim-Jeune, Paris, France (1912), no. 23 (according to Salomon).", "opening_date": "1912-01-01T05:00:00Z"}, {"description": "<em>Vuillard.</em> Stockholm, Galerie d'Art Latin, Stockholm, Sweden (Autumn 1948), no. 12, Le Restaurant Wepler, 1922.", "opening_date": "1948-09-01T04:00:00Z"}, {"description": "<em>\u00c9douard Vuillard 1860-1940. </em>Kunsthalle, Basel, Switzerland (1949), no. 204, Restaurant Wepler, privatbesitz, Paris.", "opening_date": "1949-01-01T05:00:00Z"}]}, "provenance": [{"description": "Artist\u2019s studio, by inheritance to Jacques Roussel", "citations": [], "footnotes": [], "date": "c. 1908-1940", "sortorder": 1}, {"description": "Jacques Roussel [b. 1901], Paris", "citations": [], "footnotes": ["<div><!--block-->Roussel, Vuillard\u2019s nephew, inherited a number of the works that were in the artist\u2019s studio at the time of his death. Roussel was the lender of <em>Caf\u00e9 Wepler </em>(\u201cRestaurant Wepler\u201d) to an exhibition at the Basel Kunsthalle in 1949.&nbsp; While he is not identified in the catalogue by name, the Basel Kunsthalle confirmed that he was the lender, and indeed, he is named as the lender of several other Vuillards in the exhibition.&nbsp; Roussel may have sold the painting directly to C\u00e9sar de Hauke: de Hauke sold the painting to CMA just one year after this exhibition, and he and Roussel had a personal connection, as de Hauke sold a number of works by Roussel\u2019s father, Ker-Xavier Roussel.&nbsp; However, without confirmation of a sale between Roussel and de Hauke, any transaction that may have occurred is speculative at this point.</div>"], "date": "Probably 1940-1949/1950", "sortorder": 2}, {"description": "(C\u00e9sar de Hauke, New York, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "Until 1950", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1950-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Established in 1881, the Cafe Wepler is still in business. In the late 19th and early 20th centuries, it was frequented by artists and writers.", "description": "The Wepler, a large brasserie restaurant on Place Clichy in the Montmartre district of Paris, is composed of several rooms on different levels. Once frequented by bohemian artists like Pablo Picasso and Amedeo Modigliani, the Wepler is still in business today.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60515795"], "internet_archive": ["https://archive.org/details/clevelandart-1950.90-cafe-wepler"]}, "citations": [{"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": "S\u00f6ren Schmeling, email to Victoria Sears Goldman, Nov. 25, 2015, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Vuillard, E\u0301douard, and Charles Hug. <em>Edouard Vuillard (1868-1940), Charles Hug: 26. Ma\u0308rz-1. Mai 1949, Kunsthalle Basel</em>. Basel. Kunsthalle. Catalogues. 1949-1950. [Basel]: [Die Kunsthalle], 1949.", "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": "Offin, Charles Z. <em>Pictures on Exhibit</em>. New York, NY, Pictures Pub. Co. (January, 1951):46-47.", "page_number": "Mentioned and reproduced: p. 46-47", "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": "Mentioned: p. 6", "url": "https://www.jstor.org/stable/25141927"}, {"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": "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. 221", "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. 225", "url": "https://archive.org/details/CMAHandbook1978/page/n245"}, {"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: p. 542, fig. VII; Mentioned: p. 817", "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": "", "url": "https://archive.org/details/CMAPaintings1952"}], "url": "https://clevelandart.org/art/1950.90", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1950.90/1950.90_web.jpg", "width": "1263", "height": "762", "filesize": "268333", "filename": "1950.90_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1950.90/1950.90_print.jpg", "width": "3400", "height": "2052", "filesize": "2064584", "filename": "1950.90_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1950.90/1950.90_full.tif", "width": "7832", "height": "4728", "filesize": "111112860", "filename": "1950.90_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1950.90/1950.90_alt0_web.jpg", "width": "1263", "height": "759", "filesize": "964931"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1950.90/1950.90_alt0_print.jpg", "width": "2048", "height": "1231", "filesize": "2552286"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1950.90/1950.90_alt0_full.tif", "width": "2048", "height": "1231", "filesize": "7565908"}}], "creditline": "Gift of the Hanna Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 128074, "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": "1950-03-16T00:00:00", "sortable_date": 1908, "date_added_to_oa": null, "date_text": "c. 1908\u201310, reworked in 1912", "collapse_artists": false, "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 00:08:48.527000"}, {"id": 162292, "accession_number": "2002.29", "share_license_status": "Copyrighted", "tombstone": "Blind Man's Buff, 1984. Louise Bourgeois (American, 1911\u20132010). White marble on wooden base; overall: 92.7 x 88.9 x 63.5 cm (36 1/2 x 35 x 25 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 2002.29. \u00a9 The Easton Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY", "current_location": null, "title": "Blind Man's Buff", "creation_date": "1984", "creation_date_earliest": 1984, "creation_date_latest": 1984, "artists_tags": ["female"], "culture": ["America"], "technique": "white marble on wooden base", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Sculpture", "type": "Sculpture", "measurements": "Overall: 92.7 x 88.9 x 63.5 cm (36 1/2 x 35 x 25 in.)", "dimensions": {"overall": {"height": 0.927, "width": 0.889, "depth": 0.635}, "marble without base": {}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 The Easton Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY", "inscriptions": [], "exhibitions": {"current": [{"id": 229612, "title": "Louise Bourgeois", "description": "<i>Louise Bourgeois</i>. Tate Modern, London, United Kingdom of Great Britain and Northern Ireland (organizer) (October 11, 2007-January 27, 2008); Centre national d'art et de culture Georges Pompidou, Paris cedex O4, France (March 5-June 2, 2008); Solomon R. Guggenheim Museum, New York, NY (June 27-September 28, 2008).", "opening_date": "2007-10-11T00:00:00"}, {"id": 226564, "title": "Double Sexus: Hans Bellmer and Louise Bourgeois", "description": "<i>Double Sexus: Hans Bellmer and Louise Bourgeois</i>. Wexner Center for the Arts, Columbus, OH (organizer) (March 26-August 7, 2011).", "opening_date": "2011-03-26T00:00:00"}, {"id": 393229, "title": "Contemporary Installation", "description": "<i>Contemporary Installation</i>. The Cleveland Museum of Art (organizer).", "opening_date": "2021-04-12T04:00:00"}], "legacy": [{"description": "<em>Louise Bourgeois: Sculpture</em>. Robert Miller Gallery, New York (September 11 \u2013 October 6, 1984).", "opening_date": "1984-10-06T00:00:00"}, {"description": "<em>Sculpture by Women in the Eighties</em>. University of Pittsburgh Gallery, Pittsburgh, PA (November 7 \u2013 December 8, 1985).", "opening_date": "1985-12-08T00:00:00"}, {"description": "<em>Sculpture by Louise Bourgeois</em>. The Taft Museum, Cincinnati, OH (organizer) (May 5 \u2013 June 28, 1987); The Art Museum at Florida International University, Miami, FL (October 23, 1987 \u2013 January 18, 1988); Laguna Gloria Art Museum, Austin, TX (July 1 \u2013 August 28, 1988); Washington University, Gallery of Art, St. Louis, MO (September 18 \u2013 October 30, 1988); Everson Museum of Art, Syracuse, NY (September 27 \u2013 November, 26 1989).", "opening_date": "1987-06-28T00:00:00"}, {"description": "<em>Louise Bourgeois: A Retrospective Exhibition</em>. Frankfurter Kunstverein, Frankfurt, West Germany (organizer) (December 2, 1989 \u2013 January 28, 1990); St\u00e4dtische Galerie im Lenbachhaus, Munich, West Germany (February 14 \u2013 March 25, 1990); Lyon Mus\u00e9e d\u2019Art Contemporain, Lyon, France (July 5 \u2013 August 20, 1990); Fundaci\u00f3n T\u00e0pies, Barcelona, Spain (November 6, 1990 \u2013 January 6, 1991); Kunstmuseum, Berne, Switzerland (March 7 \u2013 May 5, 1991); Kr\u00f6ller-M\u00fcller Museum, Otterlo, The Netherlands (May 25 \u2013 July 8, 1991).", "opening_date": "1989-12-02T00:00:00"}, {"description": "<em>Louise Bourgeois: Recent Work 1984-1989</em>. Riverside Studios, London (May 2 \u2013 June 17, 1990).", "opening_date": "1990-06-17T00:00:00"}, {"description": "<em>Louise Bourgeois: The Locus of Memory, Works 1982-1993</em>. Brooklyn Museum of Art, Brooklyn, NY (co-organizer) (April 22 \u2013 July 31, 1994); The Corcoran Gallery of Art, Washington, D.C (co-organizer) (September 23, 1994 \u2013 January 15, 1995); Galerie Rudolfinum, Prague, Czech Republic (March 15 \u2013 May 28, 1995); Mus\u00e9e d\u2019Art Moderne de la Ville de Paris (June 23 \u2013 October 8, 1995).", "opening_date": "1994-07-31T00:00:00"}]}, "provenance": [{"description": "Louise Bourgeois [1911-2010], New York, NY, possibly consigned to Robert Miller Gallery, New York, NY", "citations": [], "footnotes": [], "date": "1984-?", "sortorder": 1}, {"description": "(Robert Miller Gallery, New York, NY)", "citations": [], "footnotes": null, "date": "?-?", "sortorder": 2}, {"description": "(Galerie Karsten Greve, Cologne, Germany, 1995, sold to private collector)", "citations": [], "footnotes": null, "date": "?-1995", "sortorder": 3}, {"description": "Private Collector", "citations": [], "footnotes": null, "date": "1995-?", "sortorder": 4}, {"description": "(Christie's, NY, May, 14, 2002, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "2002", "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2002-", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Historians have made connections between the bulging, rounded forms in <em>Blind Man's Buff </em>and representations of Artemis of Ephesus, the goddess of fertility in Greek mythology, and the Venus of Willendorf, one of the earliest ancient art objects discovered.", "description": "Wit and play are essential elements throughout Louise Bourgeois's work. Here the work's title is a variation on \"Blind Man's Bluff,\" the child's game in which a blindfolded person must look for fellow players using only sound and touch. The artist's revision of \"bluff\" to \"buff\" has a dual meaning. It evokes the method of smoothing or \"buffing\" marble, which was part of the work's production. \"Buff\" also relates to the sculpture's evocation of nude body parts, both male and female. The allusion to nudity is reinforced by the fabric folds visible at the sculpture's edges, as if clothing has been cast aside.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79986260"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art, \u201c<em>Blind Man\u2019s Buff</em>, Rare Sculpture by Modern Master Louise Bourgeois, Acquired for Contemporary Collection,\u201d May 15, 2002, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr4452"}, {"citation": "Grove, Jeffrey D., \"Blind Man's Buff\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 43 no. 04, April 2003", "page_number": "Mentioned & reproduced: p. 8-9", "url": "https://archive.org/details/CMAMM2003-04/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. 120", "url": ""}, {"citation": "\u201cCalendar.\u201d <em>The Burlington Magazine</em> 144, no. 1197 (December 2002).", "page_number": "Reproduced p. 786", "url": null}, {"citation": "Bal, Mieke. <em>Louise Bourgeois' Spider: The Architecture of Art-Writing</em>. Chicago: University of Chicago Press, 2001.", "page_number": "Reproduced p. 67; mentioned p. 66", "url": null}, {"citation": "Bernadac, Marie-Laure, and Louise Bourgeois. <em>Louise Bourgeois.</em> Paris: Flammarion, 1996.", "page_number": "Reproduced p. 106", "url": null}, {"citation": "Bernadac, Marie-Laure, and Louise Bourgeois. <em>Louise Bourgeois</em>. Paris: Flammarion, 2006.", "page_number": "Reproduced p. 123", "url": null}, {"citation": "Bourgeois, Louise, Lynne Cooke, Be\u0301atrice Parent, and Suzanne Page\u0301. <em>Louise Bourgeois; Sculptures, environnements, dessins 1938-1995</em>. Paris: Paris-Muse\u0301es, 1995.", "page_number": "Reproduced p. 161", "url": null}, {"citation": "Jahn, Andrea, and Louise Bourgeois. <em>Louise Bourgeois: Subversionen des Ko\u0308rpers : die Kunst der 40er bis 70er Jahre</em>. Berlin: Reimer, 1999.", "page_number": "Reproduced p. 202, Fig. 106; mentioned p. 199.", "url": null}, {"citation": "Bourgeois, Louise, Charlotta Kotik, Terrie Sultan, and Christian Leigh.<em> Louise Bourgeois: The Locus of Memory, Works 1982-1993</em>. New York: H.N. Abrams, 1994.", "page_number": "Reproduced p. 90, Plate 5; mentioned p. 56.", "url": null}, {"citation": "Bourgeois, Louise, and Stuart Morgan. <em>Louise Bourgeois</em>. Cincinnati, Ohio: Taft Museum, 1987.", "page_number": "Reproduced p. 34-35.", "url": null}, {"citation": "Morris, Frances, Paulo Herkenhoff, and Marie-Laure Bernadac.<em> Louise Bourgeois</em>. London: Tate Pub, 2007.", "page_number": "Reproduced p. 59, Fig. 42; mentioned pgs. 58 and 60.", "url": null}, {"citation": "Heartney, Eleanor, Helaine Posner, Nancy Princenthal, and Sue Scott. <em>After the Revolution: Women Who Transformed Contemporary Art</em>. 2013.", "page_number": "Reproduced p. 42; mentioned p. 43", "url": null}, {"citation": "Gorovoy, Jerry, Louise Bourgeois, Pandora Tabatabai Asbaghi, and Paulo Herkenhoff. <em>Louise Bourgeois: blue days and pink days</em>. Milan: Fondazione Prada, 1997.", "page_number": "Reproduced p. 165.", "url": null}, {"citation": "Storr, Robert, Louise Bourgeois, Paulo Herkenhoff, and Allan Schwartzman. <em>Louise Bourgeois</em>. London: Phaidon Press, 2003.", "page_number": "Reproduced and mentioned p. 70.", "url": null}, {"citation": "Tani, Ellen Y., and Amanda Cachia. <em>Second Sight: The Paradox of Vision in Contemporary Art</em>. Exh. Cat. Brunswick, ME: Bowdoin College Museum of Art, 2018.", "page_number": "Reproduced p. 35, Fig. 18; mentioned p. 35-36.", "url": null}, {"citation": "Christie\u2019s. <em>Post-War and Contemporary.</em> New York: Christie\u2019s, 16 May 2013, Lot 233.", "page_number": "Reproduced p. 262.", "url": null}, {"citation": "Christie\u2019s. <em>Post-War and Contemporary.</em> New York: Christie\u2019s, 14 May 2002, Lot 28.", "page_number": "Reproduced p. 82.", "url": null}, {"citation": "Kim, Tina. <em>Kukje Gallery: 25 Years</em>. Seoul: Kukje Gallery, 2007.", "page_number": "Reproduced p. 19.", "url": null}, {"citation": "<em>Louise Bourgeois: Femme</em>. Exh. Cat. Baltimore, MD: Walters Art Museum, 2006.", "page_number": "Reproduced p. 23.", "url": null}, {"citation": "Bourgeois, Louise. <em>Louise Bourgeois: Recent Work 1984-1989</em>. London: Riverside Studios, 1990.", "page_number": "Reproduced p. 28.", "url": null}, {"citation": "<em>Louise Bourgeois: Sculpture, Drawings and Prints</em>. Exh. Cat. Jena, Germany: St\u00e4dtischen Museen Jena, 2010.", "page_number": "Reproduced p. 18 and 53.", "url": null}, {"citation": "Bourgeois, Louise, and Xavier Tricot.<em> Un Salon Pour Louise Bourgeois</em>. Oudenburg [Belgium]: Foundation De Elf Lijnen, 2006.", "page_number": "Reproduced pgs. 22-23.", "url": null}, {"citation": "Bourgeois, Louise. <em>Louise Bourgeois: Rijksmuseum Kro\u0308ller-Mu\u0308ller, Otterlo, 25 Mei - 8 Juli 1991</em>. Schaffhausen [Switzerland]: Verlag Photographic AG, 1989.", "page_number": "Reproduced pgs. 34 and 151.", "url": null}], "url": "https://clevelandart.org/art/2002.29", "images": {}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 162292, "creators": [{"id": 6371, "description": "Louise Bourgeois (American, 1911\u20132010)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1911", "death_year": "2010", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2002-05-14T00:00:00", "sortable_date": 1984, "date_added_to_oa": null, "date_text": "1984", "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": true, "updated_at": "2026-03-27 00:09:07.376000"}, {"id": 147862, "accession_number": "1974.22", "share_license_status": "Copyrighted", "tombstone": "The Red Light, 1972. George Segal (American, 1924\u20132000). Plaster and mixed media; overall: 289.5 x 243.8 x 91.4 cm (114 x 96 x 36 in.). The Cleveland Museum of Art, Andrew R. and Martha Holden Jennings Fund, 1974.22. \u00a9  Estate of William Schwedler / Licensed by VAGA at Artists Rights Society (ARS), NY", "current_location": null, "title": "The Red Light", "creation_date": "1972", "creation_date_earliest": 1972, "creation_date_latest": 1972, "artists_tags": ["male", "Jewish artists"], "culture": ["America"], "technique": "plaster and mixed media", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Sculpture", "type": "Sculpture", "measurements": "Overall: 289.5 x 243.8 x 91.4 cm (114 x 96 x 36 in.)", "dimensions": {"overall": {"height": 2.895, "width": 2.438, "depth": 0.914}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  Estate of William Schwedler / Licensed by VAGA at Artists Rights Society (ARS), NY", "inscriptions": [], "exhibitions": {"current": [{"id": 301821, "title": "Contemporary American Artists", "description": "<i>Contemporary American Artists</i>. The Cleveland Museum of Art, Cleveland, OH (December 18, 1973-February 10, 1974).", "opening_date": "1973-12-18T05:00:00"}, {"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": 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": 302349, "title": "Materials and Techniques of 20th-Century Artists", "description": "<i>Materials and Techniques of 20th-Century Artists</i>. The Cleveland Museum of Art, Cleveland, OH (November 17, 1976-January 2, 1977).", "opening_date": "1976-11-17T05:00:00"}, {"id": 443848, "title": "George Segal: Sculptures", "description": "<i>George Segal: Sculptures</i>. Walker Art Center, Minneapolis, MN (organizer) (October 29, 1978-January 7, 1979); San Francisco Museum of Modern Art, San Francisco, CA (February 18-April 1, 1979); Whitney Museum of American Art, New York, NY (May 16-July 8, 1979).", "opening_date": "1978-10-29T04:00:00"}, {"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": 313809, "title": "Life is a Highway: American Car Culture", "description": "<i>Life is a Highway: American Car Culture</i>. The Toledo Museum of Art, Toledo, OH (organizer) (June 15-September 15, 2019).", "opening_date": "2019-06-15T04:00:00"}, {"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 1973: \"Contemporary American Artists,\" cat. #24, repr. p. 17", "opening_date": "1973-01-01T00:00:00"}, {"description": "CMA 1975: \"Year in Review 1974,\" Bulletin, LXII (March 1975), p. 102, cat. #138, repr. p. 87", "opening_date": "1975-03-01T00:00:00"}, {"description": "CMA 1975: \"Traditions and Revisions,\" cat. #116, repr. p. 136", "opening_date": "1975-01-01T00:00:00"}, {"description": "CMA 1976: \"Materials and Techniques of 20th Century Artists,\" cat. #9", "opening_date": "1976-01-01T00:00:00"}, {"description": "Minneapolis, MN, Walker Art Center, 1978-1979: \"George Segal: Sculptures,\" cat. no. 28, repr. p. 82 (Approved: Trustees' Meg 7/25/1977).", "opening_date": "1977-07-25T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": ["former loan number"], "did_you_know": "Segal pioneered the unique use of plaster bandages to make his sculpted figures.", "description": "George Segal began his career as a figurative painter, but in the 1960s his interest turned toward \"the theater of the street,\" and he began to create three-dimensional \"environments.\" Built like stage sets that incorporated real objects as props\u2014the truck in <em>The Red Ligh</em>t was Segal's own\u2014the settings usually evoke an urban environment. Segal felt that \"a minute of existence is miraculous and extraordinary.\" His work freezes those minutes, allowing them to be studied in depth. To achieve this effect in <em>The Red Light</em>, Segal worked with a live model, soaking cloth in a durable white industrial plaster to cast the figure in sections. He then cut the cast into sections, reassembled the pieces, and adjusted the pose. The figure's all-white surface and lack of specific facial features convey a sadly anonymous presence, offering a metaphor for the reality of city life.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79927478"], "internet_archive": []}, "citations": [{"citation": "\u201cAcquisitions of Modern Art by Museums.\u201d <em>The Burlington Magazine</em> CXVII (May 1975), mentioned p. 328, reproduced p. 334, no. 90.", "page_number": "", "url": ""}, {"citation": "Henning, Edward B. \u201cThe Red Light by George Segal.\u201d <em>CMA Bulletin</em> LXIII, vol. 63, no. 5, (May 1976), mentioned p.146-150, reproduced p.147, fig. 1.", "page_number": "", "url": ""}, {"citation": "Hunter, Sam. George Segal. New York: Rizzoli, 1984, pp. 54, 58, reproduced color fig. 50, p. 57.", "page_number": "", "url": ""}, {"citation": "Lym, Glenn Robert. \u201cWhen Places Include People: Edward Hopper and George Segal<em>.</em>\u201d<em> Places: A Quarterly Journal of Environmental Design</em>, vol. 2, no. 1, (1985), mentioned p.28-29, reproduced p.29, no. 14.", "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": "Mentioned: p. 62, 64, 102; Reproduced: p. 86, no. 138", "url": "http://www.jstor.org/stable/25152580"}, {"citation": "Henning, Edward B. \u201cSky Cathedral-Moon Garden Wall by Louise Nevelson.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 64, no. 7 (September 1977): 242\u201351.", "page_number": "Mentioned and reproduced: p. 243-244", "url": "http://www.jstor.org/stable/25159539"}, {"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. 256", "url": "https://archive.org/details/CMAHandbook1978/page/n276"}, {"citation": "Greenberg, Jan, and Sandra Jordan. The Sculptor\u2019s Eye : Looking at Contemporary American Art. New York: Delacorte Press, 1993.", "page_number": "Mentioned and reproduced: pp. 44-45, fig. 15", "url": ""}, {"citation": "Lucie-Smith, Edward. \"Artistic Trends.\" <em>\u85dd\u8853\u5bb6 = Yi shu jia </em>589, no. 6 (June 2024): 278-289", "page_number": "Mentioned and reproduced: p. 286", "url": ""}], "url": "https://clevelandart.org/art/1974.22", "images": {}, "alternate_images": [], "creditline": "Andrew R. and Martha Holden Jennings Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 147862, "creators": [{"id": 3950, "description": "George Segal (American, 1924\u20132000)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1924", "death_year": "2000", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1974-03-08T00:00:00", "sortable_date": 1972, "date_added_to_oa": null, "date_text": "1972", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:59.638000"}, {"id": 156813, "accession_number": "1992.398", "share_license_status": "CC0", "tombstone": "On Bos'n's Hill, 1901. Edmund C. Tarbell (American, 1862\u20131938). Oil on canvas; framed: 126 x 100.3 x 5.8 cm (49 5/8 x 39 1/2 x 2 5/16 in.); unframed: 106 x 78 cm (41 3/4 x 30 11/16 in.); former: 127.6 x 101.6 x 8.9 cm (50 1/4 x 40 x 3 1/2 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. Thomas A. Mann and Robert A. Mann, 1992.398", "current_location": "208 American Gilded Age and Realism", "title": "On Bos'n's Hill", "creation_date": "1901", "creation_date_earliest": 1901, "creation_date_latest": 1901, "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: 126 x 100.3 x 5.8 cm (49 5/8 x 39 1/2 x 2 5/16 in.); Unframed: 106 x 78 cm (41 3/4 x 30 11/16 in.); Former: 127.6 x 101.6 x 8.9 cm (50 1/4 x 40 x 3 1/2 in.)", "dimensions": {"framed": {"height": 1.26, "width": 1.003, "depth": 0.058}, "unframed": {"height": 1.06, "width": 0.78}, "former": {"height": 1.276, "width": 1.016, "depth": 0.089}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 226326, "title": "Impressionism Transformed: The Paintings of Edmund C. Tarbell", "description": "<i>Impressionism Transformed: The Paintings of Edmund C. Tarbell</i>. Currier Museum of Art, Manchester, NH (organizer) (October 13, 2001-January 13, 2002); Delaware Art Museum, Wilmington, DE (February 15-April 28, 2002); Terra Museum of American Art (May 11-July 21, 2002).", "opening_date": "2001-10-13T00:00:00"}, {"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": 211073, "title": "Jewel City:  Art of the Panama-Pacific International Exposition", "description": "<i>Jewel City:  Art of the Panama-Pacific International Exposition</i>. Fine Arts Museums of San Francisco, de Young Museum (October 17, 2015-January 10, 2016).", "opening_date": "2015-10-17T00:00:00"}], "legacy": [{"description": "Pittsburgh, Carnegie Institute, Sixth Annual Exhibition ( 7 November 1901-1 January 1902), cat. no. 94.", "opening_date": "1901-11-07T00:00:00"}, {"description": "New York, Durand-Ruel Galleries (31 March-14 April 1902), cat. no. 27; (see References: Ten American Painters).", "opening_date": "1902-03-31T00:00:00"}, {"description": "Boston, St. Boltoph Club (21 April-10 May 1902), cat. no. 23; (see References: Ten American Painters; painting misspelled in this).", "opening_date": "1902-04-21T00:00:00"}, {"description": "Cincinnati, Cincinnati Art Museum, Ninth Annual Exhibition (1902).", "opening_date": "1902-01-01T00:00:00"}, {"description": "Worcester, MA, Worcester Art Museum, A Collection of Paintings by Edmund C. Tarbell of Boston (1905), cat. no. 10, lent by S.D. Bush.", "opening_date": "1905-01-01T00:00:00"}, {"description": "New York, Montross Gallery, One-Man Exhibition [not official title], (1-14 February 1907).", "opening_date": "1907-02-01T00:00:00"}, {"description": "Cincinnati, Cincinnati Art Museum, Fourteenth Annual Exhibition of American Art (1907), cat. no. 19.", "opening_date": "1907-01-01T00:00:00"}, {"description": "Philadelphia, Pennsylvania Academy of Fine Arts, Retrospective Exhibition of The Ten American Painters (11 April-3 May 1908), cat. no. 78 as lent by L.D. Bush.", "opening_date": "1908-04-11T00:00:00"}, {"description": "Boston, Copley Hall, Exhibition of Paintings by Edmund C. Tarbell (May, 1912), cat. no. 27.", "opening_date": "1912-05-01T00:00:00"}, {"description": "Philadelphia, Pennsylvania Academy of Fine Arts, Exhibition of Contemporary Art (1912), cat. no. 27.", "opening_date": "1912-01-01T00:00:00"}, {"description": "San Francisco, Palace of Fine Arts, Panama-Pacific International Exposition (1915), cat. no. 3958.", "opening_date": "1915-01-01T00:00:00"}, {"description": "New York, Knoedler &amp; Co. (February, 1918), cat. no. 1.", "opening_date": "1918-02-01T00:00:00"}, {"description": "Boston, Museum of Fine Arts, Frank W. Benson, Edmund C. Tarbell: Exhibition of Paintings, Drawings, and Prints (16 November-15 December 1938), cat. no. 174, as lent by Mrs. Dacre Bush.", "opening_date": "1938-11-16T00:00:00"}, {"description": "New York, Wickersham Gallery, American Paintings, Drawings, Watercolors (1968)", "opening_date": "1968-01-01T00:00:00"}, {"description": "Washington, D.C., The White House, Extended loan from Mr. and Mrs. Thomas Mann (1976-1992); for the Carter Collection.", "opening_date": "1976-01-01T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The artist was a popular art professor in Boston, and his followers were nicknamed \"Tarbellites.\"", "description": "Located in New Castle, New Hampshire, Bos\u2019n\u2019s Hill was a favored leisure spot for Tarbell\u2019s family, which included four children. It provides the luminous setting for this depiction of the artist\u2019s wife, Emeline, who strolls through the landscape with a parasol to protect her from the sun, while a beloved pet dog accompanies her. Four years later, the couple purchased a summer house nearby.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60476933"], "internet_archive": ["https://archive.org/details/clevelandart-1992.398-on-bos-n-s-hill"]}, "citations": [{"citation": "Strickler, Susan E., Linda Jones Docherty, Erica E. Hirshler, and Edmund Charles Tarbell. <em>Impressionism Transformed: The Paintings of Edmund C. Tarbell</em>. Manchester, N.H.: Currier Gallery of Art, 2001.", "page_number": "illus. plate 12, p. 50; pp. 23, 51, 146", "url": null}, {"citation": "Pierce, Patricia Jobe, and John Douglas Ingraham. <em>Edmund C. Tarbell and the Boston School of Painting, 1889-1980</em>. Hingham, MA: Pierce Galleries, 1980.", "page_number": "Mentioned: p. 85-93; Reproduced: pl. 26", "url": null}, {"citation": "Gerdts, William H. <em>Ten American Painters</em>. New York, NY: Spanierman Gallery, 1990.", "page_number": "Reproduced: p. 21; Mentioned: 22-23, 126, 184", "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. 160", "url": "http://www.jstor.org/stable/25161457"}, {"citation": "Buckley, Laurene. <em>Joseph DeCamp: Master Painter of the Boston School</em>. Munich, Germany; New York, NY: Prestel, 1995.", "page_number": "Mentioned: p. 63-68; Reproduced: p. 78", "url": null}, {"citation": "Buckley, Laurene, and Edmund Charles Tarbell. <em>Edmund C. Tarbell: Poet of Domesticity</em>. New York, NY: Hudson Hills Press, 2001.", "page_number": "Mentioned p. 51-59, 107-120; Reproduced: pl. 22", "url": null}, {"citation": "Strickler, Susan E., Linda Jones Docherty, and Erica E. Hirshler. <em>Impressionism Transformed: The Paintings of Edmund C. Tarbell</em>. Manchester, NH.: Currier Gallery of Art, 2001.", "page_number": "Reproduced: p. 50; Mentioned: p. 23, 51, 146", "url": null}, {"citation": "Ganz, James A.ed. Jewel City: Art from San Francisco's Panama-Pacific International Exhibition. San Francisco, CA: Fine Arts Museums of San Francisco; Oakland, CA: University of California Press, 2015.", "page_number": "P. 134; reproduced: p. 186, figure 60", "url": null}], "url": "https://clevelandart.org/art/1992.398", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1992.398/1992.398_web.jpg", "width": "659", "height": "893", "filesize": "545614", "filename": "1992.398_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1992.398/1992.398_print.jpg", "width": "2510", "height": "3400", "filesize": "7442333", "filename": "1992.398_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1992.398/1992.398_full.tif", "width": "3601", "height": "4877", "filesize": "52718140", "filename": "1992.398_full.tif"}}, "alternate_images": [{"date_created": "2008-06-23T14:40:40", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1992.398/1992.398_alt0_web.jpg", "width": "716", "height": "893", "filesize": "586954"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1992.398/1992.398_alt0_print.jpg", "width": "2726", "height": "3400", "filesize": "7435286"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1992.398/1992.398_alt0_full.tif", "width": "2958", "height": "3690", "filesize": "32790116"}}], "creditline": "Gift of Mr. and Mrs. Thomas A. Mann and Robert A. Mann", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "The Cleveland Foundation Gallery", "athena_id": 156813, "creators": [{"id": 3303, "description": "Edmund C. Tarbell (American, 1862\u20131938)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1862", "death_year": "1938", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1993-02-17T00:00:00", "sortable_date": 1901, "date_added_to_oa": null, "date_text": "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": [], "is_highlight": false, "updated_at": "2026-03-27 00:04:42.921000"}, {"id": 130421, "accession_number": "1953.181", "share_license_status": "Copyrighted", "tombstone": "Necklace, 1953. John Paul Miller (American, 1918\u20132013). Gold; overall: 43.2 cm (17 in.); pendant: 7 x 4.6 cm (2 3/4 x 1 13/16 in.). The Cleveland Museum of Art, Silver Jubilee Treasure Fund, 1953.181", "current_location": "228B Cleveland Artists", "title": "Necklace", "creation_date": "1953", "creation_date_earliest": 1953, "creation_date_latest": 1953, "artists_tags": ["male", "Cleveland Institute of Art (faculty)", "Cleveland School", "May Show", "Cleveland Institute of Art (alumni)", "LGBTQ+ (after 1900)"], "culture": ["America, Ohio, Cleveland"], "technique": "gold", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Jewelry", "measurements": "Overall: 43.2 cm (17 in.); Pendant: 7 x 4.6 cm (2 3/4 x 1 13/16 in.)", "dimensions": {"overall": {"height": 0.432}, "pendant": {"height": 0.07, "width": 0.046}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 383020, "title": "The May Show: 35th Annual Exhibition of Works by Cleveland Artists and Craftsmen", "description": "<i>The May Show: 35th Annual Exhibition of Works by Cleveland Artists and Craftsmen</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 6-June 14, 1953).", "opening_date": "1953-05-06T04:00:00"}, {"id": 701740, "title": "Craftsmanship in a Changing World", "description": "<i>Craftsmanship in a Changing World</i>. Museum of Arts and Design, New York, NY (organizer) (September 29-November 4, 1956).", "opening_date": "1956-09-29T04:00:00"}, {"id": 702409, "title": "Work of John Paul Miller", "description": "<i>Work of John Paul Miller</i>. The Art Institute of Chicago, Chicago, IL (organizer) (March 1-April 20, 1957).", "opening_date": "1957-03-01T05:00:00"}, {"id": 702631, "title": "Contemporary Crafts from Museum Collections", "description": "<i>Contemporary Crafts from Museum Collections</i>. Museum of Arts and Design, New York, NY (organizer) (September 25-November 30, 1958).", "opening_date": "1958-09-25T04:00:00"}, {"id": 515620, "title": "Exhibition of Crafts", "description": "<i>Exhibition of Crafts</i>. The Society of Arts and Crafts, Boston, MA (organizer) (April 4-May 1, 1965).", "opening_date": "1965-04-04T05:00:00"}, {"id": 301224, "title": "May Show Retrospective - 50 Years", "description": "<i>May Show Retrospective - 50 Years</i>. The Cleveland Museum of Art (April 23-June 16, 1968).", "opening_date": "1968-04-23T05:00:00"}, {"id": 302646, "title": "A Study in Regional Taste: May Show 1919 - 1975", "description": "<i>A Study in Regional Taste: May Show 1919 - 1975</i>. The Cleveland Museum of Art, Cleveland, OH (July 13-August 21, 1977).", "opening_date": "1977-07-13T04:00:00"}, {"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": 197431, "title": "The Jewelry of John Paul Miller", "description": "<i>The Jewelry of John Paul Miller</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 13, 2010-January 2, 2011).", "opening_date": "2010-06-15T00:00:00"}, {"id": 232050, "title": "Crafting Modernism:  Mid-Century American Art & Design", "description": "<i>Crafting Modernism:  Mid-Century American Art & Design</i>. Museum of Arts and Design, New York, NY (organizer) (October 11, 2011-January 15, 2012); Memorial Art Gallery of the University of Rochester, Rochester, NY (February 25-May 20, 2012).", "opening_date": "2011-10-11T00:00:00"}, {"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": "Fine Arts Center, Indiana University, IN (2/2/1959 - 2/25/1959), Newcomb College, Tulane University, LA (3/10/1959 - 2/31/1959); \"The Medieval Craftsman and his Modern Counterpart\" cat. no. 11g", "opening_date": "1959-02-02T00:00:00"}, {"description": "CMA 2010: \"The Jewerly of John Paul Miller\" (6/15/2010- 1/2/2011), no catalogue", "opening_date": "2010-06-15T00:00:00"}, {"description": "Museum of Arts and Design (10/11/2011 - 1/15/2012) and Rochester Memorial Art Gallery, NY (2/25/2012 - 5/20/2012): \"Crafting Modernism: Mid-Century American Art &amp; Design\"), ex. cat. no. 165, p. 218.", "opening_date": "2011-10-11T00:00:00"}, {"description": "Designer-Craftsmen, U.S.A. 1953, The Brooklyn Museum (10/22/1953-12/30/1953); Art Institute of Chicago (03/15/1954-04/26/1954).", "opening_date": null}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "John Paul Miller's fascination with jewelry technique emerged in his groundbreaking rediscovery in the early 1950s of granulation, an ancient, forgotten technique of fusing gold beads to a gold surface without using solder. The fleeting creatures of earth, sea, and sky, such as the insect on this necklace, became his muses, inspiring a body of work full of curiously textured forms.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60781199"], "internet_archive": []}, "citations": [{"citation": "John Paul Miller Entry Card to 1953 May Show. Cleveland Museum of Art May Show Records, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/CMAMS10003/"}, {"citation": "Hoffman, Jay, Dee Driscole, and Mary Clare Zahler. <em>A Study in Regional Taste: The May Show, 1919-1975</em>. [Cleveland]: Cleveland Museum of Art, 1977.", "page_number": "Reproduced: P. 63, no. 70; Mentioned: P. 80, no. 70", "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. 150", "url": ""}, {"citation": "John Paul Miller collection. 1850-2010, bulk 1940-2000. Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/JohnPaulMiller"}, {"citation": "Channing, Laurence, \"Before Neo: The May Show\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 45 no. 07, September 2005", "page_number": "Mentioned & reproduced: p. 8", "url": "https://archive.org/details/CMAMM2005-07/page/8"}], "url": "https://clevelandart.org/art/1953.181", "images": {}, "alternate_images": [], "creditline": "Silver Jubilee Treasure Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 130421, "creators": [{"id": 56027, "description": "John Paul Miller (American, 1918\u20132013)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1918", "death_year": "2013", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1953-05-04T00:00:00", "sortable_date": 1953, "date_added_to_oa": null, "date_text": "1953", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:03:15.432000"}, {"id": 148214, "accession_number": "1975.2", "share_license_status": "Copyrighted", "tombstone": "Harlequin with Violin, 1918. Pablo Picasso (Spanish, 1881\u20131973). Oil on canvas; framed: 171 x 132 x 7.5 cm (67 5/16 x 51 15/16 x 2 15/16 in.); unframed: 142.2 x 100.3 cm (56 x 39 1/2 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1975.2. \u00a9 Estate of  Pablo Picasso / Artists Rights Society (ARS), New York", "current_location": "223 20th Century Avant-Garde", "title": "Harlequin with Violin", "creation_date": "1918", "creation_date_earliest": 1918, "creation_date_latest": 1918, "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: 171 x 132 x 7.5 cm (67 5/16 x 51 15/16 x 2 15/16 in.); Unframed: 142.2 x 100.3 cm (56 x 39 1/2 in.)", "dimensions": {"framed": {"height": 1.71, "width": 1.32, "depth": 0.075}, "unframed": {"height": 1.422, "width": 1.003}}, "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 right: \"Picasso / Montrouge 18\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 302170, "title": "Year in Review: 1975", "description": "<i>Year in Review: 1975</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 3-March 7, 1976).", "opening_date": "1976-02-03T05:00:00"}, {"id": 442780, "title": "Pablo Picasso: A Retrospective", "description": "<i>Pablo Picasso: A Retrospective</i>. The Museum of Modern Art, New York, NY (organizer) (May 22-September 16, 1980).", "opening_date": "1980-05-22T04:00:00"}, {"id": 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": 211314, "title": "Picasso and Theatre (Parade, Pulcinella, Mercure)", "description": "<i>Picasso and Theatre (Parade, Pulcinella, Mercure)</i>. Museu Picasso (organizer) (November 19, 1996-January 23, 1997).", "opening_date": "1996-11-19T00:00:00"}, {"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>. 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": 211307, "title": "Picasso and the Circus", "description": "<i>Picasso and the Circus</i>. Museu Picasso, Barcelona, Spain (organizer) (November 15, 2006-February 18, 2007); Fondation Pierre Gianadda, Martigny, Switzerland (March 9-June 10, 2007).", "opening_date": "2006-11-15T00:00:00"}, {"id": 221994, "title": "Picasso: The Great War, Experimentation, and Change", "description": "<i>Picasso: The Great War, Experimentation, and Change</i>. The Barnes Foundation, Philadelphia, PA (February 21-May 9, 2016); Columbus Museum of Art, Columbus, OH (organizer) (June 10-September 11, 2016).", "opening_date": "2016-02-13T00:00:00"}, {"id": 283589, "title": "Picasso: The Artist and His Models", "description": "<i>Picasso: The Artist and His Models</i>. Buffalo AKG Art Museum, Buffalo, NY (organizer) (November 5, 2016-February 19, 2017).", "opening_date": "2016-11-05T04:00:00"}, {"id": 287321, "title": "Pablo Picasso between Cubism and Classicism, 1915-1925", "description": "<i>Pablo Picasso between Cubism and Classicism, 1915-1925</i>. Scuderie del Quirinale, Rome, Italy (organizer) (September 21, 2017-January 21, 2018).", "opening_date": "2017-09-21T04:00:00"}], "legacy": [{"description": "<em>Picasso, Forty Years of his Art</em>. Museum of Modern Art, New York, NY (1939).,", "opening_date": "1939-01-01T00:00:00"}, {"description": "<em>Picasso, an American Tribute</em>. Paul Rosenberg &amp; Co., New York, NY. (April 15-May 12, 1962).", "opening_date": "1962-04-15T00:00:00"}, {"description": "<em> Fifty Years of Modern Art</em>. The Cleveland Museum of Art, Cleveland, OH (1966).", "opening_date": "1966-01-01T00:00:00"}]}, "provenance": [{"description": "Sold to Paul Rosenberg, Paris, France", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "John Quinn [1870-1924] New York, NY", "citations": [], "footnotes": null, "date": "1926", "sortorder": 2}, {"description": "(Paul Roseneberg, Paris, France and New York, NY, by 1937)", "citations": [], "footnotes": null, "date": "by 1937-", "sortorder": 3}, {"description": "(Alexandre Rosenberg, New York, NY, 1975, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "1975", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1975-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Picasso associated himself with the character Harlequin, a jokester from the popular commedia dell'arte, a happy-go-lucky and nimble sprite, juggler, and conjurer in whom Picasso recognized his own artistic abilities.", "description": "The diamond-patterned costume and triangular hat identify the musician in this painting as one of Pablo Picasso\u2019s alter egos, Harlequin, a jokester from the popular commedia dell\u2019arte (a theatrical form in which a cast of colorful stock characters spoke in improvised dialogue).The phrase <em>Si tu veux </em>(\u201cIf you wish\u201d) on the music sheet may refer to a contemporary popular song that began, \"If you wish, Marguerite, make me happy by giving me your heart.\u201d The inclusion of this lyric may refer to Picasso\u2019s marriage to Russian ballerina Olga Khokhlova the year this painting was made.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60472774"], "internet_archive": []}, "citations": [{"citation": "Barr, Alfred H. <em>Picasso: Forty Years of His Art</em>. New York, NY: Museum of Modern Art, 1939.", "page_number": "Reproduced: no. 40", "url": null}, {"citation": "Richardson, John. <em>Picasso: an American Tribute. [Exhibition] April 25-May 12, 1962</em>. New York, NY: Public Education Association, in cooperation with Chanticleer Press, 1962.", "page_number": "Reproduced: in color, part III", "url": null}, {"citation": "Cleveland Museum of Art, \u201cRecent Acquisition Press Release,\u201d February 18, 1975, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr2234"}, {"citation": "Henning, Edward B. \u201cPicasso: Harlequin with Violin (Si Tu Veux).\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 63, no. 1 (January 1976): 1\u201311.", "page_number": "Reproduced: Cover, p. 4, fig. 5; Mentioned: p. 2-11", "url": "http://www.jstor.org/stable/25152619"}, {"citation": "Lee, Sherman E. \u201cThe Year in Review for 1975.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 63, no. 2 (February 1976): 31\u201371.", "page_number": "Reproduced: p. 48; Mentioned: p. 70, no. 139", "url": "http://www.jstor.org/stable/25152624"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 242", "url": "https://archive.org/details/CMAHandbook1978/page/n262"}, {"citation": "Henning, Edward B. \u201cTwo New Cubist Paintings by Juan Gris and Pablo Picasso.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 68, no. 2 (February 1981): 39\u201350.", "page_number": "Mentioned and reproduced: p. 39-40, fig. 4", "url": "http://www.jstor.org/stable/25159711"}, {"citation": "Borowitz, Helen O. \u201cThree Guitars: Reflections of Italian Comedy in Watteau, Daumier, and Picasso.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 71, no. 4 (April 1984): 116\u201329.", "page_number": "", "url": "http://www.jstor.org/stable/25159858"}, {"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. 49, pl. IV; Mentioned and reproduced: P. 116, no. 24", "url": ""}, {"citation": "Henning, Edward B. \u201cA \u2018Memento Mori\u2019 by Picasso.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 75, no. 8 (October 1988): 320\u2013327.", "page_number": "Mentioned and reproduced: p. 323-324, fig. 6", "url": "http://www.jstor.org/stable/25160045"}, {"citation": "Boggs, Jean Sutherland, Brigitte Le\u0301al, and Marie-Laure Bernadac. <em>Picasso and Things: The Still Lifes of Picasso.</em> Cleveland: Cleveland Museum of Art, 1992.", "page_number": "Mentioned and reproduced: P.184, fig. 71a", "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. 297", "url": ""}, {"citation": "Keller, Mariah, Simonetta Fraquelli, Kenneth E. Silver, Elizabeth Cowling, and Dominique H. Vasseur. <em>Picasso: The Great War, Experimentation, and Change</em>. New York, NY: Scala, 2016", "page_number": null, "url": null}, {"citation": "Shields, Chris. \"A New Model.\" <em>Art &amp; Antiques</em>, (Nov. 2016): 70-77.", "page_number": "Reproduced: p. 77", "url": null}, {"citation": "Berggruen, Olivier. <em>Picasso: tra cubismo e classicismo: 1915-1925</em>. Milano : Skira, 2017.", "page_number": "Reproduced: P. 105, pl. 5", "url": null}, {"citation": "Berggruen, Olivier, ed. <em>Picasso: Between Cubism and Classicism 1915-1925.</em> Milano, Italy: Skira, 2017.", "page_number": "Reproduced: P. 105, no. 5", "url": null}, {"citation": "Robinson, William H. \"Harlequin with Violin: A new take on Picasso's mysterious painting.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 57, no. 4 (July/August 2017): 16-17.", "page_number": "Reproduced: P. 16; Mentioned: P. 17", "url": "https://archive.org/details/CMAMM2017-04/page/n7/mode/2up"}, {"citation": "Henning, Edward B. <em>Fifty Years of Modern Art, 1916-1966</em>. Cleveland, OH: Cleveland Museum of Art, 1966.", "page_number": "Reproduced: no. 9", "url": null}], "url": "https://clevelandart.org/art/1975.2", "images": {}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Michael J. Horvitz Family Gallery", "athena_id": 148214, "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": "1975-02-07T00:00:00", "sortable_date": 1918, "date_added_to_oa": null, "date_text": "1918", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-04-03 13:35:09.213000"}, {"id": 144721, "accession_number": "1969.51", "share_license_status": "Copyrighted", "tombstone": "Amorpha: Fugue in Two Colors II, 1910\u201311. Frantisek Kupka (Czech, 1871\u20131957). Oil on canvas; framed: 129.5 x 84.8 x 7.6 cm (51 x 33 3/8 x 3 in.); unframed: 111.7 x 68.6 cm (44 x 27 in.); former: 129.9 x 84.8 x 6.5 cm (51 1/8 x 33 3/8 x 2 9/16 in.). The Cleveland Museum of Art, Contemporary Collection of The Cleveland Museum of Art, 1969.51. \u00a9 Artists Rights Society (ARS), New York / ADAGP, Paris", "current_location": "223 20th Century Avant-Garde", "title": "Amorpha: Fugue in Two Colors II", "creation_date": "1910\u201311", "creation_date_earliest": 1910, "creation_date_latest": 1911, "artists_tags": ["male"], "culture": ["Czechoslovakia, 20th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 129.5 x 84.8 x 7.6 cm (51 x 33 3/8 x 3 in.); Unframed: 111.7 x 68.6 cm (44 x 27 in.); Former: 129.9 x 84.8 x 6.5 cm (51 1/8 x 33 3/8 x 2 9/16 in.)", "dimensions": {"framed": {"height": 1.295, "width": 0.848, "depth": 0.076}, "unframed": {"height": 1.117, "width": 0.686}, "former": {"height": 1.299, "width": 0.848, "depth": 0.065}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Artists Rights Society (ARS), New York / ADAGP, Paris", "inscriptions": [{"inscription": "signed lower left:  Kupka", "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": 444467, "title": "Frantisek Kupka: A Retrospective", "description": "<i>Frantisek Kupka: A Retrospective</i>. Solomon R. Guggenheim Museum, New York, NY (organizer) (October 10-December 7, 1975); Kunsthaus Z\u00fcrich, CH-8024 Z\u00fcrich, Switzerland (January 14-March 14, 1976).", "opening_date": "1975-10-10T04:00:00"}, {"id": 442755, "title": "Abstraction: Towards a New Art", "description": "<i>Abstraction: Towards a New Art</i>. Tate, London SW1P 4RG (organizer) (February 5-April 13, 1980).", "opening_date": "1980-02-05T05:00:00"}, {"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": 441746, "title": "Kupka", "description": "<i>Kupka</i>. Mus\u00e9e d'Art Moderne de la Ville de Paris, Paris, France (November 22, 1989-February 25, 1990).", "opening_date": "1989-11-22T05:00:00"}, {"id": 213392, "title": "Painting the Universe:  Frantisek Kupka, Pioneer of Abstraction", "description": "<i>Painting the Universe:  Frantisek Kupka, Pioneer of Abstraction</i>. The Dallas Museum of Art (organizer) (June 1-August 24, 1997); Kunstmuseum Wolfsburg (September 27, 1997-January 5, 1998); National Gallery, Prague (February 2-May 10, 1998).", "opening_date": "1997-06-01T00:00:00"}, {"id": 220476, "title": "Musical Analogies, Kandinsky and his Contemporaries", "description": "<i>Musical Analogies, Kandinsky and his Contemporaries</i>. Museo Nacional Thyssen-Bornemisza, Madrid, Spain (organizer) (February 11-May 25, 2003).", "opening_date": "2003-02-11T00:00:00"}, {"id": 227252, "title": "Sons et Lumi\u00e8res", "description": "<i>Sons et Lumi\u00e8res</i>. Centre national d'art et de culture Georges Pompidou, Paris cedex O4, France (organizer) (September 22, 2004-January 3, 2005).", "opening_date": "2004-09-22T00:00:00"}, {"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": 285374, "title": "Kupka. Pioneer of Abstraction", "description": "<i>Kupka. Pioneer of Abstraction</i>. Galeries Nationales du Grand Palais, 75008 Paris, France (March 19-July 30, 2018); National Gallery, Prague (September 7, 2018-January 20, 2019); Ateneum Art Museum, Helsinki, Finland (February 11-June 16, 2019).", "opening_date": "2018-03-19T04:00:00"}], "legacy": [{"description": "Museo Thyssen-Bornesmisza, Madrid (2/11/2003-5/25/2003): \"Muscial Analogies, Kandinsky and his Contemporaries\"", "opening_date": "2003-02-11T00:00:00"}, {"description": "Centre natinal d'art et de cullture Georges Pompidou, Paris (9/22/2004 - 1/3/2005): \"Sons et Lumi\u00e8res\"", "opening_date": "2004-09-22T00:00:00"}, {"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": "R\u00e9union des mus\u00e9es nationaux - Grand Palais. Galeries Nationales du Grand Palais, Paris, France (3/19/2018 \u2013 7/30/2018), National Gallery, Prague, Czech Republic (9/15/2018 \u2013 1/20/2019), and Ateneum Art Museum, Helsinki, Finland (2/11/2019 \u2013 6/16/2019): \"Kupka. Pioneer of Abstraction\"", "opening_date": "2018-03-19T00:00:00"}]}, "provenance": [{"description": "Purchased from the artist by Alexander Liberman, New York, in 1953.", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "[Eugene Victor Thaw and Co., New York]", "citations": [], "footnotes": null, "date": null, "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Inspired by the music of Johann Sebastian Bach, Kupka employed color to try to create something that involved both the visual and the auditory in his art.", "description": "The initial subject for this painting was the artist\u2019s stepdaughter Andr\u00e9e playing in the garden with a ball, but as he worked, Franti\u0161ek Kupka came to believe that accurately capturing both the movement of the ball and the child at play was impossible. Kupka created an abstract composition comprised of vibrantly colorful curving forms to suggest Andr\u00e9e\u2019s gestures and the movement of the ball in space. It is one of the earliest steps toward pure abstract painting in the history of modern art.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60470631"], "internet_archive": []}, "citations": [{"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. 2", "url": "https://archive.org/details/20thCenturyArtCMA/page/n3"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 243", "url": "https://archive.org/details/CMAHandbook1978/page/n263"}, {"citation": "Henning, Edward B. <em>Creativity in Art and Science, 1860-1960.</em> [Cleveland, Ohio]: Published by the Cleveland Museum of Art in cooperation with Indiana University Press, 1987.", "page_number": "Reproduced: P. 70, pl. V; Mentioned and reproduced: P. 120, no. 28", "url": ""}, {"citation": "Swartz, Anne. \"A Redating of Kupka's \"Amorpha, Fugue in Two Colors II\".\" <em>The Bulletin of the Cleveland Museum of Art</em> 80, no. 8 (1993): 327-51.", "page_number": "Reproduced: cover, p. 328; Mentioned: p. 327-51", "url": "www.jstor.org/stable/25161426"}, {"citation": "Kosinski, Dorothy M. and Jaroslav Ande\u030cl. <em>Painting the Universe: Frantis\u030cek Kupka, Pioneer in Abstraction</em>. Ostfildern-Ruit, Germany: Verlag Gerd Hatje, 1997.", "page_number": "Reproduced: p. 118", "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. 62, fig. 11", "url": ""}, {"citation": "Lekes\u030c, Vladimi\u0301r, et. al. <em>Frantis\u030cek Kupka: catalogue raisonne\u0301 des huiles = Catalogue raisonne\u0301 of oil paintings = Soupis olejomaleb.</em> Praha: Adolf Loos Apartment and Gallery; London: Koenig Books, 2016.", "page_number": "Reproduced: p.166, no. 094", "url": null}, {"citation": "Von Bonsdorff, Anna Marie. \"L'Abstraction sonore de Kupka Musicalit\u00e9, couleur et spiritualisme.\" In <em>Kupka: pionnier de l'abstraction. </em>Brigitte Le\u0301al, Marke\u0301ta Theinhardt, Pierre Brulle\u0301, Jean-Franc\u0327ois Allain, and Jean-Gaspard Pa\u0301leni\u0301cek, 113-131. Paris: \u00c9ditions de la R\u00e9union des mus\u00e9es nationaux, 2018.", "page_number": "Reproduced: p. 123, cat. 113", "url": null}, {"citation": "Von Bonsdorff, Anna-Maria. \"Kupkova Zvukova Abstrakce--Hudba, Barva a Spiritualita.\" In <em>Frantis\u030cek Kupka, 1871-1957. </em>Pravdova\u0301, Anna, Marketa Theinhardt, Nathalie Ernoult, and Brigitte Le\u0301al, eds., 80-89. Paris: \u00c9ditions de la R\u00e9union des mus\u00e9es nationaux-Grand Palais; Prague: N\u00e1rodn\u00ed Galerie; Helsinki: Finnish National Gallery, Ateneum Art Museum. 2018.", "page_number": "Reproduced: p. 84, fig. 117", "url": null}, {"citation": "Pravdova\u0301, Anna. <em>Frantis\u030cek Kupka 1871-1957. </em>[Prague]: Na\u0301rodni\u0301 galerie v Praze, 2018.", "page_number": "Mentioned and reproduced: P. 86-87", "url": ""}, {"citation": "von Bonsdorff, Anna-Maria. \"Frantisek Kupka. Sounding Abstraction -- Musicality, Colour and Spiritualism.\" In <em>Frantis\u030cek Kupka. </em>Anne-Maria Pennonen, Hanne Selkokari, and Lene Wahlsten, eds., 11-27. Helsinki: Ateneum, Finnish National Gallery, 2018.", "page_number": "Mentioned and reproduced: P. 13-14", "url": ""}], "url": "https://clevelandart.org/art/1969.51", "images": {}, "alternate_images": [], "creditline": "Contemporary Collection of The Cleveland Museum of Art", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Michael J. Horvitz Family Gallery", "athena_id": 144721, "creators": [{"id": 3161, "description": "Frantisek Kupka (Czech, 1871\u20131957)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1871", "death_year": "1957", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1969-12-13T00:00:00", "sortable_date": 1910, "date_added_to_oa": null, "date_text": "1910\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": "2026-03-27 00:06:33.055000"}, {"id": 173114, "accession_number": "1937.3205", "share_license_status": "Copyrighted", "tombstone": "Male Torso, 1917. Constantin Brancusi (Romanian, 1876\u20131957). Brass; with base: 63.8 x 30.5 x 19.1 cm (25 1/8 x 12 x 7 1/2 in.). The Cleveland Museum of Art, Hinman B. Hurlbut Collection, 1937.3205. \u00a9 Succession Brancusi - All rights reserved (ARS)", "current_location": "223 20th Century Avant-Garde", "title": "Male Torso", "creation_date": "1917", "creation_date_earliest": 1917, "creation_date_latest": 1917, "artists_tags": ["male"], "culture": ["France, 20th century"], "technique": "brass", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Sculpture 1800-1960", "type": "Sculpture", "measurements": "with base: 63.8 x 30.5 x 19.1 cm (25 1/8 x 12 x 7 1/2 in.)", "dimensions": {"with base": {"height": 0.638, "width": 0.305, "depth": 0.191}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Succession Brancusi - All rights reserved (ARS)", "inscriptions": [{"inscription": "signed on bottom:  C. Brancusi, Paris, 1917.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 312457, "title": "Sculpture of Our Time", "description": "<i>Sculpture of Our Time</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 5-December 5, 1937).", "opening_date": "1937-11-05T05:00:00"}, {"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": 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": 704924, "title": "Sculpture 1850-1950", "description": "<i>Sculpture 1850-1950</i>. Museum of Art, Rhode Island School of Design, Providence, RI (organizer) (March 30-May 14, 1950).", "opening_date": "1950-03-30T05:00:00"}, {"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": 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": 702956, "title": "The Trojan Horse Exhibition of Art of the Machine", "description": "<i>The Trojan Horse Exhibition of Art of the Machine</i>. Contemporary Arts Museum Houston, Houston, TX (organizer) (September 25-October 20, 1958).", "opening_date": "1958-09-25T04:00:00"}, {"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": 310025, "title": "Creativity in Art and Science, 1860-1960", "description": "<i>Creativity in Art and Science, 1860-1960</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 16-November 8, 1987).", "opening_date": "1987-09-16T04:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008).", "opening_date": "2006-05-27T00:00:00"}, {"id": 524184, "title": "Brancusi", "description": "<i>Brancusi</i>. Centre national d'art et de culture Georges Pompidou, Paris cedex O4, France (organizer) (March 27-July 1, 2024).", "opening_date": "2024-03-27T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Joseph Brummer Gallery)", "citations": [], "footnotes": [], "date": null, "sortorder": 1}], "find_spot": null, "related_works": [], "former_accession_numbers": ["3205.1937"], "did_you_know": "Brancusi studied under Auguste Rodin but left after a few months, commenting: \"Nothing can grow under big trees.\"", "description": "This sculpture depicts a simplified human torso without limbs or head. The artist\u2019s goal was not to move toward abstraction, but to capture the essence of things in his sculptures. Here, he stripped the human body down to its most basic components: one sleek cylinder representing the torso and two representing the upper thighs. Constantin Brancusi made three versions of this artwork: a wood version (Philadelphia Museum of Art) and two in brass (this museum and the Hirshhorn Museum and Sculpture Garden). The smooth surfaces of the brass versions dazzle the eye with their gleaming high polish.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117230226"], "internet_archive": []}, "citations": [{"citation": "Milliken. William. \"New Acquisitions of Present-Day Sculpture.\" <em>The Bulletin of the Cleveland Museum of Art </em>25, no. 4 (April 1938): 63-65.", "page_number": "Reproduced: p. 58; Mentioned: p. 63-64", "url": "https://www.jstor.org/stable/25137921"}, {"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. 338", "url": "https://archive.org/details/CMAHandbook1958/page/n65"}, {"citation": "Cleveland Museum of Art, Edward B. Henning. <em>Paths of Abstract Art.</em> Cleveland, OH: H.N. Abrams, 1960.", "page_number": "Reproduced: fig. 2, p. 5; mentioned: pp. 5,19", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 197", "url": "https://archive.org/details/CMAHandbook1966/page/n221"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 197", "url": "https://archive.org/details/CMAHandbook1969/page/n221"}, {"citation": "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. 246", "url": "https://archive.org/details/CMAHandbook1978/page/n266"}, {"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. 125, no. 33", "url": ""}, {"citation": "Hulte\u0301n, Pontus, Alexandre Istrati, Natalia Dumitresco, and Jeanne Bouniort. <em>Constantin Brancusi</em>. Paris, France: Flammarion, 1995.", "page_number": "Reproduced: p. 16; Mentioned: p. 17", "url": null}, {"citation": "Flynn, Tom. <em>The Body in Three Dimensions</em>. New York, NY: Harry N. Abrams, Inc, 1998.", "page_number": "Reproduced: p. 136; Mentioned: p. 137", "url": null}, {"citation": "Nielsen, Anne Marie. <em>T\u00e6t pa\u030a en torso: Belvedere-torsoen som kunstv\u00e6rk og forbillede</em>. K\u00f8benhavn, Denmark: Ny Carlsberg glyptotek, 2001.", "page_number": "Reproduced: p. 91, fig. 24", "url": null}, {"citation": "Baselitz, Georg, Wolfgang Bru\u0308ckle, Auguste Rodin, and Andreas Schalhorn. <em>Von Rodin bis Baselitz: der Torso in der Skulptur der Moderne ; [Katalogbuch zur Ausstellung \"Von Rodin bis Baselitz - Der Torso in der Skulptur der Moderne\" in der Staatsgalerie Stuttgart vom 7. April bis 19. August 2001]</em>. Ostfildern-Ruit, Germany: Hatje Cantz, 2001.", "page_number": "Reproduced: p. 40", "url": null}, {"citation": "Varnedoe, Kirk. <em>Pictures of Nothing: Abstract Art Since Pollock</em>. Princeton, NJ: Princeton University Press, 2006.", "page_number": "Reproduced: p. 200, fig. 5, 16", "url": null}, {"citation": "Adams, Laurie. <em>The Making and Meaning of Art</em>. Upper Saddle River, NJ: Pearson/Prentice Hall, 2006. N70 .A33 2006", "page_number": "Reproduced: p. 253, fig. 13.9", "url": null}, {"citation": "Etschmann, Walter, and Robert Hahne. <em>Kammerlohr: Themen der Kunst : Design</em>. Mu\u0308nchen, Germany: Oldenbourg, 2008.", "page_number": "Reproduced: p. 5", "url": null}, {"citation": "Cleveland Museum of Art. <em>The CMA Companion: A Guide to the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2014.", "page_number": "Mentioned and reproduced: P. 298-299", "url": ""}, {"citation": "Biro, Yae\u0308lle, Christine E. Brennan, and Christel H. Force. The Brummer Galleries, Paris and New York: Defining Taste from Antiquities to the Avant-Garde. Leiden ; Boston : Brill, 2023.", "page_number": "Mentioned: p. 485; reproduced: p. 486, fig. c.2", "url": ""}, {"citation": "Criqui, Jean-Pierre. \"Part-Object.\" In <em>Brancusi: Art Is Just Beginning, </em>Ariane Coulondre, V. Loth, Julie Jones, and Centre Georges Pompidou, 201-204. Zu\u0308rich, Switzerland: Verlag Scheidegger &amp; Spiess AG, 2024.", "page_number": "Mentioned and Reproduced: p. 203-204", "url": ""}, {"citation": "<em>Brancusi: L\u2019Exposition = The Exhibition.</em> Paris, France: Centre Pompidou, 2024.", "page_number": "Mentioned and reproduced: p. 28", "url": ""}], "url": "https://clevelandart.org/art/1937.3205", "images": {}, "alternate_images": [], "creditline": "Hinman B. Hurlbut Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Michael J. Horvitz Family Gallery", "athena_id": 173114, "creators": [{"id": 271, "description": "Constantin Brancusi (Romanian, 1876\u20131957)", "extent": null, "qualifier": null, "role": "artist", "biography": "Constantin Brancusi Romanian, 1876-1957 Constantin Brancusi was one of the outstanding sculptors of the 20th century. The Romanian-born artist also was actively engaged in making photographs of his sculpture throughout much of his career, creating images that fall into two main categories: views of his studio and pictures of single works. Following studies at the School of Arts and Crafts in Craiova, the National School of Fine Arts in Bucharest, and the \u00c9cole Nationale des Beaux-Arts in Paris, Brancusi began exhibiting his sculpture in Paris in 1906. It is not known when he first began to photograph his pieces. However, by 1921 he was interested in improving his photographic skills and asked Man Ray for technical advice, as well as for suggestions for buying equipment and setting up a darkroom. Brancusi used photography not only to document his sculpture, but also to promote it. He would make sets of photographs showing front, back, and side views of a piece that could be sent to prospective buyers outside Paris. Although Alfred Stieglitz and Edward Steichen, among others, also photographed his sculpture, Brancusi felt that only he could produce images that did justice to his work. Making his own photographs also allowed him to present his sculpture as he wanted it to be seen. Well aware of the influence of light, Brancusi often experimented with lighting effects to emphasize the dynamic qualities of a piece. When he died in 1957, more than 550 negatives and 1,000 prints were found in his studio. In addition to a Brancusi photograph, the Cleveland Museum of Art's collection includes one of his sculptures. M.M.", "name_in_original_language": null, "birth_year": "1876", "death_year": "1957", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1937-12-20T00:00:00", "sortable_date": 1917, "date_added_to_oa": null, "date_text": "1917", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": true, "updated_at": "2026-03-27 00:02:58.984000"}, {"id": 125324, "accession_number": "1947.278", "share_license_status": "Copyrighted", "tombstone": "The Driller, c. 1926. Max Kalish (American, born Russian Empire [now Lithuania], 1891\u20131945). Bronze; overall: 40.7 x 24.2 x 19.8 cm (16 x 9 1/2 x 7 13/16 in.). The Cleveland Museum of Art, Gift of Friends of the Artist, 1947.278", "current_location": null, "title": "The Driller", "creation_date": "c. 1926", "creation_date_earliest": 1921, "creation_date_latest": 1931, "artists_tags": ["May Show", "male", "Cleveland Institute of Art (alumni)", "Jewish artists"], "culture": ["America, Ohio, Cleveland"], "technique": "bronze", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Sculpture", "type": "Sculpture", "measurements": "Overall: 40.7 x 24.2 x 19.8 cm (16 x 9 1/2 x 7 13/16 in.)", "dimensions": {"overall": {"height": 0.407, "width": 0.242, "depth": 0.198}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed back of base: \"M KALISH A.N.A.\";  inscribed on back edge of base: \"Modern Art Foundry\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 310252, "title": "Cleveland Art Comes of Age: 1919-1940", "description": "<i>Cleveland Art Comes of Age: 1919-1940</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 28-September 10, 1989).", "opening_date": "1989-06-28T04:00:00"}, {"id": 311873, "title": "Transformations in Cleveland Art, 1796-1946", "description": "<i>Transformations in Cleveland Art, 1796-1946</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 19-July 21, 1996).", "opening_date": "1996-05-19T04:00:00"}, {"id": 177916, "title": "Burchfield to Schreckengost: Cleveland Art of the Jazz Age", "description": "<i>Burchfield to Schreckengost: Cleveland Art of the Jazz Age</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 28-July 18, 2004).", "opening_date": "2004-03-28T00:00:00"}, {"id": 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": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "When Max Kalish (born Kalichik) was two years old, his Orthodox Jewish family emigrated from Lithuania to Cleveland.", "description": "Kalish's celebratory sculptures of laborers rank among his most admired works. Although he was based in Cleveland and New York, the artist often had these bronzes cast during annual trips to Paris. His creative philosophy is summed up in the following statement: \"We must learn to create from the living present. In this modern industrial age, tremendous, heroic tasks are being performed and it is here that we will find our greatest art expression.\"", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60742566"], "internet_archive": []}, "citations": [{"citation": "Kalish, Max. <em>Labor Sculpture.</em> New York, 1938.", "page_number": "Reproduced: cover, plate 10.", "url": ""}, {"citation": "Robinson, William H., et. al. <em>Transformations in Cleveland Art, 1796-1946: Community and Diversity in Early Modern America</em>. Cleveland, Ohio: Cleveland Museum of Art, 1996.", "page_number": "Reproduced and Mentioned: p.116", "url": null}, {"citation": "Channing, Laurence, \"Before Neo: The May Show\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 45 no. 07, September 2005", "page_number": "Mentioned & reproduced: p. 4-5", "url": "https://archive.org/details/CMAMM2005-07/page/4"}], "url": "https://clevelandart.org/art/1947.278", "images": {}, "alternate_images": [], "creditline": "Gift of Friends of the Artist", "image_credit": null, "sketchfab_id": "5c7a07bd734a498c9c3792da85d79b32", "sketchfab_url": "https://sketchfab.com/models/5c7a07bd734a498c9c3792da85d79b32", "gallery_donor_text": null, "athena_id": 125324, "creators": [{"id": 19266, "description": "Max Kalish (American, born Russian Empire [now Lithuania], 1891\u20131945)", "extent": null, "qualifier": null, "role": "sculptor", "biography": "Born in Valozin, Lithuania, Max Kalish immigrated with his family to Cleveland in 1898. Shortly after their arrival they changed the family name from Kalichik to Kalish. At the age of 15 he won a scholarship from the Cleveland School of Art and studied sculpture under Herman Matzen. In 1910 Kalish enrolled in the National Academy of Design in New York. After returning to Cleveland in early 1912, he briefly shared a studio with William Zorach. Kalish traveled to Europe in 1912\u201313, studying at the \u00c9cole des Beaux-Arts and the Acad\u00e9mie Colarossi in Paris, and exhibiting in the Paris Salon (1913). He worked as a sculptor for the Panama-Specific Exposition in San Francisco, 1913\u201314, returning to Cleveland the following year. His first solo exhibition was at Korner &amp; Wood Galleries in Cleveland (1916). He served in the army during World War I. In 1921 he began creating bronze sculptures devoted to the theme of labor and completed the last in 1938. In 1923 Cleveland school children collected small change to fund the casting of Kalish\u2019s large-scale monument to Abraham Lincoln, which was installed in front of the School Administration Building. During the 1920s his sculptures appeared in solo shows in Cleveland and New York. He participated in the annual May Shows at the Cleveland Museum of Art (1924\u201330) as well as the annuals of the Pennsylvania Academy of Fine Arts in Philadelphia and the Art Institute of Chicago. In the late 1920s he began a series of marble figures that were exhibited at the Grand Central Art Galleries in New York. By 1933 he had moved to New York, where he established a private school for teaching sculpture techniques. Kalish died in New York. <br>\"Transformations in Cleveland Art\" (CMA, 1996), p. 231", "name_in_original_language": null, "birth_year": "1891", "death_year": "1945", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1946-11-25T00:00:00", "sortable_date": 1921, "date_added_to_oa": null, "date_text": "c. 1926", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-04-07 22:01:25.148000"}, {"id": 162973, "accession_number": "2003.40", "share_license_status": "CC0", "tombstone": "Gamin, c. 1929. Augusta Savage (American, 1892\u20131962). Hand-painted plaster; overall: 44.5 x 24.2 x 20.4 cm (17 1/2 x 9 1/2 x 8 1/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 2003.40", "current_location": "226B American Modern", "title": "Gamin", "creation_date": "c. 1929", "creation_date_earliest": 1924, "creation_date_latest": 1934, "artists_tags": ["female", "Black American Artists"], "culture": ["America"], "technique": "hand-painted plaster", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Sculpture", "type": "Sculpture", "measurements": "Overall: 44.5 x 24.2 x 20.4 cm (17 1/2 x 9 1/2 x 8 1/16 in.)", "dimensions": {"overall": {"height": 0.445, "width": 0.242, "depth": 0.204}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed on right-side: \"Savage\"; titled across the bottom-front: \"Gamin\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "A trailblazer, Savage was the first African American member of the National Association of Women Artists.", "description": "Augusta Savage was the most acclaimed sculptor working during the Harlem Renaissance of the 1920s and \u201830s, and <em>Gamin</em> is her most famous work. It was long thought that the image was a generic figure; however, recent research reveals that it depicts her nephew. The warm characterization likely arises from the close bond shared between artist and model. Although several small versions of the sculpture were produced, this life-size, hand-painted plaster is unique, and likely the oldest surviving example of the subject.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60761548"], "internet_archive": []}, "citations": [{"citation": "Litt, Steven. \"Steward Breaks New Ground with Sculptures at Library,\" <em>Plain Dealer, </em>August 15, 2021.", "page_number": "Mentioned P. D4", "url": ""}, {"citation": "Ausherman, Maria, <em>Masters of Shape: The Lives and Art of American Women Sculptors. </em>(Novato, CA: Goff Books, 2022).", "page_number": "Reproduced p. 135.", "url": ""}, {"citation": "Korobin, Tess, \"Monumental Absence: Augusta Savage's Unbuilt Monuments, 1931-1943,\" <em>American Art</em> 37 (Fall 2023).", "page_number": "Mentioned and reproduced p. 58.", "url": ""}, {"citation": "Cover of <em>Opportunity: Journal of Negro Life. </em>June 1929.", "page_number": "Cover", "url": null}, {"citation": "\"Une femme sculpteur noire.\" <em>La Depeche Litteraire et Artistique </em>(Aug/Sept. 1930) .", "page_number": "Mentioned: p. 5", "url": null}, {"citation": "\"Harlem's Community Center.\" Marcia Minor. <em>Daily Worker, </em>August 1, 1938.", "page_number": null, "url": null}, {"citation": "Stromberg, Suzanne Schell. \"Afro-American Art of the Harlem Renaissance.\" (University of Illinois at Urbana-Champaign, 1973).", "page_number": "Mentioned: p. 83", "url": null}, {"citation": "Leininger-Miller, Theresa A. <em>New Negro Artists in Paris: African American Painters and Sculptors in the City of Light, 1922-1934. </em>New Brunswick: Rutgers University Press, 2001.", "page_number": null, "url": null}, {"citation": "Litt, Steven. \"Art museum acquires top sculpture by Savage.\" <em>Cleveland Plain Dealer, </em>July 2, 2003.", "page_number": "Mentioned: p. E1; Reproduced: p. E6", "url": null}, {"citation": "<em>The Cleveland Museum of Art Members Magazine </em>(September 2003), cover.", "page_number": "Cover", "url": null}, {"citation": "Robinson, William. \"Renaissance Kid.\" <em>The Cleveland Museum of Art Members Magazine </em>(October 2003)", "page_number": "Mentioned: p. 6; Reproduced: p. 6", "url": null}, {"citation": "Robinson, William, \"Renaissance Kid\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 43 no. 08, October 2003", "page_number": "Mentioned & reproduced: p. 6", "url": "https://archive.org/details/CMAMM2003-08/page/n5"}, {"citation": "\"Major Acquisitions 2000-2005.\" <em>Cleveland Art</em> 45 (July/August 2005)", "page_number": "Mentioned: p. 14; Reproduced: p. 19", "url": null}, {"citation": "Rosenkranz, Conner. <em>19th &amp; 20th Century American Sculpture. </em>Smithsonian Libraries, 2007.", "page_number": "Mentioned: p. 44; Reproduced: p. 61", "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: 132 - 133", "url": ""}, {"citation": "Gordon, Margery. \"Eyes on the Prizes.\" <em>Art &amp; Auction </em>(February 2008)", "page_number": "Mentioned: p. 117; Reproduced: p. 117", "url": null}, {"citation": "Cole, Mark, \"Jacob Lawrence's Fulton and Nostrand\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 48 no. 2, February 2008", "page_number": "Mentioned & reproduced: p. 7", "url": "https://archive.org/details/CMAMM2008-02/page/6"}, {"citation": "Cole, Mark. <em>African American Art: The Cleveland Museum of Art</em> Cleveland: Cleveland Museum of Art, 2013.", "page_number": "Mentioned: p. 3; Reproduced: p. 3, 20", "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. 58", "url": ""}, {"citation": "Brown, Marilyn.<em> The Gamin De Paris in Nineteenth-Century Visual Culture: Delacroix, Hugo, and the French Social Imaginary.</em> New York : Routledge, 2017.", "page_number": "Mentioned: p. 118-119; Reproduced: pl. 24.", "url": null}, {"citation": "Adams, Henry. \"The Invisible Man: William Robinson.\" <em>CAN Journal </em>(Spring 2017): 80-83.<em> </em>", "page_number": "Reproduced: p. 82", "url": ""}, {"citation": "Korobkin, Tess. \"Monumental Absence: Augusta Savage's Unbuilt Monuments, 1931-1943.\" <em>American Art</em> 37, no. 3 (Fall 2023): 48-71.", "page_number": "Mentioned and reproduced: p. 58, fig. 6", "url": ""}, {"citation": "<em>Paroles d\u2019Artistes Femmes: 1869-1939. </em>Paris: La Martini\u00e8re, 2025.", "page_number": "Reproduced: p. 135", "url": ""}], "url": "https://clevelandart.org/art/2003.40", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2003.40/2003.40_web.jpg", "width": "646", "height": "893", "filesize": "241477", "filename": "2003.40_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2003.40/2003.40_print.jpg", "width": "2458", "height": "3400", "filesize": "3365726", "filename": "2003.40_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2003.40/2003.40_full.tif", "width": "3615", "height": "5000", "filesize": "54246796", "filename": "2003.40_full.tif"}}, "alternate_images": [{"date_created": "2004-03-01T16:23:12", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2003.40/2003.40_alt0_web.jpg", "width": "638", "height": "893", "filesize": "226279"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2003.40/2003.40_alt0_print.jpg", "width": "2430", "height": "3400", "filesize": "3044473"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2003.40/2003.40_alt0_full.tif", "width": "3574", "height": "5000", "filesize": "53631632"}}, {"date_created": "2004-03-01T16:38:12", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2003.40/2003.40_alt1_web.jpg", "width": "631", "height": "893", "filesize": "219840"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2003.40/2003.40_alt1_print.jpg", "width": "2402", "height": "3400", "filesize": "2981873"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2003.40/2003.40_alt1_full.tif", "width": "3532", "height": "5000", "filesize": "52994024"}}, {"date_created": "2004-03-01T16:52:06", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2003.40/2003.40_alt2_web.jpg", "width": "642", "height": "893", "filesize": "216558"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2003.40/2003.40_alt2_print.jpg", "width": "2446", "height": "3400", "filesize": "2948955"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2003.40/2003.40_alt2_full.tif", "width": "3597", "height": "5000", "filesize": "53975908"}}], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": "2828d6014a9743509f4d793f7e518baf", "sketchfab_url": "https://sketchfab.com/models/2828d6014a9743509f4d793f7e518baf", "gallery_donor_text": null, "athena_id": 162973, "creators": [{"id": 44851, "description": "Augusta Savage (American, 1892\u20131962)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1892", "death_year": "1962", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2003-06-02T00:00:00", "sortable_date": 1924, "date_added_to_oa": null, "date_text": "c. 1929", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": true, "updated_at": "2026-04-07 22:01:03.456000"}, {"id": 168133, "accession_number": "2009.7", "share_license_status": "Copyrighted", "tombstone": "Rooftop, 1957. Hughie Lee-Smith (American, 1915\u20131999). Oil on masonite; unframed: 61 x 63.5 cm (24 x 25 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 2009.7. \u00a9 Estate of Hughie Lee-Smith / Licensed by VAGA at ARS, NY", "current_location": "228B Cleveland Artists", "title": "Rooftop", "creation_date": "1957", "creation_date_earliest": 1957, "creation_date_latest": 1957, "artists_tags": ["May Show", "Black American Artists", "Cleveland Institute of Art (alumni)"], "culture": ["America"], "technique": "oil on masonite", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Unframed: 61 x 63.5 cm (24 x 25 in.)", "dimensions": {"unframed": {"height": 0.61, "width": 0.635}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of Hughie Lee-Smith / Licensed by VAGA at ARS, NY", "inscriptions": [{"inscription": "signed lower right \"Lee-Smith / '57\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 297065, "title": "From the Rooftops: John Sloan and the Art of a New Urban Space", "description": "<i>From the Rooftops: John Sloan and the Art of a New Urban Space</i>. Palmer Museum of Art, University Park, PA (organizer) (February 5-May 12, 2019); The Hyde Collection, Glens Falls, NY (June 16-September 15, 2019).", "opening_date": "2019-02-05T05:00:00"}], "legacy": []}, "provenance": [{"description": "Flea Market (Florida); Private Collector consigning to Swann Galleries, New York [public auction, February 17, 2009]", "citations": [], "footnotes": [], "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Hughie Lee-Smith ran track with fellow student Jesse Owens at East Technical High School in Cleveland.", "description": "Trained in Cleveland before launching his mature career in Detroit and New York, Lee-Smith frequently painted isolated\u2014and often solitary\u2014figures amid desolate cityscapes and landscapes. They have pronounced overtones of introspection, which the artist attributed, in part, to his experiences navigating the forces and effects of racism: \"In my case, aloneness, I think, has stemmed from the fact that I\u2019m Black. Unconsciously it has a lot to do with alienation.\"", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60480564"], "internet_archive": []}, "citations": [{"citation": "Cole, Mark. \"The Cleveland Gallery.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 49, no. 7 (September 2009): 5-7.", "page_number": "Mentioned: p. 7; Reproduced: p. 5, Cover", "url": "https://archive.org/details/CMAMM2009-07/page/4/mode/2up"}, {"citation": "King-Hammond, Leslie. <em>Hughie Lee-Smith</em>. San Francisco, CA: Pomegranate, 2010.", "page_number": "Mentioned: p. 42-46; Reproduced: p. 45, back cover", "url": null}, {"citation": "Mann, Griffith C. \"Acquisitions 2009.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 50, no. 2 (March/April 2010): 12-27.", "page_number": "Mentioned and reproduced: p. 18", "url": "https://archive.org/details/CMAMM2010-02/page/n17/mode/2up"}, {"citation": "Shearer, Christine Fowler and Steven Litt. <em>Joseph O'Sickey: Unifying Art, Life and Love</em>. Canton, Ohio: Canton Museum of Art, 2013.", "page_number": "Reproduced: p. 34", "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": "Mentioned and Reproduced: p. 12-13", "url": null}, {"citation": "Freeman, Nigel. <em>A Modern Migration: African-American Art Since the WPA, from the Lee and Barbara Maimon Collection</em>. Exton, PA: Brilliant Graphics, 2014.", "page_number": "Reproduced: p. 39", "url": null}, {"citation": "Thomas, Adam M.<em> From the Rooftops: John Sloan and the Art of a New Urban Space</em>. University Park, PA; Palmer Museum of Art, 2019.", "page_number": "Mentioned: P. 61, 72", "url": null}, {"citation": "\"Past Masters.\" In <em>Standing on the Shoulders of Giants: Cleveland Arts Prize 2020-2021, </em>edited by Alenka Banco, 19-22. Cleveland: Cleveland Arts Prize, 2020.", "page_number": "Reproduced: p. 21", "url": ""}, {"citation": "Als, Hilton, Lauren Haynes, Leslie King-Hammond, Steve Locke, Kellie Jones, LeRonn P. Brooks, and Reggie Burrows Hodges. <em>Hughie Lee-Smith</em>. New York: Karma Books, 2023.", "page_number": "Reproduced: p. 153", "url": ""}, {"citation": "Porter, Austin. \"Hughie Lee-Smith.\" In <em>150 Stories: Lives of the Artists at the League, </em>edited by Stephanie Cassidy, 366-367. New York, NY: The Art Students League of New York, 2025.", "page_number": "Reproduced: p. 366", "url": ""}], "url": "https://clevelandart.org/art/2009.7", "images": {}, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "William P. and Amanda C. Madar Gallery", "athena_id": 168133, "creators": [{"id": 557245, "description": "Hughie Lee-Smith (American, 1915\u20131999)", "extent": null, "qualifier": null, "role": "artist", "biography": "One of the most gifted figurative painters of his generation, Hughie Lee-Smith was born in Eustis, Florida. He moved to Cleveland in 1925 with his mother, a singer who recognized her son's talent and enrolled him in Saturday-morning classes at the Cleveland Museum of Art. While in high school, he took life-drawing classes at the Huntington Polytechnic Institute. After attending classes at the Detroit Society of Arts and Crafts, 1933-34, he studied with Carl Gaertner and Rolf Stoll at the Cleveland School of Art, graduating in 1938. During this period Lee-Smith taught drawing at Karamu House, then known as the Playhouse Settlement. For financial reasons he declined a fifth-year scholarship from the Cleveland School of Art in 1938 and began working for the Works Progress Administration's Ohio Art Project, where he learned lithography and etching. He exhibited in the annual May Shows at the Cleveland Museum of Art (1937-41). In 1939 he became a board member of the magazine \"Crossroads\" and later that year received a one-year appointment to teach art at Claflin College in South Carolina. In 1940 he cofounded Karamu Artists Incorporated and served as the organization's president. In the early 1940s he moved to Detroit, the hometown of his new wife. After serving in the navy during World War II, he returned to Detroit and attended Wayne University, where he earned a B. S. in education in 1953. He exhibited steadily throughout the 1940s and 1950s, showing at galleries in Cleveland, Detroit, Chicago, New York, Washington, D.C., and Philadelphia. In 1957 he won the prestigious Emily Lowe Award from the National Academy of Design and soon after moved to New York. In 1967 he was elected a full-member of the National Academy of Design and began teaching there in 1972. In 1988 the Malcolm Brown Gallery in Cleveland mounted a solo exhibition of his work, and later that year the New Jersey State Museum in Trenton organized a retrospective. Lee-Smith lives and works in New Jersey. <br> \"Transformations in Cleveland Art (CMA, 1996), p. 233", "name_in_original_language": null, "birth_year": "1915", "death_year": "1999", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2009-03-02T00:00:00", "sortable_date": 1957, "date_added_to_oa": null, "date_text": "1957", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:02:16.970000"}, {"id": 144613, "accession_number": "1969.252", "share_license_status": "Copyrighted", "tombstone": "Metro, 1958. Joan Mitchell (American, 1925\u20131992). Oil on canvas; framed: 115.6 x 139.7 x 4.5 cm (45 1/2 x 55 x 1 3/4 in.); unframed: 113 x 137.1 cm (44 1/2 x 54 in.). The Cleveland Museum of Art, Gift of Mrs. John B. Dempsey, 1969.252. \u00a9 Estate of Joan Mitchell", "current_location": null, "title": "Metro", "creation_date": "1958", "creation_date_earliest": 1958, "creation_date_latest": 1958, "artists_tags": ["female"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 115.6 x 139.7 x 4.5 cm (45 1/2 x 55 x 1 3/4 in.); Unframed: 113 x 137.1 cm (44 1/2 x 54 in.)", "dimensions": {"framed": {"height": 1.156, "width": 1.397, "depth": 0.045}, "unframed": {"height": 1.13, "width": 1.371}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of Joan Mitchell", "inscriptions": [], "exhibitions": {"current": [{"id": 218746, "title": "A Rebours", "description": "<i>A Rebours</i>. Centro Atlantico de Arte Moderno (organizer) (April 20-June 13, 1999); Museo Nacional Centro de Arte Reina Sof\u00cda (July 6-October 11, 1999).", "opening_date": "1999-04-20T00:00:00"}, {"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": 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": "Newport Beach, CA, Newport Harbor Art Museum (June 28-September 9, 1984) Action/Precision: The New Direction in New York, 1955-60, cat. no. 35, p. 122, repr. p. 123, also traveled to: Worcester, MA, Worcester Art Museum(3 October - 25 November 1984); Grey Art Gallery, New York University (15 January - 23 February 1984); Cincinnati, OH, the Contemporary Arts Center (14 March - 27 April 1984); Buffalo, NY, Albright-Knox Gallery (14 September - 3 November 1984);  Archer M. Huntington Art Gallery, University of Texas at Austin (12 January - 23 February 1986).", "opening_date": "1984-06-28T00:00:00"}, {"description": "Washington DC, Corcoran Gallery of Art, Joan Mitchell: A Retrospective Exhibition (26 February - 1 May 1988); also traveled to San Francisco, CA, San Francisco Museum of Modern Art (26 May - 18 July 1988); Buffalo, NY, Albright-Knox Gallery (17 September - 6 November 1988); La Jolla, CA, La Jolla Museum of Contemporary Art (2 December 1988 - 29 January 1989); Ithaca, NY, Herbert F. Johnson Museum of Art, Cornell University (26 February - 23 April 1989); ill. cat. no. 35, p. 122.", "opening_date": "1988-02-26T00:00:00"}, {"description": "Las Palmas de Gran Canaria, Spain (4/20/99 - 6/13/99); Museo Nacional Centro de Arte Reina Sofia (7/6/99 - 10/11/99) \"A Rebours\" p. 237 (repr.).", "opening_date": "1999-04-20T00:00:00"}]}, "provenance": [{"description": "Mrs. John B. Dempsey.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": ["117.61"], "did_you_know": "At the age of 17, Mitchell was named \"Figure Skating Queen of the Midwest.\"", "description": "<em>Metro</em> belongs to an early phase in Mitchell\u2019s long career, when she started to earn fame for abstract paintings that balance spontaneity with planning. Its composition is centrifugal: wide patches of reds, maroons, olive greens, and whites clustered in the canvas\u2019s upper center are effectively spinning off into thinner arcs at the sides and bottom.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60470536"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1969.252", "images": {}, "alternate_images": [], "creditline": "Gift of Mrs. John B. Dempsey", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 144613, "creators": [{"id": 3564, "description": "Joan Mitchell (American, 1925\u20131992)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1925", "death_year": "1992", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1969-12-13T00:00:00", "sortable_date": 1958, "date_added_to_oa": null, "date_text": "1958", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:04:22.160000"}, {"id": 152588, "accession_number": "1985.40", "share_license_status": "Copyrighted", "tombstone": "Josef May, 1926. Otto Dix (German, 1891\u20131969). Oil, egg tempera, and other media on board; framed: 105.1 x 88.9 x 6 cm (41 3/8 x 35 x 2 3/8 in.); unframed: 84 x 68.8 cm (33 1/16 x 27 1/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1985.40. \u00a9 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn", "current_location": "225 German Expressionism & Surrealism", "title": "Josef May", "creation_date": "1926", "creation_date_earliest": 1926, "creation_date_latest": 1926, "artists_tags": ["male"], "culture": ["Germany, 20th century"], "technique": "oil, egg tempera, and other media on board", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 105.1 x 88.9 x 6 cm (41 3/8 x 35 x 2 3/8 in.); Unframed: 84 x 68.8 cm (33 1/16 x 27 1/16 in.)", "dimensions": {"framed": {"height": 1.051, "width": 0.889, "depth": 0.06}, "unframed": {"height": 0.84, "width": 0.688}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn", "inscriptions": [{"inscription": "Signed lower right: \"OD. / 1926 [OD in monogram]; inscribed on back: \"Joseph May aus D\u00fcsseldorf / gemalt von O. Dix 1926\"", "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": 441782, "title": "Otto Dix - Zum 100. Geburtstag", "description": "<i>Otto Dix - Zum 100. Geburtstag</i>. Galerie der Stadt Stuttgart, Stuttgart 1, Germany (organizer) (September 4-November 3, 1991).", "opening_date": "1991-09-04T04:00:00"}, {"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": 223570, "title": "Otto Dix", "description": "<i>Otto Dix</i>. Montr\u00e9al Museum of Fine Arts, Montreal, Quebec, Canada (organizer) (September 20, 2010-January 2, 2011).", "opening_date": "2010-09-20T00:00:00"}], "legacy": []}, "provenance": [{"description": "Josef May, the sitter,  [-1938], Holland, given to his brother-in-law, Hugo Simons.", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "Hugo Simons [1892-1958] Montreal, Quebec, Canada", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "Ghitta Caiserman-Roth [1923-2005], Montreal, Quebec, Canada", "citations": [], "footnotes": null, "date": null, "sortorder": 3}, {"description": "Fischer Fine Arts, London, United Kingdom, sold to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "-1985", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1985-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "A leader of the New Objectivity movement in Germany, Dix painted bitter critiques of modern capitalist society. To achieve a more incisive realism in his brutally honest portraits, he mixed egg tempera with other media. The sitter for this portrait, Josef May, was the Jewish manager of the Gr\u00fcnberg grain company in Arnsberg. When the Nazis seized power in 1933, May fled to Holland, where he died of a heart attack in 1938.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60475687"], "internet_archive": []}, "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. 56; Mentioned: p. 66, no. 97", "url": "http://www.jstor.org/stable/25159930"}, {"citation": "Robinson, William H. \u201cOtto Dix\u2019s \u2018Portrait of Josef May.\u2019\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 74, no. 8 (October 1987): 305\u2013331.", "page_number": "Mentioned and reproduced: p. 305-306, 326, fig. 27", "url": "http://www.jstor.org/stable/25160000"}, {"citation": "Olaf Peters. <em>Otto Dix</em>. Munich, Germany: Prestel, 2010.", "page_number": "Reproduced: p. 219, 249", "url": null}], "url": "https://clevelandart.org/art/1985.40", "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": 152588, "creators": [{"id": 1219, "description": "Otto Dix (German, 1891\u20131969)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1891", "death_year": "1969", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1985-03-25T00:00:00", "sortable_date": 1926, "date_added_to_oa": null, "date_text": "1926", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:37.806000"}, {"id": 140208, "accession_number": "1964.2", "share_license_status": "Copyrighted", "tombstone": "Composition Concrete (Study for Mural), 1957\u20131960. Stuart Davis (American, 1894\u20131964). Oil on canvas; framed: 130.5 x 72 x 9.5 cm (51 3/8 x 28 3/8 x 3 3/4 in.); unframed: 108.6 x 50.8 cm (42 3/4 x 20 in.). The Cleveland Museum of Art, Contemporary Collection of The Cleveland Museum of Art, 1964.2. \u00a9  Estate of Stuart Davis / Licensed by VAGA at Artists Rights Society (ARS), NY", "current_location": "226B American Modern", "title": "Composition Concrete (Study for Mural)", "creation_date": "1957\u20131960", "creation_date_earliest": 1957, "creation_date_latest": 1960, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 130.5 x 72 x 9.5 cm (51 3/8 x 28 3/8 x 3 3/4 in.); Unframed: 108.6 x 50.8 cm (42 3/4 x 20 in.)", "dimensions": {"framed": {"height": 1.305, "width": 0.72, "depth": 0.095}, "unframed": {"height": 1.086, "width": 0.508}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  Estate of Stuart Davis / Licensed by VAGA at Artists Rights Society (ARS), NY", "inscriptions": [{"inscription": "Signed middle right (in script): Stuart Davis; signed, dated and inscribed on stretcher: Stuart Davis  May 1957/ Mural--Lobby Wall/ scale 2 1/2\" to 1'/ Heinz Res'ch Lab. Pitts. Pa.", "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": 320892, "title": "Stuart Davis Memorial Exhibition, 1894-1964", "description": "<i>Stuart Davis Memorial Exhibition, 1894-1964</i>. National Collection of Fine Arts, Washington, DC (organizer) (May 28-July 5, 1965); The Art Institute of Chicago, Chicago, IL (July 30-August 29, 1965); Whitney Museum of American Art, New York, NY (September 14-October 17, 1965); University of California, Los Angeles (October 31-November 28, 1965).", "opening_date": "1965-05-28T04:00:00"}, {"id": 310260, "title": "American Cities: The Artist's View", "description": "<i>American Cities: The Artist's View</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 17, 1989-January 7, 1990).", "opening_date": "1989-10-17T04:00:00"}, {"id": 211664, "title": "Stuart Davis", "description": "<i>Stuart Davis</i>. Peggy Guggenheim Collection, Palazzo Venier dei Leoni, Venice (June 3-September 28, 1997); Palazzo delle Esposizioni, Rome (October 22, 1997-January 12, 1998); Stedelijk Museum, Amsterdam (February 1-May 1, 1998); National Museum of American Art, Washington, DC (May 30-September 1, 1998).", "opening_date": "1997-06-03T00:00:00"}, {"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": "The Downtown Gallery, New York, Stuart Davis: Exhibition of Ten of the Paintings Used as Color Illustrations in \"Stuart Davis\" by Rudy Blesh, May 10-June 4, 1960 (pamphlet), no. 10 as Study for Mural -- Heinz Co. Research Center.", "opening_date": "1960-05-10T00:00:00"}, {"description": "The Downtown Gallery, New York, Group Show - 1st Floor, November 8-December 3, 1960 (checklist) as Mural-Lobby Wall.", "opening_date": "1960-11-08T00:00:00"}, {"description": "The Corcoran Gallery of Art, Washington, D.C., Twenty Seventh Biennial Exhibition of Contemporary American Painting, January 14-February 26, 1961 (booklet), no. 24 as Lobby Wall.", "opening_date": "1961-01-14T00:00:00"}, {"description": "The Butler Institute of American Art, Youngstown, Ohio, 26th Annual Mid-year Show, July 2-September 4, 1961, no. 39 as Mural Lobby.", "opening_date": "1961-07-02T00:00:00"}, {"description": "Mary Washington College, Fredericksburg, Virginia, Mary Washington Annual, October 1962 (as Mural--Lobby Wall).", "opening_date": "1962-10-01T00:00:00"}]}, "provenance": [{"description": "The artist; (The Downtown Gallery, New York, NY), January 4, 1964", "citations": [], "footnotes": [], "date": "1964", "sortorder": null}, {"description": "(The Downtown Gallery, New York, NY, December 1964, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "1964", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1964-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Davis was one of the first artists to incorporate elements from advertising in his work.", "description": "Davis\u2019s dynamic abstraction is a study for a large mural he created for the H. J. Heinz Research Center in Pittsburgh. The numerals 1957\u2014placed sideways with the last two digits playfully inverted\u2014are visible at the lower left of the composition. Here the artist not only refers to the year he started this painting, but also wittily riffs on the famous Heinz slogan \u201c57 Varieties.\u201d<br><br>Davis remarked that this painting\u2019s title evokes \u201cconcrete music,\u201d an avant-garde composition consisting of seemingly random combinations of pre-recorded sound. With its apparently improvised shapes and colors, his canvas<br>visualizes this experimental concept.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60469162"], "internet_archive": []}, "citations": [{"citation": "Munro, Cynthia, \"We Hitch Our Wagons: Stuart Davis and Cynthia.\" (interview with the artist). <em>Mademoiselle</em>, vol. 45, no. 4, August 1957.", "page_number": "Reproduced: p. 266", "url": null}, {"citation": "Stuart Davis: Exhibition of Ten of the Paintings Used as Color Illustrations in \"Stuart Davis\" by Rudi Blesh (exhibition pamphlet). New York: The Downtown Gallery, 1960.", "page_number": "Reproduced: cover", "url": null}, {"citation": "<em>Twenty Seventh Biennial Exhibition of Contemporary American Painting </em>(exhibition booklet). Washington, D.C.: The Corcoran Gallery of Art, 1961.", "page_number": "Reproduced: cat n. 24", "url": null}, {"citation": "Cleveland Museum of Art, \u201cRecent Acquisitions Press Release,\u201d February 19, 1964, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr1209"}, {"citation": "Henning, Edward B. \"The Language of Art.\" <em>CMA Bulletin</em> 51 (November, 1964), pp. 224-225, repr. p. 225, color illus. p 209.", "page_number": "Mentioned: p. 224; Reproduced: p. 209, 225", "url": null}, {"citation": "Kozloff, Max. \"Larry Rivers, Stuart Davis and Slang Idiom.\" <em>Artforum</em> 4 (November, 1965).", "page_number": "Reproduced: p. 24", "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. 203", "url": "https://archive.org/details/CMAHandbook1966/page/n227"}, {"citation": "\"Recent Accessions in the American Field.\" <em>Art in America</em> 54 (May-June, 1966).", "page_number": "Reproduced: p. 46", "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. 203", "url": "https://archive.org/details/CMAHandbook1969/page/n227"}, {"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. 4", "url": "https://archive.org/details/20thCenturyArtCMA/page/n5"}, {"citation": "Kelder, Diane, ed. <em>Stuart Davis.</em> New York: Praeger Publishers, 1971.", "page_number": "Reproduced: plate 26", "url": null}, {"citation": "Urdang, Beth. <em>Stuart Davis: Murals. </em>Zabriskie Gallery exhibition catalog, January 27- February 14, 1976.", "page_number": "Mentioned: p. 4; Reproduced: n. 17", "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. 253", "url": "https://archive.org/details/CMAHandbook1978/page/n273"}, {"citation": "Teilman,Herdis B. \"Composition Concrete, 1957, by Stuart Davis.\" <em>Carnegie Magazine </em>(May, 1980).", "page_number": "Mentioned: p. 9; Reproduced: p. 8", "url": null}, {"citation": "Wilkin, Karen. <em>Stuart Davis. </em>New York Abbeville Press Publishers, 1987.", "page_number": "Reproduced: p. 193", "url": null}, {"citation": "<em>CMA Handbook</em>, 1991.", "page_number": "Mentioned: p. 154", "url": null}, {"citation": "Sims, Lowery Stokes. <em>Stuart Davis: American Painter. </em>New York: The Metropolitan Museum of Art, 1991.", "page_number": "Mentioned: 142,296; Reproduced: p. 297", "url": null}, {"citation": "Rylands, Philip, ed. <em>Stuart Davis.</em> Milan, Electa, 1997. p. 180, 181, cat. no. 54.", "page_number": "Mentioned: p. 180; Reproduced: p. 181, n. 54", "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. 121; Reproduced: p. 34, n. 96", "url": null}, {"citation": "\"Year in Review for 1964.\" <em>CMA Bulletin</em> 51 (December, 1964).", "page_number": "Reproduced: p. 266, n. 156", "url": null}], "url": "https://clevelandart.org/art/1964.2", "images": {}, "alternate_images": [], "creditline": "Contemporary Collection of The Cleveland Museum of Art", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Hammond Hemmelgarn Family Gallery", "athena_id": 140208, "creators": [{"id": 3420, "description": "Stuart Davis (American, 1894\u20131964)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1894", "death_year": "1964", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1964-12-19T00:00:00", "sortable_date": 1957, "date_added_to_oa": null, "date_text": "1957\u20131960", "collapse_artists": false, "on_loan": false, "recently_acquired": 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 Mural"], "is_highlight": false, "updated_at": "2026-03-27 00:09:24.579000"}, {"id": 165186, "accession_number": "2007.180", "share_license_status": "CC0", "tombstone": "Frogs and Lily Pads (Grenouilles et N\u00e9nuphars) Vase, 1909\u201312. Ren\u00e9 Lalique (French, 1860\u20131945). Glass; overall: 21 x 29.8 cm (8 1/4 x 11 3/4 in.). The Cleveland Museum of Art, John L. Severance Fund, 2007.180", "current_location": "221 19th Century Decorative Arts", "title": "Frogs and Lily Pads (Grenouilles et N\u00e9nuphars) Vase", "creation_date": "1909\u201312", "creation_date_earliest": 1909, "creation_date_latest": 1912, "artists_tags": ["male"], "culture": ["France, 20th century"], "technique": "glass", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Glass", "measurements": "Overall: 21 x 29.8 cm (8 1/4 x 11 3/4 in.)", "dimensions": {"overall": {"height": 0.21, "width": 0.298}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "\"R. Lalique\"", "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"}], "legacy": []}, "provenance": [{"description": "The Roger J. Mour\u00e9 Collection, (Phillips, New York, March 12, 1979, Lot 147).", "citations": [], "footnotes": null, "date": "before 1979", "sortorder": 1}, {"description": "The Frey Collection (Christie's, New York, June 10, 1988, Lot 51).", "citations": [], "footnotes": null, "date": "before 1988", "sortorder": 2}, {"description": "Tsuyoshi Kajikawa, Japan", "citations": [], "footnotes": null, "date": "1988-2006", "sortorder": 3}, {"description": "Collection of Tsuyoshi Kajikawa (Christie's, New York, 10 February 2006, Lot 94).", "citations": [], "footnotes": null, "date": "2006", "sortorder": 4}, {"description": "A Private Collection of G. Argy Rousseau and Rene Lalique Masters of French Design (Christie's, New York, 18 December 2006, Lot 415)", "citations": [], "footnotes": [], "date": "2006", "sortorder": 5}, {"description": "Mark Waller, Gallery Moderne, Piermont, New York.", "citations": [], "footnotes": null, "date": null, "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Ren\u00e9 Lalique placed little sheets of metal foil behind the applied green frogs to reflect a dark green tint back to the viewer.", "description": "This vase is an early example of French designer Ren\u00e9 Lalique's experimentation with producing artistic glass. Lalique combines applied, cast, and molded glass techniques to achieve an ethereal effect of a murky swamp, a typical Art Nouveau motif. Lily pads adorn the surface with green frogs perched on top.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60756278"], "internet_archive": []}, "citations": [{"citation": "Laurvik, J. Nilsen. <em>Rene\u0301 Lalique</em>. New York: Haviland &amp; Co., 1912.", "page_number": null, "url": null}, {"citation": "Dawes, Nicholas M. <em>Lalique Glass.</em> New York: Crown, 1986.", "page_number": null, "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=12081181"}, {"citation": "Rene\u0301 Lalique et cie, and Christie, Manson &amp; Woods International Inc.<em> Important Lalique Glass: The Frey</em> <em>Collection.</em> New York: Christie's, 1988.", "page_number": null, "url": null}, {"citation": "Marcilhac, Fe\u0301lix. <em>Rene\u0301 Lalique, 1860-1945, mai\u0302tre-verrier: analyse de l'\u0153uvre et catalogue raisonne\u0301. </em>Paris: Editions de l'Amateur, 2004.", "page_number": null, "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=54542455"}, {"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: p. 44, reproduced: cat. 151", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=230187932"}, {"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": "Reproduced & discussed: pp.  298-299", "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": "Reproduced & discussed: p. 145", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=857403600"}, {"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. 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/2007.180", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2007.180/2007.180_web.jpg", "width": "1191", "height": "893", "filesize": "460728", "filename": "2007.180_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2007.180/2007.180_print.jpg", "width": "3400", "height": "2550", "filesize": "3621476", "filename": "2007.180_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2007.180/2007.180_full.tif", "width": "5440", "height": "4080", "filesize": "66617332", "filename": "2007.180_full.tif"}}, "alternate_images": [{"date_created": "2007-09-13T13:08:07", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2007.180/2007.180_alt0_web.jpg", "width": "1191", "height": "893", "filesize": "449548"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2007.180/2007.180_alt0_print.jpg", "width": "3400", "height": "2550", "filesize": "3551213"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2007.180/2007.180_alt0_full.tif", "width": "5440", "height": "4080", "filesize": "66617416"}}, {"date_created": "2007-09-13T13:09:01", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2007.180/2007.180_alt1_web.jpg", "width": "1191", "height": "893", "filesize": "405784"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2007.180/2007.180_alt1_print.jpg", "width": "3400", "height": "2550", "filesize": "3061625"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2007.180/2007.180_alt1_full.tif", "width": "5440", "height": "4080", "filesize": "133203252"}}, {"date_created": "2007-09-13T13:12:34", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2007.180/2007.180_alt2_web.jpg", "width": "1191", "height": "893", "filesize": "437383"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2007.180/2007.180_alt2_print.jpg", "width": "3400", "height": "2550", "filesize": "3531020"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2007.180/2007.180_alt2_full.tif", "width": "5440", "height": "4080", "filesize": "66617140"}}, {"date_created": "2007-09-13T13:06:21", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2007.180/2007.180_alt3_web.jpg", "width": "1191", "height": "893", "filesize": "460089"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2007.180/2007.180_alt3_print.jpg", "width": "3400", "height": "2550", "filesize": "3621727"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2007.180/2007.180_alt3_full.tif", "width": "5440", "height": "4080", "filesize": "66618720"}}], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 165186, "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": "2007-09-05T00:00:00", "sortable_date": 1909, "date_added_to_oa": null, "date_text": "1909\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": true, "updated_at": "2026-03-27 00:06:58.443000"}, {"id": 170093, "accession_number": "2012.31", "share_license_status": "Copyrighted", "tombstone": "Evasion, 1947. Jared French (American, 1905\u20131988). Tempera on canvas mounted to panel; unframed: 54.5 x 29.2 x 0.7 cm (21 7/16 x 11 1/2 x 1/4 in.). The Cleveland Museum of Art, John L. Severance Fund, 2012.31", "current_location": "226B American Modern", "title": "Evasion", "creation_date": "1947", "creation_date_earliest": 1947, "creation_date_latest": 1947, "artists_tags": ["male", "LGBTQ+ (after 1900)"], "culture": ["America"], "technique": "tempera on canvas mounted to panel", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Unframed: 54.5 x 29.2 x 0.7 cm (21 7/16 x 11 1/2 x 1/4 in.)", "dimensions": {"unframed": {"height": 0.545, "width": 0.292, "depth": 0.007}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Inscribed upper left recto: \"Jared French\"\r\nInscribed verso: \"JARED FRENCH / egg yolk tempera / EVASION\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": [{"description": "<em>Annual Exhibition of Contemporary American Painting</em>. Whitney Museum of American Art, New York (December 6, 1947\u2013January 25, 1948).", "opening_date": "1947-12-06T00:00:00"}, {"description": "<em>Symbolic Realism in American Painting</em>. Institute of Contemporary Arts, London (July 18\u2013August 18, 1950).", "opening_date": "1950-07-18T00:00:00"}, {"description": "<em>Paintings and Drawings by Jared French.</em> Edwin Hewitt Gallery, New York (April 21\u2013May 12, 1955).", "opening_date": "1955-04-21T00:00:00"}, {"description": "<em>Jared French: Paintings and Drawings.</em> Robert Isaacson Gallery, New York (February 6\u201324, 1962).", "opening_date": "1962-02-06T05:00:00Z"}, {"description": "<em>An Exhibition of Contemporary Painting, Sculpture, and Graphic Art. </em>Academy Art Gallery, National Institute of Arts and Letters, New York ( March 3\u2013April 2, 1967).", "opening_date": "1967-03-03T00:00:00"}, {"description": "<em>Jared French: 25 Years of Paintings and Drawings from 1944 to 1969. </em>Banfer Gallery, New York (February 19\u2013March 8, 1969).", "opening_date": "1969-02-19T00:00:00"}, {"description": "<em>Close Encounters: The Art of Paul Cadmus, Jared French and George Tooker. </em>Midtown Galleries, New York (February 22\u2013April 7, 1990).", "opening_date": "1990-04-07T00:00:00"}, {"description": "<em>The Rediscovery of Jared French.</em> Midtown Payson Galleries, New York (April 21\u2013May 29, 1992); Mead Art Museum, Amherst College, MA (October 2\u2013November 29, 1992).", "opening_date": "1992-04-21T00:00:00"}, {"description": "<em>Villa America: American Moderns, 1900-1950.</em> Orange County Museum of Art, Newport Beach, CA (June 4\u2013October 2, 2005); Minneapolis Institute of Arts (December 4, 2005\u2013February 26, 2006); Marion Koogler McNay Art Museum, San Antonio, TX (March 15\u2013June 4, 2006); Pennsylvania Academy of the Fine Arts, Philadelphia (September 23\u2013December 31, 2006).", "opening_date": "2005-06-04T00:00:00"}]}, "provenance": [{"description": "Margaret French [1906-1998] (Midtown Payson Galleries, New York, NY, 1988, sold to Myron Kunin, 1991)", "citations": [], "footnotes": null, "date": "1988-1991", "sortorder": 1}, {"description": "Myron Kunin [1925-2013], Minneapolis, MN", "citations": [], "footnotes": ["<div><!--block-->Ownership variously listed under Regis Corporation Collection, Minneapolis; and Curtis Galleries, Minneapolis&nbsp;</div>"], "date": "1991-2011", "sortorder": 2}, {"description": "(Alexandre Fine Art, New York, NY, sold to Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "2011", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2012-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "French favored a form of tempera painting in which egg yolk is a primary ingredient.", "description": "French was well regarded during the 1940s and \u201950s as one of the most accomplished and fascinating magic realist painters. A still understudied group of artists, the magic realists revived painstaking old master techniques to make convincing their enigmatic images that address a wide range of personal and social concerns. Part of a series of works French made to chronicle the human condition, Evasion symbolizes an individual\u2019s attempt to deny the physical self. As such, the painting manifests tensions regarding sexual mores in mid 20th-century America. While it is reductive to attribute French\u2019s iconographic interest in Evasion solely to his bisexuality, the fact remains that French was one of the first American artists whose same-sex desires were recognized and acknowledged by contemporaries who viewed his work.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60480961"], "internet_archive": []}, "citations": [{"citation": "<em>Annual Exhibition of Contemporary American Painting</em>.New York: Whitney Museum of American Art, 1947.", "page_number": "Reproduced: p. 8", "url": null}, {"citation": "Kirstein, Lincoln. <em>Symbolic Realism in American Painting, 1940-1950. </em>London: Institute of Contemporary Arts, 1950.", "page_number": "Mentioned: p. 8", "url": null}, {"citation": "Munroe, Eleanor C. \"Jared French.\" <em>Art News</em> 54 (April 1955)", "page_number": "Mentioned: p. 47", "url": null}, {"citation": "Lonngren, Lillian. \"Jared French.\" <em>Art News</em> 61 (March 1962)", "page_number": "Mentioned: p. 14; Reproduced: p. 14", "url": null}, {"citation": "French, Jared \"Artists on their Art.\" <em>Art International</em> 12 (April 20, 1968)", "page_number": "Mentioned: p. 54", "url": null}, {"citation": "<em>Jared French: 25 Years of Paintings and Drawings from 1944 to 1969. </em>New York: Banfer Gallery, 1969.", "page_number": "Reproduced: p. 1-2", "url": null}, {"citation": "Berman, Greta, and Jeffrey Wechsler. Realism and Realities: The Other Side of American Painting, 1940-1960 : [Catalogue of an Exhibition Held at] Rutgers University Art Gallery, New Brunswick, New Jersey, January 17-March 26, 1982, Montgomery Museum of Fine Arts, Montgomery, Alabama, April 15-June 13, 1982, the Art Gallery, University of Maryland, College Park, Maryland, September 7-October 18, 1982. [New Brunswick, N.J.]: Rutgers University Art Gallery, 1982.", "page_number": "Reproduced: p. 96", "url": null}, {"citation": "Grimes, Nancy. \"Paul Cadmus, Jared French, George Tooker,\" <em>Art News</em> 89 (September 1990)", "page_number": "Reproduced: p. 159", "url": null}, {"citation": "French, Jared, and Jeffrey Wechsler. The Rediscovery of Jared French. New York: Midtown Payson Galleries, 1992.", "page_number": "Mentioned: p. 8, 14-15; Reproduced: p. 5", "url": null}, {"citation": "Grimes,Nancy. \"French's Symbolic Figuration,\" <em>Art in America</em> 80 (November 1992)", "page_number": "Mentioned: p. 114; Reproduced: p. 13", "url": null}, {"citation": "Grimes, Nancy, and Jared French. <em>Jared French's Myths</em>. San Francisco, Calif: Pomegranate Artbooks, 1993.", "page_number": "Reproduced: pl. 21", "url": null}, {"citation": "Lucie-Smith, Edward. <em>American Realism.</em> New York: Abrams, 1994.", "page_number": "Mentioned: p. 150-151; Reproduced: p. 150", "url": null}, {"citation": "Cole, Mark.\"Jared French (1905-1988),\" Ph.D. dissertation, University of Delaware, 1999.", "page_number": "Mentioned: 215, 269-270, 395; Reproduced: p. 513", "url": null}, {"citation": "\u014ce, Kenzabur\u014d. <em>Le jeu du si\u00e8cle. </em>Paris: Gallimard, 2000, illus. cover (detail).", "page_number": "Cover detail", "url": null}, {"citation": "Leddick, David.<em> Intimate Companions: A Triography of George Platt Lynes, Paul Cadmus, Lincoln Kirstein, and Their Circle</em>. New York: St. Martin's Press, 2000.", "page_number": "Mentioned: p. 223", "url": null}, {"citation": "Edgecombe, Rodney. \"Jared French's Iconic Enigmas,\"<em> The Gay and Lesbian Review</em> 11, July-August 2004.", "page_number": "Mentioned: p. 18", "url": null}, {"citation": "Armstrong, Elizabeth, and William C. Agee.<em> Villa America: American Moderns, 1900-1950.</em> Newport Beach, Calif: Orange County Museum of Art, 2005.", "page_number": "Mentioned: p. 29-30, 128; Reproduced: p. 30, 128", "url": null}, {"citation": "Panzetta, Alfonso.<em> Jared French by Jared French: 600 Opere indetite dal fondo italiano dell'artista. </em>Turin, Italy: Allemandi, 2010.", "page_number": "Mentioned: p. 25, 32-33, 134, 328, 350, 365; Reproduced: 134, 328", "url": null}, {"citation": "Litt, Steven. \"Museum's East Wing Quietly Reopens, Revealing Impressive Changes,\" <em>Plain Dealer</em>, August 18, 2012.", "page_number": "Mentioned: p. E3", "url": null}, {"citation": "Grant, Daniel. \"Museums by the Numbers: 2012 in Review,\" <em>Antiques and Fine Art </em>12 (Winter / Spring 2013)", "page_number": "Mentioned: p. 153", "url": null}, {"citation": "Cole, Mark. \"Acquistions 2012,\" <em>Cleveland Art</em> 53 (March / April 2013).", "page_number": "Mentioned: p. 22", "url": null}, {"citation": "<em>Artistic Excellence: Acquisitions 2012-14</em>. Cleveland Museum of Art, 2014.", "page_number": "Mentioned: p. 10, 49", "url": null}, {"citation": "Schreiber, Michael.<em>One-Man Show: The Life and Art of Bernard Perlin.</em> Berlin, Germany: Bruno Gmuender, 2016.", "page_number": "Mentioned: p. 67", "url": null}, {"citation": "Miller, Angela. \"Sinners all: the queer world of Paul Cadmus's seven deadly sins.\" <em>American Art</em> 36, no. 1 (Spring 2022): 111-136.", "page_number": "reproduced p.129; mentioned p.128-129", "url": ""}], "url": "https://clevelandart.org/art/2012.31", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Hammond Hemmelgarn Family Gallery", "athena_id": 170093, "creators": [{"id": 62312, "description": "Jared French (American, 1905\u20131988)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1905", "death_year": "1988", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2012-06-04T00:00:00", "sortable_date": 1947, "date_added_to_oa": null, "date_text": "1947", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:19.073000"}, {"id": 143656, "accession_number": "1968.110", "share_license_status": "Copyrighted", "tombstone": "Number 99, 1959\u201360. Morris Louis (American, 1912\u20131962). Acrylic resin (Magna) on canvas; unframed: 251.3 x 360.5 cm (98 15/16 x 141 15/16 in.). The Cleveland Museum of Art, Contemporary Collection of The Cleveland Museum of Art, 1968.110. \u00a9  Maryland Institute College of Art (MICA), Rights Administered by Artist Rights Society (ARS), New York, All Rights Reserved.", "current_location": "227 Abstract Expressionism", "title": "Number 99", "creation_date": "1959\u201360", "creation_date_earliest": 1959, "creation_date_latest": 1960, "artists_tags": ["male", "Jewish artists"], "culture": ["America"], "technique": "acrylic resin (Magna) on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Unframed: 251.3 x 360.5 cm (98 15/16 x 141 15/16 in.)", "dimensions": {"unframed": {"height": 2.513, "width": 3.605}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  Maryland Institute College of Art (MICA), Rights Administered by Artist Rights Society (ARS), New York, All Rights Reserved.", "inscriptions": [{"inscription": "written on back of stretcher (in pencil):  Louis 99", "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": 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": 444160, "title": "Morris Lewis: The Veil Cycle", "description": "<i>Morris Lewis: The Veil Cycle</i>. Walker Art Center, Minneapolis, MN (organizer) (February 6-March 27, 1977); Denver Art Museum, Denver, CO (April 15-May 29, 1977); Modern Art Museum of Fort Worth, Fort Worth, TX (June 19-July 31, 1977); Everson Museum of Art, Syracuse, NY (September 11-October 23, 1977); The Baltimore Museum of Art, Baltimore, MD (November 29, 1977-January 22, 1978).", "opening_date": "1977-02-06T05:00:00"}, {"id": 224241, "title": "Morris Louis Now: An American Master Revisited", "description": "<i>Morris Louis Now: An American Master Revisited</i>. High Museum of Art, Atlanta, GA (organizer) (October 28, 2006-January 21, 2007); Museum of Contemporary Art, San Diego, La Jolla, CA (February 10-May 6, 2007); Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC (September 19, 2007-January 6, 2008).", "opening_date": "2006-10-28T00:00:00"}], "legacy": [{"description": "High Museum of Art (10/28/2006 - 1/21/2007), Museum of Contemporary Art, San Diego (2/10/2007 - 5/6/2007), and the Hirshorrn Museum and Sculpture Garden, Washington, DC (9/19/2007 - 1/6/2008):  \"Morris Louis Now: An American Master Revisited\"", "opening_date": "2006-10-28T00:00:00"}]}, "provenance": [{"description": "(Park International, Inc., New York)", "citations": [], "footnotes": [], "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Astonishingly, Louis painted his large canvases in his modest 12 x 14-foot dining room.", "description": "Louis is associated with the Washington Color School, a group of painters based in Washington, DC, during the 1960s and '70s. These artists tended to create large colorful compositions with repeated shapes, often using diluted paint.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60469892"], "internet_archive": []}, "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. 204", "url": "https://archive.org/details/CMAHandbook1969/page/n228"}, {"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. 5", "url": "https://archive.org/details/20thCenturyArtCMA/page/n5"}, {"citation": "Henning, Edward B. \u201cMorris Louis, Number 99.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 56, no. 2 (February 1969): 81\u201387.", "page_number": "Mentioned and reproduced: p. 81-87, fig. 10", "url": "http://www.jstor.org/stable/25152259"}, {"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. 256", "url": "https://archive.org/details/CMAHandbook1978/page/n276"}], "url": "https://clevelandart.org/art/1968.110", "images": {}, "alternate_images": [], "creditline": "Contemporary Collection of The Cleveland Museum of Art", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Frank H. and Nancy L. Porter Gallery", "athena_id": 143656, "creators": [{"id": 3532, "description": "Morris Louis (American, 1912\u20131962)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1912", "death_year": "1962", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1969-01-22T00:00:00", "sortable_date": 1959, "date_added_to_oa": null, "date_text": "1959\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 00:02:18.820000"}, {"id": 173164, "accession_number": "2020.216", "share_license_status": "CC0", "tombstone": "Muse with Violin Screen, 1930. Paul Feh\u00e9r (American, born Hungary, 1898\u20131990), Rose Iron Works (America, Ohio, Cleveland, est. 1904). Steel, brass; silver and gold plating, cotton velveteen; overall: 156.2 x 156.2 cm (61 1/2 x 61 1/2 in.). The Cleveland Museum of Art, Leonard C. 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The Cleveland Museum of Art, Cleveland, OH (organizer) (April 22-June 1, 1930).", "opening_date": "1930-04-22T05:00:00"}, {"id": 311873, "title": "Transformations in Cleveland Art, 1796-1946", "description": "<i>Transformations in Cleveland Art, 1796-1946</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 19-July 21, 1996).", "opening_date": "1996-05-19T04:00:00"}, {"id": 177916, "title": "Burchfield to Schreckengost: Cleveland Art of the Jazz Age", "description": "<i>Burchfield to Schreckengost: Cleveland Art of the Jazz Age</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 28-July 18, 2004).", "opening_date": "2004-03-28T00:00:00"}, {"id": 200463, "title": "The Jazz Age: American Style in the 1920s", "description": "<i>The Jazz Age: American Style in the 1920s</i>. Cooper Hewitt, Smithsonian Design Museum, New York, NY (April 7-August 20, 2017); The Cleveland Museum of Art, Cleveland, OH (organizer) (September 30, 2017-January 14, 2018).", "opening_date": "2017-04-07T00:00:00"}, {"id": 681860, "title": "Rose Iron Works and Art Deco", "description": "<i>Rose Iron Works and Art Deco</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 6-October 19, 2025).", "opening_date": "2025-07-06T04:00:00"}], "legacy": [{"description": "<em>Third International Exhibition of Contemporary Industrial Art.</em> The Museum of Fine Arts, Boston, MA (October 15-November 10, 1930); The Metropolitan Museum of Art, New York, NY (December 1-28, 1930); The Art Institute of Chicago, IL (January 19-February 15, 1931); The Cleveland Museum of Art, Cleveland, OH (March 11-April 5, 1931).", "opening_date": "1930-10-15T05:00:00Z"}, {"description": "<em>American Art Deco.</em> Renwick Gallery of the Smithsonian Institution, National Museum of American Art, Washington, DC (April 17-July 26, 1987); The Center for Fine Arts, Miami, FL (September 26-November 11, 1987); Joslyn Museum of Art, Omaha, NE (November 28, 1987-January 17, 1988); Philbrook Museum of Art, Tulsa, OK (February 7-March 27, 1988); The Minnesota Museum of Art, St. Paul, MN (April 24-July 10, 1988).", "opening_date": "1987-04-17T00:00:00"}, {"description": "<em>The 1920s: Age of the Metropolis.</em> The Montreal Museum of Fine Arts, Montreal, Canada (June 20-November 10, 1991).", "opening_date": "1991-06-20T00:00:00"}]}, "provenance": [{"description": "(Rose Iron Works Collections, LLC, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": [], "date": "1930\u20132020", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2020\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": ["352.1996"], "did_you_know": null, "description": "Since the early years of the 20th century, the Rose Iron Works, a Cleveland supplier of architectural ornament, has produced distinguished metalwork. The company\u2019s founder, Martin Rose, was born in Austria-Hungary and studied ornamental metalsmithing in Vienna prior to immigrating to Cleveland in 1902. In the 1920s, he hired a talented young Parisian designer, Paul Feh\u00e9r, to work for the firm. Feh\u00e9r\u2019s designs, culminating in this massive screen, brought a modern European sensibility to the Rose Iron Works production. With its geometric patterning, highly stylized and abstracted natural forms, and the central figure reminiscent of the celebrated jazz singer Josephine Baker, this screen reflects the classic motifs of Art Deco design.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117230229"], "internet_archive": []}, "citations": [{"citation": "\"The New Industrial Arts of the World,\" <em>Arts and Decoration 34 </em>(January 1931).", "page_number": "Reproduced P. 58", "url": ""}, {"citation": "Duncan, Alistair. <em>American Art Deco</em> (New York: Abrams, 1986).", "page_number": "Mentioned, P. 99; reproduced, P. 96", "url": ""}, {"citation": "Claire, Jean, ed. <em>The 1920s: Age of the Metropolis, </em>exh. cat. (Montreal, Canada: Montreal Museum of Fine Arts, 1991).", "page_number": "Mentioned P. 202, 532; reproduced P. 200", "url": ""}, {"citation": "Robinson, William H., David Steinberg, and Cleveland Museum of Art. <em>Transformations in Cleveland Art, 1796-1946: Community and Diversity in Early Modern America.</em> Cleveland, Ohio: Cleveland Museum of Art: Distributed by Ohio University Press, 1996.", "page_number": "Reproduced: p. 162; Reproduced and Mentioned: p. 173, fig. 181; Mentioned: p. 249, no. 152", "url": null}, {"citation": "Robinson, William H., Kathleen McKeever, \"And All That Jazz\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 44 no. 05, May 2004", "page_number": "Mentioned & reproduced: p. 6", "url": "https://archive.org/details/CMAMM2004-05/page/n5"}, {"citation": "Channing, Laurence, \"Before Neo: The May Show\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 45 no. 07, September 2005", "page_number": "Mentioned & reproduced: p. 5", "url": "https://archive.org/details/CMAMM2005-07/page/4"}, {"citation": "Coffin, Sarah, Stephen Harrison, and Emily Marshall Orr<em>. The Jazz Age: American Style in the 1920s</em>. Cleveland, OH: The Cleveland Museum of Art, 2017.", "page_number": "Reproduced: cover, p. 173, fig. 216, mentioned, cat. 316, p. 359", "url": "https://ingallslibrary.on.worldcat.org/oclc/985455434"}, {"citation": "\"Exhibitions 2017.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 57, no. 1 (January/February 2017): 10-11.", "page_number": "Reproduced: p. 11", "url": "https://archive.org/details/CMAMM2017-01/page/n5/mode/2up"}, {"citation": "Fensom, Sarah E. \"All that Jazz.\" <em>Art &amp; Antiques</em> (Apr 2017): 80-87.", "page_number": "Reproduced: p. 86", "url": null}, {"citation": "Duncan, Alastair. <em>Art Deco Sculpture.</em> New York, New York: Thames and Hudson, 2016.", "page_number": "Reproduced: P. 174", "url": null}, {"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. 97, no. 7; 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Beijing World Art Museum (May 26-August 27, 2006); Mori Art Center (September 16-November 26, 2006); Seoul Art Center, South Korea (December 22, 2006-March 28, 2007); Seoul Olympic Museum of Art, South Korea (April 7-May 20, 2007); Vancouver Art Gallery, Vancouver, Canada (June 9-September 16, 2007); The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008); Frist Art Museum, Nashville, TN (February 15-June 1, 2008); Utah Museum of Fine Arts, Salt Lake City, UT (June 22-September 21, 2008); The Detroit Institute of Arts, Detroit, MI (October 12, 2008-January 18, 2009).", "opening_date": "2006-05-27T00:00:00"}, {"id": 227264, "title": "Mondrian / De Stijl ", "description": "<i>Mondrian / De Stijl </i>. Centre national d'art et de culture Georges Pompidou, Paris cedex O4, France (organizer) (December 1, 2010-March 21, 2011).", "opening_date": "2010-12-01T00:00:00"}, {"id": 200463, "title": "The Jazz Age: American Style in the 1920s", "description": "<i>The Jazz Age: American Style in the 1920s</i>. Cooper Hewitt, Smithsonian Design Museum, New York, NY (April 7-August 20, 2017); The Cleveland Museum of Art, Cleveland, OH (organizer) (September 30, 2017-January 14, 2018).", "opening_date": "2017-04-07T00:00:00"}, {"id": 361598, "title": "Mondrian and De Stijl", "description": "<i>Mondrian and De Stijl</i>. Museo Nacional Centro de Arte Reina Sof\u00cda, Madrid, Spain (organizer) (November 10, 2020-March 1, 2021) https://www.museoreinasofia.es/exposiciones/mondrian-stijl.", "opening_date": "2020-11-10T05:00:00"}], "legacy": [{"description": "Centre national d'art et de culture Georges Pompidou, Paris, France (12/1/2010 - 3/21/2011): \"Mondrian / De Stijl\"Mondrian\", p. 236.", "opening_date": "2010-12-01T00:00:00"}]}, "provenance": [{"description": "J. J. P. Oud, Wassenaar (1955).  (E. V. Thaw).", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The small strip of wood around the outside of the canvas, painted the same gray as the canvas surface, is Mondrian\u2019s original frame for the painting.", "description": "During the 1910s, Piet Mondrian\u2019s art progressed from Cubism to an increasingly abstract style based on the form of a grid. He completely abandoned the representation of natural appearances, limiting himself to horizontal and vertical rectangles and three primary colors (red, yellow, and blue) along with black and white. Intensely intellectual and deeply philosophical, Mondrian believed that following the devastation of World War I, such abstract compositions could contribute to a more harmonious society by communicating in a universal, visual language.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60469855"], "internet_archive": ["https://archive.org/details/clevelandart-1967.215-composition-with-red"]}, "citations": [{"citation": "Henning, Edward B. \u201cA Classic Painting by Piet Mondrian.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 55, no. 8 (October 1968): 241\u2013249.", "page_number": "Reproduced: Cover", "url": "http://www.jstor.org/stable/25152228"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 198", "url": "https://archive.org/details/CMAHandbook1969/page/n222"}, {"citation": "Cleveland Museum of Art. <em>Art of the Twentieth Century in the Cleveland Museum of Art</em>. Cleveland, OH: Dept. of Art History &amp; Education, CMA, 1969.", "page_number": "Mentioned and reproduced: p. 2", "url": "https://archive.org/details/20thCenturyArtCMA/page/n3"}, {"citation": "Kupka, Frank, Paul Klee, Larry Poons, Richard Hunt, and Edward B. Henning. \u201cA Group of Twentieth-Century Works of Art Recently Acquired.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 57, no. 4 (April 1970): 107\u2013126.", "page_number": "Mentioned and reproduced: p. 106-107, fig. 2", "url": "http://www.jstor.org/stable/25152324"}, {"citation": "Henning, Edward B. \u201cPablo Picasso: Bouteille, Verre, et Fourchette.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 59, no. 7 (September 1972): 195\u2013203.", "page_number": "Mentioned and reproduced: p. 199-201, fig. 14", "url": "http://www.jstor.org/stable/25152438"}, {"citation": "Henning, Edward B. \u201cPlanes, Structure, Color, and Content.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 61, no. 7 (September 1974): 223\u2013239.", "page_number": "Mentioned and reproduced: p . 230-231, fig. 15", "url": "http://www.jstor.org/stable/25152534"}, {"citation": "Diller, Burgoyne, Leon Polk Smith, and Edward B. Henning. \u201cTwo New Paintings in the Neo-Plastic Tradition.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 62, no. 4 (April 1975): 106\u2013119.", "page_number": "Mentioned and reproduced: p. 106-107, fig. 1", "url": "http://www.jstor.org/stable/25152584"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 249", "url": "https://archive.org/details/CMAHandbook1978/page/n269"}, {"citation": "Hinson, Tom E. \u201cRecent Paintings by Richard Diebenkorn and Jack Tworkov.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 67, no. 2 (February 1980): 31\u201340.", "page_number": "Mentioned and reproduced: p. 34", "url": "http://www.jstor.org/stable/25159661"}, {"citation": "Hinson, Tom E. \u201cEight New Photographs.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 68, no. 2 (February 1981): 51\u201362.", "page_number": "Mentioned and reproduced: p. 57, fig. 8", "url": "http://www.jstor.org/stable/25159712"}, {"citation": "Landau, Ellen G. \u201c\u2018Space and Pictorial Life\u2019 Hans Hofmann\u2019s \u2018Smaragd Red and Germinating Yellow.\u2019\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 72, no. 5 (September 1985): 310\u2013322.", "page_number": "Mentioned and reproduced: p. 320, fig. 18", "url": "http://www.jstor.org/stable/25159910"}, {"citation": "Henning, Edward B. <em>Creativity in Art and Science, 1860-1960.</em> [Cleveland, Ohio]: Published by the Cleveland Museum of Art in cooperation with Indiana University Press, 1987.", "page_number": "Mentioned and reproduced: P. 122, no. 30", "url": ""}, {"citation": "Neet, Jane. \u201cMondrian\u2019s \u2018Chrysanthemum.\u2019\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 74, no. 7 (September 1987): 282\u2013303.", "page_number": "Mentioned and reproduced: p. 283, fig. 1", "url": "http://www.jstor.org/stable/25159997"}, {"citation": "Foster, Carter, \"A Drawing by Myron Stout\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 42 no. 02, February 2002", "page_number": "Mentioned & reproduced: p. 6-7", "url": "https://archive.org/details/CMAMM2002-02/page/n5"}, {"citation": "Sims, Lowery Stokes. <em>The Persistence of Geometry: Form, Content, and Culture in the Collection of the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2006.", "page_number": "Mentioned and reproduced: P. 64-65, fig. 12", "url": ""}, {"citation": "Cleveland Museum of Art. <em>The CMA Companion: A Guide to the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2014.", "page_number": "Mentioned and reproduced: P. 300", "url": ""}, {"citation": "Gemeentemuseum ('s-Gravenhage). Mondriaan. 1955.", "page_number": null, "url": null}, {"citation": "Janssen, Hans. <em>Mondrian &amp; De Stijl</em>. Madrid: Museo Nacional Centro de Arte Reina Sofi\u0301a, 2020.", "page_number": "Reproduced: P. 163", "url": ""}, {"citation": "Park, J. P. \"Pastmodern: The Traditions of the Avant-Garde in Early Asian Art.\" <em>Transactions of the Oriental Ceramic Society</em> 87 (February 14, 2023): 43-57.", "page_number": "Mentioned and reproduced: p. 54 (fig. 13)", "url": ""}, {"citation": "Le\u0301al, Brigitte. <em>Mondrian.</em> Paris: Citadelles &amp; Mazenod, 2024.", "page_number": "Reproduced: p. 215, no. 224; Mentioned: p. 212", "url": ""}, {"citation": "Richardson, Margaret. <em>Global Modern Art: Europe, the Americas, Asia, and Africa. </em>New York: Routledge, Taylor &amp; Francis Group, 2026.", "page_number": "Mentioned and reproduced: p. 60-61, fig. 2.4", "url": ""}], "url": "https://clevelandart.org/art/1967.215", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1967.215/1967.215_web.jpg", "width": "887", "height": "900", "filesize": "230269", "filename": "1967.215_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1967.215/1967.215_print.jpg", "width": "3352", "height": "3400", "filesize": "2825926", "filename": "1967.215_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1967.215/1967.215_full.tif", "width": "9856", "height": "9998", "filesize": "295646980", "filename": "1967.215_full.tif"}}, "alternate_images": [{"date_created": "2005-09-26T19:24:23", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1967.215/1967.215_alt0_web.jpg", "width": "894", "height": "893", "filesize": "402726"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1967.215/1967.215_alt0_print.jpg", "width": "3400", "height": "3398", "filesize": "5153913"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1967.215/1967.215_alt0_full.tif", "width": "3846", "height": "3844", "filesize": "44381944"}}], "creditline": "Contemporary Collection of The Cleveland Museum of Art", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Michael J. Horvitz Family Gallery", "athena_id": 143278, "creators": [{"id": 3204, "description": "Piet Mondrian (Dutch, 1872\u20131944)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1872", "death_year": "1944", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1968-01-12T00:00:00", "sortable_date": 1927, "date_added_to_oa": null, "date_text": "1927", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:22.616000"}, {"id": 147975, "accession_number": "1974.71", "share_license_status": "Copyrighted", "tombstone": "Saint Catherine, early 1970s. Christian Goller (German, 1943\u20132017), imitator of Matthias Gr\u00fcnewald (German, c. 1480\u20131528). Oil on panel; framed: 129.5 x 68.6 cm (51 x 27 in.); unframed: 121.9 x 58.4 cm (48 x 23 in.). The Cleveland Museum of Art, The Cleveland Museum of Art (Study Collection), 1974.71", "current_location": null, "title": "Saint Catherine", "creation_date": "early 1970s", "creation_date_earliest": 1970, "creation_date_latest": 1974, "artists_tags": ["male"], "culture": ["Germany, style of 16th Century"], "technique": "oil on panel", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 129.5 x 68.6 cm (51 x 27 in.); Unframed: 121.9 x 58.4 cm (48 x 23 in.)", "dimensions": {"framed": {"height": 1.295, "width": 0.686}, "unframed": {"height": 1.219, "width": 0.584}}, "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": 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": 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": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Goller artificially aged this painting and used a 1500s wooden panel as the support so it would appear centuries older than it is.", "description": "This panel was formerly believed to be from a lost altarpiece by German artist Matthias Gr\u00fcnewald (c.1480\u20131528). Scientific analysis of the pigments revealed that it was painted in the 1900s by Christian Goller, an artist who specialized in works inspired by Medieval and Renaissance painters. Goller\u2019s use of traditional materials and techniques has led to the frequent misattribution of his artworks to various historical artists, including Gr\u00fcnewald, Lucas Cranach the Elder (1472\u20131533), and Albrecht D\u00fcrer (1471\u20131528). Goller often based his designs on surviving motifs by these artists; this <em>Saint Catherine</em>, for example, was derived from a drawing by Gr\u00fcnewald himself.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60472670"], "internet_archive": ["https://archive.org/details/clevelandart-1974.71-st-catherine"]}, "citations": [{"citation": "Cleveland Museum of Art, \u201cRecent Acquisition Press Release,\u201d September 17, 1974, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr2177"}, {"citation": "Lee, Sherman E. \u201cThe Year in Review for 1974.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 62, no. 3 (1975).", "page_number": "no. 48, p. 68", "url": "https://www.jstor.org/stable/25152580"}, {"citation": "Alsop, Joseph. <em>The Rare Art Traditions: The History of Art Collecting and Its Linked Phenomena Wherever These Have Appeared.</em> New York: Harper &amp; Row, 1982.", "page_number": "Reproduced: fig. 23", "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": "Mentioned: pp. 351-353; reproduced: p. 352", "url": null}], "url": "https://clevelandart.org/art/1974.71", "images": {}, "alternate_images": [], "creditline": "The Cleveland Museum of Art (Study Collection)", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 147975, "creators": [{"id": 449709, "description": "Christian Goller (German, 1943\u20132017)", "extent": null, "qualifier": null, "role": "artist", "biography": "German painter, born ca. 1943", "name_in_original_language": null, "birth_year": "1943", "death_year": "2017", "use_in_caption": true, "include_extent": true, "weight": 1}, {"id": 37852, "description": "Matthias Gr\u00fcnewald (German, c. 1480\u20131528)", "extent": null, "qualifier": "imitator of", "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1480", "death_year": "1528", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1974-08-09T00:00:00", "sortable_date": 1970, "date_added_to_oa": null, "date_text": "early 1970s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:02:07.406000"}, {"id": 127227, "accession_number": "1949.544", "share_license_status": "CC0", "tombstone": "Church Bells Ringing, Rainy Winter Night, December 1917. Charles Burchfield (American, 1893\u20131967). Watercolor and gouache over graphite on wove paper; sheet: 77.2 x 50 cm (30 3/8 x 19 11/16 in.); secondary support: 77.5 x 50 cm (30 1/2 x 19 11/16 in.). The Cleveland Museum of Art, Gift of Mrs. Louise M. Dunn in memory of Henry G. Keller, 1949.544", "current_location": null, "title": "Church Bells Ringing, Rainy Winter Night", "creation_date": "December 1917", "creation_date_earliest": 1917, "creation_date_latest": 1917, "artists_tags": ["May Show", "male", "Cleveland Institute of Art (alumni)"], "culture": ["America"], "technique": "watercolor and gouache over graphite on wove paper", "support_materials": [{"description": "two sheets (joined) of cream(2) wove paper, laid down on cardboard", "watermarks": []}], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Sheet: 77.2 x 50 cm (30 3/8 x 19 11/16 in.); Secondary Support: 77.5 x 50 cm (30 1/2 x 19 11/16 in.)", "dimensions": {"sheet": {"height": 0.772, "width": 0.5}, "secondary support": {"height": 0.775, "width": 0.5}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed, at lower right, in graphite: Chas E Burchfield / Dec. 1917", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 616515, "title": "Eighth Exhibition of Watercolors and Pastels", "description": "<i>Eighth Exhibition of Watercolors and Pastels</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 6-December 7, 1930).", "opening_date": "1930-11-06T00:00:00"}, {"id": 338899, "title": "New Accessions, USA, 1950", "description": "<i>New Accessions, USA, 1950</i>. Colorado Springs Fine Arts Center (July 2-September 4, 1950).", "opening_date": "1950-07-02T04:00:00"}, {"id": 311926, "title": "The Drawings of Charles E. Burchfield", "description": "<i>The Drawings of Charles E. Burchfield</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 4, 1953-January 10, 1954).", "opening_date": "1953-11-04T05:00:00"}, {"id": 301176, "title": "Charles Burchfield Retrospective Exhibition", "description": "<i>Charles Burchfield Retrospective Exhibition</i>. Whitney Museum of American Art (January 11-February 26, 1956); The Baltimore Museum of Art (March 14-April 22, 1956); Museum of Fine Arts, Boston (May 9-June 17, 1956); San Francisco Museum of Modern Art (July 11-August 19, 1956); Los Angeles County Museum of Art (September 5-October 14, 1956); The Phillips Collection (November 4-December 11, 1956); The Cleveland Museum of Art, Cleveland, OH (December 28, 1956-February 10, 1957).", "opening_date": "1956-12-28T05:00:00"}, {"id": 520118, "title": "The Decade of the Armory Show", "description": "<i>The Decade of the Armory Show</i>. Whitney Museum of American Art, New York, NY (organizer) (February 27-April 14, 1963).", "opening_date": "1963-02-27T05:00:00"}, {"id": 338891, "title": "The Decade of the Armory Show: New Directions in American Art, 1910-1920", "description": "<i>The Decade of the Armory Show: New Directions in American Art, 1910-1920</i>. Whitney Museum of American Art (February 27-April 14, 1963); Contemporary Art Museum St. Louis (June 1-July 14, 1963); The Cleveland Museum of Art (August 6-September 15, 1963); Pennsylvania Academy of Fine Arts, Museum of American Art (September 30-October 30, 1963); The Art Institute of Chicago (November 15-December 29, 1963); Buffalo AKG Art Museum (January 20-February 23, 1964).", "opening_date": "1963-02-27T05:00:00"}, {"id": 338888, "title": "The New Tradition: Modern Americans Before 1940", "description": "<i>The New Tradition: Modern Americans Before 1940</i>. Corcoran Gallery of Art (April 26-June 3, 1963).", "opening_date": "1963-04-26T05:00:00"}, {"id": 519722, "title": "The New Tradition: Modern Americans before 1940", "description": "<i>The New Tradition: Modern Americans before 1940</i>. Corcoran Gallery of Art, Washington, DC (organizer) (April 26-June 3, 1963).", "opening_date": "1963-04-26T05:00:00"}, {"id": 520217, "title": "Paintings by Charles Burchfield", "description": "<i>Paintings by Charles Burchfield</i>. Kansas City Art Institute, Kansas City, MO (organizer) (September 15-October 20, 1963).", "opening_date": "1963-09-15T04:00:00"}, {"id": 338885, "title": "Inaugural Exhibition", "description": "<i>Inaugural Exhibition</i>. Kemper Museum of Contemporary Art (organizer) (September 15-October 20, 1963).", "opening_date": "1963-09-15T04:00:00"}, {"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": 338585, "title": "Past and Present", "description": "<i>Past and Present</i>. Corcoran Gallery of Art, Washington, DC (April 14-September 15, 1966).", "opening_date": "1966-04-14T05:00:00"}, {"id": 338582, "title": "Pageant of Ohio Painters", "description": "<i>Pageant of Ohio Painters</i>. The Butler Institute of American Art (April 3-30, 1967).", "opening_date": "1967-04-03T05:00:00"}, {"id": 517431, "title": "Exhibition of Ohio Painters", "description": "<i>Exhibition of Ohio Painters</i>. The Butler Institute of American Art, Youngstown, OH (organizer) (April 4-30, 1967).", "opening_date": "1967-04-04T05:00:00"}, {"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": 338569, "title": "The Nature of Charles Burchfield: A Memorial Exhibition, 1893\u20131967, Paints, Drawings, Prints", "description": "<i>The Nature of Charles Burchfield: A Memorial Exhibition, 1893\u20131967, Paints, Drawings, Prints</i>. Munson Museum of Art, Utica, NY (organizer) (April 3-June 14, 1970).", "opening_date": "1970-04-03T05:00:00"}, {"id": 444839, "title": "Expo '74 International Exposition on the Environment: Our Land, Our Sky, Our Water", "description": "<i>Expo '74 International Exposition on the Environment: Our Land, Our Sky, Our Water</i>. World's Fair, Spokane, WA (organizer) (May 4-November 3, 1974).", "opening_date": "1974-05-04T04:00:00"}, {"id": 443959, "title": "The Natural Paradise: Painting in America 1800 - 1950", "description": "<i>The Natural Paradise: Painting in America 1800 - 1950</i>. The Museum of Modern Art, New York, NY (organizer) (September 29-November 30, 1976).", "opening_date": "1976-09-29T04:00:00"}, {"id": 309579, "title": "The Cleveland Institute of Art: 100 Years", "description": "<i>The Cleveland Institute of Art: 100 Years</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 22, 1982-January 30, 1983).", "opening_date": "1982-12-22T05:00:00"}, {"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": 309877, "title": "Nocturnal Impressions", "description": "<i>Nocturnal Impressions</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 20-May 12, 1985).", "opening_date": "1985-02-20T05:00:00"}, {"id": 338564, "title": "An American Visionary: Watercolors and Drawings of Charles E. Burchfield", "description": "<i>An American Visionary: Watercolors and Drawings of Charles E. Burchfield</i>. Currier Museum of Art; Berkshire Museum; Boston Athenaeum (March 20-May 16, 1986).", "opening_date": "1986-03-20T05:00:00"}, {"id": 338503, "title": "The Early Works of Charles E. Burchfield 1915-1921", "description": "<i>The Early Works of Charles E. Burchfield 1915-1921</i>. Columbus Museum of Art (December 13, 1987-February 7, 1988); Laguna Art Museum (March 5, 1998-April 24, 1988); Burchfield Penney Art Center (May 14-July 3, 1998).", "opening_date": "1987-12-13T05:00:00"}, {"id": 338490, "title": "Charles E. Burchfield: The Sacred Woods", "description": "<i>Charles E. Burchfield: The Sacred Woods</i>. The Drawing Center (June 12-July 30, 1993); Minnesota Museum of American Art (September 10-November 14, 1993); Burchfield Penney Art Center (December 11, 1993-February 6, 1994); Hunter Museum of American Art (April 3-May 22, 1994).", "opening_date": "1993-06-12T04:00:00"}, {"id": 311873, "title": "Transformations in Cleveland Art, 1796-1946", "description": "<i>Transformations in Cleveland Art, 1796-1946</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 19-July 21, 1996).", "opening_date": "1996-05-19T04:00:00"}, {"id": 338484, "title": "The Paintings of Charles Burchfield: North by Midwest", "description": "<i>The Paintings of Charles Burchfield: North by Midwest</i>. Columbus Museum of Art (March 25-May 19, 1997); Burchfield Penney Art Center (June 15-August 17, 1997); National Museum of American Art, Washington, DC (September 1, 1997-January 25, 1998).", "opening_date": "1997-03-25T05:00:00"}, {"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": 177916, "title": "Burchfield to Schreckengost: Cleveland Art of the Jazz Age", "description": "<i>Burchfield to Schreckengost: Cleveland Art of the Jazz Age</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 28-July 18, 2004).", "opening_date": "2004-03-28T00:00:00"}, {"id": 230346, "title": "Heat Waves in a Swamp: The Paintings of Charles Burchfield", "description": "<i>Heat Waves in a Swamp: The Paintings of Charles Burchfield</i>. Whitney Museum of American Art, New York, NY (June 23-October 17, 2010).", "opening_date": "2010-06-23T00:00:00"}, {"id": 313096, "title": "Charles Burchfield: The Ohio Landscapes, 1915\u20131920", "description": "<i>Charles Burchfield: The Ohio Landscapes, 1915\u20131920</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 22, 2018-May 5, 2019).", "opening_date": "2018-12-22T05:00:00"}, {"id": 439250, "title": "Charles E. Burchfield: A Lifetime of Themes", "description": "<i>Charles E. Burchfield: A Lifetime of Themes</i>. Burchfield Penney Art Center, Buffalo, NY (organizer) (December 10, 2021-May 1, 2022) https://burchfieldpenney.org/exhibitions/exhibition:11-13-2020-02-28-2021-charles-e-burchfield-a-lifetime-of-themes/.", "opening_date": "2021-12-10T05:00:00"}], "legacy": [{"description": "<em>Pioneers of Modern Art in America</em>. Whitney Museum of American Art, New York, NY (April 9 - May 19, 1946).", "opening_date": "1946-04-09T00:00:00"}, {"description": "<em>Romantic Painting in America</em>. Museum of Modern Art, New York, NY (November 17, 1943 - February 6, 1944).", "opening_date": "1943-11-17T00:00:00"}, {"description": "<em>Exhibition of Paintings by Charles Burchfield. </em>Cleveland School of Art, Cleveland, OH (April 20 - May 10, 1941).", "opening_date": "1941-04-20T00:00:00"}, {"description": "<em>Early Water Colors of Charles Burchfield</em>. Phillips Memorial Gallery (November 5, 1933 - February 15, 1934).", "opening_date": "1933-11-05T00:00:00"}, {"description": "<em>Charles Burchfield: Early Watercolors, 1916-1918</em>. Museum of Modern Art, New York (April 11 - April 26, 1930).", "opening_date": "1930-04-11T00:00:00"}]}, "provenance": [{"description": "Louise M. Dunn, Cleveland, OH, gift to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "?-1949", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1949-", "sortorder": 2}], "find_spot": null, "related_works": [{"id": 130711, "description": "Winter Night, 1917. Charles Burchfield (American, 1893\u20131967). Black ink, black crayon, and graphite on two sheets of butt-joined paper, lined; sheet: 27.7 x 24.8 cm (10 7/8 x 9 3/4 in.). The Cleveland Museum of Art, Norman O. Stone and Ella A. Stone Memorial Fund, 1953.428. Reproduced with permission from the Charles E. Burchfield Foundation", "relationship": null}], "former_accession_numbers": [], "did_you_know": "Salem's Baptist Church, a central feature of Burchfield's composition, has since been destroyed by fire.", "description": "Burchfield considered this drawing among the greatest accomplishments of his \u201cgolden year.\u201d This period followed a time of self-doubt and uncertainty: after graduating from the Cleveland School of Art, Burchfield enrolled in the National Academy of Design in New York City, but dropped out after one day, returning to Salem to work an office job. He painted inexhaustibly during his breaks and at night, depicting Salem and its environs in an increasingly abstract style.<br><br><em>Church Bells Ringing, Rainy Winter Night</em> shows the spire of Salem\u2019s Baptist church rising up between two houses. Burchfield hoped to express his powerful childhood fear of the bell\u2019s ominous ring\u2014which he described as \u201ca dull roar . . . dying slowly &amp; with a growl.\u201d Hearing it on stormy winter nights, he huddled in his bed and calmed himself by thinking of Christmas, a practice suggested by the tree visible through a window in the drawing. Burchfield carefully refined the composition throughout the sketches seen in this gallery.<br><br>The drawing\u2019s mood is conveyed through gray tones and the buildings\u2019 hulking forms. Burchfield also created a complex language of symbols entitled \u201cConventions for Abstract Thoughts,\u201d that recurred throughout his work and represented universal emotions. The hooked forms surrounding the tower stood for \u201cFear,\u201d for example, and the shapes of the houses\u2019 doors and windows symbolize \u201cMorbidness\u201d and \u201cEvil.\u201d Developed fully in this drawing, these symbols dominated Burchfield\u2019s work during the remaining several years he spent in Ohio.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780835"], "internet_archive": []}, "citations": [{"citation": "<em>Charles Burchfield: Early Watercolors 1916 to 1918</em>. Exh. Cat. New York: Museum of Modern Art, 1930.", "page_number": "Mentioned: p. 5-7, 11; Reproduced: plate 17", "url": null}, {"citation": "Burroughs, Alan. <em>Limners and Likenesses: Three Centuries of American Painting</em>. Cambridge, MA: Harvard University Press, 1936.", "page_number": null, "url": null}, {"citation": "Watson, Forbes. <em>American Painting Today</em>. Washington, D.C.: American Federation of Arts, 1939.", "page_number": null, "url": null}, {"citation": "<em>Exhibition of Paintings by Charles Burchfield</em>. Exh. Cat. Cleveland, OH: Cleveland School of Art, 1941.", "page_number": "Mentioned: no. 16", "url": null}, {"citation": "Soby, James Thrall and Dorothy C. Miller. <em>Romantic Painting in America</em>. Exh. Cat. New York: Museum of Modern Art, 1943.", "page_number": "Mentioned: p. 42, 102; Reproduced: p. 103", "url": null}, {"citation": "Soby, James Thrall. <em>Contemporary Painters</em>. New York: Museum of Modern Art, 1948.", "page_number": null, "url": null}, {"citation": "Francis, Henry S. \"'Church Bells Ringing: Rainy Winter Night' by Charles E. Burchfield.\" <em>Bulletin of the Cleveland Museum of Art </em>37, no. 2 (February 1950): 23-24, repr. on cover.", "page_number": "Mentioned: p. 23-24; Reproduced on cover", "url": null}, {"citation": "Baur, John Ireland Howe. \"Burchfield's Intimate Diaries.\" <em>Art News </em>54 (January 1956): 27 (repr.).", "page_number": "Mentioned and Reproduced: p. 27", "url": null}, {"citation": "Bauer, John I. H. <em>Charles Burchfield. </em>Exh. Cat. New York: Whitney Museum, 1956.", "page_number": "Mentioned: p. 16, no. 11; Reproduced: no. 11", "url": null}, {"citation": "Baur, John. \"Fantasy and Symbolism in Charles Burchfield's Early Watercolors.\" <em>Art Quarterly </em>19 (Spring 1956): 30-40", "page_number": "Mentioned: p. 36-37; Reproduced: p. 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. 556", "url": "https://archive.org/details/CMAHandbook1958/page/n104"}, {"citation": "<em>The Decade of the Armory Show: New Directions in American Art, 1910 - 1920</em>. Exh. Cat. New York: Whitney Museum of American Art, 1963.", "page_number": "Mentioned: no. 9; 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. 191", "url": "https://archive.org/details/CMAHandbook1966/page/n215"}, {"citation": "Curry, Larry. <em>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</em>. Exh. Cat. Los Angeles: Los Angeles County Museum of Art, 1968.", "page_number": "Mentioned: p. 15, no. 84; Reproduced", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 191", "url": "https://archive.org/details/CMAHandbook1969/page/n215"}, {"citation": "Trovato, Joseph S. <em>Charles Burchfield: Catalogue of Paintings in Public and Private Collections</em>. Utica: Munson-Williams-Proctor Institute, 1970.", "page_number": "Reproduced: p. 57; Mentioned: p. 70, no. 401", "url": null}, {"citation": "Hamilton, George Heard. <em>19th and 20th Century Art: Paintings, Sculpture, Architecture</em>. New York: Harry N. Abrams, 1970.", "page_number": "Mentioned and Reproduced: p. 303", "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. 303, fig. 281", "url": null}, {"citation": "Trovato, Joseph S. <em>The Nature of Charles Burchfield: A Memorial Exhibition, 1893\u20131967, Paints, Drawings, Prints</em>. Exh. Cat. Utica, NY: Museum of Art, Munson-Williams-Proctor Institute, 1970.", "page_number": "Mentioned: no. 77", "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: Cleveland Museum of Art, 1972.", "page_number": "Mentioned: p. 18-19; 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. 237", "url": "https://archive.org/details/CMAHandbook1978/page/n257"}, {"citation": "Melvin, Ronald McKnight. <em>Five American Masters of Watercolor</em>. Evanston, IL: Terra Museum of American Art, 1981.", "page_number": "Mentioned and Reproduced: p. 30", "url": null}, {"citation": "Baur, John I. H. <em>The Inlander: Life and Work of Charles Burchfield 1893-1967</em>. Newark: University of Delaware Press, 1984.", "page_number": "Mentioned: p. 73; Reproduced: p. 80", "url": null}, {"citation": "<em>The Early Works of Charles E. Burchfield, 1915-1921</em>. Exh. Cat. Columbus, Ohio: Columbus Museum of Art, 1987.", "page_number": "Reproduced: p. 10, 48; Mentioned: p. 67, no. 53", "url": null}, {"citation": "Appelhof, Ruth Ann, Barbara Haskell, and Jeffrey Russell Hayes. <em>The Expressionist Landscape: North American Modernist Painting, 1920-1947</em>. Exh. Cat. Birmingham, AL: Birmingham Museum of Art, 1988.", "page_number": "Mentioned and Reproduced: p. 68", "url": null}, {"citation": "<em>Handbook of the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 1991.", "page_number": "Mentioned and Reproduced: p. 146", "url": null}, {"citation": "Townsend, J. Benjamin, ed. <em>Charles Burchfield's Journals: The Poetry of Place</em>. Albany: State University of New York Press, 1993.", "page_number": "Mentioned: p. 18-19, 28 no. 18, 112 no. 15, 136 no. 38, 311 no. 20, 332, 410 no. 13, 437, 577; Reproduced: p. 19", "url": null}, {"citation": "Weekly, Nancy. <em>Charles E. Burchfield: The Sacred Woods</em>. Exh. Cat. Buffalo, NY: Burchfield Art Center, 1993.", "page_number": "Mentioned: p. 41-43, 115; Reproduced: p. 41", "url": null}, {"citation": "Robinson, William H., and David Steinberg. <em>Transformations in Cleveland Art, 1796-1946: Community and Diversity in Early Modern America</em>. Cleveland, Ohio: Cleveland Museum of Art, 1996.", "page_number": "Referenced: cat. no. 44, p. 88-89, 104n., 56, 245, Reproduced: fig. 87", "url": null}, {"citation": "Maciejunes, Nannette V., and Michael D. Hall. <em>The Paintings of Charles Burchfield: North by Midwest.</em> Exh. Cat. Columbus, OH: Columbus Museum of Art, 1997.", "page_number": "Mentioned: p. 113, 160-161, 264; Reproduced: p. 161", "url": null}, {"citation": "Maciejunes ,Nannette V., and Norine S. Hendricks. \"Nurturing His Muse: The Archives of Charles Burchfield's Creative Life.\" <em>American Art Journal </em>28, no. 1/2 (1997):", "page_number": "Reproduced: p. 32; Mentioned: p. 38", "url": null}, {"citation": "DeGrazia, Diane, and Carter E. Foster. <em>Master Drawings from the Cleveland Museum of Art</em>. Cleveland: The Cleveland Museum of Art, 2000.", "page_number": "Mentioned: p. 238-39, no. 100; Reproduced: p. 239", "url": null}, {"citation": "Udall, Sharyn Rohlfsen. <em>Carr, O'Keeffe, Kahlo: Places of Their Own</em>. New Haven: Yale University Press, 2000.", "page_number": "Mentioned and Reproduced: p. 156", "url": null}, {"citation": "Hunter, Sam, John M. Jacobus, and Daniel Wheeler. <em>Modern Art: Painting, Sculpture, Architecture</em>. New York: Harry N. Abrams, 2000.", "page_number": "Mentioned and reproduced: p. 256", "url": null}, {"citation": "Gober, Robert, Cynthia Burlingham, Dave Hickey, Tullis Johnson, and Nancy Weekly. <em>Heat Waves in a Swamp: The Paintings of Charles Burchfield</em>. Exh. Cat. Los Angeles: Hammer Museum, 2009.", "page_number": "Mentioned: p. 16, 18-19, 22, 26, 62 (repr.), 63, 162; Reproduced: p. 19", "url": null}, {"citation": "Duncan, Michael. <em>\"</em>Charles Burchfield: Into the Mystic.\" <em>Art in America</em> (February 2010): 94-101.", "page_number": "Mentioned and Reproduced: p. 98", "url": null}, {"citation": "Welchans, Roger Anthony, Elizabeth McClelland, and Douglas Max Utter. <em>Joseph McCullough: Remembrances</em>. Exh. Cat. Cleveland: Artists Archives of the Western Reserve, 2012.", "page_number": "Reproduced: p. 11", "url": null}, {"citation": "Burns, Sarah. \"'Better for Haunts': Victorian Houses and the Modern Imagination.\" <em>American Art</em> 26, no. 3 (2012): 2-25.", "page_number": "Mentioned and Reproduced: p. 13", "url": null}, {"citation": "Adams, Henry, and Lawrence Waldman. <em>Painting in Pure Color: Modern Art in Cleveland Before the Armory Show (1908-1913)</em>. Cleveland: Cleveland Artists Foundation, 2013.", "page_number": "Mentioned: pp. 9-10; Reproduced: p. 11", "url": null}, {"citation": "Weekly, Nancy and Audrey Lewis. <em>Exalted Nature: The Real and Fantastic World of Charles E. Burchfield.</em> Buffalo, NY: Burchfield Penney Art Center, SUNY Buffalo State, 2014.", "page_number": "Reproduced: p. 30, figure 15; Mention: p. 128", "url": null}, {"citation": "Cozzolino, Robert, et. al., eds. <em>World War I and American Art. </em>Philadelphia: Pennsylvania Academy of the Fine Arts, 2016.", "page_number": "Reproduced: p. 199, pl. 63", "url": null}, {"citation": "Salsbury, Britany. \u201cCharles Burchfield's Golden Year: A new exhibition examines the Ohio-born artist's symbolic landscapes.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>58, no. 6 (November/December 2018): 9.", "page_number": "Reproduced and Mentioned: P. 9", "url": "https://archive.org/details/CMAMM2018-06/page/n3/mode/2up"}, {"citation": "Weekly, Nancy, and Burchfield-Penney Art Center. <em>Charles E. Burchfield: A Lifetime of Themes</em>. Edited by Mariel Bard. Buffalo: Burchfield Penney Art Center, 2023.", "page_number": "Mentioned and reproduced: p. 46-47", "url": ""}], "catalogue_raisonne": "Straus 280; Trovato 401", "url": "https://clevelandart.org/art/1949.544", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1949.544/1949.544_web.jpg", "width": "587", "height": "900", "filesize": "199232", "filename": "1949.544_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1949.544/1949.544_print.jpg", "width": "2216", "height": "3400", "filesize": "1964637", "filename": "1949.544_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1949.544/1949.544_full.tif", "width": "5213", "height": "8000", "filesize": "125145560", "filename": "1949.544_full.tif"}}, "alternate_images": [{"date_created": "2009-03-12T17:40:06", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1949.544/1949.544_alt0_web.jpg", "width": "585", "height": "893", "filesize": "408960"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1949.544/1949.544_alt0_print.jpg", "width": "2227", "height": "3400", "filesize": "5513626"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1949.544/1949.544_alt0_full.tif", "width": "4285", "height": "6542", "filesize": "84133452"}}, {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1949.544/1949.544_alt1_web.jpg", "width": "572", "height": "893", "filesize": "398954"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1949.544/1949.544_alt1_print.jpg", "width": "984", "height": "1536", "filesize": "1128442"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1949.544/1949.544_alt1_full.tif", "width": "984", "height": "1536", "filesize": "4535988"}}], "creditline": "Gift of Mrs. Louise M. Dunn in memory of Henry G. Keller", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 127227, "creators": [{"id": 3989, "description": "Charles Burchfield (American, 1893\u20131967)", "extent": null, "qualifier": null, "role": "artist", "biography": "Charles Burchfield was among the most original and poetic painters of the Cleveland modernist movement. Born in Ashtabula, he moved to Salem, Ohio, following the death of his father in 1898. After graduating from high school, he attended Cleveland School of Art, studying with William Eastman, Frederick Gottwald, Henry Keller, and Frank Wilcox. In 1914 Burchfield began attending Kokoon Klub exhibitions, and in spring 1915 he went to Brandywine to meet William Sommer. Around this time Burchfild began experimenting with the brilliant colors and simplified forms of the Berlin Heights painters. He painted his first mature works in 1915, and grad ed from the Cleveland School of Art with a degree in illustration the following spring. That summer the Cleveland School of Art sponsored his first solo exhibition, and in the fall, after attending the National Academy of Design in New York for one month, he returned to Salem. In February 1917 the Cleveland School of Art mounted his second solo exhibition. Burchfield was inducted into the army that summer. After his return in 1919 he exhibited with other Cleveland modernists at the Play House, Laukhuff\u2019 s Book store, and other Cleveland venues. In 1921 he went on an extended sketching trip through eastern Ohio with Keller, Wilcox, and Paul Travis, exhibiting these recent paintings at the Cleveland School of Art and in the May Show at the Cleveland Museum of Art. Later that year he moved to Buffalo to work as a wallpaper designer, a position he retained until he resigned in 1929 to become a full-time painter. Over the next 30 years he exhibited extensively at museums and galleries across the country. Solo exhibitions of his paintings were held at New York\u2019s Museum of Modern Art (1930), Pittsburgh\u2019 s Carnegie Institute of Art (1935, 1938, 1946), and Buffalo\u2019 s Albright-Knox Art Gallery (1944, 1955, 1963, 1967). In 1953 New York\u2019s Whitney Museum of American Art organized a major exhibition that traveled to the Cleveland Museum of Art. Burchfield died in West Seneca, New York. <br>\"Transformations in Cleveland Art\" (CMA, 1996), p. 224", "name_in_original_language": null, "birth_year": "1893", "death_year": "1967", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1949-12-23T00:00:00", "sortable_date": 1917, "date_added_to_oa": null, "date_text": "December 1917", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": true, "updated_at": "2026-03-27 00:07:44.575000"}, {"id": 126059, "accession_number": "1948.28", "share_license_status": "Copyrighted", "tombstone": "Sunday Afternoon in the Country, 1917. Florine Stettheimer (American, 1871\u20131944). Oil on canvas; framed: 139 x 103.5 x 8.3 cm (54 3/4 x 40 3/4 x 3 1/4 in.); unframed: 128 x 92.5 cm (50 3/8 x 36 7/16 in.). The Cleveland Museum of Art, Gift of Ettie Stettheimer, 1948.28", "current_location": "226A American Modern", "title": "Sunday Afternoon in the Country", "creation_date": "1917", "creation_date_earliest": 1917, "creation_date_latest": 1917, "artists_tags": ["female", "Jewish artists"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 139 x 103.5 x 8.3 cm (54 3/4 x 40 3/4 x 3 1/4 in.); Unframed: 128 x 92.5 cm (50 3/8 x 36 7/16 in.)", "dimensions": {"framed": {"height": 1.39, "width": 1.035, "depth": 0.083}, "unframed": {"height": 1.28, "width": 0.925}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower left: \"19 FS 17 [FS in monogram]\"\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 520340, "title": "Florine Stettheimer: One Man Show", "description": "<i>Florine Stettheimer: One Man Show</i>. Durlacher Brothers, New York, NY (organizer) (October 29-November 23, 1963).", "opening_date": "1963-10-29T05:00:00"}, {"id": 443032, "title": "Florine Stettheimer: Still Lifes, Portraits, and Pageants, 1910-1942", "description": "<i>Florine Stettheimer: Still Lifes, Portraits, and Pageants, 1910-1942</i>. The Institute of Contemporary Art, Boston, Boston, MA (organizer) (March 4-April 27, 1980).", "opening_date": "1980-03-04T05:00:00"}, {"id": 232658, "title": "Florine Stettheimer", "description": "<i>Florine Stettheimer</i>. Lenbachhaus, M\u00fcnchen, Germany (organizer) (September 27, 2014-January 4, 2015).", "opening_date": "2014-09-27T00:00:00"}], "legacy": [{"description": "New York, The Museum of Modern Art, Florine Stettheimer (1946); traveled to Chicago, Arts Club (1947); to San Francisco, De Young Memorial Museum (1947); illus. plate 14, listed p. 54; ownership attributed to Durlacher Bros, New York.", "opening_date": "1946-01-01T00:00:00"}, {"description": "Detroit, Detroit Institute of Arts (3-27 April 1951), no catalogue but see Bulletin of the Detroit Institute of Arts (Annual Report, 1951-1952) vol. 31, no. 2, p. 29.", "opening_date": "1951-04-03T00:00:00"}, {"description": "New York, Durlacher Bros., Florine Stettheimer: One Man Show (29 October-23 November 1963).", "opening_date": "1963-10-29T00:00:00"}, {"description": "Boston, Institute of Contemporary Art, Florine Stettheimer: Still Lifes, Portraits and Pageants 1910 to 1942 (4 March-27 April 1980); traveled to San Antonio, TX, Marion Koogler McNay Art Institute (7 July-15 August 1980); to Poughkeepsie, NY, Vassar College Art Gallery (28 September-9 November 1980); illus. fig. 6, listed. cat. no. 8.", "opening_date": "1980-03-04T00:00:00"}, {"description": "New York, Whitney Museum of American Art, Florine Stettheimer: Manhattan Fantastica (13 July-5 November 1995) illus. p. 36; listed p. 138.", "opening_date": "1995-07-13T00:00:00"}, {"description": "Munich, Germany, Lenbachhaus, Florine Stettheimer (27 September 2014-1 April 2015).", "opening_date": "2014-09-27T00:00:00"}]}, "provenance": [{"description": "Ettie Stettheimer (Durlacher Brothers, New York), given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?\u20131948", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1948\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Although on her deathbed Florine Stettheimer instructed that all her paintings be destroyed, her family did not grant the wish.", "description": "Born into a cosmopolitan German-Jewish family, Florine Stettheimer hosted numerous gatherings for cutting-edge New York cultural figures. These events often provided subject matter for her paintings, as in this rendering of a weekend picnic held at her family\u2019s summer home on the banks of the Hudson River. In the background at the upper right, Stettheimer portrays herself working at her easel, recording the varied activities taking place. Dismissed as not being serious art in their day, almost all her paintings remained unsold when she died. Afterward, her sister Ettie\u2014seen here standing at lower left in a red coat\u2014donated many of them to selected museums, including this work.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60515579"], "internet_archive": []}, "citations": [{"citation": "Mulcahy, Susan, \"Why Were So Many Stettheimer Art Works Up for Sale? Not All Were Real,\" <em>New York Times</em>, February 7, 2021.<em><br></em>", "page_number": "P. C-1", "url": null}, {"citation": "\"Florine Stettheimer,\" <em>Artnews</em> 45 (November 1946).", "page_number": "Mentioned, p. 59.", "url": ""}, {"citation": "\"Part II. Annual Report Issue for the Year 1948.\" <em>The Bulletin of the Cleveland Museum of Art</em> 36, no. 6 (June 1949): 111-42.", "page_number": "Mentioned: P. 113", "url": "http://www.jstor.org/stable/25141566"}, {"citation": "Tyler, Parker. <em>Florine Stettheimer: A Life in Art.</em> New York: Farrar, Straus, 1963.", "page_number": "Reproduced: P. 34-36; Mentioned: P. 90, 131-134, 176", "url": null}, {"citation": "\"Reviews and Previews.\" <em>ARTnews </em>62, no. 8 (December 1963): 10-14, 50-58, 68.", "page_number": "Reproduced: P. 13", "url": null}, {"citation": "Cullinan, Helen. \"Art &amp; Artists: Brotherly Love for Sisters.\" <em>The Plain Dealer</em> (June 9, 1974): 16E.", "page_number": "Mentioned and reproduced: P. 16E", "url": null}, {"citation": "Nochlin, Linda. \u201cFlorine Stettheimer: Rococo Subversive.\u201d <em>Art in America</em> 68, no. 7 (September 1980): 64\u201383.", "page_number": "Reproduced: P. 71", "url": null}, {"citation": "Rosenblum, Naomi. <em>A World History of Photography.</em> New York, N.Y.: Abbeville Press, 1984.", "page_number": "Mentioned and reproduced: P. 507-508, fig. 653", "url": null}, {"citation": "Rosenblum, Naomi. <em>A World History of Photography</em>. New York: Abbeville Press, 1989.", "page_number": "Mentioned and reproduced: P. 507-508, fig. 653", "url": null}, {"citation": "Watson, Steven. <em>Strange Bedfellows: The First American Avant-Garde.</em> New York: Abbeville Press, 1991.", "page_number": "Reproduced: P. 119", "url": null}, {"citation": "Watson, Steven. \u201cThree Sisters.\u201d <em>Art &amp; Antiques</em> 9, no. 5 (May 1992): 60\u201367.", "page_number": "Reproduced: P. 65", "url": null}, {"citation": "Bloemink, Barbara J. <em>The Life and Art of Florine Stettheimer.</em> New Haven: Yale University Press, 1995.", "page_number": "Reproduced: P. 77, no. 46", "url": null}, {"citation": "Winkfield, Trevor. 1996. \u201cVery Rich Hours.\u201d <em>Art in America</em> 84 (July 1996): 64\u201369.", "page_number": "Reproduced: P. 67", "url": null}, {"citation": "Rosenblum, Naomi. <em>A World History of Photograph</em>y. New York: Abbeville Press, 1997.", "page_number": "Mentioned and reproduced: P. 508-509, fig. 653", "url": null}, {"citation": "Marquis, Alice Goldfarb. <em>Marchel Duchamp: The Bachelor Stripped Bare : a Biography</em>. Boston: MFA Publications, 2002.", "page_number": "Mentioned and reproduced: P. 117-118", "url": null}, {"citation": "Thum, Carol. \"Personal Favorite.\" <em>Cleveland Museum of Art </em>44, no. 5 (May 2004): 15.", "page_number": "Mentioned and reproduced: P. 15", "url": null}, {"citation": "Mu\u0308hling, Matthias, Karin Althaus, Susanne Bo\u0308ller, Gerrit Jackson, and Florine Stettheimer. <em>Florine Stettheimer</em>. Munich, Germany: Hirmer, 2014.", "page_number": "Mentioned and reproduced: P. 22-23, no. 11", "url": null}, {"citation": "Brown, Stephen, Georgiana Uhlyarik, Cecily Brown, and Jens Hoffmann. <em>Florine Stettheimer: Painting Poetry</em>. New Haven, CT: Yale University Press, 2017.", "page_number": "Reproduced: P. 105", "url": null}, {"citation": "Cristia, Cintia. \"Painting Jazz: Sound, Music, and Rhythm In the Work of Florine Stettheimer.\" In <em>Florine Stettheimer: New Directions in Multimodal Modernism</em>. Irene Gammel, and Suzanne Zelazo, 179-199. Toronto: Book*hug Press, 2019.", "page_number": "Mentioned and Reproduced: P. 187-188, fig. 9.3", "url": null}, {"citation": "Althaus, Karin, Florine Stettheimer, Susanne Bo\u0308ller, and Russell Stockman. Florine Stettheimer: the great masters of art. 2020, 22.", "page_number": "Reproduced; p. 22, fig 10.", "url": ""}], "url": "https://clevelandart.org/art/1948.28", "images": {}, "alternate_images": [], "creditline": "Gift of Ettie Stettheimer", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Dr. Robert B. Benyo Trust Gallery", "athena_id": 126059, "creators": [{"id": 3297, "description": "Florine Stettheimer (American, 1871\u20131944)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1871", "death_year": "1944", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1948-01-28T00:00:00", "sortable_date": 1917, "date_added_to_oa": null, "date_text": "1917", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:05.521000"}, {"id": 155510, "accession_number": "1990.23", "share_license_status": "CC0", "tombstone": "Headdress, early 1900s. 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>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 7-September 15, 1991).", "opening_date": "1991-06-07T04:00:00"}], "legacy": []}, "provenance": [{"description": "Pace Gallery, New York, NY", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "Private Collection", "citations": [], "footnotes": null, "date": null, "sortorder": 3}, {"description": "Entwistle and Co., Ltd., London, England, sold to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?\u20131990", "sortorder": 4}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1990\u2013", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The headdress represents a girl that evokes ideal female beauty and is ready for marriage. 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. New York: Oxford University Press, 2022.", "page_number": "Mentioned and reproduced: p. 220, no. 7.15", "url": ""}], "url": "https://clevelandart.org/art/1990.23", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1990.23/1990.23_web.jpg", "width": "632", "height": "893", "filesize": "298990", "filename": "1990.23_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1990.23/1990.23_print.jpg", "width": "2408", "height": "3400", "filesize": "4056238", "filename": "1990.23_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1990.23/1990.23_full.tif", "width": "4096", "height": "5784", "filesize": "71106856", "filename": "1990.23_full.tif"}}, "alternate_images": [{"date_created": "2009-10-26T18:25:57", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1990.23/1990.23_alt0_web.jpg", "width": "632", "height": "893", "filesize": "280547"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1990.23/1990.23_alt0_print.jpg", "width": "2405", "height": "3400", "filesize": "3879391"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1990.23/1990.23_alt0_full.tif", "width": "4096", "height": "5790", "filesize": "71180352"}}, {"date_created": "2009-10-26T18:27:14", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1990.23/1990.23_alt1_web.jpg", "width": "633", "height": "893", "filesize": "296390"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1990.23/1990.23_alt1_print.jpg", "width": "2410", "height": "3400", "filesize": "4015100"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1990.23/1990.23_alt1_full.tif", "width": "4096", "height": "5778", "filesize": "71033204"}}, {"date_created": "2009-10-26T18:28:47", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1990.23/1990.23_alt2_web.jpg", "width": "632", "height": "893", "filesize": "306445"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1990.23/1990.23_alt2_print.jpg", "width": "2408", "height": "3400", "filesize": "4200025"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1990.23/1990.23_alt2_full.tif", "width": "4096", "height": "5784", "filesize": "71106928"}}], "creditline": "Andrew R. and Martha Holden Jennings Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 155510, "creators": [], "legal_status": "accessioned", "accession_date": "1990-09-06T00:00:00", "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": ["Headdress of a Maiden"], "is_highlight": false, "updated_at": "2026-03-27 00:10:41.225000"}, {"id": 144558, "accession_number": "1969.22", "share_license_status": "Copyrighted", "tombstone": "Fan, Salt Box, Melon, 1909. Pablo Picasso (Spanish, 1881\u20131973). Oil on canvas; framed: 100.3 x 83.5 x 7.3 cm (39 1/2 x 32 7/8 x 2 7/8 in.); unframed: 81.3 x 64.2 cm (32 x 25 1/4 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1969.22. \u00a9 Estate of  Pablo Picasso / Artists Rights Society (ARS), New York", "current_location": "223 20th Century Avant-Garde", "title": "Fan, Salt Box, Melon", "creation_date": "1909", "creation_date_earliest": 1909, "creation_date_latest": 1909, "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: 100.3 x 83.5 x 7.3 cm (39 1/2 x 32 7/8 x 2 7/8 in.); Unframed: 81.3 x 64.2 cm (32 x 25 1/4 in.)", "dimensions": {"framed": {"height": 1.003, "width": 0.835, "depth": 0.073}, "unframed": {"height": 0.813, "width": 0.642}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of  Pablo Picasso / Artists Rights Society (ARS), New York", "inscriptions": [], "exhibitions": {"current": [{"id": 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": 442780, "title": "Pablo Picasso: A Retrospective", "description": "<i>Pablo Picasso: A Retrospective</i>. The Museum of Modern Art, New York, NY (organizer) (May 22-September 16, 1980).", "opening_date": "1980-05-22T04:00:00"}, {"id": 442181, "title": "The Essential Cubism", "description": "<i>The Essential Cubism</i>. Tate, London SW1P 4RG (organizer) (April 27-July 9, 1983).", "opening_date": "1983-04-27T04:00:00"}, {"id": 310025, "title": "Creativity in Art and Science, 1860-1960", "description": "<i>Creativity in Art and Science, 1860-1960</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 16-November 8, 1987).", "opening_date": "1987-09-16T04:00:00"}, {"id": 441650, "title": "Picasso und Braque: Die Geburt des Kubismus (Picasso & Braque: Pioneering Cubism)", "description": "<i>Picasso und Braque: Die Geburt des Kubismus (Picasso & Braque: Pioneering Cubism)</i>. Kunstmuseum Basel, Basel, Switzerland (organizer) (February 25-June 18, 1990).", "opening_date": "1990-02-25T05:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. Beijing World Art Museum (May 26-August 27, 2006); Mori Art Center (September 16-November 26, 2006); Seoul Art Center, South Korea (December 22, 2006-March 28, 2007); Seoul Olympic Museum of Art, South Korea (April 7-May 20, 2007); Vancouver Art Gallery, Vancouver, Canada (June 9-September 16, 2007); The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008); Frist Art Museum, Nashville, TN (February 15-June 1, 2008); Utah Museum of Fine Arts, Salt Lake City, UT (June 22-September 21, 2008); The Detroit Institute of Arts, Detroit, MI (October 12, 2008-January 18, 2009).", "opening_date": "2006-05-27T00:00:00"}, {"id": 444299, "title": "Path to Abstraction: Picasso, Braque, and Cubism\u2019s Impact on Modern Art - Reciprocal Loan", "description": "<i>Path to Abstraction: Picasso, Braque, and Cubism\u2019s Impact on Modern Art - Reciprocal Loan</i>. Arkansas Museum of Fine Arts, Little Rock, AR (organizer) (December 12, 2023-April 14, 2024) https://arkmfa.org/art/exhibitions/path-to-abstraction-picasso-braque-and-cubisms-impact-on-modern-art/.", "opening_date": "2023-12-09T05:00:00"}, {"id": 317581, "title": "Picasso and Paper", "description": "<i>Picasso and Paper</i>. The Cleveland Museum of Art, Cleveland, OH (co-organizer) (December 8, 2024-March 23, 2025).", "opening_date": "2024-12-08T05:00:00"}], "legacy": []}, "provenance": [{"description": "G. F. Reber [1880 \u2013 1959] Lausanne, Switzerland", "citations": [], "footnotes": [], "date": "1928", "sortorder": null}, {"description": "A. von Saher [1890-1996] Amsterdam, Netherlands", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "The Hyde Collection, Glens Falls, NY.", "citations": [], "footnotes": null, "date": "1948", "sortorder": 3}, {"description": "(Hirschl & Adler, New York, NY, 1969, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "-1969", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1969-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Picasso's Cubist compositions frequently feature fans.", "description": "One of Pablo Picasso\u2019s earliest Cubist paintings, this still life depicts a wooden salt box, a sliced melon in a crystal bowl, and a rumpled cloth resting on the table. A green fan is opened and propped against the wall, where it dissolves into faceted, geometric planes. While some objects are depicted from a frontal view, the table is tilted upright, as if seen from the ceiling, providing multiple simultaneous views of the scene, which became typical of Cubist works of art.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60470480"], "internet_archive": []}, "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. 196", "url": "https://archive.org/details/CMAHandbook1969/page/n220"}, {"citation": "Cleveland Museum of Art. <em>Art of the Twentieth Century in the Cleveland Museum of Art</em>. Cleveland, OH: Dept. of Art History &amp; Education, CMA, 1969.", "page_number": "Mentioned and reproduced: p. 2", "url": "https://archive.org/details/20thCenturyArtCMA/page/n3"}, {"citation": "Hennig, Edward B. \"Pablo Picasso: Fan, Salt Box, and Melon.\" <em>The Bulletin of the Cleveland Museum of Art </em>56, no. 8 (October 1969): 273-286.", "page_number": "Mentioned p. 278-286; Reproduced: cover and p. 273, fig. 1.", "url": "https://www.jstor.org/stable/25152288"}, {"citation": "\u201cAcquisitions by Museums of Works by Picasso: Supplement.\u201d <em>The Burlington Magazine </em>113, no. 823 (October 1971): 625-633.", "page_number": "Mentioned p. 625; Reproduced: p. 627, fig. 72.", "url": "https://www.jstor.org/stable/876779"}, {"citation": "Minervino, Fiorella. L<em>\u2019Opera Completa Di Picasso Cubista</em>. Milano: Rizzoli, 1972.", "page_number": "Mentioned and reproduced: p. 102-103, no. 311", "url": ""}, {"citation": "Henning, Edward B. \u201cPablo Picasso: Bouteille, Verre, et Fourchette.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 59, no. 7 (September 1972): 195\u2013203.", "page_number": "Mentioned and reproduced: p. 196-197, fig. 6", "url": "http://www.jstor.org/stable/25152438"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 242", "url": "https://archive.org/details/CMAHandbook1978/page/n262"}, {"citation": "Daix, Pierre. <em>Picasso, the Cubist Years, 1907-1916 : A Catalogue Raisonne\u0301 of the Paintings and Related Works. </em>Boston: New York Graphic Society, 1979.", "page_number": "Mentioned and reproduced, p. 249, no. 314.", "url": ""}, {"citation": "Henning, Edward B. \u201cTwo New Cubist Paintings by Juan Gris and Pablo Picasso.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 68, no. 2 (February 1981): 39\u201350.", "page_number": "Mentioned and reproduced: p. 38-39, fig. 1", "url": "http://www.jstor.org/stable/25159711"}, {"citation": "Cooper, Douglas and Gary Tinterow. <em>The Essential Cubism, 1907-1920 : Braque, Picasso &amp; Their Friends.</em> London: Tate Gallery, 1983.", "page_number": "Mentioned: p. 248; Reproduced: cat. 119, p. 249", "url": ""}, {"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. 112, no. 20", "url": ""}, {"citation": "Palau i Fabre, Josep. <em>Picasso Cubism (1907-1917)</em>. New York: Rizzoli, 1990.", "page_number": "Mentioned and reproduced: p.443-444, fig. 444 (as The Melon)", "url": ""}, {"citation": "Kosinski, Dorothy. \"G.F. Reber: collector of Cubism.\" <em>The Burlington Magazine </em>CXXXIII, no. 1061 (August 1991): 519-531.", "page_number": "Mentioned: p. 512", "url": "https://www.jstor.org/stable/884887"}, {"citation": "Boggs, Jean Sutherland, Brigitte Le\u0301al, and Marie-Laure Bernadac. <em>Picasso and Things: The Still Lifes of Picasso</em>. Cleveland: Cleveland Museum of Art, 1992.", "page_number": "Mentioned and reproduced: P. 80-81, no. 20", "url": ""}, {"citation": "Adrichem, Jan van. \"Collectors of Modern Art in Holland: Picasso as pars pro toto, 1920-40.\" <em>Simiolus: Netherlands Quarterly for the History of Art </em>22, no. 3 (1993-1994): 148-198.", "page_number": "Mentioned: p. 153; Reproduced: p. 154", "url": "https://www.jstor.org/stable/3780822"}, {"citation": "Adrichem, Jan van. <em>De ontvangst van de moderne kunst in Nederland 1910-2000: Picasso als pars pro toto</em>. Amsterdam, Netherlands: Prometheus, 2001.", "page_number": "Reproduced: p. 120", "url": null}, {"citation": "Staller, Natasha. <em>A Sum of Destructions: Picasso's Cultures &amp; the Creation of Cubism. </em>New Haven and London: Yale University Press, 2001", "page_number": "Mentioned p.214 and 217; Reproduced p.218, fig. 226", "url": ""}, {"citation": "Read, Peter. <em>Picasso &amp; Apollinaire: the persistence of memory</em>. Berkeley, CA: University of California Press, 2008.", "page_number": "Reproduced: p. 127, fig. 44", "url": null}, {"citation": "Mishory, Alec. <em>Still Life: From Represented Objects to Real Objects</em>. Israel: The Open University of Israel, 2009.", "page_number": "Reproduced: p. 13, vol. 2", "url": null}, {"citation": "Lopez, Jonathon. \"Hyde in Plain Sight.\" <em>Art &amp; Antiques</em> (September 2010): 49-50.", "page_number": "Mentioned and reproduced: p. 49-50", "url": null}, {"citation": "Philippot, Emelia. \"Cubism.\" In <em>Picasso and Paper</em>. William H. Robinson, et al., 118-145. London: Royal Academy of Arts, 2020.", "page_number": "Reproduced: P. 125, cat. no. 100", "url": ""}, {"citation": "Fisher, Frederick J. T<em>he Practice Run: How a Failed Art Heist Provided a Blueprint for the World\u2019s Largest Art Robbery. </em>Lanham, [Maryland]: Rowman &amp; Littlefield Publishers, 2025.", "page_number": "Mentioned: p. 24", "url": ""}], "catalogue_raisonne": "Zervos II. 189; Daix 314; Minervino 311", "url": "https://clevelandart.org/art/1969.22", "images": {}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Michael J. Horvitz Family Gallery", "athena_id": 144558, "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": "1969-01-22T00:00:00", "sortable_date": 1909, "date_added_to_oa": null, "date_text": "1909", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-04-03 13:35:09.016000"}, {"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": 162323, "accession_number": "2002.55", "share_license_status": "Copyrighted", "tombstone": "Le D\u00e9jeuner sur l'Herbre, 1944. Max Ernst (German, 1891\u20131976). Oil on canvas; framed: 87.3 x 171.1 x 5.7 cm (34 3/8 x 67 3/8 x 2 1/4 in.); unframed: 68 x 150 cm (26 3/4 x 59 1/16 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 2002.55. \u00a9 1944  Artists Rights Society (ARS), New York/ ADAGP, Paris", "current_location": "225 German Expressionism & Surrealism", "title": "Le D\u00e9jeuner sur l'Herbre", "creation_date": "1944", "creation_date_earliest": 1944, "creation_date_latest": 1944, "artists_tags": ["male"], "culture": ["Germany, 20th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 87.3 x 171.1 x 5.7 cm (34 3/8 x 67 3/8 x 2 1/4 in.); Unframed: 68 x 150 cm (26 3/4 x 59 1/16 in.)", "dimensions": {"framed": {"height": 0.873, "width": 1.711, "depth": 0.057}, "unframed": {"height": 0.68, "width": 1.5}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 1944  Artists Rights Society (ARS), New York/ ADAGP, Paris", "inscriptions": [{"inscription": "signed and dated lower right:  max ernst 44", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 205997, "title": "Max Ernst: A Retrospective", "description": "<i>Max Ernst: A Retrospective</i>. The Metropolitan Museum of Art, New York, NY (organizer) (April 4-July 10, 2005).", "opening_date": "2005-04-04T00:00:00"}, {"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"}], "legacy": [{"description": "<em>Max Ernst</em>. Julien Levy Gallery, New York City. (April 24 - May 8, 1944).", "opening_date": "1944-04-24T00:00:00"}, {"description": "<em>Max Ernst: Thirty Years of his Work, A Survey</em>. Copley Galleries, Beverly Hills, CA. (January 10 - February 20, 1949).", "opening_date": "1949-01-10T00:00:00"}, {"description": "<em>Max Ernst</em>. Galerie Ren\u00e9 Drouin, Paris, (1950).", "opening_date": "1950-01-01T00:00:00"}, {"description": "<em>Max Ernst, A Retrospective</em>. Solomon R. Guggenheim Museum, New York; Galeries Nationales du Grand Palais, Paris. (1975).", "opening_date": "1975-01-01T00:00:00"}, {"description": "<em>Max Ernst: Retrospektive</em>. Haus der Kunst, Munich. (1979).", "opening_date": "1979-01-01T00:00:00"}, {"description": "<em>Max Ernst. A Retrospective</em>. Tate Gallery, London. (1991).", "opening_date": "1991-01-01T00:00:00"}, {"description": "<em>Surrealism: Two Private Eyes, The Nesuhi and Daniel Filipacchi Collections</em>. Solomon R. Guggenheim Museum, New York. (1999).", "opening_date": "1999-01-01T00:00:00"}]}, "provenance": [{"description": "William N. Copley, New York, acquired from the artist (1948); (Sotheby, Parke-Bernet, NY, William N. Copley Collection, Nov. 5-6, 1979, no. 51.); (Sotheby, Parke-Bernet, NY, Julien Levy Collection, Nov. 5, 1979, no. 50. ??) Daniel Filipacchi, Paris/New York", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Scientific analysis of this painting shows that the black background was added last.", "description": "This painting depicts the remains of a picnic on a cloth and a bottle of wine abandoned on the grass. Painted during World War II while the artist was in exile in the United States, the fish out of water has been seen as a symbol of suffering and the scene itself as a poisoned paradise. At the left Max Ernst painted a chalkboard, similar to daily specials in French restaurants. The text satirically alludes to \u00c9douard Manet\u2019s <em>Le D\u00e9jeuner sur l\u2019Herbe (Luncheon on the Grass)</em>, 1863, a painting that shocked viewers when first exhibited but later became celebrated as an early example of modern art.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60478429"], "internet_archive": []}, "citations": [{"citation": "<em>Beyond Painting: And Other Writings. </em>Translated by Dorothea Tanning and Ralph Manheim. New York: Wittenborn, Schultz, 1948.", "page_number": "Reproduced: p. 97", "url": ""}, {"citation": "Schneede, Uwe M. <em>Max Ernst. </em>Translated by R. W. Last. New York: Praeger, 1972.", "page_number": "Reproduced: p. 183, no. 357", "url": ""}, {"citation": "<em>Max Ernst: A Retrospective</em>. New York: Solomon R. Guggenheim Museum, 1975.", "page_number": "Mentioned and reproduced: p. 198, no. 205", "url": ""}, {"citation": "Quinn, Edward. <em>Max Ernst</em>. Boston: New York Graphic Society, 1977.", "page_number": "Reproduced: p. 241, no. 283", "url": null}, {"citation": "Werner Spies, ed. <em>Max Ernst: Retrospektive 1979: [Ausstellung, Haus Der Kunst Mu\u0308Nchen 17. Februar Bis 29. April 1979, Nationalgalerie Berlin 10. Mai Bis 15. Juli 1979]: Katalog. </em>Mu\u0308nchen: Prestel-Verlag, 1979.", "page_number": "Mentioned and reproduced: p. 321, no. 274", "url": ""}, {"citation": "Gimferrer, Pere. <em>Max Ernst</em>. New York: Rizzoli, 1983.", "page_number": "Mentioned: p. 126; Reproduced: no. 111", "url": ""}, {"citation": "Spies, Werner, Sigrid Metken, and Gu\u0308nter Metken. <em>Max Ernst: Werke 1939-195</em>3. Houston Texas, Ko\u0308ln: Menil Foundation; M. DuMont Schauberg, 1987.", "page_number": "Mentioned: p. 82; Reproduced: no. 2459", "url": ""}, {"citation": "Werner Spies, ed. <em>Max Ernst, a Retrospective.</em> London: Tate Gallery in association with Prestel, 1991.", "page_number": "Reproduced: p. 240, no. 212", "url": ""}, {"citation": "Derenthal, Ludger, and Ju\u0308rgen Pech.<em> Max Ernst.</em> [Paris]: Nouvelles e\u0301ditions franc\u0327aises, 1992.", "page_number": "Mentioned and reproduced: p. 211, ill. 348", "url": ""}, {"citation": "Turpin, Ian, and Julian Stallabrass. <em>Ernst.</em> 2nd ed., rev. and enl. London: Phaidon Books, 1993.", "page_number": "Mentioned and reproduced: p. 106-107, no. 38", "url": ""}, {"citation": "Weisberger, Edward, and Solomon R. Guggenheim Museum. <em>Surrealism, Two Private Eyes: The Nesuhi Ertegun and Daniel Filipacchi Collections. </em>New York, N.Y.: Guggenheim Museum: Hardcover edition distributed by Harry N. Abrams, 1999.", "page_number": "Reproduced: p. 144-145, no. 84, Vol. I", "url": ""}, {"citation": "Cleveland Museum of Art, \u201cMax Ernst Painting Featured Among Cleveland Museum of Art\u2019s New Acquisitions,\u201d June 25, 2002, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr4457"}, {"citation": "Robinson, William H., and Margaret Burgess. \"Luncheon with Max.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 43, no. 1 (January 2003): 4-5.", "page_number": "Mentioned and reproduced: p. 4-5", "url": "https://archive.org/details/CMAMM2003-01/page/n3/mode/2up"}, {"citation": "Spies, Werner, Sabine Rewald, and Metropolitan Museum of Art (New York, N.Y.). Max Ernst : A Retrospective. New York, New Haven: Metropolitan Museum of Art ; Yale University Press, 2005.", "page_number": "Reproduced: p. 247, no. 143", "url": ""}, {"citation": "Russell, John. <em>Max Ernst: Life and Work.</em> New York: H.N. Abrams, 1967.", "page_number": "Reproduced: no. 88; Mentioned: p. 347", "url": ""}], "url": "https://clevelandart.org/art/2002.55", "images": {}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 162323, "creators": [{"id": 8694, "description": "Max Ernst (German, 1891\u20131976)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1891", "death_year": "1976", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2002-06-03T00:00:00", "sortable_date": 1944, "date_added_to_oa": null, "date_text": "1944", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Luncheon on the Grass"], "is_highlight": false, "updated_at": "2026-03-27 00:04:42.082000"}, {"id": 140001, "accession_number": "1963.673", "share_license_status": "CC0", "tombstone": "Imperial Red Cross Easter Egg, 1915. Peter Carl Faberg\u00e9 (Russian, 1846\u20131920), Henrik Wigstr\u00f6m (Russian, 1862\u20131923), House of Faberg\u00e9 (Russian, 1842\u20131918). Gold, silver gilt, enamel, glass, ivory; overall: 8.6 x 6.4 cm (3 3/8 x 2 1/2 in.). The Cleveland Museum of Art, The India Early Minshall Collection, 1963.673", "current_location": "211 Faberg\u00e9", "title": "Imperial Red Cross Easter Egg", "creation_date": "1915", "creation_date_earliest": 1915, "creation_date_latest": 1915, "artists_tags": ["male", "gender unknown"], "culture": ["Russia, St. Petersburg"], "technique": "gold, silver gilt, enamel, glass, ivory", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Miscellaneous", "measurements": "Overall: 8.6 x 6.4 cm (3 3/8 x 2 1/2 in.)", "dimensions": {"overall": {"height": 0.086, "width": 0.064}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed on interior of egg:  symbols for Alpha and Omega and imperial crown for Alexandra Feodorovna; 1915; inscriptions in Cyrillic, Old Church Slavonic, and Roman letters which identify Sts. Olga and Tatiana and presumably describe the central scene of the triptych.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Inscribed on silk velvet and satin lined case:  double-headed eagle, Faberg\u00e9, Petersburg, Moscow, London (all in Cyrillic on lining of case); 17.559, abbreviation for \"Red Cross\" (in Cyrillic in red ink on outside of case).", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Hallmarks: 72, Kokoshnik, lower case alpha in script [assay mark of St. Petersburg, 1908-26]; H.W. [initials of workmaster Henrik Wigstr\u00f6m]; Faberg\u00e9 (in Cyrillic).", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 520786, "title": "The Art of Carl Faberge", "description": "<i>The Art of Carl Faberge</i>. 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The Cleveland Museum of Art, Cleveland, OH (organizer) (March 26-October 17, 1993).", "opening_date": "1993-03-26T04:00:00"}, {"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"}, {"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": 231725, "title": "From Rublev to Faberg\u00e9: The Journey of Russian Art and Culture to America", "description": "<i>From Rublev to Faberg\u00e9: The Journey of Russian Art and Culture to America</i>. Museum & Gallery at Heritage Green, Greenville, SC (October 21, 2011-January 29, 2012).", "opening_date": "2011-10-21T00:00:00"}, {"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"}, {"id": 307265, "title": "The Last Tsar: Blood and Revolution", "description": "<i>The Last Tsar: Blood and Revolution</i>. Science Museum, London, London, United Kingdom of Great Britain and Northern Ireland (organizer) (September 20, 2018-March 24, 2019).", "opening_date": "2018-09-20T04:00:00"}, {"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": []}, "provenance": [{"description": "India Early Minshall [1885\u20131965], Cleveland, OH, bequest to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?-1963", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1963-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This egg was confiscated by the Bolsheviks during the Russian Revolution and sold by the government of Josef Stalin in the 1930s to raise money for the Soviet treasury.", "description": "The House of Faberg\u00e9 made two imperial Easter eggs in 1915 that honored the contributions of Tsarina Alexandra and her two eldest daughters, Olga and Tatiana, to the war effort as Red Cross Sisters of Mercy. Compared to other Faberg\u00e9 eggs elaborately ornamented with jewels, the eggs reflected the mood of austerity in Russia during World War I. This version becomes an icon when opened, revealing miniatures of the patron saints of the tsarina\u2019s daughters. After the Russian Revolution, this relic of the Tsarist past was sold by the Soviet government to raise needed cash for the treasury.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q2186008"], "internet_archive": ["https://archive.org/details/clevelandart-1963.673-imperial-red-cross-e"]}, "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. 30, cat. 11; Reproduced: p. 31.", "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, NY: Thames and Hudson, 1996.", "page_number": "Mentioned: pp. 23, 96-98, 115, cat. 99, 124; Reproduced: pp. 97, 115.", "url": "https://ingallslibrary.on.worldcat.org/oclc/34433639"}, {"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 and reproduced: pp. 216-217.", "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: pp. 53-54, 177; Reproduced: pp. 55, 177; p. 328 cat. 62.", "url": "https://ingallslibrary.on.worldcat.org/oclc/230187932"}, {"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 London: Scala Publishers, 2012.", "page_number": "Mentioned and reproduced: pp. 300-301.", "url": "https://ingallslibrary.on.worldcat.org/oclc/813973055"}, {"citation": "McFerrin, Dorothy and Tatiana. <em>Faberge\u0301. From a Snowflake to an Iceberg: The McFerrin Collection</em>. Houston, TX: McFerrin Foundation, 2013.", "page_number": "Reproduced: p. 153.", "url": "https://ingallslibrary.on.worldcat.org/oclc/946091271"}, {"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: Scala Arts Publishers, 2014.", "page_number": "Mentioned and reproduced: p. 147", "url": "https://ingallslibrary.on.worldcat.org/oclc/857403600"}], "url": "https://clevelandart.org/art/1963.673", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1963.673/1963.673_web.jpg", "width": "900", "height": "624", "filesize": "156248", "filename": "1963.673_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1963.673/1963.673_print.jpg", "width": "3400", "height": "2356", "filesize": "1155203", "filename": "1963.673_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1963.673/1963.673_full.tif", "width": "12742", "height": "8830", "filesize": "337563060", "filename": "1963.673_full.tif"}}, "alternate_images": [{"date_created": "2007-07-23T18:00:29", "annotation": "", "web": {"url": 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null, "role": "workmaster", "biography": "Workmaster for the House of Faberge based in St. Petersburg, Russia. Responsible for many of the imperial Easter eggs as well as enameled accessories and jewelry.", "name_in_original_language": null, "birth_year": "1862", "death_year": "1923", "use_in_caption": true, "include_extent": false, "weight": 2}, {"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": 3}], "legal_status": "accessioned", "accession_date": "1964-02-22T00:00:00", "sortable_date": 1915, "date_added_to_oa": null, "date_text": "1915", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": true, "updated_at": "2026-04-07 22:01:18.079000"}, {"id": 378677, "accession_number": "2021.102", "share_license_status": "Copyrighted", "tombstone": "Person, early 2000s. Suh Se Ok (Korean, 1929\u20132020). Ink on mulberry paper; paper: 130.5 x 139 cm (51 3/8 x 54 3/4 in.); framed: 146.3 x 155.5 x 6 cm (57 5/8 x 61 1/4 x 2 3/8 in.). The Cleveland Museum of Art, John L. Severance Fund, 2021.102. \u00a9 the Estate of Suh Se Ok. Courtesy Lehmann Maupin, New York, Hong Kong, and London", "current_location": "236 Korean", "title": "Person", "creation_date": "early 2000s", "creation_date_earliest": 2000, "creation_date_latest": 2004, "artists_tags": ["male", "Asian (from 1900 to present)"], "culture": ["Korea"], "technique": "Ink on mulberry paper", "support_materials": [], "department": "Korean Art", "collection": "Korean Art", "type": "Drawing", "measurements": "Paper: 130.5 x 139 cm (51 3/8 x 54 3/4 in.); Framed: 146.3 x 155.5 x 6 cm (57 5/8 x 61 1/4 x 2 3/8 in.)", "dimensions": {"framed": {"height": 1.463, "width": 1.555, "depth": 0.06}, "paper": {"height": 1.305, "width": 1.39}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 the Estate of Suh Se Ok. Courtesy Lehmann Maupin, New York, Hong Kong, and London", "inscriptions": [], "exhibitions": {"current": [{"id": 443874, "title": "Creating Urgency: Modern and Contemporary Korean Art", "description": "<i>Creating Urgency: Modern and Contemporary Korean Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 22-October 23, 2022).", "opening_date": "2022-04-22T04:00:00"}, {"id": 677112, "title": "Juxtaposition and Juncture in Korean Modern and Contemporary Art", "description": "<i>Juxtaposition and Juncture in Korean Modern and Contemporary Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 21, 2025-May 3, 2026).", "opening_date": "2025-03-21T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Lehmann Maupin Gallery, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "?\u20132021", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2021\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The artist's son, Do Ho Suh (\uc11c\ub3c4\ud638, b. 1962), is also an artist, who reinterprets Korea\u2019s traditional house or <em>hanok</em>, exploring the concept of home and space.", "description": "Starting in the 1960s, Suh Se Ok focused on dismantling the boundary between the abstract and the figurative, and calligraphy and drawing, as a way to reimagine the Korean ink-painting tradition, which often stresses figurative realism. To visualize the strong gestural movement delivered by a massive amount of ink, the artist dashed a large brush over a sheet of thick and fibrous Korean mulberry paper. Here, he transformed the ink into a colossal abstract symbol, which evokes two classical Chinese characters: big (\u5927) and person (\u4eba). Perhaps, the artist wanted to remind the viewer of monumental historical events achieved by everyday heroes.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117244528"], "internet_archive": []}, "citations": [{"citation": "\u201cInstallation. Creating Urgency: Modern and Contemporary Korean Art.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>62, no. 2 (2022): back cover.", "page_number": "Reproduced and Mentioned: Back cover.", "url": ""}], "url": "https://clevelandart.org/art/2021.102", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 378677, "creators": [{"id": 378678, "description": "Suh Se Ok (Korean, 1929\u20132020)", "extent": null, "qualifier": null, "role": "artist", "biography": "Korean painter and professor of art, who pioneered contemporary abstract ink painting on the basis of literati painting.", "name_in_original_language": "\uc11c\uc138\uc625", "birth_year": "1929", "death_year": "2020", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2021-06-07T00:00:00-04:00", "sortable_date": 2000, "date_added_to_oa": null, "date_text": "early 2000s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:05:17.512000"}, {"id": 128394, "accession_number": "1951.358", "share_license_status": "CC0", "tombstone": "Portrait of a Woman, c. 1917\u201318. Amedeo Modigliani (Italian, 1884\u20131920). Oil on canvas; framed: 94.6 x 77.5 x 6 cm (37 1/4 x 30 1/2 x 2 3/8 in.); unframed: 65 x 48.3 cm (25 9/16 x 19 in.). The Cleveland Museum of Art, Gift of the Hanna Fund, 1951.358", "current_location": "223 20th Century Avant-Garde", "title": "Portrait of a Woman", "creation_date": "c. 1917\u201318", "creation_date_earliest": 1917, "creation_date_latest": 1918, "artists_tags": ["male", "Jewish artists"], "culture": ["Italy, 20th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 94.6 x 77.5 x 6 cm (37 1/4 x 30 1/2 x 2 3/8 in.); Unframed: 65 x 48.3 cm (25 9/16 x 19 in.)", "dimensions": {"framed": {"height": 0.946, "width": 0.775, "depth": 0.06}, "unframed": {"height": 0.65, "width": 0.483}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed upper right: \"Modigliani\"", "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": 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": 442810, "title": "Modigliani Exhibition: Love and Nostalgia for Montparnasse", "description": "<i>Modigliani Exhibition: Love and Nostalgia for Montparnasse</i>. Daimaru Department Store Gallery, Tokyo, Tokyo, Japan (organizer) (September 13-October 16, 1979); Daimaru Department Store Gallery, Osaka, Osaka, Japan (October 25-November 6, 1979).", "opening_date": "1979-09-13T04:00:00"}, {"id": 442345, "title": "Modigliani", "description": "<i>Modigliani</i>. Saint Georges Gallery, Liege, Liege, Belgium (organizer) (October 17-December 14, 1980).", "opening_date": "1980-10-17T04:00:00"}, {"id": 223624, "title": "Modigliani and the Artists of Montparnasse", "description": "<i>Modigliani and the Artists of Montparnasse</i>. Buffalo AKG Art Museum, Buffalo, NY (organizer) (October 18, 2002-January 12, 2003); Kimbell Art Museum, Fort Worth, TX (February 8-May 25, 2003); Los Angeles County Museum of Art, Los Angeles, CA (June 28-September 28, 2003).", "opening_date": "2002-10-18T00:00:00"}, {"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": 524204, "title": "Amedeo Modigliani. A painter and his dealer", "description": "<i>Amedeo Modigliani. A painter and his dealer</i>. Mus\u00e9e de l'Orangerie, Paris, France (organizer) (September 19, 2023-January 15, 2024) https://www.musee-orangerie.fr/fr/agenda/expositions/amedeo-modigliani-un-peintre-et-son-marchand.", "opening_date": "2023-09-19T04:00:00"}], "legacy": [{"description": "<em>Old Masters of Modern Art</em>. The Hackley Art Gallery, Muskegon, MI, (October 6-November 17, 1958).", "opening_date": "1958-10-06T00:00:00"}]}, "provenance": [{"description": "(Galerie Paul Guillaume, Paris, France)", "citations": [], "footnotes": ["<div><!--block-->The label for Galerie Paul Guillaume is present on the back of the painting.&nbsp;</div><div><!--block--><br></div><div><!--block--><br></div>"], "date": "?", "sortorder": 1}, {"description": "Georges B\u00e9nard, Paris", "citations": [], "footnotes": ["<div><!--block-->Georges B\u00e9nard was a banker and collector of Impressionist works.</div>"], "date": "Until 1933", "sortorder": 2}, {"description": "(B\u00e9nard sale, H\u00f4tel Drouot, June 9, 1933 (no. 67), sold to G. Bernheim)", "citations": [], "footnotes": ["<div><!--block-->Vuillard's <em>Under the Trees</em> (CMA 1953.212) also appeared in the B\u00e9nard sale (no. 90).</div>"], "date": "1933", "sortorder": 3}, {"description": "Probably Georges Bernheim, Paris, France", "citations": [], "footnotes": ["<div><!--block-->Guy-Patrice Dauberville believes that \u201cG. Bernheim,\u201d the buyer at the 1933 sale, refers to Georges Bernheim, an art dealer who operated a gallery separate from that of his cousin, Josse and Gaston Bernheim-Jeune.&nbsp; Georges Bernheim\u2019s gallery had closed by the early 1950s.&nbsp; A sale of Bernheim\u2019s collection on June 7, 1935 does not include the Cleveland picture.&nbsp; It also does not appear among the list of works confiscated from Bernheim\u2019s collection by the Einsatzstab Reichsleiter Rosenberg, although a list of works seized from his collection provided by Bernheim to French authorities in 1946 suggests a number of confiscated artworks were not recorded by the ERR.&nbsp; The Cleveland picture has also not been located in any other databases or lists of confiscated works.&nbsp; &nbsp;</div>"], "date": "1933-", "sortorder": 4}, {"description": "(C\u00e9sar de Hauke, Paris, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "Until 1951", "sortorder": 5}, {"description": "The Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1951-", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Modigliani drew and painted from an early age; when he was 11 years old, his mother predicted that he would become an artist.", "description": "Born to a Sephardic Jewish family in Livorno, Italy, Amedeo Modigliani studied briefly in Florence and Venice before moving to Paris in 1906 where he became a key member of the avant-garde art world. His portraits, known for their subtle color and elegantly elongated forms, chronicle the lives of fellow artists and poets, although the woman in this painting remains unidentified.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60515878"], "internet_archive": ["https://archive.org/details/clevelandart-1951.358-portrait-of-a-woman"]}, "citations": [{"citation": "Ho\u0302tel Drouot. T<em>ableaux modernes, aquarelles, gouaches, pastels</em>. June 9, 1933.", "page_number": null, "url": null}, {"citation": "Ho\u0302tel Drouot. T<em>ableaux modernes, aquarelles, gouaches, pastels</em>. June 9, 1933.", "page_number": null, "url": null}, {"citation": "Margaret Burgess, letter to Guy-Patrice Dauberville, Nov. 12, 2003, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "<br>Guy-Patrice Dauberville, letter to Margaret Burgess, Jan. 20, 2004, in CMA curatorial file.  <br><br><ul><li><br></li></ul>", "page_number": null, "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. 44", "url": "https://archive.org/details/CMAPaintings1952"}, {"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. 520", "url": "https://archive.org/details/CMAHandbook1958/page/n96"}, {"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": "Reproduced: p. 9: Mentioned: p. 29", "url": null}, {"citation": "Lanthemann, J. <em>Modigliani, 1884-1920, catalogue raisonne\u0301; sa vie, son oeuvre complet, son art</em>. Barcelona, Spain: Gra\u0301ficas Condal, 1970.", "page_number": "Mentioned: p. 121; Reproduced: p. 215, pl. 207", "url": null}, {"citation": "Sakai, Tadayasu, and Toshio Yamanashi. <em>Modiriani Ten</em>. Tokyo, Japan: Mainichi Shinbunsha, 1979.", "page_number": "Reproduced: p. 53; Mentioned: p. 107-108", "url": null}, {"citation": "Wayne, Kenneth, and Amedeo Modigliani. <em>Modigliani &amp; the Artists of Montparnasse</em>. New York, NY: Harry N. Abrams in association with the Albright-Knox Art Gallery, Buffalo, NY, 2002.", "page_number": "Reproduced: no. 23, p. 100", "url": null}, {"citation": "<em>Picasso, Ingres: Paris, Muse\u0301e Picasso, 16 mars-21 juin 2004 : Montauban, Mus\u0301ee Ingres, 8 juillet-3 octobre 2004</em>. Paris, France: Re\u0301union des muse\u0301es nationaux, 2004.", "page_number": "Mentioned: p. 83", "url": null}, {"citation": "Calvo Serraller, Francisco. <em>Picasso : tradicio\u0301n y vanguardia : gui\u0301a antolo\u0301gica de la exposicio\u0301n, Museo Nacional del Prado, Madrid, del 6 de junio al 3 de septiembre de 2006</em>. Madrid, Spain: Fundacio\u0301n Amigos del Museo del Prado, 2006.", "page_number": "Mentioned and reproduced: p. 104-109", "url": null}, {"citation": "Fraquelli, Simonetta, and Ce\u0301cile Girardeau, eds. <em>Modigliani: Un Peintre et Son Marchand</em>. Paris: Flammarion: Muse\u0301e de l\u2019Orangerie, 2023.", "page_number": "Mentioned and reproduced: p. 118-119, no. 78", "url": ""}, {"citation": "<em>Modigliani: A Painter and His Art Dealer, </em>edited by Simonetta Fraquelli and C\u00e9cile Girardeau. Paris: \u00c9ditions Flammarion: Mus\u00e9e de l\u2019Orangerie, 2023.", "page_number": "Reproduced: p. 119, fig. 78", "url": ""}], "url": "https://clevelandart.org/art/1951.358", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1951.358/1951.358_web.jpg", "width": "663", "height": "893", "filesize": "429858", "filename": "1951.358_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1951.358/1951.358_print.jpg", "width": "2523", "height": "3400", "filesize": "6941767", "filename": "1951.358_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1951.358/1951.358_full.tif", "width": "4165", "height": "5612", "filesize": "70152596", "filename": "1951.358_full.tif"}}, "alternate_images": [], "creditline": "Gift of the Hanna Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Michael J. Horvitz Family Gallery", "athena_id": 128394, "creators": [{"id": 2145, "description": "Amedeo Modigliani (Italian, 1884\u20131920)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1884", "death_year": "1920", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1951-08-09T00:00:00", "sortable_date": 1917, "date_added_to_oa": null, "date_text": "c. 1917\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": true, "impression": null, "alternate_titles": ["Portrait of a Girl"], "is_highlight": false, "updated_at": "2026-03-27 00:02:30.419000"}, {"id": 161701, "accession_number": "2000.65", "share_license_status": "Copyrighted", "tombstone": "New Year's Eve in New York City (Jazz Bowl), 1931. Viktor Schreckengost (American, 1906\u20132008), made by Cowan Pottery Studio (America, Rocky River, Ohio, 1920\u20131931). Glazed ceramic with sgraffito design; overall: 28.6 x 41.3 cm (11 1/4 x 16 1/4 in.). The Cleveland Museum of Art, John L. Severance Fund, 2000.65", "current_location": null, "title": "New Year's Eve in New York City (Jazz Bowl)", "creation_date": "1931", "creation_date_earliest": 1931, "creation_date_latest": 1931, "artists_tags": ["male", "Cleveland Institute of Art (faculty)", "Cleveland School", "May Show", "Cleveland Institute of Art (alumni)"], "culture": ["America, Ohio, Cleveland"], "technique": "glazed ceramic with sgraffito design", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Ceramic", "measurements": "Overall: 28.6 x 41.3 cm (11 1/4 x 16 1/4 in.)", "dimensions": {"overall": {"height": 0.286, "width": 0.413}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 189020, "title": "Viktor Schreckengost and 20th-century Design", "description": "<i>Viktor Schreckengost and 20th-century Design</i>. The Cleveland Museum of Art (organizer) (November 12, 2000-February 4, 2001).", "opening_date": "2000-11-12T00:00:00"}, {"id": 177916, "title": "Burchfield to Schreckengost: Cleveland Art of the Jazz Age", "description": "<i>Burchfield to Schreckengost: Cleveland Art of the Jazz Age</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 28-July 18, 2004).", "opening_date": "2004-03-28T00:00:00"}, {"id": 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": 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"}, {"id": 521173, "title": "Egyptomania: Fashion\u2019s Conflicted Obsession", "description": "<i>Egyptomania: Fashion\u2019s Conflicted Obsession</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 1, 2023-January 28, 2024).", "opening_date": "2023-04-01T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Cincinnati Art Galleries, June 3, 2000, Lot 143, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "2000", "sortorder": 1}, {"description": "Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "2000-?", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The blue-black color scheme of this bowl references ancient Egyptian ceramic glazes in the same palette made popular after King Tut's tomb was discovered in 1922.", "description": "The first Jazz Bowl (location unknown) was commissioned around 1930 by Eleanor Roosevelt when her husband was governor of New York. She allegedly requested a design that reflected the exciting nightlife of New York City. A young Viktor Schreckengost had just begun his career at the Cowan Pottery Studio in Rocky River, Ohio, when he was given the task of expressing the jazzy pulse of the times in clay. Cowan liked the design so much that a small edition of similar bowls was put in production. The bowl's design was created by scratching through a thin covering of black clay (called slip) to reveal the white ceramic underneath. After the bowl was fired once, it was covered with a rich glaze of Egyptian blue and fired again for the final time.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79984765"], "internet_archive": []}, "citations": [{"citation": "Basset, Mark and Naumann, Victoria. <em>Cowan Pottery and the Cleveland School</em>. Atglen: Schiffer Publishing Ltd., 1997. pp. 189.", "page_number": "", "url": ""}, {"citation": "Ostergard, Derek. <em>Art Deco Masterpieces</em>. New York: Hugh Lauter Levin Associates, Inc., 1991. p. 44.", "page_number": "", "url": ""}, {"citation": "Landau, Diana. <em>Ohio: The Spirit of America</em>. New York: Harry N. Abrams, Inc., Publishers, 2001. pp. 83.", "page_number": "", "url": ""}, {"citation": "Adams, Henry. \u201cViktor Schreckengost at 99.\u201d <em>Modernism</em>, Vol. 8, No. 3 (Fall 2005): 74-5.", "page_number": "", "url": ""}, {"citation": "Sotheby's. <em>Important 20th Century Design</em>. December 18, 2004. Sotheby's: New York, December 18, 2024. Lot 695.", "page_number": "", "url": ""}, {"citation": "Pulsone, Maria et al. <em>Collecting American Decorative Arts and Sculpture (1971\u20131991). </em>Boston: The Museum of Fine Arts, 1991. pp. 23, 64.", "page_number": "", "url": ""}, {"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": "Adams, Henry. \"Master of Design.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 40, no. 9 (November 2000): 4-5.", "page_number": "Mentioned and reproduced: p. 5, Cover", "url": "https://archive.org/details/CMAMM2000-09/page/4/mode/2up"}, {"citation": "Adams, Henry. <em>Viktor Schreckengost and 20th-Century Design</em>. Cleveland, OH: Cleveland Museum of Art, 2000.", "page_number": "Mentioned and reproduced: cover, pp. 88-95, 165, cat. no. 128", "url": null}, {"citation": "Landau, Diana. <em>Ohio: The Spirit of America. </em>New York: Harry N. Abrams, 2001.", "page_number": "Mentioned: p. 83; reproduced: pp. 7, 83", "url": null}, {"citation": "Robinson, William H., Kathleen McKeever, \"And All That Jazz\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 44 no. 05, May 2004", "page_number": "Mentioned & reproduced: p. 4-5", "url": "https://archive.org/details/CMAMM2004-05/page/n3"}, {"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: pp. 124-5", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=294879034"}, {"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 and reproduced: pp. 312-3", "url": null}, {"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 and reproduced: pp. 148-9", "url": null}, {"citation": "Bassett, M., et. al. \"Learning by Doing: The Evolution of Viktor Schreckengost's Jazz Series.\" <em>Journal of the American Art Pottery Association</em> 33, no. 4 (Autumn 2017): [12]-28.", "page_number": "Reproduced: p. 14, fig. 1, right; p. 16, fig, 3, left; p. 23, fig. 17, above; p. 26, fig. 23, below", "url": null}, {"citation": "Coffin, Sarah, Stephen Harrison, and Emily Marshall Orr. <em>The Jazz Age: American Style in the 1920s</em>. Cleveland, OH: The Cleveland Museum of Art, distributed by New Haven, CT: Yale University Press, 2017.", "page_number": "Reproduced: pp. XII, 154; mentioned: pp. 155, 362, cat. 334", "url": null}, {"citation": "\"Discovery through Design.\" <em>American Fine Art Magazine </em>65 (Sept/Oct 2022): 72-73.", "page_number": "Reproduced: P. 72", "url": ""}], "url": "https://clevelandart.org/art/2000.65", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": "8d6f131290c7478195fe9fd0571c06fc", "sketchfab_url": "https://sketchfab.com/models/8d6f131290c7478195fe9fd0571c06fc", "gallery_donor_text": null, "athena_id": 161701, "creators": [{"id": 18616, "description": "Viktor Schreckengost (American, 1906\u20132008)", "extent": null, "qualifier": null, "role": "designer", "biography": null, "name_in_original_language": null, "birth_year": "1906", "death_year": "2008", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 681237, "description": "Cowan Pottery Studio (America, Rocky River, Ohio, 1920\u20131931)", "extent": "made by", "qualifier": null, "role": "maker", "biography": "The Cowan Pottery Studio was founded by R. Guy Cowan in Lakewood, Ohio, United States in 1912. It moved to Rocky River, Ohio in 1920, and operated until 1931, when the financial stress of the Great Depression resulted in its bankruptcy. Cowan Pottery produced both artistic and commercial work in a variety of styles influenced by the Arts and Crafts Movement, Art Deco, Chinese ceramics, and modern sculpture. <br> <br>During its two decades of operation, a number of well-known Cleveland School artists worked with Cowan at the studio: Elizabeth Anderson, Arthur Eugene Baggs, Alexander Blazys, Paul Bogatay, Edris Eckhardt, Waylande Gregory, A. Drexler Jacobson, Raoul Josset, Paul Manship, Jos\u00e9 Martin, Herman Matzen, F. Luis Mora, Elmer L. Novotny, Margaret Postgate, Stephen Rebeck, Guy L. Rixford, Viktor Schreckengost, Elsa Vick Shaw, Walter Sinz, Frank N. Wilcox, H. Edward Winter, and Thelma Frazier Winter. With the exception of Guy Cowan, himself, Waylande Gregory designed more pieces for the pottery than anyone else. Among Cowan's finest pieces were three limited edition figures relating to dance, including \"Salome\" (1928), \"The Nautch Dancer,\" (1930), and \"The Burlesque Dancer,\" (1930). For the last two, Gregory made sketches from the side of the stage of the well-known Ziegfeld Follies star, Gilda Grey, when she was performing in Cleveland.", "name_in_original_language": null, "use_in_caption": true, "include_extent": true, "weight": 2}], "legal_status": "accessioned", "accession_date": "2000-06-03T00:00:00-04:00", "sortable_date": 1931, "date_added_to_oa": null, "date_text": "1931", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": true, "updated_at": "2026-04-07 22:03:05.107000"}, {"id": 142662, "accession_number": "1966.385", "share_license_status": "Copyrighted", "tombstone": "Pilgrim, 1957. David Smith (American, 1906\u20131965). Steel; overall: 206.9 cm (81 7/16 in.). The Cleveland Museum of Art, Contemporary Collection of The Cleveland Museum of Art, 1966.385. \u00a9  The Estate of David Smith / Licensed by VAGA at Artists Rights Society (ARS), NY", "current_location": "227 Abstract Expressionism", "title": "Pilgrim", "creation_date": "1957", "creation_date_earliest": 1957, "creation_date_latest": 1957, "artists_tags": ["male"], "culture": ["America"], "technique": "steel", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Sculpture", "type": "Sculpture", "measurements": "Overall: 206.9 cm (81 7/16 in.)", "dimensions": {"overall": {"height": 2.069}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  The Estate of David Smith / Licensed by VAGA at Artists Rights Society (ARS), NY", "inscriptions": [], "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": 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": 220726, "title": "The Fields of David Smith (Part II)", "description": "<i>The Fields of David Smith (Part II)</i>. Storm King Art Center, Mountainville, NY (May 1-November 1, 1998).", "opening_date": "1998-05-01T00:00:00"}], "legacy": [{"description": "Allen Memorial Art Museum, Oberlin, 1958: \"Sculpture 1950-1958,\" Allen Memorial Art Museum Bulletin, XV (Winter 1958), p. 83, illus.", "opening_date": "1958-10-01T04:00:00Z"}, {"description": "Museum of Modern Art, NY, 1957: \"David Smith\"", "opening_date": "1957-01-01T00:00:00"}, {"description": "Sao Paulo Biennial, 1959", "opening_date": "1959-01-01T00:00:00"}, {"description": "Fogg Art Museum, Harvard University, 1966: \"David Smith, 1906-1965: A Retrospective Exhibition,\" cat. #332, also to Washington Gallery of Modern Art, 1967", "opening_date": "1966-09-01T04:00:00Z"}, {"description": "Museum of Contemporary Art, Los Angeles, CA: Individuals: A Selected History of Contemporary Art, 1945-1986, December 6, 1986-June 10, 1987.", "opening_date": "1986-12-06T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The teenaged David Smith took a correspondence course in cartooning with the Cleveland School (now Institute) of Art.", "description": "A former automobile assembly line worker, Smith welded locomotives and tanks for a manufacturer during World War II. Perhaps not surprisingly, he adopted industrial materials and techniques throughout his career as a sculptor. Regarding his preferred medium, Smith stated, \"The material called iron or steel I hold in high respect . . .The metal itself possesses little art history. What associations it possesses are those of this century: power, structure, movement, progress, suspension, destruction, brutality.\"", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80042581"], "internet_archive": []}, "citations": [{"citation": "Smith, Rebecca, Candida N. Smith, Michael Brenson, Sarah Hamill, Marc-Christian Roussel, Tracee Ng, and David Smith. David Smith Sculpture : A Catalogue Raisonn\u00e9, 1932-1965. Edited by Christopher Lyon and Susan J. Cooke. [New York, NY]: The Estate of David Smith, 2021.", "page_number": "Vol. 1, mentioned, p. 362; reproduced, pp. 45, 117, 150; Vol. 3, mentioned, pp. 130-31; reproduced, p. 131.", "url": ""}, {"citation": "Hamilton, Chloe and Forbes Whiteside, \"\"Sculpture 1950\u20131958,\" <em>Allen Memorial Art Museum Bulletin</em> 15 (Winter 1958).", "page_number": "Mentioned, p. 61; reproduced, unpaginated [p. 83].", "url": ""}, {"citation": "Henning, Edward B. \u201cTwo New Contemporary Sculptures.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 54, no. 7 (September 1967): 219\u2013227.", "page_number": "Mentioned and reproduced: p. 223-225, fig. 5", "url": "http://www.jstor.org/stable/25152168"}, {"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. 201", "url": "https://archive.org/details/CMAHandbook1969/page/n225"}, {"citation": "Cleveland Museum of Art. <em>Art of the Twentieth Century in the Cleveland Museum of Art</em>. Cleveland, OH: Dept. of Art History &amp; Education, CMA, 1969.", "page_number": "Mentioned and Reproduced: p. 4", "url": "https://archive.org/details/20thCenturyArtCMA/page/n5"}, {"citation": "Cleveland Museum of Art, Gabriel P. Weisberg, H. W. Janson, and Case Western Reserve University. <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, 1975.", "page_number": "Reproduced: p. 139; Mentioned: p. 144, no. 118", "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. 253", "url": "https://archive.org/details/CMAHandbook1978/page/n273"}, {"citation": "Henning, Edward B. <em>Creativity in Art and Science, 1860-</em>1960. [Cleveland, Ohio]: Published by the Cleveland Museum of Art in cooperation with Indiana University Press, 1987.", "page_number": "Mentioned and reproduced: P. 135, no. 46", "url": ""}, {"citation": "Smith, Candida N., David Smith, Irving Sandler, Mark Di Suvero, Jerry L. Thompson, and Storm King Art Center. <em>The Fields of David Smith.</em> Mountainville, N.Y., New York, N.Y.: Storm King Art Center; Thames &amp; Hudson, 1999.", "page_number": "Mentioned: p. 143", "url": ""}, {"citation": "Brenson, Michael. <em>David Smith: The Art and Life of a Transformational Sculptor. </em>First edition. New York: Farrar, Straus and Giroux, 2022.", "page_number": "Mentioned, p. 496", "url": ""}], "url": "https://clevelandart.org/art/1966.385", "images": {}, "alternate_images": [], "creditline": "Contemporary Collection of The Cleveland Museum of Art", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Frank H. and Nancy L. Porter Gallery", "athena_id": 142662, "creators": [{"id": 3959, "description": "David Smith (American, 1906\u20131965)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1906", "death_year": "1965", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1967-01-30T00:00:00", "sortable_date": 1957, "date_added_to_oa": null, "date_text": "1957", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:57.052000"}, {"id": 150934, "accession_number": "1982.341", "share_license_status": "Copyrighted", "tombstone": "Bracelet and Anklet, before 1927. Africa, West Africa, Liberia, Dan-style blacksmith. Copper alloy; part 1: 16 x 14.2 cm (6 5/16 x 5 9/16 in.); part 2: 14.1 x 11.7 cm (5 9/16 x 4 5/8 in.). The Cleveland Museum of Art, Gift of Willett Rankin Wilson, in memory of Audley R. and Edna Moore Wilson, 1982.341", "current_location": "108A African", "title": "Bracelet and Anklet", "creation_date": "before 1927", "creation_date_earliest": 1920, "creation_date_latest": 1927, "artists_tags": [], "culture": ["Africa, West Africa, Liberia, Dan-style blacksmith"], "technique": "Copper alloy", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Jewelry", "measurements": "Part 1: 16 x 14.2 cm (6 5/16 x 5 9/16 in.); Part 2: 14.1 x 11.7 cm (5 9/16 x 4 5/8 in.)", "dimensions": {"part 1": {"width": 0.16, "depth": 0.142}, "part 2": {"width": 0.141, "depth": 0.117}}, "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": 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": "Collected by Willett Rankin Wilson in Liberia, 197/28", "citations": [], "footnotes": ["<div><!--block-->Memorandum from Virginia Crawford to Dr. Lee, 12-8-82, curatorial file</div>", "<div><!--block-->Letter from Willett R. Wilson to Virginia Crawford, 12-20-82, curatorial file</div>"], "date": "1927/28", "sortorder": 1}, {"description": "Willett Rankin Wilson, Lyndhurst, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1927/28\u20131982", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": ["<div><!--block-->The Bulletin of the Cleveland Museum of Art, 1984, p. 76<br><br></div><div><!--block--><br>,</div>"], "date": "1982\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "From 1822 to 1847, the American Colonization Society colonized what became Liberia. Americo-Liberians (Congau) ruled until 1980. However, blacksmiths generally sourced brass for jewelry making from kettles or bullets brought by nearby French colonials from the 1890s onward.", "description": "Copper alloy bracelets and anklets historically signified a woman\u2019s married status. They were bonded to her in life and removed following death. A blacksmith cast these heavy adornments. Given their weight, their owner couldn\u2019t do domestic or farm work, showing others her privilege as a member of the elite leisure class. Slowed by this jewelry, her movements sent bells jingling in the hollow balls. Following a 1930s economic collapse, women stopped wearing the bracelets to take part in manual labor. At the same time, a national decree outlawed them; many were melted down.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79933956"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1982.341", "images": {}, "alternate_images": [], "creditline": "Gift of Willett Rankin Wilson, in memory of Audley R. and Edna Moore Wilson", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 150934, "creators": [], "legal_status": "accessioned", "accession_date": "1983-03-07T00:00:00", "sortable_date": 1920, "date_added_to_oa": null, "date_text": "before 1927", "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 00:07:52.046000"}, {"id": 87250, "accession_number": "2026.1", "share_license_status": "Copyrighted", "tombstone": "The Plaid Dress, 1926. Pierre Bonnard (French, 1867\u20131947). Oil on canvas; unframed: 77.2 x 46.4 cm (30 3/8 x 18 1/4 in.). The Cleveland Museum of Art, Gift of Nancy F. and Joseph P. Keithley, 2026.1. \u00a9  Artists Rights Society (ARS), New York", "current_location": "223 20th Century Avant-Garde", "title": "The Plaid Dress", "creation_date": "1926", "creation_date_earliest": 1926, "creation_date_latest": 1926, "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: 77.2 x 46.4 cm (30 3/8 x 18 1/4 in.)", "dimensions": {"unframed": {"height": 0.772, "width": 0.464}, "framed": {"height": 0.959, "width": 0.648, "depth": 0.063}}, "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": "<em>Bonnard Oeuvres recents</em>. Galerie Bernheim-Jeune, Paris, France (1926).", "opening_date": "1926-01-01T00:00:00"}, {"description": "<em>Summer Exhibition of Paintings and Sculpture</em>. Museum of Modern Art, New York, NY (1933).", "opening_date": "1933-01-01T00:00:00"}, {"description": "<em>Modern Works of Art - Fifth Anniversary Exhibition.</em> Museum of Modern Art, New York, NY (November 20,1934-January 20,1935).", "opening_date": "2020-01-01T00:00:00"}, {"description": "<em>20th Century Portraits.</em> Museum of Modern Art, New York, NY (1942-1943).", "opening_date": "1942-01-01T00:00:00"}, {"description": "<em>Pierre Bonnard and Edouard Vuillard</em>. Institute of Modern Art, Boston, MA (1944).", "opening_date": "1944-01-01T00:00:00"}, {"description": "<em>Pierre Bonnard, Memorial Exhibition.</em> Cleveland Museum of Art, Cleveland,OH (1948); Museum of Modern Art, New York, NY (May 10-September 6,1948).", "opening_date": "2010-05-01T00:00:00"}, {"description": "<em>The Artist's Family</em>. Museum of Modern Art, New York, NY (1952).", "opening_date": "1952-01-01T00:00:00"}, {"description": "<em>French and American Art.</em> Wildenstein &amp; Co., New York, NY (1955).", "opening_date": "1955-01-01T00:00:00"}]}, "provenance": [{"description": "(Galerie L'Art Moderne, Lucerne, Switzerland, sold to Galerie Berheim-Jeune, Paris, France)", "citations": [], "footnotes": ["<div><!--block-->According to the 1999 Sotheby's, New York, sale catalogue. Galerie l'Art Moderne was a branch of the Galerie Bernheim-Jeune.</div>"], "date": "1928", "sortorder": 1}, {"description": "(Galerie Berheim-Jeune, Paris, France, sold to Edith Halpert)", "citations": [], "footnotes": ["<div><!--block-->According to Jean Dauberville and Henry Dauberville. <em>Bonnard: Catalogue Raisonne\u0301 De L'\u0153uvre Peint</em>&nbsp;<br>(Paris, 1966), vol. III, p. 290, cat. no. 1357.</div>"], "date": "1928\u20131930", "sortorder": 2}, {"description": "(Edith Halpert [1900-1970], Downtown Gallery, New York, NY, September 21, 1930, sold to Abigail Greene Aldrich (Mrs. John D.) Rockefeller, Jr.", "citations": [], "footnotes": ["<div><!--block-->Edith Halpert established the Downtown Gallery in 1926 (initially called Our Gallery until 1927), dedicated exclusively to contemporary American art by living artists. This painting was included in a list of artworks sold by the Downtown Gallery to Mrs. John D. Rockefeller. See: Archives of American Art, Smithsonian Institution Washington, D.C.; Downtown Gallery records, 1824-1974, bulk 1926-1969; Series 4: Business Records; Reel 5635, Frames 6-101: Clients, Individuals, vol. 13: R, 1927-1975; <a href=\"https://www.aaa.si.edu/collections/downtown-gallery-records-6293/subseries-4-6/reel-563594-frames-6-101\">Frame 37</a>.</div>"], "date": "1930", "sortorder": 3}, {"description": "Mrs. John D. Rockefeller, Jr. [1874\u20131948], New York, NY, given to her son, Laurence S. Rockefeller", "citations": [], "footnotes": null, "date": "1930\u20131937", "sortorder": 4}, {"description": "Laurence S. Rockefeller [1910\u20132004], New York, NY, given to New York Fine Art Support Trust", "citations": [], "footnotes": ["<div><!--block-->According to the 1999 Sotheby's, New York, sale catalogue.</div>"], "date": "1937\u20131999", "sortorder": 5}, {"description": "(Sotheby's, New York, NY Fine Arts Support Trust sale, November 11, 1999, lot 131, (bought in))", "citations": [], "footnotes": null, "date": "1999", "sortorder": 6}, {"description": "(Sotheby's New York, NY, sold to Richard Feigen & Co., NY)", "citations": [], "footnotes": null, "date": "after November 11, 1999\u2013before June 2000", "sortorder": 7}, {"description": "(Richard Feigen & Co. New York, NY, June 2000, sold to Nancy F. and Joseph P. Keithley)", "citations": [], "footnotes": ["<div><!--block-->According to documentation supplied by Richard Feigen and Co., New York, in the curatorial file.</div>"], "date": "2000", "sortorder": 8}, {"description": "Nancy F. and Joseph P. Keithley, Cleveland, OH, promised gift to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "2020", "sortorder": 9}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Plaid dresses were extremely fashionable in the late 1800s and early 1900s in Paris.", "description": "This painting depicts the artist\u2019s wife Marthe holding a yellow cup and saucer as she walks toward a door leading to a sunlit terrace. The profusion of patterns and close color harmonies of Marthe\u2019s plaid dress and the wallpaper behind her make it initially difficult to discern the woman from her surroundings. Bonnard treated everything\u2014whether human or inanimate\u2014with equal importance in his work of this period. The artist said that he wished \u201cto show what one sees on first entering a room, what the eye takes in at one glance; one sees everything, and at the same time nothing.\u201d", "external_resources": {"wikidata": [], "internet_archive": []}, "citations": [{"citation": "<em>Exposition Bonnard: \u0153uvres re\u0301centes du mercredi 24 Novembre au vendredi 17 Decembre 1926. </em>Paris: MM. Bernheim-Jeune, 1926.", "page_number": "Mentioned: no. 4", "url": ""}, {"citation": "Cassou, Jean. \"Le Lyrisme de Bonnard.\" <em>Formes</em>, no. 9 (1930): 4-5.", "page_number": "Reproduced: fig. 8", "url": null}, {"citation": "Barr, Alfred H. <em>Modern Works of Art</em>. New York, NY: The Museum of Modern Art, 1934.", "page_number": "Mentioned: P. 26, no. 42", "url": null}, {"citation": "Wheeler, Monroe. <em>20th Century Portraits.</em> New York: The Museum of Modern Art, 1942.", "page_number": "Reproduced: P. 44; Mentioned: P. 134", "url": ""}, {"citation": "<em> \"La vie franc\u0327aise\" an exhibition of paintings chiefly by Pierre Bonnard and E\u0301douard Vuillard, Oct. 6-Nov. 11, 1944.</em> Institute of Modern Art (Boston, Mass.). 1944.", "page_number": "Mentioned: P. 1, no. 7", "url": ""}, {"citation": "Rewald, John. <em>Bonnard</em>.New York, NY: Published by A. Carman for the Museum of Modern Art, 1948.", "page_number": "Reproduced: P. 111, no. 57; mentioned: P. 140, no. 157", "url": null}, {"citation": "Wildenstein and Company (New York, N.Y.). <em>A Special Exhibition of Paintings by American and French Modern Masters: For the Benefit of the La Napoule Art Foundation ... May 4th Through May 28th, 1955.</em> New York: Wildenstein, 1955.", "page_number": "Mentioned: French Artists no. 2", "url": ""}, {"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. III, p. 290, no. 1357", "url": null}, {"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. 124-125; Mentioned: p. 254-257", "url": ""}], "url": "https://clevelandart.org/art/2026.1", "images": {}, "alternate_images": [], "creditline": "Gift of Nancy F. and Joseph P. Keithley", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Michael J. Horvitz Family Gallery", "athena_id": 87250, "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": "2026-01-21T05:00:00Z", "sortable_date": 1926, "date_added_to_oa": null, "date_text": "1926", "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 00:09:34.515000"}, {"id": 162282, "accession_number": "2002.2", "share_license_status": "Copyrighted", "tombstone": "January, 1940\u201341. Grant Wood (American, 1891\u20131942). Oil on masonite panel; framed: 67 x 82.5 x 7.5 cm (26 3/8 x 32 1/2 x 2 15/16 in.); unframed: 45.7 x 60.1 cm (18 x 23 11/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 2002.2. Art \u00a9 Figge Art Museum, successors to the Estate of Nan Wood Graham/Licensed by VAGA, New York, NY", "current_location": "226B American Modern", "title": "January", "creation_date": "1940\u201341", "creation_date_earliest": 1940, "creation_date_latest": 1941, "artists_tags": ["male", "LGBTQ+ (after 1900)"], "culture": ["America"], "technique": "oil on masonite panel", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 67 x 82.5 x 7.5 cm (26 3/8 x 32 1/2 x 2 15/16 in.); Unframed: 45.7 x 60.1 cm (18 x 23 11/16 in.)", "dimensions": {"framed": {"height": 0.67, "width": 0.825, "depth": 0.075}, "unframed": {"height": 0.457, "width": 0.601}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "Art \u00a9 Figge Art Museum, successors to the Estate of Nan Wood Graham/Licensed by VAGA, New York, NY", "inscriptions": [{"inscription": "signed and dated lower left:  Grant Wood/1940", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "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": 290566, "title": "Grant Wood: American Gothic and Other Fables", "description": "<i>Grant Wood: American Gothic and Other Fables</i>. Whitney Museum of American Art, New York, NY (organizer) (March 2-June 10, 2018).", "opening_date": "2018-03-02T05:00:00"}], "legacy": [{"description": "Chicago, The Art Institute of Chicago, The Fifty-Third Annual Exhibition of American Paintings and Sculpture (29 October-10 December 1942), cat. no. 14.", "opening_date": "1942-10-29T00:00:00"}, {"description": "New York, Whitney Museum of American Art, Grant Wood: The Regionalist Vision (16 June-4 September 1983); traveled to Minneapolis, The Minneapolis Institute of Fine Arts (25 September 1983-1 January 1984); Chicago, The Art Institute of Chicago (21 January-15 April 1984); San Francisco, M.H. De Young Memorial Museum (12 May-12 August 1984), cat. no. 62, illus. p. 60, fig. no. 102.", "opening_date": "1983-06-16T00:00:00"}, {"description": "Whitney Museum of American Art, New York, NY (3/2/2018 - 6/10/2018): \"Grant Wood: American Gothic and Other Fables\"", "opening_date": "2018-03-02T00:00:00"}]}, "provenance": [{"description": "The Cleveland Museum of Art, Cleveland, Ohio", "citations": [], "footnotes": [], "date": "2002-", "sortorder": 1}, {"description": "(Berry-Hill Galleries, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "-2002", "sortorder": 2}, {"description": "Private collector, New Jersey", "citations": [], "footnotes": [], "date": "?", "sortorder": 3}, {"description": "King W. Vidor Trust", "citations": [], "footnotes": [], "date": "1982-", "sortorder": 4}, {"description": "King Vidor [1894-1982] and Elizabeth Hill Vidor [1901-1978], Beverly Hills, CA", "citations": [], "footnotes": [], "date": "1941-1982", "sortorder": 5}], "find_spot": null, "related_works": [{"id": 125140, "description": "January, 1938. Grant Wood (American, 1891\u20131942), Associated American Artists (America, New York, 1934\u201381). Lithograph; sheet: 30.5 x 40.7 cm (12 x 16 in.); image: 22.6 x 30.2 cm (8 7/8 x 11 7/8 in.). The Cleveland Museum of Art, Gift of Mrs. Malcolm L. McBride, 1947.113. Art \u00a9 Figge Art Museum, successors to the Estate of Nan Wood Graham/Licensed by VAGA, New York, NY", "relationship": null}], "former_accession_numbers": [], "did_you_know": "For many years Wood maintained his painting studio on the property of a funeral home in Cedar Rapids, Iowa.", "description": "One of the last paintings Wood created before his untimely death from liver cancer, <em>January</em> has a decidedly nostalgic cast. According to the artist, the painting was \"deeply rooted in the memories of my early childhood on an Iowa farm. . . . it is a land of plenty here which seems to rest, rather than suffer, under the cold.\" One sign of activity, in the form of rabbit tracks, infiltrates the otherwise dormant scene. Wood\u2019s composition teems with abstract design, most notably through the rhythmically geometric array of snow-laden corn shocks that seem to recede infinitely into the distance.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q51831248"], "internet_archive": []}, "citations": [{"citation": "Maroney, Jr., James H. <em>Fresh Perspectives on Grant Wood, Charles Sheeler, and George Durrie. </em>Leicester, VT: Gala Books, Ltd, 2019.", "page_number": "Mentioned: p.39, 46, 52, 80; Reproduced p. 45.", "url": null}, {"citation": "Nygard, Travis Earl. \"Seeds of Agribusiness: Grant Wood and the Visual Culture of Grain Farming, 1862-1957.\" Ph.D. diss, University of Pittsburgh, 2009.", "page_number": "Mentioned P. 196; Reproduced P. 242.", "url": ""}, {"citation": "Taylor, Sue. <em>Grant Wood's Secrets</em> (Newark, DE: University of Delaware Press, 2020.", "page_number": "", "url": ""}, {"citation": "<em>Parnassus</em>, May, 1940, illus.", "page_number": null, "url": null}, {"citation": "Grant Wood, letter to King Vidor, April 26,1941.", "page_number": null, "url": null}, {"citation": "\"The Important Works of Grant Wood,\" <em>Demcourier</em> 7 (May, 1942).", "page_number": "Reproduced: p. 17", "url": null}, {"citation": "\"The Middle Western Scene from Memorial Exhibition of Painting and Sculpture at the Chicago Art Institute October 29 to December 29,\" <em>The Chicago Daily News, </em>October 17, 1942.", "page_number": "Reproduced: p. 12", "url": null}, {"citation": "\"Grant Wood: Iowa's No. 1 Artist Who Died Last Winter Gets Big Retrospective Show in Chicago,\" <em>Life</em>, January 18, 1943, illus. p. 57.", "page_number": "Reproduced: p. 57", "url": null}, {"citation": "Garwood, Darrell. <em>Artist in Iowa: A Life of Grant Wood.</em> New York: W.W. Norton &amp; Company, Inc., 1944.", "page_number": "Mentioned: p.209; Reproduced: p. 224, 254", "url": null}, {"citation": "Weigel Brown, Helen. \"Have you ever bought a painting?\" <em>House Beautiful</em> (December, 1945).", "page_number": "Reproduced: p. 103", "url": null}, {"citation": "'Regional Paintings by Corn Belt artists are Among Nation's Best.\" <em>Holiday Magazine</em> (November, 1948).", "page_number": "Reproduced: p. 148", "url": null}, {"citation": "Dennis, James M. <em>Grant Wood: A Study in American Art and Culture. </em>New York: Viking Press, 1975.", "page_number": "Mentioned: p. 201; Reproduced: p. 202, plate 38", "url": null}, {"citation": "Czestochowski, Joseph S. <em>John Steuart Curry and Grant Wood: A Portrait of Rural America. </em>Columbia: University of Missouri Press, 1981.", "page_number": "Mentioned: o.128-136,208,210-211", "url": null}, {"citation": "Corn, Wanda M., and Grant Wood. <em>Grant Wood, the Regionalist Vision</em>. New Haven: Published for the Minneapolis Institute of Arts by Yale University Press, 1983.", "page_number": "Mentioned: cat. no. 62, Reproduced: fig. 102, p. 60.", "url": null}, {"citation": "James Maroney Incoportated advertisement, <em>Art in America</em> 71 no. 9 (October, 1983).", "page_number": "Reproduced: p. 18", "url": null}, {"citation": "James Maroney Incorporated advertisement. <em>The Magazine Antiques </em>(November, 1983) 124, no. 5.", "page_number": "Reproduced: p. 821", "url": null}, {"citation": "Kuspit, Donald B. \"Grant Wood: Pathos of the Plain.\" <em>Art in America </em>72 no. 3 (March, 1984).", "page_number": "Reproduced: p. 142", "url": null}, {"citation": "Hirschl &amp; Adler Galleries Inc. Advertisement. <em>The Magazine Antiques </em>(February,1987), 131, no. 2.", "page_number": "Reproduced: p. 322", "url": null}, {"citation": "Woiwode, Larry. \"Against the Grain: A Writer's Personal Odyssey Through Grant Wood's Vision of America.\" <em>Art &amp; Antiques </em>6, no. 1(January, 1988).", "page_number": "Mentioned: p. 76; Reproduced: p. 76", "url": null}, {"citation": "Duggleby, John. <em>Artist in Overalls: The Life of Grant Wood</em>. San Francisco: Chronicle Books, 1995.", "page_number": "Reproduced: p. 30", "url": null}, {"citation": "Litt Steven. \"Museum Buys Major Painting by Grant Wood.\" <em>The Plain Dealer, </em>March 7, 2002.", "page_number": null, "url": null}, {"citation": "Adams, Henry, \"Grant Wood's January\", 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. 10-11", "url": "https://archive.org/details/CMAMM2002-06/page/n9"}, {"citation": "Tranberg, Dan. \"Art Matters: Museum Arranges Modern Works to Tell History Better.\" <em>The Plain Dealer, </em>August 16, 2002.illus.", "page_number": null, "url": null}, {"citation": "\"Major Acquisitions 2000-2005.\" <em>Cleveland Art</em> 45 (July/August 2005).", "page_number": "Mentioned: p. 7, 14, 18", "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": "Mentioned: p. 139; Reproduced: p. 138", "url": null}, {"citation": "Walker, Andrew. <em>Joe Jones: Radical Painter of the American Scene. </em>Seattle: Saint Louis Art Museum in association with University of Washington Press, 2010.", "page_number": "Reproduced: p. 75", "url": null}, {"citation": "Maroney, Jr., James H. <em>Hiding in Plain Sight: Decoding the Homoerotic and Misogynistic Imagery of Grant Wood. </em>Leicester: Gala Books, 2013.", "page_number": "Mentioned: p. 10, 47-48, 55-56, 58,82; Reproduced: p. 47", "url": null}, {"citation": "Haskell, Barbara. <em>Grant Wood: American Gothic and Other Fables</em>. New Haven: Yale University Press, 2018.", "page_number": "Reproduced: p. 192, pl. 100", "url": null}, {"citation": "David Anfam, \"Grant Wood: American Gothic and Other Fables,\" <em>Burlington Magazine</em> 160, no.1383 (June 2018).", "page_number": "Reproduced: p. 503, fig. 18", "url": null}, {"citation": "Maroney, James H. <em>Fresh Perspectives on Grant Wood, Charles Sheeler, and George H. Durrie.</em> Leicester, VT: Gala Books, Ltd., 2019.", "page_number": "Reproduced: p. 45", "url": null}, {"citation": "Stokes Sims, Lowery. <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: cat. no. 79, p. 120, Reproduced: p. 72", "url": null}], "url": "https://clevelandart.org/art/2002.2", "images": {}, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Hammond Hemmelgarn Family Gallery", "athena_id": 162282, "creators": [{"id": 18195, "description": "Grant Wood (American, 1891\u20131942)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1891", "death_year": "1942", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2002-03-04T00:00:00", "sortable_date": 1940, "date_added_to_oa": null, "date_text": "1940\u201341", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:03:44.002000"}, {"id": 153396, "accession_number": "1986.80", "share_license_status": "Copyrighted", "tombstone": "Untitled, 1961. Richard Stankiewicz (American, 1922\u20131983). Welded steel; overall: 170.2 x 91.4 x 86.3 cm (67 x 36 x 34 in.). The Cleveland Museum of Art, Gift of the Cleveland Society for Contemporary Art in honor of Edward B. Henning and Purchase from the J. H. Wade Fund, 1986.80", "current_location": null, "title": "Untitled", "creation_date": "1961", "creation_date_earliest": 1961, "creation_date_latest": 1961, "artists_tags": ["male"], "culture": ["America"], "technique": "welded steel", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Sculpture", "type": "Sculpture", "measurements": "Overall: 170.2 x 91.4 x 86.3 cm (67 x 36 x 34 in.)", "dimensions": {"overall": {"height": 1.702, "width": 0.914, "depth": 0.863}, "No Extent Specified": {}}, "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": 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": 224163, "title": "Miracle in the Scrap Heap:  The Sculpture of Richard Stankiewicz", "description": "<i>Miracle in the Scrap Heap:  The Sculpture of Richard Stankiewicz</i>. Addison Gallery of American Art, Andover, MA (organizer) (April 19-July 31, 2003); AXA Gallery, NY (August 13-October 18, 2003); McNay Art Museum, San Antonio, TX (April 15-July 15, 2004); Museu Jean Tinguely, Basel, Switzerland (September 19, 2004-January 16, 2005).", "opening_date": "2003-04-02T00:00:00"}, {"id": 219047, "title": "CMA@MOCA (rotation 2)", "description": "<i>CMA@MOCA (rotation 2)</i>. Museum of Contemporary Art Cleveland (MOCA), Cleveland, OH (organizer) (January 25-May 13, 2007).", "opening_date": "2007-01-25T00:00:00"}, {"id": 441265, "title": "New York: 1962-1964", "description": "<i>New York: 1962-1964</i>. The Jewish Museum, New York, NY (organizer) (July 22, 2022-January 8, 2023) https://thejewishmuseum.org/exhibitions/new-york-1962-1964.", "opening_date": "2022-07-22T04:00:00"}], "legacy": [{"description": "Wadsworth Atheneum, 1984: \"The Tremaine Collection: 20th Century Masters,\" cat. repr. p. 84", "opening_date": "1984-01-01T00:00:00"}, {"description": "CMA 1987: \"Year in Review 1986,\" Bulletin 74 (February 1987), p. 67, no. 93, repr. p. 56", "opening_date": "1987-02-01T00:00:00"}, {"description": "Addison Gallery of American Art (4/19/2003 - 7/31/2003); AXA Gallery, NY (8/13/2003 - 10/18/2003); McNay Art Museum (4/15/2004 - 7/15/2004) and Museum Jean Tinguely (9/1/2004-11/1/2004):  \"Miracle in the Scrap Heap:The Sculpture of Richard Stankiewicz\"  p. 136-137.", "opening_date": "2003-04-19T00:00:00"}, {"description": "Cleveland Museum of Contemporary Art (1/25/2007 - 5/13/2007):  \"CMA@MOCA\"", "opening_date": "2007-01-25T00:00:00"}]}, "provenance": [{"description": "(Stable Gallery, New York); The Tremaine Collection", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"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": "An art critic once praised Stankiewicz\u2019s work, describing it as a \u201cmiracle in the scrapheap.\u201d", "description": "Stankiewicz was a virtuoso in creating welded sculpture out of discarded metal, much of which he rescued from junkyards. In this untitled assemblage, three gracefully balanced boiler tanks are carefully counterweighted by pipes and other pieces of scrap. Typical of the artist\u2019s works from this period, its surfaces are enlivened by the scruffy textures and patterns of rust and other forms of corrosion.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780941"], "internet_archive": []}, "citations": [{"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. 21", "url": "https://archive.org/details/CMAMM2014-01/page/n19/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. 23", "url": ""}, {"citation": "Dezeuze, Anna. <em>Almost Nothing: Observations on Precarious Practices in Contemporary Art.</em> Manchester: Manchester University Press, 2017. p. 47.", "page_number": "Reproduced: p. 47, fig. 13.", "url": null}], "url": "https://clevelandart.org/art/1986.80", "images": {}, "alternate_images": [], "creditline": "Gift of the Cleveland Society for Contemporary Art in honor of Edward B. Henning and Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 153396, "creators": [{"id": 3965, "description": "Richard Stankiewicz (American, 1922\u20131983)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1922", "death_year": "1983", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1986-11-19T00:00:00", "sortable_date": 1961, "date_added_to_oa": null, "date_text": "1961", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-26 23:59:43.413000"}, {"id": 162336, "accession_number": "2002.65", "share_license_status": "Copyrighted", "tombstone": "Alien Huddle, 1993\u201395. Martin Puryear (American, b. 1941). Red cedar, pine; overall: 134.6 x 162.5 x 134.6 cm (53 x 64 x 53 in.). The Cleveland Museum of Art, Gift of Agnes Gund and Daniel Shapiro, 2002.65. \u00a9 Martin Puryear, courtesy of Matthew Marks Gallery", "current_location": "003 Special Exhibition Hall", "title": "Alien Huddle", "creation_date": "1993\u201395", "creation_date_earliest": 1993, "creation_date_latest": 1995, "artists_tags": ["male", "Black American Artists"], "culture": ["America"], "technique": "red cedar, pine", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Sculpture", "type": "Sculpture", "measurements": "Overall: 134.6 x 162.5 x 134.6 cm (53 x 64 x 53 in.)", "dimensions": {"overall": {"height": 1.346, "width": 1.625, "depth": 1.346}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Martin Puryear, courtesy of Matthew Marks Gallery", "inscriptions": [], "exhibitions": {"current": [{"id": 218996, "title": "Martin Puryear", "description": "<i>Martin Puryear</i>. Centre Cultural de la Fundacio Caixa de Pensions, Barcelona, Spain (November 15, 1997-January 15, 1998).", "opening_date": "1997-11-15T00:00:00"}, {"id": 211092, "title": "Martin Puryear", "description": "<i>Martin Puryear</i>. Virginia Museum of Fine Arts (organizer) (March 6-May 27, 2001); Miami Art Museum (June 22-August 19, 2001); Berkeley Art Center, CA (September 12-December 30, 2001); Des Moines Art Center (January 18-April 14, 2002).", "opening_date": "2001-02-02T00:00:00"}, {"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": 174894, "title": "Martin Puryear, 1993-95", "description": "<i>Martin Puryear, 1993-95</i>. The Museum of Modern Art, New York, NY (organizer) (November 4, 2007-January 14, 2008); Modern Art Museum of Fort Worth, Fort Worth, TX (February 24-May 18, 2008); National Gallery of Art, Landover, MD (June 22-September 28, 2008).", "opening_date": "2007-11-04T00:00:00"}, {"id": 393229, "title": "Contemporary Installation", "description": "<i>Contemporary Installation</i>. The Cleveland Museum of Art (organizer).", "opening_date": "2021-04-12T04:00:00"}, {"id": 662028, "title": "Martin Puryear: Nexus", "description": "<i>Martin Puryear: Nexus</i>. Museum of Fine Arts, Boston, Boston, MA (co-organizer) (September 27, 2025-February 8, 2026) https://www.mfa.org/exhibition/martin-puryear-nexus; The Cleveland Museum of Art, Cleveland, OH (organizer) (co-organizer) (April 12-August 9, 2026); High Museum of Art, Atlanta, GA (September 25, 2026-January 17, 2027).", "opening_date": "2025-09-20T04:00:00"}], "legacy": [{"description": "<em>Martin Puryear</em>. Fundaci\u00f3n La Caixa, Madrid, Spain (November 15, 1997 - January 11, 1998).", "opening_date": "1997-11-15T00:00:00"}]}, "provenance": [{"description": "Collection of the artist", "citations": [], "footnotes": [], "date": null, "sortorder": null}, {"description": "(McKee Gallery, New York)", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "Agnes Gund and Daniel Shapiro, gifted to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "2002", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2002\u2013", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": ["315.1995"], "did_you_know": "Puryear seamlessly attached red cedar planks to the pine core without metal fixtures, a skill attributed to his training in furniture making, joinery, and woodworking.", "description": "With its bulbous joined spheres made of pine and cedar, <em>Alien Huddle</em> reveals the close relationship between organic form and material that is emblematic of Martin Puryear's sculpture. A great breadth of aesthetic traditions informs his work, including modernist abstraction, Indigenous African crafts, boat building, and recent technology. Puryear brings these together to create a distinctive body of abstract work animated by cultural, social, and historical references.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60758293"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art, \u201cMartin Puryear Sculpture Donated to Museum,\u201d June 25, 2002, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr4456"}, {"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. 122", "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. 25", "url": ""}, {"citation": "De Becker, Laura. Beyond Borders: Global Africa. Ann Arbor, Mich. : University of Michigan Museum of Art, 2018.", "page_number": "Mentioned and reproduced: pp. 13-14, fig. 9", "url": ""}, {"citation": "Puryear, Martin, and John Elderfield. <em>Martin Puryear</em>. New York: Museum of Modern Art, 2007.", "page_number": "Reproduced pgs. 148 and 166, Plate 34.", "url": null}, {"citation": "Puryear, Martin. <em>Martin Puryear</em>. Exh. Cat. Madrid, Spain: Fundaci\u00f3n La Caixa, 1997.", "page_number": "Reproduced on cover and p. 100-01, no. 27.", "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": "Reproduced p. 95, no. 136; mentioned p. 94 and 124.", "url": null}, {"citation": "Sparks, Amy and Rebecca Michaels, eds. <em>African American Art: The Cleveland Museum of Art.</em> Cleveland, OH: The Cleveland Museum of Art, 2013.", "page_number": "Reproduced p. 28; mentioned p. 20.", "url": null}, {"citation": "\u201cA Conversation with Martin Puryear.\u201d <em>American Craft Council</em> 1.1 (Spring 2006).", "page_number": "Reproduced p. 8-9", "url": null}, {"citation": "Joyce, Tom. \"Alien Huddle.\" In <em>Martin Puryear: Nexus,</em> edited by Emily Liebert, 66-67. Cleveland: The Cleveland Museum of Art, 2025.", "page_number": "Mentioned and reproduced: p. 66-67, fig. 17, cat. no. 30, cover", "url": ""}, {"citation": "Liebert, Emily. \u201cA Spring Exhibition Preview. Martin Puryear: Nexus.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 65, no. 4 (2025): 9.", "page_number": "Reproduced and Mentioned: p. 9", "url": "https://archive.org/details/CMAMM-2025-04"}, {"citation": "Liebert, Emily. \u201cMartin Puryear: Nexus - Career Survey Explores Form, Material, and Making.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 66, no. 1 (2026): 4-7.", "page_number": "Reproduced: p. 5; Mentioned: p. 6", "url": "https://archive.org/details/CMAMM-2026-01"}], "url": "https://clevelandart.org/art/2002.65", "images": {}, "alternate_images": [], "creditline": "Gift of Agnes Gund and Daniel Shapiro", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "The Kelvin and Eleanor Smith Foundation Exhibition Hall", "athena_id": 162336, "creators": [{"id": 19502, "description": "Martin Puryear (American, b. 1941)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1941", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2002-06-03T00:00:00", "sortable_date": 1993, "date_added_to_oa": null, "date_text": "1993\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": true, "updated_at": "2026-04-04 11:57:51.580000"}, {"id": 136294, "accession_number": "1960.180", "share_license_status": "Copyrighted", "tombstone": "Markwippach, 1917. Lyonel Feininger (American, 1871\u20131956). Oil on canvas; framed: 94 x 114 x 6.4 cm (37 x 44 7/8 x 2 1/2 in.); unframed: 80.6 x 101 cm (31 3/4 x 39 3/4 in.); former: 94 x 114 x 5.5 cm (37 x 44 7/8 x 2 3/16 in.). The Cleveland Museum of Art, Gift of Mrs. Lyonel Feininger, 1960.180. \u00a9 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn", "current_location": "225 German Expressionism & Surrealism", "title": "Markwippach", "creation_date": "1917", "creation_date_earliest": 1917, "creation_date_latest": 1917, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 94 x 114 x 6.4 cm (37 x 44 7/8 x 2 1/2 in.); Unframed: 80.6 x 101 cm (31 3/4 x 39 3/4 in.); Former: 94 x 114 x 5.5 cm (37 x 44 7/8 x 2 3/16 in.)", "dimensions": {"framed": {"height": 0.94, "width": 1.14, "depth": 0.064}, "unframed": {"height": 0.806, "width": 1.01}, "former": {"height": 0.94, "width": 1.14, "depth": 0.055}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn", "inscriptions": [{"inscription": "Signed upper left: \"Feininger / 17\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "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": 515931, "title": "Lyonel Feininger, 1871-1956: A Memorial Exhibition", "description": "<i>Lyonel Feininger, 1871-1956: A Memorial Exhibition</i>. Norton Museum of Art, West Palm Beach, FL (April 26-May 29, 1966); Milwaukee Art Museum, Milwaukee, WI (July 10-August 11, 1966); The Baltimore Museum of Art, Baltimore, MD (September 7-October 23, 1966).", "opening_date": "1966-04-26T04:00:00"}, {"id": 218317, "title": "Lyonel Feininger - From Gelmeroda to Manhattan", "description": "<i>Lyonel Feininger - From Gelmeroda to Manhattan</i>. Neue Nationalgalerie (organizer) (July 3-October 14, 1998); Haus der Kunst, Munich (November 1, 1998-January 24, 1999).", "opening_date": "1998-07-03T00:00:00"}, {"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>Lyonel Feininge</em>r. Curt Valentin Gallery, New York, NY: (date of exhibition unknown).", "opening_date": null}, {"description": "<em>Lyonel Feininger</em>. Buchholz Gallery and Willard Gallery, New York, NY (March 11-29, 1941).", "opening_date": "1941-03-11T05:00:00Z"}, {"description": "<em>Lyonel Feininger Memorial Exhibition, 1959-61, American Tour.</em> San Francisco Museum of Art, San Francisco, CA (November 6-December 13, 1959); Minneapolis Institute of Arts, Minnsapolis, MN (January 6-February 7, 1960); Cleveland Museum of Art, Cleveland, OH (organizer) (February 18-March 20, 1960); Albright Art Gallery, Buffalo, NY (April 8-May 8, 1960); Museum of Fine Arts, Boston, MA (May 19-June 26, 1960).", "opening_date": "1959-11-06T00:00:00"}]}, "provenance": [{"description": "Mrs. Lyonel Feininger [1880-1970], New York, NY, given to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1960", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1960-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Lyonel Feininger's son Andreas was a noted photographer whose works are also in the Cleveland Museum of Art.", "description": "An American artist who spent much of his early career in Germany, Lyonel Feininger based this composition on sketches he made while hiking near the central German village of Markvippach, as it is properly spelled. Dominated by a church tower, the village\u2019s skyline is rendered through angular, prismlike forms. Two years earlier in this region, the artist encountered his first peacock, describing the experience as \u201cquite mystical\u2014I shall never forget the impression.\u201d Later in life, Feininger referred to <em>Markwippach</em> as his \u201cpeacock picture,\u201d and its palette of bold blues, greens, and golds likely references the bird.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60465350"], "internet_archive": []}, "citations": [{"citation": "<em>The Bulletin of the Cleveland Museum of Art</em> XLVII, no. 67 (December 1960): 235.", "page_number": "Reproduced: p. 235", "url": null}, {"citation": "Lurie, Ann Tzeutschler. \"Lyonel Feininger: Markwippach\" The Bulletin of The Cleveland Museum of Art XLVIII, no. 4 (April 1961): 72-75.", "page_number": "Reproduced: p. 72", "url": null}, {"citation": "Hess, Hans, and Lyonel Feininger. <em>Lyonel Feininger</em>. New York, NY: Abrams, 1961.", "page_number": "Mentioned, pp 78, 263; reproduced: p. 83.", "url": null}, {"citation": "Christensen, Erwin O. <em>A Guide to Art Museums in the United States</em>. New York, NY: Dodd, Mead, 1968.", "page_number": "Reproduced: p. 168", "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. 193", "url": "https://archive.org/details/CMAHandbook1969/page/n217"}, {"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. 3", "url": "https://archive.org/details/20thCenturyArtCMA/page/n3/"}, {"citation": "Hunter, Sam, and John M. Jacobus. <em>American Art of the 20th Century: Painting, Sculpture, Architecture</em>. New York, NY: H.N. Abrams, 1973.", "page_number": "Reproduced: no. 222", "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. 244", "url": "https://archive.org/details/CMAHandbook1978/page/n264"}, {"citation": "<em>The Bulletin of The Cleveland Museum of Art</em> LXVIII (February 1981):43.", "page_number": "Reproduced: p. 43", "url": null}, {"citation": "Ma\u0308rz, Roland. <em>Lyonel Feininger: von Gelmeroda nach Manhattan : Retrospektive der Gema\u0308lde</em>. Berlin, Germany: G+H Verlag, 1998.", "page_number": "Mentioned and reproduced: p. 100-101", "url": null}, {"citation": "Egging, Bjo\u0308rn, and Steven Lindberg. <em>Becoming a Bauhaus artist: Lyonel Feininger, woodcuts</em>. Bielefeld, Germany: Kerber, 2013.", "page_number": "Reproduced: p. 76", "url": null}], "url": "https://clevelandart.org/art/1960.180", "images": {}, "alternate_images": [], "creditline": "Gift of Mrs. Lyonel Feininger", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 136294, "creators": [{"id": 3140, "description": "Lyonel Feininger (American, 1871\u20131956)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1871", "death_year": "1956", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1960-11-12T00:00:00", "sortable_date": 1917, "date_added_to_oa": null, "date_text": "1917", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:03:34.237000"}, {"id": 108809, "accession_number": "1926.488", "share_license_status": "CC0", "tombstone": "Wood Interior, c. 1910. Emil Carlsen (American, born Denmark, 1848\u20131932). Oil on canvas; unframed: 114 x 99 cm (44 7/8 x 39 in.). The Cleveland Museum of Art, Gift of Mrs. Henry A. Everett for the Dorothy Burnham Everett Memorial Collection, 1926.488", "current_location": "208 American Gilded Age and Realism", "title": "Wood Interior", "creation_date": "c. 1910", "creation_date_earliest": 1905, "creation_date_latest": 1915, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Unframed: 114 x 99 cm (44 7/8 x 39 in.)", "dimensions": {"unframed": {"height": 1.14, "width": 0.99}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower right:  Emil Carlsen.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "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": 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": "<em>Fourth Exhibition of Oil Paintings by Contemporary American Artists.</em> The Corcoran Gallery of Art, Washington, DC (December 17, 1912-January 26, 1913).", "opening_date": "1912-12-17T00:00:00"}, {"description": "<em>Paintings by American Artists - Colonial Portraits</em>. Macbeth Gallery, New York, NY (1914?).", "opening_date": "1914-01-01T00:00:00"}, {"description": "<em>The Inaugural Exhibition</em>. Rochester, NY, The Memorial Art Gallery, Rochester, NY (August 29- October 1913).", "opening_date": "1913-08-29T05:00:00Z"}, {"description": "<em>American Paintings 1825-1915 From The Cleveland Museum of Art.</em> The Kenneth C. Beck Center, Lakewood, OH (September 17-October 13, 1980).", "opening_date": "1980-09-17T00:00:00"}, {"description": "<em>Looking Back: A Perspective on the 1913 Inaugural Exhibition</em>. Memorial Art Gallery of the University of Rochester, Rochester, NY (October 8-November 20, 1988).", "opening_date": "1988-10-08T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": ["2583.18"], "did_you_know": "Carlsen\u2019s son Dines also became a professional artist, and the two exhibited together several times.", "description": "Through luminescent color, filtered light, and a subtle evocation of atmosphere, Carlsen created a quiet, meditative mood in<em> Wood Interior. </em>The delicate trees, trickling brook, and soft bed of the forest floor invite a tranquil retreat from bustling city life. The painting\u2019s lighter palette is complemented by its custom-made gilded frame, which is crafted in muted 16-karat gold rather than the standard, more vibrant 18-karat.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60503694"], "internet_archive": ["https://archive.org/details/clevelandart-1926.488-wood-interior"]}, "citations": [{"citation": "\"Art Throughout America.\" <em>Art News</em> 36, No.40 (September 1938).", "page_number": null, "url": null}, {"citation": "Macbeth Gallery. <em>Paintings by American Artists: Colonial Portraits</em>. New York: William Macbeth, 1914.", "page_number": "Reproduced: p.18", "url": null}, {"citation": "<em>The Bystander</em>, August, 10, 1929.", "page_number": "Reproduced: p.23", "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 and reproduced: p. 15, no. 24", "url": ""}, {"citation": "Francis, Henry S. \"The Dorothy Burnham Everett Memorial Collection.\" <em>The Bulletin of the Cleveland Museum of Art</em> 25, No.6 (June 1938).", "page_number": "Mentioned: p.124", "url": "http://jstor.org/stable/25137944"}, {"citation": "Cleveland Museum of Art. \"A Checklist. 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 (January 1973).", "page_number": "Mentioned: p.23; Reproduced: p.23", "url": "http://www.jstor.org/stable/25152465"}, {"citation": "Talbot, William S. \"American landscape paintings in the Cleveland Museum of Art.\" <em>Antiques</em> (November 1973).", "page_number": "Mentioned: p.914; Reproduced: p.917", "url": null}, {"citation": "Tananbaum, Dorothy. <em>The Art of Emil Carlsen</em>. Exh. Cat. New York: Hammer Galleries, in association with S &amp; R Hayden, 1977.", "page_number": null, "url": null}, {"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.29", "url": null}, {"citation": "Indursky, William Eric.<em> Emil Carlsen: Conscious Painting</em>. New York: Emil Carlsen Archives. 2017.", "page_number": "Reproduced: p.173", "url": null}], "url": "https://clevelandart.org/art/1926.488", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1926.488/1926.488_web.jpg", "width": "785", "height": "900", "filesize": "373224", "filename": "1926.488_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1926.488/1926.488_print.jpg", "width": "2965", "height": "3400", "filesize": "4937951", "filename": "1926.488_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1926.488/1926.488_full.tif", "width": "10065", "height": "11543", "filesize": "348569952", "filename": "1926.488_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.488/1926.488_alt0_web.jpg", "width": "783", "height": "893", "filesize": "606713"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.488/1926.488_alt0_print.jpg", "width": "2982", "height": "3400", "filesize": "7148792"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.488/1926.488_alt0_full.tif", "width": "3371", "height": "3844", "filesize": "38881504"}}, {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.488/1926.488_alt1_web.jpg", "width": "782", "height": "893", "filesize": "582162"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.488/1926.488_alt1_print.jpg", "width": "2976", "height": "3400", "filesize": "7595183"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.488/1926.488_alt1_full.tif", "width": "3603", "height": "4116", "filesize": "44518320"}}, {"date_created": "2022-10-31T10:57:23", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.488/1926.488_alt2_web.jpg", "width": "791", "height": "900", "filesize": "251507"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.488/1926.488_alt2_print.jpg", "width": "2987", "height": "3400", "filesize": "2934145"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.488/1926.488_alt2_full.tif", "width": "10356", "height": "11788", "filesize": "366257376"}}, {"date_created": "2008-08-13T14:35:05", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.488/1926.488_alt3_web.jpg", "width": "806", "height": "893", "filesize": "636372"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.488/1926.488_alt3_print.jpg", "width": "3067", "height": "3400", "filesize": "8820489"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.488/1926.488_alt3_full.tif", "width": "3460", "height": "3836", "filesize": "39859568"}}], "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 Cleveland Foundation Gallery", "athena_id": 108809, "creators": [{"id": 3053, "description": "Emil Carlsen (American, born Denmark, 1848\u20131932)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1848", "death_year": "1932", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1926-11-20T00:00:00", "sortable_date": 1905, "date_added_to_oa": null, "date_text": "c. 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": ["Woodland Interior"], "is_highlight": false, "updated_at": "2026-03-27 00:02:39.482000"}, {"id": 149408, "accession_number": "1978.61", "share_license_status": "Copyrighted", "tombstone": "Nocturne, 1935. Joan Mir\u00f3 (Spanish, 1893\u20131983). Oil on copper; framed: 62.2 x 48.8 x 5.1 cm (24 1/2 x 19 3/16 x 2 in.); unframed: 42 x 29.2 cm (16 9/16 x 11 1/2 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1978.61. \u00a9 2006 Successi\u00f3 Mir\u00f3/Artists Rights Society (ARS), New York.", "current_location": "225 German Expressionism & Surrealism", "title": "Nocturne", "creation_date": "1935", "creation_date_earliest": 1935, "creation_date_latest": 1935, "artists_tags": ["male", "Latine and Hispanic Artists"], "culture": ["Spain (Catalonia), 20th century"], "technique": "oil on copper", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 62.2 x 48.8 x 5.1 cm (24 1/2 x 19 3/16 x 2 in.); Unframed: 42 x 29.2 cm (16 9/16 x 11 1/2 in.)", "dimensions": {"framed": {"height": 0.622, "width": 0.488, "depth": 0.051}, "unframed": {"height": 0.42, "width": 0.292}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 2006 Successi\u00f3 Mir\u00f3/Artists Rights Society (ARS), New York.", "inscriptions": [{"inscription": "Signed on back: \"Joan Mir\u00f3 / \"Nocturne\" / 9/11-16/11/35\"", "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": 361486, "title": "Joan Mir\u00f3", "description": "<i>Joan Mir\u00f3</i>. Museum of Modern Art, NY (organizer) (October 17, 1993-January 11, 1994).", "opening_date": "1993-10-17T04:00:00"}, {"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": 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": 229586, "title": "Joan Mir\u00f3: The Ladder of Escape", "description": "<i>Joan Mir\u00f3: The Ladder of Escape</i>. Tate Modern, London, United Kingdom of Great Britain and Northern Ireland (organizer) (April 14-September 11, 2011); Fundaci\u00f3 Joan Mir\u00f3, Barcelona, Spain (October 15, 2011-March 18, 2012); National Gallery of Art, Landover, MD (May 6-August 12, 2012).", "opening_date": "2011-04-14T00:00:00"}], "legacy": [{"description": "\"Barcelona &amp; Modernity: Picasso, Gaud\u00ed. Mir\u00f3, Dal\u00ed,\" Cleveland Museum of Art, Metropolitan Museum of Art, New York, 10/15/2006 - 6/3/2007, cat. no. 7:53, p. 374, repr. fig. 3, 374.", "opening_date": "2006-10-15T00:00:00"}, {"description": "\"Joan Mir\u00f3: Painting and Anti-Painting, 1927-1937,\" New York: Museum of Modern Art, 11/2/2008 - 1/12/2009.", "opening_date": "2008-11-02T00:00:00"}, {"description": "Tate Modern, London (4/14/2011 - 9/11/2011), Fundaci\u00f3 Joan Mir\u00f3, Barcelona (10/13/2011 - 3/25/2012), National Gallery of Art, Washington, DC (5/6/2012 - 8/12/2012): \"Joan Mir\u00f3: The Ladder of Escape\", ex. cat. no. 49, p. 81.", "opening_date": "2011-04-14T00:00:00"}]}, "provenance": [{"description": "Roland Penrose, London (1956); (E.V. Thaw)", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The Spanish artist Mir\u00f3 was part of the Surrealist movement. He created paintings with the ambiguity of dreams whose meaning is just beyond the viewer's grasp.", "description": "On the eve of the Spanish Civil War (1936-39) Mir\u00f3 painted a series of images showing monstrous figures screaming or running through bizarre landscapes. This painting, an early work in the series, depicts a woman with raised arms fleeing toward the man at the far right. The cylindrical shape looming on the horizon suggests the barrel of a cannon; the sinuous, curving form may represent rising smoke. Mir\u00f3 heightened the intensity of the stark, garish colors through the unusual technique of applying oil over copper, rather than canvas.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60473540"], "internet_archive": []}, "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. 24; Mentioned: p. 45, no. 121", "url": "http://www.jstor.org/stable/25159613"}, {"citation": "Henning, Edward B. \u201cA Painting by Joan Mir\u00f3.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 66, no. 6 (September 1979): 235\u2013240.", "page_number": "Mentioned and reproduced': p. 237, fig. 4 and Cover", "url": "http://www.jstor.org/stable/25159634"}, {"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. 128, no. 37", "url": ""}, {"citation": "Robinson, William H., Jordi Falga\u0300s, Carmen Belen Lord, and Josefina Alix Trueba. <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. 374, fig. 5, no. 7:53", "url": ""}, {"citation": "Henning, Edward B. <em>The Spirit of Surrealism</em>. Cleveland: The Cleveland Museum of Art, 1979.", "page_number": "Mentioned: p. 77-78, 174; Reproduced: p. 77, no.29", "url": null}], "url": "https://clevelandart.org/art/1978.61", "images": {}, "alternate_images": [], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 149408, "creators": [{"id": 2157, "description": "Joan Mir\u00f3 (Spanish, 1893\u20131983)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1893", "death_year": "1983", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1978-11-20T00:00:00", "sortable_date": 1935, "date_added_to_oa": null, "date_text": "1935", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:05:07.299000"}, {"id": 142605, "accession_number": "1966.333", "share_license_status": "Copyrighted", "tombstone": "Gloria, 1956. Robert Rauschenberg (American, 1925\u20132008). Oil, fabric, staples, newspaper, graphite on paper, printed paper, and printed reproduction on canvas ; unframed: 170.5 x 163.4 x 4.5 cm (67 1/8 x 64 5/16 x 1 3/4 in.). The Cleveland Museum of Art, Gift of the Cleveland Society for Contemporary Art, 1966.333. \u00a9  Robert Rauschenberg Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY", "current_location": null, "title": "Gloria", "creation_date": "1956", "creation_date_earliest": 1956, "creation_date_latest": 1956, "artists_tags": ["male", "LGBTQ+ (after 1900)"], "culture": ["America"], "technique": "oil, fabric, staples, newspaper, graphite on paper, printed paper, and printed reproduction on canvas ", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Unframed: 170.5 x 163.4 x 4.5 cm (67 1/8 x 64 5/16 x 1 3/4 in.)", "dimensions": {"unframed": {"height": 1.705, "width": 1.634, "depth": 0.045}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  Robert Rauschenberg Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY", "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": 517667, "title": "Retrospective Exhibition of Works by Robert Rauschenberg", "description": "<i>Retrospective Exhibition of Works by Robert Rauschenberg</i>. Stedelijk Museum, Amsterdam, 1070 AB Amsterdam, Netherlands (organizer) (February 23-April 7, 1968); Kolnischer Kunstverein, Cologne, Germany (April 19-May 26, 1968); Mus\u00e9e d'Art Moderne de Paris, 75116 Paris, France (June 7-July 14, 1968).", "opening_date": "1968-02-23T05:00:00"}, {"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": 204152, "title": "Gloria: Robert Rauschenberg & Rachel Harrison", "description": "<i>Gloria: Robert Rauschenberg & Rachel Harrison</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 1-October 25, 2015).", "opening_date": "2015-07-01T00:00:00"}], "legacy": [{"description": "Main Gallery Rotation (gallery 229): March 24, 2009 - September 11, 2009; June 25, 2012 - November 19, 2012.", "opening_date": "2009-03-24T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Rauschenberg changed his first name from Milton to Robert because he thought it sounded more artistic.", "description": "<em>Gloria</em> exemplifies Rauschenberg\u2019s compositions that combine ephemera and abstract painting. By juxtaposing newspaper clippings (several of New York socialite Gloria Vanderbilt), a photograph, printed cardboard, and passages of paint, Rauschenberg dismissed traditional hierarchies of artistic materials while blurring boundaries between everyday life and art. As he once proclaimed, \u201cA pair of socks is no less suitable to make a painting with than wood, nails, turpentine, oil, and fabric.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60469667"], "internet_archive": []}, "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. 203", "url": "https://archive.org/details/CMAHandbook1969/page/n227"}, {"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. 4", "url": "https://archive.org/details/20thCenturyArtCMA/page/n5"}, {"citation": "\u201cRobert Rauschenberg, Gloria.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 56, no. 2 (February 1969): 72\u201377.", "page_number": "Mentioned and reproduced: p. 72-77", "url": "http://www.jstor.org/stable/25152257"}, {"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. 255", "url": "https://archive.org/details/CMAHandbook1978/page/n275"}, {"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. 61", "url": ""}, {"citation": "Joseph, Branden W. \"Disparate Visual Facts: Early Combines.\" In <em>Robert Rauschenberg. </em>Leah Dickerman, and Achim Borchardt-Hume, p. 138-161. New York: The Museum of Modern Art; London: Tate Publishing, 2016.", "page_number": "Reproduced: p. 158, fig. 105", "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. 86", "url": null}, {"citation": "Rauschenberg, Robert, Leo Castelli, and Fundaci\u00f3n Juan March. <em>Bob Y Leo: Una Conversaci\u00f3n Entre Robert Rauschenberg Y Leo Castelli.</em> Edited by In\u00e9s Vallejo and Luc\u00eda Montes S\u00e1nchez. Primera edici\u00f3n. Ibarrangelu, Bizkaia, Madrid: Caniche; Fundaci\u00f3n Juan March, 2025.", "page_number": "Mentioned and reproduced: p. 36-37, fig. 14", "url": ""}], "url": "https://clevelandart.org/art/1966.333", "images": {}, "alternate_images": [], "creditline": "Gift of the Cleveland Society for Contemporary Art", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 142605, "creators": [{"id": 3606, "description": "Robert Rauschenberg (American, 1925\u20132008)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1925", "death_year": "2008", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1967-01-30T00:00:00", "sortable_date": 1956, "date_added_to_oa": null, "date_text": "1956", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:13.652000"}, {"id": 296869, "accession_number": "2018.267", "share_license_status": "CC0", "tombstone": "Peony Floor Lamp with a Bamboo Base, c. 1905\u201310. Probably by Clara Wolcott Driscoll (American, 1861\u20131944), Tiffany Studios (United States, New York, 1902\u201332). Leaded glass, bronze; 157.5 cm (62 in.); shade diameter: 55.9 cm (22 in.). The Cleveland Museum of Art, Bequest of Charles Maurer, 2018.267", "current_location": "209 Tiffany", "title": "Peony Floor Lamp with a Bamboo Base", "creation_date": "c. 1905\u201310", "creation_date_earliest": 1905, "creation_date_latest": 1910, "artists_tags": ["female", "Cleveland Institute of Art (alumni)", "gender unknown"], "culture": ["America"], "technique": "Leaded glass, bronze", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Furniture and woodwork", "measurements": "157.5 cm (62 in.); Shade diameter: 55.9 cm (22 in.)", "dimensions": {"No Extent Specified": {"height": 1.575}, "shade diameter": {"length": 0.559}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "TIFFANY STUDIOS NEW YORK 505-17", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "TIFFANY STUDIOS/NEW YORK/10933", "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": "?-2018", "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": "The shade on this floor lamp can be rotated with the touch of a finger to provide brighter or dimmer light.", "description": "Tiffany and his designers brought the garden inside with their floral lamp designs. They also re-created the ever-changing qualities of natural light using the light and dark tonal effects of the glass when illuminated with electric lamps. This night and day version of the <em>Peony</em> shade could be rotated during the day to increase or decrease the amount of light it cast\u2014intense reds for a darker glow at night, lighter pinks during the day.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60757482"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2018.267", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2018.267/2018.267_web.jpg", "width": "687", "height": "900", "filesize": "78012", "filename": "2018.267_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2018.267/2018.267_print.jpg", "width": "2596", "height": "3400", "filesize": "711175", "filename": "2018.267_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2018.267/2018.267_full.tif", "width": "6000", "height": "7859", "filesize": "141489348", "filename": "2018.267_full.tif"}}, "alternate_images": [{"date_created": "2018-03-20T11:02:52", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.267/2018.267_alt0_web.jpg", "width": "686", "height": "900", "filesize": "77901"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.267/2018.267_alt0_print.jpg", "width": "2590", "height": "3400", "filesize": "683335"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.267/2018.267_alt0_full.tif", "width": "6000", "height": "7877", "filesize": "141813312"}}, {"date_created": "2018-03-20T14:34:57", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.267/2018.267_alt1_web.jpg", "width": "900", "height": "675", "filesize": "249374"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.267/2018.267_alt1_print.jpg", "width": "3400", "height": "2550", "filesize": "2044412"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.267/2018.267_alt1_full.tif", "width": "8000", "height": "6000", "filesize": "144034380"}}], "creditline": "Bequest of Charles Maurer", "image_credit": null, "sketchfab_id": "1213d5a05e4c442eb31ca1d6dd46481b", "sketchfab_url": "https://sketchfab.com/models/1213d5a05e4c442eb31ca1d6dd46481b", "gallery_donor_text": null, "athena_id": 296869, "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": 292194, "description": "Tiffany Studios (United States, New York, 1902\u201332)", "extent": null, "qualifier": null, "role": "maker", "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": 1905, "date_added_to_oa": null, "date_text": "c. 1905\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": false, "updated_at": "2026-04-07 22:01:02.174000"}, {"id": 155647, "accession_number": "1990.87", "share_license_status": "Copyrighted", "tombstone": "Paris Windows with Flags, Bastille Day, 1933. Ilse Bing (American, 1899\u20131998). Gelatin silver print; image: 22.3 x 28.2 cm (8 3/4 x 11 1/8 in.); matted: 40.6 x 50.8 cm (16 x 20 in.). The Cleveland Museum of Art, The A. W. Ellenberger, Sr., Endowment Fund, 1990.87. \u00a9 Estate of Ilse Bing", "current_location": null, "title": "Paris Windows with Flags, Bastille Day", "creation_date": "1933", "creation_date_earliest": 1933, "creation_date_latest": 1933, "artists_tags": ["female", "Jewish artists"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 22.3 x 28.2 cm (8 3/4 x 11 1/8 in.); Matted: 40.6 x 50.8 cm (16 x 20 in.)", "dimensions": {"image": {"height": 0.223, "width": 0.282}, "matted": {"height": 0.406, "width": 0.508}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of Ilse Bing", "inscriptions": [{"inscription": "Written in white ink on recto: \"ILSE BING/1933\"; written in pencil on verso: \"ILSE BING/1933\"", "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": 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": 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": 370361, "title": "Ilse Bing: Queen of the Leica", "description": "<i>Ilse Bing: Queen of the Leica</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 6-October 11, 2020).", "opening_date": "2020-03-06T05:00:00"}], "legacy": [{"description": "CMA,  June 7 - September 15, 1991: \"Notable Acquisitions,\" CMA Bulletin, 78 (June 1991), p. 101, repr.", "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": "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. 73, p. 119, repr. p. 96.", "opening_date": "2006-06-09T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Bastille Day, celebrated on July 14, is a French national holiday that commemorates the storming of the Bastille prison, the turning point of the French Revolution of 1789.", "description": "Ilse Bing\u2019s preference for tightly organized geometric compositions is taken to an extreme in this elegant essay on diagonals. Because she was looking up and from the side, what should have been a rectangular grid of pillars and window ledges contains not a single horizontal or vertical line.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79944055"], "internet_archive": []}, "citations": [{"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. 101", "url": "https://www.jstor.org/stable/25161319"}, {"citation": "Cleveland Museum of Art, Tom E Hinson. <em>Catalogue of Photography</em>. Cleveland, OH: Cleveland Museum of Art, 1996.", "page_number": "Reproduced: P. 97", "url": ""}, {"citation": "Donley, Gregory M., \"Geometric Means\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 46 no. 05, May/June 2006", "page_number": "Mentioned & reproduced: p. 4-5", "url": "https://archive.org/details/CMAMM2006-05/page/4/"}], "url": "https://clevelandart.org/art/1990.87", "images": {}, "alternate_images": [], "creditline": "The A. W. Ellenberger, Sr., Endowment Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 155647, "creators": [{"id": 235, "description": "Ilse Bing (American, 1899\u20131998)", "extent": null, "qualifier": null, "role": "artist", "biography": "Ilse Bing (American, b. Germany, 1899-1998). Ilse Bing became interested in photography while pursuing a doctoral degree in art history at Frankfurt University. Around 1927-28 she began taking photographs to illustrate her dissertation and in 1930 decided to move to Paris to look for freelance assignments. Using the new 35mm Leica camera, she worked as a fashion, portrait, and architectural photographer, as well as a photojournalist. During her years in Paris she took part in numerous exhibitions, including the Museum of Modern Art's Photography 1839-1937 show in New York. In 1941 Bing and her husband immigrated to the United States, settling in New York City. In New York she began to work on a different scale, using the larger-format Rolleiflex camera as well as electronic flash. By 1957 she was working exclusively in color. Two years later Bing gave up photography to concentrate on painting and poetry.", "name_in_original_language": null, "birth_year": "1899", "death_year": "1998", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1990-12-18T00:00:00", "sortable_date": 1933, "date_added_to_oa": null, "date_text": "1933", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:02:44.995000"}, {"id": 108999, "accession_number": "1927.171", "share_license_status": "CC0", "tombstone": "The Building of the Dam, 1908. Julian Alden Weir (American, 1852\u20131919). Oil on canvas; framed: 93.5 x 118.5 x 7.5 cm (36 13/16 x 46 5/8 x 2 15/16 in.); unframed: 76 x 101.6 cm (29 15/16 x 40 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1927.171", "current_location": null, "title": "The Building of the Dam", "creation_date": "1908", "creation_date_earliest": 1908, "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: 93.5 x 118.5 x 7.5 cm (36 13/16 x 46 5/8 x 2 15/16 in.); Unframed: 76 x 101.6 cm (29 15/16 x 40 in.)", "dimensions": {"framed": {"height": 0.935, "width": 1.185, "depth": 0.075}, "unframed": {"height": 0.76, "width": 1.016}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right: \"J. Alden Weir\"", "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": 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": 445186, "title": "Paintings by J. Alden Weir", "description": "<i>Paintings by J. Alden Weir</i>. The Phillips Collection, Washington, DC (organizer) (May 6-June 8, 1972); Columbus Museum of Art, Columbus, OH (June 20-July 9, 1972); Brigham Young University Museum of Art, Provo, UT (September 1-October 5, 1972).", "opening_date": "1972-05-06T04:00:00"}, {"id": 443068, "title": "Connecticut and American Impressionsim: The Artists and the Landscape", "description": "<i>Connecticut and American Impressionsim: The Artists and the Landscape</i>. University of Connecticut, William Benton Museum of Art, Storrs, CT (organizer) (March 16-May 30, 1980).", "opening_date": "1980-03-16T05:00:00"}, {"id": 441683, "title": "American Impressionist Paintings", "description": "<i>American Impressionist Paintings</i>. Gallery Thyssen-Bornemisza, Lugano-Catagnola, Switzerland (organizer) (July 22-October 28, 1990).", "opening_date": "1990-07-22T04:00:00"}, {"id": 227212, "title": "L'Impressionisme Am\u00e9ricain 1880-1915", "description": "<i>L'Impressionisme Am\u00e9ricain 1880-1915</i>. Fondation de l'Hermitage, Lausanne 8, Switzerland (organizer) (June 6-October 20, 2002).", "opening_date": "2002-06-06T00:00:00"}, {"id": 223874, "title": "The Golden Age of American Impressionism", "description": "<i>The Golden Age of American Impressionism</i>. Heckscher Museum of Art, Huntington, Long Island, NY (organizer) (November 22, 2003-February 1, 2004).", "opening_date": "2003-11-22T00:00:00"}], "legacy": [{"description": "Washington, D.C., The Corcoran Gallery of Art, Second Exhibition of Oil Paintings by Contemporary American Artists (8 December 1908-18 January 1909), cat. no. 239 as Building a Dam on the Shetucket.", "opening_date": "1908-12-08T00:00:00"}, {"description": "Pittsburgh, The Carnegie Institute, Thirteenth Annual Exhibition, (29 April-30 June 1909), cat. no. 282, illus as Building a Dam on the Shetucket.", "opening_date": "1909-04-29T00:00:00"}, {"description": "New York, Montross Gallery, The Ten American Painters (24 March-16 April 1910), cat. no. 29 as Building the Dam-Shetucket.", "opening_date": "1910-03-24T00:00:00"}, {"description": "Boston, St. Botolph Club (1911); opened 11 January 1911; see 1990 exhibition catalogue from Lugano-Castagnola, Thyssen-Bornemisza Foundation, p. 74.", "opening_date": "1911-01-01T00:00:00"}, {"description": "Buffalo, Buffalo Fine Arts Academy, Albright Art Gallery, A Collection of Paintings by J. Alden Weir, N.A. (6 September-15 October 1911), cat. no. 15 as Building a Dam on the Shetucket.", "opening_date": "1911-09-06T00:00:00"}, {"description": "Portland (ME?), Portland Art Asssociation, Loan Exhibition of Paintings (22 September-22 November 1912), cat. no. 17 as The Dam.", "opening_date": "1912-09-22T00:00:00"}, {"description": "Denver, Denver Public Library (January-February 1916); see Unpublished References: Correspondence between Doreen B. Burke and William S. Talbot (1981) for reference from Weir's journal.", "opening_date": "1916-01-01T00:00:00"}, {"description": "Lynchburg, VA, (March, 1916) see Unpublished References: Correspondence between Doreen B. Burke and William S. Talbot (1981) for reference from Weir's journal.", "opening_date": "1916-03-01T00:00:00"}, {"description": "Chicago, Union League Club (April, 1916), see Unpublished References: Correspondence between Doreen B. Burke and William S. Talbot (1981) for reference from Weir's journal.", "opening_date": "1916-04-01T00:00:00"}, {"description": "New York, Montross Gallery (April-May, 1917), see Unpublished References: Correspondence between Doreen B. Burke and William S. Talbot (1981) for reference from Weir's journal.", "opening_date": "1917-04-01T00:00:00"}, {"description": "New York, The Metropolitan Museum of Art, Memorial Exhibition of the Works of Julian Alden Weir (17 March-20 April 1924), illus. cat. no. 39 as The Building of the Dam.", "opening_date": "1924-03-17T00:00:00"}, {"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": "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. 375 as Building a Dam, Shetucket.", "opening_date": "1936-06-26T00:00:00"}, {"description": "Cleveland, The Cleveland Museum of Art, Exhibition of American Painting from 1860 Until Today at The Cleveland Museum of Art (23 June-4 October 1937), cat. no. 204 as Building a Dam, Shetucket.", "opening_date": "1937-06-23T00:00:00"}, {"description": "New York, Whitney Museum of American Art, A Century of American Landscape Painting, 1800 to 1900 (19 January-25 February 1938), cat. no. 65 as Building a Dam, Shetucket.", "opening_date": "1938-01-19T00:00:00"}, {"description": "Pittsburgh, Department of Fine Arts, Carnegie Institute, A Century of American Landscape Painting, 1800-1900 (22 March-30 April 1939), cat. no. 41 as Building a Dam, Shetucket.", "opening_date": "1939-03-22T00:00:00"}, {"description": "New York, The American Academy of Arts and Letters, J. Alden Weir 1852-1919: Centennial Exhibition (1 February-30 March 1952), cat. no. 8 as Building a Dam, Shetucket.", "opening_date": "1952-02-01T00:00:00"}, {"description": "Washington, D.C., The Phillips Collection, Paintings by Julian Alden Weir (6 May-8 June 1972); traveled to Columbus, The Columbus Gallery of Fine Arts (20 June-9 July 1972); Provo, Utah, The Brigham Young University Art Gallery (1 September-5 October 1972), illus. cat. no. 14 as Building a Dam, Shetucket.", "opening_date": "1972-05-06T00:00:00"}, {"description": "Storrs, CT, The William Benton Museum of Art, Connecticut and American Impressionism (17 March-30 May 1980), did not travel with show; illus. cat. no. 76, p. 19 as Building a Dam, Shetucket.", "opening_date": "1980-03-17T00:00:00"}, {"description": "New York, The Metropolitan Museum of Art, J. Alden Weir: An American Impressionist (14 October 1983-8 January 1984); traveled to Los Angeles, The Los Angeles County Museum of Art (9 February-6 May 1984); Denver, The Denver Art Museum (13 June-19 August 1984), cat. not numbered, illus. p. 243, fig. no. 6.20 as Building a Dam, Shetucket.", "opening_date": "1984-02-09T00:00:00"}, {"description": "Lugano-Castagnola, Switzerland, Gallery Thyssen-Bornemisza, American Impressionist Paintings (22 July-28 October 1990), illus. cat. no. 26, p. 75 as Building a Dam, Shetucket.", "opening_date": "1990-07-22T00:00:00"}, {"description": "Storrs, CT, The William Benton Musuem of Art, J. Alden Weir: A Place of His Own (4 June-18 August 1991); traveled to Greenwich, CT, The Bruce Museum (15 September-3 November 1991), illus. cat. plate no. 15 as Building a Dam, Shetucket.", "opening_date": "1991-06-04T00:00:00"}, {"description": "Lausanne, Switzerland, Fondation de l\u2019Hermitage, L\u2019Impressionnisme Am\u00e9ricain 1880-1915 (6 June 2002-20 October 2002), illus. cat. no. 57, p. 112 as The Building of the Dam (La construction du barrage).", "opening_date": "2002-06-06T00:00:00"}, {"description": "Heckscher Musuem of Art (11/22/2003 - 2/1/2004):  \"The Golden Age of American Impressionsim\"", "opening_date": "2003-11-22T00:00:00"}]}, "provenance": [{"description": "The artist's estate", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "Phillips Memorial Gallery, Washington, DC, purchased in 1923", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH, purchased in 1927", "citations": [], "footnotes": null, "date": null, "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": ["571.26"], "did_you_know": "The artist was the 14th of 16 children born to his parents.", "description": "Julian Alden Weir's painting shows the construction of the Scotland Dam, built between 1907 and 1909 on the Shetucket River near his summer home in Windham, Connecticut. The artist had a vested interest in the subject, as the dam ensured an energy supply to the area's inhabitants that included his family.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60503719"], "internet_archive": ["https://archive.org/details/clevelandart-1927.171-the-building-of-the"]}, "citations": [{"citation": "Pyne, Kathleen A. <em>Art and the Higher Life : Painting and Evolutionary Thought in Late Nineteenth-Century America.</em> Austin: University of Texas Press, 1996.", "page_number": "Mentioned, p. 274; reproduced p. 276.", "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. 44, no. 204", "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. 548", "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. 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": "Dawson, Anne E. \"J. Alden Weir in Windham, Connecticut, 1882-1919.\" In  <em>Rare Light: J. Alden Weir in Windham, Connecticut, 1882-1919.</em> Anne Dawson, editor, 9-90. Middletown, Connecticut: Wesleyan University Press, 2016.", "page_number": "Reproduced: p. 48, fig. 2.35", "url": null}], "url": "https://clevelandart.org/art/1927.171", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1927.171/1927.171_web.jpg", "width": "900", "height": "668", "filesize": "315007", "filename": "1927.171_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1927.171/1927.171_print.jpg", "width": "3400", "height": "2525", "filesize": "4092398", "filename": "1927.171_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1927.171/1927.171_full.tif", "width": "7578", "height": "5627", "filesize": "127955644", "filename": "1927.171_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1927.171/1927.171_alt0_web.jpg", "width": "1198", "height": "893", "filesize": "1060656"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1927.171/1927.171_alt0_print.jpg", "width": "3400", "height": "2535", "filesize": "7851215"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1927.171/1927.171_alt0_full.tif", "width": "4789", "height": "3571", "filesize": "51339452"}}], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 108999, "creators": [{"id": 3324, "description": "Julian Alden Weir (American, 1852\u20131919)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1852", "death_year": "1919", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1927-03-22T00:00:00", "sortable_date": 1908, "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": ["Building a Dam"], "is_highlight": false, "updated_at": "2026-03-27 00:09:30.227000"}, {"id": 135469, "accession_number": "1958.46", "share_license_status": "CC0", "tombstone": "Vase of Flowers, 1916. Odilon Redon (French, 1840\u20131916). Pastel; sheet: 84.1 x 58 cm (33 1/8 x 22 13/16 in.). The Cleveland Museum of Art, Bequest of Leonard C. Hanna Jr., 1958.46", "current_location": null, "title": "Vase of Flowers", "creation_date": "1916", "creation_date_earliest": 1916, "creation_date_latest": 1916, "artists_tags": ["male"], "culture": ["France, 20th century"], "technique": "pastel", "support_materials": [], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 84.1 x 58 cm (33 1/8 x 22 13/16 in.)", "dimensions": {"sheet": {"height": 0.841, "width": 0.58}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed on base of flower: ODILON REDON", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"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": 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": 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": 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": 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": 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"}], "legacy": [{"description": "<em>European &amp; American Paintings. </em>New York World's Fair (May - October 1940).", "opening_date": "1940-05-01T00:00:00"}, {"description": "<em>Loan Exhibition of Masterpieces of Painting</em>. Montreal Museum of Fine Arts (February 5 - March 8, 1942).", "opening_date": "1942-02-05T00:00:00"}]}, "provenance": [{"description": "R. Kahn, New York", "citations": [], "footnotes": null, "date": "?-?", "sortorder": 1}, {"description": "(Jacques Seligmann & Co., New York, sold to Leonard C. Hanna, Jr., Cleveland, OH)", "citations": [], "footnotes": ["<div><!--block-->Seligmann inventory no. 6413.</div>"], "date": "?-1937", "sortorder": 2}, {"description": "Leonard C. Hanna Jr. [1889-1957], Cleveland, OH, bequest to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1937-1958", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1958-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Redon was inspired to depict flowers after meeting the botanist Armand Clavaud, a cataloguer of plant species in the artist's native region of Bordeaux", "description": "Inspired by Cleveland\u2019s groundbreaking acquisitions of Odilon Redon\u2019s artworks during the 1920s, local philanthropist and collector Leonard C. Hanna Jr. purchased this luminous pastel of a floral still life in 1937. Hanna acquired it from Jacques Seligmann, a dealer based in New York City and Paris who was fundamental in bringing 19th-century French art to American audiences. In 1939, Hanna loaned the pastel to the New York World\u2019s Fair, where it represented Redon\u2019s work. Those who saw it there were attracted to the vivid color and timeless subject, which preoccupied the artist at the end of his life.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80028740"], "internet_archive": ["https://archive.org/details/clevelandart-1958.46-vase-of-flowers"]}, "citations": [{"citation": "Pach, Walter. <em>Catalogue of European &amp; American Paintings, 1500-1900</em>. Exh. Cat. New York: Masterpieces of Art, 1940.", "page_number": "Mentioned: p. 238, no. 352; Reproduced: p. 237", "url": null}, {"citation": "<em>Loan Exhibition of Masterpieces of Painting</em>. Exh. Cat. Montreal: Museum of Fine Arts, 1942.", "page_number": "Mentioned: p. 50, no. 72", "url": null}, {"citation": "<em>Odilon Redon, 1840-1916</em>. Exh. Cat. Cleveland: Cleveland Museum of Art, 1951.", "page_number": "Mentioned and reproduced: no. 15", "url": null}, {"citation": "Marcus, Margaret Fairbanks. <em>Flower Painting by the Great Masters</em>. New York: Harry N. Abrams, 1954.", "page_number": "Reproduced: plate 30", "url": null}, {"citation": "\"Great Show of French Masters: Cleveland Celebrates Legacy of Hanna Collection.\" <em>Life </em>45, no. 8 (August 25, 1958).", "page_number": "Reproduced: p. 44", "url": null}, {"citation": "Berger, Klaus. <em>Odilon Redon: Fantasy and Colour</em>. Trans. Michael Bullock. New York: McGraw-Hill, 1965.", "page_number": "Mentioned: p. 218, no. 498", "url": null}, {"citation": "Selz, Peter. <em>Art in Our Times: A Pictorial History 1890-1980</em>. New York: Harcourt Brace Jovanovich, 1981.", "page_number": "Mentioned and reproduced: p. 158", "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 and reproduced: vol. III, p. 139, no. 1565", "url": null}, {"citation": "Lemonedes, Heather. \"Bits of Rainbows: Odilon Redon's <em>Vase of Flowers</em> and the Power of Enlightenment.\" <em>Cleveland Museum of Art Members Magazine</em> (January/February 2016): 5-7.", "page_number": "Mentioned: p. 5, 7; Reproduced: p. 6", "url": "http://www.clevelandart.org/magazine/cleveland-art-januaryfebruary-2016/bite-rainbows"}, {"citation": "Cleveland Museum of Art. <em>Museum Masters: 2016-17 Companion Guide.</em> [Cleveland, Ohio]: Cleveland Museum of Art, 2016.", "page_number": "Reproduced: P. 90", "url": ""}], "catalogue_raisonne": "Wildenstein 1565", "url": "https://clevelandart.org/art/1958.46", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1958.46/1958.46_web.jpg", "width": "566", "height": "900", "filesize": "174087", "filename": "1958.46_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1958.46/1958.46_print.jpg", "width": "2137", "height": "3400", "filesize": "1920125", "filename": "1958.46_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1958.46/1958.46_full.tif", "width": "4840", "height": "7701", "filesize": "111849884", "filename": "1958.46_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.46/1958.46_alt0_web.jpg", "width": "573", "height": "900", "filesize": "236316"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.46/1958.46_alt0_print.jpg", "width": "1305", "height": "2048", "filesize": "2305991"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.46/1958.46_alt0_full.tif", "width": "1305", "height": "2048", "filesize": "8020836"}}, {"date_created": "2015-06-03T16:11:57", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.46/1958.46_alt1_web.jpg", "width": "579", "height": "900", "filesize": "229982"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.46/1958.46_alt1_print.jpg", "width": "2186", "height": "3400", "filesize": "3235922"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.46/1958.46_alt1_full.tif", "width": "2846", "height": "4427", "filesize": "37823792"}}], "creditline": "Bequest of Leonard C. Hanna Jr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 135469, "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": "1958-11-29T00:00:00", "sortable_date": 1916, "date_added_to_oa": null, "date_text": "1916", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:37.914000"}, {"id": 135445, "accession_number": "1958.44", "share_license_status": "Copyrighted", "tombstone": "Woman with a Cape, early 1901. Pablo Picasso (Spanish, 1881\u20131973). Oil on canvas; framed: 92.4 x 69.9 x 7.9 cm (36 3/8 x 27 1/2 x 3 1/8 in.); unframed: 73 x 50.2 cm (28 3/4 x 19 3/4 in.). The Cleveland Museum of Art, Bequest of Leonard C. Hanna Jr., 1958.44. \u00a9 Estate of  Pablo Picasso / Artists Rights Society (ARS), New York", "current_location": "223 20th Century Avant-Garde", "title": "Woman with a Cape", "creation_date": "early 1901", "creation_date_earliest": 1901, "creation_date_latest": 1901, "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: 92.4 x 69.9 x 7.9 cm (36 3/8 x 27 1/2 x 3 1/8 in.); Unframed: 73 x 50.2 cm (28 3/4 x 19 3/4 in.)", "dimensions": {"framed": {"height": 0.924, "width": 0.699, "depth": 0.079}, "unframed": {"height": 0.73, "width": 0.502}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of  Pablo Picasso / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "Signed upper left: \"Picasso-\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 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"}, {"id": 443832, "title": "Els Quatre Gats: Art in Barcelona Around 1900", "description": "<i>Els Quatre Gats: Art in Barcelona Around 1900</i>. Princeton University Art Museum, Princeton, NJ (organizer) (January 28-March 26, 1978); Hirshhorn Museum and Sculpture Garden, Washington, D.C., DC (April 14-June 26, 1978).", "opening_date": "1978-01-28T05:00:00"}, {"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": 217043, "title": "Picasso", "description": "<i>Picasso</i>. Bunkamura Museum of Art, Tokyo (July 4-September 6, 1998); Nagoya City Art Museum (September 15-November 29, 1998).", "opening_date": "1998-07-04T00:00:00"}, {"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": 283935, "title": "Picasso/Lautrec", "description": "<i>Picasso/Lautrec</i>. Museo Nacional Thyssen-Bornemisza, Madrid, Spain (organizer) (October 17, 2017-January 21, 2018).", "opening_date": "2017-10-17T04:00:00"}, {"id": 371410, "title": "Picasso: Painting the Blue Period", "description": "<i>Picasso: Painting the Blue Period</i>. Art Gallery of Ontario, Ontario M5T 1G4, Canada (October 9, 2021-January 5, 2022); The Phillips Collection, Washington, DC (organizer) (February 26-June 12, 2022).", "opening_date": "2021-10-09T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Paris, France, 1919, sold to John Quinn, New York, NY)", "citations": [], "footnotes": [], "date": "1919", "sortorder": 1}, {"description": "John Quinn [1870-1924], New York, NY", "citations": [], "footnotes": null, "date": "1919", "sortorder": 2}, {"description": "(Demotte Collection, Paris, France)", "citations": [], "footnotes": [], "date": null, "sortorder": 3}, {"description": "Robert Lebel [1901-1986] Paris, France", "citations": [], "footnotes": [], "date": "1935-1937", "sortorder": 4}, {"description": "(Reinhardt Gallery and Courvoisier Galleries, San Francisco, CA)", "citations": [], "footnotes": [], "date": "1937", "sortorder": 5}, {"description": "Leonard C. Hannah, Jr. [1889-1957] Cleveland, OH, by bequest to the Cleveland Museum of Art,", "citations": [], "footnotes": [], "date": "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": [], "did_you_know": "Careful analysis of this painting reveals that Picasso used three different sized brushes: a wide one for the background and dress, a narrower one for the hat, and a smaller pointed one for the face.", "description": "Pablo Picasso created this portrait of an artist\u2019s model named Jeanne in the spring of 1901 when he was 20 years old, in preparation for his first exhibition in Paris held at the Galerie Vollard where he displayed more than 65 paintings and drawings. The bold brushwork and lively palette in works such as Woman with a Cape were noted by a contemporary critic who described Picasso\u2019s style as \u201clively, precocious.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60465142"], "internet_archive": ["https://archive.org/details/clevelandart-1958.44-woman-with-a-cape"]}, "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. 195", "url": "https://archive.org/details/CMAHandbook1969/page/n219"}, {"citation": "Henning, Edward B. \u201cPablo Picasso: Bouteille, Verre, et Fourchette.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 59, no. 7 (September 1972): 195\u2013203.", "page_number": "Mentioned and reproduced: p. 195-196, fig. 2", "url": "http://www.jstor.org/stable/25152438"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 241", "url": "https://archive.org/details/CMAHandbook1978/page/n261"}, {"citation": "Chipp, Herschel Browning, Alan Wofsy, and Fernand Mourlot. <em>Picasso's paintings, watercolors, drawings and sculpture: a comprehensive illustrated catalogue, 1885-1973</em>. San Francisco, CA: Alan Wofsy Fine Arts, 1995.", "page_number": "Reproduced: p. 154, fig. 191-197", "url": null}, {"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. 159", "url": null}, {"citation": "Fukaya, Katsunori. <em>Pikaso ten: kaikan 10-shu\u0304nen kinen = Pablo Picasso : 10th anniversary</em>. Toyko, Japan: Chu\u0304nichi Shinbunsha, 1998.", "page_number": "Reproduced: p. 159", "url": null}, {"citation": "Serraller, Francisco Calvo and Paloma Alarco\u0301. <em>Picasso, Lautrec.</em> Madrid: Museo Thyssen-Bornemisza, 2017.", "page_number": "Reproduced: p. 93, cat. no. 17", "url": null}, {"citation": "\"The Blue Room and Related Works.\" In <em>Picasso: Painting the Blue Period.</em> Kenneth Brummel, and Susan Behrends Frank, eds., 114-155. New York: DelMonico Books \u00b7 D.A.P.; Toronto, Ontario, Canada: Art Gallery of Ontario, 2021.", "page_number": "Reproduced: P. 131", "url": ""}], "url": "https://clevelandart.org/art/1958.44", "images": {}, "alternate_images": [], "creditline": "Bequest of Leonard C. Hanna Jr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Michael J. Horvitz Family Gallery", "athena_id": 135445, "creators": [{"id": 2160, "description": "Pablo Picasso (Spanish, 1881\u20131973)", "extent": null, "qualifier": null, "role": "artist", "biography": "Pablo Ruiz Picasso (1881-1973), the most prolific and influential artist of the 20th century, shifted the emphasis of art from its traditional concern with beauty toward radical innovation. The son of an art teacher, Picasso demonstrated remarkable talents as a child and entered the royal art academy in Madrid at age sixteen. Less than a year later, he abandoned his studies and soon joined several avant-garde artist and anarchist groups in Barcelona and Paris. After passing through a succession of stylistic periods, most notably the Blue (1901-1904) and Rose (1904-1906) Periods, he collaborated with Georges Braque (1882-1963) in 1908 to invent Cubism, a revolutionary method of restructuring pictorial space. Picasso remained active until his death in 1973. Although his art still appears radical, many of his works are over one hundred years old. Cubism, perhaps the most important development in 20th-century art, was invented around 1908 by Pablo Picasso (1881-1973) and Georges Braque (1882-1963). The most revolutionary aspect of the style was not its obvious emphasis on geometric form; rather, it was the introduction of a radically new approach to configuring pictorial space. Since the Renaissance, artists had used various methods to create the illusion of distant space receding behind the canvas surface. The Cubists rejected that idea and collapsed space by compressing foreground, middle ground, and background into a continuous web of overlapping, intersecting planes. During the 1910s, other painters and sculptors embraced or adapted Cubism to their own ends. This revolutionary approach inspired a host of related movements and continues to influence the visual language of artists, architects, and designers throughout the world.", "name_in_original_language": null, "birth_year": "1881", "death_year": "1973", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1958-11-29T00:00:00", "sortable_date": 1901, "date_added_to_oa": null, "date_text": "early 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": ["Jeanneton"], "is_highlight": false, "updated_at": "2026-04-03 13:35:08.917000"}, {"id": 143392, "accession_number": "1967.3", "share_license_status": "Copyrighted", "tombstone": "Accent Grave, 1955. Franz Kline (American, 1910\u20131962). Oil on canvas; framed: 196 x 136 x 5 cm (77 3/16 x 53 9/16 x 1 15/16 in.); unframed: 191.1 x 131.4 cm (75 1/4 x 51 3/4 in.). The Cleveland Museum of Art, Anonymous Gift, 1967.3. \u00a9 The Franz Kline Estate / Artists Rights Society (ARS), New York", "current_location": null, "title": "Accent Grave", "creation_date": "1955", "creation_date_earliest": 1955, "creation_date_latest": 1955, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 196 x 136 x 5 cm (77 3/16 x 53 9/16 x 1 15/16 in.); Unframed: 191.1 x 131.4 cm (75 1/4 x 51 3/4 in.)", "dimensions": {"framed": {"height": 1.96, "width": 1.36, "depth": 0.05}, "unframed": {"height": 1.911, "width": 1.314}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 The Franz Kline Estate / Artists Rights Society (ARS), New York", "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": 517938, "title": "Franz Kline, 1910-1962", "description": "<i>Franz Kline, 1910-1962</i>. Whitney Museum of American Art, New York, NY (organizer) (October 1-November 24, 1968).", "opening_date": "1968-10-01T04:00:00"}, {"id": 301294, "title": "Works from the Contemporary Collection", "description": "<i>Works from the Contemporary Collection</i>. The Cleveland Museum of Art, Cleveland, OH (July 1-October 15, 1969).", "opening_date": "1969-07-01T04:00:00"}, {"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": 442713, "title": "The Fifties: Painting in New York 1950 - 1960", "description": "<i>The Fifties: Painting in New York 1950 - 1960</i>. Hirshhorn Museum and Sculpture Garden, Washington, D.C., DC (organizer) (May 22-September 21, 1980).", "opening_date": "1980-05-22T04:00:00"}, {"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": 399447, "title": "Franz Kline: Art and the Structure of Identity", "description": "<i>Franz Kline: Art and the Structure of Identity</i>. Whitechapel Art Gallery (July 8-September 11, 1994); Museo Nacional Centro de Arte Reina Sof\u00cda (September 27-November 21, 1994).", "opening_date": "1994-03-03T05:00:00"}, {"id": 228621, "title": "Franz Kline (1910-1962): A Survey of Works", "description": "<i>Franz Kline (1910-1962): A Survey of Works</i>. Castello di Rivoli Museo d'Arte Contemporanea, Rivoli (Torino), Italy (organizer) (October 18, 2004-January 30, 2005).", "opening_date": "2004-10-18T00:00:00"}, {"id": 308795, "title": "Once Upon a Time in America", "description": "<i>Once Upon a Time in America</i>. Wallraf-Richartz Museum, K\u00f6ln, Germany (organizer) (November 23, 2018-March 24, 2019).", "opening_date": "2018-11-23T05:00:00"}], "legacy": [{"description": "Museum of Modern Art, New York, 1958-1959: The New American Painting, cat. no. 37, repr. p. 51.", "opening_date": "1958-01-01T00:00:00"}, {"description": "Whitney Museum of American Art, 1968: Retrospective - Work of Franz Kline, October 1-November 30, 1968.", "opening_date": "1968-10-01T00:00:00"}, {"description": "CMA: Works from the Contemporary Collection, July 1-mid-October, 1969", "opening_date": "1969-10-01T00:00:00"}, {"description": "Buffalo, Albright-Knox Gallery, 1976: Heritage and Horizons: American Paintings 1776-1976, cat. no. 53, repr.", "opening_date": "1976-01-01T00:00:00"}, {"description": "(also to Detroit Institute of Arts, 1976, and Toledo Museum of Art, 1976, and to CMA, 1976.", "opening_date": "1976-01-01T00:00:00"}, {"description": "Washington, DC, Hirshhorn Museum and Sculpture Garden, 1980: The Fifties: Painting in New York 1950-1960, cat. no. 35, repr. p. 78.", "opening_date": "1950-01-01T00:00:00"}, {"description": "Cincinnati Art Museum, Cincinnati, OH, November 29, 1985-March 2, 1986; Pennsylvania Academy of Fine Arts, June 26-October 5, 1986: The Vital Gesture: Franz Kline in Retrospect.", "opening_date": "1986-06-26T00:00:00"}, {"description": "CMA, September 16-November 8, 1987: Creativity in Art and Science, 1860-1960, cat. no. 45, p. 134, repr.", "opening_date": "1987-09-16T00:00:00"}, {"description": "Castello di Rivoli Museo d'Arte Contemporanea, Turin, Italy (10/18/2004 - 1/30/2005): \"Franz Kline (1910-1962): A Survey of Works\", p. 222-223", "opening_date": "2004-10-18T00:00:00"}]}, "provenance": [{"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1967\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1354.60"], "did_you_know": "Although Kline\u2019s paintings look like variations on Asian calligraphy, the artist denied the influence.", "description": "Although Kline's paintings look as if they were executed in a spontaneous burst of activity, they were often painstakingly pre-planned through preliminary studies. Additionally, as in the case of Accent Grave, close inspection reveals passages of reworked areas - white over black and vice-versa - indicating that the final composition was carefully orchestrated. The painting's title derives from the downward sloping black shape in its upper region, which suggests an accent grave in French phonetics.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60469874"], "internet_archive": []}, "citations": [{"citation": "Museum of Modern Art. <em>The New American Painting, As Shown in Eight European Countries, 1958-1959</em>. New York, NY: Museum of Modern Art, 1959.", "page_number": "Reproduced: p. 41, cat. no. 37", "url": null}, {"citation": "Henning, Edward B. <em>Paths of Abstract Art</em>. Cleveland, OH, Cleveland Museum of Art: Distributed by H.N. Abrams, NY, 1960.", "page_number": "Reproduced: p. 33", "url": null}, {"citation": "Sidney Janis Gallery. <em>Kline</em>. New York, NY: Sidney Janis Gallery, 1960.", "page_number": "Reproduced: fig. 31", "url": null}, {"citation": "\"Year in Review.\" <em>The Bulletin of The Cleveland Museum of Art LIV,</em> no. 12 (December, 1967):302-347.", "page_number": "Reproduced: p. 330, fig. 136", "url": null}, {"citation": "Henning, Edward B. \"Annual Report for 1967: Contemporary Art.\" <em>The Bulletin of The Cleveland Museum of Art LV,</em> no. 6 (June, 1968):183-184.", "page_number": "Mentioned and Reproduced: p. 183", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 202", "url": "https://archive.org/details/CMAHandbook1969/page/n226"}, {"citation": "Cleveland Museum of Art. <em>Art of the Twentieth Century in the Cleveland Museum of Art</em>. Cleveland, OH: Dept. of Art History &amp; Education, CMA, 1969.", "page_number": "Mentioned and Reproduced: p. 3", "url": "https://archive.org/details/20thCenturyArtCMA/page/n3"}, {"citation": "Henning, Edward B. \"Some Modern Paintings.\" <em>The Bulletin of The Cleveland Museum of Art LVI,</em> no. 2 (February, 1969):55-87.", "page_number": "Mentioned: p. 62-68' Reproduced: p.66, back cover", "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": "Reproduced: p. 291", "url": null}, {"citation": "Henning, Edward B. \"An Important Sculpture by John Chamberlain.\" <em>The Bulletin of The Cleveland Museum of Art LX,</em> no.10 (October, 1973):243-246.", "page_number": "Reproduced: p. 245", "url": null}, {"citation": "Henning, Edward B. \"Plane, Structure, Color, and Content.\" <em>The Bulletin of The Cleveland Museum of Art LXI,</em> no.9 (September,1974):223-239.", "page_number": "Reproduced: p. 234, fig. 22", "url": null}, {"citation": "Terada, To\u0304ru. <em>Japanese Art in World Perspective</em>. New York, NY: Weatherhill, 1976.", "page_number": "Reproduced: p. 147, fig. 137", "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. 252", "url": "https://archive.org/details/CMAHandbook1978/page/n272"}, {"citation": "Lucie-Smith, Edward, Sam Hunter, and Adolf Max Vogt. <em>Kunst der Gegenwart</em>. Frankfurt am Main, Germany: Propyla\u0308en Verlag, 1978.", "page_number": "Reproduced: p. 154", "url": null}, {"citation": "Ball, Victoria Kloss. <em>The Art of Interior Design</em>. New York, NY: Wiley, 1982.", "page_number": "Reproduced: p. 228, fig. 11.25", "url": null}, {"citation": "Gaugh, Harry F. <em>The Vital Gesture, Franz Kline: Cincinnati Art Museum</em>. New York, NY: Abbeville Press, 1985.", "page_number": "Reproduced: p. 118, fig. 115; Mentioned: p. 119", "url": null}, {"citation": "Landau, Ellen G. \"Space and Pictorial Life: Hans Hofmann's Smaragd Red and Germinating Yellow.\" <em>The Bulletin of The Cleveland Museum of Art</em> <em>LXXII</em> no. 9 (September, 1985):310-323.", "page_number": "Reproduced: p. 310; Detail: p. 318", "url": null}, {"citation": "Hinson, Tim E. \"Alex Katz's Impala.\" <em>The Bulletin of The Cleveland Museum of Art</em> <em>LXXIII</em> no. 8 (October, 1986):314-326.", "page_number": "Reproduced: p. 316", "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. 134, no. 45", "url": ""}, {"citation": "Wallock, Leonard, and Dore Ashton. <em>New York, Culture Capital of the World, 1940-1965</em>. New York, NY: Rizzoli, 1988.", "page_number": "Reproduced: p. 140, fig. 147", "url": null}, {"citation": "Lynton, Norbert. <em>The Story of Modern Art</em>. Oxford, United Kingdom: Phaidon, 1989.", "page_number": "Reproduced: p. 237, fig. 209", "url": null}, {"citation": "Naylor, Colin, and Leanda Shrimpton. <em>Contemporary Masterworks</em>. Chicago, IL: St. James Press, 1991.", "page_number": "Reproduced: p. 148", "url": null}, {"citation": "Kline, Franz, and Stephen C. Foster. <em>Franz Kline: Art and the Structure of Identity</em>. Barcelona, Spain: Fundacio\u0301 Antoni Ta\u0300pies, 1994.", "page_number": "Reproduced: p. 91, no. 30; Mentioned: p. 200", "url": null}, {"citation": "Barbero, Luca Massimo. <em>Carlo Cardazzo: Una Nuova Visione dell'arte</em>. Milano: Electa, 2008.", "page_number": "Reproduced: p. 368; Mentioned: p. 371", "url": null}, {"citation": "Pola, Francesca. \"Carlo Cardazzo verso il futuro, tra Nord Europa e Stati Uniti.\" In <em>Carlo Cardazzo: una nuova visione dell'arte. </em>Barbero, Luca Massimo, 351-381. Milano: Electa, 2008.", "page_number": "Reproduced: p. 369; Mentioned: p. 371", "url": null}, {"citation": "Nash, Steven A., and Elizabeth Armstrong. <em>A Passionate Eye: The Weiner Family Collection</em>. Palm Springs, CA: Palm Springs Art Museum, 2015.", "page_number": "Mentioned & reproduced: P. 82-83", "url": null}, {"citation": "Schaefer, Barbara and Anita Hachmann. <em>Es war einmal in Amerika: 300 Jahre US-Amerikanische Kunst. </em>K\u00f6ln: Wienand Verlag Wallraf-Richartz-Museum &amp; Fondation Corboud, 2018.", "page_number": "Mentioned and reproduced: pp. 540-541, cat. 131-", "url": null}, {"citation": "Museum of Modern Art. <em>The New American Painting, As Shown in Eight European Countries, 1958-1959</em>. New York, NY: Museum of Modern Art; distributed by Doubleday, Garden City, NY, 1959.", "page_number": "Reproduced: p. 51", "url": null}], "url": "https://clevelandart.org/art/1967.3", "images": {}, "alternate_images": [], "creditline": "Anonymous Gift", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 143392, "creators": [{"id": 3505, "description": "Franz Kline (American, 1910\u20131962)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1910", "death_year": "1962", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1967-01-30T00:00:00", "sortable_date": 1955, "date_added_to_oa": null, "date_text": "1955", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:33.198000"}, {"id": 132416, "accession_number": "1954.865", "share_license_status": "Copyrighted", "tombstone": "Reclining Nude (Fernande), 1906. Pablo Picasso (Spanish, 1881\u20131973). Watercolor and gouache with pencil and possibly charcoal on paper; sheet: 47.3 x 61.3 cm (18 5/8 x 24 1/8 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. Michael Straight, 1954.865. \u00a9 Estate of  Pablo Picasso / Artists Rights Society (ARS), New York", "current_location": null, "title": "Reclining Nude (Fernande)", "creation_date": "1906", "creation_date_earliest": 1906, "creation_date_latest": 1906, "artists_tags": ["male", "Latine and Hispanic Artists"], "culture": ["Spain, 20th century"], "technique": "Watercolor and gouache with pencil and possibly charcoal on paper", "support_materials": [{"description": "beige modern laid paper", "watermarks": []}], "department": "Drawings", "collection": "DR - Spanish", "type": "Drawing", "measurements": "Sheet: 47.3 x 61.3 cm (18 5/8 x 24 1/8 in.)", "dimensions": {"sheet": {"height": 0.473, "width": 0.613}}, "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 right, in pink crayon: Picasso [underlined]; verso, upper left, in black crayon: 2548 [in a box; upside down]; upper right, in black crayon: 2548 [in a box; sideways]; lower left, in blue crayon: ph / 94 [sideways]; lower right, in black crayon: 2548 [in a box; sideways]\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"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": 361420, "title": "Picasso and Man", "description": "<i>Picasso and Man</i>. Art Gallery of Ontario, Ontario M5T 1G4, Canada (organizer) (January 11-February 16, 1964); Montr\u00e9al Museum of Fine Arts, Montreal, Quebec, Canada (February 28-March 31, 1964).", "opening_date": "1964-01-11T05:00:00"}, {"id": 301789, "title": "In Memoriam - Pablo Picasso, 1881 - 1973", "description": "<i>In Memoriam - Pablo Picasso, 1881 - 1973</i>. The Cleveland Museum of Art, Cleveland, OH (April 10-May 7, 1973).", "opening_date": "1973-04-10T04:00:00"}, {"id": 442780, "title": "Pablo Picasso: A Retrospective", "description": "<i>Pablo Picasso: A Retrospective</i>. The Museum of Modern Art, New York, NY (organizer) (May 22-September 16, 1980).", "opening_date": "1980-05-22T04:00:00"}, {"id": 361421, "title": "Picasso: Masterpieces from Marina Picasso Collection and from Museums in U.S.A. and U.S.S.R.", "description": "<i>Picasso: Masterpieces from Marina Picasso Collection and from Museums in U.S.A. and U.S.S.R.</i>. The National Museum of Modern Art, Tokyo, Tokyo, Japan (organizer) (April 2-May 29, 1983).", "opening_date": "1983-04-02T05:00:00"}, {"id": 442184, "title": "Pablo Picasso", "description": "<i>Pablo Picasso</i>. The National Museum of Modern Art, Tokyo, Tokyo, Japan (organizer) (co-organizer) (April 2-May 29, 1983); Kyoto Municipal Museum of Art, Kyoto, Japan (co-organizer) (June 10-July 24, 1983).", "opening_date": "1983-04-02T05:00:00"}, {"id": 361421, "title": "Picasso: Masterpieces from Marina Picasso Collection and from Museums in U.S.A. and U.S.S.R.", "description": "<i>Picasso: Masterpieces from Marina Picasso Collection and from Museums in U.S.A. and U.S.S.R.</i>. Kyoto Municipal Museum of Art, Kyoto, Japan (June 10-July 24, 1983).", "opening_date": "1983-04-02T05:00:00"}, {"id": 442070, "title": "Picasso: Pastelle, Zeichnungen, Aquarelle (Picasso: Pastels, Paintings, Watercolors)", "description": "<i>Picasso: Pastelle, Zeichnungen, Aquarelle (Picasso: Pastels, Paintings, Watercolors)</i>. K\u00fcnsthalle Tubingen, D-72076 T\u00fcbingen, Germany (April 5-June 1, 1986).", "opening_date": "1986-04-05T05:00:00"}, {"id": 361422, "title": "Picasso: Pastelle, Zeichnungen, Aquarelle", "description": "<i>Picasso: Pastelle, Zeichnungen, Aquarelle</i>. K\u00fcnsthalle Tubingen, D-72076 T\u00fcbingen, Germany (organizer) (April 5-June 1, 1986).", "opening_date": "1986-04-05T05:00:00"}, {"id": 442070, "title": "Picasso: Pastelle, Zeichnungen, Aquarelle (Picasso: Pastels, Paintings, Watercolors)", "description": "<i>Picasso: Pastelle, Zeichnungen, Aquarelle (Picasso: Pastels, Paintings, Watercolors)</i>. Kunstsammlung Nordrhein-Westfalen, D\u00fcsseldorf, Germany, Dusseldorf 1, Germany (organizer) (June 13-July 27, 1986).", "opening_date": "1986-04-05T05:00:00"}, {"id": 361422, "title": "Picasso: Pastelle, Zeichnungen, Aquarelle", "description": "<i>Picasso: Pastelle, Zeichnungen, Aquarelle</i>. Kunstsammlung Nordrhein-Westfalen, D\u00fcsseldorf, Germany (June 14-July 27, 1986).", "opening_date": "1986-04-05T05:00:00"}, {"id": 361423, "title": "Picasso, 1905-1906", "description": "<i>Picasso, 1905-1906</i>. Museu Picasso, Barcelona, Spain (organizer) (February 5-April 19, 1992); Kunstmuseum Bern, Bern, Switzerland (May 8-July 26, 1992).", "opening_date": "1992-02-05T05:00:00"}, {"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": 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": 222347, "title": "Picasso's Drawings, 1890-1921: Reinventing Tradition ", "description": "<i>Picasso's Drawings, 1890-1921: Reinventing Tradition </i>. Frick Collection, New York, NY (organizer) (October 4, 2011-January 8, 2012); National Gallery of Art, Landover, MD (February 5-May 6, 2012).", "opening_date": "2011-10-04T00:00:00"}, {"id": 317581, "title": "Picasso and Paper", "description": "<i>Picasso and Paper</i>. Royal Academy of Arts, London, United Kingdom of Great Britain and Northern Ireland (organizer) (co-organizer) (January 25-August 2, 2020) https://www.royalacademy.org.uk/exhibition/picasso-and-paper; The Cleveland Museum of Art, Cleveland, OH (co-organizer) (December 8, 2024-March 23, 2025).", "opening_date": "2024-12-08T05:00:00"}], "legacy": [{"description": "<em>Pablo Picasso</em>. Wadsworth Atheneum, Hartford, CT (February 6 - March 1, 1934).", "opening_date": "1934-02-06T00:00:00"}]}, "provenance": [{"description": "Paul Guillaume, Paris", "citations": [], "footnotes": null, "date": "by 1934-by 1954", "sortorder": 1}, {"description": "Mr. and Mrs. Michael Straight, Washington, D.C., given to the Cleveland Museum of Art, Cleveland, OH", "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": "Picasso mixed his paints with an unidentified material to produce the spotted effect most noticeable on Fernande's lower torso and the blue blanket below her.", "description": "This drawing depicts Picasso's lover Fernande Olivier, with whom he spent the summer of 1906 in the remote Spanish village of G\u00f3sol, where he made this sheet. Picasso was engaged in radical experimentation with technique and simplified formal distortions at this time, and this shift in his work can be seen in Fernande's stylized face and somewhat disjointed gesture, and in the expressive strokes and spotted effects of the gouache.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780887"], "internet_archive": []}, "citations": [{"citation": "Zervos, Christian. <em>Pablo Picasso, Vol. 1: Oeuvres de 1895 \u00e0 1906</em>. Paris: \u00c9ditions Cahiers d'art, 1, 1932.", "page_number": "Mentioned: no. 317; Reproduced: plate 143", "url": null}, {"citation": "<em>Pablo Picasso</em>. Exh. Cat. Hartford, CT: Wadsworth Atheneum, 1934.", "page_number": "Mentioned: no. 91", "url": null}, {"citation": "<em>An Inaugural Exhibition: El Greco, Rembrandt, Goya, C\u00e9zanne, Van Gogh, Picasso</em>. Exh. Cat. Milwaukee: Milwaukee Art Institute, 1957.", "page_number": "Mentioned and reproduced: no. 88", "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. 519", "url": "https://archive.org/details/CMAHandbook1958/page/n96"}, {"citation": "Boggs, Jean Sutherland. <em>Picasso and Man</em>. Exh. Cat. Toronto: Art Gallery of Toronto, 1964.", "page_number": "Mentioned and reproduced: no. 36", "url": null}, {"citation": "Daix, Pierre, Georges Boudaille, and Joan Rosselet. Picasso:<em> The Blue and Rose Periods; a Catalogue Raisonne\u0301 of the Paintings, 1900-1906.</em> Greenwich, Conn.: New York Graphic Society, 1966.", "page_number": "Mentioned: p. 100 and Reproduced: p.305, XV.47", "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. 195", "url": "https://archive.org/details/CMAHandbook1969/page/n219"}, {"citation": "Hilton, Timothy. <em>Picasso</em>. London: Thames and Hudson, 1975.", "page_number": "Mentioned: p. 67; Reproduced: p. 71", "url": null}, {"citation": "Gaya Nu\u00f1o, Juan Antonio. <em>Picasso</em>. Madrid: Aguilar, 1975.", "page_number": "Mentioned and reproduced: p. 65", "url": null}, {"citation": "Rubin, William, ed. <em>Pablo Picasso: A Retrospective</em>. Exh. Cat. New York: Museum of Modern Art, 1980.", "page_number": "Mentioned: p. 59; Reproduced: p. 72", "url": null}, {"citation": "Palau i Fabre, Josep. <em>Picasso: The Early Years 1881-1907</em>. New York: Rizzoli, 1981.", "page_number": "Mentioned: p. 460 and 552; Reproduced: p. 461", "url": null}, {"citation": "<em>Quarterly Bulletin, South African National Gallery</em> (February 1981).", "page_number": "Reproduced: fig. 5", "url": null}, {"citation": "<em>Picasso: Masterpieces from Marina Picasso Collection and from Museums in U.S.A. and U.S.S.R. </em>Exh. Cat. Tokyo: National Museum of Modern Art, 1983.", "page_number": "Mentioned and reproduced: no. 29", "url": null}, {"citation": "Spies, Werner. <em>Picasso: Pastelle, Zeichnungen, Aquarelle</em>. Exh. Cat. T\u00fcbingen: Kunsthalle, 1986.", "page_number": "Mentioned: p. 22; Reproduced: no. 42", "url": null}, {"citation": "Daix, Pierre, Georges Boudaille, and Joan Rosselet. <em>Picasso 1900-1906: catalogue raisonne\u0301 de l'oeuvre peint</em>. Neucha\u0302tel: Editions Ides et Calendes, 1988.", "page_number": "Mentioned: p. 100, 305, no. XV.47; Reproduced: p. 305", "url": null}, {"citation": "Rubin, William. \"La Gen\u00e8se des <em>Demoiselles d'Avignon</em>.\" In <em>Les Demoiselles d'Avignon</em>, 367-488. Paris: Mus\u00e9e Picasso, 1988.", "page_number": "Mentioned: p. 398; Reproduced: p. 399", "url": null}, {"citation": "Catoni, Maria Luisa. \"Parigi 1904: Picasso 'iberico' e le 'Demoiselles d'Avignon'.\" <em>Bollettino d'Arte</em> 75, no. 6 (1990): 117-130.", "page_number": "Mentioned: p. 122; Reproduced: p. 123", "url": null}, {"citation": "Daix, Pierre. <em>Picasso</em>. Paris: Ch\u00eane, 1990.", "page_number": "Mentioned and reproduced: p. 151, no. 1", "url": null}, {"citation": "Chevalier, Denys. <em>Picasso: The Blue and Rose Periods</em>. New York: Crown Publishers, 1991.", "page_number": "Mentioned: p. 88; Reproduced: back cover", "url": null}, {"citation": "Richardson, John. <em>A Life of Picasso, Volume I: 1881-1906</em>. New York: Random House, 1991.", "page_number": "Mentioned and reproduced: p. 448", "url": null}, {"citation": "Oshima, Seiji. <em>Picasso: Mus\u00e9e Picasso, Volume II</em>. Toyko: Tokyo Art Institute, 1991.", "page_number": "Reproduced: p. 94", "url": null}, {"citation": "L\u00e9vy, Lorraine. <em>Picasso</em>. Translated by Barbara Beaumont. London: Barrie &amp; Jenkins, 1991.", "page_number": "Mentioned and reproduced: p. 151, no. 1", "url": null}, {"citation": "Richardson, John.<em> A Life of Picasso. </em>Vol. 1: 1886\u20131906 New York: Random House, 1991.", "page_number": "Reproduced: p. 448", "url": ""}, {"citation": "Rubin, William and Matthew Armstrong. <em>The William S. Paley Collection</em>. New York: Museum of Modern Art, 1992.", "page_number": "Mentioned and reproduced: p. 168", "url": null}, {"citation": "Hovdenakk, Per. <em>Picasso Besoker Norge</em>. Exh. Cat. Oslo: Henie-Onstad Kunstsenter, 1992.", "page_number": "Mentioned: p. 60; Reproduced: p. 61", "url": null}, {"citation": "Rivero, Nu\u0301ria. <em>Picasso, 1905-1906: From the Rose Period to the Ochres of Go\u0301sol.</em> Barcelona: Electa, 1992.", "page_number": "Mentioned: p. 342, cat. no. 295; Reproduced: p. 343", "url": null}, {"citation": "Harrison, Charles, Francis Frascina, and Gill Perry. <em>Primitivism, Cubism, Abstraction: The Early Twentieth Century</em>. New Haven: Yale University Press, 1993.", "page_number": "Mentioned: p. 120; Reproduced: p. 119", "url": null}, {"citation": "Rubin, William, H\u00e9l\u00e8ne Seckel, and Judith Cousins. <em>Studies in Modern Art 3: Les Demoiselles d'Avignon</em>. New York: Museum of Modern Art, 1994.", "page_number": "Mentioned and reproduced: p. 36", "url": null}, {"citation": "Rubin, William, ed. <em>Picasso and Portraiture: Representation and Transformation</em>. Exh. Cat. New York: Museum of Modern Art, 1996.", "page_number": "Mentioned: p. 266", "url": null}, {"citation": "McCully, Marilyn, ed. <em>Picasso: The Early Years, 1892-1906</em>. Exh. Cat. Washington, D.C.: National Gallery of Art, 1997.", "page_number": "Mentioned and reproduced: p. 267, p. 296, no. 160", "url": null}, {"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. 267", "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: pp. 230-231, cat. no. 96, p. 296", "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: p. 242-247; Reproduced: p. 245", "url": null}, {"citation": "Galassi, Susan Grace and Marilyn McCully. <em>Picasso's Drawings, 1890-1921: Reinventing Tradition</em>. Exh. Cat. New York: Frick Collection, 2011.", "page_number": "Mentioned and reproduced: pp. 128-129, no. 23", "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. 167", "url": ""}, {"citation": "Valle\u0300s, Eduard. <em>Picasso: obra catalana</em>. Barcelona: Enciclop\u00e8dia Catalana, 2015.", "page_number": "Reproduced: p. 266-[267]", "url": null}, {"citation": "Mathieu, Camille. \"Origin Points: Archaeology and the Search for Authenticity.\" In <em>Picasso, Rivera: Conversations Across Time. </em>Diana Magaloni, and Michael Govan, eds., 72-127. Los Angeles, California: Los Angeles County Museum of Art; Munich: DelMonico Books/Prestel, 2016.", "page_number": "Reproduced: p. 84, left", "url": null}, {"citation": "Lloyd, Christopher. <em>Picasso and the Art of Drawing.</em> London: Modern Art Press, 2018.", "page_number": "Reproduced: p. 68, fig. 42", "url": null}, {"citation": "Dumas, Ann. \"The Rose Period.\" In <em>Picasso and Paper</em>. William H. Robinson, et al., 80-101. London: Royal Academy of Arts, 2020.", "page_number": "Reproduced: P. 101, cat. no. 74", "url": ""}, {"citation": "Vila, Cristina. <em>Fernande Olivier | Pablo Picasso: y sus amigos. </em>Barcelona: Fundaci\u00f3 Museu Picasso de Barcelona, 2024.", "page_number": "Mentioned and Reproduced: p. 42", "url": ""}, {"citation": "Jaques Pi, J\u00e8ssica. \"Por Una Filosof\u00eda del Arte Ginoc\u00e9ntrica. El Caso Picasso.\" In <em>Picasso y La Filosof\u00eda, </em>39-65. Madrid: C\u00edrculo de Bellas Artes, 2024.", "page_number": "Mentioned: p. 52; Reproduced: p. 53", "url": ""}], "catalogue_raisonne": "Zervos I.317; Sutton/Lecaldano 295; Daix, Boudaille, Rosselet XV.47; Palau i Fabre 1308; PP 1906-046", "url": "https://clevelandart.org/art/1954.865", "images": {}, "alternate_images": [], "creditline": "Gift of Mr. and Mrs. Michael Straight", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 132416, "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": "1954-12-20T00:00:00", "sortable_date": 1906, "date_added_to_oa": null, "date_text": "1906", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-04-03 13:35:08.820000"}, {"id": 163551, "accession_number": "2004.89", "share_license_status": "Copyrighted", "tombstone": "New Mexico Recollection, c. 1923. Marsden Hartley (American, 1877\u20131943). Oil on canvas; framed: 101.6 x 120.7 x 7.6 cm (40 x 47 1/2 x 3 in.); unframed: 80 x 99.7 cm (31 1/2 x 39 1/4 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund with additional support from the Gill and Tommy LiPuma Fund, 2004.89", "current_location": "226A American Modern", "title": "New Mexico Recollection", "creation_date": "c. 1923", "creation_date_earliest": 1918, "creation_date_latest": 1928, "artists_tags": ["male", "LGBTQ+ (after 1900)"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 101.6 x 120.7 x 7.6 cm (40 x 47 1/2 x 3 in.); Unframed: 80 x 99.7 cm (31 1/2 x 39 1/4 in.)", "dimensions": {"framed": {"height": 1.016, "width": 1.207, "depth": 0.076}, "unframed": {"height": 0.8, "width": 0.997}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 223965, "title": "The Search for an American Modernism: Marsden Hartley and New Mexico", "description": "<i>The Search for an American Modernism: Marsden Hartley and New Mexico</i>. Georgia O'Keeffe Museum, Santa Fe, NM (organizer) (January 25-May 11, 2008); Amon Carter Museum, Fort Worth, TX (June 14-August 24, 2008).", "opening_date": "2008-01-25T00:00:00"}], "legacy": [{"description": "<em>Marsden Hartley and Walt Kuhn: The Landscapes.</em> Salander O'Reilly Galleries, New York (January 5-February 27, 1988).", "opening_date": "1988-01-05T00:00:00"}, {"description": "<em>American Modernism and the German Avant-Garde. </em>Hollis Taggart Galleries, New York (May 20-July 1, 1998).", "opening_date": "1998-05-20T00:00:00"}, {"description": "<em>Marsden Hartley: Observation and Intuition. </em>Hackett-Freedman Gallery, San Francisco (February 1-March 31, 2001).", "opening_date": "2001-02-01T00:00:00"}, {"description": "<em>High Notes of American Modernism: Selections from the Tommy and Gill LiPuma Collection. </em>Berry-Hill Galleries, Inc., New York (November 14-December 31, 2002).", "opening_date": "2002-11-14T00:00:00"}, {"description": "<em>Modern American Masters: Highlights from the Gill and Tommy LiPuma Collections. </em>Cleveland Museum of Art, Cleveland (March 28-July14, 2004).", "opening_date": "2004-03-28T05:00:00Z"}]}, "provenance": [{"description": "The artist", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "William Bullitt, Jr. [1891\u20131967], Washington, DC, acquired by 1946", "citations": [], "footnotes": null, "date": null, "sortorder": 3}, {"description": "Christopher Huntington [b. 1938], Annapolis County, Nova Scotia, Canada, until 1985", "citations": [], "footnotes": null, "date": null, "sortorder": 4}, {"description": "[Barridoff Galleries, South Portland, ME, September 28, 1985, lot 109]", "citations": [], "footnotes": null, "date": null, "sortorder": 6}, {"description": "Private collection, New York, NY, purchased in 1985", "citations": [], "footnotes": null, "date": null, "sortorder": 7}, {"description": "[Salander-O'Reilly Galleries, New York, NY]", "citations": [], "footnotes": null, "date": null, "sortorder": 8}, {"description": "Tommy and Gill LiPuma, New York, NY, purchased by 1987", "citations": [], "footnotes": null, "date": null, "sortorder": 9}, {"description": "The Cleveland Museum of Art, Cleveland, OH, acquired in 2004", "citations": [], "footnotes": null, "date": null, "sortorder": 10}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Hartley studied briefly at the Cleveland School (now Institute) of Art in 1898.", "description": "Although Hartley visited New Mexico during 1917\u201318, this landscape was painted a few years later when he lived temporarily in Berlin, Germany. This distance in time and place seems to have spurred the artist\u2019s imagination: with its agitated paint application, turbulent composition, and somber palette, <em>New Mexico Recollection</em> evokes an emotional state more than it records a particular site.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60480268"], "internet_archive": []}, "citations": [{"citation": "Kootz, Samuel M. <em>New Frontiers in American Painting.</em> New York: Hastings House, 1943.", "page_number": "Mentioned: p. 25-34; Reproduced: no. 38", "url": null}, {"citation": "Salander, Lawrence B. <em>Marsden Hartley (1877-1943) Paintings and Drawings. </em>New York: Salander-O'Reilly Galleries, Inc., 1988.", "page_number": "Mentioned: p. 10; Reproduced: p. 23, no. 13", "url": null}, {"citation": "Hartley, Marsden, Peter Selz, and Hackett-Freedman Gallery, Inc. <em>Marsden Hartley: Observation and Intuition</em>. San Francisco: Hackett-Freedman Gallery, 2001.", "page_number": "Reproduced: p. 11", "url": null}, {"citation": "Agee, William C., and Bruce Weber. <em>High Notes of American Modernism: Selections from the Tommy and Gill LiPuma Collection: November 14-December 31, 2002</em>. New York: Berry-Hill Galleries, Inc, 2002.", "page_number": "Mentioned: p. 89, Reproduced: p. 59", "url": null}, {"citation": "Harnsberger, R. Scott. <em>Four Artists of the Stieglitz Circle: A Sourcebook on Arthur Dove, Marsden Hartley, John Marin, and Max Weber.</em> Westport: Greenwood Press, 2002.", "page_number": "Mentioned: p. 141", "url": null}, {"citation": "Glueck, Grace. \"Art Review: Serendipity's Reward: A Spirited Collection of Four Disparate Americans.\" <em>The New York Times, </em>Friday, November 29, 2002.", "page_number": "Mentioned: p. E29", "url": null}, {"citation": "<em>Cleveland Museum of Art Annual Report, </em>2004.", "page_number": "Mentioned: p. 16, 22-23", "url": null}, {"citation": "Hole, Heather. <em>Marsden Hartley and the West: the Search for an American Modernism</em>. New Haven and London: Yale University Press, 2007.", "page_number": "Mentioned: p. 104; Reproduced: p. 103, fig.90", "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. 13, no. 16", "url": null}, {"citation": "Sullivan, Edward J. <em>Making the Americas Modern: Hemispheric Art, 1910-1960.</em> London: Laurence King Publishing, 2018.", "page_number": "Mentioned: p. 65; Reproduced: p. 66", "url": null}], "url": "https://clevelandart.org/art/2004.89", "images": {}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund with additional support from the Gill and Tommy LiPuma Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Dr. Robert B. Benyo Trust Gallery", "athena_id": 163551, "creators": [{"id": 3104, "description": "Marsden Hartley (American, 1877\u20131943)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1877", "death_year": "1943", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2004-12-06T00:00:00", "sortable_date": 1918, "date_added_to_oa": null, "date_text": "c. 1923", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:32.455000"}, {"id": 139825, "accession_number": "1963.583", "share_license_status": "Copyrighted", "tombstone": "Elegy to the Spanish Republic No. LV, 1955\u201360. Robert Motherwell (American, 1915\u20131991). Oil on canvas; framed: 181 x 196 x 4 cm (71 1/4 x 77 3/16 x 1 9/16 in.); unframed: 178.1 x 193.7 cm (70 1/8 x 76 1/4 in.). The Cleveland Museum of Art, Contemporary Collection of The Cleveland Museum of Art, 1963.583. \u00a9  Dedalus Foundation, Inc. / Artists Rights Society (ARS), NY", "current_location": null, "title": "Elegy to the Spanish Republic No. LV", "creation_date": "1955\u201360", "creation_date_earliest": 1955, "creation_date_latest": 1960, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 181 x 196 x 4 cm (71 1/4 x 77 3/16 x 1 9/16 in.); Unframed: 178.1 x 193.7 cm (70 1/8 x 76 1/4 in.)", "dimensions": {"framed": {"height": 1.81, "width": 1.96, "depth": 0.04}, "unframed": {"height": 1.781, "width": 1.937}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  Dedalus Foundation, Inc. / Artists Rights Society (ARS), NY", "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": 515690, "title": "The White House Festival of the Arts", "description": "<i>The White House Festival of the Arts</i>. The White House, Washington, DC (June 14-15, 1965); National Gallery of Art, Washington, D.C. (organizer) (June 18-July 11, 1965).", "opening_date": "1965-06-14T04:00:00"}, {"id": 515856, "title": "Robert Motherwell", "description": "<i>Robert Motherwell</i>. The Museum of Modern Art, New York, NY (organizer) (September 29-November 1, 1965); Stedelijk Museum, Amsterdam, 1070 AB Amsterdam, Netherlands (January 8-20, 1966); Whitechapel Art Gallery, London (January 31-February 28, 1966); Kunsthalle Basel, Basel, Switzerland (March 1-April 1, 1966); Museum Folkwang, 45128 Essen, Germany (July 2-August 14, 1966).", "opening_date": "1965-09-29T04:00:00"}, {"id": 301294, "title": "Works from the Contemporary Collection", "description": "<i>Works from the Contemporary Collection</i>. The Cleveland Museum of Art, Cleveland, OH (July 1-October 15, 1969).", "opening_date": "1969-07-01T04:00:00"}, {"id": 443853, "title": "American Art at Mid-Century: The Subjects of the Artist", "description": "<i>American Art at Mid-Century: The Subjects of the Artist</i>. National Gallery of Art, Washington, DC (organizer) (June 1, 1978-January 14, 1979).", "opening_date": "1978-06-01T04:00:00"}, {"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": "S\u00e3o Paulo, Brazil, Museum of Modern Art of S\u00e3o Paulo, VI Biennial of The Museum of Modern Art of Sao Paulo (September - December 1961).", "opening_date": "1961-09-01T00:00:00"}, {"description": "Pasadena, CA, Pasadena Art Museum, Robert Motherwell: A Retrospective Exhibition (18 February - 11 March 1962), no. 42.", "opening_date": "1962-02-18T00:00:00"}, {"description": "Northampton, MA, Smith College Museum of Art, An Exhibition of the Work of Robert Motherwell (10-28 January 1963), no. 15.", "opening_date": "1963-01-10T00:00:00"}, {"description": "Cleveland, OH, The Cleveland Museum of Art, Year in Review (1 - 31 January 1965)", "opening_date": "1965-01-01T00:00:00"}, {"description": "Washington, DC, The National Gallery of Art, The White House Festival of the Arts, June 14-July 11, 1965, cat no. 27, p. 12.", "opening_date": "1965-06-14T00:00:00"}, {"description": "New York, The Museum of Modern Art, Robert Motherwell, September 29-November 30, 1965, cat. no. 46, repr. p. 47.", "opening_date": "1965-09-29T00:00:00"}, {"description": "also to:  Amsterdam, The Stedelijk Museum, January 8-January 20, 1966, cat. no. 41; London, Whitechapel Gallery; Basel, Kunsthalle; Essen, Museum Folkwang.", "opening_date": "1966-01-08T00:00:00"}, {"description": "Torino, Galleria Civica D'Arte Moderna, Robert Motherwell (September - October 1966), no. 41.", "opening_date": "1966-09-01T00:00:00"}, {"description": "CMA:  Works from the Contemporary Collection, July 1-mid-October, 1969", "opening_date": "1969-10-01T00:00:00"}, {"description": "Mexico City, Museo de Arte Moderno, Retrospectiva del gran pinter northamericano, April-May 1975, cat. no. 8, listed p. 31.", "opening_date": "1975-04-01T00:00:00"}, {"description": "Washington, DC, The National Gallery or Art, American Art at Mid-Century: The  Subjects of the Artist, June 1, 1978-February 4, 1979, cat. no. 4, p. 109, repr. fig. 10.", "opening_date": "1978-06-01T00:00:00"}, {"description": "Buffalo, NY, The Albright-Knox Art Gallery, Robert Motherwell Retrospective Exhibition, September 15-November 27, 1983, cat. no. 35, p. 126, repr. p. 81.", "opening_date": "1983-09-15T00:00:00"}, {"description": "also to:  Los Angeles, Los Angeles County Museum of Art, January 4-March 4, 1984; San Francisco, San Francisco Museum of Modern Art, April 7-May 28, 1984; Seattle, Seattle Art Museum, June 22-August 5, 1984; Washington, DC, Corcoran Gallery of Art, September 8-October 28, 1984; New York, Solomon R. Guggenheim Museum, December 1, 1984-January 31, 1985.", "opening_date": "1984-01-04T00:00:00"}, {"description": "Minneapolis, MN, Walker Art Center, Robert Motherwell:  The Spanish Elegies, October 11, 1992-January 3, 1993.", "opening_date": "1992-10-11T00:00:00"}, {"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. 94, p. 121, color repr. p. 35.", "opening_date": "2006-06-09T00:00:00"}]}, "provenance": [{"description": "[Marlborough Gerson Gallery, New York, NY]", "citations": [], "footnotes": [], "date": null, "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH, purchased in 1963.", "citations": [], "footnotes": null, "date": null, "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In 1964, the Cleveland <em>Plain Dealer</em> newspaper announced our acquisition of this artwork with the headline, \"Museum Buys Weird Abstract 'Painting.'\"", "description": "This abstract composition belongs to a series of more than 250 compositions expressing Robert Motherwell's response to the Spanish Civil War (1936\u201339) and its struggle against fascism. Here the bold, black ovals and vertical rectangular bars press against one another in front of a background of sweeping white brushstrokes. The contrasts of form and color suggest metaphors for war and peace, life and death, freedom and oppression.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60469093"], "internet_archive": []}, "citations": [{"citation": "Rutland, Beau and Reto Th\u00fcring, \"Painters Painting Paintings,\" <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. 30.", "url": ""}, {"citation": "Cleveland Museum of Art, \u201cRecent Acquisitions Press Release,\u201d February 19, 1964, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr1209"}, {"citation": "Henning, Edward B. \u201cAnnual Report for 1963.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 51, no. 6 (June 1964): 127\u2013161.", "page_number": "Mentioned: p. 132, 146; reproduced: p. 147", "url": "http://www.jstor.org/stable/25152003"}, {"citation": "Henning, Edward B. \u201cThe Language of Art.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 51, no. 9 (November 1964): 211\u2013231.", "page_number": "Mentioned and reproduced: p.217-219, fig. 3", "url": "http://www.jstor.org/stable/25152016"}, {"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. 202", "url": "https://archive.org/details/CMAHandbook1966/page/n226"}, {"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. 202", "url": "https://archive.org/details/CMAHandbook1969/page/n226"}, {"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. 4", "url": "https://archive.org/details/20thCenturyArtCMA/page/n5"}, {"citation": "Lucie-Smith, Edward. <em>Late Modern: The Visual Arts Since 1945</em>. New York: Praeger, 1969.", "page_number": "Mentioned and reproduced: p. 39, fig. 18", "url": ""}, {"citation": "\u201cFranz Kline, Accent Grave.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 56, no. 2 (February 1969): 62\u201368.", "page_number": "Mentioned and reproduced: p. 64-65, fig. 4", "url": "http://www.jstor.org/stable/25152255"}, {"citation": "Hamilton, George Heard. <em>19th and 20th Century Art: Painting, Sculpture, Architecture</em>. New York: H.N. Abrams, 1970.", "page_number": "Reproduced: p. 372, fig. 343", "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. 250", "url": "https://archive.org/details/CMAHandbook1978/page/n270"}, {"citation": "Neet, Jane. \u201cMondrian\u2019s \u2018Chrysanthemum.\u2019\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 74, no. 7 (September 1987): 282\u2013303.", "page_number": "Mentioned and reproduced: p. 283, fig. 2", "url": "http://www.jstor.org/stable/25159997"}, {"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. 35, no. 94", "url": ""}, {"citation": "Flam, Jack D., Katy Rogers, and Tim Clifford. <em>Motherwell: 100 Years.</em> Milano, Italy: Skira; New York: Dedalus Foundation, 2015.", "page_number": "Reproduced: p. 122, fig. 123; and p. 234. Mentioned: P. 119 and PP. 232, 235.", "url": null}, {"citation": "Cleveland Museum of Art. Masterworks on Loan: Celebrating the 100th Anniversary of the Cleveland Museum of Art: July Through September 2016. [Cleveland]: Cleveland Museum of Art, 2016.", "page_number": "p. 30", "url": null}, {"citation": "Lucie-Smith, Edward. <em>Movements in Art Since 1945</em>. London: Thames and Hudson, 2020.", "page_number": "Mentioned and reproduced: P. 28-29, no. 13", "url": ""}, {"citation": "Chassey, E\u0301ric de. Le surre\u0301alisme dans l'art ame\u0301ricain: Dali\u0301, Ernst, Tanguy, Pollock, Rothko, Johns, Bourgeois. Paris : Re\u0301union des muse\u0301es nationaux, 2021.", "page_number": "Reproduced: p. 99, fig. 15", "url": ""}], "url": "https://clevelandart.org/art/1963.583", "images": {}, "alternate_images": [], "creditline": "Contemporary Collection of The Cleveland Museum of Art", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 139825, "creators": [{"id": 3567, "description": "Robert Motherwell (American, 1915\u20131991)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1915", "death_year": "1991", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1963-11-30T00:00:00", "sortable_date": 1955, "date_added_to_oa": null, "date_text": "1955\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 00:05:24.130000"}, {"id": 130160, "accession_number": "1952.539", "share_license_status": "Copyrighted", "tombstone": "Fifth Avenue, 1919. Childe Hassam (American, 1859\u20131935). Oil on canvas; framed: 86.4 x 76.2 x 6.4 cm (34 x 30 x 2 1/2 in.); unframed: 61.3 x 51.5 cm (24 1/8 x 20 1/4 in.); former: 76.5 x 66.5 x 4.5 cm (30 1/8 x 26 3/16 x 1 3/4 in.). The Cleveland Museum of Art, Anonymous Gift, 1952.539", "current_location": "208 American Gilded Age and Realism", "title": "Fifth Avenue", "creation_date": "1919", "creation_date_earliest": 1919, "creation_date_latest": 1919, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 86.4 x 76.2 x 6.4 cm (34 x 30 x 2 1/2 in.); Unframed: 61.3 x 51.5 cm (24 1/8 x 20 1/4 in.); Former: 76.5 x 66.5 x 4.5 cm (30 1/8 x 26 3/16 x 1 3/4 in.)", "dimensions": {"framed": {"height": 0.864, "width": 0.762, "depth": 0.064}, "unframed": {"height": 0.613, "width": 0.515}, "former": {"height": 0.765, "width": 0.665, "depth": 0.045}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower right:  Childe Hassam 1919", "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": 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": 520970, "title": "Childe Hassam: A Retrospective Exhibition", "description": "<i>Childe Hassam: A Retrospective Exhibition</i>. Corcoran Gallery of Art, Washington, DC (organizer) (April 30-August 1, 1965); Museum of Fine Arts, Boston, Boston, MA (August 17-September 19, 1965); Currier Museum of Art, Manchester, NH (September 28-October 31, 1965); The Gallery of Modern Art (November 16-December 19, 1965).", "opening_date": "1965-04-30T04:00:00"}, {"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": 310260, "title": "American Cities: The Artist's View", "description": "<i>American Cities: The Artist's View</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 17, 1989-January 7, 1990).", "opening_date": "1989-10-17T04:00:00"}, {"id": 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": "Iowa City, The University of Iowa Gallery of Art, Impressionism and Its Roots (8 November-6 December 1964), cat. no. 47, illus. p. 29.", "opening_date": "1964-11-08T00:00:00"}, {"description": "Washington, D.C., The Corcoran Gallery of Art, Childe Hassam: A Retrospective Exhibition (30 April-1 August 1965); traveled to Boston, Museum of Fine Arts (17 August-19 September 1965); to Manchester, NH, The Currier Gallery of Art (28 September-31 October 1965); to New York, The Gallery of Modern Art (16 November-19 December 1965); cat. no. 55, illus. p. 34.", "opening_date": "1965-04-30T00:00:00"}, {"description": "Washington, D.C., The National Gallery, 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, Cincinnati Art Museum (15 December 1973-31 January 1974); to Raleigh, The North Carolina Museum of Art (8 March-29 April 1974); cat. no. 36, illus. p. 96.", "opening_date": "1973-07-01T00:00:00"}]}, "provenance": [{"description": "The Cleveland Museum of Art, Cleveland, Ohio", "citations": [], "footnotes": null, "date": "1952-", "sortorder": 1}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "During World War I, the fiercely nationalistic Hassam was mistakenly arrested for being a German spy.", "description": "Childe Hassam was fascinated by bustling Fifth Avenue, the famed Manhattan thoroughfare quickly becoming a popular shopping district around the time he made this painting. His composition features flecks of color and blurred<br>forms to approximate reflected light and rapid movement. The accelerated pace of modern life is suggested through the street full of streaming traffic, including two green double-decker buses at lower right.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60516125"], "internet_archive": []}, "citations": [{"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. <a href=\"http://www.jstor.org/stable/25152465\">http://www.jstor.org/stable/25152465</a>", "page_number": "Mentioned and reproduced: p. 27, no. 74", "url": "http://www.jstor.org/stable/25152465"}, {"citation": "Urteaga Loidi, Jesu\u0301s. Saints in the World: The Adventure of Christian Life. Princeton, NJ: Scepter Publishers, 2002.", "page_number": "illus. on cover", "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: front/rear end leaves (detail); p. 108 - 109", "url": ""}], "url": "https://clevelandart.org/art/1952.539", "images": {}, "alternate_images": [], "creditline": "Anonymous Gift", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "The Cleveland Foundation Gallery", "athena_id": 130160, "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": 1919, "date_added_to_oa": null, "date_text": "1919", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:32.365000"}, {"id": 101646, "accession_number": "1920.379", "share_license_status": "CC0", "tombstone": "After the Bath, 1901. Mary Cassatt (American, 1844\u20131926). Pastel; sheet: 66 x 100 cm (26 x 39 3/8 in.). The Cleveland Museum of Art, Gift of J. H. Wade, 1920.379", "current_location": null, "title": "After the Bath", "creation_date": "1901", "creation_date_earliest": 1901, "creation_date_latest": 1901, "artists_tags": ["female"], "culture": ["America, late 18th-19th Century"], "technique": "pastel", "support_materials": [], "department": "Drawings", "collection": "DR - American 19th Century", "type": "Drawing", "measurements": "Sheet: 66 x 100 cm (26 x 39 3/8 in.)", "dimensions": {"sheet": {"height": 0.66, "width": 1.0}}, "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": 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": 360888, "title": "Sargent, Whistler and Mary Cassatt", "description": "<i>Sargent, Whistler and Mary Cassatt</i>. The Art Institute of Chicago, Chicago, IL (organizer) (January 14-February 25, 1954); The Metropolitan Museum of Art, New York, NY (March 25-May 23, 1954).", "opening_date": "1954-01-14T05:00:00"}, {"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": 360890, "title": "Miss Mary Cassatt", "description": "<i>Miss Mary Cassatt</i>. The Art Institute of Chicago, Chicago, IL (organizer) (July 1-September 5, 1966).", "opening_date": "1966-07-01T04:00:00"}, {"id": 311732, "title": "Fraternite: Artistic Relations Between France and America", "description": "<i>Fraternite: Artistic Relations Between France and America</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 21-October 18, 1987).", "opening_date": "1987-07-21T04:00:00"}, {"id": 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": 179631, "title": "CMA Highlights", "description": "<i>CMA Highlights</i>. The Cleveland Museum of Art (organizer) (June 21-September 11, 2005).", "opening_date": "2005-06-21T00:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008).", "opening_date": "2006-05-27T00:00:00"}, {"id": 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"}], "legacy": [{"description": "<em>28th Annual Exhibition of American Painting and Sculpture. </em>Art Institute of Chicago (1915-16).", "opening_date": "1915-01-01T00:00:00"}, {"description": "<em>2nd Annual Exhibition of American and European Art</em>. Dallas Art Association (1921).", "opening_date": "1921-01-01T00:00:00"}]}, "provenance": [{"description": "(Durand-Ruel, Paris, sold to Mr. and Mrs. Jeptha Homer Wade, Cleveland, OH)", "citations": [], "footnotes": null, "date": "1901", "sortorder": 1}, {"description": "Mr. and Mrs. Jeptha Homer Wade, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1901-1920", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1920-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Mary Cassatt once commented that pastel was \"the most satisfactory medium for [portraying] children,\" since they could not sit still for long and the medium allowed for rapid sketching.", "description": "Mary Cassatt began using pastel in the 1870s and continued to experiment with the medium throughout her career. This drawing depicts a mother and child, one of the artist's preferred subjects. Cassatt typically used the technique seen here, in which she finished her sitters' faces with a high degree of detail but rendered the rest of the composition in a much looser and sketchier style.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60781135"], "internet_archive": ["https://archive.org/details/clevelandart-1920.379-after-the-bath"]}, "citations": [{"citation": "W. M. M. \"La Sortie Du Bain by Mary Cassatt.\" <em>The Bulletin of the Cleveland Museum of Art</em> 7, no. 10 (1920): 147-49. <strong><br></strong>", "page_number": "Reproduced: Front Matter; Mentioned: pp. 147-149", "url": "http://www.jstor.org/stable/25136426"}, {"citation": "\"Art Awakening Grows in Unexpected Ways.\" <em>Cleveland Commercial</em> (May 5, 1922).", "page_number": "Mentioned: n.p.", "url": null}, {"citation": "<em>An Appreciation of Mary Cassatt's \"La Sortie du Bain\" in the Wade Collection</em>. Cleveland: Cleveland Museum of Art, 1922.", "page_number": "Mentioned and reproduced: n.p.", "url": null}, {"citation": "Whiting, Frederic Allen. \"The Cleveland Museum of Art: Twelve Illustrations.\" <em>Art and Archaeology</em> 16, no. 4-5 (October-November 1923): 187-94.", "page_number": "Reproduced: p. 192", "url": null}, {"citation": "<em>Arts and Decoration</em> 20, no. 4 (February 1924).", "page_number": "Reproduced: cover illustration", "url": null}, {"citation": "\"Famous Pastel is Owned by Museum.\" <em>Cleveland Times</em> (February 1, 1925).", "page_number": "Mentioned and reproduced: n.p.", "url": null}, {"citation": "W. M. M., T. S., R. H., and F. A. W. \"In Memoriam: Jeptha Homer Wade.\" <em>The Bulletin of the Cleveland Museum of Art</em> 13, no. 4 (1926): 63-91.", "page_number": "Mentioned: p. 65; Reproduced: p. 77", "url": "www.jstor.org/stable/25136919"}, {"citation": "Kane, Katherine Regan. \"Mother and Child: Favorite Theme in the Art of Every Country.\" <em>American Home</em> 17, no. 1 (December 1936): 15-17, 68, 81-84.", "page_number": "Mentioned: p. 84; Reproduced: p. 15", "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. 15, no. 26", "url": null}, {"citation": "Kelly, Grace V. \"In Museum's Show of U.S. Art.\" <em>Cleveland Plain Dealer</em> (July 2, 1937).", "page_number": "Mentioned and reproduced: n.p.", "url": null}, {"citation": "Jewell, Edward Alden and Aim\u00e9e Crane. <em>French Impressionists and their Contemporaries Represented in American Collections</em>. New York: Hyperion Press, 1944.", "page_number": "Reproduced: p. 131", "url": null}, {"citation": "Breuning, Margaret. <em>Mary Cassatt</em>. New York: Hyperion Press, 1944.", "page_number": "Reproduced: p. 23", "url": null}, {"citation": "Hartlaub, Gustav Friedrich. <em>Impressionists in France</em>. Milan: Uffici Press, 1950.", "page_number": "Reproduced: p. 40", "url": null}, {"citation": "Sweet, Frederick A. <em>Sargent, Whistler, and Mary Cassatt.</em> Chicago, IL: Art Institute of Chicago, 1954.", "page_number": "Mentioned and reproduced p. 34, 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. 546", "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. 188", "url": "https://archive.org/details/CMAHandbook1966/page/n212"}, {"citation": "Sweet, Frederick A. <em>Miss Mary Cassatt, Impressionist from Pennsylvania. </em>Norman: University of Oklahoma Press, 1966.", "page_number": "Mentioned: p. 140; Reproduced: pl. VIII", "url": null}, {"citation": "Neilson, Winthrop and Frances Fullerton Neilson. <em>Seven Women: Great Painters</em>. Philadelphia: Chilton Book Co, 1968.", "page_number": "Mentioned: p. 167", "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": "Breeskin, Adelyn Dohme. <em>Mary Cassatt: A Catalogue Raisonne of the Oils, Watercolors, and Drawings</em>. Washington, DC: Smithsonian, 1970.", "page_number": "Mentioned and reproduced: no. 384", "url": null}, {"citation": "Bullard, E. John. <em>Mary Cassatt: Oils and Pastels</em>. New York: Watson-Guptill, 1972.", "page_number": "Mentioned: p. 68; Reproduced: p. 69, pl. 24", "url": null}, {"citation": "Cullinan, Helen. \"Brotherly Love for Sisters' Work.\" <em>Cleveland Plain Dealer</em> (June 9, 1974).", "page_number": "Mentioned and reproduced: n.p.", "url": null}, {"citation": "Henkes, Robert. <em>Eight American Women Painters</em>. New York: Gordon Press, 1977.", "page_number": "Reproduced: fig. 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. 234", "url": "https://archive.org/details/CMAHandbook1978/page/n254"}, {"citation": "Yaegashi, Haruki and Takeshi Kashiwat. <em>Kasatto/Cassatt</em>. To\u0304kyo\u0304: Senshukai, 1978.", "page_number": "Mentioned and reproduced: no. 26", "url": null}, {"citation": "Love, Richard H. <em>Cassatt: The Independent</em>. Chicago: Milton H. Kreines, 1980.", "page_number": "Mentioned: p. 122; Reproduced: ill. 38", "url": null}, {"citation": "Mathews, Nancy Mowll. <em>Mary Cassatt</em>. New York: Harry N. Abrams, 1987.", "page_number": "Mentioned: p. 124-5; Reproduced: p. 127", "url": null}, {"citation": "Craze, Sophia. <em>Mary Cassatt</em>. New York: Crescent Books, 1990.", "page_number": "Reproduced: pp. 102-3", "url": null}, {"citation": "Costantino, Maria. <em>Mary Cassatt</em>. New York: Brompton, 1995.", "page_number": "Reproduced: p. 104", "url": null}, {"citation": "Mathews, Nancy Mowll. <em>Cassatt: A Retrospective</em>. New York: H.L. Levin Associates, 1996.", "page_number": "Reproduced: pp. 276-77, pl. 93", "url": null}, {"citation": "Pollock, Griselda. <em>Mary Cassatt: Painter of Modern Women</em>. London: Thames &amp; Hudson, 1998.", "page_number": "Reproduced: p. 23", "url": null}, {"citation": "Nochlin, Linda. <em>Representing Women</em>. New York: Thames and Hudson, 1999.", "page_number": "Mentioned: p. 265; Reproduced: fig. 114", "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. 1; Reproduced: p. 2", "url": null}, {"citation": "Pollock, Griselda. <em>Mary Cassatt</em>. London: Chaucer, 2005.", "page_number": "Mentioned and reproduced: p. 232, no. 79", "url": null}, {"citation": "Robinson, William H. <em>Monet to Dali\u0301: Impressionist and Modern Masterworks from the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art, 2007.", "page_number": null, "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. 5", "url": "https://archive.org/details/CMAMM2007-10/page/4"}, {"citation": "Lemonedes, Heather. \"The Feminine Ideal.\" <em>Cleveland Art</em> (September/October 2012): 4-6.", "page_number": "Reproduced: p. 5", "url": null}, {"citation": "Exhibitions.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 57, no. 1 (January/February 2017): 4.", "page_number": "Reproduced: P. 4", "url": "https://archive.org/details/CMAMM2017-01/page/n1/mode/2up"}], "catalogue_raisonne": "Breeskin 384", "url": "https://clevelandart.org/art/1920.379", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1920.379/1920.379_web.jpg", "width": "900", "height": "608", "filesize": "308323", "filename": "1920.379_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1920.379/1920.379_print.jpg", "width": "3400", "height": "2297", "filesize": "3042970", "filename": "1920.379_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1920.379/1920.379_full.tif", "width": "11100", "height": "7500", "filesize": "249801976", "filename": "1920.379_full.tif"}}, "alternate_images": [{"date_created": "2012-02-14T15:51:11", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1920.379/1920.379_alt0_web.jpg", "width": "608", "height": "900", "filesize": "310164"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1920.379/1920.379_alt0_print.jpg", "width": "2295", "height": "3400", "filesize": "3427645"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1920.379/1920.379_alt0_full.tif", "width": "4500", "height": "6668", "filesize": "90044764"}}, {"date_created": "2012-02-14T15:50:49", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1920.379/1920.379_alt1_web.jpg", "width": "674", "height": "900", "filesize": "354219"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1920.379/1920.379_alt1_print.jpg", "width": "2545", "height": "3400", "filesize": "4035907"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1920.379/1920.379_alt1_full.tif", "width": "4992", "height": "6668", "filesize": "99887508"}}, {"date_created": "2012-02-14T15:49:40", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1920.379/1920.379_alt2_web.jpg", "width": "674", "height": "900", "filesize": "342835"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1920.379/1920.379_alt2_print.jpg", "width": "2545", "height": "3400", "filesize": "3917106"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1920.379/1920.379_alt2_full.tif", "width": "4992", "height": "6668", "filesize": "99887100"}}], "creditline": "Gift of J. H. Wade", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 101646, "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": "1920-11-11T00:00:00", "sortable_date": 1901, "date_added_to_oa": null, "date_text": "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": [], "is_highlight": true, "updated_at": "2026-03-26 23:59:06.356000"}, {"id": 154817, "accession_number": "1989.399", "share_license_status": "Copyrighted", "tombstone": "Rodin - The Thinker, 1902. Edward Steichen (American, 1879\u20131973). Gelatin silver print; image: 36.2 x 43.8 cm (14 1/4 x 17 1/4 in.); paper: 36.5 x 44 cm (14 3/8 x 17 5/16 in.); matted: 55.9 x 66 cm (22 x 26 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. Thomas A. Mann, 1989.399", "current_location": null, "title": "Rodin - The Thinker", "creation_date": "1902", "creation_date_earliest": 1902, "creation_date_latest": 1902, "artists_tags": ["male"], "culture": ["America"], "technique": "Gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 36.2 x 43.8 cm (14 1/4 x 17 1/4 in.); Paper: 36.5 x 44 cm (14 3/8 x 17 5/16 in.); Matted: 55.9 x 66 cm (22 x 26 in.)", "dimensions": {"image": {"height": 0.362, "width": 0.438}, "paper": {"height": 0.365, "width": 0.44}, "matted": {"height": 0.559, "width": 0.66}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Written in negative on recto: \"STEICHEN / CXCII\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 310333, "title": "The Year in Review for 1989", "description": "<i>The Year in Review for 1989</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 6-April 15, 1990).", "opening_date": "1990-02-06T05:00:00"}, {"id": 311875, "title": "Legacy of Light: Master Photographs from the Cleveland Museum of Art", "description": "<i>Legacy of Light: Master Photographs from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 24, 1996-February 2, 1997).", "opening_date": "1996-11-24T05:00:00"}, {"id": 185439, "title": "Artists Photographing Artists", "description": "<i>Artists Photographing Artists</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 13, 2001-February 27, 2002).", "opening_date": "2001-10-13T00:00:00"}, {"id": 194095, "title": "Icons of American Photography: A Century of Photographs from the Cleveland Museum of Art", "description": "<i>Icons of American Photography: A Century of Photographs from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 24-September 16, 2007); Frick Art and Historical Center, Pittsburgh, PA (October 3, 2009-January 3, 2010).", "opening_date": "2007-06-24T00:00:00"}, {"id": 202729, "title": "Shadows and Dreams: Pictorialist Photography in America", "description": "<i>Shadows and Dreams: Pictorialist Photography in America</i>. The Cleveland Museum of Art (organizer) (September 5, 2015-January 17, 2016).", "opening_date": "2015-09-05T00:00:00"}, {"id": 317308, "title": "Beyond Truth: Photography after the Shutter", "description": "<i>Beyond Truth: Photography after the Shutter</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 10-May 26, 2019).", "opening_date": "2019-02-10T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This image was created from two different negatives printed together.", "description": "When Steichen arrived in Paris in 1900, August Rodin (1840\u20131917) was regarded not only as the finest living sculptor but also as one of the greatest artists of the time. Steichen visited Rodin's studio in 1901, and the sculptor, upon seeing the young photographer's work, agreed to sit for a portrait. Steichen spent a year studying Rodin among his creations, finally choosing to depict the artist in front of the newly carved white marble<em> Monument to Victor Hugo</em>, facing a bronze of <em>The Thinker</em>. Stiechen did not have a wide-angle lens when he photographed Rodin, and the sculptures and blocks of marble filled the artist's studio to capacity, so two separate shots were required. Posed in relief against his work, Rodin seems to contemplate <em>The Thinker </em>as his alter ego, while the luminous carved figure of the great French author Victor Hugo (1802\u20131885) suggests poetic inspiration as the source of the sculptor's creativity.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780891"], "internet_archive": []}, "citations": [{"citation": "E. H. T. \"The Year in Review: Selections 1989.\" <em>The Bulletin of the Cleveland Museum of Art</em> 77, no. 2 (1990): 38-78.", "page_number": "p. 69, no. 59", "url": "www.jstor.org/stable/25160106"}, {"citation": "Cleveland Museum of Art, Tom E Hinson. <em>Catalogue of Photography</em>. Cleveland, OH: Cleveland Museum of Art, 1996.", "page_number": "Reproduced: P. 329", "url": ""}, {"citation": "Cleveland Museum of Art. <em>The CMA Companion: A Guide to the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2014.", "page_number": "Mentioned and reproduced: P. 307", "url": ""}], "url": "https://clevelandart.org/art/1989.399", "images": {}, "alternate_images": [], "creditline": "Gift of Mr. and Mrs. Thomas A. Mann", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 154817, "creators": [{"id": 941, "description": "Edward Steichen (American, 1879\u20131973)", "extent": null, "qualifier": null, "role": "artist", "biography": "Edward Steichen American, b. Luxembourg, 1879-1973\r\n\r\nHis long and illustrious career places Edward Steichen among the major figures of 20th-century photography. Born Eduard Jean Steichen in Luxembourg, Steichen moved with his family to the United States in 1881, was naturalized a citizen in 1900, and changed the spelling of his first name in 1918. Educated in Wisconsin, he showed an early interest in art. He studied at the Milwaukee Art Students League and was an apprentice lithographer; later he studied painting at the Acad\u00e9mie Julian in Paris.\r\n\tSteichen took his first photograph in 1896. Early recognition came in the Second Philadelphia Salon of 1899, and he was encouraged by Clarence H. White. Shortly thereafter, while on his way to Europe, he met Alfred Stieglitz, who bought three of his prints. In 1900 he participated in the New School of American Photography exhibition in London. Steichen's first one-person show, which included paintings as well as photographs, was held in Paris in 1902. He helped to found the Photo-Secession and played an important role in the life and design of its galleries, programs, and publications, including the decision to exhibit international works in a variety of media.\r\n\tSteichen was the commander of aerial photography for the American Expeditionary Forces during the First World War. After the war, he became chief photographer for Vogue and Vanity Fair, and a well-known portraitist. During World War II he was in charge of all navy combat photography and was also responsible for the exhibitions Road to Victory (1942) and Power in the Pacific (1945) at the Museum of Modern Art, New York. These, along with his 1955 show, The Family of Man, established a new, more popular form of photographic exhibition. In 1947 he was made director of the museum's department of photography, a position he held until 1962.\r\n\tIn 1961 the Museum of Modern Art mounted a retrospective of Steichen's work. The following year he received the Medal of Freedom from President John F. Kennedy. His photographs have been represented in many exhibitions and publications, including the book Steichen the Photographer, with a text by his brother-in-law, Carl Sandburg. T.W.F.", "name_in_original_language": null, "birth_year": "1879", "death_year": "1973", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1990-01-29T00:00:00", "sortable_date": 1902, "date_added_to_oa": null, "date_text": "1902", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:27.828000"}, {"id": 145277, "accession_number": "1970.52", "share_license_status": "Copyrighted", "tombstone": "Forest, 1916. Jean Arp (French, 1887\u20131966). Painted wood; overall: 41.3 x 53 x 8.3 cm (16 1/4 x 20 7/8 x 3 1/4 in.). The Cleveland Museum of Art, Contemporary Collection of The Cleveland Museum of Art, 1970.52. \u00a9 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn", "current_location": "225 German Expressionism & Surrealism", "title": "Forest", "creation_date": "1916", "creation_date_earliest": 1916, "creation_date_latest": 1916, "artists_tags": ["male"], "culture": ["France, 20th century"], "technique": "painted wood", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Sculpture 1800-1960", "type": "Sculpture", "measurements": "Overall: 41.3 x 53 x 8.3 cm (16 1/4 x 20 7/8 x 3 1/4 in.)", "dimensions": {"overall": {"height": 0.413, "width": 0.53, "depth": 0.083}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn", "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": 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": 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": 177176, "title": "Dada", "description": "<i>Dada</i>. National Gallery of Art, Landover, MD (organizer) (February 19-May 14, 2006); The Museum of Modern Art, New York, NY (June 16-September 11, 2006).", "opening_date": "2006-02-19T00:00:00"}, {"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": 174884, "title": "Inventing Abstraction, 1912-1925", "description": "<i>Inventing Abstraction, 1912-1925</i>. The Museum of Modern Art, New York, NY (organizer) (December 23, 2012-April 15, 2013).", "opening_date": "2012-12-23T00:00:00"}], "legacy": []}, "provenance": [{"description": "Roland Penrose Collection, London", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "Paul \u00c9luard Collection, Paris", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Making this relief sculpture out of wood and titling it \"Forest\" may have been a pun created by the artist.", "description": "This relief sculpture, or sculpture with three dimensional elements projecting from a flat base, may have been inspired by branches, roots, and foliage Jean Arp observed on walks along the shores of Lake Zurich in Zurich, Switzerland, a neutral and safe city where Arp and other modern artists lived during World War I. The yellow shape at the top may allude to the sun or moon. This and another painted wood sculptural relief by Arp, also titled <em>Forest</em>, at the National Gallery of Art, Washington, DC, are considered the first modernist landscape sculptures, radical in their simplicity and inventiveness at the time.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60781037"], "internet_archive": []}, "citations": [{"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 246", "url": "https://archive.org/details/CMAHandbook1978/page/n266"}, {"citation": "Henning, Edward B. <em>The Spirit of Surrealism</em>. Cleveland: The Cleveland Museum of Art, 1979.", "page_number": "Reproduced: p. 16, no. 6A, Colorplate VII; Mentioned: p. 15-16, 171", "url": null}, {"citation": "Henning, Edward B. \u201cA Painting by Joan Mir\u00f3.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 66, no. 6 (September 1979): 235\u2013240.", "page_number": "Mentioned and reproduced: p. 236-237, fig. 3", "url": "http://www.jstor.org/stable/25159634"}, {"citation": "Carmean, E. A. and National Gallery of Art (U.S.). <em>Arp, the Dada Reliefs : [Exhibition] National Gallery of Art, July 3-October 30 1983.</em> [Washington, D.C.]: [The Gallery], 1983.", "page_number": "Mentioned and reproduced: p. 2", "url": ""}, {"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. 126, no. 34", "url": ""}, {"citation": "Dickerman, Leah. <em>Dada: Zurich, Berlin, Hannover, Cologne, New York, Paris. </em>Washington [D.C.]: National Gallery of Art in association with D.A.P./ Distributed Art Publishers, New York, 2005.", "page_number": "Mentioned: p. 38; Reproduced: p. 67, no. 38", "url": ""}, {"citation": "Dickerman, Leah, Matthew Affron, and Museum of Modern Art (New York, N.Y.). <em>Inventing Abstraction, 1910-1925 : How a Radical Idea Changed Modern Art.</em> New York: Museum of Modern Art: Distributed in the United States and Canada by Artbook/D.A.P., 2012.", "page_number": "Mentioned and reproduced: p. 285, no. 340; Mentioned: p. 274-276", "url": ""}, {"citation": "Spies, Christian. \"Sculpture and/or Object: Hans Arp Between Minimal and Pop.\" In <em>Hans Arp and Other Masters of 20th Century Sculpture</em>. Elisa Tamaschke, Jana Teuscher, and Loretta Wurtenberger, eds., 142-159. Berlin: Stiftung Hans Arp &amp; Sophie Taeuber-Arp e.V., 2020.", "page_number": "Mentioned and reproduced: P. 142-143, fig. 2", "url": ""}], "url": "https://clevelandart.org/art/1970.52", "images": {}, "alternate_images": [], "creditline": "Contemporary Collection of The Cleveland Museum of Art", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 145277, "creators": [{"id": 18928, "description": "Jean Arp (French, 1887\u20131966)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1887", "death_year": "1966", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1970-12-18T00:00:00", "sortable_date": 1916, "date_added_to_oa": null, "date_text": "1916", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:07:11.787000"}, {"id": 162624, "accession_number": "2003.226", "share_license_status": "Copyrighted", "tombstone": "Untitled, 1990. Robert Gober (American, b. 1954). Wax, wood, leather shoe, cotton fabric, human hair; overall: 29.6 x 16 x 51.2 cm (11 5/8 x 6 5/16 x 20 3/16 in.). The Cleveland Museum of Art, Dorothea Wright Hamilton Fund, 2003.226. \u00a9 Robert Gober, Courtesy Matthew Marks Gallery", "current_location": "229A Contemporary", "title": "Untitled", "creation_date": "1990", "creation_date_earliest": 1990, "creation_date_latest": 1990, "artists_tags": ["male", "LGBTQ+ (after 1900)"], "culture": ["America"], "technique": "wax, wood, leather shoe, cotton fabric, human hair", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Sculpture", "type": "Sculpture", "measurements": "Overall: 29.6 x 16 x 51.2 cm (11 5/8 x 6 5/16 x 20 3/16 in.)", "dimensions": {"overall": {"height": 0.296, "width": 0.16, "depth": 0.512}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Robert Gober, Courtesy Matthew Marks Gallery", "inscriptions": [{"inscription": "Signed on wood mount for attaching leg to wall.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 213325, "title": "Body Proxy: Clothing in Contemporary Art", "description": "<i>Body Proxy: Clothing in Contemporary Art</i>. Allen Memorial Art Museum, Oberlin, OH (organizer) (September 1-December 13, 2015).", "opening_date": "2015-09-01T00:00:00"}], "legacy": [{"description": "<em>Reality Bites: Approaches to Representation in American Sculpture</em>. Chicago Cultural Center, Chicago, IL (April 11 - June 28, 1998).", "opening_date": "1998-04-11T00:00:00"}, {"description": "<em>Extensions: Aspects of the Figure</em>. Joseloff Gallery, Hartford Art School, University of Hartford, West Hartford, CT (November 12, 1998 - January 17, 1999).", "opening_date": "1998-11-12T00:00:00"}, {"description": "<em>The Body in Question: Tracing, Displacing and Remaking the Human Figure in Contemporary Art</em>. The Speed Art Museum, Louisville, KY (July 6 - August 22, 1999).", "opening_date": "1999-07-06T00:00:00"}, {"description": "<em>13 Alumni Artists</em>. Middlebury College Museum of Art, Middlebury, VT (May 19 - December 10, 2000).", "opening_date": "2000-05-19T00:00:00"}, {"description": "<em>Transformer</em>. Porin Taidemuseo, Pori, Finland (September 14 - November 11, 2002).", "opening_date": "2002-09-14T00:00:00"}]}, "provenance": [{"description": "Collection of the artist; acquired by the CMA from Matthew Marks Gallery, New York in 2003.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Gober expertly applied individual human hairs to the sculptural rendering of the leg in this work.", "description": "At once disturbing and intriguing, Untitled is an immaculately crafted wax leg that appears to be sticking out of the gallery wall. One can note the expertly applied individual human hairs and beat-up leather brogues the artist wore for weeks to humanize the sculpture. Gober is among the generation of artists that emerged during the 1980s to confront divisive political issues that centered upon the human body, including the AIDS crisis, gay rights, women\u2019s rights, and censorship. A fragment of a person, Untitled is a mournful reminder of the lives that have been deeply affected by such traumas.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780773"], "internet_archive": []}, "citations": [{"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": "Reproduced p. 339; mentioned p. 338", "url": null}, {"citation": "Kotik, Charlotta. \u201cThe Century\u2019s 25 Most Influential Artists: Inside Out.\u201d <em>ARTnews</em> (May 1999).", "page_number": "Reproduced p.129", "url": null}, {"citation": "Gober, Robert, and Theodora Vischer. <em>Robert Gober: Sculptures and Installations, 1979-2007</em>. Basel, Switzerland: Schaulager, 2007.", "page_number": "Reproduced p. 254, Fig. 5", "url": null}, {"citation": "<em>Extensions: Aspects of the Figure</em>. Exh. Cat. West Hartford, CT: University of Hartford, 1998.", "page_number": "Reproduced p. 26-27", "url": null}, {"citation": "Donadio, Emmie. <em>13 Alumni Artists</em>. Exh. Cat. Middlebury, VT: Middlebury College Museum of Art, 2000.", "page_number": "Reproduced on cover and pgs. 14 and 37", "url": null}, {"citation": "\u201cFeature.\u201d <em>Maine Antique Digest</em> (July 2000).", "page_number": "Reproduced p. 27-E", "url": null}, {"citation": "\u201c13 Alumni Artists.\u201d Exhibition calendar brochure. Middlebury, VT: Middlebury College Museum of Art (Winter/Spring 2000)", "page_number": null, "url": null}, {"citation": "\u201cRobert Gober, The United States Pavilion 49th Venice Biennale.\u201d Pamphlet (June 10-November 4, 2001).", "page_number": null, "url": null}], "url": "https://clevelandart.org/art/2003.226", "images": {}, "alternate_images": [], "creditline": "Dorothea Wright Hamilton Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Toby's Gallery for Contemporary Art", "athena_id": 162624, "creators": [{"id": 24650, "description": "Robert Gober (American, b. 1954)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1954", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2003-12-01T00:00:00", "sortable_date": 1990, "date_added_to_oa": null, "date_text": "1990", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:07.825000"}, {"id": 153611, "accession_number": "1987.141", "share_license_status": "Copyrighted", "tombstone": "Cliffs Beyond Abiqui\u00fa, Dry Waterfall, 1943. Georgia O'Keeffe (American, 1887\u20131986). Oil on canvas; framed: 79.5 x 44 x 5.1 cm (31 5/16 x 17 5/16 x 2 in.); unframed: 76.2 x 40.6 cm (30 x 16 in.). The Cleveland Museum of Art, Bequest of Georgia O'Keeffe, 1987.141. \u00a9  Georgia O'Keeffe Museum / Artists Rights Society (ARS), New York", "current_location": null, "title": "Cliffs Beyond Abiqui\u00fa, Dry Waterfall", "creation_date": "1943", "creation_date_earliest": 1943, "creation_date_latest": 1943, "artists_tags": ["female"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 79.5 x 44 x 5.1 cm (31 5/16 x 17 5/16 x 2 in.); Unframed: 76.2 x 40.6 cm (30 x 16 in.)", "dimensions": {"framed": {"height": 0.795, "width": 0.44, "depth": 0.051}, "unframed": {"height": 0.762, "width": 0.406}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  Georgia O'Keeffe Museum / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "Stretcher: \"No. 3\" (unidentified hand, graphite)\r\nBacking:  \r\n1.  \"Cliffs beyond Abiquiu -- New Mexico -- / 1943 / by Georgia O'Keeffe.\" (AS, AAP3, black ink)\r\n2.  \"No. 14\"  Cliffs Beyond Abiquiu -- Dry Waterfall (AAP5)\r\n3.  \"-- 1943\"  (AAP5, black ink)\r\n4.  \"Box 43 on 6\" (DB, black ink)", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 310024, "title": "The Georgia O'Keeffe Gift", "description": "<i>The Georgia O'Keeffe Gift</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 4-November 15, 1987).", "opening_date": "1987-09-04T04:00:00"}, {"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": 310243, "title": "The Precisionist Aesthetic in American Art", "description": "<i>The Precisionist Aesthetic in American Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 24-April 9, 1989).", "opening_date": "1989-01-24T05:00:00"}, {"id": 321961, "title": "Georgia O'Keeffe: American and Modern", "description": "<i>Georgia O'Keeffe: American and Modern</i>. Hayward Gallery, London, United Kingdom of Great Britain and Northern Ireland (organizer) (April 8-June 22, 1993); Museo del Palacio de Bellas Artes, Mexico (August 1-October 24, 1993); Yokohama Museum of Art (November 28, 1993-February 20, 1994).", "opening_date": "1993-08-01T04:00:00"}, {"id": 215247, "title": "O'Keeffe's O'Keeffes: The Artist's Collection", "description": "<i>O'Keeffe's O'Keeffes: The Artist's Collection</i>. Milwaukee Art Museum, Milwaukee, WI (organizer) (May 4-August 19, 2001); Georgia O'Keeffe Museum, Santa Fe, NM (September 14, 2001-January 13, 2002); Louisiana Museum of Modern Art, Humbelbaek, Denmark (February 8-May 20, 2002).", "opening_date": "2001-05-04T00:00:00"}, {"id": 223960, "title": "O'Keeffe and New Mexico:  A Sense of Place", "description": "<i>O'Keeffe and New Mexico:  A Sense of Place</i>. Columbus Museum of Art, Columbus, OH (October 5, 2004-January 16, 2005).", "opening_date": "2004-10-05T00:00:00"}, {"id": 229103, "title": "Georgia O'Keeffe: Nature and Abstraction", "description": "<i>Georgia O'Keeffe: Nature and Abstraction</i>. Vancouver Art Gallery, Vancouver, Canada (organizer) (October 6, 2007-January 13, 2008).", "opening_date": "2007-10-06T00:00:00"}, {"id": 376208, "title": "O'Keeffe and Moore", "description": "<i>O'Keeffe and Moore</i>. San Diego Museum of Art, San Diego, CA (organizer) (May 12-August 27, 2023) https://www.sdmart.org/exhibition/okeeffe-and-moore/; The Albuquerque Museum, Albuquerque, NM (August 30-December 31, 2023); Montr\u00e9al Museum of Fine Arts, Montreal, Quebec, Canada (February 5-June 9, 2024); Museum of Fine Arts, Boston, Boston, MA (October 12, 2024-January 20, 2025).", "opening_date": "2023-05-12T04:00:00"}], "legacy": [{"description": "<em>The Pittsburgh International Exhibition of Paintings. </em>The Carnegie Institute, Pittsburgh (October 19-December 21, 1950).", "opening_date": "1950-10-19T00:00:00"}, {"description": "<em>An Exhibition by Georgia O'Keeffe. </em>Worcester Art Museum, Worcester, MA (October 4-December 4, 1960).", "opening_date": "1960-10-04T00:00:00"}, {"description": "<em>Exhibition of Newly Elected Members and Recipients of Honors and Awards</em>. American Academy of Arts and Letters, New York (1963).", "opening_date": "1963-01-01T00:00:00"}, {"description": "<em>Georgia O'Keeffe: An Exhibition of the Work of the Artist from 1916 to 1966. </em>Amon Carter Museum of Western Art, Fort Worth (March 17-May 8, 1966); Houston Museum of Art, Houston (May 17-June 19, 1966).", "opening_date": "1966-03-17T00:00:00"}, {"description": "<em>Georgia O'Keeffe. </em>University of New Mexico Art Museum, Albuquerque (September 8-October 13, 1966).", "opening_date": "1966-09-08T00:00:00"}, {"description": "<em>Georgia O'Keeffe. </em>Whitney Museum of American Art, New York (October 8-November 29, 1970); The Art Institute of Chicago, Chicago (January 6-February 7, 1971); San Francisco Museum of Art, San Francisco (March 15-April 30, 1971).", "opening_date": "1970-10-08T00:00:00"}, {"description": "<em>Georgia O'Keeffe: Nature and Abstraction. </em>Vancouver Art Gallery, Vancouver (October 6, 2007-January 13, 2008).", "opening_date": "2007-10-06T00:00:00"}, {"description": "<em>Georgia O'Keeffe. </em>Tate Modern, London (July 6-October 30, 2016); Bank Austria Kunstforum Wien (December 7, 2016-March 26, 2017); Art Gallery of Ontario, Toronto (April 22-July 30, 2017).", "opening_date": "2016-07-06T00:00:00"}]}, "provenance": [{"description": "The Cleveland Museum of Art, Cleveland, Ohio", "citations": [], "footnotes": null, "date": "1986-", "sortorder": 1}, {"description": "Collection of the artist, Santa Fe, New Mexico", "citations": [], "footnotes": null, "date": "1943-1986", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "O\u2019Keeffe preferred certain frame styles, including this example nicknamed \u201cclamshell\u201d due to its shape.", "description": "Weary from social duties in Manhattan that distracted her from making art, O\u2019Keeffe spent increasing time in rural New Mexico near the village of Abiqui\u00fa, eventually moving there permanently. As evidenced here, the multicolored cliffs near her home at Ghost Ranch provided subject matter for her painting. Upon her death, the artist bequeathed this canvas\u2014along with four others\u2014to the Cleveland Museum of Art, an early supporter of her work.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60475949"], "internet_archive": []}, "citations": [{"citation": "O'Keeffe, Georgia. <em>Georgia O'Keeffe: A Studio Book</em>. New York: Viking Press, 1976.", "page_number": "Reproduced: fig. 93", "url": null}, {"citation": "Chong, Alan. <em>European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogue</em>. Cleveland: Cleveland Museum of Art, 1993.", "page_number": "Reproduced: p. 171", "url": null}, {"citation": "O'Keeffe, Georgia, John Loengard, and Lothar Schirmer. <em>Georgia O'Keeffe/John Loengard: Paintings &amp; Photographs: a Visit to Abiquiu and Ghost Ranch</em>. M\u00fcnchen: Schirmer Mosel, 2006.", "page_number": "Reproduced: fig. 3", "url": null}, {"citation": "Georgia O'Keefe, Last Will and Testament, Aug. 22, 1979, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Feldman, Anita, et al. <em>O'Keeffe and Moore.</em> (San Diego: San Diego Museum of Art, 2023).", "page_number": "Mentioned p. 48; reproduced p. 59", "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": "Reproduced, p. 110.", "url": ""}, {"citation": "Laurence, Robin, \"O'Keeffe Captures Life Force,\" <em>The Georgia Strait, </em>October 11-18, 2007.", "page_number": "Mentioned, p. 60.", "url": ""}, {"citation": "Weisman, Celia. \"O'Keeffe's Art: Sacred Symbols and Spiritual Quest.\" <em>Women's Art Journal </em>3 no. 2 (Fall 1982/Winter 1983).", "page_number": "Mentioned: p. 11-12", "url": null}, {"citation": "\"Art Museum Gets O'Keeffe Paintings.\" <em>The Cleveland Plain Dealer</em>, April 22, 1986.", "page_number": null, "url": null}, {"citation": "Cleveland Museum of Art. \"The Year in Review for 1987.\" <em>The Bulletin of the Cleveland Museum of Art </em>75, no. 2 (1987).", "page_number": "Mentioned: p. 67; Reproduced: p. 61", "url": null}, {"citation": "Culllinan, Helen. \"Georgia On Our Minds; O'Keeffe Legacy: 5 Glowing New Oils at Museum.\" <em>The Cleveland Plain Dealer, </em>September 5, 1987.", "page_number": null, "url": null}, {"citation": "Wellish, Marjorie. \"House Beautiful.\" In <em>The Faraway Nearby: Georgia O'Keeffe as Icon, </em>edited by Christopher Merrill and Ellen Bradbury, 127-133. Reading, MA: Addison-Wesley Pub. co., 1992.", "page_number": "Mentioned: p. 129", "url": null}, {"citation": "Merrill, Christopher, Ellen Bradbury, James Kraft, Anna Chave, Lisa Mintz Messinger, MaLin Wilson-Powell, Sharyn Rohlfsen Udall, Jennifer Saville, and Barbara Buhler Lynes. <em>From the Faraway Nearby: Georgia O'Keeffe As Icon</em>. 1992.", "page_number": "Mentioned: p. 25; Reproduced: p. 25", "url": null}, {"citation": "Eldredge, Charles. <em>Georgia O'Keeffe: American and Modern</em>. New Haven: Yale University Press, 1993.", "page_number": "Reproduced: fig. 69", "url": null}, {"citation": "Benke, Brittae. <em>Georgia O'Keeffe 1887-1986: Blumen in der W\u00fcste</em>. K\u00f6ln: Benedikt Taschen, 1994.", "page_number": "Reproduced: p. 67", "url": null}, {"citation": "Novak, Barbara. \"Georgia O'Keeffe and American Intellectual and Visual Traditions.\" In <em>The Georgia O'Keeffe Museum</em>, edited by Peter H. Hassrick. New York: Harry N. Abrams in association with the Georgia O'Keeffe Museum, 1997.", "page_number": "Mentioned: p. 79; Reproduced: p. 79", "url": null}, {"citation": "Lynes, Barbara Buhler. <em>Georgia O'Keeffe: Catalogue Raisonn\u00e9</em>, 2 vols. New Haven: Yale University Press, 1999.", "page_number": "Reproduced: p. 666", "url": null}, {"citation": "Czestochowski, Joseph S., and Marjorie P. Balge-Crozier. <em>Georgia O'Keeffe Visions of the Sublime</em>. Memphis: Torch Press and International Arts, 2004.", "page_number": "Reproduced: p. 148", "url": null}, {"citation": "Corn, Wanda M., and Patricia McDonnell. <em>The Great American Thing: Modern Art and National Identity, 1915-1935</em>. Tacoma, WA: Tacoma Art Museum, 2005.", "page_number": "Mentioned: p. 423; Reproduced: p. 249", "url": null}, {"citation": "Souter, Janet, and Georgia O'Keeffe. <em>Georgia O'Keeffe</em>. New York: Parkstone, 2005.", "page_number": "Mentioned: p. 149; Reproduced: p. 148", "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": "Mentioned: p. 142; Reproduced: p. 143", "url": null}, {"citation": "Leeds, Valerie Ann, and Diana M. Vela. <em>Georgia O'Keeffe and the Faraway: Nature and Image</em>. Fort Worth, TX: National Cowgirl Museum and Hall of Fame, 2010.", "page_number": "Mentioned: p. 25; Reproduced: p. 25", "url": null}, {"citation": "Lynes, Barbara Buhler, and Judy Lopez. <em>Georgia O'Keeffe and Her Houses: Ghost Ranch and Abiquiu</em>. New York: Abrams, in association with the Georgia O'Keeffe Museum, 2012.", "page_number": "Reproduced: p. 49", "url": null}, {"citation": "Pollock, Griselda. \"Seeing O'Keeffee Seeing.\" In <em>Georgia O'Keeffe, </em>edited by Tanya Barsonr, 102-137. London: Tate Gallery Publishing Ltd., 2016.", "page_number": "Reproduced: p. 110", "url": null}, {"citation": "Eldredge, Charles C. <em>Georgia O'Keeffe: American and Modern</em>. New Haven, CT: Yale University Press, 1993.", "page_number": "Reproduced: p. 127", "url": null}, {"citation": "Lynes, Barbara Buhler, and Russell Bowman. <em>O'Keeffe's O'Keeffes: The Artist's Collection</em>. New York, NY: Thames &amp; Hudson, 2001.", "page_number": "Reproduced: no. 66", "url": null}, {"citation": "Lynes, Barbara Buhler, Lesley Poling-Kempes, and Frederick W. Turner. <em>Georgia O'Keeffe and New Mexico: A Sense of Place</em>. Princeton: Princeton University Press, 2004.", "page_number": "Reproduced: p. 83", "url": null}], "url": "https://clevelandart.org/art/1987.141", "images": {}, "alternate_images": [], "creditline": "Bequest of Georgia O'Keeffe", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 153611, "creators": [{"id": 3228, "description": "Georgia O'Keeffe (American, 1887\u20131986)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1887", "death_year": "1986", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1987-08-19T00:00:00", "sortable_date": 1943, "date_added_to_oa": null, "date_text": "1943", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:10.198000"}, {"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": 142749, "accession_number": "1966.455", "share_license_status": "CC0", "tombstone": "Miniature Bathroom Chair (Bidet), 1908\u201317. Henrik Wigstr\u00f6m (Russian, 1862\u20131923), House of Faberg\u00e9 (Russian, 1842\u20131918). Gold, nephrite, enamel, pearls; overall: 8.3 x 3.5 x 4.5 cm (3 1/4 x 1 3/8 x 1 3/4 in.). The Cleveland Museum of Art, The India Early Minshall Collection, 1966.455", "current_location": "211 Faberg\u00e9", "title": "Miniature Bathroom Chair (Bidet)", "creation_date": "1908\u201317", "creation_date_earliest": 1908, "creation_date_latest": 1917, "artists_tags": ["male", "gender unknown"], "culture": ["Russia, St. Petersburg"], "technique": "gold, nephrite, enamel, pearls", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Miscellaneous", "measurements": "Overall: 8.3 x 3.5 x 4.5 cm (3 1/4 x 1 3/8 x 1 3/4 in.)", "dimensions": {"overall": {"height": 0.083, "width": 0.035, "depth": 0.045}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Kokoshnik, 72, lower case alpha; 72; H.W. [initials of worksmaster Henrik Wigstr\u00f6m]; Faberg\u00e9; 25256 [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": 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"}, {"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": "King Farouk of Egypt; (Sotheby's, Cairo, March 10, 1954, no. 126, for \u00a366)", "citations": [], "footnotes": [], "date": null, "sortorder": 2}, {"description": "India Early Minshall [1885\u20131965], Cleveland, OH, bequest to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "?-1966", "sortorder": 3}, {"description": "The Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1966-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The seat of this miniature bathroom chair cleverly opens to reveal a small compartment probably containing a damp sponge or ball of cotton to moisten 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 moistener disguising as an exquisite miniature bathroom chair (bidet) in the Louis XVI taste of the late 1700s.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60747191"], "internet_archive": ["https://archive.org/details/clevelandart-1966.455-miniature-bathroom-c"]}, "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. 32-3, cat. 12", "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: p. 96; p. 113, cat. 97; reproduced: p. 113", "url": "https://ingallslibrary.on.worldcat.org/oclc/34433639"}, {"citation": "Hawley, Henry H., \"Some Faberge Sources\", Cleveland Museum of Art. Cleveland Art: <em>The Cleveland Museum of Art Members Magazine. </em>Vol. 37 no. 04, April 1997", "page_number": "Mentioned & reproduced: p. 6", "url": "https://archive.org/details/CMAMM1997-04/page/6"}, {"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. 74.", "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/1966.455", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1966.455/1966.455_web.jpg", "width": "742", "height": "893", "filesize": "347324", "filename": "1966.455_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1966.455/1966.455_print.jpg", "width": "2735", "height": "3292", "filesize": "5203385", "filename": "1966.455_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1966.455/1966.455_full.tif", "width": "2735", "height": "3292", "filesize": "27044224", "filename": "1966.455_full.tif"}}, "alternate_images": [{"date_created": "2007-12-28T18:33:35", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.455/1966.455_alt0_web.jpg", "width": "1156", "height": "893", "filesize": "410503"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.455/1966.455_alt0_print.jpg", "width": "3400", "height": "2627", "filesize": "3418463"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.455/1966.455_alt0_full.tif", "width": "4496", "height": "3474", "filesize": "46888400"}}, {"date_created": "2008-06-06T14:48:12", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.455/1966.455_alt1_web.jpg", "width": "761", "height": "893", "filesize": "368300"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.455/1966.455_alt1_print.jpg", "width": "2763", "height": "3241", "filesize": "5620415"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.455/1966.455_alt1_full.tif", "width": "2763", "height": "3241", "filesize": "26897684"}}], "creditline": "The India Early Minshall Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 142749, "creators": [{"id": 8891, "description": "Henrik Wigstr\u00f6m (Russian, 1862\u20131923)", "extent": null, "qualifier": null, "role": "workmaster", "biography": "Workmaster for the House of Faberge based in St. Petersburg, Russia. Responsible for many of the imperial Easter eggs as well as enameled accessories and jewelry.", "name_in_original_language": null, "birth_year": "1862", "death_year": "1923", "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": 1908, "date_added_to_oa": null, "date_text": "1908\u201317", "collapse_artists": false, "on_loan": false, "recently_acquired": 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 Bidet", "Salt Cellar"], "is_highlight": false, "updated_at": "2026-03-27 00:05:58.930000"}, {"id": 300947, "accession_number": "2017.99", "share_license_status": "Copyrighted", "tombstone": "Der Krieg, 1914. Heinrich Davringhausen (German, 1894\u20131970). Oil on canvas; overall: 82 x 69.5 cm (32 5/16 x 27 3/8 in.). The Cleveland Museum of Art, Modern European Painting and Sculpture Sundry Purchase Fund, 2017.99", "current_location": "225 German Expressionism & Surrealism", "title": "Der Krieg", "creation_date": "1914", "creation_date_earliest": 1914, "creation_date_latest": 1914, "artists_tags": ["male"], "culture": ["Germany"], "technique": "Oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Overall: 82 x 69.5 cm (32 5/16 x 27 3/8 in.)", "dimensions": {"overall": {"height": 0.82, "width": 0.695}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "The artist (until 1970.", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "Private collection (1970-2016).", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "[Dorotheum, Vienna, auction, 23 November 2016, lot 505].", "citations": [], "footnotes": null, "date": null, "sortorder": 3}, {"description": "[Ketterer Kunst, Munich, auction, 10 June 2017, lot 233].", "citations": [], "footnotes": null, "date": null, "sortorder": 4}, {"description": "Purchased by the Cleveland Museum of Art, 10 June 2017.", "citations": [], "footnotes": null, "date": null, "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The Nazis seized 200 of this artist's paintings because they were considered \"degenerate art.\"", "description": "A member of a circle of avant-garde artists active in Cologne, Davringhausen painted this apocalyptic vision of a burning village in 1914 as a premonition of the violence and destructiveness of the First World War. Tiny black figures, some apparently carrying and shooting guns, are engulfed in a vortex of burning, collapsing buildings, perhaps alluding to the potential obliteration of cities and countries, even the social structures of Western Civilization. Through a masterful merging of expressionist emotion with Cubist and Futurist formal devices, <em>Der Krieg (War)</em> made a significant contribution to the theme of apocalyptic war scenes painted by the German Expressionists.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60482899"], "internet_archive": []}, "citations": [{"citation": "Robinson: William H. \u201cAcquisition Highlights: Modern Art.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 58, no. 2 (March/April 2018): 23.", "page_number": "Reproduced and Mentioned: P. 23", "url": "https://archive.org/details/CMAMM2018-02/page/n11/mode/2up"}], "url": "https://clevelandart.org/art/2017.99", "images": {}, "alternate_images": [], "creditline": "Modern European Painting and Sculpture Sundry Purchase Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 300947, "creators": [{"id": 301380, "description": "Heinrich Davringhausen (German, 1894\u20131970)", "extent": null, "qualifier": null, "role": "artist", "biography": "German painter and printmaker, 1894-1970", "name_in_original_language": null, "birth_year": "1894", "death_year": "1970", "use_in_caption": true, "include_extent": false, "weight": 0}], "legal_status": "accessioned", "accession_date": "2017-06-05T00:00:00-04:00", "sortable_date": 1914, "date_added_to_oa": null, "date_text": "1914", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:10.677000"}, {"id": 156294, "accession_number": "1992.128", "share_license_status": "Copyrighted", "tombstone": "Pine Tree, 1931. Arthur Dove (American, 1880\u20131946). Oil on canvas; framed: 90.2 x 116.8 x 5.7 cm (35 1/2 x 46 x 2 1/4 in.); unframed: 76.4 x 101.6 cm (30 1/16 x 40 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1992.128", "current_location": "226A American Modern", "title": "Pine Tree", "creation_date": "1931", "creation_date_earliest": 1931, "creation_date_latest": 1931, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 90.2 x 116.8 x 5.7 cm (35 1/2 x 46 x 2 1/4 in.); Unframed: 76.4 x 101.6 cm (30 1/16 x 40 in.)", "dimensions": {"framed": {"height": 0.902, "width": 1.168, "depth": 0.057}, "unframed": {"height": 0.764, "width": 1.016}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower center: \"dove\"", "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": 213886, "title": "Arthur Dove:  A Retrospective Exhibition", "description": "<i>Arthur Dove:  A Retrospective Exhibition</i>. The Phillips Collection, Washington, DC (organizer) (September 20, 1997-January 4, 1998); Whitney Museum of American Art, New York, NY (January 15-April 12, 1998); Addison Gallery of American Art, Andover, MA (April 24-July 14, 1998); Los Angeles County Museum of Art, Los Angeles, CA (August 2-October 4, 1998).", "opening_date": "1997-09-20T00:00:00"}, {"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"}], "legacy": [{"description": "New York, An American Place, Arthur G. Dove Exhibition (14 March-9 April 1932), see photocopies of handwritten catalogue, listed there as no. 1.", "opening_date": "1932-03-14T00:00:00"}]}, "provenance": [{"description": "The Cleveland Museum of Art, Cleveland, Ohio", "citations": [], "footnotes": [], "date": "1992-", "sortorder": 1}, {"description": "(Terry Dintenfass Gallery, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "1992", "sortorder": 2}, {"description": "Patricia Baum, New York, NY, consigned to the Terry Dintenfass Gallery", "citations": [], "footnotes": [], "date": "1992", "sortorder": 3}, {"description": "Nathaly Baum [1914-1986], Washington, D.C., by inheritance to her daughter, Patricia Baum", "citations": [], "footnotes": [], "date": "1970-1992", "sortorder": 4}, {"description": "(An American Place, New York, NY)", "citations": [], "footnotes": [], "date": "1932", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Dove loved nature, preferring to live on houseboats rather than in the heart of the city.", "description": "Arthur Dove\u2019s love of nature deeply informed his work. As evident in <em>Pine Tree</em>, he rendered his subjects through abstracted form, rather than literal description. Here, the artist reconfigured the tree\u2019s gnarled branches as rhythmically undulating shapes, and transformed its spiky needles into playfully jagged outlines. Most dramatically, three male pine cones, laden with pollen, appear as flame-like bursts.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60476792"], "internet_archive": []}, "citations": [{"citation": null, "page_number": null, "url": null}, {"citation": "American Place (Gallery). <em>Arthur G. Dove Exhibition</em>. New York: An American Place, 1932. &lt;http://libmma.contentdm.oclc.org/u?/p16028coll4,19337&gt;.", "page_number": null, "url": null}, {"citation": "Balken, Deborah Bricker. <em>Arthur Dove: A Catalogue Raisonne of Paintings and Things</em>. New Haven: Yale University Press, 2021.", "page_number": "Mentioned P. 176 and 331. Illustrated P. 176.", "url": ""}, {"citation": "Jewell, Edward Alden. \"Dove's New Work Shown.\" <em>The New York Times,</em> March 18, 1932.", "page_number": "Mentioned: p. 24", "url": null}, {"citation": "\"An Artist's Coming of Age: Arthur G. Dove Exhibit Shows Artistic Advance.\" <em>The Springfield Sunday Union and Republican</em>, March 20, 1932.", "page_number": "Mentioned: p. E6", "url": null}, {"citation": "Morgan, Ann Lee. <em>Arthur Dove: Life and Work with a Catalogue Raisonn\u00e9. </em>Newark: University of Delaware, 1984.", "page_number": "Mentioned: p. 195", "url": null}, {"citation": "Chong, Alan. <em>European &amp; American Painting in The Cleveland Museum of Art: A Summary Catalogue. </em>Cleveland: Cleveland Museum of Art, 1993.", "page_number": "Reproduced: p. 66", "url": null}, {"citation": "Turner, Evan. \"The Year in Review for 1992.\" <em>The Bulletin of The Cleveland Museum of Art </em>80, no. 2(February, 1993).", "page_number": "Reproduced: p. 42, no. 33; Mentioned: p. 42, 66", "url": "https://www.jstor.org/stable/25161388"}, {"citation": "\"1993 Annual Report.\" <em>The Bulletin of the Cleveland Museum of Art</em> 81, no. 6 (1994): 143-218.", "page_number": "Mentioned: p. 155", "url": "https://www.jstor.org/stable/25161457"}, {"citation": "Updike, John. <em>Still Looking: Essays on American Art. </em>New York: Knopf, 2005.", "page_number": "Mentioned: p. 163", "url": null}, {"citation": "McDonald, Gerry. \"A Tribute.\" In <em>Silver Apples of the Moon, </em>edited by Neal Chandler. Shaker Heights, OH: Shaker Heights Public Library, 2006.", "page_number": "Mentioned: p. 42; Reproduced: p. 43", "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": "Mentioned: p. 12, 126; Reproduced: p. 126-27.", "url": null}, {"citation": "Hinson, Tom. \"The Hinson Perspective.\" <em>Cleveland Art</em> 51, no. 4 (July/August, 2011)", "page_number": "Mentioned: p. 23", "url": null}, {"citation": "Balken, Debra Bricker, William C. Agee, and Elizabeth Hutton Turner. <em>Arthur Dove: A Retrospective</em>. Andover, MA: Addison Gallery of American Art, 1997.", "page_number": "Mentioned: p. 4, 29; Reproduced: cover/jacket, p. 91, no. 56", "url": null}, {"citation": "Chassey, Eric de. <em>Made in USA : l\u2019art am\u00e9ricain, 1908-1947</em>. New York, NY: Harry N. Abrams, 2002.", "page_number": "Reproduced: p. 153", "url": null}], "url": "https://clevelandart.org/art/1992.128", "images": {}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Dr. Robert B. Benyo Trust Gallery", "athena_id": 156294, "creators": [{"id": 3134, "description": "Arthur Dove (American, 1880\u20131946)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1880", "death_year": "1946", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1992-10-19T00:00:00", "sortable_date": 1931, "date_added_to_oa": null, "date_text": "1931", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:02:41.196000"}, {"id": 156048, "accession_number": "1991.30", "share_license_status": "Copyrighted", "tombstone": "The City, 1966. Agnes Martin (American, 1912\u20132004). Acrylic and graphite on canvas; framed: 184.5 x 184.5 x 3 cm (72 5/8 x 72 5/8 x 1 3/16 in.); unframed: 182.9 x 182.9 cm (72 x 72 in.). The Cleveland Museum of Art, Gift of Agnes Gund in memory of Wenda von Wiese, 1991.30. \u00a9 Agnes Martin / Artists Rights Society (ARS), New York", "current_location": null, "title": "The City", "creation_date": "1966", "creation_date_earliest": 1966, "creation_date_latest": 1966, "artists_tags": ["female", "LGBTQ+ (after 1900)"], "culture": ["America"], "technique": "acrylic and graphite on canvas", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "measurements": "Framed: 184.5 x 184.5 x 3 cm (72 5/8 x 72 5/8 x 1 3/16 in.); Unframed: 182.9 x 182.9 cm (72 x 72 in.)", "dimensions": {"framed": {"height": 1.845, "width": 1.845, "depth": 0.03}, "unframed": {"height": 1.829, "width": 1.829}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Agnes Martin / Artists Rights Society (ARS), New York", "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"}], "legacy": [{"description": "New York, Marlborough Gallery, Selected Works from the Collection of Carter Burden, 1974, p. 23.", "opening_date": "1974-01-01T00:00:00"}, {"description": "The Art of Collecting Modern Art:  An Exhibition of Works from the Collections of Clevelanders, Feb. 12 - March 30, 1986.", "opening_date": "1986-02-12T00:00:00"}, {"description": "New York, Mary Boone Gallery, Agnes Martin, 1959-1969, 1991.", "opening_date": "1959-01-01T00:00:00"}, {"description": "CMA 1991:  \"Notable Acquisitions,\" CMA Bulletin, 78 (June 1991), p. 105, repr.", "opening_date": "1991-06-01T00:00:00"}, {"description": "The Cleveland Museum of Art (06/01/2007); \"CMA @ Akron\"", "opening_date": "2007-06-01T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": ["27.86"], "did_you_know": "Drawing rectangular grids on a square canvas required extensive computation to precisely achieve; Martin spent hours calculating the lines of her grids before putting pencil to canvas.", "description": "Agnes Martin developed her signature style in the late 1950s and early 1960s while living in New York City\u2014six-foot-square canvases covered in thinly lined rectangular grids. Martin painstakingly drew her grids by hand, the faintly modulated background enriching the graphite lines with subtle variations of light and pattern. While her work is abstract, she often conjured subjects or themes with her titles. In this case, she may be referencing the urban plan of gridded city streets, or perhaps the rigidity of city life that Martin felt. <em>The City</em> was made a year before Martin abruptly left New York and settled in a remote town in New Mexico, where she would not resume her practice until 1973.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60476731"], "internet_archive": []}, "citations": [{"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. 105", "url": "https://www.jstor.org/stable/25161319"}, {"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. 87", "url": null}], "url": "https://clevelandart.org/art/1991.30", "images": {}, "alternate_images": [], "creditline": "Gift of Agnes Gund in memory of Wenda von Wiese", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 156048, "creators": [{"id": 3555, "description": "Agnes Martin (American, 1912\u20132004)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1912", "death_year": "2004", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1991-03-27T00:00:00", "sortable_date": 1966, "date_added_to_oa": null, "date_text": "1966", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_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 00:00:42.007000"}, {"id": 143915, "accession_number": "1968.3", "share_license_status": "Copyrighted", "tombstone": "Nyack, 1966\u20131967. Fairfield Porter (American, 1907\u20131975). Oil on canvas; framed: 211 x 283 x 4 cm (83 1/16 x 111 7/16 x 1 9/16 in.); unframed: 208.3 x 279.4 cm (82 x 110 in.). The Cleveland Museum of Art, Contemporary Collection of The Cleveland Museum of Art, 1968.3. \u00a9  The Estate of Fairfield Porter / Artists Rights Society (ARS), New York", "current_location": null, "title": "Nyack", "creation_date": "1966\u20131967", "creation_date_earliest": 1966, "creation_date_latest": 1967, "artists_tags": ["male", "LGBTQ+ (after 1900)"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "measurements": "Framed: 211 x 283 x 4 cm (83 1/16 x 111 7/16 x 1 9/16 in.); Unframed: 208.3 x 279.4 cm (82 x 110 in.)", "dimensions": {"framed": {"height": 2.11, "width": 2.83, "depth": 0.04}, "unframed": {"height": 2.083, "width": 2.794}, "crated": {"height": 2.286, "width": 3.073, "depth": 0.203}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  The Estate of Fairfield Porter / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "signed on back of stretcher:  Fairfield Porter 1966-67.", "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": 301294, "title": "Works from the Contemporary Collection", "description": "<i>Works from the Contemporary Collection</i>. The Cleveland Museum of Art, Cleveland, OH (July 1-October 15, 1969).", "opening_date": "1969-07-01T04:00:00"}], "legacy": [{"description": "New York, NY, Whitney Museum of American Art, 1967 Annual Exhibition of Contemporary Painting (13 December 1967 - 4 February 1968), listed no. 116, p. 12.", "opening_date": "1967-12-13T00:00:00"}, {"description": "New York, NY, Tibor de Naby Gallery, Fairfield Porter (February - March 1968).", "opening_date": "1968-02-01T00:00:00"}, {"description": "Chicago, IL, Richard Gray Gallery, Retrospective Exhibition (6 March - 6 April 1968); brochure in Curatorial File.", "opening_date": "1968-03-06T00:00:00"}, {"description": "Cleveland, OH, The Cleveland Museum of Art, Year in Review, Bulletin (January 1969), p. 48, no. 116, repr. p. 29, (29 January - 9 March 1969).", "opening_date": "1969-01-29T00:00:00"}, {"description": "CMA:  Works from the Contemporary Collection, July 1-mid-October, 1969", "opening_date": "1969-10-01T00:00:00"}, {"description": "Boston, MA, Museum of Fine Arts Boston, Fairfield Porter (1907-1975): Realist Painter in an Age of Abstraction (5 January - 13 May 1983); traveled to Greenville, SC, Greenville County Museum of Art (20 April - 19 June 1983); traveled to Cleveland, Cleveland Museum of Art (9 November - 31 December 1983); traveled to Pittsburgh, PA, Museum of Art, Carnegie Institute (18 February - 22 April 1984); cat. No. 63, pl. 105, ill. p. 42.", "opening_date": "1983-01-05T00:00:00"}, {"description": "Southampton, NY, The Parrish Art Museum, Fairfield Porter: An American Painter, 1950-1975 (27 June - 28 August 1993); traveled to Amherst, MA, Mead Art Museum (29 October - 24 December); traveled to Notre Dame, IN, Snite Museum of Art (20 January - 20 March 1994); traveled to Buffalo, NY, Albright-Knox Art Gallery (23 May - 3 July 1994); cat. no. 35, p. 93, ill. p. 51.", "opening_date": "1993-06-27T00:00:00"}]}, "provenance": [{"description": "(Tibor de Nagy Gallery).", "citations": [], "footnotes": [], "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Fairfield Porter\u2019s older brother Eliot was an accomplished nature photographer.", "description": "A restful scene on a hot summer day in 1954 inspired Fairfield Porter to sketch the original composition for this painting. He and his wife Anne were visiting painter Jane Freilicher and her husband in Nyack, New York, a town on the Hudson River, north of Manhattan. The two women are depicted under an old ash tree-Jane painting a landscape and Anne reading a book by the English writer Ronald Firbank (1886-1926). The following winter, Porter made a small painting from the sketch. This canvas evolved twelve years later, as the artist considered improving the smaller version. Since he could no longer remember the exact details and colors of the original scene, he decided to render the forms in broad, flat areas that define only the essential shapes.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60470067"], "internet_archive": []}, "citations": [{"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. 4", "url": "https://archive.org/details/20thCenturyArtCMA/page/n5"}, {"citation": "Henning, Edward B. \u201cSouth of His House, North of His House: Nyack, a Painting by Fairfield Porter.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 58, no. 3 (March 1971): 85\u201390.", "page_number": "Mentioned and reproduced: p. 88-89, fig. 8", "url": "http://www.jstor.org/stable/25152366"}, {"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. 255", "url": "https://archive.org/details/CMAHandbook1978/page/n275"}, {"citation": "Hinson, Tom E. \u201cAlex Katz\u2019s Impala.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 73, no. 8 (October 1986): 314\u201326.", "page_number": "Mentioned and reproduced: p. 320-321, fig. 11", "url": "http://www.jstor.org/stable/25159954"}, {"citation": "Wilmerding, John.<em> Fairfield Porter.</em> New York: Rizzoli, 2016.", "page_number": "Reproduced: p. 160-161, pl. 62", "url": null}], "url": "https://clevelandart.org/art/1968.3", "images": {}, "alternate_images": [], "creditline": "Contemporary Collection of The Cleveland Museum of Art", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 143915, "creators": [{"id": 3597, "description": "Fairfield Porter (American, 1907\u20131975)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1907", "death_year": "1975", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1969-05-10T00:00:00", "sortable_date": 1966, "date_added_to_oa": null, "date_text": "1966\u20131967", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:05:37.696000"}, {"id": 443541, "accession_number": "2021.148", "share_license_status": "CC0", "tombstone": "Lucy, 1909. Max Bohm (American, 1868\u20131923). Oil on canvas; framed: 155.7 x 155.7 x 5.7 cm (61 5/16 x 61 5/16 x 2 1/4 in.); unframed: 126 x 126 cm (49 5/8 x 49 5/8 in.). The Cleveland Museum of Art, Gift of Barbara and Edmund Hajim, 2021.148", "current_location": "228B Cleveland Artists", "title": "Lucy", "creation_date": "1909", "creation_date_earliest": 1909, "creation_date_latest": 1909, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Cleveland School", "type": "Painting", "measurements": "Framed: 155.7 x 155.7 x 5.7 cm (61 5/16 x 61 5/16 x 2 1/4 in.); Unframed: 126 x 126 cm (49 5/8 x 49 5/8 in.)", "dimensions": {"framed": {"height": 1.557, "width": 1.557, "depth": 0.057}, "unframed": {"height": 1.26, "width": 1.26}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "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"}], "legacy": [{"description": "<em>The Romantic-Impressionist Max Bohm</em>. Squibb Gallery, Princeton, NJ (March 28-April 23, 1976).", "opening_date": "1976-03-28T00:00:00"}, {"description": "<em>Retrospective: Max Bohm Paintings</em>. Provincetown Art Association and Museum, MA (September 4-20, 1981).", "opening_date": "1981-09-04T04:00:00Z"}, {"description": "<em>American Realist and Impressionist Paintings from the Collection of Mr. and Mrs. Haig Tashjian</em>. Greenville County Museum of Art, Greenville, SC (March 10-April 22, 1984).", "opening_date": "1984-03-10T00:00:00"}, {"description": "<em>Reflections of American Women from the Sterling Regal Collection</em>. Lawder Corporation, Denver, CO. (November 1985).", "opening_date": "1985-11-01T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Bohm created this painting while working on a commissioned mural for the Cuyahoga County Courthouse.", "description": "Painted during expatriate Max Bohm\u2019s visit to his hometown in Cleveland, <em>Lucy </em>depicts a former love interest, who years earlier turned down the artist\u2019s marriage proposal because she doubted his ability to earn a steady income. During the intervening time, Bohm had wed someone else and established himself as a noted painter, earning success particularly in France and England.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117246884"], "internet_archive": ["https://archive.org/details/clevelandart-2021.148-lucy"]}, "citations": [{"citation": "\u201cExhibition Calendar,\u201d <em>American Art Review </em>3 (May-June 1976).", "page_number": "Reproduced:  p. 31", "url": ""}, {"citation": "Provincetown Art Association and Museum, <em>Max Bohm Paintings, E</em>xh. Cat. Provincetown, MA: Provincetown Art Association and Museum, 1981", "page_number": "Reproduced:  p. 21.", "url": ""}, {"citation": "Jordan-Volpe Gallery, advertisement, <em>Magazine Antiques </em>123 (May 1983)", "page_number": "Reproduced:  p. 947", "url": ""}, {"citation": "Peters, Lisa. \u201cLa Femme: The Influence of Whistler,\u201d <em>Arts Magazine</em> 58 (January 1984)", "page_number": "Mentioned:  p. 19", "url": ""}, {"citation": "Preato, Robert R. \u201cLa Femme: Images of Beauty,\u201d <em>Southwest Art</em> 14 (July 1984)", "page_number": "Mentioned and reproduced:  p. 63.", "url": ""}, {"citation": "Wagner, Lois. <em>Reflections of American Women: From the Sterling Regal, Inc. Collection</em>, Exh. Cat. Denver:  Lawder Corporation, 1985.", "page_number": "unpaginated, [p. 16].", "url": ""}, {"citation": "Rice, Faye, \u201cThe Big Payoff in Corporate Art,\u201d <em>Fortune</em> (May 25, 1987).", "page_number": "", "url": ""}, {"citation": "Robinson, William H., and David Steinberg. <em>Transformations in Cleveland Art, 1796-1946: Community and Diversity in Early Modern America</em>. Exh. Cat. Cleveland, OH: Cleveland Museum of Art, 1996.", "page_number": "Mentioned: p. 62; reproduced p. 63.", "url": ""}, {"citation": "Sotheby\u2019s, New York. <em>American Paintings from the Sterling Regal Collection</em>. May 25, 1988. Lot 15.", "page_number": "", "url": ""}], "url": "https://clevelandart.org/art/2021.148", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2021.148/2021.148_web.jpg", "width": "900", "height": "897", "filesize": "285547", "filename": "2021.148_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2021.148/2021.148_print.jpg", "width": "3400", "height": "3389", "filesize": "3770815", "filename": "2021.148_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2021.148/2021.148_full.tif", "width": "10253", "height": "10221", "filesize": "314414616", "filename": "2021.148_full.tif"}}, "alternate_images": [{"date_created": "2021-07-28T13:03:41", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.148/2021.148_alt0_web.jpg", "width": "900", "height": "898", "filesize": "274766"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.148/2021.148_alt0_print.jpg", "width": "3400", "height": "3393", "filesize": "2950857"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.148/2021.148_alt0_full.tif", "width": "10057", "height": "10037", "filesize": "302853576"}}, {"date_created": "2021-07-28T10:49:51", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.148/2021.148_alt1_web.jpg", "width": "887", "height": "900", "filesize": "331183"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.148/2021.148_alt1_print.jpg", "width": "3352", "height": "3400", "filesize": "3969272"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.148/2021.148_alt1_full.tif", "width": "10086", "height": "10230", "filesize": "412751012"}}], "creditline": "Gift of Barbara and Edmund Hajim", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "William P. and Amanda C. Madar Gallery", "athena_id": 443541, "creators": [{"id": 4391, "description": "Max Bohm (American, 1868\u20131923)", "extent": "execution", "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1868", "death_year": "1923", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2021-09-13T04:00:00Z", "sortable_date": 1909, "date_added_to_oa": null, "date_text": "1909", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:02:51.679000"}, {"id": 141602, "accession_number": "1965.2", "share_license_status": "Copyrighted", "tombstone": "Woman with Blond Armpit Combing Her Hair by the Light of the Stars  (recto)  Figure (verso), 1940. Joan Mir\u00f3 (Spanish, 1893\u20131983). Watercolor and gouache over graphite; sheet: 37.9 x 45.8 cm (14 15/16 x 18 1/16 in.). The Cleveland Museum of Art, Contemporary Collection of The Cleveland Museum of Art, 1965.2. \u00a9 Successi\u00f3 Mir\u00f3 / Artists Rights Society (ARS), New York / ADAGP, Paris", "current_location": null, "title": "Woman with Blond Armpit Combing Her Hair by the Light of the Stars  (recto)  Figure (verso)", "creation_date": "1940", "creation_date_earliest": 1940, "creation_date_latest": 1940, "artists_tags": ["male", "Latine and Hispanic Artists"], "culture": ["Spain, 20th century"], "technique": "Watercolor and gouache over graphite", "support_materials": [], "department": "Drawings", "collection": "DR - Spanish", "type": "Drawing", "measurements": "Sheet: 37.9 x 45.8 cm (14 15/16 x 18 1/16 in.)", "dimensions": {"sheet": {"height": 0.379, "width": 0.458}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Successi\u00f3 Mir\u00f3 / Artists Rights Society (ARS), New York / ADAGP, Paris", "inscriptions": [{"inscription": "Signed, lower left, in black gouache: Mir\u00f3. Inscribed on verso, at center: Joan Mir\u00f3 / Femme \u00e0 la blonde aisselle coiffant / sa ch\u00e9velure \u00e0 la lueur des \u00e9toiles / Varengeville s mer / 5/III/1940", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 361483, "title": "Mir\u00f3 by Fondation Maeght", "description": "<i>Mir\u00f3 by Fondation Maeght</i>. Fondation Maeght, Saint-Paul-de-Vence, France.", "opening_date": null}, {"id": 361495, "title": "Mir\u00f3 at Recinto del Antiguo Hospital de la Santa Cruz", "description": "<i>Mir\u00f3 at Recinto del Antiguo Hospital de la Santa Cruz</i>. Hospital de la Santa Creu i Sant Pau, Barcelona, Spain.", "opening_date": null}, {"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": 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": 518118, "title": "Exposition Miro", "description": "<i>Exposition Miro</i>. Fondation Maeght, Saint-Paul-de-Vence, France (organizer) (July 23-September 30, 1968).", "opening_date": "1968-07-23T04:00:00"}, {"id": 304404, "title": "The Spirit of Surrealism", "description": "<i>The Spirit of Surrealism</i>. The Cleveland Museum of Art, Cleveland, OH (October 3-November 25, 1979).", "opening_date": "1979-10-03T04:00:00"}, {"id": 361484, "title": "Mir\u00f3 in America", "description": "<i>Mir\u00f3 in America</i>. Museum of Fine Arts, Houston, Houston, TX (organizer) (April 21-June 27, 1982).", "opening_date": "1982-04-21T05:00:00"}, {"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); 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": 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": 229586, "title": "Joan Mir\u00f3: The Ladder of Escape", "description": "<i>Joan Mir\u00f3: The Ladder of Escape</i>. Tate Modern, London, United Kingdom of Great Britain and Northern Ireland (organizer) (April 14-September 11, 2011); National Gallery of Art, Landover, MD (May 6-August 12, 2012).", "opening_date": "2011-04-14T00:00:00"}, {"id": 291279, "title": "Mir\u00f3: The Constellations", "description": "<i>Mir\u00f3: The Constellations</i>. Acquavella Galleries, Inc., New York, NY (organizer) (April 20-May 27, 2017).", "opening_date": "2017-04-20T04:00:00"}], "legacy": [{"description": "<em>Joan Mir\u00f3: Constellations</em>. Pierre Matisse Gallery, New York and Paris (1959).", "opening_date": "1959-01-01T00:00:00"}, {"description": "<em>Joan Mir\u00f3: Ceramics 1944, Tempera Paintings 1940 to 1941, Lithographs 1944</em>. Pierre Matisse Gallery, New York (1945).", "opening_date": "1945-01-01T00:00:00"}]}, "provenance": [{"description": "(Pierre Matisse Gallery, New York, sold to Dwight Ripley, New York)", "citations": [], "footnotes": null, "date": "probably 1945-by 1950", "sortorder": 1}, {"description": "Dwight Ripley [1908-1973], New York", "citations": [], "footnotes": null, "date": "by 1950-before 1966", "sortorder": 2}, {"description": "Mrs. Samuel S. White [1888-1966], Ardmore, PA", "citations": [], "footnotes": null, "date": "by 1962-1966", "sortorder": 3}, {"description": "(E. V. Thaw & Co., Inc. and Pierre Matisse Gallery, New York, sold to Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "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": "This drawing was published in book alongside the other works from Joan Miro's \"Constellations\" series, accompanied by poems written by Andr\u00e9 Breton.", "description": "This drawing belongs to a group of 23 works made by Joan Miro between January 1940 and September 1941, which he called \"Constellations.\" All were made in Normandy, where the artist had retreated from the Spanish civil war. Miro juxtaposed blurry layers of watercolor in earthy tones with neatly linear lines in black ink and shapes in white gouache to develop his own language of symbols that suggested, in his words, \"the night, music, and the stars.\" The fifth in the series, this drawing is dominated by a vague figural form at center, who draws a comb through her hair while holding a mirror through which shines the moon and a star. The allover abstract composition was a major influence on later artists, following a 1945 exhibition in New York.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80041155"], "internet_archive": []}, "citations": [{"citation": "<em>Mir\u00f3</em>. Barcelona: Recinto del Antiguo Hospital de la Santa Cruz, 1968.", "page_number": "Mentioned: p. 61, no. 42", "url": null}, {"citation": "<em>Joan Mir\u00f3: Ceramics, 1944, Tempera Paintings, 1940 to 1941, Lithographs 1944</em>. Exh. Cat. New York: Pierre Matisse Gallery, 1945.", "page_number": "Mentioned: no. 5", "url": null}, {"citation": "Breton, Andr\u00e9. <em>Constellations</em>. New York: Pierre Matisse Gallery, 1959.", "page_number": "Reproduced: plate 5", "url": null}, {"citation": "\"Painting of the Month.\" <em>Cleveland Plain Dealer</em>, August 15, 1965.", "page_number": "Mentioned and reproduced", "url": null}, {"citation": "\"Catalogue.\" <em>Bulletin of the Cleveland Museum of Art</em> 52, no. 9 (November 1965).", "page_number": "Mentioned: p. 143, p. 157, no. 172; Reproduced: p. 142", "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. 199", "url": "https://archive.org/details/CMAHandbook1966/page/n223"}, {"citation": "Henning, Edward B. <em>Fifty Years of Modern Art, 1916-1966</em>. Cleveland: The Cleveland Museum of Art, 1966.", "page_number": "Mentioned and reproduced: no. 77", "url": null}, {"citation": "Alsop, Joseph. \"Treasures of the Cleveland Museum of Art.\" <em>Art in America</em> (May-June 1966): 21-44.", "page_number": "Mentioned and reproduced: p. 30", "url": null}, {"citation": "Henning, Edward B. \"Joan Mir\u00f3: Woman with Blond Armpit Combing Her Hair by the Light of the Stars.\" <em>Bulletin of the Cleveland Museum of Art</em> 55 (1968): 71-77.", "page_number": "Mentioned: pp. 71-77; Reproduced: pp. 74-75", "url": null}, {"citation": "<em>Mir\u00f3</em>. Saint-Paul-de-Vence: Fondation Maeght, 1968.", "page_number": "Mentioned: no. 38", "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. 199", "url": "https://archive.org/details/CMAHandbook1969/page/n223"}, {"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. 3", "url": "https://archive.org/details/20thCenturyArtCMA/page/n3"}, {"citation": "Tapi\u00e9, Michel. <em>Joan Mir\u00f3</em>. Milan: Fratelli Fabbri, 1970.", "page_number": "Mentioned: p. 20, no. 52; Reproduced: plate 52", "url": null}, {"citation": "Sweeney, James Johnson. <em>Joan Miro\u0301 photoscop visual language</em>. New York: Tudor Pub. Co, 1970.", "page_number": "Mentioned and reproduced: no. 99", "url": null}, {"citation": "Cooper, Barbara and Maureen Matheson. <em>The World Museums Guide</em>. London: Threshold Books, 1973.", "page_number": "Mentioned: p. 78", "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. 248", "url": "https://archive.org/details/CMAHandbook1978/page/n268"}, {"citation": "Henning, Edward B. <em>The Spirit of Surrealism</em>. Cleveland: The Cleveland Museum of Art, 1979.", "page_number": "Mentioned: pp. 80-81, 175, fig. 34; Reproduced: fig. 34, p. 81; color plate XXI", "url": null}, {"citation": "Henning, Edward B. \"A Painting by Joan Mir\u00f3.\" <em>Bulletin of the Cleveland Museum of Art</em> 66, no. 6 (September 1979): 234-240.", "page_number": "Mentioned: pp. 239-40; Reproduced: p. 240", "url": null}, {"citation": "Rose, Barbara. <em>Mir\u00f3 in America</em>. Exh. Cat. Houston: Museum of Fine Arts, 1982.", "page_number": "Mentioned: p. 4", "url": null}, {"citation": "Rolnik, Marc. <em>Mir\u00f3's Constellations: The Facsimile Edition of 1959</em>. Purchase, NY: Neuberger Muesum, State University of New York at Purchase, 1983.", "page_number": "Mentioned: p. 3; Reproduced: p. 5", "url": null}, {"citation": "Serra, Pere A. <em>Mir\u00f3 and Mallorca</em>. New York: Rizzoli, 1984.", "page_number": "Mentioned: p. 288, no. 57; Reproduced: p. 57", "url": null}, {"citation": "Malet, Rosa Maria. <em>Joan Mir\u00f3</em>. New York: Rizzoli, 1984.", "page_number": "Mentioned and reproduced: no. 57", "url": null}, {"citation": "Malina, Judith. <em>The Diaries of Judith Malina, 1947-1957</em>. New York: Grove Press, 1984.", "page_number": "Mentioned: p. 391", "url": null}, {"citation": "Penrose, Roland. <em>Mir\u00f3. </em>New York: Thames and Hudson, 1985.", "page_number": "Mentioned: p. 185", "url": null}, {"citation": "Rowell, Margit, ed. <em>Joan Mir\u00f3: Selected Writings and Interviews. </em>London: Thames and Hudson, 1987.", "page_number": "Mentioned: p. 170", "url": null}, {"citation": "Henning, Edward B. <em>Creativity in Art and Science, 1860-1960</em>. Cleveland: The Cleveland Museum of Art, 1987.", "page_number": "Mentioned: p. 79, no. 38; Reproduced: p. 80, plate VII; Mentioned and reproduced: P. 129, no. 38", "url": null}, {"citation": "Bozal Ferna\u0301ndez, Valeriano. <em>Pintura y escultura espan\u0303olas del siglo XX</em>. Madrid: Espasa-Calpe, 1992.", "page_number": "Mentioned: p. 384; Reproduced: p. 385", "url": null}, {"citation": "Dupin, Jacques\u0301. <em>Miro\u0301</em>. [Barcelona]: Poli\u0301grafa; New York: Abrams, 1993.", "page_number": "Mentioned: p. 271; Reproduced: p. 251", "url": null}, {"citation": "Lanchner, Carolyn. <em>Joan Mir\u00f3</em>. New York: Museum of Modern Art, 1993.", "page_number": "Mentioned: p. 417, no. 160; Reproduced: p. 242", "url": null}, {"citation": "<em>Joan Mir\u00f3 Campo de Estrellas. </em>Madrid: Museo Nacional Centro de Arte Reina Sofia, 1993.", "page_number": "Mentioned: pp. 114, 153, no. 65; Reproduced: p. 114", "url": null}, {"citation": "Dupin, Jacques and Ariane Lelong-Mainaud. <em>Joan Mir\u00f3: Catalogue Raisonn\u00e9, Paintings</em>. Paris: Daniel Lelong, Successio Miro, 1999-", "page_number": "Mentioned and reproduced: p. 236, no. 632", "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. 264-265, 298; Reproduced: P. 264-265, cat. no. 112", "url": null}, {"citation": "Calder, Mir\u00f3. <em>Calder, Mir\u00f3 Constellations. </em>New York: Rizzoli, 2017.", "page_number": "Reproduced: p. 86-87", "url": null}, {"citation": "Dupin, Jacques. <em>Mir\u00f3</em>. New York: Harry N. Abrams, 1962.", "page_number": "Mentioned and reproduced: p. 541, no. 542", "url": null}], "catalogue_raisonne": "Dupin and Lelong-Mainaud 632", "url": "https://clevelandart.org/art/1965.2", "images": {}, "alternate_images": [], "creditline": "Contemporary Collection of The Cleveland Museum of Art", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 141602, "creators": [{"id": 2157, "description": "Joan Mir\u00f3 (Spanish, 1893\u20131983)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1893", "death_year": "1983", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1966-01-03T00:00:00", "sortable_date": 1940, "date_added_to_oa": null, "date_text": "1940", "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": ["Constellation: Woman with Blond Armpit Combing Her Hair by the Light of the Stars"], "is_highlight": true, "updated_at": "2026-03-27 00:07:29.358000"}, {"id": 173998, "accession_number": "2017.128", "share_license_status": "Copyrighted", "tombstone": "Tea for Two (The Collector), 1980. Robert Colescott (American, 1925\u20132009). Acrylic on canvas; overall: 215.5 x 185 x 5 cm (84 13/16 x 72 13/16 x 1 15/16 in.). The Cleveland Museum of Art, Gift of Agnes Gund given in honor of Darren Walker, 2017.128. \u00a9 Robert H. Colescott Separate Property Trust / Artists Rights Society (ARS), New York)", "current_location": "229A Contemporary", "title": "Tea for Two (The Collector)", "creation_date": "1980", "creation_date_earliest": 1975, "creation_date_latest": 1985, "artists_tags": ["Black American Artists", "male"], "culture": ["America"], "technique": "acrylic on canvas", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "measurements": "Overall: 215.5 x 185 x 5 cm (84 13/16 x 72 13/16 x 1 15/16 in.)", "dimensions": {"overall": {"height": 2.155, "width": 1.85, "depth": 0.05}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Robert H. Colescott Separate Property Trust / Artists Rights Society (ARS), New York)", "inscriptions": [{"inscription": "Signed and dated in the upper left: \u201cR. Colescott/80\u201d", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 219059, "title": "From Then to Now: Masterworks of Contemporary African American Art", "description": "<i>From Then to Now: Masterworks of Contemporary African American Art</i>. Museum of Contemporary Art Cleveland (MOCA), Cleveland, OH (organizer) (January 29-May 9, 2010).", "opening_date": "2010-01-29T00:00:00"}, {"id": 309783, "title": "Art and Race Matters: The Career of Robert Colescott", "description": "<i>Art and Race Matters: The Career of Robert Colescott</i>. Contemporary Arts Center, Cincinnati, OH (organizer) (September 20, 2019-January 12, 2020); Portland Art Museum, Portland, OR (February 15-December 13, 2020).", "opening_date": "2019-09-20T04:00:00"}, {"id": 393229, "title": "Contemporary Installation", "description": "<i>Contemporary Installation</i>. The Cleveland Museum of Art (organizer).", "opening_date": "2021-04-12T04:00:00"}], "legacy": [{"description": "<em>Robert Colescott: Another Judgement</em>. Knight Gallery, Spirit Square Arts Center, Charlotte, NC (February 13-April 7, 1985).", "opening_date": "1985-02-13T00:00:00"}, {"description": "<em>Robert Colescott: A Retrospective, 1975-1986</em>. San Jose Museum of Art, San Jose, CA (organizer) (April 5-May 31, 1987); Contemporary Arts Center, Cincinnati, OH (September 11-November 7, 1987); The Baltimore Museum of Art, Baltimore, MD (January 12-February 28, 1988); Portland Art Museum, Portland, OR (March 18-May 8, 1988); Akron Art Museum, Akron, OH (June 18-August 14, 1988); Museum of Art, University of Oklahoma, Norman, OK (September 10-November 5, 1988); Contemporary Arts Museum, Houston, TX (December 3, 1988-January 28, 1989); The New Museum, New York (February 25-April 22, 1989); Seattle Art Museum, Seattle, WA (May 20-July 15, 1989).", "opening_date": "1987-04-05T00:00:00"}]}, "provenance": [{"description": "Collection of the artist", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "Private Collection, New York", "citations": [], "footnotes": null, "date": null, "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": "<em>Tea for Two </em>features representations of artworks by Roy Lichtenstein, Barnett Newman, David Smith, and Frank Stella, among other artists.", "description": "Robert Colescott is known for his figurative paintings that critique contemporary American culture. Using bright colors, expressive gestures, and visual puns, he debunks racial and gender stereotypes deeply ingrained in American culture and society. <em>Tea for Two</em> depicts a wealthy Black art collector surrounded by his collection that suggest artworks by Roy Lichtenstein, David Smith, Frank Stella, and other elite white artists whose work fetches high prices.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60482792"], "internet_archive": []}, "citations": [{"citation": "Richard, Paul. \u201cRobert Colescott\u2019s Perspectives on Black and White.\u201d <em>The Washington Post</em> (January 20, 1988).", "page_number": "mentioned", "url": "https://www.washingtonpost.com/archive/lifestyle/1988/01/20/robert-colescotts-perspectives-on-black-and-white/029378fe-b793-40aa-83b9-d6d92a706a2b/?utm_term=.39c49b974c79"}, {"citation": "Th\u00fcring, Reto and Liebert, Emily. \u201cAcquisition Highlights: Contemporary Art.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 58, no. 2 (March/April 2018): 24-25.", "page_number": "Reproduced and Mentioned: P. 24", "url": "https://archive.org/details/CMAMM2018-02/page/n11/mode/2up"}, {"citation": "Sims, Lowery Stokes, Robert Colescott, and Mitchell Douglas Kahan. <em>Robert Colescott, a Retrospective, 1975-1986.</em> San Jose, Calif: The Museum, 1987.", "page_number": "Reproduced p. 25, Fig. 30; mentioned p. 26.", "url": null}, {"citation": "Colescott, Robert, Ann Shengold, and Terry Maxon Miller, eds. <em>Robert Colescott: Another Judgement</em>. Exh. Cat. Charlotte, NC: Knight Gallery, Spirit Square Arts Center, 1985.", "page_number": "Reproduced p. 17.", "url": null}, {"citation": "Kahan, Mitchell. \u201cRobert Colescott: Pride and Prejudice.\u201d <em>Art Papers</em> 9, no. 3 (May/June 1985): 22-23", "page_number": "Mentioned p. 23", "url": null}, {"citation": "Platow, Raphaela, et al. <em>Art and race matters: the career of Robert Colescott</em>. New York, New York : Rizzoli Electa ; Cincinnati, Ohio : In association with Contempoary Arts Center, 2019.", "page_number": "Mentioned and reproduced: pp. 129-130, fig. 30", "url": null}, {"citation": "\u201cNew Take on the New: A comprehensive reinstallation of the galleries of contemporary art offers fresh viewpoints on the art of our time.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine  </em>61, no. 2 (Spring 2021): cover, 4-9.", "page_number": "Reproduced: Cover; Mentioned: P. 4.", "url": ""}, {"citation": "C<em>leveland Art: Cleveland Museum of Art Members Magazine </em>61, no. 2 (Spring 2021): Cover.", "page_number": "Reproduced: Cover; Mentioned: P. 4.", "url": ""}], "url": "https://clevelandart.org/art/2017.128", "images": {}, "alternate_images": [], "creditline": "Gift of Agnes Gund given in honor of Darren Walker", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Toby's Gallery for Contemporary Art", "athena_id": 173998, "creators": [{"id": 10422, "description": "Robert Colescott (American, 1925\u20132009)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1925", "death_year": "2009", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2017-09-11T00:00:00-04:00", "sortable_date": 1975, "date_added_to_oa": null, "date_text": "1980", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:48.962000"}, {"id": 173111, "accession_number": "1937.3202", "share_license_status": "Copyrighted", "tombstone": "White Violets and Coal Mine, 1918. Charles Burchfield (American, 1893\u20131967). Watercolor and gouache over graphite on wove paper; sheet: 58.8 x 54 cm (23 1/8 x 21 1/4 in.). The Cleveland Museum of Art, Hinman B. Hurlbut Collection, 1937.3202. Reproduced with permission from the Charles E. Burchfield Foundation", "current_location": null, "title": "White Violets and Coal Mine", "creation_date": "1918", "creation_date_earliest": 1918, "creation_date_latest": 1918, "artists_tags": ["May Show", "male", "Cleveland Institute of Art (alumni)"], "culture": ["America"], "technique": "watercolor and gouache over graphite on wove paper", "support_materials": [], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Sheet: 58.8 x 54 cm (23 1/8 x 21 1/4 in.)", "dimensions": {"sheet": {"height": 0.588, "width": 0.54}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "Reproduced with permission from the Charles E. Burchfield Foundation", "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": 339882, "title": "An Exhibition of Water Colors and Oils by Charles Burchfield.", "description": "<i>An Exhibition of Water Colors and Oils by Charles Burchfield.</i>. Carnegie Institute.", "opening_date": "1938-03-08T05:00:00"}, {"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": 339885, "title": "Exhibition of Paintings by Charles Burchfield", "description": "<i>Exhibition of Paintings by Charles Burchfield</i>. The Cleveland School of Art.", "opening_date": "1941-04-20T05:00:00"}, {"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": 312144, "title": "Charles Burchfield: A Retrospective Exhibition of Watercolors and Oils 1916-1943", "description": "<i>Charles Burchfield: A Retrospective Exhibition of Watercolors and Oils 1916-1943</i>. Buffalo AKG Art Museum, Buffalo, NY (organizer); The Cleveland Museum of Art, Cleveland, OH (January 4-28, 1945).", "opening_date": "1945-01-04T05:00:00"}, {"id": 355803, "title": "The Seasons as Represented in Art", "description": "<i>The Seasons as Represented in Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 4-September 9, 1954).", "opening_date": "1954-06-04T04:00:00"}, {"id": 301176, "title": "Charles Burchfield Retrospective Exhibition", "description": "<i>Charles Burchfield Retrospective Exhibition</i>. Whitney Museum of American Art (January 11-February 26, 1956); The Baltimore Museum of Art (March 14-April 22, 1956); Museum of Fine Arts, Boston (May 9-June 17, 1956); San Francisco Museum of Modern Art (July 11-August 19, 1956); Los Angeles County Museum of Art (September 5-October 14, 1956); The Phillips Collection (November 4-December 11, 1956); The Cleveland Museum of Art, Cleveland, OH (December 28, 1956-February 10, 1957).", "opening_date": "1956-12-28T05:00:00"}, {"id": 703004, "title": "1959 January Show", "description": "<i>1959 January Show</i>. Kingwood Center Gardens, Mansfield, OH (organizer) (January 11-31, 1959).", "opening_date": "1959-01-11T05:00:00"}, {"id": 339889, "title": "Paintings by Charles Burchfield.", "description": "<i>Paintings by Charles Burchfield.</i>. Pennsylvania Academy of Fine Arts, Museum of American Art.", "opening_date": "1964-12-03T05:00:00"}, {"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": 338569, "title": "The Nature of Charles Burchfield: A Memorial Exhibition, 1893\u20131967, Paints, Drawings, Prints", "description": "<i>The Nature of Charles Burchfield: A Memorial Exhibition, 1893\u20131967, Paints, Drawings, Prints</i>. Munson Museum of Art, Utica, NY (organizer) (April 3-June 14, 1970).", "opening_date": "1970-04-03T05:00:00"}, {"id": 338503, "title": "The Early Works of Charles E. Burchfield 1915-1921", "description": "<i>The Early Works of Charles E. Burchfield 1915-1921</i>. Columbus Museum of Art (December 13, 1987-February 7, 1988); Laguna Art Museum (March 5, 1998-April 24, 1988); Burchfield Penney Art Center (May 14-July 3, 1998).", "opening_date": "1987-12-13T05:00:00"}, {"id": 338484, "title": "The Paintings of Charles Burchfield: North by Midwest", "description": "<i>The Paintings of Charles Burchfield: North by Midwest</i>. Columbus Museum of Art (March 25-May 19, 1997); Burchfield Penney Art Center (June 15-August 17, 1997); National Museum of American Art, Washington, DC (September 1, 1997-January 25, 1998).", "opening_date": "1997-03-25T05:00:00"}, {"id": 177916, "title": "Burchfield to Schreckengost: Cleveland Art of the Jazz Age", "description": "<i>Burchfield to Schreckengost: Cleveland Art of the Jazz Age</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 28-July 18, 2004).", "opening_date": "2004-03-28T00:00:00"}, {"id": 313096, "title": "Charles Burchfield: The Ohio Landscapes, 1915\u20131920", "description": "<i>Charles Burchfield: The Ohio Landscapes, 1915\u20131920</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 22, 2018-May 5, 2019).", "opening_date": "2018-12-22T05:00:00"}], "legacy": [{"description": "Main Gallery Rotation (gallery 228): March 25, 2009 - October 19, 2009.", "opening_date": "2009-03-25T00:00:00"}, {"description": "<em>Early Water Colors of Charles Burchfield</em>. Phillips Memorial Gallery (November 5, 1933 - February 15, 1934).", "opening_date": "1933-11-05T00:00:00"}]}, "provenance": [{"description": "(Frank K.M. Rehn Gallery, NY, sold to Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "1930", "sortorder": 1}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1930-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": ["2256.37", "3202.1937"], "did_you_know": "Most of the mines around Burchfield's hometown, Salem, Ohio, were out of use and abandoned even in his own time.", "description": "Around 1918, Charles Burchfield began to explore and draw deserted mines around his hometown, abandoned after their resources were depleted. Many of these works were made just before he was drafted into World War I, a time characterized by intense anxiety and depression. He saw a connection between these emotions and the mines he visited, which he described as having \u201cdark and gloomy depths . . . a luring mysteriousness.\u201d Here, he portrayed the cave as a seemingly infinite space, contrasting its shadowy interior with white violets blooming from cracks in the rocky landscape.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117230223"], "internet_archive": []}, "citations": [{"citation": "Maciejunes, Nannette V., and Michael D. Hall. <em>The Paintings of Charles Burchfield: North by Midwest</em>. New York: Harry N. Abrams, Inc. in association with the Columbus Museum of Art, 1997.", "page_number": "Mentioned: 114, 220-221; Reproduced: 221", "url": null}, {"citation": "<em>Exhibition of Paintings by Charles Burchfield</em>. Exh. Cat. Cleveland: Cleveland School of Art, 1941.", "page_number": "Mentioned: no. 23; Reproduced on cover", "url": null}, {"citation": "Trovato, Joseph S. <em>Charles Burchfield: Catalogue of Paintings in Public and Private Collections</em>. Utica: Munson-Williams-Proctor Institute, 1970.", "page_number": "Mentioned: p. 77, no. 442; Reproduced: p. 76", "url": null}, {"citation": "Townsend, J. Benjamin, ed. <em>Charles Burchfield's Journals: The Poetry of Place</em>. Albany: State University of New York Press, 1993.", "page_number": "Mentioned: p. 339, 684 n.20; Reproduced: p. 338", "url": null}, {"citation": "Bauer, John I. H. <em>Charles Burchfield. </em>Exh. Cat. New York: Whitney Museum, 1956.", "page_number": "Mentioned: no. 30; Reproduced: plate 15", "url": null}, {"citation": "Maciejunes, Nannette V. <em>The Early Works of Charles E. Burchfield, 1915-1921</em>. Exh. Cat. Columbus: Columbus Museum of Art, 1987.", "page_number": "Mentioned: p. 13, no. 56; Reproduced: p. 54", "url": null}, {"citation": "<em>Charles Burchfield</em>. New York: American Artists Group, 1945.", "page_number": null, "url": null}, {"citation": "Burchfield, Louise. \"A Watercolor by Charles Burchfield.\" <em>Cleveland Museum of Art Bulletin</em> (April 1938): 66, 71.", "page_number": "Mentioned: p. 66; Reproduced: p. 71", "url": null}, {"citation": "O'Connor, John, Jr. \"Charles Burchfield: Exhibition of His Paintings at the Carnegie Institute.\" <em>Carnegie Magazine</em> 11 (March 1938): 309-312.", "page_number": null, "url": null}, {"citation": "Trovato, Joseph S. <em>The Nature of Charles Burchfield: A Memorial Exhibition, 1893\u20131967, Paints, Drawings, Prints</em>. Exh. Cat. Utica, NY: Museum of Art, Munson-Williams-Proctor Institute, 1970.", "page_number": "Mentioned: no. 116", "url": null}, {"citation": "Curry, Larry. <em>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</em>. Exh. Cat. Los Angeles: Los Angeles County Museum of Art, 1968.", "page_number": "Mentioned: p. 15, no. 89", "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: cat. no. 23, p. 15, Reproduced: pl. XXX", "url": null}, {"citation": "Foshay, Ella M. <em>Reflections of Nature: Flowers in American Art</em>. New York: Knopf, in association with the Whitney Museum of American Art, 1984.", "page_number": "Mentioned: p. 79; Reproduced: p. 82, fig. 61", "url": null}, {"citation": "Baur, John I. H. <em>The Inlander: Life and Work of Charles Burchfield 1893-1967</em>. Newark, Del: University of Delaware Press, 1984.", "page_number": "Mentioned: 85-86, 89", "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. 18", "url": "https://archive.org/details/CMAPaintings1952/page/n19/mode/2up"}], "catalogue_raisonne": "Straus 313; Trovato 442", "url": "https://clevelandart.org/art/1937.3202", "images": {}, "alternate_images": [], "creditline": "Hinman B. Hurlbut Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 173111, "creators": [{"id": 3989, "description": "Charles Burchfield (American, 1893\u20131967)", "extent": null, "qualifier": null, "role": "artist", "biography": "Charles Burchfield was among the most original and poetic painters of the Cleveland modernist movement. Born in Ashtabula, he moved to Salem, Ohio, following the death of his father in 1898. After graduating from high school, he attended Cleveland School of Art, studying with William Eastman, Frederick Gottwald, Henry Keller, and Frank Wilcox. In 1914 Burchfield began attending Kokoon Klub exhibitions, and in spring 1915 he went to Brandywine to meet William Sommer. Around this time Burchfild began experimenting with the brilliant colors and simplified forms of the Berlin Heights painters. He painted his first mature works in 1915, and grad ed from the Cleveland School of Art with a degree in illustration the following spring. That summer the Cleveland School of Art sponsored his first solo exhibition, and in the fall, after attending the National Academy of Design in New York for one month, he returned to Salem. In February 1917 the Cleveland School of Art mounted his second solo exhibition. Burchfield was inducted into the army that summer. After his return in 1919 he exhibited with other Cleveland modernists at the Play House, Laukhuff\u2019 s Book store, and other Cleveland venues. In 1921 he went on an extended sketching trip through eastern Ohio with Keller, Wilcox, and Paul Travis, exhibiting these recent paintings at the Cleveland School of Art and in the May Show at the Cleveland Museum of Art. Later that year he moved to Buffalo to work as a wallpaper designer, a position he retained until he resigned in 1929 to become a full-time painter. Over the next 30 years he exhibited extensively at museums and galleries across the country. Solo exhibitions of his paintings were held at New York\u2019s Museum of Modern Art (1930), Pittsburgh\u2019 s Carnegie Institute of Art (1935, 1938, 1946), and Buffalo\u2019 s Albright-Knox Art Gallery (1944, 1955, 1963, 1967). In 1953 New York\u2019s Whitney Museum of American Art organized a major exhibition that traveled to the Cleveland Museum of Art. Burchfield died in West Seneca, New York. <br>\"Transformations in Cleveland Art\" (CMA, 1996), p. 224", "name_in_original_language": null, "birth_year": "1893", "death_year": "1967", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1937-12-20T00:00:00", "sortable_date": 1918, "date_added_to_oa": null, "date_text": "1918", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:55.102000"}, {"id": 142773, "accession_number": "1966.477", "share_license_status": "CC0", "tombstone": "Kremlin Tower Clock, c. 1913. House of Faberg\u00e9 (Russian, 1842\u20131918). Rhodonite, silver, enamel, emeralds, sapphires; overall: 29 x 14.6 cm (11 7/16 x 5 3/4 in.). The Cleveland Museum of Art, The India Early Minshall Collection, 1966.477", "current_location": "211 Faberg\u00e9", "title": "Kremlin Tower Clock", "creation_date": "c. 1913", "creation_date_earliest": 1912, "creation_date_latest": 1913, "artists_tags": ["gender unknown"], "culture": ["Russia, St. Petersburg"], "technique": "rhodonite, silver, enamel, emeralds, sapphires", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Timepiece", "measurements": "Overall: 29 x 14.6 cm (11 7/16 x 5 3/4 in.)", "dimensions": {"overall": {"height": 0.29, "width": 0.146}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "84, Kokoshnik, delta [assay mark for Moscow, 1908-26]; 91, Kokoshnik; 91; Kokoshnik; C. Faberg\u00e9 (in Cyrillic); double-headed eagle [imperial warrant]; 16419 k? scratched.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Painted on clock face: Le Gruet (in script); strike, silence, set hand work (in English).", "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": 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"}, {"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": []}, "provenance": [{"description": "India Early Minshall [1885\u20131965], Cleveland, OH, bequest to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?-1966", "sortorder": 2}, {"description": "The Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1966-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The Kremlin tower, which this clock resembles, has a secret well and an underground tunnel that leads to the Moscow River.", "description": "The use of Russian hardstones in creating precious objects became a hallmark of design from the House of Faberg\u00e9. Easily carved, these minerals were sourced largely from the western region surrounding the Ural Mountains. Faberg\u00e9's workmasters used colorful stones such as agate, nephrite (jade), lapis lazuli, rock crystal, and rhodonite, seen here in this elaborate table or mantel clock, to create all manner of luxurious accessories. Bright pink rhodonite was among the rarest, and consequently most expensive, specimens used by the House of Faberg\u00e9. <br><br>This clock resembles the Taynitskaya Tower, the middle tower on the south side of the Kremlin. The House of Faberg\u00e9 created this work to commemorate the 300th anniversary of the Romanov dynasty, representing Faberg\u00e9's ability to balance the functionality of objects with intricate decorative design.", "external_resources": {"wikidata": [], "internet_archive": ["https://archive.org/details/clevelandart-1966.477-kremlin-tower-clock"]}, "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. 120-1, cat. 57", "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. 103, cat. 77", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=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: pp. 152, 213, cat. 68", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=230187932"}, {"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. 146", "url": ""}, {"citation": "Harrison, Stephen. \u201cA Tale of Two Rivals: Fresh Looks for the Tiffany and Faberg\u00e9 galleries.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 58. no. 2 (March/April 2018): 29.", "page_number": "Reproduced and Mentioned: P. 29", "url": "https://archive.org/details/CMAMM2018-02/page/n13/mode/2up"}], "url": "https://clevelandart.org/art/1966.477", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1966.477/1966.477_web.jpg", "width": "631", "height": "900", "filesize": "170088", "filename": "1966.477_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1966.477/1966.477_print.jpg", "width": "2385", "height": "3400", "filesize": "1056133", "filename": "1966.477_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1966.477/1966.477_full.tif", "width": "6444", "height": 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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": 1912, "date_added_to_oa": null, "date_text": "c. 1913", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:19.692000"}, {"id": 147847, "accession_number": "1974.208", "share_license_status": "Copyrighted", "tombstone": "Container, c. 1920. Africa, West Africa, Nigeria, possibly \u1ecc\u0300y\u1ecd\u0301 region, Yor\u00f9b\u00e1-style carver. Wood, paint, and iron alloy; overall: 45.7 cm (18 in.). The Cleveland Museum of Art, Gift of Katherine C. White, 1974.208", "current_location": "108A African", "title": "Container", "creation_date": "c. 1920", "creation_date_earliest": 1915, "creation_date_latest": 1925, "artists_tags": [], "culture": ["Africa, West Africa, Nigeria, possibly \u1ecc\u0300y\u1ecd\u0301 region, Yor\u00f9b\u00e1-style carver"], "technique": "Wood, paint, and iron alloy", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Vessels", "measurements": "Overall: 45.7 cm (18 in.)", "dimensions": {"overall": {"length": 0.457}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"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": 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"}, {"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": [{"description": "CMA 1968: \"African Tribal Images: The Katherine White Reswick Collection,\" cat. no. 136, repr.", "opening_date": "1968-01-01T00:00:00"}, {"description": "CMA 1975: \"Year in Review 1974,\" CMA Bulletin LXII (March, 1975), p. 97, no. 20.", "opening_date": "1975-03-01T00:00:00"}, {"description": "CMA 1981:  A Cleveland Bestiary, cat. no. 49, repr. p. 54.", "opening_date": "1981-01-01T00:00:00"}, {"description": "The Galleries at Cleveland State, OH (8/27/2014 - 10/4/2014):  \"At Home in Africa: Design, Beauty and Pleasing Irregularity in Domestic Settings\", cat. no. 13-1, p. 216.", "opening_date": "2014-08-27T00:00:00"}]}, "provenance": [{"description": "Julius Carlebach, New York", "citations": [], "footnotes": ["<div><!--block-->Memorandum from William D. Wixom to Ursula Korneitchouk and Del Gutridge. 12/18/74. CMA Archives</div>"], "date": "?\u20131961", "sortorder": 1}, {"description": "Katherine C. White [1929-1980], Gates Mills, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1961\u20131974", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1974\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": ["759.68"], "did_you_know": "Yor\u00f9b\u00e1 language distinguishes between \"artist\" and \"carver\" based on the object someone is making.", "description": "Boxes carved into animal shapes, like this goose, held kolanuts. A source of caffeine, the kolanut seed is harvested from evergreen tree fruits. Guests to Yor\u00f9b\u00e1 homes are offered the bitter nuts as a sign of hospitality; sometimes nut-filled boxes are placed on shrines. As birds are used as sacrifices, this box can be seen as a double offering of both fowl and fruit. The carver shaped and painted this waterfowl with great detail: rimmed eyes, alternating feather colors, and jointed legs ending in three-toed feet. According to a Cleveland Museum of Natural History ornithologist, these details suggest an Egyptian goose.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79927435"], "internet_archive": []}, "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. 136.", "page_number": "", "url": ""}, {"citation": "Curnow, Kathy. At Home in Africa: Design, Beauty and Pleasing Irregularity in Domestic Settings. The Galleries at Cleveland State University, 2014, cat. no. 13-1, p. 216.", "page_number": "", "url": ""}, {"citation": "Kathman, Barbara A. <em>A Cleveland Bestiary</em>. Cleveland, OH; Cleveland Museum of Art, 1981.", "page_number": "Reproduced: p. 54; Mentioned: p. 51, p. 62", "url": null}], "url": "https://clevelandart.org/art/1974.208", "images": {}, "alternate_images": [], "creditline": "Gift of Katherine C. White", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 147847, "creators": [], "legal_status": "accessioned", "accession_date": "1975-02-07T00:00:00", "sortable_date": 1915, "date_added_to_oa": null, "date_text": "c. 1920", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Container in the Form of a Duck"], "is_highlight": false, "updated_at": "2026-03-27 00:04:16.273000"}, {"id": 114538, "accession_number": "1934.166", "share_license_status": "Copyrighted", "tombstone": "Zapata, 1932. Diego Rivera (Mexican, 1886\u20131957), printed by George C. Miller (American, 1894\u20131966), published by Weyhe Gallery. Lithograph; image: 41.3 x 33.2 cm (16 1/4 x 13 1/16 in.); sheet: 52.7 x 39.8 cm (20 3/4 x 15 11/16 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1934.166. \u00a9 Artists Right Society (ARS), New York", "current_location": null, "title": "Zapata", "creation_date": "1932", "creation_date_earliest": 1932, "creation_date_latest": 1932, "artists_tags": ["male", "Latine and Hispanic Artists", "Jewish artists"], "culture": ["Mexico, 20th century"], "technique": "lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image: 41.3 x 33.2 cm (16 1/4 x 13 1/16 in.); Sheet: 52.7 x 39.8 cm (20 3/4 x 15 11/16 in.)", "dimensions": {"image": {"height": 0.413, "width": 0.332}, "sheet": {"height": 0.527, "width": 0.398}}, "state_of_the_work": "I/I", "edition_of_the_work": "edition of 100", "copyright": "\u00a9 Artists Right Society (ARS), New York", "inscriptions": [{"inscription": "signed and inscribed at lower left, in pencil: 84/100 Diego Rivera; at lower right, in pencil: 1932; initialed and inscribed at lower right on stone: DR32", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "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": 708534, "title": "Diego Rivera 50 A\u00f1os Exposici\u00f3n Nacional", "description": "<i>Diego Rivera 50 A\u00f1os Exposici\u00f3n Nacional</i>. Museo Nacional de Artes Pl\u00e1sticas, Mexico City, Mexico (organizer) (March 4, 2026-January 31, 1950).", "opening_date": "1949-02-01T05:00:00"}, {"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": 350592, "title": "Prints and Drawings, 1916-1965", "description": "<i>Prints and Drawings, 1916-1965</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 20-July 24, 1966).", "opening_date": "1966-05-20T04:00:00"}, {"id": 302153, "title": "Satire and Social Comment", "description": "<i>Satire and Social Comment</i>. The Cleveland Museum of Art, Cleveland, OH (July 15, 1975-February 8, 1976).", "opening_date": "1975-07-15T04:00:00"}, {"id": 373919, "title": "A Graphic Revolution: Prints and Drawings in Latin America", "description": "<i>A Graphic Revolution: Prints and Drawings in Latin America</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 14-August 2, 2020).", "opening_date": "2020-03-08T05:00:00"}], "legacy": []}, "provenance": [{"description": "(Weyhe Gallery, New York, sold to the Print Club of Cleveland, Cleveland, OH)", "citations": [], "footnotes": null, "date": "1932-1934", "sortorder": 1}, {"description": "The Print Club of Cleveland, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1934", "sortorder": 2}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1934-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Diego Rivera was one of numerous Mexican muralists to depict Emiliano Zapata around the time this print was made.", "description": "This print depicts Emiliano Zapata (1879\u20131919), a leader of the Mexican Revolution who became a symbol of progressive politics in the decades following his assassination. Zapata disavowed his privileged background and fought for workers\u2019 rights. Diego Rivera's lithograph emphasized Zapata's heroism, showing him leading a white horse and a band of followers.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80007284"], "internet_archive": []}, "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: Emilano Zapata, the Agrarian Leader of Morelos.", "page_number": "Mentioned: p. 59", "url": "https://archive.org/details/Lithography/page/n65"}], "catalogue_raisonne": "Williams 10", "url": "https://clevelandart.org/art/1934.166", "images": {}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 114538, "creators": [{"id": 13165, "description": "Diego Rivera (Mexican, 1886\u20131957)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1886", "death_year": "1957", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 370463, "description": "George C. Miller (American, 1894\u20131966)", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "birth_year": "1894", "death_year": "1966", "use_in_caption": true, "include_extent": true, "weight": 2}, {"id": 370474, "description": "Weyhe Gallery", "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": "1934-06-21T00:00:00", "sortable_date": 1932, "date_added_to_oa": null, "date_text": "1932", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": "84", "alternate_titles": ["Emilano Zapata", "Emilano Zapata, the Agrarian Leader of Morelos"], "is_highlight": false, "updated_at": "2026-03-27 00:10:03.451000"}, {"id": 135434, "accession_number": "1958.43", "share_license_status": "Copyrighted", "tombstone": "Head of a Boy, 1905\u20136. Pablo Picasso (Spanish, 1881\u20131973). Possibly tempera on board; sheet: 24.6 x 18.6 cm (9 11/16 x 7 5/16 in.). The Cleveland Museum of Art, Bequest of Leonard C. Hanna Jr., 1958.43. \u00a9 Estate of  Pablo Picasso / Artists Rights Society (ARS), New York\r\n", "current_location": null, "title": "Head of a Boy", "creation_date": "1905\u20136", "creation_date_earliest": 1905, "creation_date_latest": 1906, "artists_tags": ["male", "Latine and Hispanic Artists"], "culture": ["Spain, 20th century"], "technique": "Possibly tempera on board", "support_materials": [{"description": "board, laid down on wood and cradled", "watermarks": []}], "department": "Drawings", "collection": "DR - Spanish", "type": "Drawing", "measurements": "Sheet: 24.6 x 18.6 cm (9 11/16 x 7 5/16 in.)", "dimensions": {"sheet": {"height": 0.246, "width": 0.186}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of  Pablo Picasso / Artists Rights Society (ARS), New York\r\n", "inscriptions": [{"inscription": "signed, lower left, in paint: Picasso / 905\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"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": 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": 361475, "title": "Four Americans in Paris: The Collections of Gertrude Stein and Her Family", "description": "<i>Four Americans in Paris: The Collections of Gertrude Stein and Her Family</i>. The Museum of Modern Art, New York, NY (December 19, 1970-March 1, 1971).", "opening_date": "1970-12-19T05:00:00"}, {"id": 301789, "title": "In Memoriam - Pablo Picasso, 1881 - 1973", "description": "<i>In Memoriam - Pablo Picasso, 1881 - 1973</i>. The Cleveland Museum of Art, Cleveland, OH (April 10-May 7, 1973).", "opening_date": "1973-04-10T04:00:00"}, {"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": 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); 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>. 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": 212240, "title": "The Steins Collect: Matisse, Picasso and the Parisian Avant-Garde", "description": "<i>The Steins Collect: Matisse, Picasso and the Parisian Avant-Garde</i>. The Metropolitan Museum of Art, New York, NY (February 21-June 3, 2012).", "opening_date": "2012-02-21T00:00:00"}, {"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": 317581, "title": "Picasso and Paper", "description": "<i>Picasso and Paper</i>. The Cleveland Museum of Art, Cleveland, OH (co-organizer) (December 8, 2024-March 23, 2025).", "opening_date": "2024-12-08T05:00:00"}], "legacy": [{"description": "<em>Picasso Before 1907: Loan Exhibition for the Benefit of the Public Education Association</em>. Knoedler Galleries, New York (October 15 - November 8, 1947).", "opening_date": "1947-10-15T00:00:00"}, {"description": "<em>20 Years in the Evolution of Picasso, 1903 - 1923</em>. Jacques Seligmann &amp; Co., Inc., New York (November 1 - November 20, 1937).", "opening_date": "1937-11-01T00:00:00"}]}, "provenance": [{"description": "Gertrude Stein [1874-1946], Paris", "citations": [], "footnotes": [], "date": "by 1907-?", "sortorder": 1}, {"description": "Horst Bohrmann [1906-1999], Berlin", "citations": [], "footnotes": [], "date": "?-?", "sortorder": 2}, {"description": "Jacques Doucet [1853-1929], Paris", "citations": [], "footnotes": [], "date": "?-?", "sortorder": 3}, {"description": "(Jacques Seligmann & Co., Inc., New York, sold to Leonard C. Hanna, Jr., Cleveland, OH)", "citations": [], "footnotes": [], "date": "?-1937", "sortorder": 4}, {"description": "Leonard C. Hanna Jr. [1889-1957], Cleveland, OH, bequest to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1937-1957", "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1958-", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This Picasso drawing was once owned by the American writer Gertrude Stein (1874\u20131946); a photograph of her apartment in Paris taken around 1907 shows the work hanging there.", "description": "Created during Pablo Picasso's Rose Period (1904\u20136), this drawing features a warm palette and thin delicate lines. It might have been created during a summer that Picasso spent in G\u00f3sol, a Catalan village in the Spanish Pyrenees. The sheet presents an adolescent with pensive lips, almond-shaped eyes, and a dreamy expression\u2014all characteristics that recur throughout the artist's depictions of figures around this time. Picasso began with a layer of pink opaque paint, allowing the color to give the boy's skin a warm tone that contrasts with the gray used to delineate his head. The subject's skull and jaw were then carefully modeled using a darker tone in roughly applied marks. The close-up view\u2014stark in the present drawing\u2014was later reused in Picasso's 1906 painting <em>The Two Brothers</em> (Kunstmuseum Basel), in which a nude adolescent carries a young boy on his back.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60762120"], "internet_archive": []}, "citations": [{"citation": "Dumas, Ann. \"The Rose Period.\" In <em>Picasso and Paper</em>. William H. Robinson, et al., 80-101. London: Royal Academy of Arts, 2020.", "page_number": "Reproduced: P. 94, cat. no. 66", "url": ""}, {"citation": "Zervos, Christian.<em> Pablo Picasso. Vol. 1: Oeuvres de 1895 \u00e0 1906</em>. Paris: \u00c9ditions 'Cahiers d'art,' 1932.", "page_number": "Mentioned and reproduced: p. 135, xlvii, no. 303", "url": null}, {"citation": "<em>20 Years in the Evolution of Picasso, 1903-1923</em>. Exh. Cat. New York: Jacques Seligmann, 1937.", "page_number": "Mentioned and reproduced: no. 4", "url": null}, {"citation": "Jewell, Edward Allen. \"An Overwhelming Week: A Full Half Hundred Shows, From Picasso to Academism, Inundate the Galleries.\" <em>New York Times </em>(November 7, 1937): 10X.", "page_number": "Reproduced: 10x", "url": ""}, {"citation": "<em>Picasso Before 1907: Loan Exhibition for the Benefit of the Public Education Association</em>. Exh. Cat. New York: Knoedler Galleries, 1947.", "page_number": "Mentioned: no. 27", "url": null}, {"citation": "<em>In Memoriam: Leonard C. Hanna, Jr.</em> Cleveland: Cleveland Museum of Art, 1958.", "page_number": "Mentioned and reproduced: no. 28", "url": null}, {"citation": "Chessex, Jacques, and Francis Ponge. <em>Dessins de Pablo Picasso: e\u0301poques bleue et rose</em>. Lausanne: Mermod, 1960.", "page_number": "Mentioned: p. 74; Reproduced: no. 25", "url": null}, {"citation": "Seligman, Germain. <em>Merchants of Art, 1880-1960: Eighty Years of Professional Collecting</em>. New York: Appleton-Century-Crofts, 1961.", "page_number": "Mentioned and reproduced: plate 92", "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": "Reproduced: P. 37, no. 42", "url": ""}, {"citation": "Sutton, Denys and Paolo Lecaldano. <em>The Complete Painting of Picasso: Blue and Rose Periods</em>. New York: Harry N. Abrams, Inc., 1968.", "page_number": "Mentioned and reproduced: p. 108, no. 256", "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. 195", "url": "https://archive.org/details/CMAHandbook1969/page/n219"}, {"citation": "<em>Four Americans in Paris: The Collections of Gertrude Stein and Her Family.</em> Exh. Cat. New York: Museum of Modern Art, 1970.", "page_number": "Mentioned and reproduced: p. 91, 166, plate 39", "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. 241", "url": "https://archive.org/details/CMAHandbook1978/page/n261"}, {"citation": "Palau i Fabre, Josep. <em>Picasso: The Early Years 1881-1907</em>. New York: Rizzoli, 1981.", "page_number": "Mentioned: pp. 444-445, 880; Reproduced: p. 445, no. 1231", "url": null}, {"citation": "<em>Small Paintings from Famous Collections</em>. Cincinnati: Taft Museum, 1981.", "page_number": "Mentioned: p. 13", "url": null}, {"citation": "Daix, Pierre, Georges Boudaille, and Joan Rosselet. <em>Picasso 1900-1906: catalogue raisonne\u0301 de l'oeuvre peint</em>. Neucha\u0302tel: Editions Ides et Calendes, 1988.", "page_number": "Mentioned and reproduced: p. 294, no. XV.7", "url": null}, {"citation": "Richardson, John. <em>A Life of Picasso</em>. Vol. 1, 1881-1906. New York: Random House, 1991.", "page_number": "Reproduced: p. 324", "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. 153", "url": null}, {"citation": "Rivero, Nu\u0301ria. <em>Picasso, 1905-1906: From the Rose Period to the Ochres of Go\u0301sol.</em> Exh. Cat. Barcelona: Museu Picasso, in association with Electa, 1992.", "page_number": "Mentioned: p. 264", "url": null}, {"citation": "Geelhaar, Christian. <em>Picasso: Wegbereiter und Fo\u0308rderer seines Aufstiegs 1899-1939</em>. Zu\u0308rich: Palladion, 1993.", "page_number": "Mentioned: p. 26; Reproduced: p. 25", "url": null}, {"citation": "Mailer, Norman. <em>Portrait of Picasso As a Young Man: An Interpretive Biography</em>. New York: Atlantic Monthly Press, 1995.", "page_number": "Reproduced: p. 203", "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. 7, pp. 228-229, 296; Reproduced: p. 229", "url": null}, {"citation": "DeGrazia, Diane. \"The Evolution of a Collection: Drawings in Cleveland.\" <em>Master Drawings</em> 38, no. 3 (Fall 2000).", "page_number": "Mentioned and reproduced: p. 255", "url": null}, {"citation": "DeGrazia, Diane. \"Immediate Inspiration.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>40, no. 7 (September 2000): 4-5.", "page_number": "Mentioned and reproduced: p. 4", "url": "https://archive.org/details/CMAMM2000-07/page/n3/mode/2up"}, {"citation": "Belloli, Lucy. \"Los Paintings beneath Picasso's <em>La Coiffure</em>.\" <em>Metropolitan Museum Journal </em>40 (2005): 151-161.", "page_number": "Mentioned: p. 156; Reproduced: p. 158", "url": null}, {"citation": "Belloli, Lucy. \"Lost Paintings beneath Picasso's <em>La Coiffure.</em>\" Metropolitan Museum Journal 40 (2005): 151-161.", "page_number": "Mentioned: p. 156-160; Reproduced: p. 158", "url": ""}, {"citation": "Robinson, William H., Jordi Falga\u0300s, Carmen Belen Lord, and Josefina Alix Trueba. <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. 240, fig. 3, no. 6.6", "url": ""}, {"citation": "Bishop, Janet C., et al. <em>The Steins Collect: Matisse, Picasso, and the Parisian Avant-Garde</em>. Exh. Cat. San Francisco: Museum of Modern Art, in association with Yale University Press, 2011.", "page_number": "Mentioned and reproduced: p. 119, no. 294", "url": null}, {"citation": "<em>Picasso's Paintings, Watercolors, Drawings, and Sculpture: A Comprehensive Illustrated Catalogue, 1885-1973: The Rose Period, 1905-1906</em>. San Francisco: Alan Wofsy Fine Arts, 2012.", "page_number": "Mentioned and reproduced: p. 201", "url": null}], "catalogue_raisonne": "Zervos I.303; Sutton/Lecaldano 256; Daix, Boudaille, Rosselet XV.7; Palau i Fabre 1231; PP 1906-122", "url": "https://clevelandart.org/art/1958.43", "images": {}, "alternate_images": [], "creditline": "Bequest of Leonard C. Hanna Jr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 135434, "creators": [{"id": 2160, "description": "Pablo Picasso (Spanish, 1881\u20131973)", "extent": null, "qualifier": null, "role": "artist", "biography": "Pablo Ruiz Picasso (1881-1973), the most prolific and influential artist of the 20th century, shifted the emphasis of art from its traditional concern with beauty toward radical innovation. The son of an art teacher, Picasso demonstrated remarkable talents as a child and entered the royal art academy in Madrid at age sixteen. Less than a year later, he abandoned his studies and soon joined several avant-garde artist and anarchist groups in Barcelona and Paris. After passing through a succession of stylistic periods, most notably the Blue (1901-1904) and Rose (1904-1906) Periods, he collaborated with Georges Braque (1882-1963) in 1908 to invent Cubism, a revolutionary method of restructuring pictorial space. Picasso remained active until his death in 1973. Although his art still appears radical, many of his works are over one hundred years old. Cubism, perhaps the most important development in 20th-century art, was invented around 1908 by Pablo Picasso (1881-1973) and Georges Braque (1882-1963). The most revolutionary aspect of the style was not its obvious emphasis on geometric form; rather, it was the introduction of a radically new approach to configuring pictorial space. Since the Renaissance, artists had used various methods to create the illusion of distant space receding behind the canvas surface. The Cubists rejected that idea and collapsed space by compressing foreground, middle ground, and background into a continuous web of overlapping, intersecting planes. During the 1910s, other painters and sculptors embraced or adapted Cubism to their own ends. This revolutionary approach inspired a host of related movements and continues to influence the visual language of artists, architects, and designers throughout the world.", "name_in_original_language": null, "birth_year": "1881", "death_year": "1973", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1958-11-29T00:00:00", "sortable_date": 1905, "date_added_to_oa": null, "date_text": "1905\u20136", "collapse_artists": false, "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": ["Head of a Young Man"], "is_highlight": true, "updated_at": "2026-04-03 13:35:08.904000"}, {"id": 142771, "accession_number": "1966.475", "share_license_status": "CC0", "tombstone": "Clock, 1908\u201317. Henrik Wigstr\u00f6m (Russian, 1862\u20131923), House of Faberg\u00e9 (Russian, 1842\u20131918). Nephrite, gold, enamel, diamonds; overall: 7.9 x 3.4 x 2.5 cm (3 1/8 x 1 5/16 x 1 in.). The Cleveland Museum of Art, The India Early Minshall Collection, 1966.475", "current_location": "211 Faberg\u00e9", "title": "Clock", "creation_date": "1908\u201317", "creation_date_earliest": 1908, "creation_date_latest": 1917, "artists_tags": ["male", "gender unknown"], "culture": ["Russia, St. Petersburg"], "technique": "nephrite, gold, enamel, diamonds", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Timepiece", "measurements": "Overall: 7.9 x 3.4 x 2.5 cm (3 1/8 x 1 5/16 x 1 in.)", "dimensions": {"overall": {"height": 0.079, "width": 0.034, "depth": 0.025}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "72, Kokoshnik, lower case alpha in script [assay mark for St. Petersburg, 1908-26];   72; Faberg\u00e9; H.W. [initials of workmaster Henrik Wigstr\u00f6m]; 22681 scratched; NS/15P scratched.", "inscription_translation": null, "inscription_remark": "The use of Roman letters for the mark \"Faberg\u00e9,\" rather than the usual Cyrillic characters, indicates that this clock was probably intended for sale outside Russia, perhaps through the London showroom.", "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"}, {"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": "?-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": "The face of this small luxurious desk clock features tiny pink enameled roses in place of the customary numbers along with hour and minute hands paved in diamonds.", "description": "The use of Russian hardstones in creating precious objects became a hallmark of design from the House of Faberg\u00e9. Easily carved, these minerals were sourced largely from the western region surrounding the Ural Mountains. Faberg\u00e9's workmasters used colorful stones such as agate, lapis lazuli, rock crystal, rhodonite, and nephrite (jade), seen here in this small desk clock, to create and embellish flower studies, animal figures, and all manner of luxurious accessories.", "external_resources": {"wikidata": [], "internet_archive": ["https://archive.org/details/clevelandart-1966.475-clock"]}, "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. 36, cat. 14; reproduced in color, p. 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: p. 106, cat. 81; reproduced in color:  p. 106", "url": "https://ingallslibrary.on.worldcat.org/oclc/34433639"}, {"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. 133", "url": "https://ingallslibrary.on.worldcat.org/oclc/43979547"}, {"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. 39, cat. 50", "url": "https://ingallslibrary.on.worldcat.org/oclc/230187932"}], "url": "https://clevelandart.org/art/1966.475", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1966.475/1966.475_web.jpg", "width": "780", "height": "893", "filesize": "278089", "filename": "1966.475_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1966.475/1966.475_print.jpg", "width": "2971", "height": "3400", "filesize": "4117868", "filename": "1966.475_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1966.475/1966.475_full.tif", "width": "4118", "height": "4713", "filesize": "58261684", "filename": "1966.475_full.tif"}}, "alternate_images": [{"date_created": "2007-08-09T19:22:10", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.475/1966.475_alt0_web.jpg", "width": "1116", "height": "893", "filesize": "348904"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.475/1966.475_alt0_print.jpg", "width": "3400", "height": "2720", "filesize": "3287562"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.475/1966.475_alt0_full.tif", "width": "4586", "height": "3669", "filesize": "50499876"}}, {"date_created": "2008-06-06T16:03:49", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.475/1966.475_alt1_web.jpg", "width": "749", "height": "893", "filesize": "247902"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.475/1966.475_alt1_print.jpg", "width": "2851", "height": "3400", "filesize": "4008696"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.475/1966.475_alt1_full.tif", "width": "3873", "height": "4619", "filesize": "53701320"}}], "creditline": "The India Early Minshall Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 142771, "creators": [{"id": 8891, "description": "Henrik Wigstr\u00f6m (Russian, 1862\u20131923)", "extent": null, "qualifier": null, "role": "workmaster", "biography": "Workmaster for the House of Faberge based in St. Petersburg, Russia. Responsible for many of the imperial Easter eggs as well as enameled accessories and jewelry.", "name_in_original_language": null, "birth_year": "1862", "death_year": "1923", "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": 1908, "date_added_to_oa": null, "date_text": "1908\u201317", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:12.527000"}, {"id": 171283, "accession_number": "2014.11", "share_license_status": "Copyrighted", "tombstone": "Untitled, 1976. Robert Morris (American, 1931\u20132018). White felt, metal grommets, one piece of string; overall: 144.8 x 289.6 cm (57 x 114 in.). The Cleveland Museum of Art, John L. Severance Fund, 2014.11. \u00a9  The Estate of Robert Morris / Artists Rights Society (ARS), New York", "current_location": null, "title": "Untitled", "creation_date": "1976", "creation_date_earliest": 1976, "creation_date_latest": 1976, "artists_tags": ["male"], "culture": ["America"], "technique": "white felt, metal grommets, one piece of string", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Mixed Media", "measurements": "Overall: 144.8 x 289.6 cm (57 x 114 in.)", "dimensions": {"overall": {"height": 1.448, "width": 2.896}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  The Estate of Robert Morris / Artists Rights Society (ARS), New York", "inscriptions": [], "exhibitions": {"current": [{"id": 393229, "title": "Contemporary Installation", "description": "<i>Contemporary Installation</i>. The Cleveland Museum of Art (organizer).", "opening_date": "2021-04-12T04:00:00"}], "legacy": [{"description": "Black and White Felts. Castelli Gallery, New York City, NY (October 9 \u2013 30, 1976).", "opening_date": "1976-01-01T00:00:00"}, {"description": "Wall Sculptures. Castelli Gallery, New York City, NY (January 15 \u2013 February 23, 2008).", "opening_date": "2008-02-23T00:00:00"}, {"description": "Hanging Soft and Standing Hard. Spr\u00fcth Magers, London (May 3 \u2013 June 15, 2013).", "opening_date": "2013-06-15T00:00:00"}, {"description": "Contemporary Gallery 229 Rotation: October 28, 2014 -", "opening_date": "2014-10-28T00:00:00"}]}, "provenance": [{"description": "Artist's collection", "citations": [], "footnotes": null, "date": "1976\u20132014", "sortorder": 1}, {"description": "(Spr\u00fcth Magers, Berlin, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "2014", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2014\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In April 1968, Robert Morris published an article entitled \"Anti-Form\" in the prestigious international contemporary art magazine <em>Artforum</em>, coining the term and encouraging other artists to embrace the element of chance in their installations.", "description": "In this sculpture Robert Morris uses a large piece of industrial felt material, curling and affixing two corners to create a neat geometric form from the soft, heavy material. <em>Untitled </em>is part of a larger series of sculptures the artist created in the spirit of the \u201canti-form\u201d\u2014works that depart from the rigid, hard edges of Minimalist sculpture. Morris noted that \u201cFelt has anatomical associations, it relates to the body\u2014it\u2019s skinlike.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80081423"], "internet_archive": []}, "citations": [{"citation": "Karmel, Pepe, Maurice Berger, and Robert Morris.<em> Robert Morris: The Felt Works</em>. New York: Grey Art Gallery and Study Center, 1989.", "page_number": "", "url": ""}, {"citation": "Morris, Robert. <em>Robert Morris: The Mind / Body Problem.</em> New York: Guggenheim Museum, 1994.", "page_number": "Referenced pp. 212-223", "url": ""}], "url": "https://clevelandart.org/art/2014.11", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 171283, "creators": [{"id": 42748, "description": "Robert Morris (American, 1931\u20132018)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1931", "death_year": "2018", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2014-06-02T00:00:00", "sortable_date": 1976, "date_added_to_oa": null, "date_text": "1976", "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 00:07:19.907000"}, {"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": 75551, "accession_number": "2020.111", "share_license_status": "Copyrighted", "tombstone": "Tulips, 1914. Henri Matisse (French, 1869\u20131954). Oil on canvas; unframed: 95.6 x 70.8 cm (37 5/8 x 27 7/8 in.). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift, 2020.111. \u00a9 Succession H. Matisse / Artists Rights Society (ARS), New York", "current_location": "223 20th Century Avant-Garde", "title": "Tulips", "creation_date": "1914", "creation_date_earliest": 1914, "creation_date_latest": 1914, "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: 95.6 x 70.8 cm (37 5/8 x 27 7/8 in.)", "dimensions": {"unframed": {"height": 0.956, "width": 0.708}, "framed": {"height": 1.143, "width": 0.895, "depth": 0.067}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Succession H. Matisse / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "Artist's signature:  \u2018Henri.Matisse\u2019", "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>Henri Matisse. G</em>alerien Thannhauser, Berlin, Germany (1930).", "opening_date": "1930-01-01T00:00:00"}, {"description": "<em>Henri Matisse</em>. Kunsthalle, Basel, Switzerland (August 9\u2013September 15, 1931).", "opening_date": "1931-09-15T00:00:00"}, {"description": "<em>Masters of the 19th and 20th Centuries. </em>Marlborough Gallery, New York, NY (November 5\u2013December 2, 1986).", "opening_date": "1986-12-02T00:00:00"}]}, "provenance": [{"description": "Collection of the Artist", "citations": [], "footnotes": [], "date": "1914", "sortorder": 1}, {"description": "(Galerie Bernheim-Jeune, Paris, France, April 4, 1914, acquired from the artist)", "citations": [], "footnotes": [], "date": "1914", "sortorder": 2}, {"description": "(Galerie Bernheim-Jeune, Paris, France, June 5, 1914, sold to Fritz Gurlitt)", "citations": [], "footnotes": ["<div><!--block-->According to Guy-Patrice Dauberville and Michel Dauberville, <em>Matisse: Henri Matisse chez Bernheim-Jeune</em> (Paris: Bernheim-Jeune, 1995), vol. I, p. 533, cat. no. 141, ill.</div>"], "date": "1914", "sortorder": 3}, {"description": "(Galerie Thannhauser, Berlin Germany)", "citations": [], "footnotes": ["<div><!--block-->This painting was included in the exhibition \u201cHenri Matisse,\u201d at the Galerien Thannhauser, Berlin, in 1930, cat. no. 24. See also <em>Masters of the 19th and 20th Centuries</em> (New York: Marlborough Gallery, 1986), cat. no. 31.</div>"], "date": "possibly by 1930", "sortorder": 4}, {"description": "(Galerien Mattiesen, Berlin, Germany sold to Karl Bett)", "citations": [], "footnotes": ["<div><!--block-->\u201cHenri Matisse,\u201d Kunsthalle, Basel, Switzerland, August 9 \u2013 September 15, 1931, cat. no. 43, noted this painting was in the Collection de Monsieur Karl Bett, Berlin.</div>"], "date": "by 1931", "sortorder": 5}, {"description": "Karl Bett, Berlin, Germany and Hampstead, London, sold to Marlborough Fine Art, London, and E.V. Thaw and Co., New York, NY", "citations": [], "footnotes": ["<div><!--block-->Provenance between 1930 and 1996 is according to <em>Masters of the 19th and 20th Centuries</em> (New York: Marlborough Gallery, 1986), cat. no. 31, and documentation supplied by Richard Feigen and Co. in the curatorial file.&nbsp;</div>"], "date": "about 1985", "sortorder": 6}, {"description": "(Sold at Christie's New York, NY, April 30, 1996, lot 52)", "citations": [], "footnotes": [], "date": "1996", "sortorder": 7}, {"description": "(Sold at Phillips de Pury & Luxembourg, New York, NY, May 7, 2001, lot 36)", "citations": [], "footnotes": [], "date": "May 7, 2001", "sortorder": 9}, {"description": "Private collection, New York, NY", "citations": [], "footnotes": null, "date": "?", "sortorder": 10}, {"description": "Richard Feigen and Co., New York, NY", "citations": [], "footnotes": null, "date": "?", "sortorder": 11}, {"description": "Nancy F. and Joseph P. Keithley, Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "2001\u20132020", "sortorder": 12}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2020\u2013", "sortorder": 13}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Matisse once wrote that he felt as though all the natural charm was lost from a bouquet of flowers picked from his garden when he arranged them.", "description": "At first glance, this painting is a straightforward still life in which the glow of red blossoms is heightened by a cool green and turquoise interior. Knowing that <em>Tulips </em>was painted in the spring of 1914 shortly before the outbreak of World War I, however, suggests a melancholy atmosphere. In this context, the dark vertical stripe behind the flowers has been interpreted as symbolic of the threat of war.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q87480810"], "internet_archive": []}, "citations": [{"citation": "", "page_number": "", "url": ""}, {"citation": "Purrmann, Hans. <em>Henri Matisse</em>. Berlin, Germany: Galerien Thannhauser, 1930.", "page_number": "Mentioned: p. 16, no. 24", "url": null}, {"citation": "<em>Henri Matisse. Kunsthalle, Basel, 9. August-15 September 1931.</em> Basel: Kunsthalle, 1931.", "page_number": "Mentioned: P. 12, no. 43", "url": ""}, {"citation": "Flam, Jack D. <em>Matisse, the Man and His Art, 1869-1918</em>. Ithaca, NY: Cornell University Press, 1986.", "page_number": "Mentioned: P. 380; Reproduced: P. 384, fig. 381", "url": null}, {"citation": "<em>Masters of the 19th and 20th Centuries: 5 November-2 December 1986, Marlborough Gallery, Inc.</em> New York, N.Y.: Marlborough Gallery, 1986.", "page_number": "Mentioned and Reproduced: no. 31", "url": ""}, {"citation": "Dauberville, Guy-Patrice, and Michel Dauberville. <em>Matisse: Henri Matisse chez Bernheim-Jeune</em>. Paris, France: Bernheim-Jeune, 1995.", "page_number": "Reproduced: Vol. 1, P. 533, no. 141", "url": null}, {"citation": "\u201cA Historic Gift. Longtime CMA supporters Joseph and Nancy Keithley give 114 works, the largest gift in more than 60 years.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>60, no. 3 (Summer 2020): Cover, 6-9.", "page_number": "Reproduced: P. 8; Mentioned: P. 7.", "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. 138-139; Mentioned: p. 267", "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: 4-7.", "page_number": "Reproduced and Mentioned: P. 5.", "url": ""}, {"citation": "\"Exhibitions: Transformative Gift.\" <em>Art &amp; Antiques </em>XLV, no. 10 (November 2022): 48-53.", "page_number": "Mentioned: p. 50", "url": ""}], "url": "https://clevelandart.org/art/2020.111", "images": {}, "alternate_images": [], "creditline": "Nancy F. and Joseph P. Keithley Collection Gift", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Michael J. Horvitz Family Gallery", "athena_id": 75551, "creators": [{"id": 2130, "description": "Henri Matisse (French, 1869\u20131954)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1869", "death_year": "1954", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2020-03-02T00:00:00-05:00", "sortable_date": 1914, "date_added_to_oa": null, "date_text": "1914", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:42.974000"}, {"id": 148335, "accession_number": "1975.59", "share_license_status": "Copyrighted", "tombstone": "Guitar and Bottle of Marc on a Table, 1930. Georges Braque (French, 1882\u20131963). Oil and sand on canvas; framed: 163.8 x 106.7 x 11.4 cm (64 1/2 x 42 x 4 1/2 in.); unframed: 130.5 x 75 cm (51 3/8 x 29 1/2 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1975.59. \u00a9 Artists Rights Society (ARS), New York / ADAGP, Paris", "current_location": "223 20th Century Avant-Garde", "title": "Guitar and Bottle of Marc on a Table", "creation_date": "1930", "creation_date_earliest": 1930, "creation_date_latest": 1930, "artists_tags": ["male"], "culture": ["France, 20th century"], "technique": "oil and sand on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 163.8 x 106.7 x 11.4 cm (64 1/2 x 42 x 4 1/2 in.); Unframed: 130.5 x 75 cm (51 3/8 x 29 1/2 in.)", "dimensions": {"framed": {"height": 1.638, "width": 1.067, "depth": 0.114}, "unframed": {"height": 1.305, "width": 0.75}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Artists Rights Society (ARS), New York / ADAGP, Paris", "inscriptions": [{"inscription": "signed lower left:  G Braque / 30", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 302170, "title": "Year in Review: 1975", "description": "<i>Year in Review: 1975</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 3-March 7, 1976).", "opening_date": "1976-02-03T05:00:00"}, {"id": 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>. 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": 219818, "title": "Georges Braque (1882\u20131963)  ", "description": "<i>Georges Braque (1882\u20131963)  </i>. Galeries Nationales du Grand Palais, Paris, France (September 16, 2013-January 6, 2014); Museum of Fine Arts, Houston, Houston, TX (February 18-May 11, 2014); Museo Guggenheim Bilbao, 48001 Bilbao, Spain (June 13-September 21, 2014).", "opening_date": "2013-09-16T00:00:00"}, {"id": 444299, "title": "Path to Abstraction: Picasso, Braque, and Cubism\u2019s Impact on Modern Art - Reciprocal Loan", "description": "<i>Path to Abstraction: Picasso, Braque, and Cubism\u2019s Impact on Modern Art - Reciprocal Loan</i>. Arkansas Museum of Fine Arts, Little Rock, AR (organizer) (December 12, 2023-April 14, 2024) https://arkmfa.org/art/exhibitions/path-to-abstraction-picasso-braque-and-cubisms-impact-on-modern-art/.", "opening_date": "2023-12-09T05:00:00"}], "legacy": []}, "provenance": [{"description": "sold to Paul Rosenberg [1881-1959], Paris, France", "citations": [], "footnotes": [], "date": null, "sortorder": null}, {"description": "(P. Rosenberg & Co., New York, NY, 1975, sold to the Cleveland Museum of Art).", "citations": [], "footnotes": [], "date": "-1975", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1975-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Braque loved music as much as visual art; he was a classically trained flutist and also played the violin and accordion, instruments that often appear in his paintings.", "description": "Painted during a highly productive period between 1928 and 1932, this work of art belongs to a series of large still lifes notable for their rich, textured surfaces and vibrant colors. Here, a bottle of Marc (a distilled alcoholic beverage made from fermented fruits, herbs, and spices that originated in the Champagne region of France), a music sheet, and a glass fruit bowl containing two apples are arranged on a white tablecloth atop a rectangular table.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60472857"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art, \u201cRecent Acquisition Press Release,\u201d September 9, 1975, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr2291"}, {"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: Cover; Mentioned: p. 69, no. 130", "url": "http://www.jstor.org/stable/25152624"}, {"citation": "Henning, Edward B. \u201cTwo Major Paintings by Georges Braque.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 64, no. 4 (April 1977): 137\u2013141.", "page_number": "Mentioned and reproduced: p. 137, fig. 1", "url": "http://www.jstor.org/stable/25159524"}, {"citation": "Gross, Lori. \u201cGuitar and Bottle of Marc on a Table.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 64, no. 4 (April 1977): 141\u2013146.", "page_number": "Mentioned and reproduced: p. 141-144, fig. 1", "url": "http://www.jstor.org/stable/25159525"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 243", "url": "https://archive.org/details/CMAHandbook1978/page/n263"}, {"citation": "Henning, Edward B. \u201cTwo New Cubist Paintings by Juan Gris and Pablo Picasso.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 68, no. 2 (February 1981): 39\u201350.", "page_number": "Mentioned and reproduced: p. 40, fig. 5", "url": "http://www.jstor.org/stable/25159711"}], "url": "https://clevelandart.org/art/1975.59", "images": {}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Michael J. Horvitz Family Gallery", "athena_id": 148335, "creators": [{"id": 3029, "description": "Georges Braque (French, 1882\u20131963)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1882", "death_year": "1963", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1975-08-11T00:00:00", "sortable_date": 1930, "date_added_to_oa": null, "date_text": "1930", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:01.576000"}, {"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": 172894, "accession_number": "1923.2490", "share_license_status": "CC0", "tombstone": "Amaryllis, c. 1923. Charles Demuth (American, 1883\u20131935). Watercolor over graphite; sheet: 45.8 x 30.4 cm (18 1/16 x 11 15/16 in.). The Cleveland Museum of Art, Hinman B. Hurlbut Collection, 1923.2490", "current_location": null, "title": "Amaryllis", "creation_date": "c. 1923", "creation_date_earliest": 1918, "creation_date_latest": 1928, "artists_tags": ["male", "LGBTQ+ (after 1900)"], "culture": ["America"], "technique": "watercolor over graphite", "support_materials": [{"description": "cream(3) wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Sheet: 45.8 x 30.4 cm (18 1/16 x 11 15/16 in.)", "dimensions": {"sheet": {"height": 0.458, "width": 0.304}}, "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": 355481, "title": "Exhibition of the Month: The Floral Motif in Art", "description": "<i>Exhibition of the Month: The Floral Motif in Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 29-September 30, 1947).", "opening_date": "1947-07-29T04:00:00"}, {"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": 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": 516089, "title": "Charles Demuth", "description": "<i>Charles Demuth</i>. The State Museum of Pennsylvania, Harrisburg, PA (September 24-November 6, 1966).", "opening_date": "1966-09-24T04:00:00"}, {"id": 445850, "title": "Charles Demuth: The Mechanical Encrusted on the Living", "description": "<i>Charles Demuth: The Mechanical Encrusted on the Living</i>. Art, Design & Architecture Museum, Santa Barbara, CA (organizer) (October 5-November 7, 1971); Berkeley Art Museum and Pacific Film Archive, Berkeley, CA (November 22, 1971-January 3, 1972); The Phillips Collection, Washington, DC (January 19-February 29, 1972); Munson Museum of Art, Utica, NY (March 19-April 16, 1972).", "opening_date": "1971-10-05T04:00:00"}, {"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": 361546, "title": "Charles Demuth", "description": "<i>Charles Demuth</i>. Los Angeles County Museum of Art, Los Angeles, CA (February 25-April 24, 1988).", "opening_date": "1987-10-15T04:00:00"}, {"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": 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>American Still-Life Painting, 1913-1967</em>. Cedar Rapids Art Center, Cedar Rapids, IA (October 6 - October 27, 1967); Roberson Memorial Center, Binghamton, NY (November 10 - December 1, 1967); Huntington Galleries, Huntington, WV (December 15 - January 5, 1967); Portland Museum of Art, Portland, ME (January 19 - February 9, 1968); Flint Institute of Arts, DeWaters Art Center, Flint, MI (February 23 - March 15, 1968); Mansfield Fine Arts Guild, Inc., Mansfield, OH (March 29 - April 19, 1968); Allentown Art Museum, Allentown, PA (May 8 - May 29, 1968); Kalamazoo Institute of Art, Art Center, Kalamazoo, MI (June 7 - June 28, 1968); Cornell University, Ithaca, NY (July 12 - August 2, 1968); Dulin Gallery of Art, College of Arts and Crafts, Knoxville, TN (September 20 - October 10, 1968); University of Maryland, College Park, MD (October 24 - November 14, 1968).", "opening_date": "1967-10-06T00:00:00"}, {"description": "<em>Charles Demuth. </em>Museum of Modern Art, New York (March 7 - June 11, 1950).", "opening_date": "1950-03-07T00:00:00"}, {"description": "<em>Charles Demuth: Exhibition of Water Colors and Oil Paintings</em>. Phillips Memorial Gallery, Washington, D.C. (May 3 - May 25, 1942).", "opening_date": "1942-05-03T00:00:00"}, {"description": "<em>Charles Demuth Memorial Exhibition. </em>Whitney Museum of American Art, New York (December 15, 1937 - January 16, 1938).", "opening_date": "1937-12-15T00:00:00"}, {"description": "<em>Contemporary American Watercolors</em>. Cleveland Museum of Art, Cleveland, OH (December 12, 1923 - January 27, 1924).", "opening_date": "1923-12-12T00:00:00"}, {"description": "<em>Watercolors by Charles Demuth</em>. Daniel Gallery, New York (November - December 1923). As 'The Lily'", "opening_date": "1923-11-28T05:00:00Z"}]}, "provenance": [{"description": "(Daniel Gallery, New York, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": ["<div><!--block-->Farnham 1959 (583, no. 435) incorrectly listed Hinman B. Hurlbut as an owner, her confusion arising because the drawing was purchased with a fund bearing his name. Hurlbut died in 1888.</div>"], "date": "1923", "sortorder": 1}, {"description": "The Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1923-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": ["2445.1923", "2490.1923"], "did_you_know": "This watercolor was purchased by the museum during its first exhibition, at Daniel Gallery in New York, and was one of the first works by Charles Demuth to enter a public museum collection.", "description": "Still-life was one of Charles Demuth's favorite genres, and he created works on this theme throughout his career. This drawing of a blooming amaryllis was completed while the artist was convalescing with diabetes in his hometown of Lancaster, Pennsylvania. Because of his physical weakness, he was limited to working in watercolor, a less demanding medium than painting, and to subjects that he could easily observe, such as flowers. Demuth drew the amaryllis's form in graphite and then brushed on watercolor precisely, using a blotter to develop the pebbly texture seen throughout.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117230194"], "internet_archive": []}, "citations": [{"citation": "Haskell, Barbara. <em>Charles Demuth</em>. Exh. Cat. New York: Whitney Museum of American Art, 1987.", "page_number": "Mentioned and reproduced: p. 79", "url": null}, {"citation": "Gerdts, William H. <em>American Still-Life Painting, 1913-1967</em>. Exh. Cat. New York: American Federation of Arts, 1967.", "page_number": "Mentioned: no. 6", "url": null}, {"citation": "McBride, Henry. <em>Charles Demuth Memorial Exhibition. </em>Exh. Cat. New York: Whitney Museum of American Art, 1937", "page_number": "Mentioned: no. 63", "url": null}, {"citation": "Francis, Henry. \"Museum Water Colors and the Thirteenth Exhibition of Water Colors and Pastels.\" <em>The Bulletin of the Cleveland Museum of Art </em>24, no. 3 (March 1937): 39-41", "page_number": "Mentioned: p. 40", "url": "https://www.jstor.org/stable/25137832"}, {"citation": "<em>Charles Demuth: Exhibition of Water Colors and Oil Paintings</em>. Exh. Cat. Washington, D.C.: Phillips Memorial Gallery, 1942.", "page_number": "Mentioned: no. 21", "url": null}, {"citation": "Ritchie, Andrew Carnduff. <em>Charles Demuth. </em>Exh. Cat. New York: Museum of Modern Art, 1950.", "page_number": "Mentioned: pp. 78, 92, no. 123; Reproduced: p. 78", "url": null}, {"citation": "Farnham, Emily. \"Charles Demuth: His Life, Psychology and Works.\" Ph.D. diss. Ohio State University, 1959.", "page_number": "Mentioned: p. 583, no. 435; Reproduced: p. 862", "url": null}, {"citation": "<em>Charles Demuth of Lancaster</em>. Exh. Cat. Harrisburg, PA: William Penn Memorial Museum, 1966.", "page_number": "Mentioned: no. 94", "url": null}, {"citation": "Farnham, Emily. <em>Charles Demuth: Behind a Laughing Mask</em>. Norman, OK: University of Oklahoma Press, 1971.", "page_number": "Mentioned: p. 149", "url": null}, {"citation": "Gedhard, David and Phyllis Plous. <em>Charles Demuth: The Mechanical Encrusted on the Living</em>. Exh. Cat. Santa Barbara, CA: Art Galleries, University of California, 1971.", "page_number": "Mentioned: p. 83, no. 85", "url": null}, {"citation": "Adams, Celeste, Rita Myers, 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: p. 18; Reproduced: p. 19", "url": null}, {"citation": "Anderson, Dennis R. <em>American Flower Painting</em>. New York: Watson-Guptill, 1980.", "page_number": "Mentioned: p. 64; Reproduced: p. 65", "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. 12, pp. 242-243, 297; Reproduced: p. 243", "url": null}], "url": "https://clevelandart.org/art/1923.2490", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1923.2490/1923.2490_web.jpg", "width": "606", "height": "893", "filesize": "88954", "filename": "1923.2490_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1923.2490/1923.2490_print.jpg", "width": "2308", "height": "3400", "filesize": "1277708", "filename": "1923.2490_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1923.2490/1923.2490_full.tif", "width": "4313", "height": "6352", "filesize": "82211124", "filename": "1923.2490_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1923.2490/1923.2490_alt0_web.jpg", "width": "613", "height": "893", "filesize": "445774"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1923.2490/1923.2490_alt0_print.jpg", "width": "1406", "height": "2048", "filesize": "2369137"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1923.2490/1923.2490_alt0_full.tif", "width": "1406", "height": "2048", "filesize": "8641924"}}], "creditline": "Hinman B. Hurlbut Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 172894, "creators": [{"id": 4010, "description": "Charles Demuth (American, 1883\u20131935)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1883", "death_year": "1935", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1923-12-20T00:00:00", "sortable_date": 1918, "date_added_to_oa": null, "date_text": "c. 1923", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:32.700000"}, {"id": 84500, "accession_number": "2020.100", "share_license_status": "Copyrighted", "tombstone": "Fruit and Fruit Dishes, c. 1930. Pierre Bonnard (French, 1867\u20131947). Oil on canvas; unframed: 59.9 x 70.1 cm (23 9/16 x 27 5/8 in.). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift, 2020.100. \u00a9 Artists Rights Society (ARS), New York", "current_location": "223 20th Century Avant-Garde", "title": "Fruit and Fruit Dishes", "creation_date": "c. 1930", "creation_date_earliest": 1925, "creation_date_latest": 1935, "artists_tags": ["Nabis", "male"], "culture": ["France, 20th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 59.9 x 70.1 cm (23 9/16 x 27 5/8 in.)", "dimensions": {"unframed": {"height": 0.599, "width": 0.701}, "framed": {"height": 0.754, "width": 0.857, "depth": 0.067}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "Signed 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"}, {"id": 458336, "title": "Bonnard's Worlds", "description": "<i>Bonnard's Worlds</i>. Kimbell Art Museum, Fort Worth, TX (organizer) (November 5, 2023-January 28, 2024); The Phillips Collection, Washington, DC (March 2-June 2, 2024).", "opening_date": "2023-11-05T04:00:00"}], "legacy": [{"description": "<em>Bonnard: The Late Paintings</em>. Musee National d'Art Moderne, Centre Georges Pompidou, Paris, France (February 23-May 21, 1984); Phillips Collection, Washington DC (June 9-August 25, 1984); Dallas Museum of Art, Dallas, TX (September 13-November 11, 1984).", "opening_date": "1984-02-23T00:00:00"}, {"description": "<em>Bonnard</em>. Tate Gallery, London, United Kingdom (February 12-May 17, 1998); The Museum of Modern Art, New York, NY (June 17-October 13, 1998).", "opening_date": "1998-02-12T00:00:00"}]}, "provenance": [{"description": "Joe Hessel [1859-1942] 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. III, p. 174, cat. no. 1206.&nbsp;</div>"], "date": null, "sortorder": 1}, {"description": "Daniel Varenne, Paris, France, sold to Walter Feilchenfeldt", "citations": [], "footnotes": null, "date": "?\u20131971", "sortorder": 2}, {"description": "(Walter Feilchenfeldt, Zurich, Switzerland, April 10, 1974, sold to Mr. and Mrs. Neison Harris)", "citations": [], "footnotes": ["<div><!--block-->Many thanks to the Walter Feichenfeldt Archives for this information. Much of the information is also published in the Christie\u2019s 2005 sale catalogue.</div>"], "date": "1971\u20131974", "sortorder": 3}, {"description": "Mr. Neison Harris [1915-2001] and Mrs. Neison Harris [1917-2005] Chicago, IL, by descent and consigned to Christie's NY", "citations": [], "footnotes": [], "date": "1974\u20132005", "sortorder": 4}, {"description": "(Christie's, New York, NY, November 1, 2005, lot 9, sold to Acquavella Galleries)", "citations": [], "footnotes": ["<div><!--block-->According to Kelly Devine Thomas, \u201cRunaway Imp/Mod Sales: Quality Works Fuel High Prices,\u201d ARTnews (November 22, 2005), this painting was purchased by the Acquavella Galleries at the Christie\u2019s sale.&nbsp;</div>"], "date": "2005", "sortorder": 5}, {"description": "(Acquavella Galleries, New York, NY, sold to Nancy F. and Joseph P. Keithley)", "citations": [], "footnotes": null, "date": "2005", "sortorder": 6}, {"description": "Nancy F. and Joseph P. Keithley, Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "2005\u20132020", "sortorder": 7}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2020\u2013", "sortorder": 8}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Bonnard loved dogs and owned dachshunds throughout his life. He invariably named his dogs \"Poucette.\"", "description": "Dining scenes are a recurrent theme in Pierre Bonnard\u2019s paintings. While each painting is unique, there are several constants: artfully arranged still lifes, white tablecloths that seem to glow with kaleidoscopic color, and the presence of a close circle of family and friends that often included canine and feline members of the household. Here, a compotier, or long-stemmed dish, of fruit presides at the center of the table, joined by a carafe, two wine glasses, and several dishes displaying fruit and a round of cheese. At the bottom left edge is a cat who stares down a dachshund on the right.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q87480869"], "internet_archive": []}, "citations": [{"citation": "Dauberville, Jean, and Henry Dauberville. <em>Bonnard, Catalogue Raisonne\u0301 de l'Oeuvre Peint</em>. Paris, France: J. et H. Bernheim, 1966.", "page_number": "Reproduced: Vol. III, p. 174, no. 1206", "url": null}, {"citation": "Feilchenfeldt, Marianne, and Walter Feilchenfeldt. <em>25 Jahre Feilchenfeldt in Zu\u0308rich: 1948-1973</em>. Zurich, Switzerland: [publisher not identified], 1972.", "page_number": "Reproduced: no. 24", "url": null}, {"citation": "Newman, Sasha M. <em>Bonnard: The Late Paintings</em>. Washington, DC.: Phillips Collection, 1984.", "page_number": "Mentioned & Reproduced: P. 190-191, no. 42", "url": null}, {"citation": "Elderfield, John and Sarah Whitfield. <em>Bonnard</em>. London, United Kingdom: Tate Gallery Pub, 1998.", "page_number": "Mentioned & Reproduced: P. 172-173, no. 60", "url": null}, {"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. 126-127; Mentioned: p. 254-257", "url": ""}, {"citation": "\"Exhibitions: Transformative Gift.\" <em>Art &amp; Antiques </em>XLV, no. 10 (November 2022): 48-53.", "page_number": "Reproduced: p. 50; Mentioned: p. 51", "url": ""}, {"citation": "Cahn, Isabelle.<em> Bonnard</em>. Paris: Citadelles &amp; Mazenod, 2023.", "page_number": "Reproduced: p. 250-251, 276, no. 251", "url": ""}, {"citation": "Shackelford, George T. M., and Elsa Smithgall. <em>Bonnard\u2019s Worlds.</em> Fort Worth, Texas, Washington, DC: Kimbell Art Museum; The Phillips Collection, 2023.", "page_number": "Mentioned and reproduced: p. 186-187, no. 48", "url": ""}, {"citation": "Cahn, Isabelle. <em>Bonnard.</em> Translated by David Wharry. English edition. Munich: Prestel, 2024.", "page_number": "Reproduced: p. 250-251, 276, no. 251", "url": ""}], "url": "https://clevelandart.org/art/2020.100", "images": {}, "alternate_images": [], "creditline": "Nancy F. and Joseph P. Keithley Collection Gift", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Michael J. Horvitz Family Gallery", "athena_id": 84500, "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": 1925, "date_added_to_oa": null, "date_text": "c. 1930", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:48.300000"}, {"id": 127954, "accession_number": "1950.583", "share_license_status": "Copyrighted", "tombstone": "Woman and Bird, 1944. Rufino Tamayo (Mexican, 1899\u20131991). Oil on canvas; framed: 123.2 x 102.9 x 6.2 cm (48 1/2 x 40 1/2 x 2 7/16 in.); unframed: 106.5 x 86 cm (41 15/16 x 33 7/8 in.). The Cleveland Museum of Art, Gift of Leonard C. Hanna Jr., 1950.583. \u00a9  Tamayo Heirs / Mexico / Artists Rights Society (ARS), New York", "current_location": "225 German Expressionism & Surrealism", "title": "Woman and Bird", "creation_date": "1944", "creation_date_earliest": 1944, "creation_date_latest": 1944, "artists_tags": ["male", "Latine and Hispanic Artists"], "culture": ["Mexico, 20th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 123.2 x 102.9 x 6.2 cm (48 1/2 x 40 1/2 x 2 7/16 in.); Unframed: 106.5 x 86 cm (41 15/16 x 33 7/8 in.)", "dimensions": {"framed": {"height": 1.232, "width": 1.029, "depth": 0.062}, "unframed": {"height": 1.065, "width": 0.86}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  Tamayo Heirs / Mexico / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "Signed lower right: \"Tamayo / O . 44\"; [label on verso: \"Pajaro Azul (Blue Bird)\"]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 518440, "title": "Segunda Bienal Interamericana de Me\u0301xico", "description": "<i>Segunda Bienal Interamericana de Me\u0301xico</i>. Museo del Palacio de Bellas Artes, Ciudad de M\u00e9xico, Mexico (September 5-December 1, 1960).", "opening_date": "1960-09-05T04:00:00"}, {"id": 517660, "title": "Rufino Tamayo", "description": "<i>Rufino Tamayo</i>. Phoenix Art Museum, Phoenix, AZ (organizer) (March 1-31, 1968).", "opening_date": "1968-03-01T05:00:00"}, {"id": 301294, "title": "Works from the Contemporary Collection", "description": "<i>Works from the Contemporary Collection</i>. The Cleveland Museum of Art, Cleveland, OH (July 1-October 15, 1969).", "opening_date": "1969-07-01T04:00:00"}, {"id": 444946, "title": "20th Century Mexican Painting", "description": "<i>20th Century Mexican Painting</i>. Akron Art Museum, Akron, OH (organizer) (November 5-December 3, 1972).", "opening_date": "1972-11-05T05:00:00"}, {"id": 442524, "title": "Rufino Tamayo: Myth and Magic", "description": "<i>Rufino Tamayo: Myth and Magic</i>. Solomon R. Guggenheim Museum, New York, NY (organizer) (May 18-August 19, 1979).", "opening_date": "1979-05-18T04:00:00"}], "legacy": [{"description": "CMA:  Works from the Contemporary Collection, July 1-mid-October, 1969", "opening_date": "1969-10-01T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "At the age of 17, while studying business management, Tamayo secretly studied drawing at night.", "description": "Rufino Tamayo was born in Oaxaca, Mexico. After the death of his parents, who were Zapotec\u2014Indigenous people of the Mexican state of Oaxaca\u2014he moved to Mexico City to live with an aunt. In his art, he portrayed modern Mexican subjects through a mixture of international avant-garde styles and visual references to his own culture. In Zapotec culture, birds are considered intelligent, even wise creatures. Here, a woman looks up at a caged bird, her hands raised as if in amazement. Tamayo conceived of life and art as a universal heartbeat: \u201cArt, like culture, is international. It\u2019s the result of many parts to which we add our own tone.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60515788"], "internet_archive": []}, "citations": [{"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 200", "url": "https://archive.org/details/CMAHandbook1966/page/n224"}, {"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. 200", "url": "https://archive.org/details/CMAHandbook1969/page/n224"}, {"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. 247", "url": "https://archive.org/details/CMAHandbook1978/page/n267"}], "url": "https://clevelandart.org/art/1950.583", "images": {}, "alternate_images": [], "creditline": "Gift of Leonard C. Hanna Jr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 127954, "creators": [{"id": 3300, "description": "Rufino Tamayo (Mexican, 1899\u20131991)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1899", "death_year": "1991", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1950-12-28T00:00:00", "sortable_date": 1944, "date_added_to_oa": null, "date_text": "1944", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:05:26.060000"}, {"id": 146977, "accession_number": "1972.367", "share_license_status": "Copyrighted", "tombstone": "Detachable Figure (Dancer), 1915. Jacques Lipchitz (French, born in Lithuania, 1891\u20131973). Ebony and oak; overall: 98.1 cm (38 5/8 in.). The Cleveland Museum of Art, Gift of Mrs. Aye Simon, 1972.367", "current_location": "223 20th Century Avant-Garde", "title": "Detachable Figure (Dancer)", "creation_date": "1915", "creation_date_earliest": 1915, "creation_date_latest": 1915, "artists_tags": ["male", "Jewish artists"], "culture": ["France, 20th century"], "technique": "ebony and oak", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Sculpture 1800-1960", "type": "Sculpture", "measurements": "Overall: 98.1 cm (38 5/8 in.)", "dimensions": {"overall": {"height": 0.981}, "No Extent Specified": {"height": 0.984, "width": 0.213, "depth": 0.216}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 301752, "title": "Year in Review: 1972", "description": "<i>Year in Review: 1972</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 27-March 18, 1973).", "opening_date": "1973-02-27T05:00:00"}, {"id": 302145, "title": "Traditions and Revisions: Themes from the History of Sculpture", "description": "<i>Traditions and Revisions: Themes from the History of Sculpture</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 24-November 16, 1975).", "opening_date": "1975-09-24T04:00:00"}, {"id": 443402, "title": "The Planar Dimension: Europe 1912 - 1931", "description": "<i>The Planar Dimension: Europe 1912 - 1931</i>. Solomon R. Guggenheim Museum, New York, NY (organizer) (March 9-May 6, 1979).", "opening_date": "1979-03-09T05:00:00"}, {"id": 310042, "title": "Images of the Mind", "description": "<i>Images of the Mind</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 7-August 30, 1987).", "opening_date": "1987-07-07T04:00:00"}, {"id": 310025, "title": "Creativity in Art and Science, 1860-1960", "description": "<i>Creativity in Art and Science, 1860-1960</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 16-November 8, 1987).", "opening_date": "1987-09-16T04:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008).", "opening_date": "2006-05-27T00:00:00"}], "legacy": []}, "provenance": [{"description": "Mrs. Aye Simon [1902-1992], New York, NY, given to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "-1972", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1972-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Inspired by artists Picasso and Braque, Lipchitz adapted their innovations in painting to sculpture. His series of <em>Detachable Figures</em> were made with solid blocks of material to simulate the geometric shapes of his friends' paintings. Born in Lithuania, then part of Russia, Lipchitz belonged to a circle of prominent Jewish artists active in the School of Paris that included Amedeo Modigliani and Cha\u00efm Soutine.", "description": "Jacques Lipchitz began making Cubist sculptures in 1915 and created several jointed or \u201cdetachable\u201d wood sculptures that mimicked everyday objects and appeared as if they could be reassembled or interchanged. Although this sculpture might initially seem abstract, a face with an eye, an upraised arm, an elongated torso, and curvy, kicking legs are recognizable. Lipchitz was born into a Jewish family in Lithuania, then part of the Russian Empire. At 18, he moved to Paris and established friendships with avant-garde artists such as Pablo Picasso and Amedeo Modigliani.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60781273"], "internet_archive": []}, "citations": [{"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 243", "url": "https://archive.org/details/CMAHandbook1978/page/n263"}, {"citation": "Henning, Edward B. <em>Creativity in Art and Science, 1860-1960.</em> [Cleveland, Ohio]: Published by the Cleveland Museum of Art in cooperation with Indiana University Press, 1987.", "page_number": "Mentioned and reproduced: P. 115, no. 23", "url": ""}, {"citation": "Cleveland Museum of Art. <em>The CMA Companion: A Guide to the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2014.", "page_number": "Mentioned and reproduced: P. 296", "url": ""}], "url": "https://clevelandart.org/art/1972.367", "images": {}, "alternate_images": [], "creditline": "Gift of Mrs. Aye Simon", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Michael J. Horvitz Family Gallery", "athena_id": 146977, "creators": [{"id": 290200, "description": "Jacques Lipchitz (French, born in Lithuania, 1891\u20131973)", "extent": null, "qualifier": null, "role": "artist", "biography": "French sculptor, 1891-1973, active in the United States", "name_in_original_language": null, "birth_year": "1891", "death_year": "1973", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1973-02-12T00:00:00", "sortable_date": 1915, "date_added_to_oa": null, "date_text": "1915", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:46.001000"}, {"id": 147516, "accession_number": "1973.27", "share_license_status": "Copyrighted", "tombstone": "Untitled, c. 1958\u201359. John Chamberlain (American, 1927\u20132011). Painted and welded metal; overall: 82.4 x 67.3 x 61 cm (32 7/16 x 26 1/2 x 24 in.). The Cleveland Museum of Art, Andrew R. and Martha Holden Jennings Fund, 1973.27. \u00a9  Fairweather & Fairweather LTD / Artists Rights Society (ARS), New York", "current_location": "227 Abstract Expressionism", "title": "Untitled", "creation_date": "c. 1958\u201359", "creation_date_earliest": 1953, "creation_date_latest": 1965, "artists_tags": ["male"], "culture": ["America"], "technique": "painted and welded metal", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Sculpture", "type": "Sculpture", "measurements": "Overall: 82.4 x 67.3 x 61 cm (32 7/16 x 26 1/2 x 24 in.)", "dimensions": {"overall": {"height": 0.824, "width": 0.673, "depth": 0.61}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  Fairweather & Fairweather LTD / Artists Rights Society (ARS), New York", "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"}, {"id": 219047, "title": "CMA@MOCA (rotation 2)", "description": "<i>CMA@MOCA (rotation 2)</i>. Museum of Contemporary Art Cleveland (MOCA), Cleveland, OH (organizer) (January 25-May 13, 2007).", "opening_date": "2007-01-25T00:00:00"}, {"id": 282041, "title": "Albert Oehlen: Woods Near Oehle", "description": "<i>Albert Oehlen: Woods Near Oehle</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 4, 2016-March 12, 2017).", "opening_date": "2016-12-04T05:00:00"}], "legacy": [{"description": "CMA 1974: \"Year in Review 1973,\" CMA Bulletin LXI (February, 1974), no. 141, p. 77, reproduced p. 57", "opening_date": "1974-02-01T00:00:00"}, {"description": "Cleveland Museum of Contemporary Art (1/25/2007 - 5/13/2007):  \"CMA@MOCA\"", "opening_date": "2007-01-25T00:00:00"}, {"description": "The Cleveland Museum of Art, \u201cAlbert Oehlen: Woods near Oehle\u201d (12/4/2016-3/12/2017)", "opening_date": "2016-12-04T00:00:00"}]}, "provenance": [{"description": "(Allan Stone Galleries, Inc.)", "citations": [], "footnotes": [], "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Chamberlain once quipped, \u201cI think of my art materials not as junk, but as garbage.\u201d", "description": "Throughout his career, Chamberlain was fascinated by the radical notion that consumer waste could be reconstituted into art. Most often he made sculpture by variously bending, twisting, crushing, and welding pieces of discarded car parts. Through both their junkyard material and atypical methods of construction, these works upended traditional sculpture created from carved marble or cast bronze.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79926726"], "internet_archive": []}, "citations": [{"citation": "Henning, Edward B. \u201cAn Important Sculpture by John Chamberlain.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 60, no. 8 (October 1973): 242\u2013246.", "page_number": "Mentioned and reproduced: p. 242-243, fig. 1", "url": "http://www.jstor.org/stable/25152492"}, {"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. 77, no. 141", "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. 251", "url": "https://archive.org/details/CMAHandbook1978/page/n271"}], "url": "https://clevelandart.org/art/1973.27", "images": {}, "alternate_images": [], "creditline": "Andrew R. and Martha Holden Jennings Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Frank H. and Nancy L. Porter Gallery", "athena_id": 147516, "creators": [{"id": 3858, "description": "John Chamberlain (American, 1927\u20132011)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1927", "death_year": "2011", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1973-12-28T00:00:00", "sortable_date": 1953, "date_added_to_oa": null, "date_text": "c. 1958\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": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:04:53.559000"}, {"id": 93015, "accession_number": "1923.1339", "share_license_status": "CC0", "tombstone": "The Park-Winter, 1923. Leon Kroll (American, 1884\u20131974). Oil on canvas; unframed: 91.5 x 122 cm (36 x 48 1/16 in.); framed: 109.2 x 139.7 x 7.6 cm (43 x 55 x 3 in.). The Cleveland Museum of Art, Hinman B. Hurlbut Collection, 1923.1339", "current_location": null, "title": "The Park-Winter", "creation_date": "1923", "creation_date_earliest": 1923, "creation_date_latest": 1923, "artists_tags": ["male", "Jewish artists"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Unframed: 91.5 x 122 cm (36 x 48 1/16 in.); Framed: 109.2 x 139.7 x 7.6 cm (43 x 55 x 3 in.)", "dimensions": {"unframed": {"height": 0.915, "width": 1.22}, "framed": {"height": 1.092, "width": 1.397, "depth": 0.076}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower right:  Leon Kroll 1923", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "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": 518114, "title": "Exhibition of History and Art of the Olympic Games", "description": "<i>Exhibition of History and Art of the Olympic Games</i>. Universidad Iberoamericana Ciudad de M\u00e9xico, Lomas de Santa Fe, Ciudad de M\u00e9xico, Mexico (September 12-November 30, 1968).", "opening_date": "1968-09-12T04:00:00"}, {"id": 443392, "title": "Art of the Twenties: American Painting at the Crossroads", "description": "<i>Art of the Twenties: American Painting at the Crossroads</i>. Flint Institute of Arts, Flint, MI (organizer) (November 16, 1978-January 21, 1979).", "opening_date": "1978-11-16T05:00:00"}], "legacy": [{"description": "New York, National Academy of the Arts, Spring Exhibition (1923), see References: The Arts for review; cat. no. 2.", "opening_date": "1923-01-01T00:00:00"}, {"description": "Cleveland, The Cleveland Museum of Art, Third Annual Exhibition of Contemporary American Painting (7 June-8 July 1923), see The Bulletin of The Cleveland Museum of Art (June, 1923), illus. inside cover, pp. 103-113.", "opening_date": "1923-06-07T00:00:00"}, {"description": "Pittsburgh, Department of Fine Arts, Carnegie Institute, Leon Kroll Exhibition of Paintings (25 April-2 June 1935), cat. no. 19, not illus.", "opening_date": "1935-04-25T00:00:00"}, {"description": "Worcester, MA, Worcester Art Museum, Leon Kroll (1-19 December 1937), cat. no. 8.", "opening_date": "1937-12-01T00:00:00"}, {"description": "Cleveland, The Cleveland Museum of Art, An Exhibition of American Painting from 1860 Until Today at The Cleveland Museum of Art (23 June-4 October 1937), cat. no. 115, listed p. 30.", "opening_date": "1937-06-23T00:00:00"}, {"description": "Paris, Mus\u00e9e du Jeu de Paume, Trois Siecles d'Art aux Etats-Unis (May-July 1938), cat. no. 106, p. 42, not illus.", "opening_date": "1938-05-01T00:00:00"}, {"description": "New York, The Whitney Museum of American Art, The is Our City: An Exhibition of Paintings, Watercolors, Drawings, &amp; Prints (11 March-13 April, 1941), cat. no. 43, not illus.", "opening_date": "1941-03-11T00:00:00"}, {"description": "New York, The Century Club, Life in New York City (1954)", "opening_date": "1954-01-01T00:00:00"}, {"description": "Boston, Museum of Fine Arts, Sport in Art: From American Collections Assembled for an Olympic Year (15 November-15 December, 1955); traveled to Washington, D. C., Corcoran Gallery of Art, (5-30 January, 1956); to Louisville, J. B. Speed Art Museum, (14 February-10 March, 1956); to Dallas, Dallas Museum of Fine Arts (25 March-20 April, 1956); to Denver, Denver Art Museum (5-30 May, 1956); San Francisco, California Palace of the Legion of Honor, (28 July-26 August 1956); intended for Melbourne, Australia, Olympic Games, but this stop was cancelled; cat. no. 66, not illus.", "opening_date": "1955-11-15T00:00:00"}, {"description": "Davenport, Iowa, Davenport Municipal Art Gallery, Sports and Recreation Panorama (4 April-4 May 1959), cat. no. 53, illus. p. 6, listed p. 8.", "opening_date": "1959-04-04T00:00:00"}, {"description": "New York, The National Museum of Sport Inc., Premiere Exhibition (Mid-February-Mid-April, 1968)", "opening_date": "1968-04-01T00:00:00"}, {"description": "Mexico City, XIX Olympiad, Exhibition of History and Art of the Olympic Games (12 September-30 November 1968)", "opening_date": "1968-09-12T00:00:00"}, {"description": "Flint, MI, Flint Institute of Arts, Art of the Twenties: American Painting at the Crossroads (16 November 1978-21 January 1979), cat. no. 25, illus. p. 37.", "opening_date": "1978-11-16T00:00:00"}]}, "provenance": [{"description": "Leon Kroll, 1923", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1313.1923", "1339.1923"], "did_you_know": "A fellow artist described Leon Kroll as having \"the eye of a hawk and the heart of a dove.\"", "description": "During the 1920s, Kroll earned a great deal of success painting scenes of everyday urban life. In this example, he depicted ice skaters on a pond in snow-covered Central Park, with a looming skyline of Manhattan apartment buildings in the background.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q107389700"], "internet_archive": []}, "citations": [{"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. 30, no. 115", "url": ""}, {"citation": "\"Comment.\" <em>The Arts.</em> 3:4 (April, 1923). pp. 290-293.", "page_number": "Reproduced: p. 293", "url": null}, {"citation": "Milliken, William M. \"The Third Exhibition of Contemporary American Painting.\"<em> The Bulletin of the Cleveland Museum of Art.</em> 10:6 (June 1923). pp. 102-107, 109-112, 119.", "page_number": "Reproduced: p. 102; Mentioned:pp. 103-104", "url": null}, {"citation": "Karr, Benjamin. \"Noted Kroll Painting Acquired by Museum.\" <em>The Cleveland Leader,</em> 15 July 1923.", "page_number": null, "url": null}, {"citation": "\"'The Park-Winter,' by Leon Kroll.\" <em>Christian Science Monitor, </em>21 July 1923.", "page_number": "Reproduced", "url": null}, {"citation": "Milliken, William M. \"The Park-Winter by Leon Kroll.\" <em>The Bulletin of The Cleveland Museum of Art. </em>10:8 (October, 1923). pp. 141-143.", "page_number": "Mentioned: pp. 141-143", "url": null}, {"citation": "\"In Holiday Show of Pictures.\" <em>The</em> <em>Plain Dealer </em>(Cleveland, OH)<em>,</em> November, 24 1939.", "page_number": "Reproduced: p. 11", "url": null}, {"citation": "Kroll, Leon. <em>Leon Kroll</em>. New York: American Artists Group, 1946.", "page_number": "Reproduced: Front cover", "url": null}, {"citation": "Saarinen, Aline B. \"Art Storm Breaks on Dallas: Group Protests Showing of Work by Artists Called 'Left.'\" <em>The New York Times</em>, February 12, 1956.", "page_number": "Mentioned: p. X 15", "url": null}, {"citation": "Grosser, Maurice. <em>Critic's Eye</em>. Indianapolis: Bobbs-Merrill, 1962.", "page_number": "Mentioned: p. 166", "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. 122", "url": null}, {"citation": "Carraro, Francine. \"Seeing Red: the Dallas Museum in the McCarthy Era.\" <em>Suspended License: Censorship and the Visual Arts,</em> ed. Elizabeth C. Childs. Seattle: University of Washington Press, 1997. pp. 235-258.", "page_number": "Reproduced: p. 252", "url": null}], "url": "https://clevelandart.org/art/1923.1339", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1923.1339/1923.1339_web.jpg", "width": "1190", "height": "893", "filesize": "780153", "filename": "1923.1339_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1923.1339/1923.1339_print.jpg", "width": "3400", "height": "2551", "filesize": "5340868", "filename": "1923.1339_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1923.1339/1923.1339_full.tif", "width": "4286", "height": "3216", "filesize": "41358460", "filename": "1923.1339_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1923.1339/1923.1339_alt0_web.jpg", "width": "1207", "height": "893", "filesize": "777033"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1923.1339/1923.1339_alt0_print.jpg", "width": "3400", "height": "2516", "filesize": "5478804"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1923.1339/1923.1339_alt0_full.tif", "width": "5000", "height": "3700", "filesize": "55529780"}}], "creditline": "Hinman B. Hurlbut Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 93015, "creators": [{"id": 14223, "description": "Leon Kroll (American, 1884\u20131974)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1884", "death_year": "1974", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1923-06-11T00:00:00", "sortable_date": 1923, "date_added_to_oa": null, "date_text": "1923", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:04:10.263000"}, {"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": 167667, "accession_number": "2009.345", "share_license_status": "Copyrighted", "tombstone": "Jackie Curtis and Ritta Redd, 1970. Alice Neel (American, 1900\u20131984). Oil on canvas; framed: 154.3 x 108.9 cm (60 3/4 x 42 7/8 in.); unframed: 152.4 x 106.4 cm (60 x 41 7/8 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 2009.345. \u00a9 The Estate of Alice Neel", "current_location": "229A Contemporary", "title": "Jackie Curtis and Ritta Redd", "creation_date": "1970", "creation_date_earliest": 1970, "creation_date_latest": 1970, "artists_tags": ["female"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "measurements": "Framed: 154.3 x 108.9 cm (60 3/4 x 42 7/8 in.); Unframed: 152.4 x 106.4 cm (60 x 41 7/8 in.)", "dimensions": {"framed": {"height": 1.543, "width": 1.089}, "unframed": {"height": 1.524, "width": 1.064}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 The Estate of Alice Neel", "inscriptions": [], "exhibitions": {"current": [{"id": 221190, "title": "Alice Neel: Painted Truths", "description": "<i>Alice Neel: Painted Truths</i>. Museum of Fine Arts, Houston, Houston, TX (organizer) (March 21-June 13, 2010); Whitechapel Art Gallery, London (July 9-September 19, 2010); Moderna Museet, Malm\u00f6, Sweden (October 10, 2010-January 2, 2011).", "opening_date": "2010-03-21T00:00:00"}, {"id": 232872, "title": "Alice Neel - Painter of Modern Life", "description": "<i>Alice Neel - Painter of Modern Life</i>. Ateneum Art Museum/Finnish National Gallery, Helsinki, Finland (June 10-October 2, 2016); Gemeentemuseum, The Hague, The Netherlands (November 5, 2016-February 12, 2017); Fondation Vincent van Gogh-Arles, 13200 Arles, France (March 4-September 17, 2017); Deichtorhallen, Hamburg, Hamburg, Germany (October 13, 2017-January 14, 2018).", "opening_date": "2016-06-10T04:00:00"}, {"id": 367859, "title": "Alice Neel: People Come First", "description": "<i>Alice Neel: People Come First</i>. The Metropolitan Museum of Art, New York, NY (organizer) (March 15-August 1, 2021); Fine Arts Museums of San Francisco, de Young Museum (March 12-July 10, 2022) https://deyoung.famsf.org/exhibitions/alice-neel.", "opening_date": "2021-03-15T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Sotheby's, New York, 2009, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "2009", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2009\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": ["17.2009"], "did_you_know": "Jackie Curtis, seen at right, was credited with pioneering the glam rock style of the 1970s.", "description": "Jackie Curtis (on the right), was a performer, writer, and singer, active in New York City\u2019s downtown counterculture of the 1960s and 1970s, and part of Andy Warhol\u2019s creative orbit. In this double portrait Alice Neel depicts Curtis, who was gender nonconforming, together with Ritta Redd, a friend with whom Curtis sometimes collaborated. Typical for Neel, the personalities of her sitters are evident in this painting. Notably, Curtis takes center stage in the image, leaning in front of and casting a shadow over Redd. Neel once commented that when \u201cportraits are good art they reflect the culture, the time and many other things.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60480536"], "internet_archive": []}, "citations": [{"citation": "Neel, Alice, and Jeremy Lewison. <em>Alice Neel: Painted Truths</em>. Houston: Museum of Fine Arts, 2010.", "page_number": "pp. 154-155, cat. 24", "url": ""}, {"citation": "Neel, Alice, and Jeremy Lewison. <em>Alice Neel: Painted Truths</em>. Houston: Museum of Fine Arts, 2010.", "page_number": "pp. 154-155, cat. 24", "url": "https://ingallslibrary.on.worldcat.org/oclc/421948429"}, {"citation": "Cleveland Museum of Art. <em>The CMA Companion: A Guide to the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2014.", "page_number": "Mentioned and reproduced: P. 117", "url": ""}, {"citation": "\"Culture Watch: Exhibitions.\" <em>Women in the Arts</em> 34, n. 3 (Fall 2016): 4-5.", "page_number": "Reproduced: p. 5", "url": ""}, {"citation": "Quinn, Bridget, and Lisa Congdon. <em>Broad Strokes: 15 Women Who Made Art and Made History (in That Order</em>). San Francisco: Chronicle Books, 2017.", "page_number": "Reproduced p. 110; mentioned pp. 111-112.", "url": "https://ingallslibrary.on.worldcat.org/oclc/951710657"}, {"citation": "Lewison, Jeremy, Bice Curiger, and Alice Neel. <em>Alice Neel: Painter of Modern Life.</em> Brussels : Mercatorfonds ; Helsinki : Ateneum Art Museum, Finnish National Gallery, 2016.", "page_number": "Mentioned: p. 178, cat. 52; reproduced: p. 179", "url": "https://ingallslibrary.on.worldcat.org/oclc/954037776"}, {"citation": "Neel, Alice, and Angela Lampe. Alice Neel: un regard engage\u0301. 2020, 87, 107.", "page_number": "Mentioned: p. 87; reproduced: p. 87, ill. 3 and p. 107.", "url": ""}, {"citation": "Neel, Alice, Angela Lampe, Jeremy Lewison, Larne Abse Gogarty, E. Lebovici, Nathalie Ernoult, and Alice Neel. Alice Neel: An Engaged Eye. Woodbridge, Suffolk, England : ACC Art Books, in agreement with E\u0301ditions du Centre Pompidou,  2021.", "page_number": "Mentioned and reproduced: pp. 106-107", "url": ""}, {"citation": "Pigeat, Anae\u0308l. Alice Neel: Les Emotions (Gladwyne, 1900-New York, 1984). Paris : Flammarion, 2022, 85.", "page_number": "Reproduced: p. 85", "url": ""}, {"citation": "\"Alice Neel: People Come First.\" <em>American Art Review </em>34, no.1 (Spring 2022): 138-141, 144.", "page_number": "Reproduced: p. 140", "url": ""}, {"citation": "Betard, Daphne. \"Retrospective Centre Pompidou: La Comedie Humaine d'Alice Neel.\" <em>Beaux Arts Magazine </em>461 (November 2022): 110-117.", "page_number": "Mentioned and reproduced: p. 116-117", "url": ""}, {"citation": "Als, Hilton, Alex Fialho, Evan Garza, and Wayne Koestenbaum. <em>At Home: Alice Neel in the Queer World. </em>New York: David Zwirner Books, 2024.", "page_number": "Reproduced p. 57, 58-59", "url": ""}, {"citation": "Haus der Kunst Mu\u0308nchen, Haus der Kunst Mu\u0308nchen Ausstellungsleitung, and Whitney Museum of American Art. 1981. <em>Amerikanische Malerei 1930-1980: [Ausstellung], Haus Der Kunst, Mu\u0308nchen, 14. November 1981 Bis 31. Januar 1982</em>. Ausstellungsleitung Haus der Kunst Mu\u0308nchen: Prestel-Verlag, Mu\u0308nchen, 1981.", "page_number": "Reproduced p. 158.", "url": "https://ingallslibrary.on.worldcat.org/oclc/8929908"}], "url": "https://clevelandart.org/art/2009.345", "images": {}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Toby's Gallery for Contemporary Art", "athena_id": 167667, "creators": [{"id": 30546, "description": "Alice Neel (American, 1900\u20131984)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1900", "death_year": "1984", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2009-11-04T00:00:00", "sortable_date": 1970, "date_added_to_oa": null, "date_text": "1970", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Jackie Curtis and Rita Red"], "is_highlight": true, "updated_at": "2026-03-27 00:09:58.811000"}, {"id": 136693, "accession_number": "1961.229", "share_license_status": "Copyrighted", "tombstone": "Mallarme's Swan, 1944. Robert Motherwell (American, 1915\u20131991). Collage using gouache, crayon and paper on cardboard; unframed: 110.5 x 90.2 cm (43 1/2 x 35 1/2 in.). The Cleveland Museum of Art, Contemporary Collection of The Cleveland Museum of Art, 1961.229. \u00a9  Dedalus Foundation, Inc. / Artists Rights Society (ARS), NY", "current_location": null, "title": "Mallarme's Swan", "creation_date": "1944", "creation_date_earliest": 1944, "creation_date_latest": 1944, "artists_tags": ["male"], "culture": ["America"], "technique": "collage using gouache, crayon and paper on cardboard", "support_materials": [], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Unframed: 110.5 x 90.2 cm (43 1/2 x 35 1/2 in.)", "dimensions": {"unframed": {"height": 1.105, "width": 0.902}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  Dedalus Foundation, Inc. / Artists Rights Society (ARS), NY", "inscriptions": [{"inscription": "signed upper left:  Motherwell-1944", "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": 520064, "title": "Works of Robert Motherwell", "description": "<i>Works of Robert Motherwell</i>. Smith College Museum of Art, Northampton, MA (organizer) (January 10-28, 1963).", "opening_date": "1963-01-10T05:00:00"}, {"id": 515856, "title": "Robert Motherwell", "description": "<i>Robert Motherwell</i>. The Museum of Modern Art, New York, NY (organizer) (September 29-November 1, 1965); Stedelijk Museum, Amsterdam, 1070 AB Amsterdam, Netherlands (January 8-20, 1966); Whitechapel Art Gallery, London (January 31-February 28, 1966); Kunsthalle Basel, Basel, Switzerland (March 1-April 1, 1966); Museum Folkwang, 45128 Essen, Germany (July 2-August 14, 1966).", "opening_date": "1965-09-29T04:00:00"}, {"id": 301765, "title": "The Collages of Robert Motherwell", "description": "<i>The Collages of Robert Motherwell</i>. Museum of Fine Arts, Houston, Houston, TX (organizer) (November 15, 1972-January 14, 1973); The Cleveland Museum of Art, Cleveland, OH (February 6-25, 1973); Wadsworth Atheneum Museum of Art, Hartford, CT (March 14-April 22, 1973); Museum of Fine Arts, Boston, Boston, MA (May 10-June 24, 1973).", "opening_date": "1972-11-15T05:00:00"}, {"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": 223106, "title": "In the Beginning was Merz - From Kurt Schwitters to the Present Day", "description": "<i>In the Beginning was Merz - From Kurt Schwitters to the Present Day</i>. Sprengel Museum Hannover (August 16-November 5, 2000).", "opening_date": "2000-08-16T00:00:00"}, {"id": 222237, "title": "Robert Motherwell:  Early Collages", "description": "<i>Robert Motherwell:  Early Collages</i>. Solomon R. Guggenheim Museum, New York, NY (organizer) (September 27, 2013-January 5, 2014).", "opening_date": "2013-09-27T00:00:00"}], "legacy": [{"description": "Northampton, MA, Smith College Museum of Art, Works of Robert Motherwell, January 10-January 28, 1963, cat. no. 2, repr.", "opening_date": "1963-01-10T00:00:00"}, {"description": "also to: Boston, Massachusetts Institute of Technology, February 11-March 3, 1963.", "opening_date": "1963-02-11T00:00:00"}, {"description": "New York, The Museum of Modern Art, Robert Motherwell, September 29-November 30, 1965, cat. no. 12, repr. p. 13.", "opening_date": "1965-09-29T00:00:00"}, {"description": "also to: Amsterdam, The Stedelijk Museum, January 8-January 20, 1966; London, Whitechapel Gallery; Basel, Kunsthalle; Essen, Museum Folkwang.", "opening_date": "1966-01-08T00:00:00"}, {"description": "New York, The Metropolitan Museum of Art, New York", "opening_date": null}, {"description": "Painting and Sculpture: 1940-1970, October 18, 1969-February 1, 1970, cat. no. 254, repr. pl. p. 93.", "opening_date": "1969-10-18T00:00:00"}, {"description": "Houston, The Museum of Fine Arts, The Collages of Robert Motherwell, November 15, 1972-January 15, 1973, cat. no. 54, repr. p. 55 and p. 19.", "opening_date": "1972-11-15T00:00:00"}, {"description": "also to: Cleveland, The Cleveland Museum of Art, February 6-February 25, 1973; Hartford, CT, The Wadsworth Atheneum, March 14-April 22, 1973; Boston, The Museum of Fine Arts, May 10-June 24, 1973.", "opening_date": "1973-02-06T00:00:00"}, {"description": "Mexico City, Museo de Arte Moderno, Retrospectiva del gran pinter nortamericano, April-May, 1975, cat. no. 2, repr. p. 10.", "opening_date": "1975-04-01T00:00:00"}, {"description": "Buffalo, NY, The Albright-Knox Art Gallery, Robert Motherwell Retrospective Exhibition, September 15-November 27, 1983, cat. no. 13, repr. p. 125.", "opening_date": "1983-09-15T00:00:00"}, {"description": "also to: Los Angeles, Los Angeles County Museum of Art, January 4-March 4, 1984; San Francisco, San Francisco Museum of Modern Art, April 7-May 28, 1984; Seattle, Seattle Art Museum, June 22-August 5, 1984; Washington, DC, Corcoran Gallery of Art, September 8-October 28, 1984; New York, The Solomon R. Guggenheim Museum, December 1, 1984-January 31, 1985.", "opening_date": "1984-01-04T00:00:00"}]}, "provenance": [{"description": "Mrs. Robert Motherwell", "citations": [], "footnotes": [], "date": null, "sortorder": null}, {"description": "(Robert Elkon Gallery, New York, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "?-1961", "sortorder": 2}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1961-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Robert Motherwell originally titled this work <em>Mallarme's Dream</em>, but artist Joseph Cornell suggested changing it to its present version.", "description": "This drawing is one of several works that Robert Motherwell made in tribute to the French Symbolist poet St\u00e9phane Mallarm\u00e9 (1842\u20131898). A member of the New York School, Motherwell stood out among his contemporaries for his literary references within a movement that otherwise favored pure abstraction. He worked in collage, the process used here, for much of his career, expressively tearing and layering paper and everyday materials.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780975"], "internet_archive": []}, "citations": [{"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 200", "url": "https://archive.org/details/CMAHandbook1966/page/n224"}, {"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. 200", "url": "https://archive.org/details/CMAHandbook1969/page/n224"}, {"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. 250", "url": "https://archive.org/details/CMAHandbook1978/page/n270"}, {"citation": "Henning, Edward B. <em>The Spirit of Surrealism</em>. Cleveland: The Cleveland Museum of Art, 1979.", "page_number": "Mentioned: p. 150, 175; Reproduced: p. 150, no. 90", "url": null}, {"citation": "Landau, Ellen G. \u201c\u2018Space and Pictorial Life\u2019 Hans Hofmann\u2019s \u2018Smaragd Red and Germinating Yellow.\u2019\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 72, no. 5 (September 1985): 310\u201322.", "page_number": "Mentioned and reproduced: p. 311, fig. 4", "url": "http://www.jstor.org/stable/25159910"}, {"citation": "Henning, Edward B. <em>Creativity in Art and Science, 1860-1960.</em> [Cleveland, Ohio]: Published by the Cleveland Museum of Art in cooperation with Indiana University Press, 1987.", "page_number": "Mentioned and reproduced: P. 133, no. 43", "url": ""}, {"citation": "Flam, Jack D., Katy Rogers, and Tim Clifford. <em>Motherwell: 100 Years.</em> Milano, Italy: Skira; New York: Dedalus Foundation, 2015.", "page_number": "Reproduction: p. 26", "url": null}, {"citation": "Kishi, Mizuki. \"Jackson Pollock's Painting Process and Viewr Participation: With Reference to Dewey's <em>Art as Experience</em>.\" <em>NACT Review</em> 3 (2016): 42-60.", "page_number": "Reproduced: p. 55, fig. 19", "url": null}], "url": "https://clevelandart.org/art/1961.229", "images": {}, "alternate_images": [], "creditline": "Contemporary Collection of The Cleveland Museum of Art", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 136693, "creators": [{"id": 3567, "description": "Robert Motherwell (American, 1915\u20131991)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1915", "death_year": "1991", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1961-12-02T00:00:00", "sortable_date": 1944, "date_added_to_oa": null, "date_text": "1944", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Mallarme's Dream"], "is_highlight": false, "updated_at": "2026-03-27 00:09:22.155000"}, {"id": 148411, "accession_number": "1976.101", "share_license_status": "Copyrighted", "tombstone": "Jupiter IV, 1974. Al Held (American, 1928\u20132005). Acrylic on canvas; unframed: 152.4 x 152.4 cm (60 x 60 in.). The Cleveland Museum of Art, Purchased with a grant from the NEA and matched by gifts from members of The Cleveland Society for Contemporary Art, 1976.101. \u00a9  Al Held Foundation, Inc. / Licensed by Artists Rights Society (ARS), New York", "current_location": "224A Contemporary Corridor", "title": "Jupiter IV", "creation_date": "1974", "creation_date_earliest": 1974, "creation_date_latest": 1974, "artists_tags": ["male", "Jewish artists"], "culture": ["America"], "technique": "acrylic on canvas", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "measurements": "Unframed: 152.4 x 152.4 cm (60 x 60 in.)", "dimensions": {"unframed": {"height": 1.524, "width": 1.524}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  Al Held Foundation, Inc. / Licensed by Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "Signed on back: Al Held", "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": 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. 112, p. 122, repr. p. 78.", "opening_date": "2006-06-09T00:00:00"}, {"description": "\"Al Held,\" Adler Castillo Gallery, Caracas Venezuela (1975).", "opening_date": "1975-01-01T00:00:00"}, {"description": "\"Year in Review 1976,\" CMA (1977).", "opening_date": "1977-01-01T00:00:00"}, {"description": "\"Contemporary Art,\" CMA (Nov. 3 - Dec. 12, 1982).", "opening_date": "1982-11-03T00:00:00"}, {"description": "\"Contemporary Collection,\" CMA (Aug. 17 - Nov. 6, 1983).", "opening_date": "1983-08-17T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Before enlisting in the United States Navy in 1945, Held claimed to have been expelled from high school in the Bronx.", "description": "From 1969 to 1978, the American painter Al Held investigated spatial conundrums by suggesting volume and depth in large, stark paintings like <em>Jupiter IV</em>. Over a flat, white surface he superimposed bold, black lines of varying thickness to render interlocking cubes, flowing circular forms, and other three-dimensional shapes, providing a complex symphony of continuous geometrical forms floating in infinite space.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60472975"], "internet_archive": []}, "citations": [{"citation": "Sims, Lowery Stokes. <em>The Persistence of Geometry: Form, Content, and Culture in the Collection of the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2006.", "page_number": "Mentioned and reproduced: P. 77-78, no. 112", "url": ""}], "url": "https://clevelandart.org/art/1976.101", "images": {}, "alternate_images": [], "creditline": "Purchased with a grant from the NEA and matched by gifts from members of The Cleveland Society for Contemporary Art", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Betty and Max Ratner Gallery", "athena_id": 148411, "creators": [{"id": 3470, "description": "Al Held (American, 1928\u20132005)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1928", "death_year": "2005", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1976-10-28T00:00:00", "sortable_date": 1974, "date_added_to_oa": null, "date_text": "1974", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:58.778000"}, {"id": 170462, "accession_number": "2012.67", "share_license_status": "Copyrighted", "tombstone": "Fountain of Blood, 1961. Malangatana Ngwenya (Mozambican, 1936\u20132011). Oil on fiberboard; framed: 119.4 x 147.3 cm (47 x 58 in.). The Cleveland Museum of Art, Gift of Dr. and Mrs. Lloyd H. Ellis Jr., 2012.67. \u00a9 Malangatana Ngwenya / DALRO, Johannesburg / ARS, NY", "current_location": null, "title": "Fountain of Blood", "creation_date": "1961", "creation_date_earliest": 1961, "creation_date_latest": 1961, "artists_tags": ["male", "African (from 1900 to present)"], "culture": ["Africa, Mozambique, 20th century"], "technique": "oil on fiberboard", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "measurements": "Framed: 119.4 x 147.3 cm (47 x 58 in.)", "dimensions": {"framed": {"height": 1.194, "width": 1.473}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Malangatana Ngwenya / DALRO, Johannesburg / ARS, NY", "inscriptions": [{"inscription": "Written in black on back of fiberboard: \"Malangatana Valente/Ngwenya/20. The fountain of bood/BALOYI/aod aloim quedis Lourenco Marques\"\r\n\r\nSigned in lower left corner of recto: \"MALANGATANA/61\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 360349, "title": "Malangatana: Mozambique Modern", "description": "<i>Malangatana: Mozambique Modern</i>. The Art Institute of Chicago, Chicago, IL (organizer) (March 21-November 15, 2020) https://www.artic.edu/exhibitions/9169/malangatana-mozambique-modern.", "opening_date": "2020-03-21T04:00:00"}, {"id": 393229, "title": "Contemporary Installation", "description": "<i>Contemporary Installation</i>. The Cleveland Museum of Art (organizer).", "opening_date": "2021-04-12T04:00:00"}, {"id": 676644, "title": "New Humans: Memories of the Future", "description": "<i>New Humans: Memories of the Future</i>. New Museum, New York, NY (organizer) (March 16-July 26, 2026).", "opening_date": "2026-03-16T04:00:00"}], "legacy": []}, "provenance": [{"description": "collection of the artist", "citations": [], "footnotes": null, "date": "1961\u20131964", "sortorder": 1}, {"description": "Malangatana Goenha Valente (wife of the artist), sold to Lloyd H. Ellis Jr.", "citations": [], "footnotes": null, "date": "1964", "sortorder": 2}, {"description": "Dr. and Mrs. Lloyd H. Ellis Jr., Solon, OH, gifted to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "2012", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2012\u2013", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": ["25.2011"], "did_you_know": "<em>Fountain of Blood</em> was featured in the 1962 First International Congress of Culture exhibition, a major festival that showcased African art in Europe, and was one of Ngwenya's first exhibited works outside Mozambique.", "description": "Born in Mozambique under Portuguese rule, Malangatana Ngwenya's work focuses on the clash between local Mozambican traditions and European colonialism. His highly expressive paintings often comprise dense compositions packed with religious and mythological symbolism and tormented figures\u2014a response to the violence he witnessed. In <em>Fountain of Blood </em>he incorporates a local myth: when one group moves into another people's land, their spirits battle. Ngwenya's pro-independence political views resulted in the artist's imprisonment for 18 months in 1964, contributing to his national reputation as a political artist and supporter of colonial resistance.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60480984"], "internet_archive": []}, "citations": [{"citation": "Malangatana, and Ju\u0301lio Navarro. <em>Malangatana Valente Ngwenya</em>. translated from the Portuguese by Harriet C. McGuire, Zita C. Nunez and William P. Rougle. Dar es Salaam: Mkuki na Nyota, 2003.", "page_number": "Mentioned pp. 9-15", "url": ""}, {"citation": "<em>Exhibitions on the occasion of the First International Congress of African Culture. </em>Salisbury: National Gallery of Rhodesia, 1962.", "page_number": "Reproduced, cat. 322", "url": ""}, {"citation": "African-American Institute. <em>African Art Today: Four Major Artists</em>. New York: African-American Institute, 1974.", "page_number": "Mentioned pp. 5-6", "url": ""}, {"citation": "Morrill, Rebecca, Simon Hunegs, and Chika Okeke-Agulu. <em>African Artists: From 1882 to Now</em>. London: Phaidon Press Limited, 2021.", "page_number": "", "url": ""}, {"citation": "\"New Take on the New: A comprehensive reinstallation of the galleries of contemporary art offers fresh viewpoints on the art of our time<em>.\u201d</em> <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>61, no. 2 (Spring 2021): 4-9.", "page_number": "Reproduced and Mentioned: P. 8.", "url": ""}], "url": "https://clevelandart.org/art/2012.67", "images": {}, "alternate_images": [], "creditline": "Gift of Dr. and Mrs. Lloyd H. Ellis Jr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 170462, "creators": [{"id": 61575, "description": "Malangatana Ngwenya (Mozambican, 1936\u20132011)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1936", "death_year": "2011", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2012-09-04T00:00:00", "sortable_date": 1961, "date_added_to_oa": null, "date_text": "1961", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["The River of Blood"], "is_highlight": false, "updated_at": "2026-03-27 00:01:18.511000"}, {"id": 164836, "accession_number": "2006.202", "share_license_status": "Copyrighted", "tombstone": "Bedtime, 1940. Charles L. Sall\u00e9e (American, 1911\u20132006). Oil on canvas; framed: 86.4 x 66 cm (34 x 26 in.); unframed: 79 x 66.2 cm (31 1/8 x 26 1/16 in.). The Cleveland Museum of Art, Gift of June Sallee Antoine in honor of our parents, Charles Louis Sallee, Sr. and Cora Nell Collier Sallee, 2006.202. \u00a9 The Estate of Charles L. Sall\u00e9e", "current_location": "228B Cleveland Artists", "title": "Bedtime", "creation_date": "1940", "creation_date_earliest": 1940, "creation_date_latest": 1940, "artists_tags": ["Black American Artists", "May Show", "male", "Cleveland Institute of Art (alumni)"], "culture": ["America, Ohio, Cleveland"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Cleveland School", "type": "Painting", "measurements": "Framed: 86.4 x 66 cm (34 x 26 in.); Unframed: 79 x 66.2 cm (31 1/8 x 26 1/16 in.)", "dimensions": {"framed": {"height": 0.864, "width": 0.66}, "unframed": {"height": 0.79, "width": 0.662}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 The Estate of Charles L. Sall\u00e9e", "inscriptions": [{"inscription": "Signed lower left corner: \"Sall\u00e9e\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 230821, "title": "Hardship to Hope: African American Art from the Karamu Workshop", "description": "<i>Hardship to Hope: African American Art from the Karamu Workshop</i>. Maltz Museum of Jewish Heritage, Beachwood, OH (organizer) (September 13-December 31, 2011).", "opening_date": "2011-09-13T00:00:00"}, {"id": 443702, "title": "Currents and Constellations: Black Art in Focus", "description": "<i>Currents and Constellations: Black Art in Focus</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 20-June 26, 2022).", "opening_date": "2022-02-20T05:00:00"}], "legacy": [{"description": "<em>Exhibit by Karamu Artists</em>,. Associated American Artists, New York, NY, (January 7-22, 1942).", "opening_date": "1942-01-07T05:00:00Z"}, {"description": "<em>Yet Still We Rise: African American Art in Cleveland, 1920-1970. </em>Cleveland State University, Cleveland, OH, (March 15-April 20, 1996); Butler Institute of American Art, Youngstown, OH (December 22, 1996-January 26, 1997) ; Riffe Gallery, Columbus, OH (April 24-July 12, 1997).", "opening_date": "1996-03-15T00:00:00"}]}, "provenance": [{"description": "June Sallee Antoine (the artist's sister)", "citations": [], "footnotes": [], "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Sall\u00e9e worked as an interior designer for many important clients, including the Cleveland Browns.", "description": "After teaching at Karamu House, Charles Sall\u00e9e went on to become the first African American graduate of the Cleveland School (now Institute) of Art, earning his degree in 1938. Initially focused on painting and printmaking, he subsequently launched a distinguished professional career in interior design. <em>Bedtime </em>is the artist\u2019s most famous image, having earned national renown when it was featured in James A. Porter\u2019s groundbreaking survey <em>Modern Negro Art</em>, published in 1943.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60480354"], "internet_archive": []}, "citations": [{"citation": "Litt, Steven. \"Cleveland Museum of Art Survey's America's Racial History Through Works by Modern, Contemporary Black Artists,\" <em>Plain Dealer, </em>February 27, 2022.", "page_number": "P. D-2", "url": ""}, {"citation": "Porter, James A. <em>Modern Negro Art</em>. New York, NY: Dryden Press, 1943.", "page_number": "Reproduced: p. 238", "url": null}, {"citation": "Rahn, Zita, and Ursula Korneitchouk. <em>Yet Still We Rise: African American Art in Cleveland, 1920-1970</em>. Cleveland, OH: Cleveland Artists Foundation, 1996.", "page_number": "Reproduced: p. 34", "url": null}, {"citation": "Cole, Mark \"The Cleveland Gallery.\" <em>Cleveland Art</em>, no. 49 (September 2009):6.", "page_number": "Reproduced: p. 6", "url": null}, {"citation": "Litt, Steven. \u201cA Sampling of the New Acquisitions on Display in the East Wing.\u201d <em>Cleveland Plain Dealer </em>June 21, 2009, P. H6.", "page_number": null, "url": null}, {"citation": "Bassett, Mark. \"Charles Sallee's Joyous Work.\" <em>Link 11 (</em>Spring, 2012):5.", "page_number": "Mentioned and reproduced: p. 5", "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. 11; Mentioned: p 20.", "url": null}], "url": "https://clevelandart.org/art/2006.202", "images": {}, "alternate_images": [], "creditline": "Gift of June Sallee Antoine in honor of our parents, Charles Louis Sallee, Sr. and Cora Nell Collier Sallee", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "William P. and Amanda C. Madar Gallery", "athena_id": 164836, "creators": [{"id": 7975, "description": "Charles L. Sall\u00e9e (American, 1911\u20132006)", "extent": null, "qualifier": null, "role": "artist", "biography": "Charles Sall\u00e9e was born in Oberlin, Ohio, but later moved to Sandusky, where his father established a construction contracting company. Sall\u00e9e learned the building trade from his father but decided to pursue a career in art. In 1931 he moved to Cleveland and attended art classes at Karamu House, then known as the Playhouse Settlement. He studied lithography and etching techniques at the Huntington Poly technic Institute, 1932\u201333. He attended the Cleveland School of Art, 1933\u201338, studying with Carl Gaertner, Viktor Schreckengost, Rolf Stoll, and Paul Travis. In 1939 he earned a B.S. in education from Western Reserve College and began teaching art in the Cleveland school system. In 1936 he joined the local chapter of the American Artists\u2019 Congress. Sall\u00e9e worked on several Works Progress Administration projects, 1936 creating prints, then painting murals. His WPA commissions included work for Sunny Acres Hospital, the Outhwaite Homes, and Cleveland Municipal Airport, as well as the Fort Hays Homes in Columbus, Ohio. He exhibited in the May Shows at the Cleveland Museum of Art (1935\u201346), and in group exhibitions at Howard University (1937) and the Library of Congress in Washington, D.C. (1940), the Tanner Art Galleries of Chicago (1940), the Associated American Art Galleries of New York (1941), and Atlanta University (1942). The North Canton Library in Canton, Ohio, organized his first solo exhibition in 1940. He was drafted into the Army Corps of Engineers during World War II and worked as a cartographer and camouflage designer. After the war, he began a career in interior design. For the next four decades, Sall\u00e9e worked for various interior design firms in Cleveland, designing corporate offices, nightclubs, hotels, and restaurants for such clients as Cleveland Trust, Stouffer Hotel, and the Cleveland Browns. <br><em>Transformations in Cleveland Art.</em> (CMA, 1996), p. 236", "name_in_original_language": null, "birth_year": "1911", "death_year": "2006", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2007-02-26T00:00:00", "sortable_date": 1940, "date_added_to_oa": null, "date_text": "1940", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:12.099000"}, {"id": 687717, "accession_number": "2025.2", "share_license_status": "Copyrighted", "tombstone": "Composici\u00f3n Constructiva, 1932. Joaqu\u00edn Torres-Garc\u00eda (Uruguayan, 1874\u20131949). Oil on canvas; 77.9 x 58.1 cm (30 11/16 x 22 7/8 in.). The Cleveland Museum of Art, Purchased with funds from the Severance and Greta Millikin Trust and Sundry Art \u2013 Miscellaneous Fund, 2025.2", "current_location": "223 20th Century Avant-Garde", "title": "Composici\u00f3n Constructiva", "creation_date": "1932", "creation_date_earliest": 1932, "creation_date_latest": 1932, "artists_tags": ["gender unknown", "Latine and Hispanic Artists"], "culture": ["Uruguay"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "77.9 x 58.1 cm (30 11/16 x 22 7/8 in.)", "dimensions": {"No Extent Specified": {"height": 0.779, "width": 0.581}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": [{"description": "<em>Exposici\u00f3n Antol\u00f3gica Torres-Garc\u00eda. </em>Museo Espa\u00f1ol de Arte Contempor\u00e1neo, Madrid (organizer) (April-May 1973); Museo de Arte Moderno, Barcelona, Spain (June 1973).", "opening_date": "1973-04-01T05:00:00Z"}, {"description": "<em>L'Avantguarda A Catalunya. </em>Galer\u00eda Dau al Set, Barcelona, Spain (organizer) (March 1985).", "opening_date": "1985-03-01T05:00:00Z"}, {"description": "<em>Joaqu\u00edn Torres-Garc\u00eda. </em>XXII Bienal Internacional de S\u00e3o Paulo, Brazil (organizer) (October 12-December 10, 1994).", "opening_date": "1994-10-12T04:00:00Z"}, {"description": "<em>Magie der Zahl. </em>Staatsgalerie Stuttgart, Germany (organizer) (January 2-May 19, 1997).", "opening_date": "1997-01-02T05:00:00Z"}]}, "provenance": [{"description": "B. Cendros, Barcelona", "citations": [], "footnotes": null, "date": "1932 or after", "sortorder": 1}, {"description": "Jorge Mara, Madrid", "citations": [], "footnotes": null, "date": "1932 or after\u2013?", "sortorder": 2}, {"description": "Andre Vlasto, Buenos Aires, sold to Rachel Adler Fine Art, New York, NY", "citations": [], "footnotes": null, "date": "?\u20131996", "sortorder": 4}, {"description": "Rachel Adler Fine Art, New York, NY, sold to Private Collection, Panama", "citations": [], "footnotes": null, "date": "1996", "sortorder": 5}, {"description": "Private Collection, Panama, sold to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1996\u20132025", "sortorder": 7}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2025", "sortorder": 8}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Joaqu\u00edn Torres-Garc\u00eda repurposed a canvas to make this work of art, painting over one of his previous compositions.", "description": "This painting is emblematic of Joaqu\u00edn Torres-Garc\u00eda\u2019s theory of \u201cUniversal Constructivism\u201d in which the artist combined European geometric abstraction, as espoused by his friend Piet Mondrian, with ancient and Indigenous South American symbols and iconography that evoked the artist\u2019s native Uruguay. The style that Torres-Garc\u00eda borrowed from Mondrian involved building a composition around geometric shapes arranged harmoniously with straight horizontal and vertical lines. The symbols here\u2014the anchor (representing the artist\u2019s transatlantic journeys as well as hope), the snail and fish (references to nature), and clocks (an allusion to the concept of time and its presence in human experience)\u2014frequently appear in the artist\u2019s paintings of the late1920s and early1930s.", "external_resources": {"wikidata": [], "internet_archive": []}, "citations": [{"citation": "Jardi\u0301, Enric. <em>Torres Garcia</em>. Boston, Mass.: New York Graphic Society, 1973.", "page_number": "Reproduced: p. 184; Mentioned: p. 275, no. 247", "url": ""}, {"citation": "Zea, Leopoldo. <em>Ame\u0301rica Latina En Sus Ideas</em>. Paris, Me\u0301xico, D.F.: Unesco; Siglo Veintiuno Editores, 1986.", "page_number": "Reproduced: Cover", "url": ""}, {"citation": "Bozal Ferna\u0301ndez, Valeriano. <em>Pintura Y Escultura Espan\u0303Olas Del Siglo XX.</em> Madrid: Espasa-Calpe, 1992.", "page_number": "Mentioned and reproduced: p. 532-534", "url": ""}, {"citation": "Maslach, Adolfo M. <em>Joaqui\u0301n Torres-Garci\u0301a: Sol Y Luna Del Arcano.</em> Caracas, Venezuela: JTG, 1998.", "page_number": "Reproduced: p. 354, no. 207", "url": ""}, {"citation": "Bozal Ferna\u0301ndez, Valeriano. <em>Historia de La Pintura y La Escultura Del Siglo XX En Espan\u0303a.</em> Boadilla del Monte, Madrid: Antonio Machado Libros, 2013.", "page_number": "Mentioned and reproduced: p. 170-171, vol. I", "url": ""}, {"citation": "de Torres, Cecilia, Susanna V. Temkin, Madeline Murphy Turner, and Victoria L. Fedrigotti. \"The Catalogue: Painting &amp; Sculpture.\" In <em>Joaqu\u00edn Torres-Garc\u00eda Catalogue Raisonn\u00e9</em>.", "page_number": "Mentioned and reproduced: Cat. no. 1932.52", "url": "www.torresgarcia.com/catalogue/?section=Painting%20Sculpture"}, {"citation": "\"New on View.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 65, no. 4 (2025): Back cover.", "page_number": "Reproduced and Mentioned: Back cover", "url": "https://archive.org/details/CMAMM-2025-04"}], "url": "https://clevelandart.org/art/2025.2", "images": {}, "alternate_images": [], "creditline": "Purchased with funds from the Severance and Greta Millikin Trust and Sundry Art \u2013 Miscellaneous Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Michael J. Horvitz Family Gallery", "athena_id": 687717, "creators": [{"id": 46071, "description": "Joaqu\u00edn Torres-Garc\u00eda (Uruguayan, 1874\u20131949)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1874", "death_year": "1949", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2025-03-03T05:00:00Z", "sortable_date": 1932, "date_added_to_oa": null, "date_text": "1932", "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 00:00:44.302000"}, {"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": 518779, "accession_number": "2022.92", "share_license_status": "Copyrighted", "tombstone": "Untitled, c. 1958. Beauford Delaney (American, 1901\u20131979). Oil on canvas; 146.1 x 114.3 cm (57 1/2 x 45 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 2022.92. \u00a9 Estate of Beauford Delaney by permission of Derek L. Spratley, Esquire, Court Appointed Administrator; Courtesy of Michael Rosenfeld Gallery LLC, New York, NY", "current_location": "227 Abstract Expressionism", "title": "Untitled", "creation_date": "c. 1958", "creation_date_earliest": 1953, "creation_date_latest": 1963, "artists_tags": ["Black American Artists", "male", "LGBTQ+ (after 1900)"], "culture": ["America"], "technique": "Oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "146.1 x 114.3 cm (57 1/2 x 45 in.)", "dimensions": {"No Extent Specified": {"height": 1.461, "width": 1.143}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of Beauford Delaney by permission of Derek L. Spratley, Esquire, Court Appointed Administrator; Courtesy of Michael Rosenfeld Gallery LLC, New York, NY", "inscriptions": [], "exhibitions": {"current": [], "legacy": [{"description": "<em>Beauford Delaney: Liquid Light, Paris Abstractions, 1954-1970. </em>Michael Rosenfeld Gallery, New York (September 9 - October 30, 1999).", "opening_date": "1999-09-09T00:00:00"}, {"description": "<em>Beauford Delaney: The Color Yellow.</em> High Museum of Art, Atlanta (February 9 - May 5, 2002); The Studio Museum in Harlem, New York (July 10 - September 15, 2002); Anacostia Museum and Center of the Smithsonian Institution, Washington, DC (October 11 - December 30, 2002); Sert Gallery, Harvard University, Cambridge, MA (February 15 - May 4, 2003).", "opening_date": "2002-02-09T00:00:00"}, {"description": "<em>Abstract Expressionism: Further Evidence, Part 1: Painting.</em> Michael Rosenfeld Gallery, New York (March 14 - July 31, 2009).", "opening_date": "2009-03-14T00:00:00"}, {"description": "<em>Blues for Smoke. </em>The Geffen Contemporary at The Museum of Contemporary Art, Los Angeles (October 21, 2012 - January 7, 2013); Wexner Center of the Arts, Columbus, OH (September 21, 2012 - January 5, 2014).", "opening_date": "2012-09-21T00:00:00"}, {"description": "<em>Riffs and Relations: African American Artists and the European Modernist Tradition. </em>Phillips Collection, Washington, DC (February 29 - January 3, 2021).", "opening_date": "2021-01-03T05:00:00Z"}]}, "provenance": [{"description": "Beauford Delaney, Paris, FR", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "(Galerie Paul Facchetti, Paris, FR)", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "Paul Facchetti, Paris, FR", "citations": [], "footnotes": null, "date": null, "sortorder": 3}, {"description": "Bruno Facchetti, Paris, FR, and Brooklyn, NY", "citations": [], "footnotes": null, "date": null, "sortorder": 4}, {"description": "Private Collection", "citations": [], "footnotes": null, "date": "1998", "sortorder": 5}, {"description": "(Michael Rosenfeld Gallery, New York, NY)", "citations": [], "footnotes": null, "date": null, "sortorder": 6}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2022\u2013", "sortorder": 7}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Delaney was a very good friend and inspirational mentor to writer James Baldwin.", "description": "Believing in the power of color to communicate emotions and symbolize ideas, Beauford Delaney loved yellow for its associations of light, healing, and spiritual radiance. In works such as <em>Untitled</em>, he created a sense of happiness and uplift even when his personal circumstances were challenging. Born in the racially segregated southern United States, the artist eventually relocated to Paris during the early 1950s, hoping to live and work more freely as a queer Black man.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117247366"], "internet_archive": []}, "citations": [{"citation": "Leeming, David. \"Beauford, Abstraction, and Light,\" <em>Beauford Delaney: Liquid light, Paris Abstractions, 1954-1970, </em>exh. cat. (New York: Michael Rosenfeld Gallery, 1999).", "page_number": "Mentioned P. 7; Reproduced p. 11", "url": ""}, {"citation": "Powell, Richard J.  <em>Beauford Delaney: The Color Yellow, </em>exh.cat. (Atlanta: High Museum of Art, 2001).", "page_number": "Reproduced P. 37.", "url": ""}, {"citation": "<em>Abstract Expressionism: Further Evidence, Painting and Sculpture, </em>exh. cat. (New York: Michael Rosenfeld Gallery, 2009).", "page_number": "Reproduced P. 25", "url": ""}, {"citation": "Childs, Adrienne.  <em>Riffs and Relations: African American Artists and the European Modernist Tradition, </em>exh. cat.  (New York: Rizzoli, 2020).", "page_number": "Reproduced P. 157", "url": ""}], "url": "https://clevelandart.org/art/2022.92", "images": {}, "alternate_images": [], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Frank H. and Nancy L. Porter Gallery", "athena_id": 518779, "creators": [{"id": 32684, "description": "Beauford Delaney (American, 1901\u20131979)", "extent": "execution", "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1901", "death_year": "1979", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2022-09-12T04:00:00Z", "sortable_date": 1953, "date_added_to_oa": null, "date_text": "c. 1958", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:33.050000"}, {"id": 141603, "accession_number": "1965.2.a", "share_license_status": "Copyrighted", "tombstone": "Woman with Blond Armpit Combing Her Hair by the Light of the Stars (recto), 1940. Joan Mir\u00f3 (Spanish, 1893\u20131983). Watercolor and gouache over graphite; sheet: 37.9 x 45.8 cm (14 15/16 x 18 1/16 in.). The Cleveland Museum of Art, Contemporary Collection of The Cleveland Museum of Art, 1965.2.a. \u00a9 Successi\u00f3 Mir\u00f3 / Artists Rights Society (ARS), New York / ADAGP, Paris", "current_location": null, "title": "Woman with Blond Armpit Combing Her Hair by the Light of the Stars (recto)", "creation_date": "1940", "creation_date_earliest": 1940, "creation_date_latest": 1940, "artists_tags": ["male", "Latine and Hispanic Artists"], "culture": ["Spain, 20th century"], "technique": "Watercolor and gouache over graphite", "support_materials": [{"description": "white wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - Spanish", "type": "Drawing", "measurements": "Sheet: 37.9 x 45.8 cm (14 15/16 x 18 1/16 in.)", "dimensions": {"sheet": {"height": 0.379, "width": 0.458}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Successi\u00f3 Mir\u00f3 / Artists Rights Society (ARS), New York / ADAGP, Paris", "inscriptions": [{"inscription": "Signed, lower left, in black gouache: Mir\u00f3", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 361483, "title": "Mir\u00f3 by Fondation Maeght", "description": "<i>Mir\u00f3 by Fondation Maeght</i>. Fondation Maeght, Saint-Paul-de-Vence, France.", "opening_date": null}, {"id": 361495, "title": "Mir\u00f3 at Recinto del Antiguo Hospital de la Santa Cruz", "description": "<i>Mir\u00f3 at Recinto del Antiguo Hospital de la Santa Cruz</i>. Hospital de la Santa Creu i Sant Pau, Barcelona, Spain.", "opening_date": null}, {"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": 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": 518118, "title": "Exposition Miro", "description": "<i>Exposition Miro</i>. Fondation Maeght, Saint-Paul-de-Vence, France (organizer) (July 23-September 30, 1968).", "opening_date": "1968-07-23T04:00:00"}, {"id": 304404, "title": "The Spirit of Surrealism", "description": "<i>The Spirit of Surrealism</i>. The Cleveland Museum of Art, Cleveland, OH (October 3-November 25, 1979).", "opening_date": "1979-10-03T04:00:00"}, {"id": 361484, "title": "Mir\u00f3 in America", "description": "<i>Mir\u00f3 in America</i>. Museum of Fine Arts, Houston, Houston, TX (organizer) (April 21-June 27, 1982).", "opening_date": "1982-04-21T05:00:00"}, {"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": 361485, "title": "Joan Mir\u00f3: Campo de estrellas", "description": "<i>Joan Mir\u00f3: Campo de estrellas</i>. Museo Nacional Centro de Arte Reina Sof\u00cda, Madrid, Spain (organizer) (January 20, 1990-March 22, 1993).", "opening_date": "1993-01-20T05:00:00"}, {"id": 361486, "title": "Joan Mir\u00f3", "description": "<i>Joan Mir\u00f3</i>. Museum of Modern Art, NY (organizer) (October 17, 1993-January 11, 1994).", "opening_date": "1993-10-17T04:00:00"}, {"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": 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": 229586, "title": "Joan Mir\u00f3: The Ladder of Escape", "description": "<i>Joan Mir\u00f3: The Ladder of Escape</i>. Tate Modern, London, United Kingdom of Great Britain and Northern Ireland (organizer) (April 14-September 11, 2011).", "opening_date": "2011-04-14T00:00:00"}, {"id": 291279, "title": "Mir\u00f3: The Constellations", "description": "<i>Mir\u00f3: The Constellations</i>. Acquavella Galleries, Inc., New York, NY (organizer) (April 20-May 27, 2017).", "opening_date": "2017-04-20T04:00:00"}], "legacy": [{"description": "<em>Joan Mir\u00f3: Constellations</em>. Pierre Matisse Gallery, New York and Paris (1959).", "opening_date": "1959-01-01T00:00:00"}, {"description": "<em>Joan Mir\u00f3: Ceramics 1944, Tempera Paintings 1940 to 1941, Lithographs 1944</em>. Pierre Matisse Gallery, New York (1945).", "opening_date": "1945-01-01T00:00:00"}]}, "provenance": [{"description": "[E. V. Thaw & Co., Inc., New York].", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This drawing was published in book alongside the other works from Joan Miro's \"Constellations\" series, accompanied by poems written by Andr\u00e9 Breton.", "description": "This drawing belongs to a group of 23 works made by Joan Miro between January 1940 and September 1941, which he called \"Constellations.\" All were made in Normandy, where the artist had retreated from the Spanish civil war. Miro juxtaposed blurry layers of watercolor in earthy tones with neatly linear lines in black ink and shapes in white gouache to develop his own language of symbols that suggested, in his words, \"the night, music, and the stars.\" The fifth in the series, this drawing is dominated by a vague figural form at center, who draws a comb through her hair while holding a mirror through which shines the moon and a star. The allover abstract composition was a major influence on later artists, following a 1945 exhibition in New York.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80041157"], "internet_archive": []}, "citations": [{"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 199", "url": "https://archive.org/details/CMAHandbook1966/page/n223"}, {"citation": "Henning, Edward B. \"Joan Mir\u00f3: Woman with Blond Armpit Combing Her Hair by the Light of the Stars.\" <em>Bulletin of the Cleveland Museum of Art</em> 55 (1968): 71-77.", "page_number": "Mentioned: pp. 71-77; Reproduced: pp. 74-75", "url": null}, {"citation": "<em>Mir\u00f3</em>. Exh. Cat. Saint-Paul-de-Vence: Fondation Maeght, 1968.", "page_number": "Mentioned: no. 38", "url": null}, {"citation": "<em>Mir\u00f3</em>. Exh. Cat. Barcelona: Recinto del Antiguo Hospital de la Santa Cruz, 1968.", "page_number": "Mentioned: p. 61, no. 42", "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. 199", "url": "https://archive.org/details/CMAHandbook1969/page/n223"}, {"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. 248", "url": "https://archive.org/details/CMAHandbook1978/page/n268"}, {"citation": "Rose, Barbara. <em>Mir\u00f3 in America</em>. Exh. Cat. Houston: Museum of Fine Arts, 1982.", "page_number": "Mentioned: p. 4", "url": null}, {"citation": "Rolnik, Marc. <em>Mir\u00f3's Constellations: The Facsimile Edition of 1959</em>. Exh. Cat. Purchase, NY: Neuberger Muesum, State University of New York at Purchase, 1983", "page_number": "Mentioned: p. 3; Reproduced: p. 5", "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: p. 79, no. 38; Reproduced: p. 80, plate VII", "url": null}, {"citation": "<em>Joan Mir\u00f3 Campo de Estrellas. </em>Exh. Cat. Madrid: Museo Nacional Centro de Arte Reina Sofia, 1993.", "page_number": "Mentioned: pp. 114, 153, no. 65; Reproduced: p. 114", "url": null}, {"citation": "Lanchner, Carolyn. <em>Joan Mir\u00f3</em>. Exh. Cat. New York: Museum of Modern Art, 1993.", "page_number": "Mentioned: p. 417, no. 160; Reproduced: p. 242", "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. 264-265, 298; Reproduced: P. 265, cat. no. 112", "url": null}], "url": "https://clevelandart.org/art/1965.2.a", "images": {}, "alternate_images": [], "creditline": "Contemporary Collection of The Cleveland Museum of Art", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 141603, "creators": [{"id": 2157, "description": "Joan Mir\u00f3 (Spanish, 1893\u20131983)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1893", "death_year": "1983", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1966-01-03T00:00:00", "sortable_date": 1940, "date_added_to_oa": null, "date_text": "1940", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1965.2", "is_nazi_era_provenance": true, "impression": null, "alternate_titles": ["Constellation: Woman with Blond Armpit Combing Her Hair by the Light of the Stars"], "is_highlight": false, "updated_at": "2026-03-26 23:59:35.453000"}, {"id": 93239, "accession_number": "1926.1664", "share_license_status": "CC0", "tombstone": "Still Life, c. 1924. Preston Dickinson (American, 1891\u20131930). Oil on canvas; framed: 75.5 x 91 x 5.5 cm (29 3/4 x 35 13/16 x 2 3/16 in.); unframed: 61.2 x 76.5 cm (24 1/8 x 30 1/8 in.). The Cleveland Museum of Art, Hinman B. Hurlbut Collection, 1926.1664", "current_location": null, "title": "Still Life", "creation_date": "c. 1924", "creation_date_earliest": 1919, "creation_date_latest": 1929, "artists_tags": ["male", "LGBTQ+ (after 1900)"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 75.5 x 91 x 5.5 cm (29 3/4 x 35 13/16 x 2 3/16 in.); Unframed: 61.2 x 76.5 cm (24 1/8 x 30 1/8 in.)", "dimensions": {"framed": {"height": 0.755, "width": 0.91, "depth": 0.055}, "unframed": {"height": 0.612, "width": 0.765}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower right:  P. Dickinson", "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": 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": 310243, "title": "The Precisionist Aesthetic in American Art", "description": "<i>The Precisionist Aesthetic in American Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 24-April 9, 1989).", "opening_date": "1989-01-24T05:00:00"}, {"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, Cleveland Museum of Art, Sixth Exhibition of Contemporary American Painting (1926); no cat., see Bulletin of The Cleveland Museum of Art (June 1926).", "opening_date": "1926-06-01T00:00:00"}, {"description": "New York, NY, Museum of Modern Art, Second Exhibition of Modern Art (1929); NOTE: another Still Life was reproduced as belonging to the CMA in a review of the show in Art News 28 (Part I, 14 December 1929), p. 7.", "opening_date": "1929-12-01T00:00:00"}, {"description": "Cleveland, OH, Cleveland Museum of Art, 20th Anniversary Exhibition (1936), no. 353.", "opening_date": "1936-01-01T00:00:00"}, {"description": "Cleveland, OH, Cleveland Museum of Art, Exhibition of American Painting from 1860 Until Today (1937), no. 49.", "opening_date": "1937-01-01T00:00:00"}, {"description": "Akron, OH, Akron Art Institute, 40 American Painters (December 1945), cat. no. 35, ill. no. 35.", "opening_date": "1945-12-01T00:00:00"}, {"description": "CMA:  Works from the Contemporary Collection, July 1-mid-October, 1969", "opening_date": "1969-10-01T00:00:00"}, {"description": "Cleveland, OH, Cleveland Museum of Art, The Magic of Still Life (21 October 1986 - 8 March 1987), no catalogue; Gallery A.", "opening_date": "1986-10-21T00:00:00"}, {"description": "Cleveland, OH, Cleveland Museum of Art, Fraernite: Artistic Relations Between France and America (21 July - 18 October 1987), no cat; Gallery A.", "opening_date": "1987-07-21T00:00:00"}, {"description": "Cleveland, OH, Cleveland Museum of Art, Precisionist Aesthetic in American Art (24 January - 9 April 1989), Gallery J.", "opening_date": "1989-01-24T00:00:00"}, {"description": "Cleveland, OH, Cleveland Museum of Art, Object Lessons: Cleveland Creates an Art Museum (7 June - 8 September 1991).", "opening_date": "1991-06-07T00:00:00"}]}, "provenance": [{"description": "(Daniel Gallery, New York, bought by the Museum, 1926).", "citations": [], "footnotes": [], "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1603.1926", "1664.1926"], "did_you_know": "Commonly thought to be vegetables, eggplants are technically berries.", "description": "Preston Dickinson\u2019s composition presents a seemingly casual arrangement of eggplants and lemons amid a tabletop setting with a bowl, knife, and napkins. A loosely corked bottled beverage stands at left, and a lightly sketched chairback occupies an otherwise empty background.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q107563694", "https://www.wikidata.org/wiki/Q60502133"], "internet_archive": ["https://archive.org/details/clevelandart-1926.1664-still-life"]}, "citations": [{"citation": "Milliken, William M. \"The Sixth Exhibition of Contemporary American Painting.\" <em>The Bulletin of the Cleveland Museum of Art.</em> 13:6 (June, 1926): 144-55.", "page_number": "Reproduced: p. 146; Mentioned: pp. 149, 150", "url": null}, {"citation": "G. U. \"Two Recent American Paintings Acquired for the Hinman B. Hurlbut Collection.\" <em>The Bulletin of the Cleveland Museum of Art.</em> 14:1 (January 1927): 9-11, 15.", "page_number": "Mentioned: p. 10; Reproduced: p. 15", "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. 552", "url": "https://archive.org/details/CMAHandbook1958/page/n103"}, {"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. 190", "url": "https://archive.org/details/CMAHandbook1966/page/n214"}, {"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. 190", "url": "https://archive.org/details/CMAHandbook1969/page/n214"}, {"citation": "Hall, Jacqueline. \"Modern Art Debut in America Rocked Professionals, Public.\" <em>Columbus Dispatch,</em> 6 June 1973.", "page_number": "Reproduced", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 237", "url": "https://archive.org/details/CMAHandbook1978/page/n257"}, {"citation": "Cloudman, Ruth H. <em>Preston Dickinson, 1889-1930</em>. Lincoln, NE: Nebraska Art Association, 1979.", "page_number": "Reproduced: p. 29, fig. 6", "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. 148", "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. 64", "url": null}], "url": "https://clevelandart.org/art/1926.1664", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1926.1664/1926.1664_web.jpg", "width": "1121", "height": "893", "filesize": "723892", "filename": "1926.1664_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1926.1664/1926.1664_print.jpg", "width": "3400", "height": "2709", "filesize": "5796196", "filename": "1926.1664_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1926.1664/1926.1664_full.tif", "width": "4690", "height": "3738", "filesize": "52630572", "filename": "1926.1664_full.tif"}}, "alternate_images": [], "creditline": "Hinman B. Hurlbut Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 93239, "creators": [{"id": 4007, "description": "Preston Dickinson (American, 1891\u20131930)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1891", "death_year": "1930", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1926-07-07T00:00:00", "sortable_date": 1919, "date_added_to_oa": null, "date_text": "c. 1924", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-26 23:59:40.410000"}, {"id": 155862, "accession_number": "1991.165", "share_license_status": "Copyrighted", "tombstone": "Headdress (\u1eb8pa) called At\u00f3f\u00f2j\u1ecd\u0301w\u00f2 (\u201cYou Can Look at It for a Whole Day\u201d), 1920\u201330. Moshood Ol\u00fa\u1e63\u1ecdm\u1ecd B\u00e1migb\u00f3y\u00e8 (Nigerian, c. 1885\u20131975). Wood and paint; overall: 134 x 57.9 x 62.5 cm (52 3/4 x 22 13/16 x 24 5/8 in.). The Cleveland Museum of Art, John L. Severance Fund and Gift of Mary Price, 1991.165", "current_location": null, "title": "Headdress (\u1eb8pa) called At\u00f3f\u00f2j\u1ecd\u0301w\u00f2 (\u201cYou Can Look at It for a Whole Day\u201d)", "creation_date": "1920\u201330", "creation_date_earliest": 1920, "creation_date_latest": 1930, "artists_tags": ["African (from 1900 to present)", "male"], "culture": ["Africa, West Africa, Nigeria, Yor\u00f9b\u00e1 peoples"], "technique": "Wood and paint", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Mask", "measurements": "Overall: 134 x 57.9 x 62.5 cm (52 3/4 x 22 13/16 x 24 5/8 in.)", "dimensions": {"overall": {"height": 1.34, "width": 0.579, "depth": 0.625}, "diameter of base": {"width": 0.318}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"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": 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": "<em>Masterpieces of African Art. </em>The Brooklyn Museum, Brooklyn, NY (<em>October 21, 1954-January 2, 1955).</em>", "opening_date": "1954-10-21T00:00:00"}, {"description": "</em>", "opening_date": null}]}, "provenance": [{"description": "Leon Underwood (also known as George Claude Leon Underwood, 1890\u20131970) by purchase from the artist Moshood Olusomo B\u00e1migb\u00f3y\u00e8", "citations": [], "footnotes": ["<div><!--block-->\"Bamboya [sic, Bamigboye], the Yoruba carver of Omu, Ilorin, province of Nigeria, who carved the Elepa [sic, Epa] mask in Plate 27...He produced this mask and many other fine works over thirty years ago when he did not know he was an artist.\" \"In possession of the author.\" Underwood, Leon. 1948. <em>Masks of West Africa</em>. London: A. Tiranti. Plate 27, pp. 13\u201316, 36\u201337, 46</div>", "<div><!--block-->Green, James, Oluseye Adesola, Anne Turner Gunnison, Efeoghene Igor, William R. Rea, Cathy Silverman, and Yale University Art Gallery. 2022. <em>Ba\u0301migbo\u0301ye\u0300 : A Master Sculptor of the Yoru\u0300Ba\u0301 Tradition</em>. New Haven: Yale University Art Gallery. p. 115</div>"], "date": "1945\u2013?", "sortorder": 1}, {"description": "Vincent Price", "citations": [], "footnotes": ["<div><!--block-->Reproduced in 1958 Fagg/Elisofon book <em>The Sculpture of Africa </em>as figure 144.</div>"], "date": "By at least 1958", "sortorder": 2}, {"description": "Mary Grant Price, California or Boston, MA", "citations": [], "footnotes": ["<div><!--block-->M.G. Price may have received this as a gift from V. Price following their 1974 divorce. She moved to Boston, MA, at an unspecified date. Oral history interview with Robert M. Light, 2008 Apr. 25, Smithsonian Archives of American Art</div>"], "date": "?\u20131991", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH by gift and partial purchase from R. M. Light and Co., Inc. (Santa Barbara, CA)", "citations": [], "footnotes": null, "date": "1991\u2013", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Performing this <em>\u1eb8pa</em> mask was an impressive feat of strength; it weighs nearly 45 pounds!", "description": "Carved from a single block of wood, this stunning example of B\u00e1migb\u00f3y\u00e8's complex style was carved when the artist was in his late twenties while living in Omu in his native Ilorin Province. <em>\u1eb8pa</em> masks were performed during an annual or biannual week-long festival. This mask appeared at the festival\u2019s climactic conclusion. The elaborate superstructure revolves around the figure of a richly adorned ruler on horseback carrying a sword and wearing protective amulets on his arms. Three tiers of surrounding small-scale attendants\u2014including messengers, musicians, warriors, and praise singers\u2014represent a scene of court life in miniature, and testify to the warrior-king\u2019s power and prestige.", "external_resources": {"wikidata": [], "internet_archive": []}, "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. 115-118", "url": ""}, {"citation": "Underwood, Leon. 1948. <em>Masks of West Africa</em>. London: A. Tiranti.", "page_number": "Plate 27, pp. 13\u201316, 36\u201337, 46", "url": ""}, {"citation": "John Pemberton III et. al. The Horse Rider in African Art (London: Antique Collectors' Club, 2011), pg. 186.", "page_number": "", "url": ""}, {"citation": "The Brooklyn Museum. <em>Masterpieces of African Art</em>. Brooklyn:  The Brooklyn Institute of Arts &amp; Sciences, 1954.", "page_number": "P. 102", "url": ""}, {"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": "P. 164", "url": ""}, {"citation": "Trowell, Margaret, Hans Nevermann, and Hans Nevermann. <em>African and Oceanic Art</em>. Panorama of World Art. New York: H.N. Abrams. 1968", "page_number": "Reproduced:  p. 87", "url": ""}, {"citation": "\"Front Matter.\" <em>African Arts</em> 6, no. 1 (Autumn 1972):", "page_number": "Reproduced:  inner front cover.", "url": "https://www-jstor-org.ingallslibrary.idm.oclc.org/stable/3334630?refreqid=excelsior%3A2adec6cc6f566dee14d5bd2188c0cdda&seq=2#metadata_info_tab_contents"}, {"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, 83; Reproduced: p. 75", "url": "https://www.jstor.org/stable/25161350"}, {"citation": "Chemeche, George, and John Pemberton. <em>The Horse Rider in African Art</em>. Woodbridge, Suffolk: Antique Collectors' Club, 2011.", "page_number": "Reproduced:  p. 106", "url": ""}, {"citation": "Lawal, Babatunde. <em>Yoruba. Milan, Italy: 5 Continents</em>, 2012.", "page_number": "Reproduced:  pl. 54", "url": ""}, {"citation": "Petridis, Constantine. \"African Master Carvers: Nine sculptors of traditional African artworks rise from anonymity.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 57, no. 2 (March/April 2017): 32-33.", "page_number": "Reproduced: P. 32; Mentioned: P. 32, 33", "url": "https://archive.org/details/CMAMM2017-02/page/n15/mode/2up"}, {"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. 174, no. 6.15", "url": ""}, {"citation": "Heinrich, Will. \"More Than 90 Art Shows and Exhibitions to See This Fall,\"<em>The New York Times, </em>September 8, 2022. Reproduced.", "page_number": "", "url": "https://www.nytimes.com/2022/09/08/arts/design/art-design-fall-season.html?unlocked_article_code=AAAAAAAAAAAAAAAACEIPuonUktbfqYhkQVUbCybcR8Q86RGLnvnAxvs1nGO7ICWOSDlEiuocB4zF4ErEfq1lIdsv2jDRDPlwDIgSft0ghOlOIx4qDACyvpqPnJlCLXxo-IjiBjxzgcvHBvVl-Ge6K2PjIrs6mOGy5x7Wa2G5UaCPwmRhcFg-2eZtfFGr3HwJx63XQKUiipQlg6BXVt0tTiwAZSKKo_DjFx5_Xd2GZRvf4QM3MPpLDXCRxZXPruJdL3gBTA7OX3h94m0j6NpDOd1xPK33LRYoeseWkqy5T4AnMKeEg6ayWE_1HFYa"}, {"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/"}, {"citation": "Elisofon, Eliot, and William Fagg. <em>The Sculpture of Africa: 405 Photographs</em>. London: Thames &amp; Hudson, 1958.", "page_number": "p. 114\u2013115, fig. 144", "url": ""}], "url": "https://clevelandart.org/art/1991.165", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund and Gift of Mary Price", "image_credit": null, "sketchfab_id": "f8645e86189e4b66b19639f09660af5a", "sketchfab_url": "https://sketchfab.com/models/f8645e86189e4b66b19639f09660af5a", "gallery_donor_text": null, "athena_id": 155862, "creators": [{"id": 397348, "description": "Moshood Ol\u00fa\u1e63\u1ecdm\u1ecd B\u00e1migb\u00f3y\u00e8 (Nigerian, c. 1885\u20131975)", "extent": null, "qualifier": null, "role": "artist", "biography": "Nigerian wood-carver. He carved traditional objects (houseposts, bowls, stools) as well as innovative ones (coffee tables, bread boards) in a relatively plain style. He also carved masks, among the finest being an Epa mask (London, BM) on which two women are surrounded by smaller male figures atop the mask superstructure. This piece adheres to Yoruba conventions in that the figures are idealized, static, stoically poised, emotionless and non-narrative, though they display the fullness of life. Large in size, symmetrical and conventionally proportioned, his pieces have relatively smooth surfaces. Wall plaques with narrative scenes, stools, knives, intricate patterning and details are among his more \u2018modern\u2019 works. He taught carving in Omu.<br><br>dele jegede in Grove Art Online<br><a href=\"https://doi.org/10.1093/gao/9781884446054.article.T096558\">https://doi.org/10.1093/gao/9781884446054.article.T096558</a>", "name_in_original_language": null, "birth_year": "1885", "death_year": "1975", "use_in_caption": true, "include_extent": false, "weight": 0}], "legal_status": "accessioned", "accession_date": "1991-12-16T00:00:00", "sortable_date": 1920, "date_added_to_oa": null, "date_text": "1920\u201330", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": "The object is largely carved from a single piece of wood, which shows characteristic radial cracking toward the base as would be expected for a wooden object of this age and size. On either side, two smaller figures carrying fans in the uppermost register are carved separately and attached with nails. These openings would have allowed greater flexibility in carving the interior figure. The spacing between the figures on all registers is just enough to allow a hand to pass through. The pigments present have been studied by conservators and scientists at the Yale University Art Gallery as part of the exhibition <a href=\"https://artgallery.yale.edu/exhibitions/exhibition/bamigboye-master-sculptor-yoruba-tradition\">B\u00e1migb\u00f3y\u00e8: A Master Sculptor of the Yor\u00f9b\u00e1 Tradition</a>, and preliminary results are published in the accompanying catalogue. Analysis of the white paint points to the use of clay, possibly kaolin; the black paint includes a charred vegetal material, and analytical results for the red, brown, and yellow paints are typical of naturally occurring earth pigments.", "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Orangun Epa Headdress"], "is_highlight": false, "updated_at": "2026-04-07 22:02:47.753000"}, {"id": 312995, "accession_number": "2018.24", "share_license_status": "Copyrighted", "tombstone": "Sandy and Her Husband, 1973. Emma Amos (American, 1937\u20132020). Oil on canvas; 112.4 x 127.6 cm (44 1/4 x 50 1/4 in.). The Cleveland Museum of Art, John L. Severance Fund, 2018.24. \u00a9 Emma Amos / Licensed by VAGA at Artists Rights Society (ARS), NY", "current_location": null, "title": "Sandy and Her Husband", "creation_date": "1973", "creation_date_earliest": 1973, "creation_date_latest": 1973, "artists_tags": ["female", "Black American Artists"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "measurements": "112.4 x 127.6 cm (44 1/4 x 50 1/4 in.)", "dimensions": {"No Extent Specified": {"height": 1.124, "width": 1.276}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Emma Amos / Licensed by VAGA at Artists Rights Society (ARS), NY", "inscriptions": [], "exhibitions": {"current": [{"id": 361589, "title": "Emma Amos: Color Odyssey", "description": "<i>Emma Amos: Color Odyssey</i>. Georgia Museum of Art, Athens, GA (organizer) (January 30-April 25, 2021) https://georgiamuseum.org/exhibit/emma-amos-color-odyssey/; Munson Museum of Art, Utica, NY (June 19-September 12, 2021) https://www.mwpai.org/view/exhibitions/future-exhibition/emma-amos-color-odyssey/; Philadelphia Museum of Art, Philadelphia, PA (October 9, 2021-January 17, 2022) https://www.philamuseum.org/calendar/exhibition/emma-amos-color-odyssey.", "opening_date": "2021-01-30T05:00:00"}, {"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": 615473, "title": "Project a Black Planet: The Art and Culture of Panafrica", "description": "<i>Project a Black Planet: The Art and Culture of Panafrica</i>. The Art Institute of Chicago, Chicago, IL (organizer) (December 22, 2024-March 30, 2025) https://www.artic.edu/exhibitions/10157/project-a-black-planet-the-art-and-culture-of-panafrica.", "opening_date": "2024-12-22T05:00:00"}], "legacy": [{"description": "<em>We Wanted a Revolution: Black Radical Women, 1965\u201385</em>. Brooklyn Museum, Brooklyn, NY (organizer) (April 21 - September 17, 2017); California African American Museum, Los Angeles, CA (October 13, 2017 - January 14, 2018); Albright-Knox Art Gallery, Buffalo, NY (February 17 - May 27, 2018; Institute of Contemporary Art, Boston, MA (June 26 - September 30, 2018).", "opening_date": "2017-04-21T00:00:00"}]}, "provenance": [{"description": "Collection of the artist's family", "citations": [], "footnotes": null, "date": "1973\u20132018", "sortorder": 1}, {"description": "(Ryan Lee Gallery, New York, NY, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "2018", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2018\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The image of the young woman behind the couple is a self-portrait of Amos titled<em> Flower Sniffer </em>(1966), in the collection of the Brooklyn Museum.", "description": "In <em>Sandy and Her Husband, </em>the dancing couple at the center of the image is joined by Amos herself: the artist inserted herself into the picture by rendering an earlier self-portrait, <em>Flower Sniffer</em> (1966), which hangs on the wall behind the couple. However, even as Amos is part of the composition, she is peripheral to the scene, unseen or ignored by the dancers. From the early 1960s until her death in 2020, Amos made paintings, prints, and textiles celebrating African American identity and culture, and often exploring women\u2019s presence within that heritage.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60483006"], "internet_archive": []}, "citations": [{"citation": "Liebert, Emily. \u201cAcquisitions 2018: Contemporary Art.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>vol. 59, no. 2 (March/April 2019): 18-19.", "page_number": "Reproduced: P. 19; Mentioned: P. 18.", "url": ""}, {"citation": "Morris, Catherine, Rujeko Hockley, Connie H. Choi, Carmen Hermo, and Stephanie Weissberg. <em>We Wanted a Revolution: Black Radical Women</em>, <em>1965-85</em>. Exh. Cat. Brooklyn, NY: Brooklyn Museum, 2017.", "page_number": "Reproduced p. 25; mentioned p. 128", "url": null}], "url": "https://clevelandart.org/art/2018.24", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 312995, "creators": [{"id": 312810, "description": "Emma Amos (American, 1937\u20132020)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1937", "death_year": "2020", "use_in_caption": true, "include_extent": false, "weight": 0}], "legal_status": "accessioned", "accession_date": "2018-06-04T00:00:00-04:00", "sortable_date": 1973, "date_added_to_oa": null, "date_text": "1973", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:39.220000"}, {"id": 173963, "accession_number": "1930.850", "share_license_status": "Copyrighted", "tombstone": "Setting Sun through the Catalpas (Late August Sunset), August 27, 1916. Charles Burchfield (American, 1893\u20131967). Watercolor and opaque watercolor with graphite on wove paper; sheet: 50.5 x 35.3 cm (19 7/8 x 13 7/8 in.). The Cleveland Museum of Art, Hinman B. Hurlbut Collection, 1930.850. Reproduced with permission from the Charles E. Burchfield Foundation", "current_location": null, "title": "Setting Sun through the Catalpas (Late August Sunset)", "creation_date": "August 27, 1916", "creation_date_earliest": 1916, "creation_date_latest": 1916, "artists_tags": ["May Show", "male", "Cleveland Institute of Art (alumni)"], "culture": ["America"], "technique": "Watercolor and opaque watercolor with graphite on wove paper", "support_materials": [], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Sheet: 50.5 x 35.3 cm (19 7/8 x 13 7/8 in.)", "dimensions": {"sheet": {"height": 0.505, "width": 0.353}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "Reproduced with permission from the Charles E. Burchfield Foundation", "inscriptions": [{"inscription": "signed, lower right, in graphite: C E BURCHFIELD - 1916", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 339882, "title": "An Exhibition of Water Colors and Oils by Charles Burchfield.", "description": "<i>An Exhibition of Water Colors and Oils by Charles Burchfield.</i>. Carnegie Institute.", "opening_date": "1938-03-08T05:00:00"}, {"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": 312144, "title": "Charles Burchfield: A Retrospective Exhibition of Watercolors and Oils 1916-1943", "description": "<i>Charles Burchfield: A Retrospective Exhibition of Watercolors and Oils 1916-1943</i>. Buffalo AKG Art Museum, Buffalo, NY (organizer); The Cleveland Museum of Art, Cleveland, OH (January 4-28, 1945).", "opening_date": "1945-01-04T05:00:00"}, {"id": 311950, "title": "Contemporary Drawings", "description": "<i>Contemporary Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (January 24-February 12, 1950).", "opening_date": "1950-01-24T05:00:00"}, {"id": 301176, "title": "Charles Burchfield Retrospective Exhibition", "description": "<i>Charles Burchfield Retrospective Exhibition</i>. Whitney Museum of American Art (January 11-February 26, 1956); The Baltimore Museum of Art (March 14-April 22, 1956); Museum of Fine Arts, Boston (May 9-June 17, 1956); San Francisco Museum of Modern Art (July 11-August 19, 1956); Los Angeles County Museum of Art (September 5-October 14, 1956); The Phillips Collection (November 4-December 11, 1956); The Cleveland Museum of Art, Cleveland, OH (December 28, 1956-February 10, 1957).", "opening_date": "1956-12-28T05:00:00"}, {"id": 339889, "title": "Paintings by Charles Burchfield.", "description": "<i>Paintings by Charles Burchfield.</i>. Pennsylvania Academy of Fine Arts, Museum of American Art.", "opening_date": "1964-12-03T05:00:00"}, {"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": 338569, "title": "The Nature of Charles Burchfield: A Memorial Exhibition, 1893\u20131967, Paints, Drawings, Prints", "description": "<i>The Nature of Charles Burchfield: A Memorial Exhibition, 1893\u20131967, Paints, Drawings, Prints</i>. Munson Museum of Art, Utica, NY (organizer) (April 3-June 14, 1970).", "opening_date": "1970-04-03T05:00:00"}, {"id": 340518, "title": "Cleveland Traditions: Water Colors and Enamels from the Cleveland Museum of Art", "description": "<i>Cleveland Traditions: Water Colors and Enamels from the Cleveland Museum of Art</i>. Frank J. Lausche State Office Building.", "opening_date": "1983-09-30T04:00:00"}, {"id": 311726, "title": "Cleveland Traditions: Enamels and Watercolors from the Cleveland Museum of Art", "description": "<i>Cleveland Traditions: Enamels and Watercolors from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 30-October 16, 1983).", "opening_date": "1983-09-30T04:00:00"}, {"id": 340510, "title": "Charles Burchfield.", "description": "<i>Charles Burchfield.</i>. The Metropolitan Museum of Art (January 30-March 25, 1984); Milwaukee Art Museum (April 20-June 19, 1984); Oklahoma City Museum of Art (September 14-November 11, 1984).", "opening_date": "1984-01-30T05:00:00"}, {"id": 339874, "title": "The Early Work of Charles E. Burchfield", "description": "<i>The Early Work of Charles E. Burchfield</i>. Columbus Museum of Art (December 13, 1987-February 7, 1988); Laguna Art Museum (March 5-April 24, 1988); Burchfield Penney Art Center (May 14-July 3, 1988).", "opening_date": "1987-12-13T05:00:00"}, {"id": 338484, "title": "The Paintings of Charles Burchfield: North by Midwest", "description": "<i>The Paintings of Charles Burchfield: North by Midwest</i>. Columbus Museum of Art (March 25-May 19, 1997); Burchfield Penney Art Center (June 15-August 17, 1997); National Museum of American Art, Washington, DC (September 1, 1997-January 25, 1998).", "opening_date": "1997-03-25T05:00:00"}, {"id": 228854, "title": "Visions Out the Window and Down the Street: A Golden Anniversary Celebration of the Art of Charles E. Burchfield at the Brauer Museum of Art", "description": "<i>Visions Out the Window and Down the Street: A Golden Anniversary Celebration of the Art of Charles E. Burchfield at the Brauer Museum of Art</i>. Brauer Museum of Art, Valparaiso, IN (organizer) (July 24-October 10, 2004).", "opening_date": "2004-07-24T00:00:00"}, {"id": 313096, "title": "Charles Burchfield: The Ohio Landscapes, 1915\u20131920", "description": "<i>Charles Burchfield: The Ohio Landscapes, 1915\u20131920</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 22, 2018-May 5, 2019).", "opening_date": "2018-12-22T05:00:00"}], "legacy": [{"description": "Main Gallery Rotation (gallery 228). Cleveland Museum of Art (October 19, 2009 - February 22, 2010).", "opening_date": "2009-10-19T00:00:00"}]}, "provenance": [{"description": "(Frank K.M. Rehn Gallery, NY, sold to Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "1930", "sortorder": 1}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1930-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": ["805.1930"], "did_you_know": "Burchfield's notations about color placement can be seen behind the layers of watercolor in this drawing, when studied closely.", "description": "Burchfield began to experiment actively with watercolor after returning to Salem. Early on, he worked carefully, outlining the composition completely in pencil before filling it in with watercolor. Faint graphite lines are visible throughout this depiction of the sun casting light through a star-shaped opening between flowering bushes. He later broke from this practice and worked directly with watercolor.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117230291"], "internet_archive": []}, "citations": [{"citation": "Baur, John I. H. <em>The Inlander: Life and Work of Charles Burchfield 1893-1967</em>. Newark: University of Delaware Press, 1984.", "page_number": "Mentioned: p. 40; Reproduced: p. 44", "url": null}, {"citation": "Maciejunes, Nannette V., and Michael D. Hall. <em>The Paintings of Charles Burchfield: North by Midwest.</em> Exh. Cat. New York: Harry N. Abrams, Inc. in association with the Columbus Museum of Art, 1997.", "page_number": "Mentioned: pp. 114-115; Reproduced: p. 115", "url": null}, {"citation": "Townsend, J. Benjamin, ed. <em>Charles Burchfield's Journals: The Poetry of Place</em>. Albany: State University of New York Press, 1993.", "page_number": "Mentioned: p. 431", "url": null}, {"citation": "<em>Exhibition of Paintings by Charles Burchfield</em>. Exh. Cat. Cleveland: Cleveland School of Art, 1941.", "page_number": "Mentioned: no. 5", "url": null}, {"citation": "Maciejunes, Nannette V. <em>The Early Works of Charles E. Burchfield, 1915-1921</em>. Exh. Cat. Columbus: Columbus Museum of Art, 1987.", "page_number": "Mentioned: no. 25; Reproduced: p. 37", "url": null}, {"citation": "Bauer, John I. H. <em>Charles Burchfield. </em>Exh. Cat. New York: Whitney Museum, 1956.", "page_number": "Mentioned: no. 8; Reproduced: plate 4", "url": null}, {"citation": "O'Connor, John, Jr. \"Charles Burchfield: Exhibition of His Paintings at the Carnegie Institute.\" <em>Carnegie Magazine</em> 11 (March 1938): 309-312.", "page_number": null, "url": null}, {"citation": "\"Pittsburgh: A Comprehensive Showing of the Work of Burchfield.\" <em>Art News</em> 36 (April 2, 1938): 18.", "page_number": null, "url": null}, {"citation": "Trovato, Joseph S. <em>The Nature of Charles Burchfield: A Memorial Exhibition, 1893\u20131967, Paints, Drawings, Prints</em>. Exh. Cat. Utica, NY: Museum of Art, Munson-Williams-Proctor Institute, 1970.", "page_number": "Mentioned: no. 68", "url": null}, {"citation": "Curry, Larry. <em>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</em>. Exh. Cat. Los Angeles: Los Angeles County Museum of Art, 1968.", "page_number": "Mentioned: no. 83; Reproduced", "url": null}, {"citation": "Trovato, Joseph S. <em>Charles Burchfield: Catalogue of Paintings in Public and Private Collections</em>. Utica: Munson-Williams-Proctor Institute, 1970.", "page_number": "Mentioned: p. 51, no. 196; Reproduced: p. 36", "url": null}], "catalogue_raisonne": "Straus 142; Trovato 196", "url": "https://clevelandart.org/art/1930.850", "images": {}, "alternate_images": [], "creditline": "Hinman B. Hurlbut Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 173963, "creators": [{"id": 3989, "description": "Charles Burchfield (American, 1893\u20131967)", "extent": null, "qualifier": null, "role": "artist", "biography": "Charles Burchfield was among the most original and poetic painters of the Cleveland modernist movement. Born in Ashtabula, he moved to Salem, Ohio, following the death of his father in 1898. After graduating from high school, he attended Cleveland School of Art, studying with William Eastman, Frederick Gottwald, Henry Keller, and Frank Wilcox. In 1914 Burchfield began attending Kokoon Klub exhibitions, and in spring 1915 he went to Brandywine to meet William Sommer. Around this time Burchfild began experimenting with the brilliant colors and simplified forms of the Berlin Heights painters. He painted his first mature works in 1915, and grad ed from the Cleveland School of Art with a degree in illustration the following spring. That summer the Cleveland School of Art sponsored his first solo exhibition, and in the fall, after attending the National Academy of Design in New York for one month, he returned to Salem. In February 1917 the Cleveland School of Art mounted his second solo exhibition. Burchfield was inducted into the army that summer. After his return in 1919 he exhibited with other Cleveland modernists at the Play House, Laukhuff\u2019 s Book store, and other Cleveland venues. In 1921 he went on an extended sketching trip through eastern Ohio with Keller, Wilcox, and Paul Travis, exhibiting these recent paintings at the Cleveland School of Art and in the May Show at the Cleveland Museum of Art. Later that year he moved to Buffalo to work as a wallpaper designer, a position he retained until he resigned in 1929 to become a full-time painter. Over the next 30 years he exhibited extensively at museums and galleries across the country. Solo exhibitions of his paintings were held at New York\u2019s Museum of Modern Art (1930), Pittsburgh\u2019 s Carnegie Institute of Art (1935, 1938, 1946), and Buffalo\u2019 s Albright-Knox Art Gallery (1944, 1955, 1963, 1967). In 1953 New York\u2019s Whitney Museum of American Art organized a major exhibition that traveled to the Cleveland Museum of Art. Burchfield died in West Seneca, New York. <br>\"Transformations in Cleveland Art\" (CMA, 1996), p. 224", "name_in_original_language": null, "birth_year": "1893", "death_year": "1967", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1930-03-06T00:00:00", "sortable_date": 1916, "date_added_to_oa": null, "date_text": "August 27, 1916", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:17.614000"}, {"id": 172784, "accession_number": "1930.2162", "share_license_status": "CC0", "tombstone": "White Flower, 1929. Georgia O'Keeffe (American, 1887\u20131986). Oil on canvas; framed: 80 x 95.3 x 4.5 cm (31 1/2 x 37 1/2 x 1 3/4 in.); unframed: 76.2 x 91.5 cm (30 x 36 in.). The Cleveland Museum of Art, Hinman B. Hurlbut Collection, 1930.2162", "current_location": null, "title": "White Flower", "creation_date": "1929", "creation_date_earliest": 1929, "creation_date_latest": 1929, "artists_tags": ["female"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 80 x 95.3 x 4.5 cm (31 1/2 x 37 1/2 x 1 3/4 in.); Unframed: 76.2 x 91.5 cm (30 x 36 in.)", "dimensions": {"framed": {"height": 0.8, "width": 0.953, "depth": 0.045}, "unframed": {"height": 0.762, "width": 0.915}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Stretcher:  \"White Flower -- 1929 / by Georgia O'Keeffe\" (AS, graphite)\r\nBacking:  \"White Flower -- 1929 (oil) by Georgia O'Keeffe Price $8,000 To be returned to Geo. F. Of 126 W 57th NY NY ['To be returned...NY' twice]\" (AS, AAP2, black ink)", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 616503, "title": "Tenth Exhibition of Contemporary American Oil Painting", "description": "<i>Tenth Exhibition of Contemporary American Oil Painting</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 6-July 7, 1930).", "opening_date": "1930-06-06T00:00:00"}, {"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": 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": 443818, "title": "The Modern Spirit: American Painting 1908-35", "description": "<i>The Modern Spirit: American Painting 1908-35</i>. Gallery of the Royal Scottish Academy, Edinburgh (August 19-September 11, 1977); Hayward Gallery, London, United Kingdom of Great Britain and Northern Ireland (September 28-November 20, 1977).", "opening_date": "1977-08-19T04:00:00"}, {"id": 443392, "title": "Art of the Twenties: American Painting at the Crossroads", "description": "<i>Art of the Twenties: American Painting at the Crossroads</i>. Flint Institute of Arts, Flint, MI (organizer) (November 16, 1978-January 21, 1979).", "opening_date": "1978-11-16T05:00:00"}, {"id": 309667, "title": "Circa 1930", "description": "<i>Circa 1930</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 12-October 31, 1983).", "opening_date": "1983-04-12T05:00:00"}, {"id": 310024, "title": "The Georgia O'Keeffe Gift", "description": "<i>The Georgia O'Keeffe Gift</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 4-November 15, 1987).", "opening_date": "1987-09-04T04:00:00"}, {"id": 310243, "title": "The Precisionist Aesthetic in American Art", "description": "<i>The Precisionist Aesthetic in American Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 24-April 9, 1989).", "opening_date": "1989-01-24T05:00:00"}, {"id": 226460, "title": "Georgia O'Keeffe: Naturalezas Intimas", "description": "<i>Georgia O'Keeffe: Naturalezas Intimas</i>. Fundacion Juan March (organizer) (February 8-June 2, 2002).", "opening_date": "2002-02-08T00:00:00"}, {"id": 228348, "title": "Georgia O'Keeffe and the Southwestern Still Life", "description": "<i>Georgia O'Keeffe and the Southwestern Still Life</i>. Indianapolis Museum of Art, Indianapolis, IN (October 30, 2014-February 15, 2015).", "opening_date": "2014-10-30T00:00:00"}, {"id": 399946, "title": "Georgia O'Keeffe, Photographer", "description": "<i>Georgia O'Keeffe, Photographer</i>. Museum of Fine Arts, Houston, Houston, TX (organizer) (October 17, 2021-January 17, 2022) https://www.mfah.org/exhibitions/georgia-okeeffe-photographer; Addison Gallery of American Art, Andover, MA (February 27-June 5, 2022); Denver Art Museum, Denver, CO (July 3-November 6, 2022); The Cincinnati Art Museum, Cincinnati, OH (February 1-May 1, 2023).", "opening_date": "2021-10-17T04:00:00"}, {"id": 540004, "title": "Georgia O'Keeffe: \"My New Yorks\"", "description": "<i>Georgia O'Keeffe: \"My New Yorks\"</i>. The Art Institute of Chicago, Chicago, IL (organizer) (June 2-September 22, 2024) https://www.artic.edu/exhibitions/9539/georgia-o-keeffe-my-new-yorks; High Museum of Art, Atlanta, GA (October 25, 2024-February 16, 2025).", "opening_date": "2024-06-02T04:00:00"}], "legacy": [{"description": "<em>Georgia O'Keeffe: 27 New Paintings, New Mexico, New York, Lake George, Etc.. </em>New York, An American Place (February 7\u2013March 17, 1930), exh. checklist no. 9 as <em>White Flower, N.M</em>..", "opening_date": "1930-02-07T00:00:00"}, {"description": "<em>The Art of Today: An Exhibition of Contemporary Pictures and Sculptures Arranged and Sponsored by the Women's Advisory Committee of the Albright Art Gallery. </em>Buffalo, Fine Arts Academy, Albright Art Gallery (December 21, 1935\u2013February 6, 1936).", "opening_date": "1935-12-21T00:00:00"}, {"description": "<em>Georgia O'Keeffe, 12th Annual Festival of the Arts. </em>Kohler Gallery, Dahland Fine Arts Center, Milton College, Milton WI (April 20\u2013May 10, 1965)", "opening_date": "1965-04-20T05:00:00Z"}]}, "provenance": [{"description": "(An American Place, New York, NY)", "citations": [], "footnotes": [], "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": ["2159.1930", "2162.1930"], "did_you_know": "This was the first flower painting by Georgia O'Keeffe to be purchased by an art museum.", "description": "O\u2019Keeffe is best known for close-up flower subjects whose magnified forms fill the entire space of each canvas. Likely inspired by similar compositions in modern photography, these images are not only celebrations of natural forms, but also striking essays in abstract design. Although many critics interpreted O\u2019Keeffe\u2019s flower paintings as reflections of femininity in general and female sexuality in particular, the artist strongly opposed such readings. Throughout most of her career, she frequently attempted to persuade others to discuss her work without referring to her gender, writing on one occasion, \u201cI have always been very annoyed at being referred to as a \u2018woman artist\u2019 rather than an \u2018artist.\u2019\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q106477699", "https://www.wikidata.org/wiki/Q60482494"], "internet_archive": []}, "citations": [{"citation": "<em>Georgia O'Keeffe. Naturalezas \u00edntimas</em>: Fundaci\u00f3n Juan March, Madrid, 8 febrero - 2 junio 2002. Madrid: Arte y Ciencia Editorial, 2001.", "page_number": "cat. no. 18, illus.", "url": null}, {"citation": "Frelik, Edyta, \"She Did Know a Few Things:Georgia O'Keeffe as an Intellectual,\" <em>Polish Association for American Studies </em>(July 2022).", "page_number": "Mentioned pp. 49-50.", "url": ""}, {"citation": "Davis, John and Michael Leja, eds. <em>Art of the United States, 1750-2000: Primary Sources</em> (Chicago: Terra Foundation for American Art, 2020).", "page_number": "Mentioned p. 309.", "url": ""}, {"citation": "Cade. Leslie, \"O'Keeffe and the May Show,\" <em>Cleveland Art</em> 59 (January/February 2019).", "page_number": "Mentioned p. 15.", "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. 36, no. 152", "url": null}, {"citation": "Milliken, William M. \u201cWhite Flower by Georgia O\u2019Keeffe.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 24, no. 4 (April 1937): 50\u201353.", "page_number": "Mentioned and reproduced: p. 50-53", "url": "http://www.jstor.org/stable/25137838"}, {"citation": "Flint Institute of Arts. <em>Art of the Twenties : American Painting at the Crossroads : Flint Institute of Arts, November 16, 1978-January 21, 1979</em>. [Flint, Mich.]: The Institute, 1978.", "page_number": "Mentioned: p. 55-56, no 41; Reproduced: p. 43.", "url": ""}, {"citation": "Neet, Jane. \u201cMondrian\u2019s \u2018Chrysanthemum.\u2019\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 74, no. 7 (September 1987): 282\u2013303.", "page_number": "Mentioned and reproduced: p. 289, fig. 9", "url": "http://www.jstor.org/stable/25159997"}, {"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. 6, p. 11", "url": ""}, {"citation": "O'Keeffe, Georgia, Alfred Stieglitz, and Sarah Greenough.<em> My Faraway One: Selected Letters of Georgia O'Keeffe and Alfred Stieglitz.</em> New Haven [Conn.]: Yale University Press, 2011.", "page_number": "Mentioned: p. 539, 542", "url": ""}, {"citation": "\"New in the Galleries.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> vol. 57, no. 5 (September/October 2017): Back cover.", "page_number": "Reproduced and Mentioned: Back cover.", "url": "https://archive.org/details/CMAMM2017-05/page/n13/mode/2up"}, {"citation": "Art Institute of Chicago, and High Museum of Art. <em>Georgia O\u2019Keeffe: \u201cMy New Yorks\u201d.</em> Edited by Sarah Kelly Oehler and Annelise K. Madsen. Chicago, IL: The Art Institute of Chicago, 2024.", "page_number": "Mentioned, pp. 40, 43, and p. 52, note 29; reproduced: cat. no. 30", "url": ""}, {"citation": "O'Hern, John. \"Metropolitan Muse.\" <em>American Fine Art Magazine </em>76 (July/August 2024): 42-47.", "page_number": "Reproduced: p. 44; Mentioned: p. 46", "url": ""}], "url": "https://clevelandart.org/art/1930.2162", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1930.2162/1930.2162_web.jpg", "width": "1071", "height": "893", "filesize": "443798", "filename": "1930.2162_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1930.2162/1930.2162_print.jpg", "width": "3400", "height": "2836", "filesize": "1049661", "filename": "1930.2162_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1930.2162/1930.2162_full.tif", "width": "5000", "height": "4170", "filesize": "62582092", "filename": "1930.2162_full.tif"}}, "alternate_images": [], "creditline": "Hinman B. Hurlbut Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 172784, "creators": [{"id": 3228, "description": "Georgia O'Keeffe (American, 1887\u20131986)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1887", "death_year": "1986", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1930-06-19T00:00:00", "sortable_date": 1929, "date_added_to_oa": null, "date_text": "1929", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:39.080000"}, {"id": 150359, "accession_number": "1981.16", "share_license_status": "Copyrighted", "tombstone": "The Aviator, 1920. Fernand L\u00e9ger (French, 1881\u20131955). Oil on canvas; framed: 80.1 x 106.7 x 4.6 cm (31 9/16 x 42 x 1 13/16 in.); unframed: 65 x 92 cm (25 9/16 x 36 1/4 in.); former: 90.5 x 117.2 x 7 cm (35 5/8 x 46 1/8 x 2 3/4 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1981.16. \u00a9 Artists Rights Society (ARS), New York / ADAGP, Paris", "current_location": "223 20th Century Avant-Garde", "title": "The Aviator", "creation_date": "1920", "creation_date_earliest": 1920, "creation_date_latest": 1920, "artists_tags": ["male"], "culture": ["France, 20th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 80.1 x 106.7 x 4.6 cm (31 9/16 x 42 x 1 13/16 in.); Unframed: 65 x 92 cm (25 9/16 x 36 1/4 in.); Former: 90.5 x 117.2 x 7 cm (35 5/8 x 46 1/8 x 2 3/4 in.)", "dimensions": {"framed": {"height": 0.801, "width": 1.067, "depth": 0.046}, "unframed": {"height": 0.65, "width": 0.92}, "former": {"height": 0.905, "width": 1.172, "depth": 0.07}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Artists Rights Society (ARS), New York / ADAGP, Paris", "inscriptions": [{"inscription": "Signed lower right: \"F LEGER / 20\"; inscribed on back: \"L'AVIATEUR / DEFINITIF / F. LEGER 20\"\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": 227345, "title": "Fernand L\u00e9ger Retrospective", "description": "<i>Fernand L\u00e9ger Retrospective</i>. Helly Nahmad Gallery, New York, NY (organizer) (February 22-May 28, 2005).", "opening_date": "2005-02-22T00:00:00"}, {"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>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008).", "opening_date": "2006-05-27T00:00:00"}], "legacy": [{"description": "<em>Fernand L\u00e9ger Retrospective</em>. Helly Nahmad Gallery, New York, NY (February 22-May 28, 2005).", "opening_date": "2005-02-22T00:00:00"}]}, "provenance": [{"description": "(D. H. Kahnweiler, Paris, France)", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "(Alfred Flechtheim, Berlin,Germany)", "citations": [], "footnotes": [], "date": null, "sortorder": 2}, {"description": "Kofler-Herni Coll.", "citations": [], "footnotes": [], "date": null, "sortorder": 3}, {"description": "(Galerie Beyeler, Basel Switzerland)", "citations": [], "footnotes": [], "date": null, "sortorder": 4}, {"description": "(Perls Galleries, New York, NY, 1981, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "1981", "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1981-", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Trained as an architect to admire pure, geometric forms, L\u00e9ger wrote that while fighting on the Argonne Front during World War I he was \"stunned by the sight of the breech of a 75 millimeter in the sunlight. It was the magic of light on the white metal.\"", "description": "During World War I, Fernand L\u00e9ger served in the Corps of Engineers until he sustained injuries from a mustard gas attack at the Battle of Verdun in 1916. This painting celebrates the courage of aviators and the technology of flight; the spinning propeller is suggested by the arching curves fragmented into sections of purple, white, black, green, and yellow. The circular motif is repeated as a human head, the insignia of the French air force (that resembles a bullseye), and tubular mechanical elements throughout the composition.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60474736"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art, \u201cMajor Leger Painting Acquired by the Cleveland Museum of Art,\u201d March 31, 1981, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr2869"}, {"citation": "Lee, Sherman E. \u201cThe Year in Review for 1981.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 69, no. 2 (1982): 39\u201382.", "page_number": "Reproduced: P. 42", "url": "http://www.jstor.org/stable/25159758"}, {"citation": "Henning, Edward B. \u201cThe Aviator: A Major Painting by Fernand L\u00e9ger.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 69, no. 3 (1982): 87\u201393.", "page_number": "Reproduced: cover, P. 92, fig. 12; Mentioned: P. 87-93", "url": "http://www.jstor.org/stable/25159762"}, {"citation": "Blass, Brigit. <em>Aviatik und Avantgarde: Fliegen und Schweben</em>. Ko\u0308ln, Germany: Deutsche Lufthansa AG, Presse &amp; Information, 1988.", "page_number": "Reproduced: p. 27", "url": null}, {"citation": "<em>Fernand L\u00e9ger Retrospective. </em>New York, New York: Helly Nahmad Gallery, 2005.", "page_number": "Reproduced and mentioned: p. 38-39, no. 5", "url": null}, {"citation": "Sims, Lowery S. <em>The Persistence of Geometry: Form, Content, and Culture in the Collection of the Cleveland Museum of Art</em>. Cleveland, Ohio: Cleveland Museum of Art, 2006.", "page_number": "Reproduced: p. 17, fig. 1", "url": null}], "url": "https://clevelandart.org/art/1981.16", "images": {}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Michael J. Horvitz Family Gallery", "athena_id": 150359, "creators": [{"id": 2121, "description": "Fernand L\u00e9ger (French, 1881\u20131955)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1881", "death_year": "1955", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1981-03-09T00:00:00", "sortable_date": 1920, "date_added_to_oa": null, "date_text": "1920", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": [], "is_highlight": true, "updated_at": "2026-03-27 00:01:10.888000"}, {"id": 167456, "accession_number": "2009.269", "share_license_status": "CC0", "tombstone": "Rock at Sea, 1920\u20131922. Raymond Jonson (American, 1891\u20131982). Oil on canvas; unframed: 88.9 x 104.2 cm (35 x 41 in.). The Cleveland Museum of Art, Severance and Greta Millikin Purchase Fund, 2009.269", "current_location": "226A American Modern", "title": "Rock at Sea", "creation_date": "1920\u20131922", "creation_date_earliest": 1920, "creation_date_latest": 1922, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Unframed: 88.9 x 104.2 cm (35 x 41 in.)", "dimensions": {"unframed": {"height": 0.889, "width": 1.042}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right inscribed into wet paint: Raymond Jonson 19 (CJ) 22; (written on the reverse of the backing board): Raymond Jonson, Rock at Sea 1922, Ogunguit, Maine; Oct. 1945 - varnished Taylor's Dammar Dull + Webers ", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 283968, "title": "Higher States: Lawren Harris and His American Contemporaries", "description": "<i>Higher States: Lawren Harris and His American Contemporaries</i>. McMichael Canadian Art Collection, Kleinburg, Canada (organizer) (February 4-September 4, 2017); Glenbow Museum, Calgary, Canada (October 7, 2017-January 7, 2018).", "opening_date": "2017-02-04T05:00:00"}], "legacy": [{"description": "<em>Exhibition of Paintings by Raymond Jonson. </em>Omaha Society of Fine Arts, Public Library Galleries, Omaha (March 24-April 20, 1924).", "opening_date": "1924-03-24T00:00:00"}, {"description": "<em>An Exhibit of Paintings by Raymond Jonson. </em>Kansas City Art Institute, Kansas City (May 1-May 31, 1924).", "opening_date": "1924-05-01T00:00:00"}]}, "provenance": [{"description": "The artist", "citations": [], "footnotes": [], "date": "1922-1978", "sortorder": 1}, {"description": "Edward and Bettie Moran, Alameda, NM", "citations": [], "footnotes": null, "date": "1978-2002", "sortorder": 2}, {"description": "(Bob Copland, Santa Fe, NM)", "citations": [], "footnotes": [], "date": "2002", "sortorder": 3}, {"description": "Private collector, ME", "citations": [], "footnotes": null, "date": "2002-by 2008", "sortorder": 4}, {"description": "(Hirschl & Adler Galleries, Inc., New York, NY)", "citations": [], "footnotes": [], "date": "by 2008-2009", "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": "Jonson admired this composition, recycling it years later for a mountainous New Mexico landscape painting.", "description": "The radically stylized tendencies in <em>Rock at Sea </em>were motivated by Jonson\u2019s earlier work as an avant-garde scenic and lighting designer for the esteemed Chicago Little Theatre. Inspired by the jagged coast of Ogunquit, Maine, the painting\u2019s visionary rendering of nature embodies the artist\u2019s long-standing interest in communicating mystical concepts. Later, Jonson would move to Albuquerque, New Mexico, and co-found the Transcendental Painting Group, an association of artists dedicated to expressing the imaginative and spiritual realms through abstract art.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60480481"], "internet_archive": ["https://archive.org/details/clevelandart-2009.269-rock-at-sea"]}, "citations": [{"citation": "<em>Exhibition of Paintings by Raymond Jonson: March 24 to April 20, 1924. </em>Omaha: Omaha Society of Fine Arts, 1924.", "page_number": null, "url": null}, {"citation": "\"Museum Notes.\" <em>The Evening Bee: Omaha </em>(Omaha, NE), March 28, 1924.", "page_number": null, "url": null}, {"citation": "<em>An Exhibit of Paintings by Raymond Jonson. </em>Kansas City: The Kansas City Art Institute, 1924.", "page_number": "Mentioned: p. 3", "url": null}, {"citation": "\"Acquisitions Highlights.\" <em>Cleveland Art</em> 49 (November 2009).", "page_number": "Mentioned: p. 11; Reproduced: p. 11", "url": null}, {"citation": "Mann, Griffith C. \"Acquisitions 2009.\" <em>Cleveland Art</em> 50 (March/April 2010).", "page_number": "Mentioned: p. 17-18; Reproduced: p. 17", "url": null}, {"citation": "Litt, Steven. \"Close Up: Painter's Interest in Abstraction Leaves Him Teetering at the Edge,\" <em>The Plain Dealer</em>, February 12, 2012.", "page_number": "Mentioned: E5; Reproduced: E5", "url": null}, {"citation": "Nasgaard, Roald, Gwendolyn Owens, and Lawren Harris. <em>Higher States:</em> <em>Lawren Harris and His American Contemporaries.</em> Kleinburg, Ontario: McMichael Canadian Art Collection, 2017.", "page_number": "Mentioned: p. 94; Reproduced: p. 14-15", "url": null}, {"citation": "Hartel, Herbert R. <em>Raymond Jonson and the Spiritual in Modernist and Abstract Painting.</em> New York and London: Routledge, Taylor &amp; Francis Group, 2018.", "page_number": "Mentioned: p. 36-38; Reproduced: p. 37", "url": null}, {"citation": "Marshall, Jennifer Jane. \"Routes to Modernism: 1913-1943.\" In <em>Art in Chicago: A History from the Fire to Now</em>. Maggie Taft and Robert Cozzolino, editors. Chicago: University of Chicago Press, 2018.", "page_number": "Reproduced; p. 64", "url": null}, {"citation": "Raymond Jonson Papers, 1910-1964. Archives of American Art, Smithsonian Institution. Microfilm.", "page_number": "Mentioned: RJ-8, frames 6198-6200, RJ-10, frame 7122", "url": null}], "url": "https://clevelandart.org/art/2009.269", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2009.269/2009.269_web.jpg", "width": "1043", "height": "893", "filesize": "759323", "filename": "2009.269_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2009.269/2009.269_print.jpg", "width": "3400", "height": "2911", "filesize": "8383992", "filename": "2009.269_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2009.269/2009.269_full.tif", "width": "5583", "height": "4780", "filesize": "80093716", "filename": "2009.269_full.tif"}}, "alternate_images": [], "creditline": "Severance and Greta Millikin Purchase Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Dr. Robert B. Benyo Trust Gallery", "athena_id": 167456, "creators": [{"id": 58611, "description": "Raymond Jonson (American, 1891\u20131982)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1891", "death_year": "1982", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2009-09-14T00:00:00", "sortable_date": 1920, "date_added_to_oa": null, "date_text": "1920\u20131922", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:40.896000"}, {"id": 142806, "accession_number": "1966.50", "share_license_status": "Copyrighted", "tombstone": "Student (Costume Study for Goll's \"Methusalem\") (recto) Amalie, Ida, and Set Designs (Studies for Goll's \"Methusalem\") (verso), 1922. George Grosz (German, 1893\u20131959). Pen and brown-black ink (applied with the aid of drafting tools) and watercolor; sheet: 52.7 x 38 cm (20 3/4 x 14 15/16 in.). The Cleveland Museum of Art, Contemporary Collection of The Cleveland Museum of Art, 1966.50. \u00a9  Estate of George Grosz / Licensed by VAGA at Artists Rights Society (ARS), NY", "current_location": null, "title": "Student (Costume Study for Goll's \"Methusalem\") (recto) Amalie, Ida, and Set Designs (Studies for Goll's \"Methusalem\") (verso)", "creation_date": "1922", "creation_date_earliest": 1922, "creation_date_latest": 1922, "artists_tags": ["male"], "culture": ["Germany, Berlin, 20th century"], "technique": "Pen and brown-black ink (applied with the aid of drafting tools) and watercolor", "support_materials": [], "department": "Drawings", "collection": "DR - German", "type": "Drawing", "measurements": "Sheet: 52.7 x 38 cm (20 3/4 x 14 15/16 in.)", "dimensions": {"sheet": {"height": 0.527, "width": 0.38}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  Estate of George Grosz / Licensed by VAGA at Artists Rights Society (ARS), NY", "inscriptions": [{"inscription": "upper right, in graphite: 6; by artist upper left, in brown ink: Dort kann er knacken und klirren beim sprechen [sideways along edge]; by artist, upper left, near figure's shoulder, in brown ink: Dampf / beim sprechen / von Zeit zu Zeit / aufzischen; by artist, upper left, below previous inscription, in brown ink: Z\u00e4hne gleich / alten / Klaviertasten; by artist, lower right in brown ink: Kopf Maske/aufgeklappt / gro\u00dfes Talglicht mit / aufmontierte elektr. Birne /als Licht, von beleuchter; by artist, lower right, in brown ink: Student [underlined twice]; by artist, lower right, below previous inscription: F\u00fc\u00dfe Riesen/streichholz/schachteln; lower left, in graphite: 38; by artist, bottom right, in graphite: No [\"o\" underlined twice] 16) zu Goll \"Methusalem\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 361640, "title": "Dada Revisited", "description": "<i>Dada Revisited</i>. Akron Art Museum (organizer).", "opening_date": null}, {"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": 443875, "title": "Tendencies of the Twenties", "description": "<i>Tendencies of the Twenties</i>. Staatliche Museen Preussischer Kulturbesitz, Berlin 19, Germany (August 14, 1977-October 16, 1978); St\u00e4del Museum, Franfurt am Main, Germany (November 10, 1977-January 8, 1978).", "opening_date": "1977-08-14T04:00:00"}, {"id": 361641, "title": "Dada and Surrealism Reviewed", "description": "<i>Dada and Surrealism Reviewed</i>. Hayward Gallery, London, United Kingdom of Great Britain and Northern Ireland (January 11-March 27, 1978).", "opening_date": "1978-01-11T05:00:00"}, {"id": 443370, "title": "Dada Revisited", "description": "<i>Dada Revisited</i>. Akron Art Museum, Akron, OH (organizer) (June 30-September 15, 1978).", "opening_date": "1978-06-30T04:00:00"}, {"id": 361642, "title": "DADA: Berlin, Cologne, Hannover", "description": "<i>DADA: Berlin, Cologne, Hannover</i>. The Institute of Contemporary Art, Boston, Boston, MA (November 5, 1980-January 4, 1981); Kimbell Art Museum, Fort Worth, TX (March 3-April 19, 1981).", "opening_date": "1980-11-05T05:00:00"}, {"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": 361643, "title": "Robots: History, Fantasy, & Reality", "description": "<i>Robots: History, Fantasy, & Reality</i>. Madison Museum of Contemporary Art, Madison, WI (organizer) (December 1-January 19, 1985).", "opening_date": "1985-12-01T05:00:00"}, {"id": 310264, "title": "Cross Section: Graphic Art in Germany after the First World War", "description": "<i>Cross Section: Graphic Art in Germany after the First World War</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 10, 1989-January 7, 1990).", "opening_date": "1989-10-10T04:00:00"}, {"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": 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": 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"}], "legacy": [{"description": "<em>George Grosz. </em>Whitney Museum of American Art, New York (January - February 1954).", "opening_date": "1954-01-01T00:00:00"}]}, "provenance": [{"description": "(Galerien Flechtheim, Berlin/D\u00fcsseldorf)", "citations": [], "footnotes": ["<div><!--block-->according to old label</div>"], "date": "?-?", "sortorder": 1}, {"description": "(Eugene Victor Thaw, New York, NY, sold 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": [], "did_you_know": "George Grosz's interest in mechanization extended to his drawing practice: he used drafting tools, like a straight-edge and compass, to execute works such as this one.", "description": "<em>Student</em> belongs to a series of drawings George Grosz made for Iwan Goll\u2019s 1921 play <em>Methusalem: The Eternal Bourgeois.</em> This satirical drama pitted a radical student against Methusalem, a bourgeois capitalist. Grosz\u2019s drawing shows the student\u2019s costume; the actor would have spoken from behind a full-size, mask-like shield made from various machine parts and other commonplace objects. The hinged metal head reveals the inner workings of a corrupt or incompetent mind. In Grosz\u2019s characterization, neither the radical student nor the bourgeois capitalist was more righteous than the other. Grosz was an outlier to Expressionism, rejecting the idea of the artist as mystical prophet in favor of the artist as an ordinary worker, an idea inspired by the socialist rhetoric of the day.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80042971"], "internet_archive": []}, "citations": [{"citation": "Baur, John Ireland Howe. <em>George Grosz</em>. Exh. Cat. New York: Whitney Museum of American Art, 1954.", "page_number": "Mentioned: pp. 16-17, no. 36; Reproduced: p. 16", "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. 241; Mentioned: p. 283, no. 116", "url": "http://www.jstor.org/stable/25152110"}, {"citation": "Rubin, William S. <em>Dada and Surrealist Art</em>. New York: Harry N. Abrams, 1968.", "page_number": "Mentioned: p. 88; Reproduced: plate 76", "url": null}, {"citation": "West, Richard. \"Figure for Yvan Goll's Methusalem.\" <em>Bulletin of the Cleveland Museum of Art</em> 55, no. 4 (April 1968): 90-94.", "page_number": "Mentioned: pp. 90-94; Reproduced: p. 91", "url": null}, {"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. 3", "url": "https://archive.org/details/20thCenturyArtCMA/page/n3"}, {"citation": "Ashton, Dore. \"A Planned Coincidence.\" <em>Art in America</em> 57 (September-October 1969): 36-47.", "page_number": "Mentioned and reproduced: pp. 40-41", "url": null}, {"citation": "<em>Tendenzen der Zwanziger Jahre</em>. Exh. Cat. Berlin: Akademie der K\u00fcnste, 1977.", "page_number": "Mentioned: p. 3, p. 261; Reproduced: p. 3, p. 51", "url": null}, {"citation": "Ades, Dawn. <em>Dada and Surrealism Reviewed</em>. Exh. Cat. London: Hayward Gallery, 1978.", "page_number": "Mentioned: p. 94", "url": null}, {"citation": "Wohl, Helmut. <em>DADA: Berlin, Cologne, Hannover</em>. Exh. Cat. Boston: Institute of Contemporary Art, 1980.", "page_number": "Mentioned and reproduced: p. 12, p. 26", "url": null}, {"citation": "Breitman, Ellen. <em>Art and the Stage</em>. Exh. Cat. Cleveland: Cleveland Museum of Art, 1981.", "page_number": "Mentioned and reproduced: p. 29, no. 14", "url": null}, {"citation": "DeShong, Alan. <em>The Theatrical Designs of George Grosz</em>. Ann Arbor, MI: UMI Research Press, 1982.", "page_number": "Mentioned: p. 43; Reproduced: plate 14", "url": null}, {"citation": "Webb, Michael. \"The Robots Are Here! The Robots Are Here!\" <em>Design Quarterly, </em>no. 121 (1983): 4-21.", "page_number": "Mentioned: p. 11; Reproduced: p. 10", "url": null}, {"citation": "Myers, Trent. <em>Robots: History, Fantasy, &amp; Reality</em>. Exh. Cat. Madison, WI: Madison Art Center, 1985.", "page_number": "Mentioned and reproduced: p. 3, insert", "url": null}, {"citation": "Taylor, Sue and Richard A. Born. <em>The David and Alfred Smart Museum of Art: A Guide to the Collection</em>. New York: Hudson Hills Press, 1990.", "page_number": "Mentioned and reproduced: p. 113", "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. 246-47, 297; Reproduced: P. 247-248, cat. no. 104", "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. 65, no. 63", "url": ""}, {"citation": "Smithers, Laura E., Heidi Fischer, and Faith A. Watrous. Impact/Impasse : Revaluing University Classroom Life. Albany, NY: State University of New York Press, 2024.", "page_number": "Reproduced: Cover", "url": ""}], "url": "https://clevelandart.org/art/1966.50", "images": {}, "alternate_images": [], "creditline": "Contemporary Collection of The Cleveland Museum of Art", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 142806, "creators": [{"id": 12615, "description": "George Grosz (German, 1893\u20131959)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1893", "death_year": "1959", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1967-01-30T00:00:00", "sortable_date": 1922, "date_added_to_oa": null, "date_text": "1922", "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": ["Student (Study for Goll's Methusalem)"], "is_highlight": false, "updated_at": "2026-03-27 00:00:44.855000"}, {"id": 163645, "accession_number": "2005.144", "share_license_status": "Copyrighted", "tombstone": "White and Steel Polars, 1945. Theodore Roszak (American, born Kingdom of Prussia [now Poland], 1907\u20131981). Painted wood, steel, iron, and Plexiglas; overall: 271.8 x 40.6 x 40.6 cm (107 x 16 x 16 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 2005.144. \u00a9  Estate of Theodore Roszak  / Licensed by VAGA at Artists Rights Society (ARS), NY", "current_location": "226B American Modern", "title": "White and Steel Polars", "creation_date": "1945", "creation_date_earliest": 1945, "creation_date_latest": 1945, "artists_tags": ["male"], "culture": ["America"], "technique": "painted wood, steel, iron, and Plexiglas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Sculpture", "type": "Sculpture", "measurements": "Overall: 271.8 x 40.6 x 40.6 cm (107 x 16 x 16 in.)", "dimensions": {"overall": {"height": 2.718, "width": 0.406, "depth": 0.406}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  Estate of Theodore Roszak  / Licensed by VAGA at Artists Rights Society (ARS), NY", "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": "<em>Theodore Roszak Constructions, 1932-1945.</em> Zabriskie Gallery, New York (October 31\u2013December 2, 1978).", "opening_date": "1978-10-31T05:00:00Z"}]}, "provenance": [{"description": "(Zabriskie Gallery, New York, NY, sold to Atlantic Richfield Company, Los Angeles)", "citations": [], "footnotes": null, "date": "1978-1979", "sortorder": 1}, {"description": "Atlantic Richfield Company, Los Angeles, CA", "citations": [], "footnotes": null, "date": "1978-1979", "sortorder": 2}, {"description": "Atlantic Richfield Company, Los Angeles, CA, transfer to ARCO International Gas & Oil, Plano, TX", "citations": [], "footnotes": null, "date": "1979", "sortorder": 3}, {"description": "ARCO International Gas & Oil, Plano, TX  to (Hirschl & Adler, New York, NY and Robert Henry Adams Fine Art, Chicago, IL)", "citations": [], "footnotes": [], "date": "1979-2000", "sortorder": 4}, {"description": "(Hirschl & Adler, New York, NY and Robert Henry Adams Fine Art, Chicago, IL ) sold to Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2000-2005", "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2005-", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "During the Second World War, Roszak worked for a defense contractor, helping to design aircraft.", "description": "In 1929 Roszak traveled to Prague and met artists interested in making work from industrial materials such as metal and plastic. Inspired by them, he incorporated this approach into his own sculpture for the next few decades.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780972"], "internet_archive": []}, "citations": [{"citation": "Urdang, Beth. <em>Theodore Roszak: Constructions, 1932-1945. </em>Exhibition pamphlet. New York: Zabriskie Gallery, 1978.", "page_number": "Reproduced: p. 7", "url": null}, {"citation": "Zabriskie Gallery advertisement, <em>Art in America</em> 66 (November-December 1978).", "page_number": "Mentioned: p. 51", "url": null}, {"citation": "Kramer, Hilton. \"Art: Roszak Evokes Spirit of Bauhaus,\" New York Times (December 1,1978).", "page_number": "Mentioned: p. C17", "url": null}, {"citation": "Fichner-Rathus, Lois. <em>Theodore Roszak: Drawings for Constructions, 1931-1945; and Preparatory Sketches, Models and Castings for the MIT Bell Tower,</em> 1955.", "page_number": "Mentioned: p. 2", "url": null}, {"citation": "Marter, Joan. \"Theodore Roszak\u2019s Early Constructions: The Machine as Creator of Fantastic and Ideal Forms,\"<em> Arts Magazine</em> 54 (November 1979).", "page_number": "Mentioned: p. 110", "url": null}, {"citation": "Marter, Joan. \"Constructivism in America: The 1930s.\"<em> Arts Magazine</em> 56 (June 1982).", "page_number": "Reproduced: p. 79", "url": null}, {"citation": "Pachner, Joan. \"Theodore Roszak and David Smith: A Question of Balance,\" <em>Arts Magazine</em> 58 (February 1984).", "page_number": "Mentioned: p. 103", "url": null}, {"citation": "Dreishpoon,Douglas. <em>Theodore Roszak: Constructivist Works, 1931-1947: Paintings, Constructions, Drawings, Photogram</em>s. Exhibition catalog. New York: Hirschl &amp; Adler Galleries, 1992.", "page_number": "Reproduced: p. 11", "url": null}, {"citation": "Dreishpoon, Douglas. <em>Theodore J. Roszak (1907-1981): Painting and Sculpture. </em>Ph.D. dissertation, City University of New York, 1993.", "page_number": "Reproduced: fig. 44", "url": null}, {"citation": "Carberry,Valerie. <em>Selections from the Current Inventory: Paintings, Sculpture, Works on Paper vol. VII. </em>Chicago: Robert Henry Adams Fine Art, Spring 2001).", "page_number": "Mentioned: p. 16-17", "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. 120; Reproduced: p. 69", "url": null}, {"citation": "Cole, Mark. \"Bi-polar Order\" <em>Cleveland Art</em> 46 (March 2006).", "page_number": "Mentioned: p. 8-9; Reproduced: p. 8, cover", "url": null}, {"citation": "Cole, Mark, \"Bi-polar Order\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 46 no. 03, March 2006", "page_number": "Mentioned & reproduced: p. 8", "url": "https://archive.org/details/CMAMM2006-03/page/8"}, {"citation": "Cleveland Museum of Art, <em>Annual Report (2005-2006</em>).", "page_number": "Mentioned: p. 4, 30", "url": null}, {"citation": "The Cleveland Museum of Art, <em>The CMA Companion: A Guide to the Cleveland Museum of Art. </em>New York: Scala Art Publishers, 2014.", "page_number": "Mentioned: p. 60", "url": null}], "url": "https://clevelandart.org/art/2005.144", "images": {}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Hammond Hemmelgarn Family Gallery", "athena_id": 163645, "creators": [{"id": 14356, "description": "Theodore Roszak (American, born Kingdom of Prussia [now Poland], 1907\u20131981)", "extent": null, "qualifier": null, "role": "artist", "biography": "Theodore Roszak American, b. Prussia, 1907-1981 Theodore Roszak was a painter and sculptor whose interest in modern European art and the writings of L\u00e1szl\u00f3 Moholy-Nagy led him to experiment with photograms in the late 1930s and early 1940s. Although born in Posen (now Poznan, Poland), Roszak grew up in Chicago. While in high school he took evening classes at the School of the Art Institute of Chicago, enrolling there as a full-time student in 1925. In 1926 he moved to New York City, where he studied briefly with Charles Hawthorne at the National Academy of Design and then privately with painter George Luks. He also attended classes in logic and philosophy at Columbia University. The next year he returned to Chicago, resuming his studies at the Art Institute. In 1929 Roszak was awarded a fellowship which allowed him to travel in Europe for two years; during this time he became acquainted with constructivism and the philosophy of the Bauhaus. He returned to the United States in 1931, settling in New York City. His work of this period reflected the influence of constructivist aesthetics. By the mid-1930s he was primarily producing wall reliefs and freestanding geometric constructions made from plastic and wood. From about 1937-41 Roszak began making photograms (cameraless photographs) as a way to experiment with light and geometric form. He also incorporated photograms into his teaching curriculum at the Design Laboratory, an experimental school inspired by the principles of the Bauhaus and Moholy-Nagy (funded by the government under the wpa), where he taught from 1938\u201340. During these years he produced hundreds of photograms, which he never exhibited. From 1940-56 Roszak taught at Sarah Lawrence College. During World War II he taught aircraft mechanics and built airplanes at the Brewster Aircraft Corporation in New Jersey. After the war his sculpture, now created out of welded metal, shifted from a concern with geometric shapes to an interest in more organic, expressionistic forms. Roszak continued to be active as a sculptor throughout the 1960s and from 1970\u201372 taught at Columbia University. The Cleveland Museum of Art also owns two sculptures by Roszak. M.M.", "name_in_original_language": null, "birth_year": "1907", "death_year": "1981", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2005-09-06T00:00:00", "sortable_date": 1945, "date_added_to_oa": null, "date_text": "1945", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["White Bi-Polar "], "is_highlight": true, "updated_at": "2026-03-27 00:06:08.792000"}, {"id": 169868, "accession_number": "2012.119", "share_license_status": "Copyrighted", "tombstone": "The Bee Tree, 1930. Frank Wilcox (American, 1887\u20131964). Oil on canvas; framed: 87.6 x 113 x 5.5 cm (34 1/2 x 44 1/2 x 2 3/16 in.); unframed: 76.8 x 102.2 cm (30 1/4 x 40 1/4 in.). The Cleveland Museum of Art, Gift of Richard and Renee Zellner and purchase from the Dudley P. Allen Fund, 2012.119. \u00a9 Wilcox Family Collection LLC", "current_location": null, "title": "The Bee Tree", "creation_date": "1930", "creation_date_earliest": 1930, "creation_date_latest": 1930, "artists_tags": ["May Show", "male", "Cleveland Institute of Art (alumni)", "Cleveland Institute of Art (faculty)"], "culture": ["America, Ohio, Cleveland"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Cleveland School", "type": "Painting", "measurements": "Framed: 87.6 x 113 x 5.5 cm (34 1/2 x 44 1/2 x 2 3/16 in.); Unframed: 76.8 x 102.2 cm (30 1/4 x 40 1/4 in.)", "dimensions": {"framed": {"height": 0.876, "width": 1.13, "depth": 0.055}, "unframed": {"height": 0.768, "width": 1.022}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Wilcox Family Collection LLC", "inscriptions": [], "exhibitions": {"current": [{"id": 382038, "title": "The May Show: 28th Annual Exhibition of Works by Cleveland Artists and Craftsmen", "description": "<i>The May Show: 28th Annual Exhibition of Works by Cleveland Artists and Craftsmen</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 13-June 9, 1946).", "opening_date": "1946-04-13T05:00:00"}, {"id": 311873, "title": "Transformations in Cleveland Art, 1796-1946", "description": "<i>Transformations in Cleveland Art, 1796-1946</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 19-July 21, 1996).", "opening_date": "1996-05-19T04:00:00"}, {"id": 227691, "title": "An Ohio Childhood", "description": "<i>An Ohio Childhood</i>. Decorative Arts Center of Ohio, Lancaster, OH (organizer) (September 10-December 31, 2016).", "opening_date": "2016-09-10T00:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The artist represents himself as the young man straddling the tree in the center of the composition.", "description": "Recalling an event that took place decades earlier during a family reunion on a farm in Brecksville, Ohio, this painting depicts the felling of a tree to extract a honeycomb in its trunk. The artist-who taught more than 40 years at his alma mater, the Cleveland School (now Institute) of Art-presents himself as the young man straddling the tree in the center of the composition.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60480911"], "internet_archive": []}, "citations": [{"citation": "Frank Wilcox Entry Card to 1946 May Show. Cleveland Museum of Art May Show Records, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/CMAMS07674"}, {"citation": "Robinson, William H., et. al. <em>Transformations in Cleveland Art, 1796-1946: Community and Diversity in Early Modern America</em>. Cleveland, Ohio: Cleveland Museum of Art, 1996.", "page_number": "Reproduced and Mentioned: p. 125", "url": null}, {"citation": "Wilcox, Frank Nelson. Two preparatory drawings for <em>The Bee Tree</em>, 1930. Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/FrankWilcox"}], "url": "https://clevelandart.org/art/2012.119", "images": {}, "alternate_images": [], "creditline": "Gift of Richard and Renee Zellner and purchase from the Dudley P. Allen Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 169868, "creators": [{"id": 6783, "description": "Frank Wilcox (American, 1887\u20131964)", "extent": null, "qualifier": null, "role": "artist", "biography": "Cleveland-born Frank Wilcox received artistic training with Frederick Gottwald, Henry Keller, and Louis Rorimer while at tending the Cleveland School of Art, 1906\u201310. On a travel scholarship from the school, Wilcox studied at the Acad\u00e9mie Callorossi in Paris during the winter of 1910\u201311 and exhibited at the Paris Salon of 1911. He then returned to Cleveland, where the Taylor Gallery organized his first solo exhibition in the fall of 1911. The Korner &amp; Wood Galleries organized his second solo exhibition in 1913, the same year he began teaching at the Cleveland School of Art. Among his students were Charles Burchfield, Carl Gaertner, and Clarence Carter. The Cleveland School of Art mounted a solo exhibition of his paintings (1916), and he exhibited in the annual May Shows at the Cleveland Museum of Art (1919\u201360). Wilcox made painting trips to Maine and the eastern seaboard during summers, 1920\u201325, and studied and painted in Paris, 1926\u201327. He established a reputation as a book illustrator with the publication of Ohio Indian Trails in 1933. In the 1930s his paintings appeared in group exhibitions at the Art Institute of Chicago and in New York at the Museum of Modern Art and the Whitney Museum of American Art. The Cleveland School of Art mounted a solo exhibition of his paintings in 1937. In the 1940s he made several painting trips to the American Southwest and illustrated a historical survey of the Ohio canal system. After retiring from the Cleveland School of Art in 1957, Wilcox continued to paint. \"Transformations in Cleveland Art\" (CMA, 1996), p. 240.<br>Biographical information exists in the Cleveland Museum of Art Archives.", "name_in_original_language": null, "birth_year": "1887", "death_year": "1964", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2012-12-03T00:00:00", "sortable_date": 1930, "date_added_to_oa": null, "date_text": "1930", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:28.105000"}, {"id": 380066, "accession_number": "2020.138", "share_license_status": "Copyrighted", "tombstone": "West Point, near Small Point, Maine\u2014Autumn, 1914. John Marin (American, 1870\u20131953). Watercolor with traces of graphite on thick, highly textured wove paper; image and sheet: 41.5 x 48.9 cm (16 5/16 x 19 1/4 in.). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift, 2020.138. \u00a9 Estate of John Marin / Artists Rights Society (ARS), New York", "current_location": null, "title": "West Point, near Small Point, Maine\u2014Autumn", "creation_date": "1914", "creation_date_earliest": 1914, "creation_date_latest": 1914, "artists_tags": ["male"], "culture": ["America"], "technique": "Watercolor with traces of graphite on thick, highly textured wove paper", "support_materials": [], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Image and Sheet: 41.5 x 48.9 cm (16 5/16 x 19 1/4 in.)", "dimensions": {"image and sheet": {"height": 0.415, "width": 0.489}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of John Marin / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "Recto, lower right: \"Marin/14\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Written in pencil on verso: \"63= (circled)\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Written in pencil on verso: \"SR #347/16-1/4 x 19-1/4\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Written in pencil on verso: \"Small Point/ME\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Written in pencil on verso: \"1550 c (circled)\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Written in pencil on verso: \"ACC-ICC/JOCC (crossed out)\"", "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>John Marin's autumn. </em>Kennedy Galleries, Inc. New York, NY (October 8-29, 1988).", "opening_date": "1988-10-08T04:00:00Z"}, {"description": "<em>John Marin, 1998-1999. </em>Richard York Gallery, New York, NY (1999).", "opening_date": "1999-01-01T00:00:00"}]}, "provenance": [{"description": "Estate of the Artist", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "(Richard York Gallery, New York, NY)", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "Mr. and Mrs. Joseph P. Keithley, Cleveland, OH", "citations": [], "footnotes": [], "date": null, "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "March 2, 2020", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "John Marin returned repeatedly to the site in Maine where he made this watercolor, each time portraying through color, paint handling, perspective, and movement his spontaneous experience of the place.", "description": "One of America\u2019s most important watercolorists, John Marin repeatedly challenged accepted ideas about what the medium could do, taking an improvisational approach to color, paint handling, perspective, and movement. This watercolor was made during Marin\u2019s first summer in Maine, 1914, a place that would become central to his watercolor practice for years to come. Marin often returned to the same spot repeatedly, making watercolors each time in response to the light and weather of the moment. <em>West Point near Small Point Maine, Autumn</em> is one of three watercolors in the CMA's collection made at the same spot (see 2020.136 and 2020.139). This watercolor shows Marin's responsiveness to the season and vegetation of autumn expressed through color and other hallmarks of his style, chiefly his great variety of marks, from bold dashes to transparent washes.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q87481476"], "internet_archive": []}, "citations": [{"citation": "Reich, Sheldon, and John Marin. John Marin: A Stylistic Analysis and Catalogue Raisonne\u0301. Tucson: University of Arizona Press, 1970.", "page_number": "Vol II, no. 14.101, p. 404", "url": null}, {"citation": "Marin, John, and Ruth Fine. John Marin's Autumn: [Exhibition] October 8-29, 1988, at Kennedy Galleries, Inc. New York, NY (40 W. 57th St., New York 10019): The Galleries, 1988.", "page_number": "ill. no. 4", "url": null}, {"citation": "Fine, Ruth. \"John Marin.\" In <em>The Keithley Collection at the Cleveland Museum of Art, </em>edited by Heather Lemonedes Brown, 152-161. Cleveland, OH: The Cleveland Museum of Art, 2022.", "page_number": "Mentioned and reproduced: p. 152-161; Mentioned: p. 265-267", "url": ""}], "url": "https://clevelandart.org/art/2020.138", "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": 380066, "creators": [{"id": 3179, "description": "John Marin (American, 1870\u20131953)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1870", "death_year": "1953", "use_in_caption": true, "include_extent": false, "weight": 0}], "legal_status": "accessioned", "accession_date": "2020-03-02T00:00:00-05:00", "sortable_date": 1914, "date_added_to_oa": null, "date_text": "1914", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:45.774000"}, {"id": 146797, "accession_number": "1972.219", "share_license_status": "Copyrighted", "tombstone": "Zapata, 1931. David Alfaro Siqueiros (Mexican, 1896\u20131974), printed by George C. Miller (American, 1894\u20131966), published by Weyhe Gallery. Lithograph; sheet: 61.2 x 51.5 cm (24 1/8 x 20 1/4 in.); image: 52.2 x 39.7 cm (20 9/16 x 15 5/8 in.). The Cleveland Museum of Art, Mr. and Mrs. Charles G. Prasse Collection, 1972.219. \u00a9 Artists Rights Society, (ARS), New York", "current_location": null, "title": "Zapata", "creation_date": "1931", "creation_date_earliest": 1931, "creation_date_latest": 1931, "artists_tags": ["male", "Latine and Hispanic Artists"], "culture": ["Mexico, 20th century"], "technique": "lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Sheet: 61.2 x 51.5 cm (24 1/8 x 20 1/4 in.); Image: 52.2 x 39.7 cm (20 9/16 x 15 5/8 in.)", "dimensions": {"sheet": {"height": 0.612, "width": 0.515}, "image": {"height": 0.522, "width": 0.397}}, "state_of_the_work": "I/II", "edition_of_the_work": "edition size either 35 or 50 (both numbers are inscribed throughout the edition)", "copyright": "\u00a9 Artists Rights Society, (ARS), New York", "inscriptions": [{"inscription": "signed and inscribed at lower left, in pencil: 6/50 A. Siquieros", "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": 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": 373919, "title": "A Graphic Revolution: Prints and Drawings in Latin America", "description": "<i>A Graphic Revolution: Prints and Drawings in Latin America</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 14-August 2, 2020).", "opening_date": "2020-03-08T05:00:00"}], "legacy": [{"description": "<em>The Latin American Spirit: Art and Artists in the United States, 1920-1970</em>. Bronx Museum of the Arts (September 29, 1988 - January 29, 1989); El Paso Museum of Art (February 27 - April 23, 1989).", "opening_date": "1989-02-27T00:00:00"}]}, "provenance": [{"description": "Mr. and Mrs. Charles G. Prasse, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "?-1972", "sortorder": 1}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1972-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "David Alfaro Siqueiros was one of numerous Mexican muralists to depict Emiliano Zapata around the time this print was made.", "description": "This print depicts Emiliano Zapata (1879\u20131919), a leader of the Mexican Revolution who became a symbol of progressive politics in the decades following his assassination. Zapata disavowed his privileged background and fought for workers\u2019 rights. In his lithograph, David Alfaro Siqueiros emphasized Zapata\u2019s heroism, showing him astride a black horse.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79925389"], "internet_archive": []}, "citations": [{"citation": "<em>The Latin American Spirit: Art and Artists in the United States, 1920-1970</em>. Exh. Cat. Bronx: Bronx Museum of the Arts, 1988.", "page_number": "Mentioned and reproduced: p. 37, no. 17", "url": null}], "catalogue_raisonne": "Williams 2", "url": "https://clevelandart.org/art/1972.219", "images": {}, "alternate_images": [], "creditline": "Mr. and Mrs. Charles G. Prasse Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 146797, "creators": [{"id": 3634, "description": "David Alfaro Siqueiros (Mexican, 1896\u20131974)", "extent": null, "qualifier": null, "role": "artist", "biography": "Along with Diego Rivera (1886\u20131957) and Jose Clemente Orozco (1883\u20131949), Siqueiros was one of Mexico's three great muralists. Together, these painters laid the foundation for modern Mexican art during the 1920s. Believing that art should be made for the betterment of society and not for the private pleasure of the elite, they created large-scale, easily understood murals for public buildings. These images effectively communicated the plight of peasants and laborers during this turbulent time in Mexican history. \r\n\r\nFor Siqueiros, a zealous political activist and member of the Communist Party of Mexico, painting was inseparable from politics. He worked on his first murals at Mexico's National Preparatory School from 1922 to 1924, but his dedication to politics was so great that at one time he set aside his artistic ambitions to work as a labor union organizer. He was a veteran of two civil wars and on several occasions was imprisoned, as well as exiled, for his activities and beliefs. While serving time in jail, the artist immersed himself in painting small-scale works, experiencing some of the most prolific periods of his career. During the 1930s, Siqueiros found a haven in New York and opened the Siqueiros Experimental Workshop, which was attended by the young American painter Jackson Pollock (1912\u20131956). In his teaching, Siqueiros emphasized the use of photography as an aid in developing compositions. He also advocated the employment of industrial materials and tools such as the spray-gun. He was a firm believer that modern technology should be used to create a new art for the times.\r\n\r\nDuring the early 1950s, Siqueiros expanded his themes of a utopian socialist society to include the progress of science and technology in the modern world. Throughout his career, the bold colors of industrial enamels, the dynamic lines of his compositions, and the portrayal of strong emotion infused all his works, regardless of scale or purpose, with movement and power.", "name_in_original_language": null, "birth_year": "1896", "death_year": "1974", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 370463, "description": "George C. Miller (American, 1894\u20131966)", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "birth_year": "1894", "death_year": "1966", "use_in_caption": true, "include_extent": true, "weight": 2}, {"id": 370474, "description": "Weyhe Gallery", "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": "1972-12-05T00:00:00", "sortable_date": 1931, "date_added_to_oa": null, "date_text": "1931", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": "6", "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:05:20.334000"}, {"id": 153604, "accession_number": "1987.137", "share_license_status": "Copyrighted", "tombstone": "It Was Yellow and Pink II, 1959. Georgia O'Keeffe (American, 1887\u20131986). Oil on canvas; unframed: 91.5 x 76.2 cm (36 x 30 in.). The Cleveland Museum of Art, Bequest of Georgia O'Keeffe, 1987.137. \u00a9  Georgia O'Keeffe Museum / Artists Rights Society (ARS), New York", "current_location": null, "title": "It Was Yellow and Pink II", "creation_date": "1959", "creation_date_earliest": 1959, "creation_date_latest": 1959, "artists_tags": ["female"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Unframed: 91.5 x 76.2 cm (36 x 30 in.)", "dimensions": {"unframed": {"height": 0.915, "width": 0.762}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  Georgia O'Keeffe Museum / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "Stretcher:  \"Fall 58\" (cardboard stretcher brace, graphite)\r\nBacking:  \"It Was Yellow and Pink II / 1960 [crossed out] 1959 (crossing out and '1959 by DB, OKR, black ink) / Oil / 36 x 30 / canvas\" (OKR, black ink)", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 310024, "title": "The Georgia O'Keeffe Gift", "description": "<i>The Georgia O'Keeffe Gift</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 4-November 15, 1987).", "opening_date": "1987-09-04T04:00:00"}, {"id": 218979, "title": "O'Keeffe and Texas", "description": "<i>O'Keeffe and Texas</i>. Marion Koogler McNay Art Museum, San Antonio, TX (January 27-April 5, 1998).", "opening_date": "1998-01-27T00:00:00"}, {"id": 213897, "title": "Georgia O'Keeffe: The Poetry of Things", "description": "<i>Georgia O'Keeffe: The Poetry of Things</i>. The Phillips Collection (organizer) (April 24-July 18, 1999); Georgia O'Keeffe Museum (August 14-October 10, 1999); The Dallas Museum of Art (October 30, 1999-January 30, 2000); Fine Arts Museum of San Francisco, Legion of Honor (February 19-May 14, 2000).", "opening_date": "1999-04-24T00:00:00"}, {"id": 227553, "title": "Georgia O'Keeffe", "description": "<i>Georgia O'Keeffe</i>. Kunsthaus Z\u00fcrich, Zurich, Switzerland (organizer) (October 23, 2003-February 1, 2004).", "opening_date": "2003-10-23T00:00:00"}, {"id": 228330, "title": "Georgia O'Keeffe and the Sublime Landscape", "description": "<i>Georgia O'Keeffe and the Sublime Landscape</i>. University of Michigan Museum of Art, Ann Arbor, MI (July 10-October 3, 2004); Fresno Metropolitan Museum, CA (October 20, 2004-January 3, 2005).", "opening_date": "2004-07-10T00:00:00"}, {"id": 226296, "title": "Georgia O'Keeffe exhibition", "description": "<i>Georgia O'Keeffe exhibition</i>. Mus\u00e9e de Grenoble, Grenoble, France (organizer) (November 7, 2015-February 7, 2016).", "opening_date": "2015-11-07T00:00:00"}, {"id": 375940, "title": "Georgia O'Keeffe: The Painter's Lens", "description": "<i>Georgia O'Keeffe: The Painter's Lens</i>. Museo Nacional Thyssen-Bornemisza, Madrid, Spain (organizer) (April 20-August 8, 2021); Centre national d'art et de culture Georges Pompidou, Paris cedex O4, France (September 8-December 6, 2021); Fondation Beyeler, CH-4125 Riehen/Basel, Switzerland (January 23-May 22, 2022).", "opening_date": "2021-04-20T04:00:00"}, {"id": 449502, "title": "Georgia O'Keeffe: To See Takes Time", "description": "<i>Georgia O'Keeffe: To See Takes Time</i>. The Museum of Modern Art, New York, NY (organizer) (April 9-August 12, 2023).", "opening_date": "2023-04-09T04:00:00"}, {"id": 522591, "title": "Art Bridges Loan Partnership", "description": "<i>Art Bridges Loan Partnership</i>. Mattatuck Museum, Waterbury, CT (August 16, 2024-September 21, 2025); San Antonio Museum of Art, San Antonio, TX (October 4, 2025-October 4, 2026) https://www.samuseum.org/artwork/exhibition/canvas-to-clay-georgia-okeeffe-maria-martinez-to-mata-ortiz-and-tonala/.", "opening_date": "2024-08-16T04:00:00"}], "legacy": [{"description": "<em>Georgia O'Keeffe</em>. The Downtown Gallery, New York, NY (organizer) (April 11-May 6, 1961).", "opening_date": "1961-04-11T00:00:00"}, {"description": "<em>One Hundred and Fifty-Seventh Annual Exhibition of American Painting and Sculpture. </em>The Pennsylvania Academy of Fine Arts, Philadelphia, PA (organizer) (January 12-February 25, 1962).", "opening_date": "1962-01-12T00:00:00"}, {"description": "<em>Georgia O'Keeffe: American Modern</em>. The Hayward Gallery, London, United Kingdom (organizer) (April 8-June 27, 1993); Palacio de Belles Artes, Mexico City, Mexico (August 1-October 24,1993); Yokohama Museum of Art, Yokohama, Japan (November 28-February 20, 1994).", "opening_date": "1993-04-08T00:00:00"}]}, "provenance": [{"description": "Estate of the artist, 1986", "citations": [], "footnotes": [], "date": null, "sortorder": null}, {"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": "Recalling her views out of airplane windows, O\u2019Keeffe described seeing \u201csuch incredible colors that you actually begin to believe in your dreams.\u201d", "description": "Georgia O\u2019Keeffe was electrified by the aerial views she experienced when flying long distances in the lower-altitude propeller planes of the 1950s and 1960s. In this painting, she has composed riverbeds seen far below in ways that refer to an actual experience and, simultaneously, exist as an abstract design.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60475937"], "internet_archive": []}, "citations": [{"citation": "Muse\u0301e de Grenoble, Sophie Bernard, and Georgia O'Keeffe. Georgia O'Keeffe et ses amis photographes: [... publie\u0301 a\u0300 l'occasion de l'exposition \"Georgia O'Keeffe et ses amis photographes\", Muse\u0301e de Grenoble, 7 novembre 2015 - 7 fe\u0301vrier 2016]. Paris: Somogy e\u0301d. d'art, 2015. catalogue number 67.", "page_number": "161", "url": null}, {"citation": "Ruiz del Arbol, Marta. <em>Georgia O'Keeffe, </em>exh. cat. Madrid: Thyssen-Bornemisza, 2021.", "page_number": "Mentioned p. 301; Reproduced pp. 227, 313.", "url": ""}, {"citation": "The Downtown Gallery. <em>Georgia O'Keeffe: Paintings and Drawings, April 11-May 6, 1961</em>. New York, 1961.", "page_number": null, "url": null}, {"citation": "Pennsylvania Academy of the Fine Arts. <em>Catalogue of the One Hundred and Fifty-Seventh Annual Exhibition of American Painting and Sculpture : January 12 through February 25, 1962</em>. Philadelphia: Pennsylvania of the Fine Arts. 1962.", "page_number": "Mentioned: p. 27", "url": null}, {"citation": "\"Art Museum Gets O'Keeffe Paintings.\" <em>The Cleveland Plain Dealer </em>(22 April 1986).", "page_number": "Mentioned: p. 5C", "url": null}, {"citation": "Culllinan, Helen. \"Georgia On Our Minds: O'Keeffe Legacy: 5 Glowing New Oils at Museum.\" <em>The Cleveland Plain Dealer</em> (5 September 1987).", "page_number": "Mentioned", "url": null}, {"citation": "Chong, Alan, comp. <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. 171", "url": null}, {"citation": "Eldredge, Charles C. <em>Georgia O'Keeffe: American and Modern</em>. New Haven: Yale University Press, 1993.", "page_number": "Reproduced: fig. 86", "url": null}, {"citation": "Udall, Sharyn Rohlfsen. <em>O'Keeffe and Texas</em>. San Antonio: Marion Koogler McNay Art Museum, 1998.", "page_number": "Mentioned: p. 94, 116; Reproduced: p. 96", "url": null}, {"citation": "Turner, Elizabeth Hutton, and Marjorie P. Balge-Crozier. <em>Georgia O'Keeffe: The Poetry of Things</em>. Washington, D.C.: The Phillips Collection, 1999.", "page_number": "Reproduced: p. 132", "url": null}, {"citation": "Lynes, Barbara Buhler. <em>Georgia O'Keeffe: Catalogue Raisonn\u00e9</em>. New Haven: Yale University Press, 1999.", "page_number": "Reproduced: p. 847", "url": null}, {"citation": "Curiger, Bice, Carter Ratcliff, and Peter Johannes Schneemann. <em>Georgia O'Keeffe</em>. Ostfildern-Ruit: Hatje Cantz, 2003.", "page_number": "Reproduced: p. 91", "url": null}, {"citation": "Czestochowski, Joseph S., ed. <em>Georgia O'Keeffe Visions of the Sublime</em>. Memphis: Torch Press and International Arts, 2004.", "page_number": "Reproduced: p. 157", "url": null}, {"citation": "Tosatto, Guy, Sophie Bernard, Camille Ducastel, and Barbara Buhler Lynes. <em>Georgia O'Keeffe et ses amis photographes</em>. 2015.", "page_number": "Mentioned: p. 149; Reproduced: p. 161", "url": null}, {"citation": "Ottinger, Didier. <em>Georgia O'Keeffe</em>. Paris: Centre Pompidou, 2021.", "page_number": "Reproduced: P. 208", "url": ""}, {"citation": "O'Keeffe, Georgia, Theodora Vischer, Sam Keller, Cody Hartley, Didier Ottinger, Marta Ruiz del A\u0301rbol, Ariel Plotek, and Anna Hiddleston-Galloni. Georgia O'Keeffe. 2022.", "page_number": "Reproduced: p. 155", "url": ""}, {"citation": "O'Keeffe, Georgia, Samantha Friedman, Emily Olek, Glenn D. Lowry, and Laura Neufeld. Georgia O'Keeffe: To See Takes Time. New York : The Museum of Modern Art, 2023.", "page_number": "Reproduced: p. 162, pl. 125", "url": ""}], "url": "https://clevelandart.org/art/1987.137", "images": {}, "alternate_images": [], "creditline": "Bequest of Georgia O'Keeffe", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 153604, "creators": [{"id": 3228, "description": "Georgia O'Keeffe (American, 1887\u20131986)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1887", "death_year": "1986", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1987-08-19T00:00:00", "sortable_date": 1959, "date_added_to_oa": null, "date_text": "1959", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:13.313000"}, {"id": 108452, "accession_number": "1926.17", "share_license_status": "CC0", "tombstone": "May Day, Central Park, 1901. Maurice Prendergast (American, born Newfoundland [now Canada], 1858\u20131924). Watercolor over graphite; sheet: 35.4 x 50.6 cm (13 15/16 x 19 15/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1926.17", "current_location": null, "title": "May Day, Central Park", "creation_date": "1901", "creation_date_earliest": 1901, "creation_date_latest": 1901, "artists_tags": ["male"], "culture": ["America"], "technique": "watercolor over graphite", "support_materials": [{"description": "beige(1) wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - American 19th Century", "type": "Drawing", "measurements": "Sheet: 35.4 x 50.6 cm (13 15/16 x 19 15/16 in.)", "dimensions": {"sheet": {"height": 0.354, "width": 0.506}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed, across bottom, in brown ink: Maurice B. Prendergast Central Park. 1901. / New York.; verso, upper left, in graphite: No 22; center, in graphite: May Day Central Park\r\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 354889, "title": "The Maurice Prendergast Memorial Exhibition", "description": "<i>The Maurice Prendergast Memorial Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 15-February 15, 1926).", "opening_date": "1926-01-15T05:00:00"}, {"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": 360879, "title": "Watercolor USA: A Survey of Watercolor from 1870 to 1946", "description": "<i>Watercolor USA: A Survey of Watercolor from 1870 to 1946</i>. Walker Art Center (organizer) (April 24-May 28, 1946); National Gallery of Art (May 17-August 1, 1946).", "opening_date": "1946-04-24T05:00:00"}, {"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": 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": 301972, "title": "American Water Colors from the Museum Collection", "description": "<i>American Water Colors from the Museum Collection</i>. The Cleveland Museum of Art, Cleveland, OH (July 23-September 25, 1974).", "opening_date": "1974-07-23T04:00:00"}, {"id": 361095, "title": "Five American Masters of Watercolor", "description": "<i>Five American Masters of Watercolor</i>. Terra Museum of American Art (organizer) (May 5-July 12, 1981).", "opening_date": "1981-05-05T04:00:00"}, {"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": 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": "(Kraushaar Galleries, New York, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": [], "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": [], "did_you_know": "Maurice Prendergast studied in Paris and was influenced by the French Impressionists and their focus on modern urban life.", "description": "Maurice Prendergast worked primarily in watercolor, and Central Park\u2014seen in this drawing\u2014 was one of his favorite subjects. He regularly visited the popular public area in New York City during the early 1900s, while he was living in Boston. Prendergast's depictions of Central Park often focus on festivities and celebrations, continuing a theme he had explored in other cities, such as Paris and Venice. Here, the artist depicted children celebrating May Day by dancing with colorful ribbons around a Maypole on a sunny day. He worked with rapid, loose marks, leaving portions of the paper visible to create highlights throughout. Prendergast was drawn to this subject, and revisited it many times.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80056803"], "internet_archive": ["https://archive.org/details/clevelandart-1926.17-may-day-central-park"]}, "citations": [{"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. 224-225, p.296; Reproduced: p. 295", "url": null}, {"citation": "Wattenmaker, Richard J. \"Maurice Prendergast.\" <em>Allen Memorial Art Museum Bulletin</em> 40, no. 1 (1982-1983): 25-37.", "page_number": "Mentioned: p. 36 n. 16", "url": null}, {"citation": "Milliken, William Mathewson. \"The Maurice Prendergast Memorial Exhibition.\" <em>Bulletin of the Cleveland Museum of Art </em>13, no. 2 (February 1926): 40-41.", "page_number": "Reproduced: p. 38", "url": null}, {"citation": "Milliken, William Mathewson. \"Maurice Prendergast, American Artist.\" <em>The Arts</em> (April 1926): 181-192.", "page_number": "Reproduced: p. 187", "url": null}, {"citation": "<em>Maurice Prendergast Memorial Exhibition</em>. Exh. Cat. New York: Whitney Museum of American Art, 1934.", "page_number": "Mentioned: no. 95", "url": null}, {"citation": "Francis, Henry S. \"Museum Water Colors and the Thirteenth Exhibition of Water Colors and Pastels.\" <em>Bulletin of the Cleveland Museum of Art</em>. 24, no. 3 (March 1937): 39-41.", "page_number": "Mentioned: p. 40", "url": null}, {"citation": "<em>Painting Today and Yesterday in the United States</em>. Exh. Cat. Santa Barbara: Santa Barbara Museum of Art, 1941.", "page_number": "Mentioned: no. 97", "url": null}, {"citation": "<em>National Cyclopedia of American Biography. </em>Vol. 30. New York, 1943.", "page_number": "Mentioned: pp. 398-399", "url": null}, {"citation": "<em>Acquarela - E.E.U.U. Watercolor - USA, A Survey of Watercolor - USA from 1870 to 1946</em>. Exh. Cat. Minneapolis: Walker Art Center, 1946.", "page_number": "Mentioned: no. 6", "url": null}, {"citation": "Metcalfe, James J. \"Artists.\" <em>Cleveland News</em> (August 19, 1950): 50.", "page_number": "Mentioned: p. 50", "url": null}, {"citation": "<em>The Exhibition of American Painting</em>. Exh. Cat. Athens, OH: Ohio University, 1954.", "page_number": "Mentioned: no. 27", "url": null}, {"citation": "McKinney. Roland. <em>The Eight</em>. New York: Metropolitan Museum of Art, 1954.", "page_number": "Reproduced", "url": null}, {"citation": "<em>American Watercolor Exhibition</em> Exh. Cat. New Delhi: All-India Fine Arts and Crafts Society, 1954.", "page_number": "Mentioned: no. 1", "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. 563", "url": "https://archive.org/details/CMAHandbook1958/page/n105"}, {"citation": "Rhys, Hedley Howell. <em>Maurice Prendergast, 1859-1924</em>. Exh. Cat. Boston: Museum of Fine Arts, 1960.", "page_number": "Mentioned and reproduced: no. 88", "url": null}, {"citation": "Dodd, Loring Holmes. \"Two Important Shows at Boston Museum.\" <em>Worcester Evening Gazette</em> (November 5, 1960): 7.", "page_number": "Mentioned: p. 7", "url": null}, {"citation": "\"Holiday Idyls [sic] of Long Ago: Nostalgic Appeal of Prendergast's World.\" <em>Life Magazine</em> (September 1, 1961).", "page_number": "Mentioned and reproduced", "url": null}, {"citation": "Simon, John. \"Maurice Prendergast.\" <em>New York Times </em>(February 26, 1961): X-19.", "page_number": "Mentioned: p. X-19", "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. 189", "url": "https://archive.org/details/CMAHandbook1966/page/n213"}, {"citation": "Curry, Larry. <em>Eight American Masters of Watercolor</em>. Exh. Cat. Los Angeles: Los Angeles County Museum of Art, 1968.", "page_number": "Mentioned and reproduced: no. 36", "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. 189", "url": "https://archive.org/details/CMAHandbook1969/page/n213"}, {"citation": "\"A Checklist of American Paintings and Water Colors of the Eighteenth, Nineteenth, and Early Twentieth Centuries in The Cleveland Museum of Art.\" <em>Bulletin of the Cleveland Museum of Art</em> 60, no. 1 (January 1973): 21-32.", "page_number": "Mentioned: p. 32", "url": null}, {"citation": "Boyle, Richard J. <em>American Impressionism</em>. Boston: New York Graphic Society, 1974.", "page_number": "Mentioned: p.225; Reproduced: p. 1", "url": null}, {"citation": "Glubok, Shirley. <em>The Art of America in the Early Twentieth Century</em>. New York: Macmillan, 1974.", "page_number": "Reproduced: inside front and back cover", "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. 235", "url": "https://archive.org/details/CMAHandbook1978/page/n255"}, {"citation": "<em>The Monotypes of Maurice Prendergast</em>. Exh. Cat. New York: Davis &amp; Long Company, 1979.", "page_number": "Mentioned: p. 12; Reproduced: p. 138", "url": null}, {"citation": "Perlman, Bennard B. <em>The Immortal Eight: American Painting from Eakins to the Armory Show</em>. Westport, CT: Exposition Press, 1979.", "page_number": "Reproduced: p. 153", "url": null}, {"citation": "<em>Five American Masters of Watercolor: Winslow Homer, John Singer Sargent, Maurice Prendergast, John Marin, Charles Burchfield</em>. Exh. Cat. Evanston, IL: Terra Museum of American Art, 1981.", "page_number": "Mentioned and reproduced: p. 18", "url": null}, {"citation": "<em>Japanese Artists Who Studied in U.S.A. and the American Scene</em>. Exh. Cat. Toyko: National Museum of Modern Art, 1982.", "page_number": "Mentioned and reproduced: no. 62", "url": null}, {"citation": "Koschatzky, Walter. <em>Die Kunst des Aquarells: Technik, Geschichte, Meisterwerke</em>. Vienna: Residenz Verlag, 1982.", "page_number": "Mentioned and reproduced: no. 200", "url": null}, {"citation": "Langdale, Cecily. \"The Late Watercolor/Pastels of Maurice Prendergast.\" <em>Antiques</em> 132 (November 1987): 1084-1095.", "page_number": "Mentioned: p. 1089", "url": null}, {"citation": "Clark, Carol, Nancy Mowll Mathews, and Gwendolyn Owens. <em>Maurice Brazil Prendergast, Charles Prendergast: A Catalogue Raisonn\u00e9</em>. Williamstown, MA: Williams College Museum of Art, 1990.", "page_number": "Mentioned and reproduced: p. 412, no. 795", "url": null}, {"citation": "Mathews, Nancy Mowll. <em>Maurice Prendergast</em>. Exh. Cat. New York: Whitney Museum of American Art, 1990.", "page_number": "Mentioned: p. 20, p. 98, p. 184, no. 42; Reproduced: p. 87", "url": null}, {"citation": "Anderson, Janice. <em>Children in Art</em>. New York, 1996.", "page_number": "Mentioned and reproduced: pp. 114-115", "url": null}, {"citation": "<em>Pride in Place: Landscapes by The Eight in Southern Collections</em>. Exh. Cat. Albany: Albany Museum of Art, 2000.", "page_number": "Mentioned and reproduced: p. 19", "url": null}], "catalogue_raisonne": "Clark, Mathews, and Owens 795", "url": "https://clevelandart.org/art/1926.17", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1926.17/1926.17_web.jpg", "width": "1259", "height": "893", "filesize": "286442", "filename": "1926.17_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1926.17/1926.17_print.jpg", "width": "3400", "height": "2412", "filesize": "1767859", "filename": "1926.17_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1926.17/1926.17_full.tif", "width": "6153", "height": "4366", "filesize": "80616204", "filename": "1926.17_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.17/1926.17_alt0_web.jpg", "width": "1263", "height": "885", "filesize": "1022622"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.17/1926.17_alt0_print.jpg", "width": "2048", "height": "1435", "filesize": "2669879"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.17/1926.17_alt0_full.tif", "width": "2048", "height": "1435", "filesize": "8819692"}}], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 108452, "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": "1926-01-21T00:00:00", "sortable_date": 1901, "date_added_to_oa": null, "date_text": "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": ["Maypole, Central Park"], "is_highlight": false, "updated_at": "2026-03-27 00:09:26.804000"}, {"id": 143756, "accession_number": "1968.196", "share_license_status": "Copyrighted", "tombstone": "Violin, early 1914. Georges Braque (French, 1882\u20131963). Cut and pasted papers (newsprint, block-printed or stenciled decorative paper, and faux bois), with charcoal and graphite; unframed: 71.8 x 51.8 cm (28 1/4 x 20 3/8 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1968.196. \u00a9 Artists Right Society (ARS), New York / ADAGP, Paris", "current_location": null, "title": "Violin", "creation_date": "early 1914", "creation_date_earliest": 1909, "creation_date_latest": 1919, "artists_tags": ["male"], "culture": ["France, 20th century"], "technique": "Cut and pasted papers (newsprint, block-printed or stenciled decorative paper, and faux bois), with charcoal and graphite", "support_materials": [{"description": "cardboard", "watermarks": []}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Unframed: 71.8 x 51.8 cm (28 1/4 x 20 3/8 in.)", "dimensions": {"unframed": {"height": 0.718, "width": 0.518}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Artists Right Society (ARS), New York / ADAGP, Paris", "inscriptions": [], "exhibitions": {"current": [{"id": 361511, "title": "Georges Braque: The Papiers Coll\u00e9s", "description": "<i>Georges Braque: The Papiers Coll\u00e9s</i>. Mus\u00e9e National d'Art Moderne, Paris, Cedex 04, France (June 17-September 27, 1982); National Gallery of Art, Landover, MD (October 31-January 16, 1983).", "opening_date": null}, {"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": 361510, "title": "Jean Paulhan: \u00e0 Travers Ses Peintres", "description": "<i>Jean Paulhan: \u00e0 Travers Ses Peintres</i>. Galeries Nationales du Grand Palais, 75008 Paris, France (organizer) (February 1-April 15, 1974).", "opening_date": "1974-02-01T04:00:00"}, {"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": 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": 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": 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>Jean Paulhan et ses environs</em>. Albert Loeb &amp; Krugier Gallery (April 1967).", "opening_date": "1967-04-01T00:00:00"}, {"description": "<em>L'Atelier de Braque</em>. Mus\u00e9e du Louvre, Paris (November 1961).", "opening_date": "1961-11-01T00:00:00"}]}, "provenance": [{"description": "(Galerie Kahnweiler, Paris, France)", "citations": [], "footnotes": ["<div><!--block-->Galerie Kahnweiler photo no. 1183</div>"], "date": "probably early 1914-by 1923", "sortorder": 1}, {"description": "Jean Paulhan [1884-1968], Neuilly-sur-Seine, France", "citations": [], "footnotes": [], "date": "by 1923-by 1967", "sortorder": 2}, {"description": "(Albert Loeb & Krugier Gallery, New York, NY, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": [], "date": "1967-1968", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1968-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Georges Braque glued an entire page from the newspaper <em>Le Journal</em> on the reverse side of this drawing.", "description": "This drawing belongs to a series that Georges Braque made with <em>papier coll\u00e9</em>, a technique he invented in 1912 that featured collaged elements made from inexpensive wood-patterned wallpaper. Around the same time, Braque's frequent collaborator, Pablo Picasso, was also experimenting with collage, and the two worked closely together until World War I interfered in 1914. Here, Braque represented a violin and glass on a table supported by a single wooden leg. The violin is defined with lines of charcoal, a newspaper fragment, a piece of paper with wood grain, and a strip of decorative patterned paper. Using this combination of materials, Braque placed his subject in a complex space of intersecting planes that defies the logic of representation.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80044092"], "internet_archive": []}, "citations": [{"citation": "Tzara, Tristan. \"Le Papier Coll\u00e9 ou le Proverbe en Peinture.\" <em>Cahiers d'Art</em> 6 (1931): 61-64.", "page_number": "Reproduced: p. 65", "url": null}, {"citation": "Isarlov, George. <em>Georges Braque</em>. Paris: Collection Orbes, 1932.", "page_number": "Mentioned: p. 19", "url": null}, {"citation": "Zervos, Christian. \"Georges Braque.\" <em>Cahiers d'Art</em> 8 (1933): 1-28.", "page_number": "Reproduced: p. 27", "url": null}, {"citation": "Einstein, Carl. <em>Georges Braque</em>. Paris: \u00c9ditions des Chroniques du Jour, 1934.", "page_number": "Mentioned and reproduced: plate XXII", "url": null}, {"citation": "Fumet, Stanislas. <em>Braque</em>. Paris: \u00c9ditions Braun &amp; Cie, 1945.", "page_number": "Mentioned and reproduced: no. 19", "url": null}, {"citation": "<em>L'Atelier de Braque</em>. Exh. Cat. Paris: Mus\u00e9e du Louvre, 1961.", "page_number": "Mentioned and reproduced: no. 17", "url": null}, {"citation": "Dorival, Bernard. \"Mus\u00e9e National d'Art Moderne, Les Pr\u00e9emptions de l'\u00c9tat \u00e0 la Seconde Vente Andr\u00e9 Lef\u00e8vre.\" <em>La Revue du Louvre et des Mus\u00e9es de France</em> 16, no. 2 (1966): 111-120.", "page_number": "Mentioned: p. 112; Reproduced: p. 113", "url": null}, {"citation": "<em>Jean Paulhan et ses environs</em>. Exh. Cat. New York: Albert Loeb &amp; Krugier Gallery, 1967.", "page_number": "Mentioned and reproduced: no. 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. 197", "url": "https://archive.org/details/CMAHandbook1969/page/n221"}, {"citation": "Cleveland Museum of Art. <em>Art of the Twentieth Century in the Cleveland Museum of Art</em>. Cleveland, OH: Dept. of Art History &amp; Education, CMA, 1969.", "page_number": "Mentioned: p. 2", "url": "https://archive.org/details/20thCenturyArtCMA/page/n3"}, {"citation": "Henning, Edward B. \"Georges Braque, <em>Le Vioncelle</em>.\" <em>Bulletin of the Cleveland Museum of Art</em> 56 (February 1969): 55-60.", "page_number": "Mentioned: pp. 55-60; Reproduced: cover", "url": null}, {"citation": "Henning, Edward B. \"Contemporary Art.\" <em>Bulletin of the Cleveland Museum of Art </em>56 (June 1969): 223-224.", "page_number": "Mentioned and reproduced: p. 223", "url": null}, {"citation": "Henning, Edward B. \"Pablo Picasso, Bouteille, Verre, et Fourchette.\" <em>Bulletin of the Cleveland Museum of Art </em>59 (September 1972): 195-203", "page_number": "Mentioned: pp. 197-198; Reproduced: p. 198", "url": null}, {"citation": "Daval, Jean-Luc. <em>Journal de l'art moderne, 1884-1914</em>. Geneva: Skira, 1973.", "page_number": "Mentioned and reproduced: p. 259", "url": null}, {"citation": "Joffroy, Andr\u00e9 Berne, Jean Leymaire, and Mich\u00e8le Richet. <em>Jean Paulhan \u00e0 travers ses peintres</em>. Exh. Cat. Paris: Grand Palais, 1974.", "page_number": "Mentioned: pp. 207-208, no. 456; Reproduced: p. 30, plate 6", "url": null}, {"citation": "Henning, Edward B. \"Acquisitions of Modern Art by Museums.\" <em>Burlington Magazine (Supplement)</em> 112 (May 1970): 338.", "page_number": "Mentioned: p. 338; Reproduced: no. 94", "url": null}, {"citation": "Henning, Edward B. \"Picasso: Harlequin With Violin (Si Tu Veux).\" <em>Bulletin of the Cleveland Museum of Art</em> 63, no. 1 (January 1976): 2-11.", "page_number": "Mentioned: p. 3; Reproduced: p. 2", "url": null}, {"citation": "Henning, Edward B. \"The Cubist Collection at the Cleveland Museum of Art.\" <em>Apollo</em> 105 (January 1977): 52-56.", "page_number": "Reproduced: p. 56", "url": null}, {"citation": "Gross, Lori. \"Guitar and Bottle of Marc on a Table.\" <em>Bulletin of the Cleveland Museum of Art</em> 64 (April 1977): 141-146.", "page_number": "Mentioned: p. 144; Reproduced: p. 145", "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. 242", "url": "https://archive.org/details/CMAHandbook1978/page/n262"}, {"citation": "Henning, Edward B. \"Two New Cubist Paintings by Juan Gris and Pablo Picasso.\" <em>Bulletin of the Cleveland Museum of Art</em> 68, no. 2 (February 1981): 38-50.", "page_number": "Mentioned: p. 40; Reproduced: p. 39", "url": null}, {"citation": "Pouillon, Nadine and Isabelle Monod-Fontaine. <em>Braque: Oeuvres de Georges Braque (1882-1963)</em>. Pairs: Mus\u00e9e National d'Art Moderne, 1982.", "page_number": "Mentioned: p. 55; Reproduced: p. 54", "url": null}, {"citation": "Monod-Fontaine and E.A. Carmean, Jr. <em>Braque: The Papiers Coll\u00e9s</em>. Exh. Cat. Washington, D.C.: National Gallery of Art, 1982.", "page_number": "Mentioned and reproduced: pp. 126-127, no. 39", "url": null}, {"citation": "Monod-Fontaine and E.A. Carmean, Jr. <em>Georges Braque: Les Papiers Coll\u00e9s</em>. Exh. Cat. Paris: Centre Georges Pompidou, 1982.", "page_number": "Mentioned and reproduced: pp. 148-149, no. 42", "url": null}, {"citation": "Daix, Pierre. <em>Cubists and Cubism</em>. New York: Rizzoli, 1982.", "page_number": "Mentioned: p. 161; Reproduced: p. 102", "url": null}, {"citation": "Romilly, Nicole Worms de and Jean Laude. <em>Braque: Le Cubisme, fin 1907-1914. </em>Paris: Maeght, 1982.", "page_number": "Mentioned: p. 286; Reproduced: no. 216", "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. 114, no. 22", "url": ""}, {"citation": "Zurcher, Bernard. <em>Georges Braque: Life and Work</em>. Translated by Simon Nye. New York: Rizzoli, 1988.", "page_number": "Mentioned: pp. 108, 124; Reproduced: p. 109", "url": null}, {"citation": "Perruchot, Henri. \"C\u00f3mo Naci\u00f3 el Cubismo?\" <em>Saber Ver</em> 1, no. 6 (September - October 1992): 38-54.", "page_number": "Mentioned and reproduced: p. 57", "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. 232-233, 296; Reproduced: p. 233", "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. 9", "url": ""}, {"citation": "\"Exhibitions.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 55, no. 1 (January/February 2015): 3.", "page_number": "Reproduced: p. 3", "url": "https://archive.org/details/CMAMM2015-01/mode/2up"}], "url": "https://clevelandart.org/art/1968.196", "images": {}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 143756, "creators": [{"id": 3029, "description": "Georges Braque (French, 1882\u20131963)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1882", "death_year": "1963", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1968-09-12T00:00:00", "sortable_date": 1909, "date_added_to_oa": null, "date_text": "early 1914", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": ["Still Life with Violin"], "is_highlight": true, "updated_at": "2026-03-27 00:03:53.701000"}, {"id": 311857, "accession_number": "2018.78", "share_license_status": "Copyrighted", "tombstone": "Washing the White Blood from Daniel Boone, 1939. Jared French (American, 1905\u20131988). Tempera on masonite; 71.1 x 77.5 cm (28 x 30 1/2 in.). The Cleveland Museum of Art, Bequest of William Kelly Simpson in memory of his wife Marilyn M. Simpson and her grandfather, John D. Rockefeller Jr., 2018.78", "current_location": null, "title": "Washing the White Blood from Daniel Boone", "creation_date": "1939", "creation_date_earliest": 1939, "creation_date_latest": 1939, "artists_tags": ["male", "LGBTQ+ (after 1900)"], "culture": ["America"], "technique": "tempera on masonite", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "71.1 x 77.5 cm (28 x 30 1/2 in.)", "dimensions": {"No Extent Specified": {"height": 0.711, "depth": 0.775}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": [{"description": "<em>Annual Exhibition of Contemporary American Art</em>. Whitney Museum of American Art, New York, NY (January 10-February 18, 1940).", "opening_date": "1940-01-10T00:00:00"}, {"description": "<em>Fine Arts Exhibition</em>. Golden Gate International Exposition, San Francisco, CA (May 25-September 29, 1940).", "opening_date": "1940-05-25T00:00:00"}, {"description": "<em>9 American Artists</em>. Arts Club of Chicago, Chicago, IL (February 3-28, 1942).", "opening_date": "1942-02-03T05:00:00Z"}, {"description": "<em>Paintings and Drawings by Jared French</em>. Edwin Hewitt Gallery, New York, NY (April 21-May 12, 1955), as <em>The Baptism</em>.", "opening_date": "1955-04-21T00:00:00"}, {"description": "<em>Realism and Realities: The Other Side of American Painting, 1940-1960</em>. Rutgers University Art Gallery, New Brunswick, NJ (January 17-March 26, 1982); Montgomery Museum of Fine Arts, Montgomery, AL (April 15-June 13, 1982); The Art Gallery, University of Maryland, College Park, College Park, MD (September 7-October 18, 1982).", "opening_date": "1982-01-17T00:00:00"}, {"description": "<em>Cadmus, French, and Tooker: The Early Years</em>. Whitney Museum of American Art at Philip Morris, New York, NY (March 1-May 5, 1990).", "opening_date": "1990-03-01T00:00:00"}, {"description": "<em>The Rediscovery of Jared French</em>. Midtown Payson Galleries, New York, NY (April 23-May 29, 1992); Mead Art Museum, Amherst College, Amherst, MA (October 2-November 29, 1992).", "opening_date": "1992-04-23T00:00:00"}, {"description": "<em>American Realism Between the Wars, 1919-1941</em>. Nassau County Museum of Art, Roslyn Harbor, NY (April 3-June 5, 1994).", "opening_date": "1994-04-03T00:00:00"}, {"description": "<em>The WPA Decade, 1933-1943: Art Across America</em>. Nassau County Museum of Art, Roslyn Harbor, NY (August 15-October 31, 2004).", "opening_date": "2004-08-15T00:00:00"}]}, "provenance": [{"description": "The artist", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "Monroe Wheeler [1899\u20131988], Rosemont, NJ, by purchase in 1944", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "Anatole Pohorilenko [1943\u20132014], Cheltenham, PA, by inheritance", "citations": [], "footnotes": null, "date": null, "sortorder": 3}, {"description": "[Middendorf Gallery, Washington, DC]", "citations": [], "footnotes": null, "date": null, "sortorder": 4}, {"description": "[Christie's, New York, \"Important American Paintings, Drawings and Sculpture of the 18th, 19th and 20th Centuries,\" November 30, 1990, lot 209]", "citations": [], "footnotes": null, "date": null, "sortorder": 5}, {"description": "William Kelly Simpson [1928\u20132017], New York, NY, by purchase in 1990", "citations": [], "footnotes": null, "date": null, "sortorder": 6}, {"description": "The Cleveland Museum of Art, Cleveland, OH, by bequest in 2018", "citations": [], "footnotes": null, "date": null, "sortorder": 7}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In 1940, a closeted gay art critic punningly described this painting as a \"queer picture.\"", "description": "<em>Washing the White Blood from Daniel Boone</em> relates an episode in the life of the frontiersman: his adoption ritual performed upon his temporary capture by the Shawnee people. One of the first American artists whose same-sex desires were recognized by his contemporaries, French homoeroticized the narrative by substituting men for the women who were thought to have performed the rite.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60483001"], "internet_archive": []}, "citations": [{"citation": "Schwartz, Constance, and Franklin Hill Perrell. <em>American Realism Between the Wars: 1919-1941.</em> Exh. Cat. New York: Nassau County Museum of Art, 1994.", "page_number": "Mentioned: pp.29,60; Reproduced: p.53", "url": null}, {"citation": "San Francisco (Calif.) Golden Gate International Exposition. <em>Contemporary Art; Official Catalog</em>. Department of Fine Arts, Division of Contemporary Painting and Sculpture. 1939.", "page_number": "Mentioned: p.131", "url": null}, {"citation": "<em>1940 Annual Exhibition of Contemporary American Art. </em>Exh. Cat. New York: Whitney Museum of American Art, 1940.", "page_number": "Mentioned: p.5 (unpaginated)", "url": null}, {"citation": "McBride, Henry. \"At the Whitney Museum: A Show of Native Sculpture, Paintings, Drawings and Prints.\" <em>The New York Sun</em>, January 13, 1940.", "page_number": "Mentioned: p.11", "url": null}, {"citation": "Brenning, Margaret. \"The Whitney's Enlarged Annual.\" <em>The Magazine of Art</em>, Vol.33 (February 1940).", "page_number": "Mentioned: p.102", "url": null}, {"citation": "Jewett, Eleanor. \"Arts Club Puts Works of Nine Artists on View.\" <em>Chicago Daily Tribune</em>, February 3, 1942.", "page_number": "Mentioned: p.19", "url": null}, {"citation": "Jewett, Eleanor. \"Nine American Artists Exhibit in Modern Show.\" <em>Chicago Sunday Tribune</em>, February 8, 1942.", "page_number": "Mentioned: p.3", "url": null}, {"citation": "Edwin Hewitt Gallery. <em>Paintings and Drawings by Jared French</em>. Exh. Cat. New York: Edwin Hewitt Gallery, 1955.", "page_number": "Mentioned (unpaginated)", "url": null}, {"citation": "Berman, Greta, and Jeffrey Wechsler. <em>Realism and Realities: The Other Side of American Painting, 1940-1960. </em>Exh. Cat. New Brunswick, N.J.: Rutgers University Art Gallery, 1982.", "page_number": "Mentioned: pp.21-22,189; Reproduced: p.22", "url": null}, {"citation": "Wechsler, Jeffrey. \"Magic Realism: Defining the Indefinite.\" <em>Art Journal</em>, vol.45, no.4 (Winter 1985).", "page_number": "Mentioned and reproduced: p.295", "url": null}, {"citation": "Loftin, Ann Jamison, ed. <em>Museum &amp; Arts Washington</em> Vol.5, No.2 (March/April 1989).", "page_number": "Reproduced: p.108", "url": null}, {"citation": "Phelps, Robert, ed. with Jerry Rosco. <em>Continual Lessons: The Journals of Glenway Wescott, 1937-1955</em>. New York: Farrar Straus Giroux, 1990.", "page_number": "Mentioned: p.60; Reproduced: pp.301-302", "url": null}, {"citation": "<em>Cadmus, French, and Tooker: The Early Years.</em> Exh. Cat. New York, Whitney Museum of American Art, 1990.", "page_number": "Mentioned: pp.1,2,3,6 (unpaginated)", "url": null}, {"citation": "Wolff, Theodore F. \"Artists of the Enigmatic.\" <em>The Christian Science Monitor</em>, April 13, 1990.", "page_number": "Mentioned", "url": "https://www.csmonitor.com/1990/0413/lsupr.html"}, {"citation": "Grimes, Nancy. \"Paul Cadmus, Jared French, George Tooker.\" <em>Art in America</em> 89 (September 1990).", "page_number": "Mentioned: p.159", "url": null}, {"citation": "Christie's, New York.<em> Important American Paintings, Drawings and Sculpture of the 18th, 19th and 20th Centuries. </em>November 30, 1990. Lot 209.", "page_number": "Reproduced: p.225", "url": null}, {"citation": "French, Jared, and Jeffrey Wechsler. <em>The Rediscovery of Jared French</em>. New York: Midtown Payson Galleries, 1992.", "page_number": "Mentioned: p.8 (unpaginated)", "url": null}, {"citation": "Cotter, Holland. \"Art in Review.\" <em>The New York Times</em>, May 22, 1992.", "page_number": "Mentioned: p.C22", "url": "https://www.nytimes.com/1992/05/22/arts/art-in-review-924192.html"}, {"citation": "Grimes, Nancy, and Jared French.<em> Jared French's Myths</em>. San Francisco, Calif: Pomegranate Artbooks, 1993.", "page_number": "Mentioned: p.XII; Reproduced: p.23 (unpaginated)", "url": null}, {"citation": "Cole, Mark. \"Jared French (1905-1988).\" Ph.D. dissertation, University of Delaware, 1999.", "page_number": "Mentioned: pp.204-213, 379; Reproduced: p.487", "url": null}, {"citation": "Summers, Claude J.<em> The Queer Encyclopedia of the Visual Arts</em>. San Francisco: Cleis Press, 2004.", "page_number": "Mentioned: p.145", "url": null}, {"citation": "Cheles, Luciano. \"A century-old passion: Piero della Francesca in America.\" In <em>Nella citta di Piero</em>, 5-29. Milton Glaser. Exh. Cat. Sansepolcro, Italy: Casa di Piero della Francesca, in association with Milton Glaser, Inc., 2007.", "page_number": "Mentioned: p.18; Reproduced: p.18", "url": null}, {"citation": "Bonhams, New York. <em>American Paintings</em>. November 28, 2007. Lot 123.", "page_number": "Reproduced: p.92 (preliminary sketch)", "url": null}, {"citation": "Panzetta, Alfonso, and Jared French. <em>Jared French by Jared French: 600 opere inedite dal fondo italiano dell'artista. </em>Torino: Umberto Allemandi &amp; C., 2010.", "page_number": "Mentioned: p.23; Reproduced: pp.248, 322", "url": null}, {"citation": "Ryden, Wendy, and Ian Marshall.<em> Reading, Writing, and the Rhetorics of Whiteness</em>. New York: Routledge, 2012.", "page_number": "Mentioned: pp.152-159; Reproduced: p.153", "url": null}, {"citation": "Barnett, Timothy. \"Ryden, Wendy, and Ian Marshall.<em> Reading, Writing, and the Rhetorics of Whiteness</em>. New York: Routledge, 2012. 190 pp.\" Review of <em>Reading, Writing, and the Rhetorics of Whiteness</em>, by Wendy Ryden and Ian Marshall. <em>Composition Forum</em> 27 (Spring 2013).", "page_number": "Mentioned", "url": "compositionforum.com/issue/27/barnett-reading-writing-review.php"}, {"citation": "Schreiber, Michael. <em>One-Man Show: The Life and Art of Bernard Perlin</em>. Berlin: Bruno Gmunder, 2016.", "page_number": "Mentioned: p.67", "url": null}, {"citation": "Cheles, Luciano. \"Piero della Francesca e l'arte americana.\" In<em> Piero della Francesca: indagine su un mito,</em> 343-358. Antonio Paolucci. Exh. Cat. Forli: Musei San Domenico, in association with Silvana editoriale, 2016.", "page_number": "Mentioned: p.352; Reproduced: p.350", "url": null}, {"citation": "Christies, New York. <em>American Art</em>. November 14-21, 2017. Lot 130.", "page_number": "Reproduced: p.30 (study)", "url": null}, {"citation": "Sachar, Emily. \"Jared French's <em>State Park</em>: A Contextual Study.\" MA thesis, Hunter College, The City University of New York, New York, 2017.", "page_number": "Mentioned: pp.39,52-53, 55; Reproduced: p.134", "url": "academicworks.cuny.edu/hc_sas_etds/254/"}, {"citation": "Cole, Mark. \"Acquisitions 2018: American Painting and Sculpture (Until 1960).\"<em> Cleveland Art</em>, Vol.54.", "page_number": "Mentioned: p.17; Reproduced: p.17", "url": null}, {"citation": "Cole, Mark. \u201cAcquisitions 2018: American Painting and Sculpture (Until 1960).\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>vol. 59, no. 2 (March/April 2019):  16-17.", "page_number": "Reproduced and Mentioned: P. 17.", "url": ""}, {"citation": "Earnest, Jarrett, Ann Morris Reynolds, Kenneth E. Silver, and Michael Schreiber. <em>The Young and Evil: Queer Modernism in New York, 1930-1955</em>. New York: David Zwirner Books, 2019.", "page_number": "Mentioned: p.80", "url": null}, {"citation": "Edgecombe, Rodney. \"Jared French's Iconic Enigmas.\"<em> The Gay and Lesbian Review</em> 11 (July-August 2004).", "page_number": "Mentioned: p.15", "url": null}], "url": "https://clevelandart.org/art/2018.78", "images": {}, "alternate_images": [], "creditline": "Bequest of William Kelly Simpson in memory of his wife Marilyn M. Simpson and her grandfather, John D. Rockefeller Jr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 311857, "creators": [{"id": 62312, "description": "Jared French (American, 1905\u20131988)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1905", "death_year": "1988", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2018-06-04T00:00:00-04:00", "sortable_date": 1939, "date_added_to_oa": null, "date_text": "1939", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:59.369000"}, {"id": 128364, "accession_number": "1951.324", "share_license_status": "CC0", "tombstone": "Young Woman Arranging Her Earring, 1905. Pierre-Auguste Renoir (French, 1841\u20131919). Oil on fabric; framed: 76.5 x 67.5 x 10 cm (30 1/8 x 26 9/16 x 3 15/16 in.); unframed: 55.3 x 46.4 cm (21 3/4 x 18 1/4 in.). The Cleveland Museum of Art, Bequest of William G. Mather, 1951.324", "current_location": null, "title": "Young Woman Arranging Her Earring", "creation_date": "1905", "creation_date_earliest": 1905, "creation_date_latest": 1905, "artists_tags": ["male"], "culture": ["France, 20th century"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 76.5 x 67.5 x 10 cm (30 1/8 x 26 9/16 x 3 15/16 in.); Unframed: 55.3 x 46.4 cm (21 3/4 x 18 1/4 in.)", "dimensions": {"framed": {"height": 0.765, "width": 0.675, "depth": 0.1}, "unframed": {"height": 0.553, "width": 0.464}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower left: Renoir \r\n\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": 231315, "title": "Renoir: Promise of Happiness", "description": "<i>Renoir: Promise of Happiness</i>. Seoul Museum of Art, Seoul, Korea (Republic of) (organizer) (May 28-September 13, 2009).", "opening_date": "2009-05-28T00:00:00"}], "legacy": [{"description": "New York, Durand-Ruel. Exhibition of Paintings by Pierre-Auguste Renoir (1908), no. 40, Jeune fille arrangeant ses boucles d'oreille, 1906.", "opening_date": "1908-01-01T00:00:00"}, {"description": "CMA. French Paintings of the Later XIX Century (1921), no cat., lent by William G. Mather.", "opening_date": "1921-01-01T00:00:00"}, {"description": "CMA. Exhibition of Paintings-\u00c9douard Manet, Pierre Renoir, Berthe Morisot (1924-25), no cat., lent by W. G. Mather.", "opening_date": "1924-01-01T00:00:00"}, {"description": "CMA. Fifty Years of French Art (1926), no cat., lent by William G. Mather.", "opening_date": "1926-01-01T00:00:00"}, {"description": "CMA. French Art since 1800 (1929), CMA Bulletin 16 (1929): 162.", "opening_date": "1929-01-01T00:00:00"}, {"description": "CMA. Catalogue of the Twentieth Anniversary Exhibition of the Cleveland Museum of Art (1936), no. 308.", "opening_date": "1936-01-01T00:00:00"}, {"description": "New York, Metropolitan Museum of Art. Renoir: A Special Exhibition of His Paintings (1937), no. 57 (repr.).", "opening_date": "1937-01-01T00:00:00"}, {"description": "New York, Duveen Galleries. Centennial Loan Exhibition 1841-1941: Renoir (1941), no. 73, 95 (repr.).", "opening_date": "1941-01-01T00:00:00"}, {"description": "Saginaw (Mich.) Museum. Exhibition of Nineteenth Century French Painting (1948-49), no. 26, lent by Mr. and Mrs. William Gwinn Mather, Cleveland (repr.).", "opening_date": "1948-01-01T00:00:00"}, {"description": "Columbus (Ohio) Gallery of Fine Arts. Masterpieces of Painting. Treasures of Five Centuries (1950), Bulletin 21 (Fall 1950): no. 29 (repr.).", "opening_date": "1950-01-01T00:00:00"}, {"description": "New York, Paul Rosenberg &amp; Co. Loan Exhibition-The Last Twenty Years of Renoir's Life (1954), no. 3 (repr.).", "opening_date": "1954-01-01T00:00:00"}, {"description": "Los Angeles County Museum; San Francisco Museum of Art. Pierre-Auguste Renoir 1841-1919: Paintings, Drawings, Prints, and Sculptures (1955), no. 66, fig. 66.", "opening_date": "1955-01-01T00:00:00"}, {"description": "Seoul Museum of Art (5/28/2009 - 9/13/2009):  \"Renoir: Promise of Happiness\"", "opening_date": "2009-05-28T00:00:00"}]}, "provenance": [{"description": "Bought from the artist by Durand-Ruel, Paris (stock number 8306) on 24 October 1906.", "citations": [], "footnotes": [], "date": null, "sortorder": null}, {"description": "Sold to Durand-Ruel, New York (stock number 3224), 19 October 1908.", "citations": [], "footnotes": [], "date": null, "sortorder": 2}, {"description": "Sold to Mrs. G. Mather, 5 April 1911.", "citations": [], "footnotes": [], "date": null, "sortorder": 3}, {"description": "William G. Mather, Cleveland. Bequeathed to the CMA on 26 July 1951.", "citations": [], "footnotes": [], "date": null, "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The model for this painting is Gabrielle Renard\u2014a housekeeper, nursemaid, studio assistant, and frequent model to Renoir.", "description": "During his later years, Pierre-Auguste Renoir moved away from pure Impressionism toward a classicizing style featuring strong, monumental figures of substantial weight and volume. This depiction of a woman arranging her earrings, a superb example of that trend in the artist's late work, may have been inspired by one of the figures in Eug\u00e8ne Delacroix\u2019s <em>Women of Algiers in their Apartment </em>(Mus\u00e9e du Louvre, Paris).", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60515836"], "internet_archive": ["https://archive.org/details/clevelandart-1951.324-young-woman-arrangin"]}, "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. 162", "url": "http://www.jstor.org/stable/25137248."}, {"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": "Milliken, William, and Henry Francis. \"Bequest of William G. Mather.\" <em>The Bulletin of the Cleveland Museum of Art </em>38, no. 8 (October 1951): 196-198", "page_number": "Reproduced: front cover; Mentioned: p. 198", "url": "https://www.jstor.org/stable/25141735"}, {"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": "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. 536-537, Vol. II, no. 187", "url": ""}, {"citation": "<em>Paintings in the Cleveland Museum of Art: Picture Book No. 4 .</em> [Cleveland]: The Cleveland Museum of Art, 1952.", "page_number": "", "url": "https://archive.org/details/CMAPaintings1952"}], "url": "https://clevelandart.org/art/1951.324", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1951.324/1951.324_web.jpg", "width": "748", "height": "900", "filesize": "273653", "filename": "1951.324_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1951.324/1951.324_print.jpg", "width": "2827", "height": "3400", "filesize": "4424800", "filename": "1951.324_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1951.324/1951.324_full.tif", "width": "11152", "height": "13411", "filesize": "448709296", "filename": "1951.324_full.tif"}}, "alternate_images": [{"date_created": "2007-07-09T14:40:35", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.324/1951.324_alt0_web.jpg", "width": "750", "height": "893", "filesize": "471003"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.324/1951.324_alt0_print.jpg", "width": "2857", "height": "3400", "filesize": "7259709"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.324/1951.324_alt0_full.tif", "width": "5042", "height": "6000", "filesize": "90788252"}}, {"date_created": "2017-05-08T11:06:25", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.324/1951.324_alt1_web.jpg", "width": "675", "height": "900", "filesize": "263613"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.324/1951.324_alt1_print.jpg", "width": "2550", "height": "3400", "filesize": "3785588"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.324/1951.324_alt1_full.tif", "width": "12000", "height": "16000", "filesize": "576030232"}}], "creditline": "Bequest of William G. Mather", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 128364, "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": "1951-07-26T00:00:00", "sortable_date": 1905, "date_added_to_oa": null, "date_text": "1905", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:00.738000"}, {"id": 142761, "accession_number": "1966.466", "share_license_status": "CC0", "tombstone": "Pill or Snuff Box, 1906\u201316. Attributed to Feodor Ivanovich R\u00fcckert (Russian, 1840\u20131917), House of Faberg\u00e9 (Russian, 1842\u20131918). Silver gilt and enamel; diameter: 5.8 cm (2 5/16 in.). The Cleveland Museum of Art, The India Early Minshall Collection, 1966.466", "current_location": "211 Faberg\u00e9", "title": "Pill or Snuff Box", "creation_date": "1906\u201316", "creation_date_earliest": 1906, "creation_date_latest": 1916, "artists_tags": ["male", "gender unknown"], "culture": ["Russia, St. Petersburg"], "technique": "silver gilt and enamel", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Miscellaneous", "measurements": "Diameter: 5.8 cm (2 5/16 in.)", "dimensions": {"diameter": {"height": 0.058}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Marks:  Kokoshnik (?), tester's initials [assay mark of Moscow, 1908-26]; 88; C. Faberg\u00e9 (in Cyrillic); double-headed eagle [imperial warrant]; scratched 25477.", "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. 71, p. 100; color repr. p. 100.", "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": "Around 1900, ladies often carried little boxes for medicines, a pinch of snuff, or cosmetic patches for the face.", "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. This little box for pills, snuff, or cosmetic patches follows on in this style with its scene of a romantic ride in the quintessential mode of Russian transportation, a horse-drawn sleigh or <em>troika</em>.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60759393"], "internet_archive": ["https://archive.org/details/clevelandart-1966.466-pill-or-snuff-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": "Reproduced and mentioned:  pp. 122-3, cat. 58", "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 & reproduced:  p. 100, cat. 71", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=34433639"}, {"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. 100, cat. 71", "url": "https://ingallslibrary.on.worldcat.org/oclc/34433639"}], "url": "https://clevelandart.org/art/1966.466", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1966.466/1966.466_web.jpg", "width": "905", "height": "893", "filesize": "655934", "filename": "1966.466_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1966.466/1966.466_print.jpg", "width": "1557", "height": "1536", "filesize": "1959137", "filename": "1966.466_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1966.466/1966.466_full.tif", "width": "1557", "height": "1536", "filesize": "7177300", "filename": "1966.466_full.tif"}}, "alternate_images": [{"date_created": "2008-09-10T17:33:23", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.466/1966.466_alt0_web.jpg", "width": "1156", "height": "893", "filesize": "700184"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.466/1966.466_alt0_print.jpg", "width": "3400", "height": "2627", "filesize": "5657541"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.466/1966.466_alt0_full.tif", "width": "4242", "height": "3278", "filesize": "41751152"}}, {"date_created": "2008-09-10T17:38:03", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.466/1966.466_alt1_web.jpg", "width": "1155", "height": "893", "filesize": "720500"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.466/1966.466_alt1_print.jpg", "width": "3400", "height": "2628", "filesize": "5760420"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.466/1966.466_alt1_full.tif", "width": "4287", "height": "3313", "filesize": "42642712"}}], "creditline": "The India Early Minshall Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 142761, "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": 1906, "date_added_to_oa": null, "date_text": "1906\u201316", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:31.509000"}, {"id": 144896, "accession_number": "1970.112", "share_license_status": "Copyrighted", "tombstone": "Three-Way Piece No. 2: Archer, 1964. Henry Moore (British, 1898\u20131986). Bronze; with base: 88.9 x 55.9 x 88.9 cm (35 x 22 x 35 in.). The Cleveland Museum of Art, Anonymous Gift, 1970.112. \u00a9 2010 The Henry Moore Foundation. All Rights Reserved / Artists Rights Society (ARS), New York\r\n", "current_location": "AAE Art All\u00e9e East", "title": "Three-Way Piece No. 2: Archer", "creation_date": "1964", "creation_date_earliest": 1964, "creation_date_latest": 1964, "artists_tags": ["male"], "culture": ["England, 20th century"], "technique": "bronze", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Sculpture", "type": "Sculpture", "measurements": "with base: 88.9 x 55.9 x 88.9 cm (35 x 22 x 35 in.)", "dimensions": {"with base": {"height": 0.889, "width": 0.559, "depth": 0.889}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 2010 The Henry Moore Foundation. All Rights Reserved / Artists Rights Society (ARS), New York\r\n", "inscriptions": [{"inscription": "Signed: \"Moore\"", "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": 445313, "title": "Collection of Mr. and Mrs. Albrecht Saalfield", "description": "<i>Collection of Mr. and Mrs. Albrecht Saalfield</i>. Mansfield Art Center, Mansfield, OH (organizer) (April 3-25, 1971).", "opening_date": "1971-04-03T05:00:00"}, {"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": "Fine Arts Guild, Mansfield, 1971:  \"Collection of Mr. and Mrs. Albrecht Saalfield\"", "opening_date": "1971-01-01T00:00:00"}, {"description": "CMA 1971:  \"Year in Review 1970,\" cat., Bulletin LVIII (February 1971), repr. p. 69, no. 118", "opening_date": "1971-02-01T00:00:00"}, {"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": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1970-", "sortorder": 1}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Two larger casts of this sculpture exist in Toronto, Canada, and Berlin, Germany.", "description": "Considered by many to be the 20th century's greatest figurative sculptor, Henry Moore was also the creator of remarkable abstract works. <em>Three-Way Piece No. 2: Archer</em> does not literally depict an archer; rather it evokes the qualities of vigor, strength, and conflict associated with warriors or hunters. The \"three ways\" of the title may refer to the three main elements of the work. First, a large sweeping curved form suggests a bent bow pulling in one direction. Second, a curved vertical section represents the torso of an archer, which joins the base and leans backward. Finally, a horizontal section protruding from one side is reminiscent of an arm connecting the archer's torso to the bow. Using these abstract elements, Moore created a sculpture that may remind us of ancient images of hunters\u2014from those drawn on cave walls to classical Greek warriors. <em>Three-Way Piece No. 2: Archer</em> captures the energy of the hunt in a thoroughly modern way.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60781067"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1970.112", "images": {}, "alternate_images": [], "creditline": "Anonymous Gift", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Laura and Alvin A. Siegal All\u00e9e", "athena_id": 144896, "creators": [{"id": 690, "description": "Henry Moore (British, 1898\u20131986)", "extent": null, "qualifier": null, "role": "artist", "biography": "Henry Moore British, 1898-1986\r\n\r\nBorn in Castleford, Yorkshire, Henry Moore was one of this century's most famous sculptors. Following studies at Leeds College of Art and the Royal College of Art in London, Moore began carving sculpture from stone and wood in the early 1920s. His work was first publicly exhibited in a 1924 group show at London's Redfern Gallery, and the following year he traveled through Europe on a scholarship from the Royal College of Art. Moore was given his first one-artist exhibition at London's Warren Gallery in 1928 and that same year received his first public commission (West Wind, a relief carving in stone for one of the facades of the city's new Underground Railway headquarters). By the early 1930s he had been named head of the new department of sculpture at the Chelsea School of Art in London, and in 1934 the first monograph devoted to his sculpture was published, Henry Moore: Sculpture.\r\n\tDuring the early years of his career, Moore began photographing his sculptures, creating images that generally served as straightforward records of completed pieces or as documents of works in progress. Some were more dramatic, employing an unusual viewpoint or strong, raking light to emphasize a piece's particular texture: stone, wood, lead, or bronze. Moore often worked on his sculpture outdoors, and most of his photographs are set outside as well. Photography sometimes proved a useful tool in helping him decide how a work should be sited (the best height for viewing or its proximity to a grove of trees, for example).\r\n\tOver the years, Moore produced hundreds of photographs, creating a personal document of his long career. A selection of these images was featured in Henry Moore's Photographs of His Sculpture, an exhibition organized by the San Francisco Museum of Modern Art (1985). The Cleveland Museum of Art also owns three sculptures by Moore. M.M.", "name_in_original_language": null, "birth_year": "1898", "death_year": "1986", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1970-12-18T00:00:00", "sortable_date": 1964, "date_added_to_oa": null, "date_text": "1964", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": "2", "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:04:44.260000"}, {"id": 160775, "accession_number": "1999.106", "share_license_status": "Copyrighted", "tombstone": "The Grand Canyon, c. 1924. William E. Dassonville (American, 1879\u20131957). Gelatin silver print on Dassonville \"Charcoal Black\" paper; image: 20.3 x 25.6 cm (8 x 10 1/16 in.); paper: 25.4 x 32.1 cm (10 x 12 5/8 in.); matted: 40.6 x 50.8 cm (16 x 20 in.). The Cleveland Museum of Art, John L. Severance Fund, 1999.106", "current_location": null, "title": "The Grand Canyon", "creation_date": "c. 1924", "creation_date_earliest": 1919, "creation_date_latest": 1929, "artists_tags": ["male"], "culture": ["America"], "technique": "gelatin silver print on Dassonville \"Charcoal Black\" paper", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 20.3 x 25.6 cm (8 x 10 1/16 in.); Paper: 25.4 x 32.1 cm (10 x 12 5/8 in.); Matted: 40.6 x 50.8 cm (16 x 20 in.)", "dimensions": {"image": {"height": 0.203, "width": 0.256}, "paper": {"height": 0.254, "width": 0.321}, "matted": {"height": 0.406, "width": 0.508}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "in pencil: \"4081 /2\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 185373, "title": "American Space:  Landscape Photography 1900-1950", "description": "<i>American Space:  Landscape Photography 1900-1950</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 6-May 23, 2001).", "opening_date": "2001-01-06T00:00:00"}, {"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": 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": 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": "At the start of the 20th century, the Grand Canyon was already a famous destination for tourists.", "description": "\u201cThou vast, profound, primeval hiding-place / Of ancient secrets,\u201d wrote Henry Van Dyke in 1913 in his poem <em>The Grand Canyon</em>. Made a decade later, William E. Dassonville\u2019s photograph conveys a similar awe at this national landmark\u2019s grandeur, mystery, and power. In a shrewd composition that masterfully takes advantage of natural light, Dassonville emphasized the depth and breadth of the canyon by setting a white outcropping in the foreground against a dark shadow that slices the rectangular image in half diagonally. To its right, a sunbathed vista of cliffs and valleys takes our eye into deep, deep space.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79982535"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1999.106", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 160775, "creators": [{"id": 343, "description": "William E. Dassonville (American, 1879\u20131957)", "extent": null, "qualifier": null, "role": "artist", "biography": "William E. Dassonville American, 1879-1957\r\n\r\nWilliam Dassonville (born in Sacramento) was a pictorial photographer active in San Francisco during the first two decades of the 20th century. In addition to the pictorial work he produced for exhibition, Dassonville operated a professional portrait studio. A member of the California Camera Club, he gave lectured on art photography and contributed articles to Camera Craft, a photographic journal affiliated with the club. He exhibited his work in the first three San Francisco Photographic Salons (1901-3), as well as in other salons in Los Angeles, New York, and Chicago.\r\n\tAfter losing all of his work in the 1906 earthquake, Dassonville left San Francisco for the Sierra Nevada. He later returned to the city, reestablishing his studio and exhibiting his photographs made in the mountains. In the early 1920s he began making photographic paper for his own use and in 1924 gave up his studio to concentrate on the manufacture of \"Dassonville\" paper. M.M.", "name_in_original_language": null, "birth_year": "1879", "death_year": "1957", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1999-06-07T00:00:00", "sortable_date": 1919, "date_added_to_oa": null, "date_text": "c. 1924", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:05:57.153000"}, {"id": 160195, "accession_number": "1998.114", "share_license_status": "Copyrighted", "tombstone": "Bronson Tropics, 1965. Edward Ruscha (American, 1937-). Graphite powder and graphite wash, with point of brush and graphite wash; sheet: 35.5 x 53.7 cm (14 x 21 1/8 in.); image: 33 x 54.6 cm (13 x 21 1/2 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1998.114", "current_location": null, "title": "Bronson Tropics", "creation_date": "1965", "creation_date_earliest": 1965, "creation_date_latest": 1965, "artists_tags": ["male"], "culture": ["America"], "technique": "graphite powder and graphite wash, with point of brush and graphite wash", "support_materials": [{"description": "cream(1) wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Sheet: 35.5 x 53.7 cm (14 x 21 1/8 in.); Image: 33 x 54.6 cm (13 x 21 1/2 in.)", "dimensions": {"sheet": {"height": 0.355, "width": 0.537}, "image": {"height": 0.33, "width": 0.546}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed, lower left, in graphite: Edward Ruscha 1965", "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": 218393, "title": "Cotton Puffs, Q-Tips, Smoke and Mirrors: The Drawings of Ed Ruscha", "description": "<i>Cotton Puffs, Q-Tips, Smoke and Mirrors: The Drawings of Ed Ruscha</i>. Whitney Museum of American Art, New York, NY (organizer) (June 24-September 26, 2004).", "opening_date": "2004-06-24T00:00:00"}, {"id": 231785, "title": "Ed Ruscha: Road Tested", "description": "<i>Ed Ruscha: Road Tested</i>. Modern Art Museum of Fort Worth, Fort Worth, TX (organizer) (January 23-April 17, 2011).", "opening_date": "2011-01-23T00:00:00"}, {"id": 230026, "title": "Ed Ruscha - Los Angeles Apartments", "description": "<i>Ed Ruscha - Los Angeles Apartments</i>. Kunstmuseum Basel, Basel, Switzerland (organizer) (June 8-September 29, 2013).", "opening_date": "2013-06-08T00:00:00"}], "legacy": [{"description": "Cleveland Museum of Art, Main Gallery Rotation (Gallery 229) (April 14 - July 28, 2014).", "opening_date": "2014-04-14T00:00:00"}, {"description": "<em>Ed Ruscha: New Paintings and a Retrospective of Works on Paper</em>. Anthony d'Offay Gallery, London (1998).", "opening_date": "1998-01-01T00:00:00"}, {"description": "<em>Edward Ruscha Los Angeles Apartments 1965</em>. Whitney Museum of American Art, New York (July 27 - October 14, 1990).", "opening_date": "1990-07-27T00:00:00"}, {"description": "<em>The Works of Ed Ruscha</em>. San Francisco Museum of Modern Art (March 25 - May 23, 1982); Whitney Museum of American Art, New York (July 8 - September 5, 1982); Vancouver Art Gallery (October 4 - November 28, 1982); San Antonio Museum of Art (December 27, 1982 - February 20, 1983); Los Angeles County Museum of Art (March 17 - May 15, 1983).", "opening_date": "1982-03-25T00:00:00"}, {"description": "<em>Graphic Works by Edward Ruscha</em>. Auckland City Art Gallery, New Zealand (August - October 1978).", "opening_date": "1978-08-01T00:00:00"}, {"description": "<em>Ed Ruscha</em>. Stedelijk Museum, Prentenkabinet, Amsterdam (March 26 - May 9, 1976).", "opening_date": "1976-03-26T00:00:00"}, {"description": "<em>Edward Ruscha (Ed-Werd Rew-Shay), Young Artist</em>. Minneapolis Institute of Arts (April 18 - May 28, 1972).", "opening_date": "1972-04-18T00:00:00"}]}, "provenance": [{"description": "Edward Ruscha [1937-], Los Angeles, CA", "citations": [], "footnotes": null, "date": "1965 - 1998", "sortorder": 1}, {"description": "(Anthony d'Offay Gallery, London, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "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": "Ruscha edited out window treatments and trees from his original photograph to make the building seem more streamlined.", "description": "Edward Ruscha has lived and worked in Los Angeles since the 1950s. He developed an interest in commercial imagery early on, using words and advertising logos to structure his artworks. In particular, Ruscha often depicted the commercial architecture and car culture characteristic of California. This drawing relates to <em>Some Los Angeles Apartments</em> (1965), one of numerous photobooks that the artist self-published throughout the 1960s. For this project, Ruscha photographed unremarkable apartment buildings, highlighting their sameness through seriality. He revisited ten of the photographs as drawings, such as this one, in which he further simplified the building's structure, flattening and streamlining it through smoothly applied graphite powder.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79981010"], "internet_archive": []}, "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: pp. 280-281, 298; Reproduced: p. 281", "url": null}, {"citation": "<em>Edward Ruscha (Ed-Werd Rew-Shay), Young Artist</em>. Exh. Cat. Minneapolis: Minneapolis Institute of Arts, 1972.", "page_number": "Mentioned and reproduced: no. 14", "url": null}, {"citation": "<em>Graphic Works by Edward Ruscha</em>. Exh. Cat. Auckland: Auckland City Art Gallery, 1978.", "page_number": "Mentioned: p. 87, 122, no. 61; Reproduced: p. 87", "url": null}, {"citation": "<em>Guacamole Airlines and Other Drawings by Edward Ruscha</em>. New York: Harry N. Abrams, 1980.", "page_number": "Mentioned and reproduced: p. 20, no. 12", "url": null}, {"citation": "Livet, Anne. <em>The Works of Edward Ruscha</em>. Exh. Cat. San Francisco: San Francisco Museum of Modern Art, 1982", "page_number": "Mentioned: p. 176, no. 66; reproduced: p. 66, plate 28", "url": null}, {"citation": "<em>Edward Ruscha: Words Without Thoughts Never to Heaven Go</em>. Exh. Cat. Lake Worth, FL: Lannan Museum, 1988.", "page_number": "Mentioned: p. 61, no. 24; Reproduced: p. 38", "url": null}, {"citation": "Marshall, Richard. <em>Edward Ruscha: Los Angeles Apartments, 1965</em>. Exh. Cat. New York: Whitney Museum, 1990.", "page_number": "Mentioned and reproduced: p. 19.", "url": null}, {"citation": "Whitington, G. Luther. \"Where the West Sinks Slowly into the Sun.\" <em>Journal of Art</em> (April 1991): 26-27.", "page_number": "Reproduced: p. 27", "url": null}, {"citation": "Wakefield, Neville and Dave Hickey. <em>Ed Ruscha: New Paintings and a Retrospective of Works on Paper</em>. Exh. Cat. London: Anthony d'Offay, 1998.", "page_number": "Reproduced: p. 27", "url": null}, {"citation": "Cleveland Museum of Art, \u201cCleveland Acquires Major New Sculpture, Rare Chinese Prints, Contemporary Prints, Drawings &amp; Photographs,\u201d October 30, 1998, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr4215"}, {"citation": "Perrone, Jeff. \"Ed Ruscha's Illuminated Manuscripts.\" <em>Parkett</em> 55 (1999): 26-39.", "page_number": "Reproduced: p. 29", "url": null}, {"citation": "Schwartz, Alexandra, ed. <em>Leave Any Information at the Signal: Writings, Interviews, Bits, Pages</em>. Cambridge, MA: MIT Press, 2002.", "page_number": "Reproduced: p. 222", "url": null}, {"citation": "Rowell, Margit, and Cornelia H. Butler. <em>Cotton Puffs, Q-Tips, Smoke and Mirrors: The Drawings of Ed Ruscha</em>. New York: Whitney Museum of American Art, 2004.", "page_number": "Mentioned and reproduced: no. 32", "url": null}, {"citation": "Wolf, Sylvia. <em>Ed Ruscha and Photography</em>. Exh. Cat. New York: Whitney Museum of American Art, 2004.", "page_number": "Mentioned: p. 285, no. 269; Reproduced: p. 233", "url": null}, {"citation": "Auping, Michael. <em>Ed Ruscha: Road Tested</em>. Exh. Cat. Fort Worth: Modern Art Museum of Fort Worth, 2011.", "page_number": "Mentioned and reproduced: p. 67", "url": null}, {"citation": "M\u00fcller, Christian. <em>Ed Ruscha: Los Angeles Apartments</em>. Exh. Cat. Basel: Kunstmuseum Basel, Kupferstichkabinett, 2013.", "page_number": "Mentioned: pp. 67-68, 138-142, 160, no. 71; Reproduced: p. 142", "url": null}], "url": "https://clevelandart.org/art/1998.114", "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": 160195, "creators": [{"id": 27028, "description": "Edward Ruscha (American, 1937-)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1937", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1998-09-08T00:00:00", "sortable_date": 1965, "date_added_to_oa": null, "date_text": "1965", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:07:14.374000"}, {"id": 87871, "accession_number": "2020.169", "share_license_status": "Copyrighted", "tombstone": "Blue Bay, 1960. Milton Avery (American, 1885\u20131965). Oil on canvas; unframed: 128.3 x 153 cm (50 1/2 x 60 1/4 in.). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift, 2020.169. \u00a9 Milton Avery Trust / Artists Rights Society (ARS), New York", "current_location": "226B American Modern", "title": "Blue Bay", "creation_date": "1960", "creation_date_earliest": 1960, "creation_date_latest": 1960, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Unframed: 128.3 x 153 cm (50 1/2 x 60 1/4 in.)", "dimensions": {"unframed": {"height": 1.283, "width": 1.53}, "framed": {"height": 1.384, "width": 1.637, "depth": 0.07}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Milton Avery Trust / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "Signed and dated, lower left: Milton Avery 1960", "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>Milton Avery</em>. National Collection of Fine Arts, Washington DC (December 12, 1969-January 25, 1970); Brooklyn Museum of Art, Brooklyn, NY (February 17-March 29, 1970); Columbus Museum of Art, Columbus, OH (April 24-May 31, 1970).", "opening_date": "1970-02-17T00:00:00"}]}, "provenance": [{"description": "(Alexandre Gallery, New York, NY, sold to Nancy F. and Joseph P. Keithley)", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "Nancy F. and Joseph P. Keithley, Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "-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": "Milton Avery worked several factory jobs before launching his career as an artist.", "description": "Featuring three boats, a land mass, and the surrounding ocean and sky, <em>Blue Bay</em> was inspired by the artist's summer trip to Provincetown, Massachusetts. At this late stage in his career, Avery was creating larger scaled and more abstracted compositions that would constitute his final body of work. In spite of the high degree of abstraction and deliberate lack of perspective in this painting, the artist provides just enough information to convince viewers that we are glimpsing a coastal summer view.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q87480985"], "internet_archive": []}, "citations": [{"citation": "Brown, Heather Lemonedes, ed. <em>The Keithley Collection at the Cleveland Museum of Art, </em>exh. cat.(Cleveland, OH: The Cleveland Museum of Art, 2022).", "page_number": "Mentioned PP. 164, 254; Reproduced PP. 14, 165.", "url": ""}, {"citation": "Grad, Bonnie Lee, and Sally Michel Avery, <em>Milton Avery </em>(Royal Oak, MI: Strathcona, 1981).", "page_number": "Mentioned P. 4.", "url": ""}, {"citation": "Greenberg, Clement. <em>Milton Avery, </em>exh. cat. (London: Waddington Galleries, 1962).", "page_number": "Reproduced Plate 11.", "url": ""}, {"citation": "Kaufman, Louis. <em>Milton Avery: Recent Paintings, </em>exh. cat. (Los Angeles: Felix Landau Gallery, 1961).", "page_number": "Reproduced Plate 5.", "url": ""}, {"citation": "Kramer, Hilton. <em>Milton Avery: Paintings 1930-1960.</em> (New York: Thomas Yoseloff, 1962).", "page_number": "Mentioned P. 26; Reproduced Plate 6.", "url": ""}, {"citation": "<em>Milton Avery: Paintings and Watercolours, </em>exh. cat. (London: Waddington Galleries, 1996).", "page_number": "Mentioned P. 24-25; Reproduced P. 33.", "url": ""}, {"citation": "Mullins, Edwin. \"Developments in Style--XV: Milton Avery,\" <em>London Magazine </em>4 (January 1965).", "page_number": "Reproduced Plate between PP. 36-37.", "url": ""}, {"citation": "Kramer, Hilton. <em>Milton Avery: Paintings, 1930-1960</em>. New York, NY: Thomas Yoseloff, 1962.", "page_number": "Reproduced: p. 26, pl. 6", "url": null}, {"citation": "Breeskin, Adelyn D. <em>Milton Avery</em>. Washington DC: National Collection of Fine Arts, Smithsonian Institution; distributed by the New York Graphic Society, Greenwich, CT, 1969.", "page_number": "Reproduced: no. 105", "url": null}, {"citation": "Hobbs, Robert. \"Milton Avery.\" In <em>The Keithley Collection at the Cleveland Museum of Art, </em>edited by Heather Lemonedes Brown, 162-165. Cleveland, OH: The Cleveland Museum of Art, 2022.", "page_number": "Mentioned and reproduced: p. 162-165; Mentioned: p. 254", "url": ""}], "url": "https://clevelandart.org/art/2020.169", "images": {}, "alternate_images": [], "creditline": "Nancy F. and Joseph P. Keithley Collection Gift", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Hammond Hemmelgarn Family Gallery", "athena_id": 87871, "creators": [{"id": 3366, "description": "Milton Avery (American, 1885\u20131965)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1885", "death_year": "1965", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2020-03-02T00:00:00-05:00", "sortable_date": 1960, "date_added_to_oa": null, "date_text": "1960", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:50.025000"}, {"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": 156600, "accession_number": "1992.301", "share_license_status": "Copyrighted", "tombstone": "Shakespearean Equation: Hamlet, 1949. Man Ray (American, 1890\u20131976). Oil on canvas; framed: 55.9 x 66 x 3.9 cm (22 x 26 x 1 9/16 in.); unframed: 40.5 x 51 cm (15 15/16 x 20 1/16 in.). The Cleveland Museum of Art, Bequest of Lockwood Thompson, 1992.301. \u00a9 2013 Man Ray Trust / Artists Rights Society (ARS), New York / ADAGP, Paris", "current_location": "225 German Expressionism & Surrealism", "title": "Shakespearean Equation: Hamlet", "creation_date": "1949", "creation_date_earliest": 1949, "creation_date_latest": 1949, "artists_tags": ["male", "Jewish artists"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 55.9 x 66 x 3.9 cm (22 x 26 x 1 9/16 in.); Unframed: 40.5 x 51 cm (15 15/16 x 20 1/16 in.)", "dimensions": {"framed": {"height": 0.559, "width": 0.66, "depth": 0.039}, "unframed": {"height": 0.405, "width": 0.51}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 2013 Man Ray Trust / Artists Rights Society (ARS), New York / ADAGP, Paris", "inscriptions": [{"inscription": "signed lower right:  Man Ray 1949; inscription on reverse:  (Les Equations Shakespearean)  Hamlet Man Ray 48-9 2 bis rue Ferou, Paris 6.", "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": 213841, "title": "Man Ray - Human Equations: A Journey from Mathematics to Shakespeare ", "description": "<i>Man Ray - Human Equations: A Journey from Mathematics to Shakespeare </i>. The Phillips Collection, Washington, DC (organizer) (February 7-May 10, 2015); Ny Carlsberg Glyptotek, Copenhagen, Denmark (June 11-September 20, 2015); Israel Museum, 91710 Jerusalem, Israel (October 20, 2015-January 23, 2016).", "opening_date": "2015-02-07T00:00:00"}], "legacy": [{"description": "The Phillips Collection, Washington, DC (2/7/2015 - 5/10/2015), Ny Carlsberg Glyptotek, Copenhagen (6/11/2015 - 9/20/2015), and The Israel Museum, Jerusalem (10/20/2015 - 1/23/2016): \"Man Ray - Human Equations: A Journey from Mathematics to Shakespeare\"", "opening_date": "2015-02-07T00:00:00"}]}, "provenance": [{"description": "(Galerie Rive Droit, Paris);  Lockwood Thompson [by 1975].", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": ["907.72"], "did_you_know": "Man Ray's tombstone is inscribed, \"Unconcerned but not indifferent.\"", "description": "Man Ray\u2019s painting belongs to a series of works inspired by three-dimensional mathematical models he encountered at a scientific institute in Paris. With a desire to create surreal and cryptic juxtapositions, he titled these paintings after plays by William Shakespeare. Although their literary associations appear random, May Ray explained that, in the case of Hamlet, the mathematical form reminded him of a skull and breast, respectively referencing the characters of Yorick, whose skull Hamlet encounters in a cemetery, and Ophelia.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60476855"], "internet_archive": []}, "citations": [{"citation": "Dorfman, John. \"(secret) + forumulas2, <em>Art &amp; Antiques</em> (March 2015).", "page_number": "Mentioned p. 86.", "url": ""}, {"citation": "Penrose, Roland. <em>Man Ray (</em>Boston: New York Graphic Society, 1975).", "page_number": "Mentioned p. 167; reproduced p.", "url": ""}, {"citation": "Schwarz, Arturo. <em>Man Ray: The Rigour of Imagination</em> (London: Thames and Hudson, 1977).", "page_number": "Mentioned p. 79.", "url": ""}, {"citation": "Grossman, Wendy and Edouard Sebline, eds., Man Ray : <em>Human Equations : A Journey from Mathematics to Shakespeare.</em> (Ostfildern, Germany: Hatje Cantz, 2015).", "page_number": "Mentioned pp.157, 174-75; reproduced cover (detail), pp. 159, 224.", "url": ""}, {"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. 67", "url": "http://www.jstor.org/stable/25161388"}], "url": "https://clevelandart.org/art/1992.301", "images": {}, "alternate_images": [], "creditline": "Bequest of Lockwood Thompson", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 156600, "creators": [{"id": 618, "description": "Man Ray (American, 1890\u20131976)", "extent": null, "qualifier": null, "role": "artist", "biography": "Man Ray (Emanuel Rudnitsky) American, 1890-1976 Man Ray (born Emanuel Rudnitsky in Philadelphia) was an avant-garde painter and photographer active in the dada and surrealist movements who became known for his experiments with the photogram and solarization. He grew up in New York and in his 20s worked in the city as a commercial artist, attending night classes at the National Academy of Design and lectures at the avant-garde Ferrer Social Center. Visiting the 1913 Armory show and \"291,\" Alfred Stieglitz's gallery, he became increasingly familiar with the latest developments in modern art. In 1915 Man Ray had his first one-person show of paintings and drawings at New York's Daniel Gallery and met French artist Marcel Duchamp, with whom he became lifelong friends. He also began taking photographs that year as a way to document his paintings. Along with Duchamp and Francis Picabia, another French artist, Man Ray was a member of the New York dada group during World War I and in the years immediately following the war. In 1921 he moved to Paris, soon establishing himself as a professional portrait and fashion photographer. He also became interested in experimental photography, producing photograms (cameraless photographs that he called rayographs) and pioneering the use of solarization, a technique accidentally discovered by his darkroom assistant, Lee Miller, in 1929. Throughout the 1920s-30s Man Ray worked with surrealist painters and poets on a number of collaborative projects, providing photographs for their books and articles. He also made avant-garde films, including Le Retour \u00e0 la raison (1923), Emak Bakia (1926), L'Etoile de mer (1928), and Les Mysteres du Chateau du Des (1929). Widely recognized for its innovation, his work was shown at the first invitational exhibition of contemporary modernist photography held in Paris at the Salon de l'Escalier at the Th\u00e9atre des Champs-Elys\u00e9es (1928) and at the Film und Foto exhibition in Stuttgart (1929). In 1940 Man Ray moved to Hollywood, where he worked as a freelance photographer and painter until returning to Paris in 1951. He experimented with color photography in the late 1950s and early 1960s, but painting became his primary interest. One of his paintings is also in the collection of the Cleveland Museum of Art. Man Ray's photographs have been exhibited in more than 100 one-artist exhibitions, including a retrospective at the Los Angeles County Museum of Art (1966), a showing at the Venice Biennale (1976), and major exhibitions at the Kunstverein, Frankfurt (1979, and tour), and the Centre Georges Pompidou, Paris (1981). Awarded the Gold Medal for photography at the Venice Biennale in 1961, Man Ray's images, which emphasize chance and the irrational and which deliberately mock traditional ideas of art, continue to fascinate and inspire generations of photographers. M.M.", "name_in_original_language": null, "birth_year": "1890", "death_year": "1976", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1992-12-07T00:00:00", "sortable_date": 1949, "date_added_to_oa": null, "date_text": "1949", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:51.144000"}, {"id": 140089, "accession_number": "1964.1", "share_license_status": "Copyrighted", "tombstone": "Figure, 1949. Willem de Kooning (American, born The Netherlands, 1904\u20131997). Oil on cardboard; framed: 55 x 44.5 x 8 cm (21 5/8 x 17 1/2 x 3 1/8 in.); unframed: 46.7 x 36.8 cm (18 3/8 x 14 1/2 in.). The Cleveland Museum of Art, Contemporary Collection of The Cleveland Museum of Art, 1964.1. \u00a9 The Willem de Kooning Foundation / Artists Rights Society (ARS), New York", "current_location": null, "title": "Figure", "creation_date": "1949", "creation_date_earliest": 1949, "creation_date_latest": 1949, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on cardboard", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 55 x 44.5 x 8 cm (21 5/8 x 17 1/2 x 3 1/8 in.); Unframed: 46.7 x 36.8 cm (18 3/8 x 14 1/2 in.)", "dimensions": {"framed": {"height": 0.55, "width": 0.445, "depth": 0.08}, "unframed": {"height": 0.467, "width": 0.368}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 The Willem de Kooning Foundation / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "Signed lower left: de Kooning", "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": 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": 442875, "title": "Willem de Kooning: Pittsburgh International Series", "description": "<i>Willem de Kooning: Pittsburgh International Series</i>. Carnegie Museum of Art, Pittsburgh, PA (organizer) (October 26, 1979-January 6, 1980).", "opening_date": "1979-10-26T04:00:00"}, {"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": 227224, "title": "Willem de Kooning: Tracing the Figure", "description": "<i>Willem de Kooning: Tracing the Figure</i>. The Museum of Contemporary Art, Los Angeles, Los Angeles, CA (February 10-April 28, 2002); San Francisco Museum of Modern Art, San Francisco, CA (June 27-September 8, 2002); National Gallery of Art, Landover, MD (September 29, 2002-January 5, 2003).", "opening_date": "2002-02-10T00:00:00"}, {"id": 174889, "title": "Willem de Kooning Retrospective", "description": "<i>Willem de Kooning Retrospective</i>. The Museum of Modern Art, New York, NY (organizer) (September 18, 2011-January 9, 2012).", "opening_date": "2011-09-18T00:00:00"}], "legacy": [{"description": "CMA, December, 1964: \"Year in Review 1964,\" CMA Bulletin LI (December, 1964), p. 266, no. 163.", "opening_date": "1964-12-01T00:00:00"}, {"description": "Pittsburgh, PA, Carnegie Museum of Art, October 26, 1979 - January 6, 1980: \"Willem de Kooning: Pittsburgh International Series,\" catalogue no. 13, reproduced p. 44.", "opening_date": "1979-10-26T00:00:00"}, {"description": "CMA, November 1, 1983 - January 8, 1984: \"The Figure: deKooning to Warhol,\" no catalogue", "opening_date": "1983-11-01T00:00:00"}, {"description": "CMA, June 7 - September 8, 1991: \"Object Lessons: Cleveland Creates an Art Museum,\" no catalogue", "opening_date": "1991-06-07T00:00:00"}, {"description": "Washington, D.C., National Gallery of Art, May 8 - September 5, 1994: \"Willem de Kooning: Paintings,\" catalogue no. 24, reproduced color p. 123.", "opening_date": "1994-05-08T00:00:00"}, {"description": "Also to: New York, The Metropolitan Museum of Art, October 6, 1994 - January 8, 1995; London: The Tate Gallery, February 15 - May 7, 1995", "opening_date": "1995-02-15T00:00:00"}, {"description": "Museum of Contemporary Art, Los Angeles 2/10/02-4/24/02; San Francisco Museum of Modern Art 6/15/02-9/8/02; National Gallery of Art, Washington, D.C. 9/29/02-1/5/03.  \"Willem de Kooning: Tracing the Figure,\" pl. 27.", "opening_date": "2002-02-10T00:00:00"}, {"description": "Museum of Modern Art, NYC (9/18/2011 - 1/9/2012): \"Willem de Kooning Retrospective\"", "opening_date": "2011-09-18T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "De Kooning once famously stated, \"Flesh was the reason oil painting was invented.\"", "description": "By using rough, hasty brushstrokes, de Kooning gives us a glimpse into his process. He painted many women during the 1940s and 1950s, each time emphasizing the action of painting in his depictions of the female form.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60469121"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art, \u201cRecent Acquisitions Press Release,\u201d February 19, 1964, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr1209"}, {"citation": "Henning, Edward B. \u201cThe Language of Art.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 51, no. 9 (November 1964): 211\u2013231.", "page_number": "Mentioned and reproduced: p. 215-217, fig. 2", "url": "http://www.jstor.org/stable/25152016"}, {"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. 200", "url": "https://archive.org/details/CMAHandbook1966/page/n224"}, {"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. 200", "url": "https://archive.org/details/CMAHandbook1969/page/n224"}, {"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. 3", "url": "https://archive.org/details/20thCenturyArtCMA/page/n3/"}, {"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. 250", "url": "https://archive.org/details/CMAHandbook1978/page/n270"}, {"citation": "Landau, Ellen G. \u201c\u2018Space and Pictorial Life\u2019 Hans Hofmann\u2019s \u2018Smaragd Red and Germinating Yellow.\u2019\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 72, no. 5 (September 1985): 310\u2013322.", "page_number": "Mentioned and reproduced: p. 311, fig. 5", "url": "http://www.jstor.org/stable/25159910"}, {"citation": "Hinson, Tom E. \u201cAlex Katz\u2019s Impala.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 73, no. 8 (October 1986): 314\u2013326.", "page_number": "Mentioned and reproduced: p. 317, fig. 5", "url": "http://www.jstor.org/stable/25159954"}], "url": "https://clevelandart.org/art/1964.1", "images": {}, "alternate_images": [], "creditline": "Contemporary Collection of The Cleveland Museum of Art", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 140089, "creators": [{"id": 3508, "description": "Willem de Kooning (American, born The Netherlands, 1904\u20131997)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1904", "death_year": "1997", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1964-12-19T00:00:00", "sortable_date": 1949, "date_added_to_oa": null, "date_text": "1949", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-26 23:59:20.073000"}, {"id": 371392, "accession_number": "2019.227", "share_license_status": "Copyrighted", "tombstone": "I Always Return, 1993, printed 1994. Belkis Ay\u00f3n (Cuban, 1967\u20131999). Collagraph; sheet: 94.6 x 68 cm (37 1/4 x 26 3/4 in.); matted: 115.1 x 87 cm (45 5/16 x 34 1/4 in.). The Cleveland Museum of Art, Alma Kroeger Fund, 2019.227. \u00a9 Belkis Ay\u00f3n", "current_location": null, "title": "I Always Return", "creation_date": "1993, printed 1994", "creation_date_earliest": 1993, "creation_date_latest": 1993, "artists_tags": ["female", "Latine and Hispanic Artists"], "culture": ["Cuba"], "technique": "collagraph", "support_materials": [], "department": "Prints", "collection": "PR - Collagraph", "type": "Print", "measurements": "Sheet: 94.6 x 68 cm (37 1/4 x 26 3/4 in.); Matted: 115.1 x 87 cm (45 5/16 x 34 1/4 in.)", "dimensions": {"sheet": {"height": 0.946, "width": 0.68}, "image": {"height": 0.95, "width": 0.68}, "matted": {"height": 1.151, "width": 0.87}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Belkis Ay\u00f3n", "inscriptions": [{"inscription": "inscribed in pencil at bottom center: Siempre vuelvo", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "signed and dated in pencil at lower right: Belkis Ayon Manso 1993", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "inscribed on verso at upper left in pencil: Belkis Ayon / \u201cSiempre Vuelvo\u201d / colografia / 95 x 67 / ND A2", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 373919, "title": "A Graphic Revolution: Prints and Drawings in Latin America", "description": "<i>A Graphic Revolution: Prints and Drawings in Latin America</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 14-August 2, 2020).", "opening_date": "2020-03-08T05:00:00"}, {"id": 438968, "title": "Women in Print: Recent Acquisitions", "description": "<i>Women in Print: Recent Acquisitions</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 16-June 19, 2022).", "opening_date": "2022-01-16T05:00:00"}, {"id": 541557, "title": "New Narratives: Contemporary Works on Paper", "description": "<i>New Narratives: Contemporary Works on Paper</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 19, 2023-April 14, 2024).", "opening_date": "2023-11-19T05:00:00"}], "legacy": []}, "provenance": [{"description": "Estate of Belkis Ay\u00f3n, Havana, Cuba", "citations": [], "footnotes": [], "date": "?-2019", "sortorder": 1}, {"description": "(David Castillo Gallery, Miami Beach, FL, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": [], "date": "2019", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2019-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Of Sik\u00e1n, the subject of this work, Belkis Ay\u00f3n wrote that \u201c[she] is a transgressor and I see her as such, as I also see myself.\u201d", "description": "Belkis Ay\u00f3n worked almost exclusively in collography, a printmaking technique in which a three-dimensional plate embosses designs into paper, to depict the subject seen here: Abaku\u00e1, a secretive fraternal society established by African slaves in 19th-century Cuba. Because the founding myths of the group were not well known and it had no visual tradition, Ay\u00f3n invented her own. Here, a faceless figure\u2014presumably Sik\u00e1n, a princess sacrificed following an act of betrayal in Abaku\u00e1 mythology\u2014floats imposingly above three initiates.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q84279705"], "internet_archive": []}, "citations": [{"citation": "Ay\u00f3n, Katia, ed. <em>Nkame: Belkis Ay\u00f3n</em>. Madrid: Turner, 2010.", "page_number": "Mentioned and reproduced: p. 203, no. 93.11", "url": null}], "catalogue_raisonne": "Ay\u00f3n 93.11", "url": "https://clevelandart.org/art/2019.227", "images": {}, "alternate_images": [], "creditline": "Alma Kroeger Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 371392, "creators": [{"id": 371385, "description": "Belkis Ay\u00f3n (Cuban, 1967\u20131999)", "extent": null, "qualifier": null, "role": "artist", "biography": "Cuban graphic artist and printmaker, 1967-1999", "name_in_original_language": null, "birth_year": "1967", "death_year": "1999", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2019-12-02T00:00:00-05:00", "sortable_date": 1993, "date_added_to_oa": null, "date_text": "1993, printed 1994", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_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 00:01:20.050000"}, {"id": 173965, "accession_number": "1930.851", "share_license_status": "CC0", "tombstone": "Lighthouse Village (also known as Cape Elizabeth), 1929. Edward Hopper (American, 1882\u20131967). Watercolor with gouache over graphite; sheet: 40.5 x 63.3 cm (15 15/16 x 24 15/16 in.). The Cleveland Museum of Art, Hinman B. Hurlbut Collection, 1930.851", "current_location": null, "title": "Lighthouse Village (also known as Cape Elizabeth)", "creation_date": "1929", "creation_date_earliest": 1929, "creation_date_latest": 1929, "artists_tags": ["male"], "culture": ["America"], "technique": "watercolor with gouache over graphite", "support_materials": [{"description": "cream wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Sheet: 40.5 x 63.3 cm (15 15/16 x 24 15/16 in.)", "dimensions": {"sheet": {"height": 0.405, "width": 0.633}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed, lower right, in black gouache: Edward Hopper / Cape Elizabeth", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 360881, "title": "An Exhibition of Paintings, Water Colors, and Etchings by Edward Hopper", "description": "<i>An Exhibition of Paintings, Water Colors, and Etchings by Edward Hopper</i>. Carnegie Institute, Pittsburgh, PA (organizer) (March 11-April 25, 1937).", "opening_date": "1937-03-11T05:00:00"}, {"id": 360880, "title": "American Watercolor and Winslow Homer", "description": "<i>American Watercolor and Winslow Homer</i>. Walker Art Center (organizer) (February 27-March 23, 1945); The Brooklyn Museum (April 3-May 1, 1945); The Detroit Institute of Arts (May 15-June 2, 1945).", "opening_date": "1945-02-27T04:00:00"}, {"id": 360879, "title": "Watercolor USA: A Survey of Watercolor from 1870 to 1946", "description": "<i>Watercolor USA: A Survey of Watercolor from 1870 to 1946</i>. Walker Art Center (organizer) (April 24-May 28, 1946); National Gallery of Art (May 17-August 1, 1946).", "opening_date": "1946-04-24T05:00:00"}, {"id": 360875, "title": "Amerikanische Meister des Aquarells", "description": "<i>Amerikanische Meister des Aquarells</i>. Albertina, Wien, Austria (organizer) (October 2-December 6, 1949).", "opening_date": "1949-10-02T05:00:00"}, {"id": 360874, "title": "Edward Hopper: Retrospective Exhibition", "description": "<i>Edward Hopper: Retrospective Exhibition</i>. Whitney Museum of American Art, New York, NY (organizer) (February 11-March 26, 1950); Museum of Fine Arts, Boston (April 13-14, 1950); The Detroit Institute of Arts (June 4-July 2, 1950).", "opening_date": "1950-02-11T05:00:00"}, {"id": 360873, "title": "Edward Hopper", "description": "<i>Edward Hopper</i>. Whitney Museum of American Art, New York, NY (organizer) (September 29-November 29, 1964).", "opening_date": "1964-09-29T04:00:00"}, {"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"}, {"id": 230725, "title": "Edward Hopper's Maine: Paintings, Watercolors, Drawings, 1914-1929", "description": "<i>Edward Hopper's Maine: Paintings, Watercolors, Drawings, 1914-1929</i>. Bowdoin College Museum of Art, Brunswick, ME (organizer) (July 15-October 16, 2011).", "opening_date": "2011-07-15T00:00:00"}], "legacy": [{"description": "<em>Seventh Annual Exhibition of Water Colors and Pastels</em>. Cleveland Museum of Art (January 23 - February 23, 1930).", "opening_date": "1930-01-23T00:00:00"}]}, "provenance": [{"description": "Edward Hopper, sold to Frank K.M. Rehn, New York, NY", "citations": [], "footnotes": null, "date": "October 1929", "sortorder": 1}, {"description": "(Frank K. M. Rehn, New York, NY, sold to Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "1929", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1929-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": ["160.1930", "806.1930"], "did_you_know": "In an interview published in 1962, Edward Hopper described this watercolor's setting, saying that \"I like Maine very much but it gets so cold in fall.\"", "description": "Edward Hopper made this watercolor during the last of several painting excursions that he took to Maine. He had painted the lighthouse at Cape Elizabeth once two years before, but found the structure so interesting that he returned to it in this drawing. Hopper was especially attracted to the varying green tones of the grass and the combination of buildings, each with a different purpose, including one where the lighthouse keepers slept and the three at the bottom where coast guard families lived. He used a slightly different tone of watercolor for each of the structures to accurately convey the reflection of light on them.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117230293"], "internet_archive": []}, "citations": [{"citation": "Hopper, Edward and Jo Hopper. <em>Artist's Ledger Book I</em>. 1993-63.", "page_number": "Mentioned: p. 71", "url": null}, {"citation": "<em>An Exhibition of Paintings, Water Colors, and Etchings by Edward Hopper</em>. Pittsburgh: Carnegie Institute, 1937.", "page_number": "Mentioned: p. 20, no. 93", "url": null}, {"citation": "O'Connor, Jr, John. \"Edward Hopper, American Artist.\" <em>Carnegie Magazine </em>10, no. 10 (March 1937): 303-306.", "page_number": "Mentioned: p. 305", "url": null}, {"citation": "Francis, Henry. \"Museum Water Colors and the Thirteenth Exhibition of Water Colors and Pastels.\" <em>The Bulletin of the Cleveland Museum of Art </em>24, no. 3 (March 1937): 39-41", "page_number": "Mentioned: p. 40", "url": "https://www.jstor.org/stable/25137832"}, {"citation": "Coates, Robert M. \"The Art Galleries: Water Colors and Oils.\" <em>The New Yorker</em> (May 26, 1945): 67-68.", "page_number": "Mentioned: p. 67", "url": null}, {"citation": "<em>A Survey of Watercolor - U.S.A. from 1870 to 1946</em>. Minneapolis: Walker Art Center, 1946.", "page_number": "Reproduced: p. 20, no. 12", "url": null}, {"citation": "Benesch, Otto, and Lloyd Goodrich. <em>Amerikanische Meister des Aquarells</em>. Vienna: Albertina, 1949.", "page_number": "Mentioned: no. 29", "url": null}, {"citation": "Goodrich, Lloyd. <em>Edward Hopper: Retrospective Exhibition</em>. New York: Whitney Museum of American Art, 1950.", "page_number": "Mentioned: p. 58, no. 103", "url": null}, {"citation": "Goodrich, Lloyd. <em>Edward Hopper</em>. New York: Whitney Museum of American Art, 1964.", "page_number": "Mentioned: p. 67, no. 103", "url": null}, {"citation": "Goodrich, Lloyd. <em>Edward Hopper</em>. New York: Harry N. Abrams, 1989.", "page_number": "Reproduced: p. 72", "url": null}, {"citation": "Little, Carl. <em>Edward Hopper's New England</em>. San Francisco: Pomegranate, 1993.", "page_number": "Reproduced: plate 21", "url": null}, {"citation": "Levin, Gail. <em>Edward Hopper: An Intimate Biography</em>. New York: Alfred A. Knopf, 1995.", "page_number": "Mentioned: p. 224", "url": null}, {"citation": "Levin, Gail. <em>Edward Hopper: A Catalogue Raisonn\u00e9</em>. New York: Whitney Museum of American Art, 1995.", "page_number": "Mentioned and reproduced: vol. 2, p. 197, no. W-228", "url": null}, {"citation": "Lyons, Deborah. <em>Edward Hopper: A Journal of His Work</em>. New York: Whitney Museum of American Art, 1997.", "page_number": "Mentioned: p. 34.", "url": null}, {"citation": "Mecklenburg, Virginia M. <em>Edward Hopper: The Watercolors</em>. Exh. Cat. Washington, D.C.: National Museum of American Art, 1999.", "page_number": "Mentioned: p. 90-93; reproduced: p. 92", "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. 4, 252-253, 297, cat. no. 106; Reproduced: P. 253", "url": null}, {"citation": "Salatino, Kevin. \"Edward Hopper's Maine.\" <em>American Art Review</em> 23, no. 4 (July-August 2011): 88-93, 111.", "page_number": "Reproduced: p. 92", "url": null}, {"citation": "Salatino, Kevin. <em>Edward Hopper's Maine</em>. Brunswick, ME: Bowdoin College Museum of Art, 2011.", "page_number": "Mentioned: p. 28, no. 55; reproduced: no. 55", "url": null}], "catalogue_raisonne": "Levin W-228", "url": "https://clevelandart.org/art/1930.851", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1930.851/1930.851_web.jpg", "width": "900", "height": "582", "filesize": "180727", "filename": "1930.851_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1930.851/1930.851_print.jpg", "width": "3400", "height": "2198", "filesize": "2239978", "filename": "1930.851_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1930.851/1930.851_full.tif", "width": "13041", "height": "8429", "filesize": "329797422", "filename": "1930.851_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1930.851/1930.851_alt0_web.jpg", "width": "1263", "height": "821", "filesize": "163205"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1930.851/1930.851_alt0_print.jpg", "width": "2048", "height": "1306", "filesize": "2081871"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1930.851/1930.851_alt0_full.tif", "width": "2048", "height": "1306", "filesize": "8026860"}}, {"date_created": "2014-10-28T11:21:12", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1930.851/1930.851_alt1_web.jpg", "width": "900", "height": "581", "filesize": "159952"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1930.851/1930.851_alt1_print.jpg", "width": "3400", "height": "2195", "filesize": "1852391"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1930.851/1930.851_alt1_full.tif", "width": "7787", "height": "5027", "filesize": "117467224"}}, {"date_created": "2014-10-28T11:37:07", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1930.851/1930.851_alt2_web.jpg", "width": "900", "height": "585", "filesize": "168104"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1930.851/1930.851_alt2_print.jpg", "width": "3400", "height": "2211", "filesize": "2107153"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1930.851/1930.851_alt2_full.tif", "width": "7799", "height": "5071", "filesize": "118674252"}}], "creditline": "Hinman B. Hurlbut Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 173965, "creators": [{"id": 6568, "description": "Edward Hopper (American, 1882\u20131967)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1882", "death_year": "1967", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1930-03-06T00:00:00", "sortable_date": 1929, "date_added_to_oa": null, "date_text": "1929", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-28 17:01:48.448000"}, {"id": 109141, "accession_number": "1927.300", "share_license_status": "Copyrighted", "tombstone": "Reclining Odalisque, c. 1923. Henri Matisse (French, 1869\u20131954). Graphite; sheet: 28.2 x 38.5 cm (11 1/8 x 15 3/16 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1927.300. \u00a9 Succession H. Matisse / Artists Rights Society (ARS), New York", "current_location": null, "title": "Reclining Odalisque", "creation_date": "c. 1923", "creation_date_earliest": 1918, "creation_date_latest": 1928, "artists_tags": ["male"], "culture": ["France, 20th century"], "technique": "graphite", "support_materials": [{"description": "cream(1) wove paper, slightly discolored", "watermarks": []}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 28.2 x 38.5 cm (11 1/8 x 15 3/16 in.)", "dimensions": {"sheet": {"height": 0.282, "width": 0.385}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Succession H. Matisse / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "signed, lower right, in graphite: Henri - Matisse; verso, upper right, in graphite: [S?] [S?]2 x 40; from three labels on the old frame: in black ink: No [printed] 24301 / Matisse / Dessin / a.v.; in brown ink: No [printed] 24301 / Matisse / Dessin / t.u.; in black ink: 21933 / onn\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": 356272, "title": "Drawings from the Museum Collection", "description": "<i>Drawings from the Museum Collection</i>. 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The Cleveland Museum of Art, Cleveland, OH (February 5-March 16, 1952).", "opening_date": "1952-02-06T05:00:00"}, {"id": 304726, "title": "French Drawings", "description": "<i>French Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 16, 1965-February 16, 1966).", "opening_date": "1965-11-16T05:00:00"}, {"id": 350592, "title": "Prints and Drawings, 1916-1965", "description": "<i>Prints and Drawings, 1916-1965</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 20-July 24, 1966).", "opening_date": "1966-05-20T04:00:00"}, {"id": 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>. 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Kraushaar Art Galleries, New York, NY, sold to Print Club of Cleveland, Cleveland, OH)", "citations": [], "footnotes": [], "date": "1927", "sortorder": 3}, {"description": "Print Club of Cleveland, given to Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1927", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1927-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Henri Matisse was inspired to take up the subject of odalisques after visiting Morocco about a decade before this drawing was made.", "description": "During the 1920s, Matisse used various media to represent odalisques -- female slaves or concubines in the harem of a Turkish sultan. Rather than aiming for a realistic representation of these women, however, Matisse used obviously European models, costumed and arranged with Eastern props in his studio. This drawing depicts his favorite sitter during this period, a French woman named Henriette Darricarr\u00e8re, who appears in culottes with her arms raised behind her head. Matisse made marks with pencil that he then changed and strengthened as he worked, carefully but quickly constructing the figure with soft, rounded forms. He smeared the graphite in places to model and shade with a variety of tones.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80001272"], "internet_archive": []}, "citations": [{"citation": "\"Accessions - Gifts.\" <em>Bulletin of the Cleveland Museum of Art</em> 15 (January 1928): 16.", "page_number": "Mentioned: p. 16", "url": null}, {"citation": "Dauberville, Guy-Patrice and Michel Dauberville. <em>Matisse</em>. Paris: Editions Bernheim-Jeune, 1995.", "page_number": "Mentioned and reproduced: vol. 2, p. 1247, no. 652", "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. 250-251, p. 296; Reproduced: p. 251", "url": null}], "url": "https://clevelandart.org/art/1927.300", "images": {}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 109141, "creators": [{"id": 2130, "description": "Henri Matisse (French, 1869\u20131954)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1869", "death_year": "1954", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1927-11-11T00:00:00", "sortable_date": 1918, "date_added_to_oa": null, "date_text": "c. 1923", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Reclining Woman"], "is_highlight": false, "updated_at": "2026-03-27 00:02:02.141000"}, {"id": 142732, "accession_number": "1966.441", "share_license_status": "CC0", "tombstone": "Flower Study of an Anemone, c. 1905\u201315. Henrik Wigstr\u00f6m (Russian, 1862\u20131923), House of Faberg\u00e9 (Russian, 1842\u20131918). Mat white stone, gold, sapphires, jade, rock crystal; overall: 14.3 x 3.9 cm (5 5/8 x 1 9/16 in.). 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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": [], "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": "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 wild anemone 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/Q60754035"], "internet_archive": ["https://archive.org/details/clevelandart-1966.441-flower-study-of-an-a"]}, "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 reproduce:  pp. 28-29, cat. 10.", "url": "https://ingallslibrary.on.worldcat.org/oclc/836254532"}, {"citation": "Harrison, Stephen, Emmanuel Ducamp, and Jeannine J. 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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": 1903, "date_added_to_oa": null, "date_text": "c. 1905\u201315", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:55.369000"}, {"id": 142772, "accession_number": "1966.476", "share_license_status": "CC0", "tombstone": "Clock, c. 1905\u201315. Henrik Wigstr\u00f6m (Russian, 1862\u20131923), House of Faberg\u00e9 (Russian, 1842\u20131918). Rhodonite, silver, enamel, diamonds; overall: 5.3 x 5 x 2.9 cm (2 1/16 x 1 15/16 x 1 1/8 in.). The Cleveland Museum of Art, The India Early Minshall Collection, 1966.476", "current_location": "211 Faberg\u00e9", "title": "Clock", "creation_date": "c. 1905\u201315", "creation_date_earliest": 1905, "creation_date_latest": 1915, "artists_tags": ["male", "gender unknown"], "culture": ["Russia, St. Petersburg"], "technique": "rhodonite, silver, enamel, diamonds", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Timepiece", "measurements": "Overall: 5.3 x 5 x 2.9 cm (2 1/16 x 1 15/16 x 1 1/8 in.)", "dimensions": {"overall": {"height": 0.053, "width": 0.05, "depth": 0.029}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "88, Kokoshnik, lower-case alpha in script [assay mark for St. Petersburg, 1882-99]; H.W. [initials for workmaster Henrik Wigstr\u00f6m]; Faberg\u00e9 (in Cyrillic); 26217 scratched; swan. Faberg\u00e9 in script on dial of clock; an abbreviation of \"weekly wind\" engraved in Cyrillic script on back.", "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": 309667, "title": "Circa 1930", "description": "<i>Circa 1930</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 12-October 31, 1983).", "opening_date": "1983-04-12T05:00:00"}, {"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": "?-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 bright pink color of this small desk clock is a result of manganese, the principle mineral found in rhodonite.", "description": "The use of Russian hardstones in creating precious objects became a hallmark of design from the House of Faberg\u00e9. Easily carved, these minerals were sourced largely from the western region surrounding the Ural Mountains. Faberg\u00e9's workmasters used colorful stones such as agate, nephrite (jade), lapis lazuli, rock crystal, and rhodonite, seen here in this small desk clock, to create and embellish flower studies, animal figures, and all manner of luxurious accessories. Bright pink rhodonite was among the rarest, and consequently most expensive, specimens used by the House of Faberg\u00e9.", "external_resources": {"wikidata": [], "internet_archive": ["https://archive.org/details/clevelandart-1966.476-clock"]}, "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. 38, cat. 15; reproduced: p. 39", "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": "Mentioned: p. 39, cat. 49", "url": "https://ingallslibrary.on.worldcat.org/oclc/230187932"}], "url": "https://clevelandart.org/art/1966.476", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1966.476/1966.476_web.jpg", "width": "1013", "height": "893", "filesize": "444399", "filename": "1966.476_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1966.476/1966.476_print.jpg", "width": "3400", "height": "2996", "filesize": "4870024", "filename": "1966.476_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1966.476/1966.476_full.tif", "width": "4515", "height": "3978", "filesize": "53918892", "filename": "1966.476_full.tif"}}, "alternate_images": [{"date_created": "2007-08-09T19:22:10", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.476/1966.476_alt0_web.jpg", "width": "1116", "height": "893", "filesize": "348904"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.476/1966.476_alt0_print.jpg", "width": "3400", "height": "2720", "filesize": "3287562"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.476/1966.476_alt0_full.tif", "width": "4586", "height": "3669", "filesize": "50499876"}}, {"date_created": "2008-06-06T15:34:26", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.476/1966.476_alt1_web.jpg", "width": "979", "height": "893", "filesize": "408753"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.476/1966.476_alt1_print.jpg", "width": "3400", "height": "3101", "filesize": "5042736"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.476/1966.476_alt1_full.tif", "width": "3699", "height": "3374", "filesize": "37476124"}}], "creditline": "The India Early Minshall Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 142772, "creators": [{"id": 8891, "description": "Henrik Wigstr\u00f6m (Russian, 1862\u20131923)", "extent": null, "qualifier": null, "role": "workmaster", "biography": "Workmaster for the House of Faberge based in St. Petersburg, Russia. Responsible for many of the imperial Easter eggs as well as enameled accessories and jewelry.", "name_in_original_language": null, "birth_year": "1862", "death_year": "1923", "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": 1905, "date_added_to_oa": null, "date_text": "c. 1905\u201315", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:36.169000"}, {"id": 155985, "accession_number": "1991.27", "share_license_status": "Copyrighted", "tombstone": "Looking Along Broadway Towards Grace Church, 1981. Red Grooms (American, b. 1937). Mixed media (alkyd paint, gatorboard, celastic, wood, wax, foam-core); overall: 180.3 x 161.9 x 73 cm (71 x 63 3/4 x 28 3/4 in.). The Cleveland Museum of Art, Gift of Agnes Gund in honor of Edward Henning, 1991.27. \u00a9 Red Grooms, Member of Artists Rights Society (ARS)", "current_location": "000 Education Gallery", "title": "Looking Along Broadway Towards Grace Church", "creation_date": "1981", "creation_date_earliest": 1981, "creation_date_latest": 1981, "artists_tags": ["male"], "culture": ["America"], "technique": "mixed media (alkyd paint, gatorboard, celastic, wood, wax, foam-core)", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Sculpture", "type": "Sculpture", "measurements": "Overall: 180.3 x 161.9 x 73 cm (71 x 63 3/4 x 28 3/4 in.)", "dimensions": {"overall": {"height": 1.803, "width": 1.619, "depth": 0.73}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Red Grooms, Member of Artists Rights Society (ARS)", "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"}], "legacy": [{"description": "New York, NY, Marlborough Gallery, 1981: \"Red Grooms: Recent Works,\" repr. cover and p. 31", "opening_date": "1981-01-01T00:00:00"}, {"description": "Philadelphia, PA, Pennsylvania Academy of the Fine Arts, 1985-86: \"Red Grooms Retrospective,\" cat. no. 70, (also to: Denver Art Museum, Museum of Contemporary Art, Los Angeles, Nashville, Tennessee State Museum).", "opening_date": "1985-01-01T00:00:00"}, {"description": "CMA 1991: \"Notable Acquisitions,\" CMA Bulletin 78 (June, 1991), p. 110, repr.", "opening_date": "1991-06-01T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": ["461.1981"], "did_you_know": "This work depicts roughly 15 blocks of Lower Manhattan between Canal and 10th Streets.", "description": "Looking Along Broadway Towards Grace Church exemplifies the zany, cartoonlike sculptural environments of Red Grooms. Throughout his career, New York City has provided wonderfully rich subject matter for his work. In this animated scene, the artist focuses on the visual clutter of a lower Manhattan street near his studio. A three-dimensional caricature, this work features jutting buildings, garish street people, and aggressive cars, trucks, and buses, all vividly painted. With engaging wit and enormous energy Grooms captures urban life with rare good humor.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60781105"], "internet_archive": []}, "citations": [{"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. 110", "url": "https://www.jstor.org/stable/25161319"}, {"citation": "Greenberg, Jan, and Sandra Jordan. The Sculptor\u2019s Eye : Looking at Contemporary American Art. New York: Delacorte Press, 1993.", "page_number": "Mentioned and reproduced: pp. 36-37, fig. 12", "url": ""}], "url": "https://clevelandart.org/art/1991.27", "images": {}, "alternate_images": [], "creditline": "Gift of Agnes Gund in honor of Edward Henning", "image_credit": null, "sketchfab_id": "a96aba217b6440108ca818e423be51cc", "sketchfab_url": "https://sketchfab.com/models/a96aba217b6440108ca818e423be51cc", "gallery_donor_text": "Susan M. Kaesgen Education Gallery and Lobby", "athena_id": 155985, "creators": [{"id": 55844, "description": "Red Grooms (American, b. 1937)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1937", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1991-03-27T00:00:00", "sortable_date": 1981, "date_added_to_oa": null, "date_text": "1981", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": 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 22:03:01.060000"}, {"id": 142807, "accession_number": "1966.50.a", "share_license_status": "Copyrighted", "tombstone": "Student (Costume Study for Goll's \"Methusalem\") (recto), 1922. George Grosz (German, 1893\u20131959). Pen and brown-black ink (applied with the aid of drafting tools) and watercolor; sheet: 52.7 x 38 cm (20 3/4 x 14 15/16 in.). The Cleveland Museum of Art, Contemporary Collection of The Cleveland Museum of Art, 1966.50.a. \u00a9  Estate of George Grosz / Licensed by VAGA at Artists Rights Society (ARS), NY", "current_location": null, "title": "Student (Costume Study for Goll's \"Methusalem\") (recto)", "creation_date": "1922", "creation_date_earliest": 1922, "creation_date_latest": 1922, "artists_tags": ["male"], "culture": ["Germany, Berlin, 20th century"], "technique": "Pen and brown-black ink (applied with the aid of drafting tools) and watercolor", "support_materials": [{"description": "cream wove paper (now discolored to light brown)", "watermarks": []}], "department": "Drawings", "collection": "DR - German", "type": "Drawing", "measurements": "Sheet: 52.7 x 38 cm (20 3/4 x 14 15/16 in.)", "dimensions": {"sheet": {"height": 0.527, "width": 0.38}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  Estate of George Grosz / Licensed by VAGA at Artists Rights Society (ARS), NY", "inscriptions": [{"inscription": "upper right, in graphite: 6; by artist upper left, in brown ink: Dort kann er knacken und klirren beim sprechen [sideways along edge]; by artist, upper left, near figure's shoulder, in brown ink: Dampf / beim sprechen / von Zeit zu Zeit / aufzischen; by artist, upper left, below previous inscription, in brown ink: Z\u00e4hne gleich / alten / Klaviertasten; by artist, lower right in brown ink: Kopf Maske/aufgeklappt / gro\u00dfes Talglicht mit / aufmontierte elektr. Birne /als Licht, von beleuchter; by artist, lower right, in brown ink: Student [underlined twice]; by artist, lower right, below previous inscription: F\u00fc\u00dfe Riesen/streichholz/schachteln; lower left, in graphite: 38; by artist, bottom right, in graphite: No [\"o\" underlined twice] 16) zu Goll \"Methusalem\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 361640, "title": "Dada Revisited", "description": "<i>Dada Revisited</i>. Akron Art Museum (organizer).", "opening_date": null}, {"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": 443875, "title": "Tendencies of the Twenties", "description": "<i>Tendencies of the Twenties</i>. Staatliche Museen Preussischer Kulturbesitz, Berlin 19, Germany (August 14, 1977-October 16, 1978); St\u00e4del Museum, Franfurt am Main, Germany (November 10, 1977-January 8, 1978).", "opening_date": "1977-08-14T04:00:00"}, {"id": 361641, "title": "Dada and Surrealism Reviewed", "description": "<i>Dada and Surrealism Reviewed</i>. Hayward Gallery, London, United Kingdom of Great Britain and Northern Ireland (January 11-March 27, 1978).", "opening_date": "1978-01-11T05:00:00"}, {"id": 443370, "title": "Dada Revisited", "description": "<i>Dada Revisited</i>. Akron Art Museum, Akron, OH (organizer) (June 30-September 15, 1978).", "opening_date": "1978-06-30T04:00:00"}, {"id": 361642, "title": "DADA: Berlin, Cologne, Hannover", "description": "<i>DADA: Berlin, Cologne, Hannover</i>. The Institute of Contemporary Art, Boston, Boston, MA (November 5, 1980-January 4, 1981); Kimbell Art Museum, Fort Worth, TX (March 3-April 19, 1981).", "opening_date": "1980-11-05T05:00:00"}, {"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": 361643, "title": "Robots: History, Fantasy, & Reality", "description": "<i>Robots: History, Fantasy, & Reality</i>. Madison Museum of Contemporary Art, Madison, WI (organizer) (December 1-January 19, 1985).", "opening_date": "1985-12-01T05:00:00"}, {"id": 310264, "title": "Cross Section: Graphic Art in Germany after the First World War", "description": "<i>Cross Section: Graphic Art in Germany after the First World War</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 10, 1989-January 7, 1990).", "opening_date": "1989-10-10T04:00:00"}, {"id": 192019, "title": "Master Drawings from the Cleveland Museum of Art", "description": "<i>Master Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 27-October 17, 2000); The Morgan Library & Museum, New York, NY (May 23-August 19, 2001); Museum of Fine Arts, Houston, Houston, TX (October 14, 2001-January 6, 2002).", "opening_date": "2000-08-27T00:00:00"}, {"id": 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": 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"}], "legacy": [{"description": "<em>George Grosz. </em>Whitney Museum of American Art, New York (January - February 1954).", "opening_date": "1954-01-01T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "George Grosz's interest in mechanization extended to his drawing practice: he used drafting tools, like a straight-edge and compass, to execute works such as this one.", "description": "<em>Student</em> belongs to a series of drawings George Grosz made for Iwan Goll\u2019s 1921 play <em>Methusalem: The Eternal Bourgeois.</em> This satirical drama pitted a radical student against Methusalem, a bourgeois capitalist. Grosz\u2019s drawing shows the student\u2019s costume; the actor would have spoken from behind a full-size, mask-like shield made from various machine parts and other commonplace objects. The hinged metal head reveals the inner workings of a corrupt or incompetent mind. In Grosz\u2019s characterization, neither the radical student nor the bourgeois capitalist was more righteous than the other. Grosz was an outlier to Expressionism, rejecting the idea of the artist as mystical prophet in favor of the artist as an ordinary worker, an idea inspired by the socialist rhetoric of the day.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80042973"], "internet_archive": []}, "citations": [{"citation": "Baur, John Ireland Howe. <em>George Grosz</em>. Exh. Cat. New York: Whitney Museum of American Art, 1954.", "page_number": "Mentioned: pp. 16-17, no. 36; Reproduced: p. 16", "url": null}, {"citation": "Rubin, William S. <em>Dada and Surrealist Art</em>. New York: Harry N. Abrams, 1968.", "page_number": "Mentioned: p. 88; Reproduced: plate 76", "url": null}, {"citation": "<em>Tendenzen der Zwanziger Jahre</em>. Exh. Cat. Berlin: Akademie der K\u00fcnste, 1977.", "page_number": "Mentioned: p. 3, p. 261; Reproduced: p. 3, p. 51", "url": null}, {"citation": "Ades, Dawn. <em>Dada and Surrealism Reviewed</em>. Exh. Cat. London: Hayward Gallery, 1978.", "page_number": "Mentioned: p. 94", "url": null}, {"citation": "Wohl, Helmut. <em>DADA: Berlin, Cologne, Hannover</em>. Exh. Cat. Boston: Institute of Contemporary Art, 1980.", "page_number": "Mentioned and reproduced: p. 12, p. 26", "url": null}, {"citation": "Breitman, Ellen. <em>Art and the Stage</em>. Exh. Cat. Cleveland: Cleveland Museum of Art, 1981.", "page_number": "Mentioned and reproduced: p. 29, no. 14", "url": null}, {"citation": "Myers, Trent. <em>Robots: History, Fantasy, &amp; Reality</em>. Exh. Cat. Madison, WI: Madison Art Center, 1985.", "page_number": "Mentioned and reproduced: p. 3, insert", "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. 246-47, 297; Reproduced: P. 247, cat. no. 104", "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. 65, no. 63", "url": ""}], "url": "https://clevelandart.org/art/1966.50.a", "images": {}, "alternate_images": [], "creditline": "Contemporary Collection of The Cleveland Museum of Art", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 142807, "creators": [{"id": 12615, "description": "George Grosz (German, 1893\u20131959)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1893", "death_year": "1959", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1967-01-30T00:00:00", "sortable_date": 1922, "date_added_to_oa": null, "date_text": "1922", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1966.50", "is_nazi_era_provenance": true, "impression": null, "alternate_titles": ["Student (Study for Goll's Methusalem)"], "is_highlight": false, "updated_at": "2026-03-27 00:04:07.615000"}, {"id": 135076, "accession_number": "1958.12", "share_license_status": "Copyrighted", "tombstone": "The Donkey Driver, 1902. Pablo Picasso (Spanish, 1881\u20131973). Black chalk on brown wove paper; sheet: 26 x 20 cm (10 1/4 x 7 7/8 in.). The Cleveland Museum of Art, Bequest of Leonard C. Hanna Jr., 1958.12. \u00a9 Estate of  Pablo Picasso / Artists Rights Society (ARS), New York", "current_location": null, "title": "The Donkey Driver", "creation_date": "1902", "creation_date_earliest": 1902, "creation_date_latest": 1902, "artists_tags": ["male", "Latine and Hispanic Artists"], "culture": ["Spain, 20th century"], "technique": "black chalk on brown wove paper", "support_materials": [], "department": "Drawings", "collection": "DR - Spanish", "type": "Drawing", "measurements": "Sheet: 26 x 20 cm (10 1/4 x 7 7/8 in.)", "dimensions": {"sheet": {"height": 0.26, "width": 0.2}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of  Pablo Picasso / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "signed and dated, in brown ink, lower right: Picasso 1902", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301184, "title": "Department of Prints and Drawings Opening Exhibition", "description": "<i>Department of Prints and Drawings Opening Exhibition</i>. The Cleveland Museum of Art (organizer) (March 3, 1958-October 11, 1959).", "opening_date": "1958-03-03T05:00:00"}, {"id": 520354, "title": "20th Century Master Drawings", "description": "<i>20th Century Master Drawings</i>. Solomon R. Guggenheim Museum, New York, NY (organizer) (November 6, 1963-January 6, 1964); Frederick R. Weisman Art Museum, Minneapolis, MN (February 1-March 15, 1964); Fogg Art Museum/Harvard University, Cambridge, MA (April 6-May 24, 1964).", "opening_date": "1963-11-06T05:00:00"}, {"id": 304726, "title": "French Drawings", "description": "<i>French Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 16, 1965-February 16, 1966).", "opening_date": "1965-11-16T05:00:00"}, {"id": 442154, "title": "Pablo Picasso: Fruhwerk und Blaue Periode (Pablo Picasso: Early Work and the Blue Period)", "description": "<i>Pablo Picasso: Fruhwerk und Blaue Periode (Pablo Picasso: Early Work and the Blue Period)</i>. Kunstmuseum Bern, Bern, Switzerland (organizer) (December 6, 1984-February 17, 1985).", "opening_date": "1984-12-06T05:00:00"}, {"id": 442070, "title": "Picasso: Pastelle, Zeichnungen, Aquarelle (Picasso: Pastels, Paintings, Watercolors)", "description": "<i>Picasso: Pastelle, Zeichnungen, Aquarelle (Picasso: Pastels, Paintings, Watercolors)</i>. K\u00fcnsthalle Tubingen, D-72076 T\u00fcbingen, Germany (April 5-June 1, 1986); Kunstsammlung Nordrhein-Westfalen, D\u00fcsseldorf, Germany, Dusseldorf 1, Germany (organizer) (June 13-July 27, 1986).", "opening_date": "1986-04-05T05:00:00"}, {"id": 311433, "title": "Directions in Drawing: 1750-1988", "description": "<i>Directions in Drawing: 1750-1988</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 2-August 4, 1991).", "opening_date": "1991-04-02T05:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. Seoul Art Center, South Korea (December 22, 2006-March 28, 2007); Seoul Olympic Museum of Art, South Korea (April 7-May 20, 2007).", "opening_date": "2006-05-27T00:00:00"}, {"id": 222347, "title": "Picasso's Drawings, 1890-1921: Reinventing Tradition ", "description": "<i>Picasso's Drawings, 1890-1921: Reinventing Tradition </i>. National Gallery of Art, Landover, MD (February 5-May 6, 2012).", "opening_date": "2011-10-04T00:00:00"}, {"id": 317581, "title": "Picasso and Paper", "description": "<i>Picasso and Paper</i>. The Cleveland Museum of Art, Cleveland, OH (co-organizer) (December 8, 2024-March 23, 2025).", "opening_date": "2024-12-08T05:00:00"}], "legacy": [{"description": "<em>Picasso</em>. Kunsthaus Z\u00fcrich (September 11 - October 30, 1932).", "opening_date": "1932-09-11T00:00:00"}]}, "provenance": [{"description": "Santiago Laporta, Barcelona", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "(Galerie Thannhauser, New York)", "citations": [], "footnotes": null, "date": "by 1940-after 1946", "sortorder": 2}, {"description": "(Wildenstein and Co., New York, sold to Leonard C. Hanna, Jr.)", "citations": [], "footnotes": null, "date": "after 1946-before 1958", "sortorder": 3}, {"description": "Leonard C. Hanna, Jr., bequeathed to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?-1958", "sortorder": 4}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1958-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This drawing is one of several by Pablo Picasso to featured donkeys around this time.", "description": "Created during Pablo Picasso's Blue Period, a time when the artist focused on disenfranchised members of society, this drawing depicts a man and woman in what apperas to be Catalan costume. The subject may relate to Picasso's Spanish heritage or his study in Paris of drawings by the elder artist Puvis de Chavannes, who likewise focused on agrarian life. Picasso drew and reworked his composition in black chalk, leaving changes to the image fully evident as he worked.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80027983"], "internet_archive": []}, "citations": [{"citation": "Zervos, Christian. <em>Pablo Picasso</em>. Paris: \u00c9ditions Cahiers d'Art, 1932.", "page_number": "Mentioned: p. XLIV, no. 136; Reproduced: pl. 67", "url": ""}, {"citation": "<em>Picasso</em>. Exh. Cat. Z\u00fcrich: Kunsthaus Z\u00fcrich, 1932.", "page_number": "Mentioned: p. 17, no. 255", "url": ""}, {"citation": "Cassou, Jean. <em>Picasso</em>. Translated by Mary Chamot. New York: Hyperion Press, 1940.", "page_number": "Mentioned and reproduced: no. 146", "url": ""}, {"citation": "Pellicer, A. Cirici. <em>Picasso antes de Picasso</em>. Barcelona: Iberia - Joaquin Gil, 1946.", "page_number": "Mentioned and reproduced: pl. 125", "url": ""}, {"citation": "Elgar, Frank and Robert Maillard. <em>Picasso</em>. Translated by Francis Scarfe. New York: Praeger, 1956.", "page_number": "Reproduced: p. 19", "url": ""}, {"citation": "<em>In Memoriam: Leonard C. Hanna, Jr. </em>Cleveland: Cleveland Museum of Art, 1958", "page_number": "Mentioned and reproduced: no. 97", "url": ""}, {"citation": "Jardot, Maurice. <em>Pablo Picasso Drawings</em>. New York: Harry N. Abrams, 1959.", "page_number": "Mentioned: p. 153; Reproduced: pl. 3", "url": ""}, {"citation": "Simon, Sidney and Emily Rauh. <em>20th Century Master Drawings</em>. Exh. Cat. New York: Solomon R. Guggenheim Museum, 1963.", "page_number": "Mentioned: no. 99; Reproduced: pl. 1", "url": ""}, {"citation": "Blunt, Anthony and Phoebe Pool. <em>Picasso: The Formative Years, A Study of His Sources</em>. New York: New York Graphic Society, 1963.", "page_number": "Mentioned and reproduced: no. 125", "url": ""}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 196", "url": "https://archive.org/details/CMAHandbook1966/page/n220"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 195", "url": "https://archive.org/details/CMAHandbook1969/page/n219"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 241", "url": "https://archive.org/details/CMAHandbook1978/page/n261"}, {"citation": "Palau i Fabre, Josep. <em>Picasso: The Early Years, 1881-1907. </em>Translated by Kenneth Lyons. New York: Rizzoli, 1981.", "page_number": "Mentioned: pp. 319, 539, no. 807; Reproduced: p. 319", "url": ""}, {"citation": "Glaesemer, J\u00fcurgen. <em>Der Junge Picasso: Fr\u00fchwerk und Blaue Periode</em>. Exh. Cat. Bern: Kunstmuseum Bern, 1984.", "page_number": "Mentioned: 325, no. 166; Reproduced: p. 298", "url": ""}, {"citation": "Spies, Werner. <em>Picasso: Pastelle, Zeichnungen, Aquarelle</em>. Exh. Cat. T\u00fcbingen: Kunstehalle T\u00fcbingen, 1986.", "page_number": "Mentioned and reproduced: no. 16", "url": ""}, {"citation": "Galassi, Susan Grace and Marilyn McCully. <em>Picasso's Drawings, 1890-1921: Reinventing Tradition</em>. Exh. Cat. New York: Frick Collection, 2011.", "page_number": "Mentioned: pp. 93-95, no. 13; Reproduced: p. 94", "url": ""}, {"citation": "<em>The Picasso Project: Picasso's Paintings, Watercolors, Drawings and Sculpture: A Comprehensive Illustrated Catalogue, 1885-1973: The Blue Period, 1902-1904, Barcelona and Paris</em>. San Francisco: Alan Wofsy Fine Arts, 2011.", "page_number": "Mentioned and reproduced: p. 31, no. 1902-080", "url": ""}], "catalogue_raisonne": "Zervos I.136; Palau i Fabre: 807; PP 1902-080", "url": "https://clevelandart.org/art/1958.12", "images": {}, "alternate_images": [], "creditline": "Bequest of Leonard C. Hanna Jr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 135076, "creators": [{"id": 2160, "description": "Pablo Picasso (Spanish, 1881\u20131973)", "extent": null, "qualifier": null, "role": "artist", "biography": "Pablo Ruiz Picasso (1881-1973), the most prolific and influential artist of the 20th century, shifted the emphasis of art from its traditional concern with beauty toward radical innovation. The son of an art teacher, Picasso demonstrated remarkable talents as a child and entered the royal art academy in Madrid at age sixteen. Less than a year later, he abandoned his studies and soon joined several avant-garde artist and anarchist groups in Barcelona and Paris. After passing through a succession of stylistic periods, most notably the Blue (1901-1904) and Rose (1904-1906) Periods, he collaborated with Georges Braque (1882-1963) in 1908 to invent Cubism, a revolutionary method of restructuring pictorial space. Picasso remained active until his death in 1973. Although his art still appears radical, many of his works are over one hundred years old. Cubism, perhaps the most important development in 20th-century art, was invented around 1908 by Pablo Picasso (1881-1973) and Georges Braque (1882-1963). The most revolutionary aspect of the style was not its obvious emphasis on geometric form; rather, it was the introduction of a radically new approach to configuring pictorial space. Since the Renaissance, artists had used various methods to create the illusion of distant space receding behind the canvas surface. The Cubists rejected that idea and collapsed space by compressing foreground, middle ground, and background into a continuous web of overlapping, intersecting planes. During the 1910s, other painters and sculptors embraced or adapted Cubism to their own ends. This revolutionary approach inspired a host of related movements and continues to influence the visual language of artists, architects, and designers throughout the world.", "name_in_original_language": null, "birth_year": "1881", "death_year": "1973", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1958-11-29T00:00:00", "sortable_date": 1902, "date_added_to_oa": null, "date_text": "1902", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-04-03 13:35:08.874000"}, {"id": 141907, "accession_number": "1965.449", "share_license_status": "Copyrighted", "tombstone": "1941 (relief), 1941. Ben Nicholson (British, 1894\u20131978). Oil on wood; framed: 46.7 x 65.4 x 5.1 cm (18 3/8 x 25 3/4 x 2 in.). The Cleveland Museum of Art, Contemporary Collection of The Cleveland Museum of Art, 1965.449. \u00a9 Artists Rights Society (ARS), New York / DACS, London", "current_location": "223 20th Century Avant-Garde", "title": "1941 (relief)", "creation_date": "1941", "creation_date_earliest": 1941, "creation_date_latest": 1941, "artists_tags": ["male"], "culture": ["England, 20th century"], "technique": "oil on wood", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 46.7 x 65.4 x 5.1 cm (18 3/8 x 25 3/4 x 2 in.)", "dimensions": {"framed": {"height": 0.467, "width": 0.654, "depth": 0.051}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Artists Rights Society (ARS), New York / DACS, London", "inscriptions": [{"inscription": "signed on back:  TOP / Ben Nicholson 1941", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304733, "title": "Space and Modern Art", "description": "<i>Space and Modern Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 9-September 25, 1966).", "opening_date": "1966-06-09T04:00:00"}, {"id": 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": "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": "Sir Herbert Read, London.  (E. V. Thaw).", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "At the time Ben Nicholson was making his \"white reliefs\" that combined painting and sculpture, he was living with the sculptor Barbara Hepworth and frequently used her tools.", "description": "Between 1934 and the early 1940s, Ben Nicholson made a series of geometric abstractions that combined painting and sculpture. Each \u201cwhite relief,\u201d of which this is an example, was painstakingly carved from a solid piece of timber and painted with multiple layers of white pigment. Nicholson began creating his white reliefs shortly before his first visit to Piet Mondrian\u2019s Paris studio. Nicholson and Mondrian shared a belief in the potential of abstract art to attain the highest level of aesthetic and spiritual power.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60469498"], "internet_archive": []}, "citations": [{"citation": "Hodin, J. P. <em>Ben Nicholson: The Meaning of His Art.</em> London: A. Tiranti, 1957.", "page_number": "Reproduced: pl. 37", "url": ""}, {"citation": "Read, Herbert. <em>A Concise History of Modern Painting.</em> London: Thames &amp; Hudson, 1959.", "page_number": "Mentioned: p. 362, no. 118; Reproduced: p. 307, no. 117", "url": ""}, {"citation": "Nash, Steven A. and Albright-Knox Art Gallery. <em>Ben Nicholson: Fifty Years of His Art.</em> Buffalo, N.Y.: Albright-Knox Art Gallery, 1978.", "page_number": "Mentioned and reproduced: p. 78, no. 34", "url": ""}, {"citation": "Lynton, Norbert. <em>Ben Nicholson.</em> London: Phaidon Press, 1993.", "page_number": "Mentioned: p. 186-187; Reproduced: fig. 171", "url": ""}], "url": "https://clevelandart.org/art/1965.449", "images": {}, "alternate_images": [], "creditline": "Contemporary Collection of The Cleveland Museum of Art", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Michael J. Horvitz Family Gallery", "athena_id": 141907, "creators": [{"id": 3219, "description": "Ben Nicholson (British, 1894\u20131978)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1894", "death_year": "1978", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1966-01-03T00:00:00", "sortable_date": 1941, "date_added_to_oa": null, "date_text": "1941", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:02:34.626000"}, {"id": 144677, "accession_number": "1969.3", "share_license_status": "Copyrighted", "tombstone": "Helmet Mask (t\u00f6nk\u00f6ngba or tabak\u00e4n), early 1900s. Africa, West Africa, Guinea, possibly Landuma-style carver. Wood and natural fibers; overall: 76.2 cm (30 in.). The Cleveland Museum of Art, Gift of Katherine C. White, 1969.3", "current_location": "108A African", "title": "Helmet Mask (t\u00f6nk\u00f6ngba or tabak\u00e4n)", "creation_date": "early 1900s", "creation_date_earliest": 1935, "creation_date_latest": 1945, "artists_tags": [], "culture": ["Africa, West Africa, Guinea, possibly Landuma-style carver"], "technique": "Wood and natural fibers", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Mask", "measurements": "Overall: 76.2 cm (30 in.)", "dimensions": {"overall": {"height": 0.762}}, "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": [{"description": "CMA 1968: \"African Tribal Images: The Katherine White Reswick Collection,\" cat. no. 45, repr.", "opening_date": "1968-01-01T00:00:00"}, {"description": "CMA 1970: \"Year in Review 1969,\" CMA Bulletin LVII Jan., 1970), p. 47, no. 127, repr. p. 38.", "opening_date": "1970-01-01T00:00:00"}]}, "provenance": [{"description": "Katherine White Reswick", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": ["628.68"], "did_you_know": "When worn, this mask lies nearly flat across the head.", "description": "It seems that this type of object--once used among various peoples in the region--could have served both as a shrine and as a dance headdress. It would only have been part of a dance when a sacrifice to the ancestors was needed, at a funeral, or during a male initiation. Despite obvious animal references, the type represents an invented composite being that some described as a creature of the sea.", "external_resources": {"wikidata": [], "internet_archive": []}, "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. 5, p. 40 - 41", "url": ""}, {"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. 71, no. 50", "url": null}, {"citation": "Robbins, Warren M. <em>African sculpture.</em> Atglen, PA: Schiffer Pub, 2005.", "page_number": "Reproduced: p. 71, no. 50", "url": null}, {"citation": "Curtis, Marie Yvonne. <em>Baga.</em> Milan, Italy : 5 Continents Editions, 2018.", "page_number": "Reproduced: p. 91, pl. 25; mentioned: pp. 46, 125", "url": null}], "url": "https://clevelandart.org/art/1969.3", "images": {}, "alternate_images": [], "creditline": "Gift of Katherine C. White", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 144677, "creators": [], "legal_status": "accessioned", "accession_date": "1969-01-22T00:00:00", "sortable_date": 1935, "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": ["Bushcow Headdress (numbe)", "Headdress (Tabak\u00e4n)"], "is_highlight": false, "updated_at": "2026-03-27 00:00:33.679000"}, {"id": 147980, "accession_number": "1974.76", "share_license_status": "Copyrighted", "tombstone": "Sky Cathedral-Moon Garden Wall, 1956\u20131960. Louise Nevelson (American, born Russian Empire [now Ukraine], 1900\u20131988). Painted wood; overall: 217.5 x 191.1 x 31.8 cm (85 5/8 x 75 1/4 x 12 1/2 in.). The Cleveland Museum of Art, Gift of the Mildred Andrews Fund, 1974.76. \u00a9 Estate of Louise Nevelson / Artists Rights Society (ARS), New York", "current_location": "227 Abstract Expressionism", "title": "Sky Cathedral-Moon Garden Wall", "creation_date": "1956\u20131960", "creation_date_earliest": 1956, "creation_date_latest": 1960, "artists_tags": ["female", "Jewish artists"], "culture": ["America"], "technique": "painted wood", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Sculpture", "type": "Sculpture", "measurements": "Overall: 217.5 x 191.1 x 31.8 cm (85 5/8 x 75 1/4 x 12 1/2 in.)", "dimensions": {"overall": {"height": 2.175, "width": 1.911, "depth": 0.318}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of Louise Nevelson / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "Each of the sculpture's individual components are signed and dated on the back, and the dates range from 1956 to 1960.", "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": 443041, "title": "Louise Nevelson: Atmospheres and Environments", "description": "<i>Louise Nevelson: Atmospheres and Environments</i>. Whitney Museum of American Art, New York, NY (organizer) (May 28-September 14, 1980).", "opening_date": "1980-05-28T04:00:00"}], "legacy": [{"description": "CMA 1975:  \"Year in Review 1974,\" Bulletin LXII (March 1975), p. 102, no. 137, repr. p. 84", "opening_date": "1975-03-01T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Nevelson often illuminated her black painted sculptures with blue light, creating a somber, mysterious mood.", "description": "Nevelson's decision to make sculptures out of wood was a direct response to her male counterparts who preferred metal. For Nevelson, wood was an organic substance that did not readily evoke war materiel, which she was eager to avoid. Characteristically, the artist painted her wood assemblages a uniform black, adding to their mystery; she once described herself as an \"architect of shadows.\"", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60763298"], "internet_archive": []}, "citations": [{"citation": null, "page_number": null, "url": null}, {"citation": "Cleveland Museum of Art, \u201cRecent Acquisition Press Release,\u201d August 28, 1974, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr2173"}, {"citation": "Henning, Edward B. \"Sky Cathedral-Moon Garden Wall by Louise Nevelson.\" <em>The Bulletin of the Cleveland Museum of Art</em>, 64, no. 7 (September 1977) 242-251.", "page_number": "Reproduced: p. 242", "url": "http://www.jstor.org/stable/25159539"}, {"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. 254", "url": "https://archive.org/details/CMAHandbook1978/page/n274"}], "url": "https://clevelandart.org/art/1974.76", "images": {}, "alternate_images": [], "creditline": "Gift of the Mildred Andrews Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Frank H. and Nancy L. Porter Gallery", "athena_id": 147980, "creators": [{"id": 3922, "description": "Louise Nevelson (American, born Russian Empire [now Ukraine], 1900\u20131988)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1900", "death_year": "1988", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1974-08-09T00:00:00", "sortable_date": 1956, "date_added_to_oa": null, "date_text": "1956\u20131960", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:07.867000"}, {"id": 138763, "accession_number": "1963.152", "share_license_status": "Copyrighted", "tombstone": "Untitled, 1944. Arshile Gorky (American, born Ottoman Empire [now Republic of T\u00fcrkiye], 1904\u20131948). Oil and graphite on canvas; framed: 68 x 82 x 5 cm (26 3/4 x 32 5/16 x 1 15/16 in.); unframed: 49.5 x 63.5 cm (19 1/2 x 25 in.). The Cleveland Museum of Art, Contemporary Collection of The Cleveland Museum of Art, 1963.152. \u00a9  The Arshile Gorky Foundation / Artists Rights Society (ARS), New York", "current_location": null, "title": "Untitled", "creation_date": "1944", "creation_date_earliest": 1944, "creation_date_latest": 1944, "artists_tags": ["male"], "culture": ["America"], "technique": "oil and graphite on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 68 x 82 x 5 cm (26 3/4 x 32 5/16 x 1 15/16 in.); Unframed: 49.5 x 63.5 cm (19 1/2 x 25 in.)", "dimensions": {"framed": {"height": 0.68, "width": 0.82, "depth": 0.05}, "unframed": {"height": 0.495, "width": 0.635}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  The Arshile Gorky Foundation / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "Signed lower right: A. Gorky", "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": 444733, "title": "Arshile Gorky: Drawings to Paintings", "description": "<i>Arshile Gorky: Drawings to Paintings</i>. Blanton Museum of Art, The University of Texas at Austin, Austin, TX (organizer) (October 12-November 23, 1975); The Fine Arts Museums of San Francisco, San Francisco, CA (December 4, 1975-January 13, 1976); Neuberger Museum of Art, Purchase, NY (February 10-March 14, 1976); Munson Museum of Art, Utica, NY (April 4-May 9, 1976).", "opening_date": "1975-10-12T04:00:00"}, {"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": 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": "<em>Arshile Gorky 1904-1948: A Retrospective</em>. Solomon R. Guggenheim Museum, New York, NY (April 24-July 19, 2981); Dallas Museum of Art, Dallas, TX (September 11-November 8, 1981); Los Angeles County Museum of Art, Los Angeles, CA (December 3, 1981-February 28, 1982).", "opening_date": "1981-09-11T00:00:00"}, {"description": "<em>The Spirit of Surrealism. </em>Cleveland Museum of Art, Cleveland, OH (October 3-November 25, 1979).", "opening_date": "1979-10-03T00:00:00"}, {"description": "<em>33 Paintings by Arshile Gorky. </em>Sidney Janis Gallery, New York, NY (December 2-28, 1957).", "opening_date": "1957-12-02T05:00:00Z"}, {"description": "<em>Late Drawings by Gorky. </em>Sidney Janis Gallery, New York, NY (September 28-October 24, 1959).", "opening_date": "1959-09-28T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Born Vostanik Manoug Adoian, the future artist changed his name to Arshile Gorky not long after arriving in the United States.", "description": "During a period of violent upheaval in the Ottoman Empire, Gorky escaped the Armenian genocide by Turkish troops and emigrated to the United States. The trauma of this experience deeply impacted his subsequent career as an artist. In the year he painted <em>Untitled, </em>he wrote to his sister, \u201cit is as if some ancient Armenian spirit within me moves my hand to create so far from our homeland the shapes of nature we loved\u2026. Our beautiful Armenia which we lost and which I will repossess in my art.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60469042"], "internet_archive": []}, "citations": [{"citation": "\"Special Issue on Gorky in Italian and English with Text by Toti Scialoja and Excerpts from Schwabacher 1957.\" <em>Arti Visive </em>(Summer 1957).", "page_number": "Reproduced: no. 10", "url": null}, {"citation": "Sidney Janis Gallery. <em>Gorky. </em>Sidney Janis Gallery, 1957.", "page_number": "Reproduced: fig. 16", "url": "https://sova.si.edu/details/AAA.sidnjani#ref12"}, {"citation": "Coates, Robert M. \"The Art Galleries.\" <em>The New Yorker </em>33 (December 14, 1957).", "page_number": "Mentioned: p. 142", "url": null}, {"citation": "Sidney Janis Gallery. <em>Late Drawings by Gorky</em>. Sidney Janis Gallery, 1959.", "page_number": "Reproduced: p. 15", "url": null}, {"citation": "Rosenberg, Harold. <em>Arshile Gorky: The Man, The Time, The Idea. </em>New York: Horizon Press Inc., 1962.", "page_number": "Reproduced: p. 81", "url": null}, {"citation": "Henning, Edward B. \"In Pursuit of Content.\" <em>The Bulletin of the Cleveland Museum of Art</em> 50 (October 1963).", "page_number": "Mentioned: p. 228; Reproduced: cover", "url": null}, {"citation": "\"Year in Review 1963.\" <em>The Bulletin of the Cleveland Museum of Art </em>50, no. 10 (December 1963).", "page_number": "Reproduced: p. 295", "url": null}, {"citation": "Levy, Julien. <em>Arshile Gorky. </em>New York: Harry N. Abrams, Inc., 1966.", "page_number": "Reproduced: plates 90, 103", "url": null}, {"citation": "Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 198", "url": "https://archive.org/details/CMAHandbook1969/page/n222"}, {"citation": "Cleveland Museum of Art. <em>Art of the Twentieth Century in the Cleveland Museum of Art</em>. Cleveland, OH: Dept. of Art History &amp; Education, CMA, 1969.", "page_number": "Mentioned: p. 3", "url": "https://archive.org/details/20thCenturyArtCMA/page/n3/"}, {"citation": "University of Texas at Austin. <em>Arshile Gorky: Drawings to Paintings</em>. Austin: University of Texas Art Museum, 1975.", "page_number": "Mentioned: p. 104", "url": null}, {"citation": "Reiff, Robert F. <em>A Stylistic Analysis of Arshile Gorky's Art from 1943-1948. </em>New York and London: Garland Press, 1977.", "page_number": "Reproduced: p. 339", "url": null}, {"citation": "Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 249", "url": "https://archive.org/details/CMAHandbook1978/page/n269"}, {"citation": "Henning, Edward B. <em>The Spirit of Surrealism</em>. Cleveland: The Cleveland Museum of Art, 1979.", "page_number": "Mentioned: p. 140-141, 173; Reproduced: p. 141, fig. 82", "url": null}, {"citation": "David, Sue, Derald Wing Sue, and Stanley Sue. <em>Understanding Abnormal Behavior.</em> Boston: Houghton Mifflin Company, 1981.", "page_number": "Reproduced: p. 476-477", "url": null}, {"citation": "Waldman, Diane, and Arshile Gorky. <em>Arshile Gorky, 1904-1948: A Retrospective</em>. New York: H.N. Abrams, 1981.", "page_number": "Reproduced: fig. 143", "url": null}, {"citation": "Merritt, Robert. \"Virginia Setting Spurred Gorky's Maturity.\" <em>Richmond Times Dispatch, </em>June 14, 1981.", "page_number": "Reproduced", "url": null}, {"citation": "Cullinan, Helen. \"The First and Last of Arshile Gorky.\" <em>The Plain Dealer </em>(Cleveland)<em>, </em>July 5, 1981.", "page_number": "Mentioned", "url": null}, {"citation": "Jordan, Jim M. \"Gorky at the Guggenheim.\" <em>Art Journal (College Art Association of America</em>)41, no. 3 (August, 1981).", "page_number": "Mentioned: p. 264", "url": null}, {"citation": "Jordan, Jim M., and Robert Goldwater. <em>The Paintings of Arshile Gorky: A Critical Catalogue. </em>New York and London: New York University Press, 1982.", "page_number": "Reproduced: p. 418", "url": null}, {"citation": "Lader, Melvin P. <em>Arshile Gorky. </em>New York: Abbeville Press, 1985.", "page_number": "Mentioned: p. 82", "url": null}, {"citation": "Turner, Evan H. <em>Object Lessons: Cleveland Creates an Art Museum</em>. Cleveland: Cleveland Museum of Art, 1991.", "page_number": "Mentioned: p. 181", "url": null}, {"citation": "Chong, Alan. <em>European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogue</em>. Cleveland: Cleveland Museum of Art, 1993.", "page_number": "Reproduced: p. 89", "url": null}, {"citation": "Litt, Steven. \"Great Details in Great Work.\" <em>The Plain Dealer </em>January 9, 2011.", "page_number": "Mentioned", "url": null}], "url": "https://clevelandart.org/art/1963.152", "images": {}, "alternate_images": [], "creditline": "Contemporary Collection of The Cleveland Museum of Art", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 138763, "creators": [{"id": 3458, "description": "Arshile Gorky (American, born Ottoman Empire [now Republic of T\u00fcrkiye], 1904\u20131948)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1904", "death_year": "1948", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1963-11-30T00:00:00", "sortable_date": 1944, "date_added_to_oa": null, "date_text": "1944", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Housatonic Landscape", "Landscape", "Untitled (Landscape?)"], "is_highlight": false, "updated_at": "2026-03-27 00:06:30.027000"}, {"id": 150174, "accession_number": "1980.9", "share_license_status": "CC0", "tombstone": "Dancing Sailors, 1917. Charles Demuth (American, 1883\u20131935). Watercolor over graphite; sheet: 20.4 x 25.7 cm (8 1/16 x 10 1/8 in.); secondary support: 21.4 x 26.3 cm (8 7/16 x 10 3/8 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1980.9", "current_location": null, "title": "Dancing Sailors", "creation_date": "1917", "creation_date_earliest": 1917, "creation_date_latest": 1917, "artists_tags": ["male", "LGBTQ+ (after 1900)"], "culture": ["America"], "technique": "watercolor over graphite", "support_materials": [{"description": "cream(2) wove paper, laid down on gray board", "watermarks": []}], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Sheet: 20.4 x 25.7 cm (8 1/16 x 10 1/8 in.); Secondary Support: 21.4 x 26.3 cm (8 7/16 x 10 3/8 in.)", "dimensions": {"sheet": {"height": 0.204, "width": 0.257}, "secondary support": {"height": 0.214, "width": 0.263}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed, center left, in graphite: C. Demuth-1917-; verso of secondary support, upper right, in graphite: 121444.3\r\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": 361545, "title": "The Sailor 1930-45: The Image of an American Demigod", "description": "<i>The Sailor 1930-45: The Image of an American Demigod</i>. The Chrysler Museum of Art, Norfolk, VA (January 20-March 13, 1983).", "opening_date": "1983-01-20T05:00:00"}, {"id": 361546, "title": "Charles Demuth", "description": "<i>Charles Demuth</i>. Whitney Museum of American Art, New York, NY (organizer) (October 15-January 17, 1987); Los Angeles County Museum of Art, Los Angeles, CA (February 25-April 24, 1988); Columbus Museum of Art, Columbus, OH (May 8-July 10, 1988); San Francisco Museum of Modern Art, San Francisco, CA (August 7-October 2, 1988).", "opening_date": "1987-10-15T04:00:00"}, {"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": 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"}, {"id": 176935, "title": "Hide/Seek: Difference and Desire in American Portraiture", "description": "<i>Hide/Seek: Difference and Desire in American Portraiture</i>. Smithsonian Institution National Portrait Gallery, Washington, DC (organizer) (September 30, 2010-February 13, 2011); The Brooklyn Museum, Brooklyn, NY (November 18, 2011-February 18, 2012).", "opening_date": "2010-10-30T00:00:00"}], "legacy": [{"description": "<em>Modern Works of Art</em>. Museum of Modern Art, New York (November 1934).", "opening_date": "1934-11-01T00:00:00"}, {"description": "<em>Paintings by Nineteen Living Americans</em>. Museum of Modern Art, New York (December 13, 1929 - January 12, 1930).", "opening_date": "1929-12-13T00:00:00"}]}, "provenance": [{"description": "Charles Demuth, sold to Albert Rothbart, Ridgefield, CT", "citations": [], "footnotes": [], "date": "1917-by 1929", "sortorder": 1}, {"description": "Albert Rothbart [1874-1965], Ridgefield, CT", "citations": [], "footnotes": [], "date": "by 1929-probably 1965", "sortorder": 2}, {"description": "(Parke-Bernet Galleries, Inc., New York, October 14, 1970, no. 29)", "citations": [], "footnotes": [], "date": "1970", "sortorder": 4}, {"description": "(Kennedy Galleries, Inc., New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "1980", "sortorder": 5}, {"description": "The Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1980-", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This drawing was exhibited only once during the artist's lifetime, at the Museum of Modern Art in New York\u2014notable since he otherwise did not show them publicly.", "description": "This drawing was inspired by Charles Demuth's participation in the nightlife of New York's Greenwich Village during the early 20th century. Around this time, the artist made numerous watercolors of nightclubs, performers, and bathhouses. Demuth created two almost identical compositions (the other is in the collection of the Museum of Modern Art, New York), which both show groups of three couples, with two sailors dancing together while others dance with women. Demuth kept these and other homoerotic watercolors private throughout his career, and almost never showed them publicly. The sheet's planes of textured watercolor blur figure and background, presenting a subtle but pointedly erotic scene.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79932407"], "internet_archive": []}, "citations": [{"citation": "<em>Paintings by Nineteen Living Artists</em>. Exh. Cat. New York: Museum of Modern Art, 1929", "page_number": "Mentioned: p. 17, no. 8", "url": null}, {"citation": "Barr, Jr., Alfred H., ed. <em>Modern Works of Art</em>. Exh. Cat. New York: Museum of Modern Art, 1934.", "page_number": "Mentioned: p. 28; Reproduced: no. 64", "url": null}, {"citation": "Farnham, Emily. \"Charles Demuth: His Life, Psychology and Works.\" Ph.D. diss. Ohio State University, 1959.", "page_number": "Mentioned: p. 507, no. 233", "url": null}, {"citation": "\"La Chronique des Arts.\" <em>Gazette des Beaux Arts</em> 97, no. 1346 (March 1981).", "page_number": "Mentioned and reproduced: no. 236", "url": null}, {"citation": "\"Year in Review for 1980.\" <em>Bulletin of the Cleveland Museum of Art</em> 68, no. 6 (June 1981).", "page_number": "Mentioned: p. 213; Reproduced: p. 199", "url": null}, {"citation": "Eiseman, Alvord L. <em>Charles Demuth</em>. New York: Watson-Guptill, 1982.", "page_number": "Mentioned: p. 47; Reproduced: p. 46", "url": null}, {"citation": "Sokolowski, Thomas W. <em>The Sailor 1930-45: The Image of an American Demigod</em>. Exh. Cat. Norfolk, VA: Chrysler Museum, 1983.", "page_number": "Mentioned: p. 109; Reproduced: p. 41", "url": null}, {"citation": "Haskell, Barbara. <em>Charles Demuth</em>. Exh. Cat. New York: Whitney Museum of American Art, 1987.", "page_number": "Mentioned and reproduced: p. 87, no. 26", "url": null}, {"citation": "Shone, Richard. \"New York 20th-century exhibitions.\" <em>Burlington Magazine</em> 130, no. 1018 (January 1988): 57-60.", "page_number": "Mentioned and reproduced: p. 58", "url": null}, {"citation": "Weinberg, Jonathan. <em>Speaking for Vice: Homosexuality in the Art of Charles Demuth, Marsden Hartley, and the First American Avant-Garde</em>. New Haven: Yale University Press, 1993.", "page_number": "pp. 99-100; Reproduced: p. 98", "url": null}, {"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. 4-5", "url": "https://archive.org/details/CMAMM1998-04/page/4"}, {"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. 240-241, 297; Reproduced: p. 241", "url": null}, {"citation": "Weinberg, Jonathan. <em>Male Desire: The Homoerotic in American Art. </em>New York: Harry N. Abrams, Inc., 2004.", "page_number": "Reproduced: p. 39, 41", "url": null}, {"citation": "Katz, Jonathan D. and David C. Ward. <em>Hide and Seek: Difference and Desire in American Portraiture</em>. Exh. Cat. Washington, D.C.: National Portrait Gallery, 2010.", "page_number": "Mentioned: p. 86; Reproduced: p. 87, plate 10", "url": null}, {"citation": "Morris, Anthony J. \"The Censored Paintings of Paul Cadmus, 1934-1940: The Body as the Boundary Between the Decent and Obscene.\" PhD diss., Case Western Reserve University, 2010.", "page_number": "Mentioned and reproduced: p. 219", "url": null}, {"citation": "Lord, Catherine and Richard Meyer. <em>Art &amp; Queer Culture</em>. London: Phaidon, 2013.", "page_number": "Mentioned and reproduced: p. 70", "url": null}, {"citation": "Cozzolino, Robert, et. al.,eds.<em>World War I and American Art. </em>Philadelphia: Pennsylvania Academy of the Fine Arts, in association with Princeton University Press, 2016. p. 176", "page_number": "Reproduced: p. 176, pl. 41", "url": null}, {"citation": "Lord, Catherine, and Richard Meyer. <em>Art &amp; Queer Culture</em>. <br>London : Phaidon, 2019.", "page_number": "Reproduced and mentioned: p. 66", "url": null}], "url": "https://clevelandart.org/art/1980.9", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1980.9/1980.9_web.jpg", "width": "1115", "height": "893", "filesize": "802050", "filename": "1980.9_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1980.9/1980.9_print.jpg", "width": "3400", "height": "2722", "filesize": "7485270", "filename": "1980.9_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1980.9/1980.9_full.tif", "width": "5437", "height": "4352", "filesize": "71022108", "filename": "1980.9_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.9/1980.9_alt0_web.jpg", "width": "900", "height": "730", "filesize": "348755"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.9/1980.9_alt0_print.jpg", "width": "1893", "height": "1536", "filesize": "2729741"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.9/1980.9_alt0_full.tif", "width": "1893", "height": "1536", "filesize": "8726196"}}], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 150174, "creators": [{"id": 4010, "description": "Charles Demuth (American, 1883\u20131935)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1883", "death_year": "1935", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1980-01-30T00:00:00", "sortable_date": 1917, "date_added_to_oa": null, "date_text": "1917", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": true, "updated_at": "2026-03-27 00:02:18.464000"}, {"id": 141754, "accession_number": "1965.334", "share_license_status": "Copyrighted", "tombstone": "Vines, 1965. Harold M. Null (American, 1916-). Gelatin silver print; image: 42.9 x 51.4 cm (16 7/8 x 20 1/4 in.); matted: 61 x 71.1 cm (24 x 28 in.). The Cleveland Museum of Art, Gift of Photography in the Fine Arts, 1965.334", "current_location": null, "title": "Vines", "creation_date": "1965", "creation_date_earliest": 1965, "creation_date_latest": 1965, "artists_tags": ["male"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1951-Present", "type": "Photograph", "measurements": "Image: 42.9 x 51.4 cm (16 7/8 x 20 1/4 in.); Matted: 61 x 71.1 cm (24 x 28 in.)", "dimensions": {"image": {"height": 0.429, "width": 0.514}, "matted": {"height": 0.61, "width": 0.711}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Written on label on verso: \" 'Vines' / Original Photograph / by Harold M. Null\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 300794, "title": "Year in Review: 1965", "description": "<i>Year in Review: 1965</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 27-November 14, 1965).", "opening_date": "1965-10-27T04:00:00"}, {"id": 301411, "title": "Photograph Exhibition", "description": "<i>Photograph Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (July 13-September 19, 1971).", "opening_date": "1971-07-13T04:00:00"}, {"id": 301622, "title": "Source Material for Studio Projects", "description": "<i>Source Material for Studio Projects</i>. The Cleveland Museum of Art, Cleveland, OH (June 20-August 27, 1972).", "opening_date": "1972-06-20T04:00:00"}], "legacy": [{"description": "New York World's Fair, 1965: \"Photography in the Fine Arts.\"", "opening_date": "1965-01-01T00:00:00"}, {"description": "CMA, October 27 - November 14, 1965: \"Year in Review,\" CMA Bulletin 52 (November 1965), p. 157, no. 179.", "opening_date": "1965-10-27T00:00:00"}, {"description": "Cleveland, The Kenneth C. Beck Center for the Cultural Arts, 1979: \"Selections of Photography from the Cleveland Museum of Art.\"", "opening_date": "1979-01-01T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Harold M. Null was born in Pennsylvania, but he spent most of his adult life in Italy.", "description": "Photographs express a photographer\u2019s vision, materialized through choices of subject matter, camera angle, cropping, editing, and other factors. Here the artist chose to represent a site from a specific viewpoint in black and white, resulting in an image that creates the illusion of two-dimensional pattern. <em>Vines</em> depicts bare grapevines creeping over rows of trellises in a winter landscape. From a distance, the image appears to have dark geometric and organic lines over a white background. The closer we look, the clearer the subject becomes.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80041449"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art, Tom E Hinson. <em>Catalogue of Photography</em>. Cleveland, OH: Cleveland Museum of Art, 1996.", "page_number": "Reproduced: P. 257", "url": ""}], "url": "https://clevelandart.org/art/1965.334", "images": {}, "alternate_images": [], "creditline": "Gift of Photography in the Fine Arts", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 141754, "creators": [{"id": 745, "description": "Harold M. Null (American, 1916-)", "extent": null, "qualifier": null, "role": "artist", "biography": "Harold Miller Null (American, 1916-1996). Harold M. Null was active in the 1960s, taking part in three Photography in the Fine Arts exhibitions at the Metropolitan Museum of Art, New York (1963, 1967), and the 1965 New York World's Fair. M.M.", "name_in_original_language": null, "birth_year": "1916", "death_year": "1996", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1965-09-11T00:00:00", "sortable_date": 1965, "date_added_to_oa": null, "date_text": "1965", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:50.825000"}, {"id": 105614, "accession_number": "1923.724", "share_license_status": "CC0", "tombstone": "Turtle Baby, c. 1910\u201316. Edith Barretto Stevens Parsons (American, 1878\u20131956). Bronze; overall: 104.2 cm (41 in.). The Cleveland Museum of Art, Gift of Mrs. Henry A. Everett for the Dorothy Burnham Everett Memorial Collection, 1923.724", "current_location": "000 Education Gallery", "title": "Turtle Baby", "creation_date": "c. 1910\u201316", "creation_date_earliest": 1910, "creation_date_latest": 1916, "artists_tags": ["female"], "culture": ["America"], "technique": "bronze", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Sculpture", "type": "Sculpture", "measurements": "Overall: 104.2 cm (41 in.)", "dimensions": {"overall": {"height": 1.042}}, "state_of_the_work": null, "edition_of_the_work": "6 in edition", "copyright": null, "inscriptions": [{"inscription": "Signed on base: E. BARRETTO PARSONS COPYRIGHT", "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": 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": 230877, "title": "The American Impressionists in the Garden", "description": "<i>The American Impressionists in the Garden</i>. Cheekwood Botanical Garden and Museum of Art, Nashville, TN (organizer) (March 13-September 6, 2010); Tampa Museum of Art, Tampa, FL (September 24, 2010-January 3, 2011); Taft Museum of Art, Cincinnati, OH (February 18-May 15, 2011).", "opening_date": "2010-03-13T00:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": ["2599.1918"], "did_you_know": "Parsons created similar sculptures featuring young girls and boys with ducks, frogs, and fish.", "description": "Parsons achieved renown through her garden sculptures of young children accompanied by animals, which one commentator praised for capturing \u201cthe happiness of just being alive.\u201d In <em>Turtle Baby</em>, her most famous composition, the figure of the girl was modeled after her daughter. Conceived as a fountain, the sculpture has internal water conduits exiting the mouths of the four turtles circling its base.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60759899"], "internet_archive": ["https://archive.org/details/clevelandart-1923.724-turtle-baby"]}, "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. #28, p. 32, repr.", "url": null}, {"citation": "W. M. M. \"Contemporary American Bronzes.\" <em>The Bulletin of the Cleveland Museum of Art</em> 6, no. 10 (December 1919): 151-163.", "page_number": "Mentioned: p. 153", "url": "www.jstor.org/stable/25136326"}, {"citation": "Gibson, Katherine. \"'Michael, Rubens, and Some More of Us' In the Children\u2019s Museum, Cleveland.\" <em>The American Magazine of Art</em> 15, no. 1 (1924): 707-10.", "page_number": "Reproduced: p. 709; Mentioned: p. 708-09", "url": "https://www.jstor.org/stable/23927823"}], "url": "https://clevelandart.org/art/1923.724", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1923.724/1923.724_web.jpg", "width": "600", "height": "900", "filesize": "170035", "filename": "1923.724_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1923.724/1923.724_print.jpg", "width": "2267", "height": "3400", "filesize": "1312821", "filename": "1923.724_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1923.724/1923.724_full.tif", "width": "3744", "height": "5616", "filesize": "63118580", "filename": "1923.724_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1923.724/1923.724_alt0_web.jpg", "width": "697", "height": "893", "filesize": "332538"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1923.724/1923.724_alt0_print.jpg", "width": "1536", "height": "1967", "filesize": "1790070"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1923.724/1923.724_alt0_full.tif", "width": "1536", "height": "1967", "filesize": "9067268"}}, {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1923.724/1923.724_alt1_web.jpg", "width": "576", "height": "893", "filesize": "227301"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1923.724/1923.724_alt1_print.jpg", "width": "2194", "height": "3400", "filesize": "3677332"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1923.724/1923.724_alt1_full.tif", "width": "3227", "height": "5000", "filesize": "48436060"}}, {"date_created": "2013-04-23T14:05:29.082000", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1923.724/1923.724_alt2_web.jpg", "width": "900", "height": "600", "filesize": "208727"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1923.724/1923.724_alt2_print.jpg", "width": "3400", "height": "2267", "filesize": "1700183"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1923.724/1923.724_alt2_full.tif", "width": "5616", "height": "3744", "filesize": "63121796"}}, {"date_created": "2013-04-23T14:05:54.081000", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1923.724/1923.724_alt3_web.jpg", "width": "600", "height": "900", "filesize": "151295"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1923.724/1923.724_alt3_print.jpg", "width": "2267", "height": "3400", "filesize": "1151590"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1923.724/1923.724_alt3_full.tif", "width": "3632", "height": "5448", "filesize": "59400784"}}], "creditline": "Gift of Mrs. Henry A. Everett for the Dorothy Burnham Everett Memorial Collection", "image_credit": null, "sketchfab_id": "29c5d259eb334749a9c82e6fe2fc8f38", "sketchfab_url": "https://sketchfab.com/models/29c5d259eb334749a9c82e6fe2fc8f38", "gallery_donor_text": "Susan M. Kaesgen Education Gallery and Lobby", "athena_id": 105614, "creators": [{"id": 3928, "description": "Edith Barretto Stevens Parsons (American, 1878\u20131956)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1878", "death_year": "1956", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1923-09-24T00:00:00", "sortable_date": 1910, "date_added_to_oa": null, "date_text": "c. 1910\u201316", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": 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 22:01:26.972000"}, {"id": 134613, "accession_number": "1957.144", "share_license_status": "Copyrighted", "tombstone": "Two Women, c. 1908. Henri Matisse (French, 1869\u20131954). Bronze; overall: 45.7 x 25.7 cm (18 x 10 1/8 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. Harold T. Clark, 1957.144. \u00a9 Succession H. Matisse / Artists Rights Society (ARS), New York", "current_location": "223 20th Century Avant-Garde", "title": "Two Women", "creation_date": "c. 1908", "creation_date_earliest": 1908, "creation_date_latest": 1908, "artists_tags": ["male"], "culture": ["France, 20th century"], "technique": "bronze", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Sculpture 1800-1960", "type": "Sculpture", "measurements": "Overall: 45.7 x 25.7 cm (18 x 10 1/8 in.)", "dimensions": {"overall": {"height": 0.457, "width": 0.257}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Succession H. Matisse / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "Signed: \"Henri Matisse 3/10\" on base\r\nStamped \"HM\" in over on base ", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "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"}, {"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"}, {"id": 543374, "title": "Matisse and the Sea", "description": "<i>Matisse and the Sea</i>. Saint Louis Art Museum, St. Louis, MO (organizer) (February 17-May 12, 2024).", "opening_date": "2024-02-17T05:00:00"}], "legacy": []}, "provenance": [{"description": "(Galerie Pierre Matisse, Paris, France, May 1929)", "citations": [], "footnotes": null, "date": "1929", "sortorder": null}, {"description": "(Curt Valentin Gallery, New York, NY)", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "Mr. Harold T. Clark [1882-1965] and Mrs. Harold T. Clark [1896-1971], Cleveland,OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1957", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1957-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Matisse based this sculpture on a photograph of two women published in the ethnographic journal <em>L\u2019Humanit\u00e9 feminine</em> (Feminine Humanity) in 1907.", "description": "This is the only sculpture Henri Matisse made of multiple figures. At first glance, the figures may appear identical; however, upon more careful observation, differences in their poses become apparent. One stands with legs together; the other\u2019s legs are apart. One figure\u2019s arm hangs freely; the other\u2019s rests near her hip. Yet in another sense, the two figures act as one, mirrored so that the viewer can see the front and back of the human form simultaneously.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60762469"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art, Gabriel P. Weisberg, and H. W. Janson. <em>Traditions and Revisions: Themes from the History of Sculpture</em>. Cleveland, OH: Cleveland Museum of Art, 1975.", "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": "Reproduced: P. 22", "url": ""}, {"citation": "Kelly, Simon. <em>Matisse and the Sea</em>. Saint Louis, Mo.: Saint Louis Art Museum; Munich, Germany: Hirmer, 2024.", "page_number": "Mentioned and reproduced: p. 82-83", "url": ""}], "url": "https://clevelandart.org/art/1957.144", "images": {}, "alternate_images": [], "creditline": "Gift of Mr. and Mrs. Harold T. Clark", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Michael J. Horvitz Family Gallery", "athena_id": 134613, "creators": [{"id": 2130, "description": "Henri Matisse (French, 1869\u20131954)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1869", "death_year": "1954", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1957-05-09T00:00:00", "sortable_date": 1908, "date_added_to_oa": null, "date_text": "c. 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": true, "impression": null, "alternate_titles": ["Deux N\u00e9gresses (Two Negresses)"], "is_highlight": false, "updated_at": "2026-03-26 23:59:38.449000"}, {"id": 151015, "accession_number": "1982.6", "share_license_status": "CC0", "tombstone": "Interior, 1915. Gwen John (British, 1876\u20131939). Oil on canvas; unframed: 33 x 24.2 cm (13 x 9 1/2 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1982.6", "current_location": "223 20th Century Avant-Garde", "title": "Interior", "creation_date": "1915", "creation_date_earliest": 1915, "creation_date_latest": 1915, "artists_tags": ["male", "LGBTQ+ (after 1900)"], "culture": ["England, 20th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 33 x 24.2 cm (13 x 9 1/2 in.)", "dimensions": {"unframed": {"height": 0.33, "width": 0.242}}, "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": 188842, "title": "Conserving the Past for the Future", "description": "<i>Conserving the Past for the Future</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 4-May 6, 2001).", "opening_date": "2001-03-04T00:00:00"}], "legacy": [{"description": "Cleveland, Ohio: The Cleveland Museum of Art; April 10 - July 21, 2004. \"Tracing Light: Garry Fabian Miller Photographs\"\". No exhibition catalogue.", "opening_date": "2004-04-10T00:00:00"}]}, "provenance": [{"description": "sold in 1916 to John Quinn (New York sale 1927).  A. Leven, New York.  (Davis & Langdale, New York).", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The teapot depicted in this interior is a brown betty, a traditional, British-made teapot known for its red clay construction, distinctive round shape, and brown Rockingham glaze, which is believed to enhance tea flavor and heat retention.", "description": "Gwen John worked slowly and meticulously, producing fewer than 200 paintings during her lifetime. Like this quiet interior with a table, teapot, and cups, her works were invariably small in size, muted in palette, and restrained in mood. About her life and art, she wrote to a friend, \u201cI may never have anything to express, except this desire for a more interior life.\u201d This is one of a series of four paintings of the same subject; the other versions are in the collections of the National Museum of Wales, the Yale Center for British Art, and the Yale University Art Gallery.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60475048"], "internet_archive": ["https://archive.org/details/clevelandart-1982.6-interior"]}, "citations": [{"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. 310-312, fig. 1", "url": "http://www.jstor.org/stable/25159795"}, {"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. 19; Mentioned: p. 51, no. 29", "url": "http://www.jstor.org/stable/25159799"}, {"citation": "Sackerlotzky, Rotraud. \u201cGwen John: Interior: The Brown Teapot.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 75, no. 4 (April 1988): 98\u2013111.", "page_number": "Mentioned: p. 98-111; Reproduced: Cover", "url": "http://www.jstor.org/stable/25160024"}], "url": "https://clevelandart.org/art/1982.6", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1982.6/1982.6_web.jpg", "width": "656", "height": "893", "filesize": "125147", "filename": "1982.6_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1982.6/1982.6_print.jpg", "width": "2497", "height": "3400", "filesize": "2043018", "filename": "1982.6_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1982.6/1982.6_full.tif", "width": "3948", "height": "5374", "filesize": "63672360", "filename": "1982.6_full.tif"}}, "alternate_images": [], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Michael J. Horvitz Family Gallery", "athena_id": 151015, "creators": [{"id": 3149, "description": "Gwen John (British, 1876\u20131939)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1876", "death_year": "1939", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1982-03-08T00:00:00", "sortable_date": 1915, "date_added_to_oa": null, "date_text": "1915", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:23.974000"}, {"id": 85564, "accession_number": "2020.192", "share_license_status": "Copyrighted", "tombstone": "J\u014dmon Vessel (\u7e04\u6587\u74f6), 1968. Okabe Mineo (Japanese, 1919\u20131990). Stoneware with blue-green glaze; overall: 27.8 x 26.2 x 27.1 cm (10 15/16 x 10 5/16 x 10 11/16 in.). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift, 2020.192. \u00a9 Okabe Mineo", "current_location": "ALOB Asian Lobby", "title": "J\u014dmon Vessel", "title_in_original_language": "\u7e04\u6587\u74f6", "creation_date": "1968", "creation_date_earliest": 1968, "creation_date_latest": 1968, "artists_tags": ["male", "Asian (from 1900 to present)"], "culture": ["Japan, Sh\u014dwa period (1926\u201389)"], "technique": "Stoneware with blue-green glaze", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Ceramic", "measurements": "Overall: 27.8 x 26.2 x 27.1 cm (10 15/16 x 10 5/16 x 10 11/16 in.)", "dimensions": {"overall": {"height": 0.278, "width": 0.262, "depth": 0.271}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Okabe Mineo", "inscriptions": [{"inscription": "Box inscription: \u7fe0\u9752\u74f7\u7e04\u6587\u74f6\u3000\u5dba\u7537\u3000\u5dba\u7537\uff08\u5370\uff09", "inscription_translation": "Box inscription: Green Celadon J\u014dmon [style] Vessel; signed: Mineo; sealed: Mineo", "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": 666805, "title": "Contemporary Calligraphy and Clay", "description": "<i>Contemporary Calligraphy and Clay</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 7, 2024-June 15, 2025).", "opening_date": "2024-06-07T04:00:00"}], "legacy": [{"description": "<em>Okabe Mineo ten: seiji o kiwameru </em>[\u5ca1\u90e8\u5dba\u7537\u5c55: \u9752\u78c1\u3092\u6975\u3081\u308b = Okabe Mineo: a retrospective]. National Museum of Modern Art, Tokyo, Japan (March 6-May 20, 2007); Matsuzakaya Art Museum, Nagoya, Japan (June 27-July 10, 2007); Museum of Modern Ceramic Art, Gifu, Japan (July 14- September 30, 2007); Hagi Uragami Museum, Hagi, Japan; Museum of Ceramic Art, Hyogo, Japan; and Ibaraki Ceramic Art Museum, Kasama, Japan.", "opening_date": "2007-03-06T05:00:00Z"}]}, "provenance": [{"description": "Private collection, Japan", "citations": [], "footnotes": null, "date": "1968-2013", "sortorder": 1}, {"description": "(Joan B. Mirviss Ltd., New York, NY, sold to Mr. and Mrs. Joseph P. Keithley)", "citations": [], "footnotes": [], "date": "2013", "sortorder": 2}, {"description": "Nancy F. and Joseph P. Keithley, Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "2013-2020", "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": [], "did_you_know": "Throughout his life, Okabe changed his surname three times; born Kan\u014d Mineo, he changed his surname to Kat\u014d, after his mother, in 1927 and again to Okabe, after his wife, in 1978.", "description": "Okabe Mineo presented his artistic vision in this work though an unexpected combination of materials and their treatment. The vessel features a blue-green glaze, resembling that produced in the Longquan region of China during the Southern Song dynasty (1127\u20131279). In contrast, its stoneware body evokes earthenware expressions of Japan\u2019s Neolithic period (about 14,000\u2013300 BCE), known as the J\u014dmon, or \u201ccord-marked\u201d era, after designs found on a subset of its ceramics. Some vessels in Mineo\u2019s <em>J\u014dmon</em> series have cord marks, while others, such as this one, reference the flamboyant mouths of some J\u014dmon pots.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q87480927"], "internet_archive": []}, "citations": [{"citation": "Kitagawa, Yasunori \u5317\u5ddd\u9756\u8a18, ed. <em>Mineo sakuhinsh\u016b </em>[\u5dba\u7537\u4f5c\u54c1\u96c6 = Works of Mineo]. Mineo Sakuhinsh\u016b Publishing Associates \u5dba\u7537\u4f5c\u54c1\u96c6\u520a\u884c\u4f1a, 1971.", "page_number": "Mentioned and Reproduced: cat. no. 13", "url": ""}, {"citation": "Kenji Kaneko  \u91d1\u5b50\u8ce2\u6cbb. <em>Okabe Mineo ten: seiji o kiwameru </em>[\u5ca1\u90e8\u5dba\u7537\u5c55: \u9752\u78c1\u3092\u6975\u3081\u308b = Okabe Mineo: a retrospective]. [Japan]: NHK Chubu Burenzu, 2007.", "page_number": "cat. no. 123", "url": ""}, {"citation": "Rousmaniere, Nicole Coolidge. \"Japanese Ceramics.\" In <em>The Keithley Collection at the Cleveland Museum of Art, </em>edited by Heather Lemonedes Brown, 230\u2013251. Cleveland, OH: The Cleveland Museum of Art, 2022.", "page_number": "Mentioned and Reproduced: pp. 240\u2013241; Mentioned: p. 269", "url": ""}], "url": "https://clevelandart.org/art/2020.192", "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": 85564, "creators": [{"id": 64357, "description": "Okabe Mineo (Japanese, 1919\u20131990)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\u5ca1\u90e8 \u5dba\u7537", "birth_year": "1919", "death_year": "1990", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2020-03-02T00:00:00-05:00", "sortable_date": 1968, "date_added_to_oa": null, "date_text": "1968", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Jomon-style Vessel"], "is_highlight": false, "updated_at": "2026-03-27 00:05:07.540000"}, {"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": 151515, "accession_number": "1983.67", "share_license_status": "Copyrighted", "tombstone": "The Houses of Parliament from Westminster Bridge, 1906. Andr\u00e9 Derain (French, 1880\u20131954). Oil on canvas; framed: 106 x 124.5 x 10 cm (41 3/4 x 49 x 3 15/16 in.); unframed: 73.6 x 92 cm (29 x 36 1/4 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1983.67. \u00a9 Artists Rights Society (ARS), New York / ADAGP, Paris", "current_location": "223 20th Century Avant-Garde", "title": "The Houses of Parliament from Westminster Bridge", "creation_date": "1906", "creation_date_earliest": 1906, "creation_date_latest": 1906, "artists_tags": ["male"], "culture": ["France, 20th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 106 x 124.5 x 10 cm (41 3/4 x 49 x 3 15/16 in.); Unframed: 73.6 x 92 cm (29 x 36 1/4 in.)", "dimensions": {"framed": {"height": 1.06, "width": 1.245, "depth": 0.1}, "unframed": {"height": 0.736, "width": 0.92}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Artists Rights Society (ARS), New York / ADAGP, Paris", "inscriptions": [{"inscription": "Signed lower left: \"a derain / '06\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 411173, "title": "Andre Derain Retrospective", "description": "<i>Andre Derain Retrospective</i>. Mus\u00e9e d'Art Moderne de la Ville de Paris (organizer) (November 8, 1994-March 15, 1995).", "opening_date": "1994-11-08T05:00:00"}, {"id": 223638, "title": "Claude Monet and Modernist London", "description": "<i>Claude Monet and Modernist London</i>. Museum of Fine Arts, St. Petersburg, Florida, St. Petersburg, FL (organizer) (January 16-April 17, 2005).", "opening_date": "2005-01-16T00:00:00"}, {"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>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008).", "opening_date": "2006-05-27T00:00:00"}], "legacy": [{"description": "Museum of Fine Arts, St. Petersburg, Florida (1/16/2005 - 4/17/2005): \"Claude Monet and Modernist London\" ex. cat. no. 7 , p. 62.", "opening_date": "2005-01-16T00:00:00"}]}, "provenance": [{"description": "(A. Vollard, Paris); H. Gonzalez, Mexico City; Van der Velde coll., Le Havre; (London sale 1978); (E. V. Thaw)", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Andr\u00e9 Derain painted this view of parliament over a century ago, but you can still stand on Westminster Bridge and see the same vista.", "description": "This painting is from a series of 30 London views painted by Andr\u00e9 Derain between 1906 and 1907. It exemplifies the artist\u2019s Fauve style\u2014characterized by intense, vivid color and energetic brushwork\u2014 that Derain developed with his friend Henri Matisse in the summer of 1905 while visiting Collioure, a fishing village in the South of France. Nicknamed the Fauves (\u201cwild beasts\u201d) by contemporary critics, the artists aimed for the liberation of color from reality, using it instead for compositional and expressive purposes.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60475233"], "internet_archive": []}, "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: p. 71, no. 75; Reproduced: p. 49", "url": "http://www.jstor.org/stable/25159848"}], "url": "https://clevelandart.org/art/1983.67", "images": {}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Michael J. Horvitz Family Gallery", "athena_id": 151515, "creators": [{"id": 2115, "description": "Andr\u00e9 Derain (French, 1880\u20131954)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1880", "death_year": "1954", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1983-05-09T00:00:00", "sortable_date": 1906, "date_added_to_oa": null, "date_text": "1906", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:26.102000"}, {"id": 159644, "accession_number": "1996.358", "share_license_status": "Copyrighted", "tombstone": "Triangle Composition (Harry Losee), 1922. Jane Reece (American, 1869\u20131961). Gelatin silver print; image: 24 x 19 cm (9 7/16 x 7 1/2 in.); paper: 25 x 20.2 cm (9 13/16 x 7 15/16 in.); matted: 50.8 x 40.6 cm (20 x 16 in.). The Cleveland Museum of Art, John L. Severance Fund, 1996.358", "current_location": null, "title": "Triangle Composition (Harry Losee)", "creation_date": "1922", "creation_date_earliest": 1922, "creation_date_latest": 1922, "artists_tags": ["female"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 24 x 19 cm (9 7/16 x 7 1/2 in.); Paper: 25 x 20.2 cm (9 13/16 x 7 15/16 in.); Matted: 50.8 x 40.6 cm (20 x 16 in.)", "dimensions": {"image": {"height": 0.24, "width": 0.19}, "paper": {"height": 0.25, "width": 0.202}, "matted": {"height": 0.508, "width": 0.406}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 202729, "title": "Shadows and Dreams: Pictorialist Photography in America", "description": "<i>Shadows and Dreams: Pictorialist Photography in America</i>. The Cleveland Museum of Art (organizer) (September 5, 2015-January 17, 2016).", "opening_date": "2015-09-05T00:00:00"}], "legacy": [{"description": "<em>The Soul Unbound: The Photographs of Jane Reece</em>. Dayton Art Institute, Dayton, OH (September 20-November 30, 1997).", "opening_date": "1997-09-20T00:00:00"}]}, "provenance": [{"description": "Dayton Art Institute, Ohio", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Jane Reece, who lived and worked in Dayton, Ohio, exhibited her photography in salons and exhibitions around the world.", "description": "In 1922 Jane Reece produced a handful of portraits of modern dancer Henry Losee (1901\u20131952) that blazed new trails both by producing a photogram (cameraless photography) and by incorporating it into a traditional photograph. The background here never existed in three dimensions; it was created by placing tissue or celluloid overlays on photosensitive paper. Each photogram is unique, so the background varies slightly in each print. Whether Reese was inspired by Cubist painting, the Vorticist photographs of Alvin Langdon Coburn, or the stage sets and lighting of avant-garde dance companies, the result is a daring experiment that moved Pictorialism toward modernism.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79979582"], "internet_archive": []}, "citations": [{"citation": "Reece, Jane, and Dominique H. Vasseur. T<em>he Soul Unbound: The Photographs of Jane Reece</em>. Dayton, OH: Dayton Art Institute, 1997.", "page_number": "cat. no. 34", "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. 308", "url": ""}], "url": "https://clevelandart.org/art/1996.358", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 159644, "creators": [{"id": 4130, "description": "Jane Reece (American, 1869\u20131961)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1869", "death_year": "1961", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1996-12-02T00:00:00", "sortable_date": 1922, "date_added_to_oa": null, "date_text": "1922", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:06.831000"}, {"id": 93160, "accession_number": "2018.276", "share_license_status": "CC0", "tombstone": "Indian Basket Lamp , c. 1902\u201310. Tiffany Studios (United States, New York, 1902\u201332). Leaded glass, gilt bronze; diameter: 31.6 cm (12 7/16 in.); overall: 43.5 cm (17 1/8 in.). The Cleveland Museum of Art, Bequest of Charles Maurer, 2018.276", "current_location": null, "title": "Indian Basket Lamp ", "creation_date": "c. 1902\u201310", "creation_date_earliest": 1902, "creation_date_latest": 1910, "artists_tags": ["gender unknown"], "culture": ["America, New York"], "technique": "Leaded glass, gilt bronze", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Lamp", "measurements": "Diameter: 31.6 cm (12 7/16 in.); Overall: 43.5 cm (17 1/8 in.)", "dimensions": {"diameter": {"width": 0.316}, "overall": {"height": 0.435}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inside bottom rim of shade: Tiffany Studios New York 1586", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "stamped on underside of base: Tiffany Studios/New York/536", "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": [], "date": "2018\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This lamp features dichroic glass, which appears green in reflected light but glows amber when illuminated.", "description": "An admirer of Native American art, Louis Comfort Tiffany amassed a personal collection of textiles, baskets, and pottery, from which he and his designers drew inspiration. He was particularly interested in the way basket weavers formed their patterns using geometric grids, a look he re-created in designs for lamps, such as the <em>Indian Basket</em> lamp.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60756592"], "internet_archive": ["https://archive.org/details/clevelandart-2018.276-indian-basket-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 & Discussed: Pg. 291; Mentioned: Pg. 340 (Cat. No. 278)", "url": null}, {"citation": "\"King Louis\". <em>Antique Collecting </em>58, no. 7 (December/January 2023-24): 36-40.", "page_number": "Reproduced: p. 39", "url": ""}], "url": "https://clevelandart.org/art/2018.276", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2018.276/2018.276_web.jpg", "width": "689", "height": "900", "filesize": "117440", "filename": "2018.276_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2018.276/2018.276_print.jpg", "width": "2603", "height": "3400", "filesize": "1122888", "filename": "2018.276_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2018.276/2018.276_full.tif", "width": "6000", "height": "7836", "filesize": "141076760", "filename": "2018.276_full.tif"}}, "alternate_images": [{"date_created": "2018-03-19T08:52:25", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.276/2018.276_alt0_web.jpg", "width": "689", "height": "900", "filesize": "118128"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.276/2018.276_alt0_print.jpg", "width": "2603", "height": "3400", "filesize": "1153507"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.276/2018.276_alt0_full.tif", "width": "6000", "height": "7838", "filesize": "141112752"}}, {"date_created": "2018-03-22T10:19:40", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.276/2018.276_alt1_web.jpg", "width": "900", "height": "859", "filesize": "237367"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.276/2018.276_alt1_print.jpg", "width": "3400", "height": "3246", "filesize": "1873734"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.276/2018.276_alt1_full.tif", "width": "6197", "height": "5916", "filesize": "110018388"}}, {"date_created": "2018-03-22T11:31:07", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.276/2018.276_alt2_web.jpg", "width": "900", "height": "841", "filesize": "214435"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.276/2018.276_alt2_print.jpg", "width": "3400", "height": "3178", "filesize": "2085728"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.276/2018.276_alt2_full.tif", "width": "6314", "height": "5901", "filesize": "111808452"}}], "creditline": "Bequest of Charles Maurer", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 93160, "creators": [{"id": 292194, "description": "Tiffany Studios (United States, New York, 1902\u201332)", "extent": null, "qualifier": null, "role": "maker", "biography": "American jewelry and glass manufactory, 1902-1932", "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": 1902, "date_added_to_oa": null, "date_text": "c. 1902\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": false, "updated_at": "2026-03-31 19:02:28.895000"}, {"id": 338399, "accession_number": "2019.19", "share_license_status": "Copyrighted", "tombstone": "Laments: Death came and he looked like..., 1987. Jenny Holzer (American, b.1950). L.E.D. sign, marble; 325.1 x 24.1 x 13.3 cm (128 x 9 1/2 x 5 1/4 in.); 45.7 x 61 x 137.2 cm (18 x 24 x 54 in.). The Cleveland Museum of Art, Purchased with funds donated by Scott Mueller, 2019.19. \u00a9 Jenny Holzer, member Artists Rights Society (ARS), New York", "current_location": "229A Contemporary", "title": "Laments: Death came and he looked like...", "creation_date": "1987", "creation_date_earliest": 1987, "creation_date_latest": 1987, "artists_tags": ["female"], "culture": ["America"], "technique": "L.E.D. sign, marble", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Sculpture", "type": "Mixed Media", "measurements": "325.1 x 24.1 x 13.3 cm (128 x 9 1/2 x 5 1/4 in.); 45.7 x 61 x 137.2 cm (18 x 24 x 54 in.)", "dimensions": {"No Extent Specified": {"height": 0.457, "width": 0.61, "depth": 1.372}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Jenny Holzer, member Artists Rights Society (ARS), New York", "inscriptions": [], "exhibitions": {"current": [], "legacy": [{"description": "<em>Jenny Holzer: Laments 1988-1989</em>. Dia Chelsea, New York (March 2, 1989-February 18, 1990)", "opening_date": "1989-03-02T00:00:00"}]}, "provenance": [{"description": "Collection of the artist", "citations": [], "footnotes": [], "date": "1987-?", "sortorder": 1}, {"description": "(Barbara Gladstone Gallery, New York, NY)", "citations": [], "footnotes": [], "date": null, "sortorder": 2}, {"description": "(Christie's, New York, NY, May 17, 2000, no. 192)", "citations": [], "footnotes": [], "date": "2000", "sortorder": 3}, {"description": "Cheim & Read, New York, NY, sold to Private Collection, Dallas, TX", "citations": [], "footnotes": [], "date": null, "sortorder": 4}, {"description": "Private Collection, Dallas, TX, consigned to sell, New York, NY", "citations": [], "footnotes": null, "date": "?-2019", "sortorder": 5}, {"description": "Sold to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "2019", "sortorder": 6}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2019-", "sortorder": 7}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The same text is displayed in motion on the LED sign and static on the surface of the sarcophagus.", "description": "Jenny Holzer created her <em>Laments</em> series, to which this work belongs, as a response to the HIV / AIDS epidemic. The <em>Laments</em> are based on 13 texts written by Holzer, which she has described as \u201cvoices of the dead.\u201d In <em>Laments: Death came and he looked like . . . </em>, Holzer gave form to each text as an engraving carved into the tops of sculptures resembling sarcophagi and as words that flow across LED signs. Together these two representations both memorialize the dead and endow their voices with immediacy.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79876098"], "internet_archive": []}, "citations": [{"citation": "\"New in the Galleries.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>59, no. 5 (September/October 2019): Back cover.", "page_number": "Reproduced and Mentioned: Back cover.", "url": ""}, {"citation": "Auping, Michael, <em>ed. Jenny Holzer (Universe Women Artists)</em>. New York: Universe, 1992.", "page_number": "40-43, 52, 56, 64, 82, 93, 96, 103-104 and 106.", "url": null}, {"citation": "Auping, Michael. <em>Jenny Holzer: The Venice Installation</em>. Exh. Cat. Buffalo, NY: Albright-Knox Art Gallery, 1991.", "page_number": null, "url": null}, {"citation": "Breslin, David, ed. <em>Jenny Holzer</em>. Exh. Cat. Ostfildern, Germany: Hatje Cantz, 2008.", "page_number": null, "url": null}, {"citation": "Ferguson, Bruce. \u201cWordsmith: an interview with Jenny Holzer.\u201d Art in America 74, no. 12 (December 1986).", "page_number": "108", "url": null}, {"citation": "Hughes, Gordon. \u201cPower\u2019s Script: Or, Jenny Holzer\u2019s Art after \u2018Art after Philosophy,\u2019\u201d Oxford Art Journal 29, no. 3 (2006).", "page_number": "419-440", "url": null}, {"citation": "Joselit, David, et al. <em>Jenny Holzer</em>. London: Phaidon, 2003.", "page_number": null, "url": null}, {"citation": "<em>After the Revolution: Women Who Transformed Contemporary Art.</em> Munich, London, and New York: Prestel Verlag, 2007.", "page_number": null, "url": null}, {"citation": "Siegel, Jeanne \u201cJenny Holzer\u2019s Language Games.\u201d Arts Magazine 60, no. 4 (December 1985).", "page_number": "64-68", "url": null}, {"citation": "Taylor, Paul. \u201cJenny Holzer: I wanted to do a portrait of society.\u201d Flash Art International 151 (March/April 1990).", "page_number": "116-119", "url": null}, {"citation": "Waldman, Diane, ed. <em>Jenny Holzer</em>. Exh. Cat. Guggenheim Museum Publications: New York, 1989.", "page_number": "92-97", "url": null}, {"citation": "Holzer, Jenny. <em>Jenny Holzer: Laments.</em> Exh. Cat. New York: Dia Art Foundation, 1989.", "page_number": null, "url": null}, {"citation": "Liebert, Emily and Fellah, Nadiah.  \u201cAcquisitions 2019: Contemporary Art.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>60, no. 2 (March/April 2020): 18-19.", "page_number": "Reproduced: P. 19; Mentioned: P. 18.", "url": ""}], "url": "https://clevelandart.org/art/2019.19", "images": {}, "alternate_images": [], "creditline": "Purchased with funds donated by Scott Mueller", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Toby's Gallery for Contemporary Art", "athena_id": 338399, "creators": [{"id": 497, "description": "Jenny Holzer (American, b.1950)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1950", "use_in_caption": true, "include_extent": false, "weight": 0}], "legal_status": "accessioned", "accession_date": "2019-03-04T00:00:00-05:00", "sortable_date": 1987, "date_added_to_oa": null, "date_text": "1987", "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 00:08:08.338000"}, {"id": 133753, "accession_number": "1956.361", "share_license_status": "Copyrighted", "tombstone": "Rocks and Sea: Small Point, Maine, 1931. John Marin (American, 1870\u20131953). Oil on canvas; framed: 65.4 x 80.6 x 6.4 cm (25 3/4 x 31 3/4 x 2 1/2 in.); unframed: 56.2 x 71 cm (22 1/8 x 27 15/16 in.). The Cleveland Museum of Art, Norman O. Stone and Ella A. Stone Memorial Fund, 1956.361. \u00a9 Estate of John Marin / Artists Rights Society (ARS), New York", "current_location": null, "title": "Rocks and Sea: Small Point, Maine", "creation_date": "1931", "creation_date_earliest": 1931, "creation_date_latest": 1931, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 65.4 x 80.6 x 6.4 cm (25 3/4 x 31 3/4 x 2 1/2 in.); Unframed: 56.2 x 71 cm (22 1/8 x 27 15/16 in.)", "dimensions": {"framed": {"height": 0.654, "width": 0.806, "depth": 0.064}, "unframed": {"height": 0.562, "width": 0.71}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of John Marin / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "signed lower right:  Marin / 31", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 519249, "title": "John Marin in Retrospect", "description": "<i>John Marin in Retrospect</i>. Corcoran Gallery of Art, Washington, DC (organizer) (March 2-April 15, 1962); Currier Museum of Art, Manchester, NH (May 9-June 20, 1962).", "opening_date": "1962-03-02T05:00:00"}, {"id": 177143, "title": "Modern Art in America: Alfred Stieglitz and His New York Galleries", "description": "<i>Modern Art in America: Alfred Stieglitz and His New York Galleries</i>. National Gallery of Art, Landover, MD (organizer) (January 28-April 22, 2001).", "opening_date": "2001-01-28T00:00:00"}, {"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": 228896, "title": "The Great American Thing: Modern Art and National Identity, 1915-1935", "description": "<i>The Great American Thing: Modern Art and National Identity, 1915-1935</i>. Figge Arts Center, Davenport, Iowa (September 17, 2005-January 1, 2006); Tacoma Art Museum, Tacoma, WA (January 29-May 21, 2006).", "opening_date": "2005-09-17T00:00:00"}, {"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": "Philadelphia, The Pennsylvania Academy of Fine Arts, The 129th Annual Exhibition (28 January-25 February 1934), cat. no. 323, listed p. 36.", "opening_date": "1934-01-28T00:00:00"}, {"description": "New York, The Museum of Modern Art, John Marin: Watercolors, Oil Paintings, Etchings (1936), illus. cat. no. 162.", "opening_date": "1936-01-01T00:00:00"}, {"description": "Washington, D.C., The Corcoran Gallery of Art, John Marin in Retrospect: An Exhibition of His Oils and Watercolors (2 March-15 April 1962); traveled to Manchester, NH, The Currier Gallery of Art (9 May-24 June 1962); cat. no. 5, not illus.", "opening_date": "1962-03-02T00:00:00"}, {"description": "Munich, Haus der Kunst, Amerikanische Malerei 1930-1980 (14 November 1981-31 January 1982), illus. cat. no. 7, p. 27.", "opening_date": "1981-11-14T00:00:00"}, {"description": "Southampton, NY, The Parrish Art Museum, Marin in Oil (18 July-20 September 1987); traveled to West Palm Beach, FL, The Norton Gallery and School of Art (11 October-29 November 1987); to Savannah, GA, The Telfair Academy of Arts and Sciences (20 January-7 March 1988); to University Park, PA, Museum of Art, The Pennsylvania State University (20 March-18 May 1988); to Buffalo, Albright-Knox Art Gallery (16 July-4 September 1988); illus. cat. no. 15, p. 80, listed p. 121.", "opening_date": "1987-07-18T00:00:00"}, {"description": "Cleveland, The Cleveland Museum of Art, Reckoning with Winslow Homer: His Late Paintings and Their Influence (19 September-18 November 1990); traveled to Columbus, Columbus Museum of Art (16 December 1990-10 February 1991); to Washington, D.C., The Corcoran Gallery of Art (16 March-12 May 1991), cat. not numbered, illus. fig. 115.", "opening_date": "1990-09-19T00:00:00"}, {"description": "Washington, D.C., National Gallery of Art, Modern Art and America: Alfred Stieglitz and His New York Galleries (28 January-22 April 2001), cat. not numbered, illus. plate 126, p. 349.", "opening_date": "2001-01-28T00:00:00"}, {"description": "Bordeaux, Mus\u00e9e des Beaux-Arts, Made in USA: L'Art Am\u00e9ricain, 1908-1947 (10 October-31 December 2001); traveled to Rennes, Mus\u00e9e des Beaux-Arts (18 January-31 March 2002); to Montpellier, Mus\u00e9e Fabre (12 April-23 June 2002), cat. not numbered, illus. p. 156.", "opening_date": "2001-10-10T00:00:00"}, {"description": "Figge Arts Center, Davenport Museum of Art (9/17/2005 - 1/1/2006) and Tacoma Art Museum (1/29/2006 - 5/21/2006):  \"The Great American Thing: Modern Art and National Identity, 1915-1935\"", "opening_date": "2005-09-17T00:00:00"}]}, "provenance": [{"description": "(Downtown Gallery, New York).", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In a poll of art critics held in 1948 by <em>Look</em> magazine, Marin was named \u201cAmerica\u2019s Artist No. 1.\u201d", "description": "Primarily a watercolorist, Marin did not start working with oil paints in earnest until he was 60 years old. This vigorously rendered scene focuses on white-capped waves colliding against the rugged contours of shoreline. The artist found Maine endlessly captivating, describing it as \"one fierce, relentless, cruel, beautiful, fascinating, hellish, and all other ish'es place.\"", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60517348"], "internet_archive": []}, "citations": [{"citation": "Coe, Nancy. \"'Rocks and Sea, Small Point, Maine.'\" <em>The Bulletin of the Cleveland Museum of Art </em>44, no. 1 (January 1957): 9-12.", "page_number": "Mentioned: p. 9; Reproduced: p. 10", "url": "https://www.jstor.org/stable/25142179"}, {"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. 554", "url": "https://archive.org/details/CMAHandbook1958/page/n103"}, {"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. 193", "url": "https://archive.org/details/CMAHandbook1966/page/n217"}, {"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. 193", "url": "https://archive.org/details/CMAHandbook1969/page/n217"}, {"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. 238", "url": "https://archive.org/details/CMAHandbook1978/page/n258"}], "url": "https://clevelandart.org/art/1956.361", "images": {}, "alternate_images": [], "creditline": "Norman O. Stone and Ella A. Stone Memorial Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 133753, "creators": [{"id": 3179, "description": "John Marin (American, 1870\u20131953)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1870", "death_year": "1953", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1956-08-23T00:00:00", "sortable_date": 1931, "date_added_to_oa": null, "date_text": "1931", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:07:56.883000"}, {"id": 115305, "accession_number": "1935.99", "share_license_status": "Copyrighted", "tombstone": "Georgia O'Keeffe- Hand and Wheel, 1933. Alfred Stieglitz (American, 1864\u20131946). Gelatin silver print; image: 24.2 x 19.2 cm (9 1/2 x 7 9/16 in.); matted: 55.9 x 45.7 cm (22 x 18 in.). The Cleveland Museum of Art, Gift of Cary Ross, Knoxville, Tennessee, 1935.99", "current_location": null, "title": "Georgia O'Keeffe- Hand and Wheel", "creation_date": "1933", "creation_date_earliest": 1933, "creation_date_latest": 1933, "artists_tags": ["male", "Jewish artists"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 24.2 x 19.2 cm (9 1/2 x 7 9/16 in.); Matted: 55.9 x 45.7 cm (22 x 18 in.)", "dimensions": {"image": {"height": 0.242, "width": 0.192}, "matted": {"height": 0.559, "width": 0.457}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Written in pencil on recto: \"Georgia O'Keeffe's Hand / & Wheel - 1933 / Alfred Stieglitz [signed]\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301411, "title": "Photograph Exhibition", "description": "<i>Photograph Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (July 13-September 19, 1971).", "opening_date": "1971-07-13T04:00:00"}, {"id": 301622, "title": "Source Material for Studio Projects", "description": "<i>Source Material for Studio Projects</i>. The Cleveland Museum of Art, Cleveland, OH (June 20-August 27, 1972).", "opening_date": "1972-06-20T04:00:00"}, {"id": 443928, "title": "Masters of the Camera: Stieglitz, Steichen, and Their Successors", "description": "<i>Masters of the Camera: Stieglitz, Steichen, and Their Successors</i>. The American Federation of Arts, New York, NY (organizer) (November 10, 1976-January 10, 1977).", "opening_date": "1976-11-10T05:00:00"}, {"id": 443818, "title": "The Modern Spirit: American Painting 1908-35", "description": "<i>The Modern Spirit: American Painting 1908-35</i>. Gallery of the Royal Scottish Academy, Edinburgh (August 19-September 11, 1977); Hayward Gallery, London, United Kingdom of Great Britain and Northern Ireland (September 28-November 20, 1977).", "opening_date": "1977-08-19T04:00:00"}, {"id": 310243, "title": "The Precisionist Aesthetic in American Art", "description": "<i>The Precisionist Aesthetic in American Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 24-April 9, 1989).", "opening_date": "1989-01-24T05:00:00"}, {"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": 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": 299125, "title": "From Riches to Rags: American Photography in the Depression", "description": "<i>From Riches to Rags: American Photography in the Depression</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 13-December 31, 2017).", "opening_date": "2017-08-13T04:00:00"}], "legacy": [{"description": "<em>Exhibition of Photographs</em>. The Cleveland Museum of Art, Cleveland, OH (December 12, 1934-January 13, 1935).", "opening_date": "1934-12-12T00:00:00"}, {"description": "<em>The Automobile and Culture</em>.The Museum of Contemporary Art, Los Angeles, CA (July 21, 1984-January 6, 1985; The Detroit Institute of Arts, Detroit, MI (June 9, 1985-September 9, 1985).", "opening_date": "1984-07-21T00:00:00"}, {"description": "<em>Two Lives: Georgia O'Keeffe &amp; Alfred Stieglitz. </em>The Phillips Collection, Washington, DC (December 12, 1992-April 4, 1993); IBM Gallery of Science and Arts, New York, NY (April 27-June 26, 1993); The Minneapolis Institute of Arts, Minneapolis, MN (July 17-September 12, 1993); The Museum of Fine Arts, Houston, TX (October 2-December 5, 1993). cat p. 14, repr. p. 116.", "opening_date": "1993-04-27T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "One of the first photographs to enter the museum\u2019s collection was Alfred Stieglitz\u2019s close-up of the hand of his wife, the painter Georgia O\u2019Keeffe.", "description": "Georgia O\u2019Keeffe lovingly caresses the spare tire of her Ford V-8 convertible coupe. The image was made during her reunion with her husband\u2014and much beloved car\u2014after an extended convalescence following a nervous breakdown. O\u2019Keeffe had paid for the car herself; for her it was not just a glossy object of consumer desire but symbolized independence and freedom.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60781046"], "internet_archive": []}, "citations": [{"citation": "Thornton, Gene. <em>Masters of the Camera: Stieglitz, Steichen &amp; Their Successors</em>. New York: Holt, Rinehart and Winston, 1976.", "page_number": "cat. p. 19, repr. p. 67", "url": ""}, {"citation": "O'Keeffe, Georgia, Alfred Stieglitz, Belinda Rathbone, Roger Shattuck, Elizabeth Hutton Turner, Alexandra Arrowsmith, and Thomas West. <em>Two Lives: Georgia O'Keeffe &amp; Alfred Stieglitz ; a Conversation in Paintings and Photographs</em>. New York: Callaway Editions in association with the Phillips Collection, Washington, D.C., 1992.", "page_number": "cat p. 14, repr. p. 116.", "url": ""}, {"citation": "Cleveland Museum of Art, and Tom E. Hinson. <em>Catalogue of Photography. </em>[Cleveland, OH]: The Museum, 1996.", "page_number": "Mentioned and reproduced: P. 42-43; reproduced: P. 332", "url": null}, {"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: cover", "url": "https://archive.org/details/CMAMM1996-10"}, {"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. 74, p. 119, repr. p. 71", "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. 311", "url": ""}, {"citation": "Tannenbaum, Barbara. \u201cFrom Riches to Rags: Depression-era photography ranges from documentary evidence of deprivation to modernist depictions of abundance.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 57, no. 4 (July/August 2017): 10-11.", "page_number": "Reproduced and Mentioned: P. 11", "url": "https://archive.org/details/CMAMM2017-04/page/n5/mode/2up"}, {"citation": "Tannenbaum, Barbara. \u201cFrom Long Shot to Close-up: A brief history of the photography collection.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>63, no. 1 (2023): 30-33.", "page_number": "Reproduced: P. 31", "url": "https://archive.org/details/CMAMM2023-01/page/n29/mode/2up"}], "url": "https://clevelandart.org/art/1935.99", "images": {}, "alternate_images": [], "creditline": "Gift of Cary Ross, Knoxville, Tennessee", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 115305, "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": "1935-10-24T00:00:00", "sortable_date": 1933, "date_added_to_oa": null, "date_text": "1933", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": true, "updated_at": "2026-03-27 00:08:48.330000"}, {"id": 375548, "accession_number": "2019.19.1.b", "share_license_status": "Copyrighted", "tombstone": "Laments: Death came and he looked like... (Sarcophagus lid), 1987. Jenny Holzer (American, b.1950). Marble; 45.7 x 61 x 137.2 cm (18 x 24 x 54 in.). The Cleveland Museum of Art, Purchased with funds donated by Scott Mueller, 2019.19.1.b. \u00a9 Jenny Holzer, member Artists Rights Society (ARS), New York", "current_location": "229A Contemporary", "title": "Laments: Death came and he looked like... (Sarcophagus lid)", "creation_date": "1987", "creation_date_earliest": 1987, "creation_date_latest": 1987, "artists_tags": ["female"], "culture": ["America"], "technique": "marble", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Sculpture", "type": "Mixed Media", "measurements": "45.7 x 61 x 137.2 cm (18 x 24 x 54 in.)", "dimensions": {"No Extent Specified": {"height": 0.457, "width": 0.61, "depth": 1.372}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Jenny Holzer, member Artists Rights Society (ARS), New York", "inscriptions": [], "exhibitions": {"current": [], "legacy": [{"description": "<em>Jenny Holzer: Laments 1988-1989</em>. Dia Chelsea, New York (March 2, 1989-February 18, 1990)", "opening_date": "1989-03-02T00:00:00"}]}, "provenance": [{"description": "Collection of the artist", "citations": [], "footnotes": null, "date": "1987-?", "sortorder": 1}, {"description": "(Barbara Gladstone Gallery, New York, NY)", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "(Christie's, New York, NY, May 17, 2000, no. 192)", "citations": [], "footnotes": null, "date": "2000", "sortorder": 3}, {"description": "Cheim & Read, New York, NY, sold to Howard and Cindy Rachofsky, Dallas, TX", "citations": [], "footnotes": null, "date": null, "sortorder": 4}, {"description": "The Collection of Cindy and Howard Rachofsky, Dallas, TX, consigned to Art Agency Partners, New York, NY", "citations": [], "footnotes": null, "date": "?-2019", "sortorder": 5}, {"description": "Art Agency Partners, New York, NY, 2019, sold to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "2019", "sortorder": 6}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2019-", "sortorder": 7}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The same text is displayed in motion on the LED sign and static on the surface of the sarcophagus.", "description": "<em>Laments: Death came and he looked like\u2026 </em>belongs to one of Jenny Holzer\u2019s iconic sculpture series, the <em>Laments</em>. A response to the AIDS epidemic, the series is based on 13 texts written by Holzer that she describes as \u201cvoices of the dead.\u201d Each text was manifested in two forms: as colored light flowing between the ceiling and floor on LED signs, and as engravings carved into the tops of sarcophagi made of different stones. This work is one of those pairings.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q84278566"], "internet_archive": []}, "citations": [{"citation": "Auping, Michael, <em>ed. Jenny Holzer (Universe Women Artists)</em>. New York: Universe, 1992.", "page_number": "40-43, 52, 56, 64, 82, 93, 96, 103-104 and 106.", "url": null}, {"citation": "Auping, Michael. <em>Jenny Holzer: The Venice Installation</em>. Exh. Cat. Buffalo, NY: Albright-Knox Art Gallery, 1991.", "page_number": null, "url": null}, {"citation": "Breslin, David, ed. <em>Jenny Holzer</em>. Exh. Cat. Ostfildern, Germany: Hatje Cantz, 2008.", "page_number": null, "url": null}, {"citation": "Ferguson, Bruce. \u201cWordsmith: an interview with Jenny Holzer.\u201d Art in America 74, no. 12 (December 1986).", "page_number": "108", "url": null}, {"citation": "Hughes, Gordon. \u201cPower\u2019s Script: Or, Jenny Holzer\u2019s Art after \u2018Art after Philosophy,\u2019\u201d Oxford Art Journal 29, no. 3 (2006).", "page_number": "419-440", "url": null}, {"citation": "Joselit, David, et al. <em>Jenny Holzer</em>. London: Phaidon, 2003.", "page_number": null, "url": null}, {"citation": null, "page_number": null, "url": null}, {"citation": "<em>After the Revolution: Women Who Transformed Contemporary Art.</em> Munich, London, and New York: Prestel Verlag, 2007.", "page_number": null, "url": null}, {"citation": "Siegel, Jeanne \u201cJenny Holzer\u2019s Language Games.\u201d Arts Magazine 60, no. 4 (December 1985).", "page_number": "64-68", "url": null}, {"citation": "Taylor, Paul. \u201cJenny Holzer: I wanted to do a portrait of society.\u201d Flash Art International 151 (March/April 1990).", "page_number": "116-119", "url": null}, {"citation": "Waldman, Diane, ed. <em>Jenny Holzer</em>. Exh. Cat. Guggenheim Museum Publications: New York, 1989.", "page_number": "92-97", "url": null}, {"citation": "Holzer, Jenny. <em>Jenny Holzer: Laments.</em> Exh. Cat. New York: Dia Art Foundation, 1989.", "page_number": null, "url": null}], "url": "https://clevelandart.org/art/2019.19.1.b", "images": {}, "alternate_images": [], "creditline": "Purchased with funds donated by Scott Mueller", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Toby's Gallery for Contemporary Art", "athena_id": 375548, "creators": [{"id": 497, "description": "Jenny Holzer (American, b.1950)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1950", "use_in_caption": true, "include_extent": false, "weight": 0}], "legal_status": "accessioned", "accession_date": "2019-03-04T00:00:00-05:00", "sortable_date": 1987, "date_added_to_oa": null, "date_text": "1987", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "2019.19", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:17.257000"}, {"id": 171506, "accession_number": "2014.3", "share_license_status": "Copyrighted", "tombstone": "Chinese Hand Laundry, 1984. Martin Wong (American, 1946\u20131999). Acrylic on canvas; overall: 121.9 x 175.2 cm (48 x 69 in.). The Cleveland Museum of Art, Purchased with funds donated by Scott Mueller, 2014.3. Courtesy of the Estate of Martin Wong and P.P.O.W Gallery, New York", "current_location": null, "title": "Chinese Hand Laundry", "creation_date": "1984", "creation_date_earliest": 1984, "creation_date_latest": 1984, "artists_tags": ["Asian American", "male", "LGBTQ+ (after 1900)"], "culture": ["America"], "technique": "acrylic on canvas", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "measurements": "Overall: 121.9 x 175.2 cm (48 x 69 in.)", "dimensions": {"overall": {"height": 1.219, "width": 1.752}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "Courtesy of the Estate of Martin Wong and P.P.O.W Gallery, New York", "inscriptions": [{"inscription": "\"Chinese Hand Laundry 347 East Fifth Street Manhatten Martin Wong 1984\" inscribed on verso", "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": "Rosenman collection", "citations": [], "footnotes": [], "date": "1984\u20132014", "sortorder": null}, {"description": "Rosenman collection, sold to P.P.O.W. Gallery, NY, NY", "citations": [], "footnotes": null, "date": "2014", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2014\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This artwork is made from three canvases that the artist joined together.", "description": "The son of Chinese immigrants and a resident of New York\u2019s Lower East Side in the 1980s, Wong was interested in and sensitive to the life and struggles of American citizens who were often disenfranchised by local and national government. Based on a now-destroyed storefront on East Fifth Street, Chinese Hand Laundry serves as a reminder of the complex and ongoing issues of immigration in American politics and society.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60482424"], "internet_archive": []}, "citations": [{"citation": "Metropolitan Museum of Art. <em>Notable acquisitions. Vol. 7. (1984-1985)</em> New York, NY:  Metropolitan Museum of Art, 1985", "page_number": "", "url": ""}, {"citation": "Wong, Martin, Marcia Tucker, and Amy Scholder. <em>Sweet Oblivion: The Urban Landscape of Martin Wong</em>. New York: Rizzoli, 1998.", "page_number": "", "url": ""}, {"citation": "Whitney Museum of American Art, and Maxwell Lincoln Anderson. <em>American Visionaries: Selections from the Whitney Museum of American Art</em>. New York: Whitney Museum of American Art, 2001.", "page_number": "", "url": ""}, {"citation": "Kim, Elaine H., Margo Machida, and Sharon Mizota. <em>Fresh Talk, Daring Gazes: Conversations on Asian American Art</em>. Berkeley: University of California Press, 2003.", "page_number": "", "url": ""}, {"citation": "Fellah, Nadiah Rivera. \u201cUrban Isolation.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>61, no. 1 (Winter 2021): 9.", "page_number": "Reproduced and Mentioned: P. 9.", "url": ""}], "url": "https://clevelandart.org/art/2014.3", "images": {}, "alternate_images": [], "creditline": "Purchased with funds donated by Scott Mueller", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 171506, "creators": [{"id": 64586, "description": "Martin Wong (American, 1946\u20131999)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1946", "death_year": "1999", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2014-03-03T00:00:00", "sortable_date": 1984, "date_added_to_oa": null, "date_text": "1984", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Chinesehand Laundry"], "is_highlight": false, "updated_at": "2026-03-27 00:08:59.761000"}, {"id": 109973, "accession_number": "1928.580", "share_license_status": "CC0", "tombstone": "Wisdom and Destiny, 1913. Henry Keller (American, born Germany, 1869\u20131949). Oil on canvas; framed: 94.6 x 120 x 5.8 cm (37 1/4 x 47 1/4 x 2 5/16 in.); unframed: 76.5 x 101.9 cm (30 1/8 x 40 1/8 in.). The Cleveland Museum of Art, Gift of Mrs. Henry A. Everett for the Dorothy Burnham Everett Memorial Collection, 1928.580", "current_location": null, "title": "Wisdom and Destiny", "creation_date": "1913", "creation_date_earliest": 1913, "creation_date_latest": 1913, "artists_tags": ["May Show", "male", "Cleveland Institute of Art (faculty)"], "culture": ["America, Ohio, Cleveland"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Cleveland School", "type": "Painting", "measurements": "Framed: 94.6 x 120 x 5.8 cm (37 1/4 x 47 1/4 x 2 5/16 in.); Unframed: 76.5 x 101.9 cm (30 1/8 x 40 1/8 in.)", "dimensions": {"framed": {"height": 0.946, "width": 1.2, "depth": 0.058}, "unframed": {"height": 0.765, "width": 1.019}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower left:  H. G. Keller.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 616736, "title": "Second Exhibition of Contemporary American Painting", "description": "<i>Second Exhibition of Contemporary American Painting</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 8-July 10, 1922).", "opening_date": "1922-06-08T00:00:00"}, {"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": 312185, "title": "Retrospective Twenty-fifth Anniversary May Show", "description": "<i>Retrospective Twenty-fifth Anniversary May Show</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 13-February 14, 1943).", "opening_date": "1943-01-13T05:00:00"}, {"id": 311948, "title": "Henry G. Keller Memorial Exhibition", "description": "<i>Henry G. Keller Memorial Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (February 1-March 19, 1950).", "opening_date": "1950-02-01T05:00:00"}, {"id": 705520, "title": "Work of Cleveland Artists for the 41st Annual Meeting of the College Art Association", "description": "<i>Work of Cleveland Artists for the 41st Annual Meeting of the College Art Association</i>. The Cleveland Institute of Art, Cleveland, OH (organizer) (January 29-31, 1953).", "opening_date": "1953-01-29T05:00:00"}, {"id": 700365, "title": "Men of the Armory Show", "description": "<i>Men of the Armory Show</i>. Miami University, Oxford , OH (organizer) (January 1-February 1, 1956).", "opening_date": "1956-01-01T05:00:00"}, {"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); Henry Street Settlement, New York, NY (April 6-28, 1963).", "opening_date": "1963-02-17T05:00:00"}, {"id": 301224, "title": "May Show Retrospective - 50 Years", "description": "<i>May Show Retrospective - 50 Years</i>. The Cleveland Museum of Art (April 23-June 16, 1968).", "opening_date": "1968-04-23T05:00:00"}, {"id": 444823, "title": "Burchfield / Keller", "description": "<i>Burchfield / Keller</i>. Burchfield Penney Art Center, Buffalo, NY (organizer) (June 24-August 13, 1973).", "opening_date": "1973-06-24T04:00:00"}, {"id": 310252, "title": "Cleveland Art Comes of Age: 1919-1940", "description": "<i>Cleveland Art Comes of Age: 1919-1940</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 28-September 10, 1989).", "opening_date": "1989-06-28T04:00:00"}, {"id": 311873, "title": "Transformations in Cleveland Art, 1796-1946", "description": "<i>Transformations in Cleveland Art, 1796-1946</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 19-July 21, 1996).", "opening_date": "1996-05-19T04:00:00"}, {"id": 229844, "title": "To Be or Not To Be: 400 Years of Vanitas Painting", "description": "<i>To Be or Not To Be: 400 Years of Vanitas Painting</i>. Flint Institute of Arts, Flint, MI (organizer) (February 4-April 2, 2006).", "opening_date": "2006-02-04T00:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": ["1865.28"], "did_you_know": "Henry Keller's cousin once reminisced, \"He is the only noted artist who doesn\u2019t smoke, that I ever heard of.\"", "description": "Henry Keller championed modern art in Cleveland through lectures, teaching, and the example of his own work. <em>Wisdom and Destiny</em>, based on an essay by the Belgian writer Maurice Maeterlinck, features the two allegorical figures at the right, while a carefree shepherd at the left seems oblivious to their existence. The painting was featured in the famed Armory Show of 1913, a large-scale traveling exhibition often credited with introducing the American public to avant-garde art. Because of the critical success surrounding <em>Wisdom and Destiny</em>, Keller was commissioned to create a 70-foot mural of the composition for Cleveland City Hall. However, he resentfully withdrew from the project when asked to paint clothing on the nude figure.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60513218"], "internet_archive": ["https://archive.org/details/clevelandart-1928.580-wisdom-and-destiny"]}, "citations": [{"citation": "Henry G. Keller family papers. 1891-1949. Cleveland Museum of Art Archives.", "page_number": null, "url": "http://library.clevelandart.org/museum_archives/finding_aids/henry_keller/index.php"}, {"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. 3", "url": "https://www.jstor.org/stable/25137518"}, {"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": "Cleveland Institute of Art, Cleveland Museum of Art, Henry G Keller, and William Mathewson Milliken. The Henry G. Keller Memorial Exhibition: Catalogue of an Exhibition of Works by Henry G. Keller. Cleveland: Cleveland Museum of Art, 1950.", "page_number": "Mentioned: p. 22; Reproduced: Plate III", "url": "https://archive.org/details/HenryGKeller/page/n69"}, {"citation": "Robinson, William H., et. al. <em>Transformations in Cleveland Art, 1796-1946: Community and Diversity in Early Modern America</em>. Cleveland, Ohio: Cleveland Museum of Art, 1996.", "page_number": "Reproduced: p. 74; Mentioned: p. 74, 248", "url": null}, {"citation": "Channing, Laurence, \"Before Neo: The May Show\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 45 no. 07, September 2005", "page_number": "Mentioned & reproduced: p. 3-4", "url": "https://archive.org/details/CMAMM2005-07/page/4"}, {"citation": "Kraynak, Scott, Henry Adams, Douglas Max Utter, William G. Scheele, R. A. Washington, and Mike Hudson. <em>The Heart of Cleveland.</em> Shaker Hts, OH: Red Giant Books, 2018.", "page_number": "Reproduced: P. 19, fig. 8", "url": null}], "url": "https://clevelandart.org/art/1928.580", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1928.580/1928.580_web.jpg", "width": "1207", "height": "893", "filesize": "791299", "filename": "1928.580_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1928.580/1928.580_print.jpg", "width": "3400", "height": "2515", "filesize": "5277484", "filename": "1928.580_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1928.580/1928.580_full.tif", "width": "4469", "height": "3306", "filesize": "44330672", "filename": "1928.580_full.tif"}}, "alternate_images": [{"date_created": "2007-08-09T15:41:15", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1928.580/1928.580_alt0_web.jpg", "width": "1186", "height": "893", "filesize": "826466"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1928.580/1928.580_alt0_print.jpg", "width": "3400", "height": "2561", "filesize": "7325139"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1928.580/1928.580_alt0_full.tif", "width": "5800", "height": "4368", "filesize": "76037760"}}], "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": 109973, "creators": [{"id": 4433, "description": "Henry Keller (American, born Germany, 1869\u20131949)", "extent": null, "qualifier": null, "role": "artist", "biography": "A leader of the Cleveland modernist movement, Henry Keller grew up in the city and enrolled in the Western Reserve School of Design for Women in 1887. In 1890 he went to Karlsruhe, Germany, for a year of study with Hermann Baisch. Unable to find a teaching position after returning to Cleveland, Keller worked for eight years at the Morgan Lithograph Company, where he specialized in designing circus posters. In 1899 he returned to Germany to study at art academies in D\u00fcsseldorf and Munich. In 1902, after receiving a silver medal at the Munich Kunstakademie\u2019 s spring exhibition, he returned to Cleveland. Around 1903 he began teaching at the Cleveland School of Art, first as a part-time watercolor instructor, then as full-time instructor of decorative illustration. He also taught private classes on family-owned farmland in Berlin Heights, Ohio, during summers from 1903 to 1914. In the 1910s he championed the cause of modern art through lectures and teaching. He exhibited in the Armory Show (1913) and the annuals of the Carnegie Institute of Art in Pittsburgh. The Cleveland School of Art sponsored several solo exhibitions of his paintings. He exhibited in the annual May Shows at the Cleveland Museum of Art (1919\u201350) and in annuals at Pennsylvania Academy of Fine Arts in Philadelphia and the Whitney Museum of American Art in New York. When he retired from the Cleveland School of Art in 1945, Keller moved to San Diego, where he died.<br><em>Transformations in Cleveland Art.</em> (CMA, 1996), p. 232", "name_in_original_language": null, "birth_year": "1869", "death_year": "1949", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1928-10-18T00:00:00", "sortable_date": 1913, "date_added_to_oa": null, "date_text": "1913", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:25.361000"}, {"id": 122537, "accession_number": "1942.797", "share_license_status": "Copyrighted", "tombstone": "Boy and Panther Cub, 1915. Malvina Hoffman (American, 1887\u20131966). Bronze; overall: 171.5 cm (67 1/2 in.). The Cleveland Museum of Art, Bequest of John L. Severance, 1942.797", "current_location": "WT West Terrace", "title": "Boy and Panther Cub", "creation_date": "1915", "creation_date_earliest": 1915, "creation_date_latest": 1915, "artists_tags": ["female"], "culture": ["America"], "technique": "bronze", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Sculpture", "type": "Sculpture", "measurements": "Overall: 171.5 cm (67 1/2 in.)", "dimensions": {"overall": {"height": 1.715}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed on base:  Hoffman", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "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": 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": [{"description": "John L. Severance, Cleveland, Ohio.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The faun's pose derives from classical ballet.", "description": "American artist Malvina Hoffman created this garden sculpture featuring a faun holding a small panther cub with his left arm while dangling a bunch of grapes over its open mouth. This particular bronze cast was commissioned by prominent Cleveland industrialist John L. Severance and was given to the museum after his death.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60781055"], "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. #48, p. 48, repr.", "url": null}, {"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. 126.", "url": ""}, {"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": "Mentioned: p. 32, cat. no. 30", "url": "https://archive.org/details/SeveranceBequest/page/n36"}, {"citation": "Conner, Janis C. <em>Conner Rosenkranz LLC: 19th &amp; 20th Century American Sculpture.</em> New York, NY: Conner Rosenkranz LLC, 2013.", "page_number": "Mentioned: p. 41", "url": null}, {"citation": "Czajkowski, Alexandra. \u201cExploring the Fine Arts Garden.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine  </em>61, no. 3 (Summer 2021): 38-39.", "page_number": "Reproduced and Mentioned: P. 39.", "url": ""}], "url": "https://clevelandart.org/art/1942.797", "images": {}, "alternate_images": [], "creditline": "Bequest of John L. Severance", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 122537, "creators": [{"id": 14717, "description": "Malvina Hoffman (American, 1887\u20131966)", "extent": null, "qualifier": null, "role": "sculptor", "biography": null, "name_in_original_language": null, "birth_year": "1887", "death_year": "1966", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1942-07-24T00:00:00", "sortable_date": 1915, "date_added_to_oa": null, "date_text": "1915", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:23.643000"}, {"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": 156495, "accession_number": "1992.212", "share_license_status": "Copyrighted", "tombstone": "Scroll, 1978. Philip Guston (American, 1913\u20131980). Oil on canvas; framed: 203.4 x 244 x 2.5 cm (80 1/16 x 96 1/16 x 1 in.); unframed: 203.4 x 244 cm (80 1/16 x 96 1/16 in.). The Cleveland Museum of Art, Bequest of Musa Guston, 1992.212. \u00a9 The Estate of Philip Guston", "current_location": "229B Contemporary", "title": "Scroll", "creation_date": "1978", "creation_date_earliest": 1978, "creation_date_latest": 1978, "artists_tags": ["male", "Jewish artists"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "measurements": "Framed: 203.4 x 244 x 2.5 cm (80 1/16 x 96 1/16 x 1 in.); Unframed: 203.4 x 244 cm (80 1/16 x 96 1/16 in.)", "dimensions": {"framed": {"height": 2.034, "width": 2.44, "depth": 0.025}, "unframed": {"height": 2.034, "width": 2.44}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 The Estate of Philip Guston", "inscriptions": [], "exhibitions": {"current": [{"id": 393229, "title": "Contemporary Installation", "description": "<i>Contemporary Installation</i>. The Cleveland Museum of Art (organizer).", "opening_date": "2021-04-12T04:00:00"}], "legacy": [{"description": "\"Selected Acquisitions,\" CMA, 1993.", "opening_date": "1993-01-01T00:00:00"}]}, "provenance": [{"description": "Estate of Musa Guston, New York, NY, bequeathed to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?\u20131992", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1992\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The artist applied oil paint thinly on the upper portion of the work, resulting in a matte appearance, while the glossy area in the middle suggests a thick, wet-on-wet painting technique.", "description": "During the last, most productive decade of Philip Guston\u2019s career, his imagery included ordinary objects such as bottles, books, light bulbs, and shoes\u2014emblematic of art historical, social, and personal experiences. Here a scroll, often associated with the Torah, the book of Jewish law, alludes to Guston\u2019s religious heritage. Isolated against a dark, somber background of turbulent brushstrokes, the scroll has been unrolled to reveal thick hatchings that suggest a text.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60476812"], "internet_archive": []}, "citations": [{"citation": "Dabrowski, Magdalena. <em>The Drawings of Philip Guston</em>. New York: The Museum of Modern Art, 1988.", "page_number": "41", "url": null}, {"citation": "Ashton, Dore. <em>A Critical Study of Philip Guston</em>. Los Angeles, California: University of California Press, 1990.", "page_number": "188", "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. 66", "url": "http://www.jstor.org/stable/25161388"}, {"citation": "Franklin, David. <em>The Cleveland Museum of Art.</em> London: Scala Arts &amp; Heritage Publishers Ltd., 2012.", "page_number": "Reproduced: p. 76 - 77", "url": null}, {"citation": "Godfrey, Mark. \"Jewish Image-Maker.\" In <em>Philip Guston Now. </em>Harry Cooper, ed., 192-203. Washington: National Gallery of Art, 2020.", "page_number": "Mentioned and reproduced: P. 193-194, fig. 1", "url": ""}], "url": "https://clevelandart.org/art/1992.212", "images": {}, "alternate_images": [], "creditline": "Bequest of Musa Guston", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Paula and Eugene Stevens Gallery", "athena_id": 156495, "creators": [{"id": 3467, "description": "Philip Guston (American, 1913\u20131980)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1913", "death_year": "1980", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1992-10-19T00:00:00", "sortable_date": 1978, "date_added_to_oa": null, "date_text": "1978", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:07:43.032000"}, {"id": 160914, "accession_number": "1999.194", "share_license_status": "Copyrighted", "tombstone": "Two Systems, c.1946. Alexander Calder (American, 1898\u20131976). Aluminum sheet, iron wire, and paint; overall: 45.8 x 160 x 198 cm (18 1/16 x 63 x 77 15/16 in.). The Cleveland Museum of Art, Gift of Mrs. Odette Valabr\u00e8gue Wurzburger in memory of her late husband, Paul D. Wurzburger, 1999.194. \u00a9 Estate of Alexander Calder / Artists Rights Society (ARS), New York", "current_location": "226B American Modern", "title": "Two Systems", "creation_date": "c.1946", "creation_date_earliest": 1941, "creation_date_latest": 1951, "artists_tags": ["male"], "culture": ["America"], "technique": "aluminum sheet, iron wire, and paint", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Sculpture", "type": "Sculpture", "measurements": "Overall: 45.8 x 160 x 198 cm (18 1/16 x 63 x 77 15/16 in.)", "dimensions": {"overall": {"height": 0.458, "width": 1.6, "depth": 1.98}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of Alexander Calder / Artists Rights Society (ARS), New York", "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>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008).", "opening_date": "2006-05-27T00:00:00"}, {"id": 181802, "title": "The Persistence of Geometry: Form, Content and Culture in the Collection of the Cleveland Museum of Art", "description": "<i>The Persistence of Geometry: Form, Content and Culture in the Collection of the Cleveland Museum of Art</i>. Museum of Contemporary Art Cleveland (MOCA), Cleveland, OH (June 9-August 20, 2006).", "opening_date": "2006-06-09T00:00:00"}], "legacy": []}, "provenance": [{"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1999-", "sortorder": 1}, {"description": "Odette Valabregue Wurzburger, Cleveland, OH gift to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1966-1999", "sortorder": 2}, {"description": "(Perls Galleries, NY, January, 1966, sold to Paul D and Odette Valabregue Wurzburger)", "citations": [], "footnotes": [], "date": "1966", "sortorder": 3}, {"description": "Perls Galleries, NY, Jan. 1966", "citations": [], "footnotes": [], "date": null, "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The donor of this work was a member of the French Resistance during the Second World War (1939\u201345) and helped save the lives of many Jews.", "description": "Calder\u2019s training as a mechanical engineer reinforced his lifelong interest in moving objects and inspired him to invent the mobile, a new type of sculpture that ranks among the most innovative discoveries in modern art. Often suspended from the ceiling and set in motion by currents of air as in the case here, Calder\u2019s mobiles slowly revolve as if approximating the behavior of planetary systems.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60757075"], "internet_archive": []}, "citations": [{"citation": "Litt, Steven. \"Major Calder mobile given to museum.\" <em>The Plain Dealer </em>September 2,1999.", "page_number": "Mentioned: 1-E; Reproduced: 4-E", "url": null}, {"citation": "Cleveland Museum of Art, \u201cMrs. Paul Wurzburger Donates Major Calder Mobile to Cleveland Museum of Art,\u201d September 8, 1999, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr4281"}, {"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. 120, n. 83; Reproduced: p. 103", "url": null}, {"citation": "Cole, Mark. \"American Art of the 1930s to 1950s.\" <em>Cleveland Art</em> 54 (January/February 2014) .", "page_number": "Mentioned: p. 21; Reproduced: p. 21", "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: P. 23", "url": ""}], "url": "https://clevelandart.org/art/1999.194", "images": {}, "alternate_images": [], "creditline": "Gift of Mrs. Odette Valabr\u00e8gue Wurzburger in memory of her late husband, Paul D. Wurzburger", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Hammond Hemmelgarn Family Gallery", "athena_id": 160914, "creators": [{"id": 3846, "description": "Alexander Calder (American, 1898\u20131976)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1898", "death_year": "1976", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1999-08-31T00:00:00", "sortable_date": 1941, "date_added_to_oa": null, "date_text": "c.1946", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:07:13.608000"}, {"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": 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": 150156, "accession_number": "1980.74", "share_license_status": "CC0", "tombstone": "Tea and Coffee Service, c. 1907. Carlo Bugatti (Italian, 1856\u20131940), Adrien-Aur\u00e9lien Hebrard (French, 1866\u20131937). Gilt silver and ivory. The Cleveland Museum of Art, The Thomas L. Fawick Memorial Collection, 1980.74", "current_location": null, "title": "Tea and Coffee Service", "creation_date": "c. 1907", "creation_date_earliest": 1902, "creation_date_latest": 1912, "artists_tags": ["male"], "culture": ["France, Paris"], "technique": "gilt silver and ivory", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Silver", "dimensions": {}, "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": 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": 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": 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": 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); Fine Arts Museums of San Francisco, San Francisco, CA (February 7-May 31, 2009).", "opening_date": "2008-10-19T04:00:00"}, {"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": [{"description": "Possibly exhibited at the Galerie Hebrard, Paris, France (1907).", "opening_date": "1907-01-01T00:00:00"}, {"description": "Possibly exhibited at the Prima Esposizione Internazionale d'Arte Decorativa Moderna, Turin, Italy (May 10-November 10, 1902).", "opening_date": "1902-05-10T00:00:00"}]}, "provenance": [{"description": "Carlo Bugatti [1856-1940], sold to Mrs. Anna Blake", "citations": [], "footnotes": null, "date": "c. 1907", "sortorder": 1}, {"description": "Mrs. Anna Blake, Cape Town, South Africa. [d. 1956], by descent to her son Robert da Costa Blake", "citations": [], "footnotes": null, "date": "c. 1907-c. 1956", "sortorder": 2}, {"description": "Robert da Costa Blake, Cape Town, South Africa, sold (Kirkcaldzs, Cape Town, South Africa, 24 May 1965, lot 34)", "citations": [], "footnotes": null, "date": "c. 1956-1965", "sortorder": 3}, {"description": "Private collection, South Africa, sold (Martin-Forest, London)", "citations": [], "footnotes": null, "date": null, "sortorder": 4}, {"description": "(Martin-Forest, London, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "1980", "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1980-", "sortorder": 6}], "find_spot": null, "related_works": [{"id": 156112, "description": "Tea Table, c. 1907. Carlo Bugatti (Italian, 1856\u20131940). Inlaid wood (mahogany?), cast and gilded bronze mounts, inlays of ivory or bone, metal, and mother-of-pearl (marine mussels or pearl oysters); overall: 71.5 x 67.1 x 41.3 cm (28 1/8 x 26 7/16 x 16 1/4 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1991.45", "relationship": null}, {"id": 156113, "description": "Salver, c. 1907. Carlo Bugatti (Italian, 1856\u20131940), Adrien-Aur\u00e9lien Hebrard (French, 1866\u20131937). Gilt silver and ivory; overall: 14.6 x 33 cm (5 3/4 x 13 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1991.46", "relationship": null}], "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": "This tea and coffee service, salver, and table, together with some now missing cups, were all designed by Carlo Bugatti as an ensemble and presented at the 1902 exposition devoted to decorative arts in Turin, Italy. The set was probably acquired from Bugatti's 1907 exhibition at the Galerie H\u00e9brard in Paris by a wealthy South African widow, Anna Blake, who was living there at the time. Some of the animal and insect motifs suggest mythical beasts or the fossils of prehistoric animals. When Mrs. Blake returned to Cape Town, she took these and other pieces designed by Bugatti with her, and they remained in South Africa throughout her lifetime.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60758265"], "internet_archive": ["https://archive.org/details/clevelandart-1980.74-tea-and-coffee-servi"]}, "citations": [{"citation": "Kathman, Barbara A. <em>A Cleveland Bestiary</em>. Cleveland: Cleveland Museum of Art, 1981.", "page_number": "Mentioned & reproduced PP 24-5", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=9111934"}, {"citation": "Duncan, J. Alastair. \"The Silver of Carlo Bugatti,\" <em>The Magazine Antiques </em>136, no. 6, (December 1989): 1344-55.", "page_number": null, "url": "http://library.clevelandart.org/opac/?func=item-global&doc_library=CMA01&doc_number=000001278&year=&volume=&sub_library=CMA"}, {"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. 82", "url": "https://www.jstor.org/stable/25161319"}, {"citation": "Hawley, Henry. \"Some Furniture and Silver of Carlo Bugatti.\" <em>The Bulletin of the Cleveland Museum of Art</em> 79, no. 5 (May 1992): 130-43.", "page_number": "Reproduced: p. 136-37; Mentioned: p. 136-41", "url": "www.jstor.org/stable/25161359"}, {"citation": "Duncan, Alastair. <em>The Paris Salons, 1895-1914</em>. Vol. 5 of <em>Objets d'Art and Metalware</em>. Suffolk: Antique Collectors' Club, 1994.", "page_number": "Reproduced P 157", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=31823650"}, {"citation": "Hawley, Henry H. <em>Bugatti</em>. Cleveland: Cleveland Museum of Art, 1999.", "page_number": "Mentioned & reproduced P 26, cat. no. 41, fig. 37", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=41002835"}, {"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 55-6", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=50820863"}, {"citation": "Mus\u00e9e d\u2019Orsay. <em>Carlo Bugatti. </em>Paris: Re\u0301union des muse\u0301es nationaux, 2001.", "page_number": "Reproduced P 39, cat. no. 137", "url": "http://library.clevelandart.org/opac/?func=full-set-set&set_number=000221&set_entry=000002&format=999"}, {"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 PP 35, 40, 324-5, reproduced PP 36 & 57, cat. no 10", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=230187932"}, {"citation": "Fromanger, Ve\u0301ronique. <em>Rembrandt Bugatti Sculpteur: Re\u0301pertoire Monographique</em>. Paris: L'Amateur, 2009.", "page_number": "Mentioned P 8, fig. 69", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=537862059"}, {"citation": "Pin\u0303a, Leslie A. <em>Furniture in History, 3000 B.C.-2000 A.D.</em> Boston: Prentice Hall, 2010.", "page_number": "Mentioned P 30", "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: Cleveland Museum of Art, 2012.", "page_number": "Mentioned & reproduced PP 294-5", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=813973055"}, {"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. 144", "url": ""}, {"citation": "Fromanger, Ve\u0301ronique and Carla Briner. <em>Rembrandt Bugatti, Sculptor: Re\u0301pertoire Monographique: A Meteoric Rise</em>. Paris: Les \u00c9ditions de l\u2019Amateur, 2016.", "page_number": "Mentioned P 20", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=949868383"}], "url": "https://clevelandart.org/art/1980.74", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1980.74/1980.74_web.jpg", "width": "900", "height": "553", "filesize": "107875", "filename": "1980.74_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1980.74/1980.74_print.jpg", "width": "3400", "height": "2089", "filesize": "949497", "filename": "1980.74_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1980.74/1980.74_full.tif", "width": "5000", "height": "3072", "filesize": "46126400", "filename": "1980.74_full.tif"}}, "alternate_images": [], "creditline": "The Thomas L. Fawick Memorial Collection", "image_credit": null, "sketchfab_id": "b23e00397d484d78946c5e814d08d449", "sketchfab_url": "https://sketchfab.com/models/b23e00397d484d78946c5e814d08d449", "gallery_donor_text": null, "athena_id": 150156, "creators": [{"id": 15830, "description": "Carlo Bugatti (Italian, 1856\u20131940)", "extent": null, "qualifier": null, "role": "designer", "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}, {"id": 15899, "description": "Adrien-Aur\u00e9lien Hebrard (French, 1866\u20131937)", "extent": null, "qualifier": null, "role": "maker", "biography": null, "name_in_original_language": null, "birth_year": "1866", "death_year": "1937", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1980-09-09T04:00:00Z", "sortable_date": 1902, "date_added_to_oa": null, "date_text": "c. 1907", "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": "2026-04-07 22:01:59.808000"}, {"id": 132648, "accession_number": "1955.166", "share_license_status": "Copyrighted", "tombstone": "Mother and Child, 1929\u20131930. Jacques Lipchitz (French, born in Lithuania, 1891\u20131973). Bronze; overall: 130.2 x 90.2 x 87.7 cm (51 1/4 x 35 1/2 x 34 1/2 in.). The Cleveland Museum of Art, Norman O. Stone and Ella A. Stone Memorial Fund with a contribution from Bernard J. Reis, 1955.166. \u00a9 The Estate of Jacques Lipchitz", "current_location": null, "title": "Mother and Child", "creation_date": "1929\u20131930", "creation_date_earliest": 1929, "creation_date_latest": 1930, "artists_tags": ["Jewish artists", "male"], "culture": ["France, 20th century"], "technique": "bronze", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Sculpture 1800-1960", "type": "Sculpture", "measurements": "Overall: 130.2 x 90.2 x 87.7 cm (51 1/4 x 35 1/2 x 34 1/2 in.)", "dimensions": {"overall": {"height": 1.302, "width": 0.902, "depth": 0.877}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 The Estate of Jacques Lipchitz", "inscriptions": [{"inscription": "Signed lower left:  J. Lipchitz", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 300819, "title": "The Sculpture of Jacques Lipchitz", "description": "<i>The Sculpture of Jacques Lipchitz</i>. The Cleveland Museum of Art, Cleveland, OH (January 26-March 13, 1955).", "opening_date": "1955-01-26T05:00:00"}, {"id": 441647, "title": "Jacques Lipchitz: A Retrospective", "description": "<i>Jacques Lipchitz: A Retrospective</i>. Art Gallery of Ontario, Ontario M5T 1G4, Canada (organizer) (December 15, 1989-March 11, 1990).", "opening_date": "1989-12-15T05:00:00"}, {"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": "purchased from the artist.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": ["189.1955"], "did_you_know": "Lipchitz began as a Cubist sculptor but moved away from sculptural geometric forms in the 1920s.", "description": "A child rides on the back of his bird-like mother in this monumental sculpture by Jacques Lipchitz. The motif of mother and child has been explored countless times in art, and is often charged with strong emotion. While at first glance this sculpture may seem tender, the child digs his fingers aggressively into his mother\u2019s breasts. The artist embraced imagery of mothers and children throughout his career, and related his interest in this theme to his relationship with his own mother. This sculpture is subjective, or open to interpretation; while one viewer may see an image of affection, another may see brutality and oppression.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80024743"], "internet_archive": []}, "citations": [{"citation": "Work of Jacques Lipchitz, Cleveland Museum of Art, Cleveland OH 1955", "page_number": "cat. no. 56 repr. #336", "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. 336", "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. 198", "url": "https://archive.org/details/CMAHandbook1966/page/n222"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 198", "url": "https://archive.org/details/CMAHandbook1969/page/n222"}, {"citation": "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. 246", "url": "https://archive.org/details/CMAHandbook1978/page/n266"}, {"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/1955.166", "images": {}, "alternate_images": [], "creditline": "Norman O. Stone and Ella A. Stone Memorial Fund with a contribution from Bernard J. Reis", "image_credit": null, "sketchfab_id": "5a452eaf4d5d44c1a7a23f7f53d81284", "sketchfab_url": "https://sketchfab.com/models/5a452eaf4d5d44c1a7a23f7f53d81284", "gallery_donor_text": null, "athena_id": 132648, "creators": [{"id": 290200, "description": "Jacques Lipchitz (French, born in Lithuania, 1891\u20131973)", "extent": null, "qualifier": null, "role": "artist", "biography": "French sculptor, 1891-1973, active in the United States", "name_in_original_language": null, "birth_year": "1891", "death_year": "1973", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1955-03-10T00:00:00", "sortable_date": 1929, "date_added_to_oa": null, "date_text": "1929\u20131930", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": 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 22:00:56.166000"}, {"id": 148170, "accession_number": "1975.168", "share_license_status": "Copyrighted", "tombstone": "Pair of Masks, c. 1945\u201350. Duga of M\u1eb9k\u1ecd (Nigerian, Yor\u00f9b\u00e1 peoples, 1880\u20131960). Wood and paint; part 1: 77.7 cm (30 9/16 in.); part 2: 86 cm (33 7/8 in.). The Cleveland Museum of Art, Gift of Katherine C. White, 1975.168", "current_location": "108A African", "title": "Pair of Masks", "creation_date": "c. 1945\u201350", "creation_date_earliest": 1945, "creation_date_latest": 1950, "artists_tags": ["male"], "culture": ["Africa, West Africa, Nigeria, Yor\u00f9b\u00e1 peoples"], "technique": "Wood and paint", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Mask", "measurements": "Part 1: 77.7 cm (30 9/16 in.); Part 2: 86 cm (33 7/8 in.)", "dimensions": {"part 1": {"length": 0.777}, "part 2": {"length": 0.86}}, "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": 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": [{"description": "CMA 1976: \"Year in Review 1975,\" Bulletin LXIII (February 1976), p. 65, no. 18.A", "opening_date": "1976-02-01T00:00:00"}, {"description": "CMA 1986:  Possessors of Power:  African Masks and Sculpture, January 28-March 23, 1986; The Beachwood Museum, April 2-30, 1986.", "opening_date": "1930-04-02T00:00:00"}]}, "provenance": [{"description": "Katherine C. White [1929-1980], Gates Mills, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1975", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1975\u2013", "sortorder": 2}, {"description": "Herbert Baker", "citations": [], "footnotes": ["<div><!--block-->Letter from Katherine White to William (Bill) Wixom December 16, 1975. CMA Archives</div>"], "date": null, "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Duga received a kind of \"scholarship\" for his apprenticeship with a master carver in Ketu. The Ge\u0323\u0300le\u0323\u0300de\u0301 society paid for his training in exchange for masks he later carved for them.", "description": "Men in the Ge\u0323\u0300le\u0323\u0300de\u0301 society performed paired masks like these during annual masquerades honoring<em> \u00ccy\u00e1 Nl\u00e1 </em>(Great Mother). The event demonstrates respect for motherhood and female power within a male-dominated society. These ge\u0323\u0300le\u0323\u0300de\u0301 masks depict idealized \u201cbeautiful maidens\u201d with crocodiles perched atop their head ties. Such dangerous reptiles were linked to witches and the thunder god; their jointed tails swung realistically during performance. Multiple paint layers show how these masks were repainted to keep them looking fresh. Masks like these gained Duga his reputation as M\u1eb9k\u1ecd\u2019s best sculptor and a noted early 20th-century Yor\u00f9b\u00e1 artist.", "external_resources": {"wikidata": [], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1975.168", "images": {}, "alternate_images": [], "creditline": "Gift of Katherine C. White", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 148170, "creators": [{"id": 10188, "description": "Duga of M\u1eb9k\u1ecd (Nigerian, Yor\u00f9b\u00e1 peoples, 1880\u20131960)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1880", "death_year": "1960", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1976-01-08T00:00:00", "sortable_date": 1945, "date_added_to_oa": null, "date_text": "c. 1945\u201350", "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": ["Gelede Mask"], "is_highlight": false, "updated_at": "2026-03-27 00:02:50.453000"}, {"id": 168514, "accession_number": "2010.261", "share_license_status": "Copyrighted", "tombstone": "Blue Bloc, 1967. Edwin Mieczkowski (American, 1929\u20132017). Acrylic on canvas mounted to board; framed: 127 x 127 cm (50 x 50 in.); unframed: 121.9 x 121.9 cm (48 x 48 in.). The Cleveland Museum of Art, Anonymous Gift, by Exchange, 2010.261. \u00a9 1967, Edwin Mieczkowski, All rights reserved", "current_location": "228A Cleveland Artists", "title": "Blue Bloc", "creation_date": "1967", "creation_date_earliest": 1967, "creation_date_latest": 1967, "artists_tags": ["male", "Cleveland Institute of Art (faculty)", "Cleveland School", "May Show", "Cleveland Institute of Art (alumni)"], "culture": ["America, Ohio, Cleveland"], "technique": "acrylic on canvas mounted to board", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "measurements": "Framed: 127 x 127 cm (50 x 50 in.); Unframed: 121.9 x 121.9 cm (48 x 48 in.)", "dimensions": {"framed": {"height": 1.27, "width": 1.27}, "unframed": {"height": 1.219, "width": 1.219}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 1967, Edwin Mieczkowski, All rights reserved", "inscriptions": [{"inscription": "on verso: E. Mieczkowski/ \"Blue Bloc\"/ Spring 1967", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": [{"description": "\"Perceptual Inquiry I: Overlap,\" Anonima Gallery, New York, April 3-29, 1967", "opening_date": "1967-04-03T05:00:00Z"}, {"description": "\"Ed Mieczkowski: Visual Paradox: Transforming Perception, Forty Years of Op Art and Geometric Abstraction,\" LewAllen Contemporary, Santa Fe, NM, April 14-May 26, 2006", "opening_date": "2006-04-14T00:00:00"}, {"description": "\"Optic Nerve: Perceptual Art of the 1960s,\" Columbus Museum of Art, Ohio, February 16-June 17, 2007", "opening_date": "2007-02-16T00:00:00"}, {"description": "\"Op Out of Ohio,\" D. Wigmore Fine Art, New York, April 15-July 9, 2010", "opening_date": "2010-04-15T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Op Art is short for optical art, which employs visual illusions.", "description": "Op Art practitioner Mieczkowski created this painting in order to explore some of the perceptual effects of overlapping forms and colors. Featuring 1,316 three-quarter circular shapes in blues, greens, and yellows arrayed against a checkerboard background with gradations of gray, black, and white, Blue Bloc seems to morph in and out of focus across its surface while simultaneously pulsating from within.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60480692"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2010.261", "images": {}, "alternate_images": [], "creditline": "Anonymous Gift, by Exchange", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "David and Helen Kangesser Gallery", "athena_id": 168514, "creators": [{"id": 14740, "description": "Edwin Mieczkowski (American, 1929\u20132017)", "extent": null, "qualifier": null, "role": "artist", "biography": "Biographical information exists in the Cleveland Museum of Art Archives.", "name_in_original_language": null, "birth_year": "1929", "death_year": "2017", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2010-11-29T00:00:00", "sortable_date": 1967, "date_added_to_oa": null, "date_text": "1967", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:31.628000"}, {"id": 674520, "accession_number": "2024.61", "share_license_status": "Copyrighted", "tombstone": "Against Instinct, 1989. Rick Bartow (Enrolled member of the Mad River Band of Wiyot Tribe, 1946\u20132016). Pastel with graphite on coated pastel paper; sheet: 142.2 x 121.9 cm (56 x 48 in.); framed: 167.6 x 137.2 cm (66 x 54 in.). The Cleveland Museum of Art, Severance and Greta Millikin Trust, 2024.61. \u00a9 Rick Bartow", "current_location": "101A Prints & Drawings", "title": "Against Instinct", "creation_date": "1989", "creation_date_earliest": 1989, "creation_date_latest": 1989, "artists_tags": ["Indigenous", "male"], "culture": ["America"], "technique": "pastel with graphite on coated pastel paper", "support_materials": [], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Sheet: 142.2 x 121.9 cm (56 x 48 in.); Framed: 167.6 x 137.2 cm (66 x 54 in.)", "dimensions": {"framed": {"height": 1.676, "width": 1.372}, "sheet": {"height": 1.422, "width": 1.219}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Rick Bartow", "inscriptions": [{"inscription": "signed and dated, in red crayon, upper left: Bartow 89", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 695926, "title": "still/emerging: Native American Works on Paper", "description": "<i>still/emerging: Native American Works on Paper</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 1-June 7, 2026).", "opening_date": "2026-02-01T05:00:00"}], "legacy": [{"description": "<em>Recent Pastel Drawings</em>. Fairbanks Gallery, Oregon State University, Corvallis, OR (1990).", "opening_date": "1990-01-01T05:00:00Z"}, {"description": "<em>Stories. </em>Jamison/Thomas Gallery, Portland, OR (1991)", "opening_date": "1991-01-01T05:00:00Z"}, {"description": "<em>Summer Group Exhibit</em>. Froelick Gallery, Portland, OR (2021).", "opening_date": "2021-01-01T05:00:00Z"}]}, "provenance": [{"description": "(Froelick Gallery, Portland, OR, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "?\u20132024", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "September 9, 2024\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Rick Bartow reflected that that art \u201callowed [him] to speak of [his] firsthand experience. It allowed [him] to have a lineage and create a statement that\u2019s real.\u201d", "description": "Contemporary Indigenous artist Rick Bartow drew from an expansive range of references to create paintings, drawings, and prints that address themes of transformation. A Vietnam veteran and an enrolled member of the Mad River Band of Wiyot Indians in Oregon, Bartow took up imagery related to the boundaries between humans and animals and between the bodily and the spiritual. In this drawing, he used a combination of media to depict a hybrid creature between dog and human. Dogs were a subject that recurred throughout Bartow\u2019s work, and he saw in them some of his own personality traits.", "external_resources": {"wikidata": [], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2024.61", "images": {}, "alternate_images": [], "creditline": "Severance and Greta Millikin Trust", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "These Galleries are the Gift of James and Hanna Bartlett", "athena_id": 674520, "creators": [{"id": 674513, "description": "Rick Bartow (Enrolled member of the Mad River Band of Wiyot Tribe, 1946\u20132016)", "extent": null, "qualifier": null, "role": "artist", "biography": "Native American draftsman, painter, and sculptor, born 1946", "name_in_original_language": null, "birth_year": "1946", "death_year": "2016", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2024-09-09T04:00:00Z", "sortable_date": 1989, "date_added_to_oa": null, "date_text": "1989", "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 00:05:32.010000"}, {"id": 123160, "accession_number": "1943.384", "share_license_status": "CC0", "tombstone": "Bacchanale, 1917. Malvina Hoffman (American, 1887\u20131966). Bronze, copper, brass; without base: 172.7 x 137.2 cm (68 x 54 in.). The Cleveland Museum of Art, In memory of Julia K. Dalton by her nephews, George S. Kendrick and Harry D. Kendrick, 1943.384", "current_location": "ET East Terrace", "title": "Bacchanale", "creation_date": "1917", "creation_date_earliest": 1917, "creation_date_latest": 1917, "artists_tags": ["female"], "culture": ["America"], "technique": "bronze, copper, brass", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Sculpture", "type": "Sculpture", "measurements": "without base: 172.7 x 137.2 cm (68 x 54 in.)", "dimensions": {"without base": {"height": 1.727, "width": 1.372}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "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": 184551, "title": "Object in Focus:  Malvina Hoffman, Bacchanale", "description": "<i>Object in Focus:  Malvina Hoffman, Bacchanale</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 8-March 10, 2002).", "opening_date": "2002-01-08T00:00:00"}], "legacy": []}, "provenance": [{"description": "George S. and Harry D. Kendrick, Cleveland, Ohio.", "citations": [], "footnotes": [], "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "A second version of this life-size sculpture was installed in the Luxembourg Gardens in Paris, where it was destroyed during the Second World War.", "description": "While visiting London, sculptor Malvina Hoffman was electrified by a dance performance featuring Anna Pavlova and Mikhail Mordkin, two highly acclaimed Russian ballet stars. Together the dancers presented a bacchanale, a work inspired by the legendary followers of Bacchus, the ancient Roman god of wine. In this uninhibited and erotically charged piece, both dancers cavorted on stage, their movements accented by grasped veils of gauze. Hoffman\u2019s <em>Bacchanale </em>is her vibrant interpretation of the performance, capturing a fleeting moment in permanent form.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60781306"], "internet_archive": ["https://archive.org/details/clevelandart-1943.384-bacchanale"]}, "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. #46, p. 46, repr.", "url": null}, {"citation": "Ausherman, Maria, <em>Masters of Shape: The Lives and Art of American Women Sculptors. </em>(Novato, CA: Goff Books, 2022).", "page_number": "Mentioned p. 128; reproduced pp. 128-29.", "url": ""}, {"citation": "\"New Bronzes in the Garden Court.\" <em>The Bulletin of the Cleveland Museum of Art</em> 4, no. 8 (1917): 147-48.", "page_number": "Reproduced: Front Matter; Mentioned: p. 147", "url": "http://www.jstor.org/stable/25136142"}, {"citation": "Foote, Helen. \"'Bacchanale,' a Bronze Group of Pavlowa and Mordkin, by Malvina Hoffman.\" <em>The Bulletin of the Cleveland Museum of Art </em>31, no. 4 (April 1944): 47-48.", "page_number": "Reproduced: p. 46; Mentioned: p. 47", "url": "https://www.jstor.org/stable/25141119"}], "url": "https://clevelandart.org/art/1943.384", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1943.384/1943.384_web.jpg", "width": "600", "height": "900", "filesize": "238374", "filename": "1943.384_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1943.384/1943.384_print.jpg", "width": "2267", "height": "3400", "filesize": "1614334", "filename": "1943.384_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1943.384/1943.384_full.tif", "width": "3744", "height": "5616", "filesize": "63122932", "filename": "1943.384_full.tif"}}, "alternate_images": [], "creditline": "In memory of Julia K. Dalton by her nephews, George S. Kendrick and Harry D. Kendrick", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 123160, "creators": [{"id": 14717, "description": "Malvina Hoffman (American, 1887\u20131966)", "extent": null, "qualifier": null, "role": "sculptor", "biography": null, "name_in_original_language": null, "birth_year": "1887", "death_year": "1966", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1943-11-09T00:00:00", "sortable_date": 1917, "date_added_to_oa": null, "date_text": "1917", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["The Russian Dancers"], "is_highlight": false, "updated_at": "2026-03-27 00:05:19.179000"}, {"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": 150760, "accession_number": "1982.178", "share_license_status": "Copyrighted", "tombstone": "Power Plant II, 1949. Charmion von Wiegand (American, 1896\u20131983). Oil on canvas; framed: 63.5 x 79 x 4 cm (25 x 31 1/8 x 1 9/16 in.); unframed: 50.9 x 61 cm (20 1/16 x 24 in.). The Cleveland Museum of Art, Dorothea Wright Hamilton Fund, 1982.178", "current_location": "226B American Modern", "title": "Power Plant II", "creation_date": "1949", "creation_date_earliest": 1949, "creation_date_latest": 1949, "artists_tags": ["female"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 63.5 x 79 x 4 cm (25 x 31 1/8 x 1 9/16 in.); Unframed: 50.9 x 61 cm (20 1/16 x 24 in.)", "dimensions": {"framed": {"height": 0.635, "width": 0.79, "depth": 0.04}, "unframed": {"height": 0.509, "width": 0.61}}, "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": "<em>Post-Mondrian Abstraction in America. </em>Museum of Cotemporary Art, Chicago, IL (March 31\u2013May 13, 1973).", "opening_date": null}]}, "provenance": [{"description": "Private Collection, Lincoln, NE", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "[Vanderwoude Tananbaum Gallery, New York, NY]", "citations": [], "footnotes": [], "date": "1982", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH, purchased in 1982", "citations": [], "footnotes": [], "date": "1982\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "A journalist before she turned painter, von Wiegand once worked as a foreign correspondent in Moscow.", "description": "A lively composition of rectangles and squares arranged like conduits in a grid, <em>Power Plant II </em>pulses with energy befitting its title. Von Wiegand, a forceful woman with great flair, served a term as president of Abstract American Artists, an organization established to promote abstraction at a time when it generated strong critical and popular resistance.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60474913"], "internet_archive": []}, "citations": [{"citation": "Pincus-Witten, Robert. \"Mondrian and Modrianists.\" In <em>Post-Mondrian Abstraction in America March 31 to May 13, 1973. </em>Chicago: Museum of Contemporary Art, 1973.", "page_number": "Reproduction: unpaginated.", "url": null}, {"citation": "Burnham, Jack. \"Mondrian's American Circle.\" <em>Arts Magazine </em>48 (Sept./Oct 1973).", "page_number": "Metioned: p. 38", "url": null}, {"citation": "Cleveland Museum of Art. \"Year in Review: 1983.\" <em>Cleveland Museum of Art Bulletin </em>71, no. 116 (Feb. 1984).", "page_number": "Reproduced: p. 72", "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. 121, n. 88; Reproduced: p. 67", "url": null}], "url": "https://clevelandart.org/art/1982.178", "images": {}, "alternate_images": [], "creditline": "Dorothea Wright Hamilton Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Hammond Hemmelgarn Family Gallery", "athena_id": 150760, "creators": [{"id": 3754, "description": "Charmion von Wiegand (American, 1896\u20131983)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1896", "death_year": "1983", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1982-12-20T00:00:00", "sortable_date": 1949, "date_added_to_oa": null, "date_text": "1949", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-26 23:59:57.548000"}, {"id": 156840, "accession_number": "1992.6", "share_license_status": "Copyrighted", "tombstone": "William Milliken at the Century of Progress, Chicago, 1940. Clarence Holbrook Carter (American, 1904\u20132000). Oil on canvas; framed: 90.2 x 125 x 9 cm (35 1/2 x 49 3/16 x 3 9/16 in.); unframed: 74 x 109.5 cm (29 1/8 x 43 1/8 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1992.6", "current_location": null, "title": "William Milliken at the Century of Progress, Chicago", "creation_date": "1940", "creation_date_earliest": 1940, "creation_date_latest": 1940, "artists_tags": ["May Show", "male", "Cleveland Institute of Art (alumni)"], "culture": ["America, Ohio, Cleveland"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Cleveland School", "type": "Painting", "measurements": "Framed: 90.2 x 125 x 9 cm (35 1/2 x 49 3/16 x 3 9/16 in.); Unframed: 74 x 109.5 cm (29 1/8 x 43 1/8 in.)", "dimensions": {"framed": {"height": 0.902, "width": 1.25, "depth": 0.09}, "unframed": {"height": 0.74, "width": 1.095}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower left corner:  Clarence H. Carter 40.", "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": 423351, "title": "The Spirit of Cleveland: The Visual Arts Recipients of the Cleveland Arts Prize, 1961-1995", "description": "<i>The Spirit of Cleveland: The Visual Arts Recipients of the Cleveland Arts Prize, 1961-1995</i>. The Cleveland Institute of Art (organizer) (September 19-October 22, 1995); Canton Museum of Art (November 24, 1995-January 6, 1996); ArtSpace Lima (January 19-March 2, 1996); Riffe Gallery (May 9-July 27, 1996); Beck Center for the Arts (September 15-October 30, 1996).", "opening_date": "1995-09-01T04:00:00"}, {"id": 229027, "title": "Clarence Carter: The Snapshot Studies", "description": "<i>Clarence Carter: The Snapshot Studies</i>. Southern Ohio Museum, Portsmouth, OH (organizer) (February 14-May 20, 2004); Beck Center for the Arts, Lakewood, OH (June 19-September 19, 2004).", "opening_date": "2004-02-15T00:00:00"}, {"id": 219014, "title": "From Here to Infinity", "description": "<i>From Here to Infinity</i>. The Cleveland Institute of Art, Cleveland, OH (organizer) (September 7-October 27, 2007).", "opening_date": "2007-09-07T00:00:00"}, {"id": 198152, "title": "In Honor of The Cleveland Arts Prize", "description": "<i>In Honor of The Cleveland Arts Prize</i>. The Cleveland Museum of Art (organizer) (June 13, 2010-March 13, 2011).", "opening_date": "2010-06-13T00:00:00"}], "legacy": [{"description": "Allentown, PA, Muhlenberg College Center for the Arts, Clarence H. Carter Retrospective Exhibition (13 May-21July 1978) illus.", "opening_date": "1978-07-01T00:00:00"}, {"description": "Portsmouth, OH, Southern Ohio Museum and Cultural Center, Clarence H. Carter, Fifty Years of Art: Inaugural Exhibition (8 September-6 October 1979) illus. no. 7 illus.", "opening_date": "1979-09-08T00:00:00"}, {"description": "Easton, PA, Van Wickle Gallery, Lafayette College, Clarence Holbrooke Carter (14 April-17 May 1980) cat. no. 7.", "opening_date": "1980-04-14T00:00:00"}, {"description": "Berlin, West Germany, Neuen Gesellschaft fur bildende Kunst, Amerika Traum und Depression 1920/1940 (9 November-28 December 1980); traveled to Hamburg, West Germany, Kunstverein (11 January-15 February 1981); illus. cat. no. 67, p. 270; listed p. 528.", "opening_date": "1980-11-09T00:00:00"}, {"description": "Youngstown, OH: The Butler Institute of American Art, Fireworks: American Artists Celebrate the Eighth Art (14 September-26 October 1986) illus; catalogue not numbered.", "opening_date": "1986-09-14T00:00:00"}, {"description": "Barbara Mathes Gallery, New York, Selections: Fall 1988 (Fall, 1988) illus. cat. no. 14.", "opening_date": "1988-01-01T00:00:00"}, {"description": "New York, Hirschl &amp; Adler Galleries, Clarence H. Carter: Early Works (14 January-18 February 1989) listed cat. no. 5; not illus.", "opening_date": "1989-01-14T00:00:00"}, {"description": "Christies, Important American Paintings, Drawings and Sculpture of the 18th, 19th and 20th Centuries (30 November-6 December 1991) illus. cat. no. 207, pg. 193.", "opening_date": "1991-11-30T00:00:00"}, {"description": "Cleveland, Cleveland Institute of Art Reinberger Galleries, Spirit of Cleveland (19 September-22 October 1995); traveled to Canton, Canton Museum of Art, (24 November 1995-6 January 1996); to Lima, Ohio, ArtSpace (19 January-2 March 1996); Columbus, The Riffe Gallery (9 May-27 July 1996); to Lakewood, Ohio, Beck Center for Cultural Arts (15 August-1 October 1996); listed p. 46; biography pg. 23.", "opening_date": "1995-09-19T00:00:00"}, {"description": "Portsmouth, Ohio, Southern Ohio Museum, Clarence Carter: The Unknown Snapshot Studies (15 February-20 May 2004); traveled to Lakewood, Ohio, Beck Center for the Arts (19 June-19 September 2004); illus. fig. 57A, pg. 33.", "opening_date": "2004-02-15T00:00:00"}]}, "provenance": [{"description": "Clarence Holbrook Carter; (Hirschl & Adler Gallery, New York, NY);  (Barbara Mathes Gallery, New York, NY); (Christie, Manson & Woods International, Inc., New York, NY).", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "William M. Milliken was director of the Cleveland Museum of Art from 1930 until 1958.", "description": "Artist Clarence Carter photographed his friend, mentor, and patron William M. Milliken while the two returned by bus from the Century of Progress International Exposition to their Chicago hotel in 1933. Seven years later, he created this oil painting based on the earlier image. Although the photograph was taken during the day, Carter transformed the painting into a nighttime scene, adding dramatic fireworks.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60476935"], "internet_archive": []}, "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. 49; Mentioned: p. 48-49, 66", "url": "https://www.jstor.org/stable/25161388"}, {"citation": "Kraynak, Scott, Henry Adams, Douglas Max Utter, William G. Scheele, R. A. Washington, and Mike Hudson. <em>The Heart of Cleveland.</em> Shaker Hts, OH: Red Giant Books, 2018.", "page_number": "Reproduced: P. 25, fig. 20", "url": null}], "url": "https://clevelandart.org/art/1992.6", "images": {}, "alternate_images": [], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 156840, "creators": [{"id": 9325, "description": "Clarence Holbrook Carter (American, 1904\u20132000)", "extent": null, "qualifier": null, "role": "artist", "biography": "One of Cleveland\u2019s most imaginative interpreters of the American scene, Clarence Carter was born in Portsmouth, Ohio, and developed a love of drawing at an early age. Encouraged by his family, he took private watercolor lessons and won art prizes in county and state fairs in his early teens. He studied with William Eastman, Henry Keller, and Paul Travis at the Cleveland School of Art, 1923\u201327. He exhibited in the annual May Shows at the Cleveland Museum of Art (1927\u201339). In 1927 William Milliken, then curator of paintings at the art museum, organized a subscription scholarship to allow Carter two years of travel through Italy, Switzerland, England, and France. In the summer of 1927 he studied in Capri with Hans Hofmann. On returning to Cleveland in 1929, Carter had his first solo exhibition at the Cleveland Art Center. He taught studio classes at the Cleveland Museum of Art, 1930\u201337. In 1934, under the auspices of the Public Works of Art Project, the first of the New Deal art programs, Carter was commissioned to paint two murals for Cleveland Public Auditorium. For a subsequent governmental art program, the Works Progress Administration, he served as a district supervisor for painting projects in north east Ohio. After 1935 he completed two federal mural commissions: one for the post office in Ravenna, Ohio, and another for the post office in his hometown. In 1938 he moved to Pittsburgh to teach at the Carnegie Institute of Technology (now Carnegie-Mellon University). During the 1930s and 1940s he showed in annual exhibitions in Philadelphia, New York City, Chicago, and Washington, D.C. <br><em>Transformations in Cleveland Art</em> (CMA, 1996), p. 224", "name_in_original_language": null, "birth_year": "1904", "death_year": "2000", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1992-02-24T00:00:00", "sortable_date": 1940, "date_added_to_oa": null, "date_text": "1940", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:58.474000"}, {"id": 300120, "accession_number": "2018.261", "share_license_status": "CC0", "tombstone": "\"Pony\" Wisteria Lamp, c. 1902\u201310. Clara Wolcott Driscoll (American, 1861\u20131944), Tiffany Studios (United States, New York, 1902\u201332). Leaded glass, bronze; overall: 43.2 cm (17 in.); diameter: 26.7 cm (10 1/2 in.). The Cleveland Museum of Art, Bequest of Charles Maurer, 2018.261", "current_location": null, "title": "\"Pony\" Wisteria Lamp", "creation_date": "c. 1902\u201310", "creation_date_earliest": 1902, "creation_date_latest": 1910, "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": "Overall: 43.2 cm (17 in.); Diameter: 26.7 cm (10 1/2 in.)", "dimensions": {"overall": {"height": 0.432}, "diameter": {"height": 0.267}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Base impressed: TIFFANY STUDIOS/NEW YORK/7002", "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 small version of the <em>Wisteria</em> Lamp was called a \"pony\" by Tiffany and his artisans.", "description": "The dawn of the 20th century spurred fresh approaches to design. Louis Comfort Tiffany\u2019s great contribution to this new art movement, termed the Art Nouveau, was not only the shimmering iridescence of his Favrile glass but also the naturalistic compositions of his lamps and windows, which brought him commercial and critical success in both Europe and America. The artistic blend of sculpture and function in the <em>Wisteria </em>lamp, in which the base rises up to form the branches of the vine, became a hallmark of Tiffany's Art Nouveau production. This lamp, designed by Clara Wolcott Driscoll, Tiffany's chief lamp designer, won a grand prize for Tiffany Studios at the 1902 international exposition in Turin, Italy.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60758459"], "internet_archive": ["https://archive.org/details/clevelandart-2018.261-pony-wisteria-lamp"]}, "citations": [{"citation": "Harrison, Stephen. \"Tiffany in Bloom: A bouquet of splendid stained glass lamps.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>vol. 59, no. 6 (November/December 2019): 8-9", "page_number": "Reproduced: P. 8, 9; Mentioned: P. 8.", "url": ""}, {"citation": "\u201cExhibitions--Extended Dates: Tiffany in Bloom: Stained Glass Lamps of Louis Comfort Tiffany.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>60, no. 3 (Summer 2020): 4-5.", "page_number": "Reproduced and Mentioned: P. 4.", "url": ""}, {"citation": "\"King Louis\". <em>Antique Collecting </em>58, no. 7 (December/January 2023-24): 36-40.", "page_number": "Reproduced: p. 38", "url": ""}], "url": "https://clevelandart.org/art/2018.261", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2018.261/2018.261_web.jpg", "width": "688", "height": "900", "filesize": "142912", "filename": "2018.261_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2018.261/2018.261_print.jpg", "width": "2598", "height": "3400", "filesize": "1282894", "filename": "2018.261_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2018.261/2018.261_full.tif", "width": "6000", "height": "7853", "filesize": "141383832", "filename": "2018.261_full.tif"}}, "alternate_images": [{"date_created": "2018-03-15T11:26:05", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.261/2018.261_alt0_web.jpg", "width": "675", "height": "900", "filesize": "250454"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.261/2018.261_alt0_print.jpg", "width": "2550", "height": "3400", "filesize": "2130758"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.261/2018.261_alt0_full.tif", "width": "6000", "height": "8000", "filesize": "144035000"}}, {"date_created": "2018-03-22T12:17:53", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.261/2018.261_alt1_web.jpg", "width": "900", "height": "876", "filesize": "245349"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.261/2018.261_alt1_print.jpg", "width": "3400", "height": "3310", "filesize": "2253840"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.261/2018.261_alt1_full.tif", "width": "6132", "height": "5969", "filesize": "109839400"}}, {"date_created": "2018-03-23T08:28:11", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.261/2018.261_alt2_web.jpg", "width": "900", "height": "675", "filesize": "278406"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.261/2018.261_alt2_print.jpg", "width": "3400", "height": "2550", "filesize": "2040696"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.261/2018.261_alt2_full.tif", "width": "8000", "height": "6000", "filesize": "144036848"}}], "creditline": "Bequest of Charles Maurer", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 300120, "creators": [{"id": 356976, "description": "Clara Wolcott Driscoll (American, 1861\u20131944)", "extent": null, "qualifier": null, "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": 292194, "description": "Tiffany Studios (United States, New York, 1902\u201332)", "extent": "execution", "qualifier": null, "role": "maker", "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": 1902, "date_added_to_oa": null, "date_text": "c. 1902\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": false, "updated_at": "2026-03-31 19:03:35.662000"}, {"id": 361519, "accession_number": "2019.179", "share_license_status": "Copyrighted", "tombstone": "Champ de Mars from the Eiffel Tower, 1931 (printed 1950s). Ilse Bing (American, 1899\u20131998). Gelatin silver print, ferrotyped; image: 20.3 x 27.9 cm (8 x 11 in.). The Cleveland Museum of Art, The A. W. Ellenberger, Sr., Endowment Fund, 2019.179. \u00a9 Estate of Ilse Bing", "current_location": null, "title": "Champ de Mars from the Eiffel Tower", "creation_date": "1931 (printed 1950s)", "creation_date_earliest": 1931, "creation_date_latest": 1931, "artists_tags": ["female"], "culture": ["America"], "technique": "Gelatin silver print, ferrotyped", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 20.3 x 27.9 cm (8 x 11 in.)", "dimensions": {"image": {"height": 0.203, "width": 0.279}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of Ilse Bing", "inscriptions": [], "exhibitions": {"current": [{"id": 370361, "title": "Ilse Bing: Queen of the Leica", "description": "<i>Ilse Bing: Queen of the Leica</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 6-October 11, 2020).", "opening_date": "2020-03-06T05:00:00"}], "legacy": []}, "provenance": [{"description": "Michael Mattis and Judith Hochberg, Scarsdale, NY", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "September 3, 2019", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Ilse Bing was known as the \u201cQueen of the Leica.\u201d", "description": "Radical viewpoints\u2014especially the worm\u2019s- or bird\u2019s-eye view\u2014were a hallmark of 1920s and 1930s avant-garde imagery, reflecting a new attitude toward space spurred by recent technological innovations such as the skyscraper and the airplane. Bing was one of the first professionals to adopt the Leica, a lightweight, small 35 mm camera. It did not require a tripod and could easily be held at any angle, thus especially suited to this new way of seeing.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79877668"], "internet_archive": []}, "citations": [{"citation": "\"In Perspective: Leica queen.\"<em> Art &amp; Antiques </em>43, no. 3 (March 2020): 30.", "page_number": "Reproduced: p. 30; Mention: p. 30", "url": null}, {"citation": "Tannenbaum, Barbara. \u201cQueen of the Leica: Ilse Bing found freedom of expression in a small, lightweight camera.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>60, no. 2 (March/April 2020): 30-31.", "page_number": "Reproduced: P. 31.", "url": ""}, {"citation": "Exhibitions--Extended Dates. \"Ilse Bing: Queen of the Leica.\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": ""}], "url": "https://clevelandart.org/art/2019.179", "images": {}, "alternate_images": [], "creditline": "The A. W. Ellenberger, Sr., Endowment Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 361519, "creators": [{"id": 291349, "description": "Ilse Bing (American, 1899\u20131998)", "extent": null, "qualifier": null, "role": "artist", "biography": "American and German photographer, born 1899 or 1900, died 1998", "name_in_original_language": null, "birth_year": "1899", "death_year": "1998", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2019-09-09T00:00:00-04:00", "sortable_date": 1931, "date_added_to_oa": null, "date_text": "1931 (printed 1950s)", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:38.949000"}, {"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>. 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 water container may also serve as a site for cultural reckoning, as when the life cycle of a flower prized in East Asia as a symbol of wealth is displayed across a Japanese chanoyu vessel whose glaze is associated with the seats of power in China and Korea.", "description": "This ceramic is an especially accomplished example of Yohei III\u2019s combination of an allover translucent colored glaze with molded and carved designs. 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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"169847972"}}, {"date_created": "2022-11-11T18:52:38", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.197/2022.197_alt14_web.jpg", "width": "557", "height": "900", "filesize": "192534"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.197/2022.197_alt14_print.jpg", "width": "2103", "height": "3400", "filesize": "1826104"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.197/2022.197_alt14_full.tif", "width": "5324", "height": "8606", "filesize": "137481812"}}], "creditline": "Gift of James and Christine Heusinger", "image_credit": null, "sketchfab_id": "7051152ac78b426da1ad589f04fb8f38", "sketchfab_url": "https://sketchfab.com/models/7051152ac78b426da1ad589f04fb8f38", "gallery_donor_text": null, "athena_id": 447727, "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": 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": "2026-04-07 22:01:56.959000"}, {"id": 148171, "accession_number": "1975.168.1", "share_license_status": "Copyrighted", "tombstone": "Mask, c. 1945\u20131950. Duga of M\u1eb9k\u1ecd (Nigerian, Yor\u00f9b\u00e1 peoples, 1880\u20131960). Wood and paint; overall: 77.7 cm (30 9/16 in.). The Cleveland Museum of Art, Gift of Katherine C. White, 1975.168.1", "current_location": "108A African", "title": "Mask", "creation_date": "c. 1945\u20131950", "creation_date_earliest": 1945, "creation_date_latest": 1950, "artists_tags": ["male"], "culture": ["Africa, West Africa, Nigeria, Yor\u00f9b\u00e1 peoples"], "technique": "Wood and paint", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Mask", "measurements": "Overall: 77.7 cm (30 9/16 in.)", "dimensions": {"overall": {"length": 0.777}}, "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": [{"description": "CMA 1976: \"Year in Review 1975,\" Bulletin LXIII (February 1976), p. 65, no. 18.A", "opening_date": "1976-02-01T00:00:00"}, {"description": "CMA 1986:  Possessors of Power:  African Masks and Sculpture, January 28-March 23, 1986; The Beachwood Museum, April 2-30, 1986.", "opening_date": "1930-04-02T00:00:00"}]}, "provenance": [{"description": "Herbert Baker", "citations": [], "footnotes": ["<div><!--block-->Letter from Katherine White to William (Bill) Wixom December 16, 1975. CMA Archives</div>"], "date": null, "sortorder": 1}, {"description": "Katherine C. White [1929-1980], Gates Mills, OH, 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\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Duga received a kind of \"scholarship\" for his apprenticeship with a master carver in Ketu. The Ge\u0323\u0300le\u0323\u0300de\u0301 society paid for his training in exchange for masks he later carved for them.", "description": "Men in the Ge\u0323\u0300le\u0323\u0300de\u0301 society performed paired masks like these during annual masquerades honoring \u00ccy\u00e1 Nl\u00e1 (Great Mother). The event demonstrates respect for motherhood and female power within a male-dominated society. These ge\u0323\u0300le\u0323\u0300de\u0301 masks depict idealized \u201cbeautiful maidens\u201d with crocodiles perched atop their head ties. Such dangerous reptiles were linked to witches and the thunder god; their jointed tails swung realistically during performance. Multiple paint layers show how these masks were repainted to keep them looking fresh. Masks like these gained Duga his reputation as M\u1eb9k\u1ecd\u2019s best sculptor and a noted early 20th-century Yor\u00f9b\u00e1 artist.", "external_resources": {"wikidata": [], "internet_archive": []}, "citations": [{"citation": "Thompson, Robert Farris. 2023. <em>African Art in Motion</em>. Berkeley: University of California Press, p. 98-99.", "page_number": "", "url": ""}], "url": "https://clevelandart.org/art/1975.168.1", "images": {}, "alternate_images": [], "creditline": "Gift of Katherine C. White", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 148171, "creators": [{"id": 10188, "description": "Duga of M\u1eb9k\u1ecd (Nigerian, Yor\u00f9b\u00e1 peoples, 1880\u20131960)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1880", "death_year": "1960", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1976-01-08T00:00:00", "sortable_date": 1945, "date_added_to_oa": null, "date_text": "c. 1945\u20131950", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1975.168", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Gelede Mask"], "is_highlight": false, "updated_at": "2026-03-27 00:08:13.685000"}, {"id": 147955, "accession_number": "1974.53", "share_license_status": "Copyrighted", "tombstone": "New Shoes for H, 1973\u201374. Don Eddy (American, 1944-). Acrylic on canvas; framed: 122.7 x 133 x 8.2 cm (48 5/16 x 52 3/8 x 3 1/4 in.); unframed: 111.7 x 121.9 cm (44 x 48 in.). The Cleveland Museum of Art, Purchased with a grant from the NEA and matched by gifts from members of The Cleveland Society for Contemporary Art, 1974.53", "current_location": null, "title": "New Shoes for H", "creation_date": "1973\u201374", "creation_date_earliest": 1973, "creation_date_latest": 1974, "artists_tags": ["male"], "culture": ["America"], "technique": "acrylic on canvas", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "measurements": "Framed: 122.7 x 133 x 8.2 cm (48 5/16 x 52 3/8 x 3 1/4 in.); Unframed: 111.7 x 121.9 cm (44 x 48 in.)", "dimensions": {"framed": {"height": 1.227, "width": 1.33, "depth": 0.082}, "unframed": {"height": 1.117, "width": 1.219}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed and dated on back of painting:  Don Eddy, 1973-74", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 444754, "title": "Selections in Contemporary Realism", "description": "<i>Selections in Contemporary Realism</i>. Akron Art Museum, Akron, OH (organizer) (October 27-December 1, 1974).", "opening_date": "1974-10-27T04:00:00"}, {"id": 444303, "title": "Image, Color, and Form", "description": "<i>Image, Color, and Form</i>. The Toledo Museum of Art, Toledo, OH (organizer) (January 11-February 9, 1975).", "opening_date": "1975-01-11T05:00:00"}, {"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": 444323, "title": "Don Eddy: Recent Paintings and Drawings", "description": "<i>Don Eddy: Recent Paintings and Drawings</i>. Williams College Museum of Art, Williamstown, MA (organizer) (April 7-May 7, 1975).", "opening_date": "1975-04-07T04:00:00"}, {"id": 302349, "title": "Materials and Techniques of 20th-Century Artists", "description": "<i>Materials and Techniques of 20th-Century Artists</i>. The Cleveland Museum of Art, Cleveland, OH (November 17, 1976-January 2, 1977).", "opening_date": "1976-11-17T05:00:00"}, {"id": 187192, "title": "Object in Focus: New Shoes for H by Don Eddy", "description": "<i>Object in Focus: New Shoes for H by Don Eddy</i>. The Cleveland Museum of Art (organizer) (August 3-October 3, 1999).", "opening_date": "1999-08-03T00:00:00"}], "legacy": [{"description": "<em>One Eye View: Impact of Photography on Paintings and Prints Since 1960</em>. Ann Arbor, MI, The University of Michigan Museum of Art. (1976).", "opening_date": "1976-01-01T05:00:00Z"}, {"description": "<em>Partner's in Purchase: Ohio Museum and the National Endowment for the Art</em>s. Columbus Museum of Art, Columbus, OH (September 23\u201329, 1985).", "opening_date": "1985-09-23T04:00:00Z"}, {"description": "Arts Day USA, Jun 7, 1990 (covered in black to encourage people to support the NEA and NEH).", "opening_date": "1990-06-07T00:00:00"}, {"description": "<em>Hyperrealismes USA 1965-1975</em>. Musee d'Art moderne et contemporain de Strasbourg (June 27\u2013Oct. 5, 2003).", "opening_date": "2003-06-27T00:00:00"}]}, "provenance": [{"description": "(Nancy Hoffman Gallery, NY)", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The storefront in <em>New Shoes for H</em> depicts Simco Shoes, a store that once stood on the corner of University and East 14th Street in New York City.", "description": "Don Eddy numbers among the American painters called \"Photorealists.\" These artists used photographs as inspiration for skillfully rendered representational images, but in reality, their work did not report the factual accuracy that a photograph implies. Eddy once explained, \"You can either look through the window, or at the window, or at the reflection in the window. Nobody ever looks at all three at once, because it is impossible to focus on all three.\" In New Shoes for H, however, Eddy tried to accomplish this feat. Rather than creating a realistic representation of the matter, Eddy re-interpreted the image, exaggerated colors, and combined elements of several different photographs. Although rendered in a realistic style, the resulting painting is a product of the artist's creativity and interpretation.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60472669"], "internet_archive": []}, "citations": [{"citation": "Doty, Robert M, New Gallery of Contemporary Art, Akron Art Institute, New Gallery (Cleveland, Ohio), and Akron Art Institute. 1974. <em>Selections in Contemporary Realism</em>. Akron, Ohio: Akron Art Institute.", "page_number": "Reproduced: cover;  p. 11", "url": ""}, {"citation": "Toledo Museum of Art and Toledo Modern Art Group. 1975. <em>Image, Color, and Form : Recent Paintings by Eleven Americans : January 12 through February 9, 1975 : Organized by the Toledo Museum of Art and the Toledo Modern Art Group</em>. Toledo, Ohio: Toledo Museum of Art.", "page_number": "cat. no. 13", "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": "Mentioned: p. 101, no. 174; Reproduced: p. 85", "url": "http://www.jstor.org/stable/25152580"}, {"citation": "Hinson, Tom E. \u201cEddy: New Shoes for H.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 62, no. 10 (December 1975): 291\u2013299.", "page_number": "Mentioned: p. 291-299; Reproduced: p. 292-293, fig. 1-4", "url": "http://www.jstor.org/stable/25152614"}, {"citation": "Weisberg, Gabriel P, Cleveland State University, and Cleveland Museum of Art, 1976. <em>Materials and Techniques of 20th-Century Artists : An Exhibition</em>. Themes in Art. Cleveland: Dept. of Art History &amp; Education, Cleveland Museum of Art.", "page_number": "Cat no. 16, reproduced on frontispiece, detail on cover.", "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. 257", "url": "https://archive.org/details/CMAHandbook1978/page/n277"}, {"citation": "Lebensztejn, Jean Claude, Patrick Javault, and Mus\u00e9e d\u2019art moderne et contemporain de Strasbourg. 2003. <em>Hyperre\u0301alismes Usa, 1965-1975 : Muse\u0301e D\u2019art Moderne Et Contemporain De Strasbourg, 27 Juin-5 Octobre 2003</em>. Paris: Hazan.", "page_number": "exh. cat. p. 189", "url": ""}, {"citation": "Buser, Thomas. <em>Experiencing Art Around Us</em>. Australia; United States: Thomson Wadsworth, 2006.", "page_number": "Mentioned and Reproduced: p. 14, fig 1-13", "url": null}], "url": "https://clevelandart.org/art/1974.53", "images": {}, "alternate_images": [], "creditline": "Purchased with a grant from the NEA and matched by gifts from members of The Cleveland Society for Contemporary Art", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 147955, "creators": [{"id": 3432, "description": "Don Eddy (American, 1944-)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1944", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1974-05-21T00:00:00", "sortable_date": 1973, "date_added_to_oa": null, "date_text": "1973\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": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-26 23:59:35.857000"}, {"id": 130656, "accession_number": "1953.371", "share_license_status": "CC0", "tombstone": "The Pie Wagon, c. 1926. Carl Gaertner (American, 1898\u20131952). Oil on canvas; unframed: 105.8 x 153 cm (41 5/8 x 60 1/4 in.). The Cleveland Museum of Art, Gift of Mrs. Carl Gaertner, 1953.371", "current_location": null, "title": "The Pie Wagon", "creation_date": "c. 1926", "creation_date_earliest": 1921, "creation_date_latest": 1931, "artists_tags": ["male", "Cleveland Institute of Art (faculty)", "Cleveland School", "May Show", "Cleveland Institute of Art (alumni)"], "culture": ["America, Ohio, Cleveland"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Cleveland School", "type": "Painting", "measurements": "Unframed: 105.8 x 153 cm (41 5/8 x 60 1/4 in.)", "dimensions": {"unframed": {"height": 1.058, "width": 1.53}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower left:  Carl Gaertner.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 309579, "title": "The Cleveland Institute of Art: 100 Years", "description": "<i>The Cleveland Institute of Art: 100 Years</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 22, 1982-January 30, 1983).", "opening_date": "1982-12-22T05:00:00"}, {"id": 310252, "title": "Cleveland Art Comes of Age: 1919-1940", "description": "<i>Cleveland Art Comes of Age: 1919-1940</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 28-September 10, 1989).", "opening_date": "1989-06-28T04:00:00"}, {"id": 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": 221943, "title": "Illusions of Eden: Visions of the American Heartland", "description": "<i>Illusions of Eden: Visions of the American Heartland</i>. Columbus Museum of Art, Columbus, OH (organizer) (February 18-April 30, 2000).", "opening_date": "2000-02-18T00:00:00"}, {"id": 177916, "title": "Burchfield to Schreckengost: Cleveland Art of the Jazz Age", "description": "<i>Burchfield to Schreckengost: Cleveland Art of the Jazz Age</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 28-July 18, 2004).", "opening_date": "2004-03-28T00:00:00"}], "legacy": [{"description": "<em>Illusions of Eden: Visions of the American Heartland</em>, Columbus Museum of Art, Columbus, OH (18 February-30 April 2000); exh. cat. no. 86, repr. p. 175, p. 272.", "opening_date": "2000-02-18T00:00:00"}, {"description": "<em>Burchfield to Schreckengost: Cleveland Art of the Jazz Age</em>, The Cleveland Museum of Art, Cleveland, Ohio (28 March-18 July, 2004); no exhibition catalogue.", "opening_date": "2004-03-28T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Star Bakery\u2014identified by the logo on the wagon\u2014was a flourishing business in Cleveland at the time.", "description": "One of the most widely exhibited artists working in Cleveland, Gaertner specialized in painting the city and its environs. His favored subjects include scenes of Cleveland\u2019s industrial heyday, including <em>The Pie Wagon</em>. In this painting, the artist focused attention on the laborers who spend their lunch break milling around a horse-drawn bakery wagon in the shadows of the hulking factories.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60516393"], "internet_archive": ["https://archive.org/details/clevelandart-1953.371-the-pie-wagon"]}, "citations": [{"citation": "The Cleveland Museum of Art. \"The Annual Exhibition: Foreword.\" <em>The Bulletin of the Cleveland Museum of Art</em> 16, no.5 (May 1926).", "page_number": "Mentioned: pp.118, 130.", "url": "jstor.org/stable/i25137210"}, {"citation": "Cleveland Institute of Art. <em>Carl Gaertner Memorial Exhibition; Catalogue of an Exhibition of Works by Carl Gaertner.</em> [Cleveland]: Cleveland Museum of Art, 1953.", "page_number": "Mentioned: p.15, cat. 4", "url": "https://archive.org/details/CarlGaertner"}, {"citation": "Kirkwood, Marie. \"Gaertner's Art Reflects Spirit, Youth and Wisdom.\" <em>Cleveland News</em>, June 20, 1953.", "page_number": "Mentioned: p.7", "url": null}, {"citation": "Metzler, Paul B. \"Carl Gaertner Memorial Show Opens Wednesday at Museum.\" <em>Cleveland Plain Dealer</em>, June 21, 1953.", "page_number": "Mentioned: p.24-D", "url": null}, {"citation": "The Cleveland Institute of Art and The Cleveland Museum of Art. <em>Carl Gaertner Memorial Exhibition; Catalogue of an Exhibition of Works by Carl Gaertner</em>. Cleveland, OH: Cleveland Museum of Art, 1953.", "page_number": "Mentioned: p.15", "url": "archive.org/details/CarlGaertner/mode/2up"}, {"citation": "Clark, Edna Maria. <em>Ohio Art and Artists</em>. Richmond: Garrett and Massie, 1975.", "page_number": "Mentioned: p.360", "url": null}, {"citation": "Hoffman, Jay, Dee Driscole, and Mary Clare Zahler. <em>A Study in Regional Taste: The May Show, 1919-1975</em>. Cleveland, OH: The Cleveland Museum of Art, 1977.", "page_number": "Mentioned: p.77; Reproduced: p.49", "url": null}, {"citation": "Doezema, Marianne. <em>American Realism and the Industrial Age</em>. Cleveland, OH: Cleveland Museum of Art, 1980.", "page_number": "Mentioned: pp.70,139;  Reproduced: p.69", "url": null}, {"citation": "Dunbar, Mary. \"The American Connection.\" <em>Plain Dealer Magazine</em>, October 19, 1980.", "page_number": "Mentioned and reproduced (unpaginated)", "url": null}, {"citation": "The Cleveland Institute of Art and The Cleveland Museum of Art. <em>The Cleveland Institute of Art--100 Years: December 22, 1982-January 30, 1983, the Cleveland Museum of Art.</em> Cleveland, OH: The Cleveland Museum of Art, 1982.", "page_number": "Mentioned: p.29; Reproduced:p.17", "url": null}, {"citation": "Snyder, Jane. \"Art museum, institute in joint celebration.\" <em>Encore: The Chronicle-Telegram's Entertainment Magazine</em>, January 7, 1983.", "page_number": "Mentioned and reproduced (unpaginated)", "url": null}, {"citation": "Stearns, Robert.<em> Illusions of Eden: Visions of the American Heartland</em>. Minneapolis, MN: Arts Midwest, 2000.", "page_number": "Mentioned: p.272; Reproduced: p.175", "url": null}, {"citation": "Shearer, Christine Fowler, William H. Robinson, Michael D. Hall, Ann Caywood Brown, and Susan S. Leggett. <em>Carl Gaertner: A Story of Earth and Steel</em>. Cleveland, OH: Cleveland Artists Foundation, 2000.", "page_number": "Mentioned: pp.8-9; Reproduced: p.9", "url": null}, {"citation": "Litt, Steven. \"Grim visions: Work of once-popular artist re-emerges at Beck. <em>The Plain Dealer,</em> April 16, 2000.", "page_number": "Mentioned: p.1-I", "url": null}, {"citation": "Ohio Historical Society and Ohio History Connection.<em> Timeline: A Publication of the Ohio Historical Society, v</em>ol.20, no.2-3. Columbus, OH: The Ohio Historical Society, 2003.", "page_number": "Mentioned: p.3; Reproduced: pp.2-3", "url": null}, {"citation": "Channing, Laurence, \"Before Neo: The May Show\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 45 no. 07, September 2005", "page_number": "Mentioned & reproduced: p. 3", "url": "https://archive.org/details/CMAMM2005-07/page/2"}, {"citation": "Cole, Mark. \"The Cleveland Gallery: Works by artists with ties to the city find a special home in the new east wing.\" <em>The Cleveland Museum of Art Members Magazine</em> 49 (September 2009).", "page_number": "Mentioned: p.7; Reproduced: p.6", "url": null}, {"citation": "Johnston, April Nehring. <em>The Making of Cleveland's Artist: The Aesthetic and Cultural Politics of Boundary Crossing in the Industrial Landscape Paintings of Carl Gaertner, 1923-1952.</em> MA Thesis, Washington University in St. Louis, 2019.", "page_number": "Mentioned: P. 56-59, 66-67; Reproduced: p. 57, fig. 3.5", "url": null}], "url": "https://clevelandart.org/art/1953.371", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1953.371/1953.371_web.jpg", "width": "1263", "height": "879", "filesize": "695083", "filename": "1953.371_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1953.371/1953.371_print.jpg", "width": "3400", "height": "2367", "filesize": "5071381", "filename": "1953.371_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1953.371/1953.371_full.tif", "width": "6000", "height": "4177", "filesize": "75218612", "filename": "1953.371_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.371/1953.371_alt0_web.jpg", "width": "1263", "height": "882", "filesize": "732278"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.371/1953.371_alt0_print.jpg", "width": "3400", "height": "2374", "filesize": "4475853"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.371/1953.371_alt0_full.tif", "width": "4253", "height": "2969", "filesize": "37888604"}}], "creditline": "Gift of Mrs. Carl Gaertner", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 130656, "creators": [{"id": 4415, "description": "Carl Gaertner (American, 1898\u20131952)", "extent": null, "qualifier": null, "role": "artist", "biography": "A specialist in American scene subject matter, Cleveland-born Carl Gaertner exhibited an early aptitude for drawing. As a high-school student he studied mechanical design, but during his senior year he decided to make painting his primary avocation. In 1920 he enrolled at the Cleveland School of Art, graduating three years later after studying with Henry Keller and Frank Wilcox. In 1925 the school hired Gaertner to teach painting. During the 1920s and 1930s he went on summer painting excursions to Provincetown, Massachusetts, with Ora Coltman and George Adomeit. One of the most widely exhibited artists working in Cleveland, Gaertner showed at the Cleveland Museum of Art (1922\u201353), the Pennsylvania Academy of Fine Arts in Philadelphia (1924\u201352), the Art Institute of Chicago (1925\u201349), the Whitney Museum of American Art in New York (1943\u201348), and the National Academy of Design (1944\u201350). The Cleveland School of Art organized solo exhibitions of his paintings (1928, 1941), as did the Philadelphia Art Alliance (1948). In 1945 he began a long association with the Macbeth Galleries in New York. In 1952, after experiencing a severe headache while teaching at the art school, he went home and died unexpectedly of a brain hemorrhage. <br><em>Transformations in Cleveland Art </em>(CMA, 1996), p. 228", "name_in_original_language": null, "birth_year": "1898", "death_year": "1952", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1953-08-12T00:00:00", "sortable_date": 1921, "date_added_to_oa": null, "date_text": "c. 1926", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:05.795000"}, {"id": 676286, "accession_number": "2024.68", "share_license_status": "Copyrighted", "tombstone": "Musical Chairs, 1951. Dorothea Tanning (American, 1910\u20132012). Oil on canvas; 116.2 x 88.9 cm (45 3/4 x 35 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 2024.68. \u00a9 Artists Rights Society (ARS), New York / ADAGP, Paris", "current_location": "226B American Modern", "title": "Musical Chairs", "creation_date": "1951", "creation_date_earliest": 1951, "creation_date_latest": 1951, "artists_tags": ["female"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "116.2 x 88.9 cm (45 3/4 x 35 in.)", "dimensions": {"No Extent Specified": {"height": 1.162, "width": 0.889}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Artists Rights Society (ARS), New York / ADAGP, Paris", "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "The artist", "citations": [], "footnotes": null, "date": "", "sortorder": 1}, {"description": "[Alexandre Iolas Gallery, New York, NY]", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "Ann Lampros Apostolakis [1914\u20132011], New York, NY, purchased in 1953", "citations": [], "footnotes": null, "date": "1953\u20132001", "sortorder": 3}, {"description": "James Apostolakis, [born 1942], New York, NY, inherited in 2001", "citations": [], "footnotes": null, "date": "", "sortorder": 4}, {"description": "[Gallery Wendi Norris, San Francisco, CA, consigned in 2024]", "citations": [], "footnotes": null, "date": "2024", "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH, purchased in 2024", "citations": [], "footnotes": null, "date": "2024\u2013", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Artist Dorothea Tanning lived to be 101 years old.", "description": "In this surreal composition, a pre-adolescent girl\u2014whose mismatched clothing suggests she has been playing dress-up\u2014interrupts her game of musical chairs by daydreaming into a realm where imagination reigns free. Defying logic, she sinks into a sea of fabric that in turn swells up behind her into a haphazard arrangement of folds. Artist Dorothea Tanning started her career as a fashion illustrator, launching a lifelong interest in the expressive qualities of cloth.", "external_resources": {"wikidata": [], "internet_archive": []}, "citations": [{"citation": "<em>60th Annual American Exhibition: Paintings and Sculpture</em>, exh. cat. (Chicago: Art Institute of Chicago, 1951), cat. no. 161, as <em>Musical Chairs\u2014Spanish Version.</em>", "page_number": "", "url": ""}, {"citation": "<em>Dorotha Tanning,</em> exh. pamphlet. (New York: Alexander Iolas Gallery, 1953).", "page_number": "", "url": ""}, {"citation": "Alain Bosquet, <em>La peinture de Dorothea Tanning</em> (Paris: Jean-Jaques Pauvert, [1966]).", "page_number": "Reproduced, p. 58.", "url": ""}, {"citation": "L[arry] C[ampbell], \u201cReviews and Previews: Dorothea Tanning,\u201d <em>ARTnews</em> 51 (February 1953).", "page_number": "Mentioned, p. 57.", "url": ""}, {"citation": "Amy Worthen, \u201cDorothea Tanning,\u201d in Jo-Ann Conklin, ed., <em>The Louise Noun Collection: Art by Women, </em>exh. cat. (Iowa City: University of Iowa Museum of Art, 1990).", "page_number": "Mentioned, p. 92.", "url": ""}, {"citation": "Jean-Christophe Bailly, <em>Dorothea Tanning</em> (New York: George Braziller, 1995).", "page_number": "Mentioned, pp. 22 and 209; reproduced, pp. 91 and 97.", "url": ""}, {"citation": "Soo Y. Kang, \u201cTanning\u2019s Pictograph: Repossessing Woman\u2019s Fantasy,\u201d <em>Aurora: The Journal of the History of Art</em> 3 (2002).", "page_number": "Mentioned, p. 91; reproduced, p. 99.", "url": ""}, {"citation": "Amy Lyford, \u201cRefashioning Surrealism: The Early Art of Dorothea Tanning,\u201d <em>Dorothea Tanning, Beyond the Esplanade: Paintings, Drawings and Prints from 1940 to 1965, </em>exh. cat. (San Francisco: Frey Norris Gallery, 2010).", "page_number": "Mentioned, p. 5.", "url": ""}, {"citation": "Kate Bernheim, <em>The Complete Tales of Merry Gold </em>(Tallahassee: Fiction Collective 2, 2006).", "page_number": "Reproduced on cover.", "url": ""}, {"citation": "Catriona McAra, <em>A Surrealist Stratigraphy of Dorothea Tanning\u2019s Chasm</em> (London: Routledge, 2016).", "page_number": "Mentioned, p. 97.", "url": ""}, {"citation": "Victoria Carruthers, \u201cBetween Sound and Silence: John Cage, Karlheinz Stockhausen and the Sculptures of Dorothea Tanning,\u201d in Patrizia Di Bello and Gabriel Koureas, eds., <em>Art, History and the Senses 1830 to the Present</em> (Surrey: Ashgate, 2010).", "page_number": "Mentioned, p. 101.", "url": ""}, {"citation": "Alyce Mahon, ed., <em>Dorothea Tanning: Behind the Door, Another Invisible Door, </em>exh. cat.  (Madrid: Museo Nacional Centro de Arte Reina Sofia, 2018). Mentioned, p. 29; reproduced p. 138. Reprinted as Alyce Mahon, ed., <em>Dorothea Tanning, </em>exh. cat. (London: Tate Modern, 2019). Mentioned p. 29; reproduced p. 138.", "page_number": "", "url": ""}, {"citation": "Victoria Carruthers, <em>Dorothea Tanning: Transformations</em> (London: Lund Humphries, 2020).", "page_number": "Mentioned, p. 110; reproduced, p. 111.", "url": ""}, {"citation": "Catriona McAra, \u201cFeminist-Surrealism in the Contemporary Novel,\u201d in Anna Watz, ed., <em>A History of the Surrealist Novel</em> (Cambridge: Cambridge University Press, 2023).", "page_number": "Mentioned, p. 352.", "url": ""}, {"citation": "Amy Lyford, <em>Exquisite Dreams: The Art and Life of Dorothea Tanning</em> (London: Reaktion Books, 2024).", "page_number": "Mentioned, pp. 97, 99, 102, 109, 111-15; reproduced, p. 101.", "url": ""}, {"citation": "Willard Spiegelman, \u201c\u2019<em>Exquisite Dreams\u2019 </em>Review: Dorothea Tanning\u2019s Surreal Vision,\u201d <em>Wall Street Journal</em>, March 15, 2024.", "page_number": "", "url": ""}, {"citation": "Tony Bravo, \u201cTwo Extraordinary Paintings by Dorothea Tanning at Gallery Wendi Norris,\u201d <em>San Francisco Chronicle, </em>March 15, 2024.", "page_number": "", "url": ""}, {"citation": "\"New on View.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>64, no. 4 (2024): Back cover.", "page_number": "Reproduced and Mentioned: Back cover", "url": "https://archive.org/details/CMAMM-2024-04"}], "url": "https://clevelandart.org/art/2024.68", "images": {}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Hammond Hemmelgarn Family Gallery", "athena_id": 676286, "creators": [{"id": 30580, "description": "Dorothea Tanning (American, 1910\u20132012)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1910", "death_year": "2012", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2024-09-09T04:00:00Z", "sortable_date": 1951, "date_added_to_oa": null, "date_text": "1951", "collapse_artists": false, "on_loan": false, "recently_acquired": true, "record_type": "object", "conservation_statement": "Dorothea Tanning used a commercially primed linen canvas with a lead white ground as the primary support. The infrared reflectogram reveals a light sketch in a carbon-based dry media that was first used to lay out the composition. Also visible in the infrared spectrum, but not in normal visible light, is a dark shape in the upper right that was painted out by the artist. Areas of retouch varnish were applied throughout the painting, likely to saturate areas that became matte upon drying. An overall varnish was not applied by the artist and the painting remains in its original unvarnished state. The painting is considered to be in overall excellent condition.", "has_conservation_images": true, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-31 11:08:36.120000"}, {"id": 121811, "accession_number": "1942.172", "share_license_status": "Copyrighted", "tombstone": "Pendant: Face, c. 1930 or earlier. Africa, West Africa, C\u00f4te d'Ivoire, probably Baule-style goldsmith. Gold; overall: 5.8 x 3.9 cm (2 5/16 x 1 9/16 in.). The Cleveland Museum of Art, James Albert Ford Memorial Fund, 1942.172", "current_location": "108C African Jewelry and Metalwork", "title": "Pendant: Face", "creation_date": "c. 1930 or earlier", "creation_date_earliest": 1920, "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: 5.8 x 3.9 cm (2 5/16 x 1 9/16 in.)", "dimensions": {"overall": {"height": 0.058, "width": 0.039}}, "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"}], "legacy": []}, "provenance": [{"description": "Charles Ratton, Paris, France", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "C. G\u00e9raudel", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "(Pierre Matisse Gallery, New York, NY)", "citations": [], "footnotes": null, "date": "?-1942", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH by purchase", "citations": [], "footnotes": ["<div><!--block-->Invoice from Pierre Matisse Gallery, March 6, 1942; Check Form Memorandum with Accessions Committee Meeting 2-13-42. CMA Curatorial File</div>"], "date": "1942-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The decorative spikes on the crown and chin of the head represent hair.", "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/Q60762049"], "internet_archive": []}, "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"}, {"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, no. 31", "url": null}, {"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, Toronto Canada</em>. Toronto: The Museum, 1959.", "page_number": "Mentioned: p. 42, cat. no. D 20", "url": null}], "url": "https://clevelandart.org/art/1942.172", "images": {}, "alternate_images": [], "creditline": "James Albert Ford Memorial Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 121811, "creators": [], "legal_status": "accessioned", "accession_date": "1942-02-13T00:00:00", "sortable_date": 1920, "date_added_to_oa": null, "date_text": "c. 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 00:08:00.529000"}, {"id": 144916, "accession_number": "1970.126", "share_license_status": "Copyrighted", "tombstone": "Paperweight Vase, c. 1914\u201318. Louis Comfort Tiffany (American, 1848\u20131933), Tiffany Studios (United States, New York, 1902\u201332). Glass; overall: 19.4 x 14.3 cm (7 5/8 x 5 5/8 in.). The Cleveland Museum of Art, Norman O. Stone and Ella A. Stone Memorial Fund, 1970.126", "current_location": "209 Tiffany", "title": "Paperweight Vase", "creation_date": "c. 1914\u201318", "creation_date_earliest": 1909, "creation_date_latest": 1923, "artists_tags": ["male", "gender unknown"], "culture": ["America, New York"], "technique": "glass", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Glass", "measurements": "Overall: 19.4 x 14.3 cm (7 5/8 x 5 5/8 in.)", "dimensions": {"overall": {"height": 0.194, "width": 0.143}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "engraved on underside: 7399 N. Louis C. Tiffany Inc. Favrile Exhibition Piece", "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"}], "legacy": [{"description": "Tiffany in Bloom: Stained Glass Lamps of Louis Comfort Tiffany. The Cleveland Museum of Art, Cleveland, OH (10/20/2019 - 10/4/2020)", "opening_date": "2019-10-20T00:00:00"}]}, "provenance": [{"description": "(Cowell and Hubbard, c. 1935)", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "Mrs. Gerri Walters, Bay Village, OH", "citations": [], "footnotes": [], "date": "?-1970", "sortorder": 2}, {"description": "The Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1970-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Louis Comfort Tiffany's paperweight vases feature glass patterns inset into a separate background of glass in the same way that conventional paperweights are made.", "description": "When Louis Comfort Tiffany began collaborating with glass artists on new types of production, his aesthetic ambitions were finally realized in the development of Favrile glass, a term he created to imply \u201chandmade.\u201d Largely through his marketing ability, Favrile glass became America\u2019s greatest contribution to the Art Nouveau style. His works were exhibited at international expositions; at 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/Q60739950"], "internet_archive": []}, "citations": [{"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 234", "url": "https://archive.org/details/CMAHandbook1978/page/n254"}, {"citation": "Hawley, Henry H. <em>Glass Today: American Studio Glass from Cleveland Collections</em>. Cleveland: Cleveland Museum of Art, 1997.", "page_number": "Reproduced: fig. 7, p. 14; Mentioned: fig. 7, p. 15", "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. 8; Mentioned: P. 340, no. 306", "url": ""}], "url": "https://clevelandart.org/art/1970.126", "images": {}, "alternate_images": [], "creditline": "Norman O. Stone and Ella A. Stone Memorial Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 144916, "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": false, "weight": 1}, {"id": 292194, "description": "Tiffany Studios (United States, New York, 1902\u201332)", "extent": null, "qualifier": null, "role": "maker", "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": "1970-12-18T00:00:00", "sortable_date": 1909, "date_added_to_oa": null, "date_text": "c. 1914\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": ["Vase"], "is_highlight": false, "updated_at": "2026-04-01 19:07:11.082000"}, {"id": 290457, "accession_number": "2016.268", "share_license_status": "Copyrighted", "tombstone": "Heritage, 1973. Wadsworth Jarrell (American, b. 1929). Acrylic and metal foil on canvas; overall: 120.7 x 76.2 cm (47 1/2 x 30 in.). The Cleveland Museum of Art, Severance and Greta Millikin Purchase Fund, 2016.268. \u00a9 Wadsworth Jarrell", "current_location": "229A Contemporary", "title": "Heritage", "creation_date": "1973", "creation_date_earliest": 1973, "creation_date_latest": 1973, "artists_tags": ["Black American Artists", "male"], "culture": ["America"], "technique": "acrylic and metal foil on canvas", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "measurements": "Overall: 120.7 x 76.2 cm (47 1/2 x 30 in.)", "dimensions": {"overall": {"height": 1.207, "width": 0.762}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Wadsworth Jarrell", "inscriptions": [{"inscription": "Signed and dated in acrylic in lower right", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301434, "title": "Heritage: Wadsworth and Jae Jarrell", "description": "<i>Heritage: Wadsworth and Jae Jarrell</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 21, 2017-February 25, 2018).", "opening_date": "2017-11-21T05:00:00"}, {"id": 393229, "title": "Contemporary Installation", "description": "<i>Contemporary Installation</i>. The Cleveland Museum of Art (organizer).", "opening_date": "2021-04-12T04:00:00"}], "legacy": []}, "provenance": [{"description": "Collection of the artist", "citations": [], "footnotes": null, "date": "1973-?", "sortorder": 1}, {"description": "Private collector, Atlanta, GA, acquired directly from the artist", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "Private collector, Atlanta, GA, consigned for sale at Swann Auction Galleries", "citations": [], "footnotes": [], "date": "1973 - 2016", "sortorder": 3}, {"description": "(Swann Auction Galleries, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "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": "Look closely to find the words \u201cAfrican Rhythm,\" \"Our Heritage,\u201d and \u201cBlack Funk\" emerging from the musicians\u2019 heads.", "description": "In this painting, dense patterns in vivid colors comprise the figures of two jazz musicians. Phrases including \u201cAfrican Rhythm,\u201d \u201cOur Heritage,\u201d and \u201cBlack Funk\u201d emerge from the dynamic composition. The subjects and visual traits of this work are rooted in the priorities of the artist collective AfriCOBRA (African Commune of Bad Relevant Artists), of which Wadsworth Jarrell was a cofounder. Formed on the South Side of Chicago in 1968, AfriCOBRA was foundational to the Black Arts Movement\u2014the aesthetic branch of the Black Power Movement that flourished in the 1960s and 1970s. After leaving Chicago, Jarrell settled in Cleveland, where he now lives and works.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60482840"], "internet_archive": []}, "citations": [{"citation": "Rutland, Beau. \u201cAcquisition Highlights 2016: Contemporary Art.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 57, no. 2 (March/April 2017): 8-11.", "page_number": "Reproduced: P. 11; Mentioned: P. 7, 10", "url": "https://archive.org/details/CMAMM2017-02/page/n5/mode/2up"}, {"citation": "Th\u00fcring, Reto and Dowling, Nalani. \"Creative Heritage: Wadsworth and Jae Jarrell continue to create work that reflects their African roots.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 57, no. 6 (November/December 2017): 10-11.", "page_number": "Reproduced and Mentioned: p. 11", "url": "https://archive.org/details/CMAMM2017-06/page/n5/mode/2up"}, {"citation": "Jarrell, Wadsworth A.<em> AFRICOBRA: Experimental Art toward a School of Thought</em>. Durham, NC: Duke University Press, 2020", "page_number": null, "url": null}], "url": "https://clevelandart.org/art/2016.268", "images": {}, "alternate_images": [], "creditline": "Severance and Greta Millikin Purchase Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Toby's Gallery for Contemporary Art", "athena_id": 290457, "creators": [{"id": 290455, "description": "Wadsworth Jarrell (American, b. 1929)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1929", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2016-12-05T00:00:00-05:00", "sortable_date": 1973, "date_added_to_oa": null, "date_text": "1973", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:22.943000"}, {"id": 287950, "accession_number": "2016.55", "share_license_status": "Copyrighted", "tombstone": "Paysage au serpent (Landscape with Snake), 1927. Andr\u00e9 Masson (French, 1896\u20131987). Oil on canvas; unframed: 65 x 46 cm (25 9/16 x 18 1/8 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 2016.55", "current_location": "225 German Expressionism & Surrealism", "title": "Paysage au serpent (Landscape with Snake)", "creation_date": "1927", "creation_date_earliest": 1927, "creation_date_latest": 1927, "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: 65 x 46 cm (25 9/16 x 18 1/8 in.)", "dimensions": {"unframed": {"height": 0.65, "width": 0.46}}, "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"}], "legacy": [{"description": "The Cleveland Museum of Art (03/17/2018-06/06/2018): \"Recent Acquisitions 2014-2017\"", "opening_date": "2018-03-17T00:00:00"}]}, "provenance": [{"description": "[Galerie Simon, Paris]", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "[The Mayor Gallery, London]", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "Private collection, Paris", "citations": [], "footnotes": null, "date": null, "sortorder": 3}, {"description": "[Guttklein Gallery, Paris]", "citations": [], "footnotes": null, "date": null, "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Although this type of painting was known as \"automatic,\" Masson acknowledged that the process was both subconscious and conscious.", "description": "Surrealists such as Andr\u00e9 Masson believed that reality could be grasped only by unlocking the secrets of the subconscious mind, where prior knowledge that influences emotions and actions is stored. His pioneering technique, known as automatic painting, emphasized spontaneity, thereby allowing subconscious thoughts to emerge during the creative process. Masson worked rapidly when painting <em>Landscape with Snake</em>, applying gestural brushstrokes over a tan background and gouging through wet paint with a pencil. While forms occasionally coalesce to suggest a snake, a bird, or water flowing through a forest, the true subject is the dynamic process of painting.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60482834"], "internet_archive": []}, "citations": [{"citation": "\"New in the Galleries.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 56, no. 6 (November/December 2016): Back cover.", "page_number": "Reproduced and Mentioned: Back cover", "url": "https://archive.org/details/CMAMM2016-06"}, {"citation": "Robinson, William. \u201cAcquisition Highlights 2016: Modern Art.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 57, no. 2 (March/April 2017): 12.", "page_number": "Reproduced: p. 12; Mentioned: p. 7, 12", "url": "https://archive.org/details/CMAMM2016-06"}, {"citation": "Masson, Guite, Martin Masson, and Catherine Loewer. <em>Andre\u0301 Masson: catalogue raisonne\u0301 de l'oeuvre peint, 1918-1941.</em> Vaumarcus: ArtAcatos, 2010.", "page_number": "Reproduced: P. 371, no. 30", "url": null}], "url": "https://clevelandart.org/art/2016.55", "images": {}, "alternate_images": [], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 287950, "creators": [{"id": 2127, "description": "Andr\u00e9 Masson (French, 1896\u20131987)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1896", "death_year": "1987", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2016-09-06T00:00:00-04:00", "sortable_date": 1927, "date_added_to_oa": null, "date_text": "1927", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:03:26.148000"}, {"id": 85239, "accession_number": "2020.172", "share_license_status": "Copyrighted", "tombstone": "Gouise, 1966. Joan Mitchell (American, 1925\u20131992). Oil on canvas; unframed: 194.6 x 113.7 cm (76 5/8 x 44 3/4 in.). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift, 2020.172. \u00a9 Estate of Joan Mitchell", "current_location": "227 Abstract Expressionism", "title": "Gouise", "creation_date": "1966", "creation_date_earliest": 1966, "creation_date_latest": 1966, "artists_tags": ["female"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "measurements": "Unframed: 194.6 x 113.7 cm (76 5/8 x 44 3/4 in.)", "dimensions": {"unframed": {"height": 1.946, "width": 1.137}, "framed": {"height": 1.991, "width": 1.181, "depth": 0.06}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of Joan Mitchell", "inscriptions": [{"inscription": "Verso, signed (twice), upper left: Mitchell", "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>Art in Residence</em>. Carnegie Museum of Art, Pittsburgh, PA ( October 1973 \u2013 January 1974).", "opening_date": "1973-10-01T00:00:00"}]}, "provenance": [{"description": "Collection of the Artist", "citations": [], "footnotes": null, "date": "1966-1974", "sortorder": 1}, {"description": "Mr. and Mrs. Kenneth Goldsmith, Pittsburgh, PA, 1973, purchased through the Martha Jackson Gallery, New York, NY", "citations": [], "footnotes": null, "date": "1973-2004", "sortorder": 2}, {"description": "(Sotheby\u2019s, New York, Contemporary Art, November 10, 2004, no. 144, sold to Private Collection)", "citations": [], "footnotes": null, "date": "2004", "sortorder": 4}, {"description": "Private Collection, consigned to Phillips de Pury and Company, New York, NY", "citations": [], "footnotes": null, "date": "2004-2011", "sortorder": 5}, {"description": "(Phillips de Pury and Company, New York, NY, Contemporary Art Part I, May 12, 2011, no. 33)", "citations": [], "footnotes": null, "date": "2011", "sortorder": 6}, {"description": "(Alexandre Fine Art, Inc., New York, NY)", "citations": [], "footnotes": null, "date": "2011", "sortorder": 7}, {"description": "Nancy F. and Joseph P. Keithley, Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "2011-2020", "sortorder": 8}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2020-", "sortorder": 9}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Mitchell\u2019s beloved dogs were the only visitors permitted in her studio while she painted.", "description": "Named after a picturesque village in central France where Mitchell made a summertime visit, <em>Gouise </em>is an exuberant celebration of nature. Featuring vibrant colors, swirling forms, and lush textures, its large abstract composition evokes a sunlit garden in dazzling bloom. Rather than copy a specific scene, the artist rendered the rural landscape filtered through memory and sensation.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q87480904"], "internet_archive": []}, "citations": [{"citation": "Brown, Heather Lemonedes, ed. <em>The Keithley Collection at the Cleveland Museum of Art, </em>exh. cat.(Cleveland, OH: The Cleveland Museum of Art, 2022)", "page_number": "Mentioned PP. 168, 267; Reproduced PP. 169.", "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: Cover, p. 9; Mentioned: P. 9.", "url": ""}, {"citation": "Roberts, Sarah. \"Joan Mitchell.\" In <em>The Keithley Collection at the Cleveland Museum of Art, </em>edited by Heather Lemonedes Brown, 168-181. Cleveland, OH: The Cleveland Museum of Art, 2022.", "page_number": "Mentioned and reproduced: p. 168-169; Mentioned: p. 267-268", "url": ""}], "url": "https://clevelandart.org/art/2020.172", "images": {}, "alternate_images": [], "creditline": "Nancy F. and Joseph P. Keithley Collection Gift", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Frank H. and Nancy L. Porter Gallery", "athena_id": 85239, "creators": [{"id": 3564, "description": "Joan Mitchell (American, 1925\u20131992)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1925", "death_year": "1992", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2020-03-02T00:00:00-05:00", "sortable_date": 1966, "date_added_to_oa": null, "date_text": "1966", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:42.825000"}, {"id": 136571, "accession_number": "1961.134", "share_license_status": "Copyrighted", "tombstone": "Black and White, 1954. Franz Kline (American, 1910\u20131962). Oil on yellow-beige wove paper, laid down on cream wove paper; sheet: 31.7 x 25.2 cm (12 1/2 x 9 15/16 in.); secondary support: 32.4 x 26 cm (12 3/4 x 10 1/4 in.). The Cleveland Museum of Art, Contemporary Collection of The Cleveland Museum of Art, 1961.134. \u00a9 The Franz Kline Estate / Artists Rights Society (ARS), New York", "current_location": null, "title": "Black and White", "creation_date": "1954", "creation_date_earliest": 1954, "creation_date_latest": 1954, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on yellow-beige wove paper, laid down on cream wove paper", "support_materials": [{"description": "yellow-beige wove paper, laid down on cream(3) wove paper (discolored)", "watermarks": []}], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Sheet: 31.7 x 25.2 cm (12 1/2 x 9 15/16 in.); Secondary Support: 32.4 x 26 cm (12 3/4 x 10 1/4 in.)", "dimensions": {"sheet": {"height": 0.317, "width": 0.252}, "secondary support": {"height": 0.324, "width": 0.26}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 The Franz Kline Estate / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "signed, lower right, in graphite: kline", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "verso of secondary support, signed, across top, in black ink: franz kline", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "by artist, center left, in black ink: [arrow] / Top [underlined]", "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": 361476, "title": "Twentieth-Century American Drawing: Three Avant-Garde Generations", "description": "<i>Twentieth-Century American Drawing: Three Avant-Garde Generations</i>. Solomon R. Guggenheim Museum, New York, NY (organizer) (January 23-March 21, 1976).", "opening_date": "1976-01-23T05:00:00"}, {"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": 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": 361477, "title": "The Vital Gesture: Franz Kline in Retrospect", "description": "<i>The Vital Gesture: Franz Kline in Retrospect</i>. The Cincinnati Art Museum, Cincinnati, OH (organizer) (November 27, 1985-March 2, 1986); Pennsylvania Academy of Fine Arts, Museum of American Art, Philadelphia, PA (June 26-September 28, 1986).", "opening_date": "1985-11-27T05:00:00"}, {"id": 361478, "title": "Abstract Expressionism: Other Dimensions", "description": "<i>Abstract Expressionism: Other Dimensions</i>. Terra Museum of American Art (January 23-March 11, 1990); Jane Voorhees Zimmerli Art Museum, New Brunswick, NJ (organizer) (March 25-June 13, 1990).", "opening_date": "1989-10-26T04:00:00"}, {"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": 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": "(Sidney Janis Gallery, New York)", "citations": [], "footnotes": [], "date": "after 1954-by 1957", "sortorder": 1}, {"description": "(Leo Castelli Gallery, New York, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "after 1957-1961", "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": "Kline often worked with cheap, plentiful paper, such as telephone pages.", "description": "Known for his abstract paintings of bold interlocking forms in black and white paint, Franz Kline made many drawings, using the medium to work out his ideas quickly. Once he discovered a compelling image through this process. he worked directly from it to create a painting. This sheet does not directly correspond to a canvas, although it is generally related to a work from 1961. Its title was probably assigned by the artist's gallery, as he typically left his works untitled.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60820003"], "internet_archive": []}, "citations": [{"citation": "Lee, Sherman E. \"Year in Review 1961.\" <em>The Bulletin of the Cleveland Museum of Art</em> 48, no. 9 (1961)", "page_number": "", "url": "http://www.jstor.org/stable/25142473."}, {"citation": "Richards, Louise S. \"Three Contemporary Drawings.\" <em>Bulletin of the Cleveland Museum of Art</em> 49, no. 3 (March 1962): 55-59.", "page_number": "Mentioned and reproduced: pp. 58-59", "url": null}, {"citation": "Klee, Paul, Pavel Tchelitchew, Franz Kline, and Louise S. Richards. \"Three Contemporary Drawings.\" <em>The Bulletin of the Cleveland Museum of Art</em> 49, no. 3 (1962)", "page_number": "", "url": "http://www.jstor.org/stable/25142499."}, {"citation": "Henning, E.B. \"Two New Contemporary Sculptures.\" <em>Bulletin of the Cleveland Museum of Art</em> 54 (September 1967): 219-227.", "page_number": "Mentioned and reproduced: p. 223", "url": null}, {"citation": "Henning, E.B. \"Some Modern Paintings: Franz Kline <em>Accent Grave</em>.\" <em>Bulletin of the Cleveland Museum of Art</em> 56 (February 1969): 62-68.", "page_number": "Mentioned: p. 62; Reproduced: p. 63", "url": null}, {"citation": "<em>Twentieth-Century American Drawing: Three Avant-Garde Generations</em>. Exh. Cat. New York: Guggenheim Museum, 1976.", "page_number": "Mentioned: p. 73, no. 116", "url": null}, {"citation": "Meder, Joseph. <em>The Mastery of Drawings</em>. Vol. 2. New York: Abaris Books, 1978.", "page_number": "Mentioned: p. 302; Reproduced: pl. 309", "url": null}, {"citation": "Gaugh, Harry F. <em>The Vital Gesture: Franz Kline in Retrospect</em>. Exh. Cat. Cincinnati: Cincinnati Art Museum, 1985.", "page_number": "Mentioned: p. 160; Reproduced: pl. 160", "url": null}, {"citation": "Wechsler, Jeffrey. <em>Abstract Expressionism: Other Dimensions</em>. Exh. Cat. New Brunswick, NJ: Rutgers University Press, 1989.", "page_number": "Mentioned and reproduced: p. 45, no. 53", "url": null}, {"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: pp. 272-273, p. 298; Reproduced: p. 273", "url": null}], "url": "https://clevelandart.org/art/1961.134", "images": {}, "alternate_images": [], "creditline": "Contemporary Collection of The Cleveland Museum of Art", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 136571, "creators": [{"id": 3505, "description": "Franz Kline (American, 1910\u20131962)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1910", "death_year": "1962", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1961-12-02T00:00:00", "sortable_date": 1954, "date_added_to_oa": null, "date_text": "1954", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:17.894000"}, {"id": 150163, "accession_number": "1980.8", "share_license_status": "Copyrighted", "tombstone": "The Coffee Mill , 1916. Juan Gris (Spanish, 1887\u20131927). Oil on canvas; framed: 74.6 x 57.6 x 7 cm (29 3/8 x 22 11/16 x 2 3/4 in.); unframed: 55 x 38 cm (21 5/8 x 14 15/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1980.8", "current_location": "223 20th Century Avant-Garde", "title": "The Coffee Mill ", "creation_date": "1916", "creation_date_earliest": 1916, "creation_date_latest": 1916, "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: 74.6 x 57.6 x 7 cm (29 3/8 x 22 11/16 x 2 3/4 in.); Unframed: 55 x 38 cm (21 5/8 x 14 15/16 in.)", "dimensions": {"framed": {"height": 0.746, "width": 0.576, "depth": 0.07}, "unframed": {"height": 0.55, "width": 0.38}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed and dated in lower left: \"Juan Gris 5-16 \" ", "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": 222673, "title": "Juan Gris (1887-1927)", "description": "<i>Juan Gris (1887-1927)</i>. Museo Nacional Centro de Arte Reina Sof\u00cda, Madrid, Spain (organizer) (June 21-September 21, 2005).", "opening_date": "2005-06-21T00:00:00"}, {"id": 229656, "title": "Picasso to Plensa: A Century of Art from Spain", "description": "<i>Picasso to Plensa: A Century of Art from Spain</i>. The Albuquerque Museum, Albuquerque, NM (organizer) (December 18, 2005-April 16, 2006); Salvador Dal\u00ed Museum, St. Petersburg, FL (May 5-July 30, 2006).", "opening_date": "2005-12-18T00:00:00"}, {"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": 357190, "title": "Cubism in Color: The Still Lifes of Juan Gris", "description": "<i>Cubism in Color: The Still Lifes of Juan Gris</i>. The Dallas Museum of Art, Dallas, TX (organizer) (March 14-July 25, 2021) https://dma.org/art/exhibitions/cubism-color-still-lifes-juan-gris; The Baltimore Museum of Art, Baltimore, MD (September 12, 2021-January 9, 2022).", "opening_date": "2021-03-14T05:00:00"}], "legacy": [{"description": "<em>Nature Morte, Private Collection, Paris. </em>Paris, France.", "opening_date": null}, {"description": "<em>Juan Gris</em>. Kunsthalle Z\u00fcrich, Z\u00fcrich, Switzerland (April 2\u201326, 1933).", "opening_date": "1933-04-02T05:00:00Z"}, {"description": "<em>Gris, Braque, Picasso</em>. Kunsthalle, Berne, Switzerland (April 1948).", "opening_date": "1948-04-01T00:00:00"}, {"description": "<em>Juan Gris Retrospective</em>. Marlborough Fine Art Ltd., London, United Kingdom (February\u2013March 1958).", "opening_date": "1958-02-01T00:00:00"}, {"description": "<em>Juan Gris</em>. Orangerie des Tuileries, Paris, France (March 14\u2013July 1,1974); Kunsthalle, Baden-Baden, Germany (July 20\u2013September 29, 1974).", "opening_date": "1974-03-14T04:00:00Z"}]}, "provenance": [{"description": "(Galerie L\u00e9once Rosenberg, Paris, France, inventory no. 5165)", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "Dr. C. Huet, Paris, France", "citations": [], "footnotes": [], "date": null, "sortorder": 2}, {"description": "Collection Mlle. Rose Valland [1898-1980] Paris, France", "citations": [], "footnotes": [], "date": null, "sortorder": 3}, {"description": "(D.H. Kahnweiler- under name Galerie Simon from 1920-1940), Kahnweiler inventory no. 01690)", "citations": [], "footnotes": [], "date": "1920-1940", "sortorder": 4}, {"description": "(Galerie Jeanne Bucher, Paris, France)", "citations": [], "footnotes": [], "date": null, "sortorder": 5}, {"description": "Henri Hoppenot [1891-1977] Paris, France", "citations": [], "footnotes": [], "date": null, "sortorder": 6}, {"description": "(Palais Galliera, Paris, France, December 7.  1976, no. 28, sold to Lauvin, Guilloux, Buffetaud Tailleur", "citations": [], "footnotes": null, "date": "1976", "sortorder": 7}, {"description": "(Galerie Angora, Paris, France)", "citations": [], "footnotes": [], "date": null, "sortorder": 8}, {"description": "(Berggruen & Cie, Paris, France)", "citations": [], "footnotes": null, "date": null, "sortorder": 9}, {"description": "(Stephen Hahn Gallery. New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "1980", "sortorder": 10}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1980-", "sortorder": 11}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "A member of Picasso's intimate circle, Gris began painting austere Cubist compositions around 1910. After 1915, his compositions became more complex and his colors richer. This painting features a coffee mill, a bottle, and a wine glass on a table covered with a green cloth. The simulated wood-grain pattern on the coffee mill's base, perhaps inspired by Picasso's collage constructions, adds textural variety to this arrangement of fragmented and flattened geometric shapes.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60474725"], "internet_archive": []}, "citations": [{"citation": "Gris, Juan, and Christian Derouet. <em>Correspondances avec Le\u0301once Rosenberg, 1915-1927.</em> Paris: Centre Georges Pompidou, 1999.", "page_number": "Mentioned: P. 25, no. 29", "url": ""}, {"citation": "Peters, Hans Albert, and Douglas Cooper. <em>Juan Gris</em>. Baden-Baden: Die Kunsthalle, 1974.", "page_number": "Mentioned and reproduced: Cat. no. 38", "url": ""}, {"citation": "<em>Juan Gris. [Exposition] Orangerie des Tuileries, 14 mars - 1er juillet 1974.</em> [Paris]: [E\u0301ditions des Muse\u0301es Nationaux], 1974.", "page_number": "Mentioned: P. 51; Mentioned and reproduced: P. 91, no. 51", "url": ""}, {"citation": "Mayer, E. \"Paintings.\" <em>International Auction Records </em>Vol. XI (1977): 529-1168.", "page_number": "Mentioned and reproduced: P. 761", "url": ""}, {"citation": "Henning, Edward B. \"Two New Cubist Paintings by Juan Gris and Pablo Picasso.\" <em>The Bulletin of the Cleveland Museum of Art</em> 68, no. 2 (1981): 39-50.", "page_number": "Mentioned: P. 44, 47; Reproduced: P. 45, fig. 14", "url": "http://www.jstor.org/stable/25159711"}, {"citation": "Esteban Leal, Paloma. <em>Juan Gris: Paintings and Drawings, 1910-1927.</em> Madrid: Museo Nacional Centro de Arte Reina Sofi\u0301a, 2005.", "page_number": "Reproduced: Vol. I, no. 62; Mentioned and reproduced: Vol. II, P. 80-81, no. 62", "url": ""}, {"citation": "Cooper, Douglas, Margaret Potter, Alan Hyman, and Elizabeth Snowden. <em>Juan Gris: Catalogue Raisonne\u0301 de l'Oeuvre Peint: Catalogue Raisonne\u0301 of the Paintings.</em> San Francisco: Alan Wofsy Fine Arts, 2014.", "page_number": "Mentioned and reproduced: P. 294-295, cat. no. 168", "url": ""}, {"citation": "Myers, Nicole R., and Katherine Rothkopf, eds. C<em>ubism in Color: The Still Lifes of Juan Gris. </em>[Dallas, Texas]: The Dallas Museum of Art; [Baltimore, Maryland]: The Baltimore Museum of Art, 2021.", "page_number": "Reproduced: P. 143", "url": ""}], "url": "https://clevelandart.org/art/1980.8", "images": {}, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Michael J. Horvitz Family Gallery", "athena_id": 150163, "creators": [{"id": 2151, "description": "Juan Gris (Spanish, 1887\u20131927)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1887", "death_year": "1927", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1980-01-30T00:00:00", "sortable_date": 1916, "date_added_to_oa": null, "date_text": "1916", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:07:57.264000"}, {"id": 124804, "accession_number": "1946.283", "share_license_status": "CC0", "tombstone": "The Contemplator, 1901. Eug\u00e8ne Carri\u00e8re (French, 1849\u20131906). Oil on fabric; framed: 47.6 x 57.2 x 5.1 cm (18 3/4 x 22 1/2 x 2 in.); unframed: 33.6 x 41 cm (13 1/4 x 16 1/8 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, 1946.283", "current_location": null, "title": "The Contemplator", "creation_date": "1901", "creation_date_earliest": 1901, "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": "Framed: 47.6 x 57.2 x 5.1 cm (18 3/4 x 22 1/2 x 2 in.); Unframed: 33.6 x 41 cm (13 1/4 x 16 1/8 in.)", "dimensions": {"framed": {"height": 0.476, "width": 0.572, "depth": 0.051}, "unframed": {"height": 0.336, "width": 0.41}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right, etched into paint layer, revealing white ground: Eug\u00e8ne Carri\u00e8re\r\n\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"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"}, {"id": 455329, "title": "Le Symbolisme en Europe (Symbolism in Europe)", "description": "<i>Le Symbolisme en Europe (Symbolism in Europe)</i>. Museum Boijmans Van Beuningen, Rotterdam, Netherlands (organizer) (November 14, 1975-January 11, 1976); Palais des Beaux-Arts, Bruxelles, Belgium (January 23-March 7, 1976); Staatliche Kunsthalle Baden-Baden (March 19-May 6, 1976); Galeries Nationales du Grand Palais, 75008 Paris, France (May 21-July 19, 1976).", "opening_date": "1975-11-14T05:00:00"}, {"id": 223712, "title": "Eugene Carriere", "description": "<i>Eugene Carriere</i>. Mus\u00e9e des Beaux-Arts, Chateau des Rohan, Strasbourg (October 18, 1996-February 9, 1997).", "opening_date": "1996-10-18T00:00:00"}, {"id": 224225, "title": "European Muses, American Masters: 1870 to 1950", "description": "<i>European Muses, American Masters: 1870 to 1950</i>. Portland Museum of Art, Portland, ME (organizer) (June 23-October 17, 2004).", "opening_date": "2004-06-23T00:00:00"}, {"id": 214244, "title": "Rodin/Carri\u00e8re, Interferences", "description": "<i>Rodin/Carri\u00e8re, Interferences</i>. National Museum of Western Art, Tokyo, Tokyo, Japan (organizer) (March 7-June 4, 2006); Mus\u00e9e d'Orsay, Paris, France (July 10-October 1, 2006).", "opening_date": "2006-03-07T00:00:00"}], "legacy": [{"description": "On the occasion of the celebration of the centennial of Victor Hugo. Librairie des \u00c9ditions d'Art \u00c9douard Pelletan, Paris, France (1902).", "opening_date": "1902-01-01T00:00:00"}, {"description": "<em>Eug\u00e8ne Carri\u00e8re. </em>\u00c9cole Nationale des Beaux-Arts. Paris, France (1907).", "opening_date": "1907-01-01T00:00:00"}]}, "provenance": [{"description": "\u00c9douard Pelletan [1854-1912], Paris, France", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "(Scott & Fowles, New York, NY, sold to Ralph King)", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "Ralph King [1855-1926], Cleveland, OH, by gift in his memory from his family to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "-1946", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1946-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": ["393.25"], "did_you_know": "In this painting Carri\u00e8re captures the atmosphere of Victor Hugo's poems through his expressive brushstrokes and monochromatic palette. The artist's monochrome paintings influenced Picasso and his Blue Period works.", "description": "This painting illustrating Victor Hugo's poem <em>Boaz Sleeping</em> is one of five images Carri\u00e8re created to commemorate the centennial of Hugo's birth. A reclining poet gazes at the stars above, as if in a dream, placing one hand over his heart and gesturing toward a crescent moon. The moon was thought to exert a special influence on poets and artists, inspiring not only creativity but darker thoughts of melancholy and suicide.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60515265"], "internet_archive": ["https://archive.org/details/clevelandart-1946.283-the-contemplator"]}, "citations": [{"citation": "Carrie\u0300re, Euge\u0300ne, and Gabriel Se\u0301ailles. Exposition de l'\u0153uvre de Euge\u0300ne Carrie\u0300re au palais de l'e\u0301cole nationale des beaux-arts, quai malaquais, mai-juin 1907: catalogue des \u0153uvres expose\u0301es. Paris, France: Imprimerie Georges Petit, 1907.", "page_number": "Reproduced: no. 207", "url": null}, {"citation": "Francis, Henry S. \"Paintings.\" <em>The Bulletin of The Cleveland Museum of Art </em>XXXIV, no. 2 (February, 1947): 24.", "page_number": "Mentioned: p. 24", "url": null}, {"citation": "Carrie\u0300re, Jean-Rene\u0301. <em>De la Vie d'Euge\u0300ne Carrie\u0300re, souvenirs, lettres, pense\u0301es, documents</em>. Toulouse, France: E. Privat, 1966.", "page_number": "Reproduced: p. 229", "url": null}, {"citation": "Allentown Art Museum. <em>Euge\u0300ne Carrie\u0300re, 1849-1906, Seer of the Real</em>. Allentown Art Museum, Allentown, PA: 1968.", "page_number": "Reproduced: no. 21", "url": null}, {"citation": "Museum Boymans-Van Beuningen. <em>Le Symbolisme en Europe: [exposition] : Rotterdam, Museum Boymans-Van Beuningen, novembre 1975-janvier 1976, Bruxelles, Muse\u0301es royaux des beaux-arts de Belgique, janvier-mars 1976, Baden-Baden, Staatliche Kunsthalle, mars-mai 1976, Paris, Grand palais, mai-juillet 1976</em>. Paris, France: E\u0301ditions des muse\u0301es nationaux, 1976.", "page_number": "Reproduced: no. 22", "url": null}, {"citation": "Roberts-Jones, Philippe. <em>Beyond Time and Place: Non-Realist Painting in the Nineteenth Century</em>. Oxford, NY: Oxford University Press, 1978.", "page_number": "Reproduced: p. 138", "url": null}, {"citation": "Bantens, Robert James, and Robert Rosenblum. <em>Euge\u0300ne Carrie\u0300re: The Symbol of Creation</em>. New York, NY: Kent Fine Art, 1990.", "page_number": "Mentioned: p. 110-112; Reproduced: p. 1112", "url": null}, {"citation": "Rapetti, Rodolphe, Marie-Jeanne Geyer, and Marie-Pierre Sale\u0301. <em>Euge\u0300ne Carrie\u0300re, 1849-1906: Muse\u0301es de Strasbourg, Ancienne douane, 19 octobre 1996-9 fe\u0301vrier 1997</em>. Paris, France: Editions de la Re\u0301union des muse\u0301es nationaux, 1996.", "page_number": "Reproduced: no. 68", "url": null}, {"citation": "Bajou-Charpentreau, Vale\u0301rie. <em>Euge\u0300ne Carrie\u0300re: portrait intimiste, 1849-1906</em>. Lausanne, Switzerland: Acatos, 1998.", "page_number": "Reproduced: Detail, p. 154-155; Reproduced: p. 172-173", "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. 40", "url": null}, {"citation": "Klimt, Andreas, and Michael Steppes. <em>Allgemeines Ku\u0308nstlerlexikon: bio-bibliographischer Index A-Z = The artists of the world : bio-bibliographical index A-Z</em>. Mu\u0308nchen, Germany: K.G. Saur, 1999.", "page_number": "Reproduced: p. 608", "url": null}, {"citation": "Klimt, Andreas, and Michael Steppes. <em>Allgemeines Ku\u0308nstlerlexikon: bio-bibliographischer Index A-Z = The artists of the world : bio-bibliographical index A-Z</em>. Mu\u0308nchen, Germany: K.G. Saur, 1999.", "page_number": "Mentioned: p. 16, 608", "url": null}, {"citation": "Wissman, Fronia E., and Carrie Haslett. <em>European Muses, American Masters, 1870-1950</em>. Portland, ME: Portland Museum of Art, 2004.", "page_number": "Reproduced: p. 852", "url": null}, {"citation": "Buley-Uribe, Christina. <em>Auguste Rodin, Euge\u0300ne Carrie\u0300re</em>. Paris, France: Flammarion, 2006.", "page_number": "Mentioned: p. 41; Reproduced: p. 1119", "url": null}, {"citation": "Nora-Milin, Ve\u0301ronique, Alice Lamarre,and Rodolphe Rapetti. <em>Euge\u0300ne Carrie\u0300re, 1849-1906: catalogue raisonne\u0301 de l'\u0153uvre peint</em>. Paris, France: Gallimard, 2008.", "page_number": "Reproduced: p. 321", "url": null}, {"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. 128, no. 94", "url": null}, {"citation": "Bergez, Daniel. <em>Peindre le re\u0302ve: des re\u0302ves bibliques au surre\u0301alisme.</em> Paris : R\u00e9union des mus\u00e9es nationaux-Grand Palais, 2016.", "page_number": "Reproduced: 99, 128; Mentioned: 128-130.", "url": null}], "url": "https://clevelandart.org/art/1946.283", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1946.283/1946.283_web.jpg", "width": "1096", "height": "893", "filesize": "764322", "filename": "1946.283_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1946.283/1946.283_print.jpg", "width": "3400", "height": "2769", "filesize": "7650147", "filename": "1946.283_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1946.283/1946.283_full.tif", "width": "6000", "height": "4887", "filesize": "87997200", "filename": "1946.283_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": 124804, "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": "1946-11-25T00:00:00", "sortable_date": 1901, "date_added_to_oa": null, "date_text": "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": ["Ruth's Dream"], "is_highlight": false, "updated_at": "2026-03-27 00:01:35.735000"}, {"id": 173011, "accession_number": "2017.127", "share_license_status": "Copyrighted", "tombstone": "Sea Painting I, 1973\u201374. Brice Marden (American, 1938\u20132023). Oil and wax on canvas; unframed: 182.8 x 137.2 cm (71 15/16 x 54 in.). The Cleveland Museum of Art, Gift of Agnes Gund given in honor of the Cleveland Museum of Art\u2019s Centennial, 2017.127. \u00a9 Brice Marden / Artists Rights Society (ARS), New York", "current_location": null, "title": "Sea Painting I", "creation_date": "1973\u201374", "creation_date_earliest": 1973, "creation_date_latest": 1974, "artists_tags": ["male"], "culture": ["America"], "technique": "oil and wax on canvas", "support_materials": [], "department": "Contemporary Art", "collection": "Paintings", "type": "Painting", "measurements": "Unframed: 182.8 x 137.2 cm (71 15/16 x 54 in.)", "dimensions": {"unframed": {"height": 1.828, "width": 1.372}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Brice Marden / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "Signed, titled, and dated 1973\u201374 on reverse of the top panel;", "inscription_translation": null, "inscription_remark": null, "sortorder": 1}, {"inscription": "titled and dated on the reverse of the bottom panel.", "inscription_translation": null, "inscription_remark": null, "sortorder": 2}, {"inscription": "Written in black marker (verso): \nTop Panel: \nSEA PAINTING I \n2 PANELS 36\" X 54\" EACH\n72\" X 54\"\n1973-74\nB. Marden", "inscription_translation": null, "inscription_remark": null, "sortorder": 3}, {"inscription": "Written in black marker (verso): \nBottom Panel: \n72\" X 54\" \n1973-74\nB. Marden", "inscription_translation": null, "inscription_remark": null, "sortorder": 4}], "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": 306886, "title": "Recent Acquisitions", "description": "<i>Recent Acquisitions</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 17-June 7, 2018).", "opening_date": "2018-03-17T04:00:00"}], "legacy": [{"description": "<em>New Paintings, Brice Marden. </em>Bykert Gallery, New York, NY (March 23\u2013April 17, 1974)", "opening_date": "1974-03-23T04:00:00Z"}, {"description": "<em>Continuing Abstraction in American Art. </em>Whitney Museum of American Art, New York, NY [Downtown Branch] (September 19\u2013November 1, 1974)", "opening_date": "1974-09-19T04:00:00Z"}, {"description": "<em>A Selection of American Art: The Skowhegan School 1946\u20131976. </em>Institute of Contemporary Art, Boston, MA (June 16\u2013September 5, 1976; Colby Museum of Art, Waterville, ME, (October 1\u201330, 1976)", "opening_date": "1976-06-16T04:00:00Z"}, {"description": "<em>American Art in Belgium</em>. Palais des Beaux-Arts, Brussels, Belgium (May 25\u2013August 28, 1977)", "opening_date": "1977-05-25T04:00:00Z"}, {"description": "<em>Bilderstreit: Iconoclasm \u2013 Appeal, Unity and Fragment in Art Since 1960</em>. The Rheinhallen, Cologne, Germany (April 8\u2013June 28, 1989)", "opening_date": "1989-04-08T04:00:00Z"}, {"description": "<em>In Quest of the Absolute</em>. Blumarts Inc., New York, NY (April 6\u2013June 8, 1996)", "opening_date": "1996-04-06T05:00:00Z"}, {"description": "<em>The Persistence of Geometry: Form, Content and Culture in the Collection of the Cleveland Museum of Art. </em>MOCA Cleveland, Cleveland, OH (June 9\u2013 August 20, 2006)", "opening_date": "2006-06-09T04:00:00Z"}]}, "provenance": [{"description": "Collection of the artist", "citations": [], "footnotes": null, "date": "1973\u2013?", "sortorder": 1}, {"description": "Bykert Gallery, New York, NY", "citations": [], "footnotes": [], "date": "?", "sortorder": 2}, {"description": "John Weber Gallery, New York, NY", "citations": [], "footnotes": null, "date": "?", "sortorder": 3}, {"description": "Collection Parasol Press, New York, NY", "citations": [], "footnotes": null, "date": "?", "sortorder": 4}, {"description": "Charles Kriwin, Brussels, BE", "citations": [], "footnotes": null, "date": "?", "sortorder": 5}, {"description": "John Weber Gallery, New York, NY", "citations": [], "footnotes": null, "date": "?", "sortorder": 6}, {"description": "Saatchi Collection", "citations": [], "footnotes": null, "date": "by 1984\u2013before 1991", "sortorder": 7}, {"description": "Gagosian Gallery, New York, NY", "citations": [], "footnotes": null, "date": "1990", "sortorder": 8}, {"description": "(Sotheby\u2019s, New York, NY, Sale #6164, Contemporary Art Part I, April 30, 1991, Lot 30)", "citations": [], "footnotes": null, "date": "April 30, 1991", "sortorder": 9}, {"description": "Agnes Gund, New York, NY", "citations": [], "footnotes": null, "date": "1991\u20132017", "sortorder": 10}, {"description": "Agnes Gund, New York, NY, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "2017", "sortorder": 11}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2017\u2013", "sortorder": 12}], "find_spot": null, "related_works": [], "former_accession_numbers": ["287.1993"], "did_you_know": "Later in his career, Marden dispensed with the wax technique used in <em>Sea Painting I</em> and developed a new method of mixing terpineol with oil to produce a pigment better suited to conveying the physicality of the canvas.", "description": "Brice Marden made his first monochromatic, single-panel painting in the winter of 1964. During the next 20 years, he created spare, abstract, often multipaneled paintings that won national acclaim. In <em>Sea Painting I</em>, two rectangular canvases were painted with a mixture of beeswax and oil\u2014known as encaustic\u2014creating a smooth, dense surface with a matte finish. <br><br>Marden tested the reductionist tendencies of Minimalism by reintroducing references to landscape into a seemingly abstract painting. Here, he used subtle tones of gray-green that suggest water and atmosphere. The sharp split of color alludes to the division between sky and ocean and a limitless view to the horizon.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60482570"], "internet_archive": []}, "citations": [{"citation": "Ellenzweig, Allen. <em>Selection of American Art: The Skowhegan School 1946\u20131976</em>. Boston:  Institute of Contemporary Art, 1976.", "page_number": "Reproduced:  P. 121", "url": ""}, {"citation": "Roque, Georges, Karel J. Geirlandt, and Monique Verken. <em>American Art in Belgium: [Exhibit Held at Palais Des Beaux-Arts De Bruxelles 25.5-28.8.1977]</em>. Bruxelles: Socie\u0301te\u0301 des expositions du Palais des beaux-arts, 1977.", "page_number": "Mentioned and reproduced, P. 133, no. 95; p. 166 reproduced.", "url": ""}, {"citation": "Saatchi Collection, and Peter Schjeldahl. <em>Art of Our Time: The Saatchi Collection, </em>vol. 1<em>.</em> London: Lund Humphries, 1985.", "page_number": "Mentioned: p. 7; Reproduced: Pl. 70.", "url": ""}, {"citation": "Gohr, Siegfried, and Johannes Gachnang. <em>Bilderstreit: Widerspruch, Einheit und Fragment in der Kunst seit 1960</em>. Ko\u0308ln: DuMont, 1989.", "page_number": "Catalogue No. 444; mentioned: p. 521", "url": ""}, {"citation": "Lewison, Jeremy, and Brice Marden. <em>Brice Marden: Prints, 1961\u20131991 : a Catalogue Raisonne\u0301</em>. London: Tate Gallery, 1992.", "page_number": "Reproduced:  P. 33", "url": ""}, {"citation": "Franz, Erich. <em>In Quest of the Absolute</em>. New York: Peter Blum, 1996.", "page_number": "Mentioned and reproduced in color:  p. 66\u201367.", "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. 75, no. 110.", "url": ""}, {"citation": "Th\u00fcring, Reto and Liebert, Emily. \u201cAcquisition Highlights: Contemporary Art.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 58, no. 2 (March/April 2018): 24-25.", "page_number": "Reproduced and Mentioned: P. 24", "url": "https://archive.org/details/CMAMM2018-02/page/n11/mode/2up"}, {"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\u2013104.", "page_number": "Mentioned and reproduced: P. 101, no. 16; mentioned: P. 93", "url": ""}], "url": "https://clevelandart.org/art/2017.127", "images": {}, "alternate_images": [], "creditline": "Gift of Agnes Gund given in honor of the Cleveland Museum of Art\u2019s Centennial", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 173011, "creators": [{"id": 9279, "description": "Brice Marden (American, 1938\u20132023)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1938", "death_year": "2023", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2017-09-11T00:00:00-04:00", "sortable_date": 1973, "date_added_to_oa": null, "date_text": "1973\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": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:24.424000"}, {"id": 361520, "accession_number": "2019.182", "share_license_status": "Copyrighted", "tombstone": "Salut de Schiaparelli, 1934. Ilse Bing (American, 1899\u20131998). Gelatin silver print, solarized; image: 20.3 x 27.9 cm (8 x 11 in.). The Cleveland Museum of Art, Gift of Michael Mattis and Judith Hochberg, 2019.182. \u00a9 Estate of Ilse Bing", "current_location": null, "title": "Salut de Schiaparelli", "creation_date": "1934", "creation_date_earliest": 1934, "creation_date_latest": 1934, "artists_tags": ["female"], "culture": ["America"], "technique": "gelatin silver print, solarized", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 20.3 x 27.9 cm (8 x 11 in.)", "dimensions": {"image": {"height": 0.203, "width": 0.279}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of Ilse Bing", "inscriptions": [], "exhibitions": {"current": [{"id": 370361, "title": "Ilse Bing: Queen of the Leica", "description": "<i>Ilse Bing: Queen of the Leica</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 6-October 11, 2020).", "opening_date": "2020-03-06T05:00:00"}], "legacy": []}, "provenance": [{"description": "Estate of the Artist", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "Edwynn Houk Gallery, New York, NY", "citations": [], "footnotes": [], "date": null, "sortorder": 2}, {"description": "Michael Mattis and Judith Hochberg, Scarsdale, NY", "citations": [], "footnotes": [], "date": "c. 2005-2010", "sortorder": 3}, {"description": "the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "September 3, 2019", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "<em>Salut de Schiaparelli</em> was created to promote a perfume with that name released by Paris designer Elsa Schiaparelli.", "description": "Ilse Bing employed solarization here to evoke an otherworldly, surrealistic feeling. The procedure involves quickly re-exposing a photographic print to light during the development process, before the image is fixed. The result is a partial or total reversal of tone, so areas that are dark become light and vice versa. Bing considered darkroom work a final stage in a photograph\u2019s creation.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79878076"], "internet_archive": []}, "citations": [{"citation": "\"In Perspective: Leica queen.\"<em> Art &amp; Antiques </em>43, no. 3 (March 2020): 30.", "page_number": "Reproduced: p. 30; Mention: p. 30", "url": null}, {"citation": "Tannenbaum, Barbara.  \u201cAcquisitions 2019: Photography.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>60, no. 2 (March/April 2020): 24-26.", "page_number": "Reproduced: P. 25; Mentioned: P. 24.", "url": ""}], "url": "https://clevelandart.org/art/2019.182", "images": {}, "alternate_images": [], "creditline": "Gift of Michael Mattis and Judith Hochberg", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 361520, "creators": [{"id": 291349, "description": "Ilse Bing (American, 1899\u20131998)", "extent": null, "qualifier": null, "role": "artist", "biography": "American and German photographer, born 1899 or 1900, died 1998", "name_in_original_language": null, "birth_year": "1899", "death_year": "1998", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2019-09-09T00:00:00-04:00", "sortable_date": 1934, "date_added_to_oa": null, "date_text": "1934", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:02:03.198000"}, {"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": 150482, "accession_number": "1981.46", "share_license_status": "Copyrighted", "tombstone": "Rock Carvings: Passage of the Seasons, 1981. Isamu Noguchi (American, 1904\u20131988). Basalt with mineral accretions; part 1: 286.9 cm (112 15/16 in.); part 2: 347.8 cm (136 15/16 in.); part 3: 208.4 cm (82 1/16 in.). The Cleveland Museum of Art, Gift of the Mildred Andrews Fund, 1981.46. \u00a9 The Isamu Noguchi Foundation and Garden Museum, New York / Artists Rights Society (ARS), New York", "current_location": "NL North Lawn", "title": "Rock Carvings: Passage of the Seasons", "creation_date": "1981", "creation_date_earliest": 1981, "creation_date_latest": 1981, "artists_tags": ["Asian American", "male"], "culture": ["America"], "technique": "basalt with mineral accretions", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Sculpture", "type": "Sculpture", "measurements": "Part 1: 286.9 cm (112 15/16 in.); Part 2: 347.8 cm (136 15/16 in.); Part 3: 208.4 cm (82 1/16 in.)", "dimensions": {"part 1": {"height": 2.869}, "part 2": {"width": 3.478}, "part 3": {"length": 2.084}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 The Isamu Noguchi Foundation and Garden Museum, New York / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "Initialed on base: \"I.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"}], "legacy": [{"description": "CMA 1982:  \"Year in Review 1981\" cat. no. 48", "opening_date": "1981-01-01T00:00:00"}]}, "provenance": [{"description": "The Mildred Andrews Fund, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1981", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1981\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This three-part stone sculpture was commissioned for the Cleveland Museum of Art's north lawn in 1981.", "description": "Noguchi's use of interesting stones with a minimum of carved manipulation derives in part from Eastern traditions of reverence for the mystic qualities and natural aesthetics of rocks. It also draws from modern art movements in the artist's incorporation of pre-existing and serendipitous formal qualities of the material itself.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780840"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art, \u201cMonumental Noguchi Sculpture to be Installed at the Cleveland Museum of Art,\u201d March 31, 1981, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr2868"}, {"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": "Mentioned: p. 79, no. 48", "url": "http://www.jstor.org/stable/25159758"}], "url": "https://clevelandart.org/art/1981.46", "images": {}, "alternate_images": [], "creditline": "Gift of the Mildred Andrews Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 150482, "creators": [{"id": 29845, "description": "Isamu Noguchi (American, 1904\u20131988)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1904", "death_year": "1988", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1981-08-19T00:00:00", "sortable_date": 1981, "date_added_to_oa": null, "date_text": "1981", "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 23:59:38.273000"}, {"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": 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": "2026-04-07 22:01:08.431000"}, {"id": 375552, "accession_number": "2019.58.b", "share_license_status": "Copyrighted", "tombstone": "Blue Rational/Irrational (right panel), 1969. Al Loving (American, 1935\u20132005). Acrylic on canvas. The Cleveland Museum of Art, Gift of the KeyBank Collection, 2019.58.b. \u00a9 The Estate of Al Loving and Garth Greenan Gallery, New York", "current_location": "224A Contemporary Corridor", "title": "Blue Rational/Irrational (right panel)", "creation_date": "1969", "creation_date_earliest": 1964, "creation_date_latest": 1974, "artists_tags": ["Black American Artists", "male"], "culture": ["America"], "technique": "Acrylic on canvas", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 The Estate of Al Loving and Garth Greenan Gallery, New York", "inscriptions": [], "exhibitions": {"current": [{"id": 393229, "title": "Contemporary Installation", "description": "<i>Contemporary Installation</i>. The Cleveland Museum of Art (organizer).", "opening_date": "2021-04-12T04:00:00"}], "legacy": [{"description": "<em>Alvin Loving: Paintings</em>. Whitney Museum of American Art, New York, NY (December 19, 1969\u2013January 25, 1970).", "opening_date": "1969-12-19T00:00:00"}]}, "provenance": [{"description": "Collection of the artist", "citations": [], "footnotes": [], "date": "1969-?", "sortorder": 1}, {"description": "(KeyBank Collection, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "early 1990s-2019", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2019-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This was included in <em>Al Loving: Paintings </em>(1969) at the Whitney Museum, the museum\u2019s first solo exhibition of work by an African American artist.", "description": "Across both canvases of this large-scale diptych, Loving evokes a three-dimensional space on a two-dimensional surface through strategic layerings of cubic forms and carefully calibrated color juxtapositions. Around the time Loving made this work he wrote, \u201cI am tired of objects on walls. The wall must be pierced, brought forward, pushed back.\u201d <em>Blue Rational/Irrational</em> is a bold manifestation of this sentiment.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q84278613"], "internet_archive": []}, "citations": [{"citation": "Cooke, Lynne, and Douglas Crimp. Outliers and American Vanguard Art. 2018.", "page_number": "96-97", "url": null}, {"citation": "Bowling, Frank, and Kellie Jones. Energy/Experimentation: Black Artists and Abstraction 1964-1980 : Frank Bowling, Barbara Chase-Riboud, Ed Clark, Melvin Edwards, Fred Eversley, Sam Gilliam, Daniel LaRue Johnson, Tom Lloyd, Al Loving, Joe Overstreet, Howardena Pindell, Haywood Bill Rivers, Alma Thomas, Jack Whitten, William T. Williams ; [Guest Curator Kellie Jones]. 2006.", "page_number": "55", "url": null}], "url": "https://clevelandart.org/art/2019.58.b", "images": {}, "alternate_images": [], "creditline": "Gift of the KeyBank Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Betty and Max Ratner Gallery", "athena_id": 375552, "creators": [{"id": 63955, "description": "Al Loving (American, 1935\u20132005)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1935", "death_year": "2005", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2019-03-04T00:00:00-05:00", "sortable_date": 1964, "date_added_to_oa": null, "date_text": "1969", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "2019.58", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:02:26.209000"}, {"id": 523194, "accession_number": "2022.142", "share_license_status": "Copyrighted", "tombstone": "Umber-Black, 1975. Yun Hyong-keun (Korean, 1928\u20132007). Oil on linen; 93.5 x 113 cm (36 13/16 x 44 1/2 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 2022.142. \u00a9 Yun Seong-ryeol", "current_location": "236 Korean", "title": "Umber-Black", "creation_date": "1975", "creation_date_earliest": 1975, "creation_date_latest": 1975, "artists_tags": ["Asian (from 1900 to present)", "male"], "culture": ["Korea"], "technique": "Oil on linen", "support_materials": [], "department": "Korean Art", "collection": "Korean Art", "type": "Painting", "measurements": "93.5 x 113 cm (36 13/16 x 44 1/2 in.)", "dimensions": {"No Extent Specified": {"height": 0.935, "width": 1.13}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Yun Seong-ryeol", "inscriptions": [{"inscription": "Umber-Black 1975 H. K. Yoon", "inscription_translation": null, "inscription_remark": "The painting is signed and dated on the verso of the proper right foldover edge.", "sortorder": null}], "exhibitions": {"current": [{"id": 517759, "title": "Material and Immaterial in Korean Modern and Contemporary Art", "description": "<i>Material and Immaterial in Korean Modern and Contemporary Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 28, 2023-February 25, 2024).", "opening_date": "2023-04-28T04:00:00"}, {"id": 677112, "title": "Juxtaposition and Juncture in Korean Modern and Contemporary Art", "description": "<i>Juxtaposition and Juncture in Korean Modern and Contemporary Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 21, 2025-May 3, 2026).", "opening_date": "2025-03-21T04:00:00"}], "legacy": []}, "provenance": [{"description": "(PKM Gallery, Seoul, South Korea, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "?\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": [], "did_you_know": "The South Korean pop band BTS's RM in his solo album (released in 2022) dedicated the first track to the artist Yun Hyong-Keun.", "description": "The dark pillars that extend the height of the canvas in Yun Hyong Keun's <em>Umber-Black</em> exemplify the type of work for which the artist was most celebrated. The composition seems simple, yet the process was long and complex. After adding layers of paint\u2014often applying the next coat before the last one had dried\u2014Yun diluted the pigments, allowing them to seep into the fibers of the coarse linen. According to the artist, blank spaces between the pillars evoke a pathway toward \u201cthe gate of heaven and earth.\u201d Yet Yun\u2019s paintings do not depict a peaceful cosmos. They were a sanctuary where Yun could escape anger toward the prevailing injustice of South Korea\u2019s military dictatorship in the 1970s and 1980s.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117247695"], "internet_archive": []}, "citations": [{"citation": "Kee. Joan. <em>Contemporary Korean Art: Tansaekhwa and the Urgency of Method. </em>Minneapolis, MN: University of Minnesota Press, 2013.", "page_number": "", "url": ""}, {"citation": "Kee, Joan. <em>From All Sides Tansaekhwa on Abstraction</em>. Los Angeles, CA: Blum and Poe, 2015.", "page_number": "", "url": ""}], "url": "https://clevelandart.org/art/2022.142", "images": {}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 523194, "creators": [{"id": 523196, "description": "Yun Hyong-keun (Korean, 1928\u20132007)", "extent": null, "qualifier": null, "role": null, "biography": "\uc724\ud615\uadfc (1928\u20132007), Korean painter", "name_in_original_language": "\uc724\ud615\uadfc", "birth_year": "1928", "death_year": "2007", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2022-12-05T05:00:00Z", "sortable_date": 1975, "date_added_to_oa": null, "date_text": "1975", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Umber-Blue"], "is_highlight": true, "updated_at": "2026-03-27 16:32:51.434000"}, {"id": 148172, "accession_number": "1975.168.2", "share_license_status": "Copyrighted", "tombstone": "Mask, c. 1945\u201350. Duga of M\u1eb9k\u1ecd (Nigerian, Yor\u00f9b\u00e1 peoples, 1880\u20131960). Wood and paint; overall: 86 cm (33 7/8 in.). The Cleveland Museum of Art, Gift of Katherine C. White, 1975.168.2", "current_location": "108A African", "title": "Mask", "creation_date": "c. 1945\u201350", "creation_date_earliest": 1945, "creation_date_latest": 1950, "artists_tags": ["male"], "culture": ["Africa, West Africa, Nigeria, Yor\u00f9b\u00e1 peoples"], "technique": "Wood and paint", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Mask", "measurements": "Overall: 86 cm (33 7/8 in.)", "dimensions": {"overall": {"length": 0.86}}, "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": [{"description": "CMA 1976: \"Year in Review 1975,\" Bulletin LXIII (February 1976), p. 65, no. 18.", "opening_date": "1976-02-01T00:00:00"}, {"description": "CMA 1986:  Possessors of Power:  African Masks and Sculpture, January 28-March 23, 1986; The Beachwood Museum, April 2-30, 1986.", "opening_date": "1930-04-02T00:00:00"}]}, "provenance": [{"description": "Katherine C. White [1929-1980], Gates Mills, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1975", "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": [], "did_you_know": "Duga received a kind of \"scholarship\" for his apprenticeship with a master carver in Ketu. The Ge\u0323\u0300le\u0323\u0300de\u0301 society paid for his training in exchange for masks he later carved for them.", "description": "Men in the Ge\u0323\u0300le\u0323\u0300de\u0301 society performed paired masks like these during annual masquerades honoring <em>\u00ccy\u00e1 Nl\u00e1</em> (Great Mother). The event demonstrates respect for motherhood and female power within a male-dominated society. These ge\u0323\u0300le\u0323\u0300de\u0301 masks depict idealized \u201cbeautiful maidens\u201d with crocodiles perched atop their head ties. Such dangerous reptiles were linked to witches and the thunder god; their jointed tails swung realistically during performance. Multiple paint layers show how these masks were repainted to keep them looking fresh. Masks like these gained Duga his reputation as M\u1eb9k\u1ecd\u2019s best sculptor and a noted early 20th-century Yor\u00f9b\u00e1 artist.", "external_resources": {"wikidata": [], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1975.168.2", "images": {}, "alternate_images": [], "creditline": "Gift of Katherine C. White", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 148172, "creators": [{"id": 10188, "description": "Duga of M\u1eb9k\u1ecd (Nigerian, Yor\u00f9b\u00e1 peoples, 1880\u20131960)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1880", "death_year": "1960", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1976-01-08T00:00:00", "sortable_date": 1945, "date_added_to_oa": null, "date_text": "c. 1945\u201350", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1975.168", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Gelede Mask"], "is_highlight": false, "updated_at": "2026-03-26 23:59:08.107000"}, {"id": 173062, "accession_number": "2017.125", "share_license_status": "Copyrighted", "tombstone": "Standing Mitt with Ball, 1973. Claes Thure Oldenburg (American, 1929\u20132022). Steel, lead and wood; overall: 210.8 x 241.2 x 388.4 cm (83 x 94 15/16 x 152 15/16 in.). The Cleveland Museum of Art, Gift of Agnes Gund given in honor of George Gund III, 2017.125. \u00a9 Claes Thure Oldenburg", "current_location": "ATRM Atrium", "title": "Standing Mitt with Ball", "creation_date": "1973", "creation_date_earliest": 1973, "creation_date_latest": 1973, "artists_tags": ["male"], "culture": ["America"], "technique": "steel, lead and wood", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Sculpture", "type": "Sculpture", "measurements": "Overall: 210.8 x 241.2 x 388.4 cm (83 x 94 15/16 x 152 15/16 in.)", "dimensions": {"overall": {"height": 2.108, "width": 2.412, "depth": 3.884}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Claes Thure Oldenburg", "inscriptions": [], "exhibitions": {"current": [], "legacy": [{"description": "The New Gallery", "opening_date": "1972-12-04T05:00:00Z"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": ["3.2014"], "did_you_know": "This artist makes super-sized re-creations of everyday objects.", "description": "Oldenburg is known for creating artworks that reinterpret the quotidian objects that make up our everyday lives in a variety of sizes and materials, whether they are truly banal, bizarre, or curiously appealing. This colossal work conflates rigid steel, soft lead, and curved wooden planks to present a monumental distillation of America\u2019s favorite pastime.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60781171"], "internet_archive": []}, "citations": [{"citation": "Knight, Michael. \u201c12-Foot-High Baseball Mitt is Safe at Home.\u201d <em>New York Times</em>. October 17, 1973.", "page_number": "", "url": ""}, {"citation": "Krebs, Betty Dietz. \u201c\u2018Standing Mitt\u2019 Sends Smaller Version Here.\u201d <em>Dayton Daily News</em>. January 25, 1974.", "page_number": "", "url": ""}, {"citation": "Wootten, Dick. \u201c17 area artists are included in NOVA exhibit.\u201d <em>Cleveland Press</em>. December 1, 1973.", "page_number": "", "url": ""}, {"citation": "McCaslin, Walt. \u201cMitt-and-ball art shows way creativity digresses, develops.\u201d <em>Dayton Journal Herald.</em> January 25, 1975.", "page_number": "", "url": ""}, {"citation": "Borsick, Helen. \u201cMonumental Mitt.\u201d <em>The Plain Dealer</em>. December 2, 1973.", "page_number": "", "url": ""}], "url": "https://clevelandart.org/art/2017.125", "images": {}, "alternate_images": [], "creditline": "Gift of Agnes Gund given in honor of George Gund III", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "The Ames Family Atrium", "athena_id": 173062, "creators": [{"id": 9243, "description": "Claes Thure Oldenburg (American, 1929\u20132022)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1929", "death_year": "2022", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2017-09-11T00:00:00-04:00", "sortable_date": 1973, "date_added_to_oa": null, "date_text": "1973", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:42.755000"}, {"id": 361517, "accession_number": "2019.177", "share_license_status": "Copyrighted", "tombstone": "Self-Portrait with Mirrors, 1931 (printed 1980s). Ilse Bing (American, 1899\u20131998). Gelatin silver print; image: 26.7 x 30.5 cm (10 1/2 x 12 in.). The Cleveland Museum of Art, The A. W. Ellenberger, Sr., Endowment Fund, 2019.177. \u00a9 Estate of Ilse Bing", "current_location": null, "title": "Self-Portrait with Mirrors", "creation_date": "1931 (printed 1980s)", "creation_date_earliest": 1931, "creation_date_latest": 1931, "artists_tags": ["female"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 26.7 x 30.5 cm (10 1/2 x 12 in.)", "dimensions": {"image": {"height": 0.267, "width": 0.305}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of Ilse Bing", "inscriptions": [], "exhibitions": {"current": [{"id": 370361, "title": "Ilse Bing: Queen of the Leica", "description": "<i>Ilse Bing: Queen of the Leica</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 6-October 11, 2020).", "opening_date": "2020-03-06T05:00:00"}], "legacy": []}, "provenance": [{"description": "Estate of the Artist", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "Michael Mattis and Judith Hochberg, Scarsdale, NY", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "September 3, 2019", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This playful yet profound self-portrait is the artist\u2019s signature image.", "description": "Ilse Bing\u2019s penetrating gaze is directed both at her self-image and at the viewer. The artist set up two mirrors that simultaneously provide profile and frontal views of her face. Neither is a photograph of the artist, merely of her reflection. Photography, this riveting image suggests, is a medium of illusion as well as reportage.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79878069"], "internet_archive": []}, "citations": [{"citation": "\"In Perspective: Leica queen.\"<em> Art &amp; Antiques </em>43, no. 3 (March 2020): 30.", "page_number": "Reproduced: p. 30; Mention: p. 30", "url": null}], "url": "https://clevelandart.org/art/2019.177", "images": {}, "alternate_images": [], "creditline": "The A. W. Ellenberger, Sr., Endowment Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 361517, "creators": [{"id": 291349, "description": "Ilse Bing (American, 1899\u20131998)", "extent": null, "qualifier": null, "role": "artist", "biography": "American and German photographer, born 1899 or 1900, died 1998", "name_in_original_language": null, "birth_year": "1899", "death_year": "1998", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2019-09-09T00:00:00-04:00", "sortable_date": 1931, "date_added_to_oa": null, "date_text": "1931 (printed 1980s)", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:04:30.790000"}, {"id": 85561, "accession_number": "2020.139", "share_license_status": "Copyrighted", "tombstone": "West Point, Maine, 1914. John Marin (American, 1870\u20131953). Watercolor with scraping and traces of graphite on thick, moderately rough-textured wove paper; image and sheet: 38 x 40.8 cm (14 15/16 x 16 1/16 in.). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift, 2020.139. \u00a9 Estate of John Marin / Artists Rights Society (ARS), New York", "current_location": null, "title": "West Point, Maine", "creation_date": "1914", "creation_date_earliest": 1914, "creation_date_latest": 1914, "artists_tags": ["male"], "culture": ["America"], "technique": "Watercolor with scraping and traces of graphite on thick, moderately rough-textured wove paper", "support_materials": [], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Image and Sheet: 38 x 40.8 cm (14 15/16 x 16 1/16 in.)", "dimensions": {"image and sheet": {"height": 0.38, "width": 0.408}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of John Marin / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "Recto, lower right: \"Marin/14\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Written in pencil on verso: \"77= (circled)\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Written in pencil on verso: \"JM (initialed)\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Written in black ink on verso: \"#5R363/14-5/8 x 16 (in pencil)\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Written in pencil on verso: \"NBM 4/7/84\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Written in pencil on verso: \"#31703\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Written in watercolor paint on verso: \"West Point/Maine/14-5/8 x 16 1914/SR 14.94 (in pencil)\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Written in pencil on verso: \"[illegible cursive inscription]\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Written in pencil on verso: \"MO (?)\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Written in pencil on verso: \"LCC\"", "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": []}, "provenance": [{"description": "Estate of the Artist", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "(Kennedy Galleries, Inc., New York, NY)", "citations": [], "footnotes": [], "date": null, "sortorder": 2}, {"description": "(Downtown Gallery, New York, NY)", "citations": [], "footnotes": null, "date": null, "sortorder": 3}, {"description": "(Sid Deutsch Gallery, New York, NY)", "citations": [], "footnotes": null, "date": null, "sortorder": 4}, {"description": "Private Collection, New York, NY", "citations": [], "footnotes": [], "date": null, "sortorder": 5}, {"description": "Mr. and Mrs. Joseph P. Keithley, Cleveland, OH", "citations": [], "footnotes": null, "date": null, "sortorder": 7}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "March 2, 2020", "sortorder": 8}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "John Marin returned repeatedly to the site in Maine where he made this watercolor, each time portraying through color, paint handling, perspective, and movement his spontaneous experience of the place.", "description": "One of America\u2019s most important watercolorists, John Marin repeatedly challenged accepted ideas about what the medium could do, taking an improvisational approach to color, paint handling, perspective, and movement. This watercolor was made during Marin\u2019s first summer in Maine, 1914, a place that would become central to his watercolor practice for years to come. Marin often returned to the same spot repeatedly, making watercolors each time in response to the light and weather of the moment. <em>West Point, Maine</em>, is one of three watercolors in the CMA's collection made at the same spot (see 2020.136 and 2020.138). This watercolor shows Marin's responsiveness to the season and vegetation of autumn expressed through color and other hallmarks of his style, chiefly his great variety of marks, from bold dashes to transparent washes.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q87480916"], "internet_archive": []}, "citations": [{"citation": "Fine, Ruth. \"John Marin.\" In <em>The Keithley Collection at the Cleveland Museum of Art, </em>edited by Heather Lemonedes Brown, 152-161. Cleveland, OH: The Cleveland Museum of Art, 2022.", "page_number": "Mentioned and reproduced: p. 152-161; Mentioned: p. 265-267", "url": ""}], "url": "https://clevelandart.org/art/2020.139", "images": {}, "alternate_images": [], "creditline": "Nancy F. and Joseph P. 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Edward S. Curtis (American, 1868\u20131952). Platinum print, mercury-toned; image: 31.5 x 41.8 cm (12 3/8 x 16 7/16 in.); matted: 61 x 76.2 cm (24 x 30 in.). The Cleveland Museum of Art, Gift of Kathryn Arns May in memory of Mary Moore Arns, 1987.182. \u00a9 E.S. Curtis", "current_location": null, "title": "Ca\u00f1on de Chelly - Navaho", "creation_date": "1904", "creation_date_earliest": 1904, "creation_date_latest": 1904, "artists_tags": ["male"], "culture": ["America"], "technique": "platinum print, mercury-toned", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 31.5 x 41.8 cm (12 3/8 x 16 7/16 in.); Matted: 61 x 76.2 cm (24 x 30 in.)", "dimensions": {"image": {"height": 0.315, "width": 0.418}, "matted": {"height": 0.61, "width": 0.762}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 E.S. 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Edward S. Curtis\u2019s images, though rooted in the documentary impulse, present a romanticized view of the past, one that he often staged to suggest an even earlier period. He had two sometimes-conflicting aims: to capture America\u2019s vanishing Indigenous cultures but also to create photographic art.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780900"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art, Tom E Hinson. <em>Catalogue of Photography</em>. Cleveland, OH: Cleveland Museum of Art, 1996.", "page_number": "Reproduced: P. 135", "url": ""}, {"citation": "Curtis, Edward S., Frederick Webb Hodge, Theodore Roosevelt, J. Pierpont Morgan, and Christopher Cardozo. 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Morgan for an extensive anthropological and photographic study of Native Americans. Curtis's work from 1906 -- 20 resulted in The North American Indian and eventually generated 40,000 negatives, of which 1,200 were presented in gravure form in the 20 volumes and 20 accompanying portfolios of his study.\r\n\tAlthough his intentions were anthropological and scholarl -- to preserve the appearance and customs of a dying race -- Curtis nevertheless was affected by the artistic styles of his time. His portraits and tableaux were often strongly pictorialist, as their presentation on imported papers and in rarefied media such as orotone would suggest. His scientific aims were frequently undercut by a personal interpretation of his subjects, to whom he often supplied costumes and props. Time has proved Curtis, in this era of his career, equally an artist and an anthropologist. His later work in Los Angeles, which deserves further study, focused on Hollywood and the world of movies. T.W.F.", "name_in_original_language": null, "birth_year": "1868", "death_year": "1952", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1987-12-16T00:00:00", "sortable_date": 1904, "date_added_to_oa": null, "date_text": "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": ["Ca\u00f1yon de Chelly-Navajo"], "is_highlight": false, "updated_at": "2026-03-27 00:08:59.048000"}, {"id": 146274, "accession_number": "1972.1054", "share_license_status": "Copyrighted", "tombstone": "Devil Fish, 1972. Peter Aliknak Banksland (Inuit, 1928\u20131998). Stonecut; image and sheet: 50.8 x 76.2 cm (20 x 30 in.). The Cleveland Museum of Art, The Harold T. Clark Educational Extension Fund, 1972.1054", "current_location": "101A Prints & Drawings", "title": "Devil Fish", "creation_date": "1972", "creation_date_earliest": 1972, "creation_date_latest": 1972, "artists_tags": ["male", "Indigenous"], "culture": ["Canada, Northwest Territories, Ulukhaktok"], "technique": "stonecut", "support_materials": [], "department": "Prints", "collection": "Prints", "type": "Print", "measurements": "Image and Sheet: 50.8 x 76.2 cm (20 x 30 in.)", "dimensions": {"image and sheet": {"height": 0.508, "width": 0.762}}, "state_of_the_work": null, "edition_of_the_work": "47/50", "copyright": null, "inscriptions": [{"inscription": "Inscribed, lower left, in graphite: Eskimo Western Arctic 1972; inscribed, lower center, in graphite: Devil Fish; signed, lower right, in stone: ALIKNAK; inscribed, lower right, in graphite: 47/50", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Blindstamp: HOLMAN", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"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"}, {"id": 695926, "title": "still/emerging: Native American Works on Paper", "description": "<i>still/emerging: Native American Works on Paper</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 1-June 7, 2026).", "opening_date": "2026-02-01T05:00:00"}], "legacy": []}, "provenance": [{"description": "Purchased from The Indian Mill.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This artist devoted his work to depicting Inuit traditions that were fast disappearing in the Arctic.", "description": "Alec (Peter) Aliknak Banksland made this print using stonecut, a technique developed by Inuit peoples in the Arctic. It involves drawing on a prepared stone and cutting away the areas that should not be printed before rolling ink and <br>pressing a sheet of paper on its surface. The artist used the process\u2014which creates a single unique print\u2014for depictions of Inuit traditions at a time when tribe members were being forced into settlements by the Canadian government.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79924678"], "internet_archive": []}, "citations": [{"citation": "\"Exhibitions Through May 2026.\u201d  <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 66, no. 1 (2026): 12-13.", "page_number": "Reproduced and Mentioned: p. 13", "url": "https://archive.org/details/CMAMM-2026-01"}], "url": "https://clevelandart.org/art/1972.1054", "images": {}, "alternate_images": [], "creditline": "The Harold T. Clark Educational Extension Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "These Galleries are the Gift of James and Hanna Bartlett", "athena_id": 146274, "creators": [{"id": 446178, "description": "Peter Aliknak Banksland (Inuit, 1928\u20131998)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1928", "death_year": "1998", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1972-12-05T00:00:00", "sortable_date": 1972, "date_added_to_oa": null, "date_text": "1972", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": "47", "alternate_titles": [], "is_highlight": false, "updated_at": "2026-04-04 11:57:51.453000"}, {"id": 155638, "accession_number": "1990.8.a", "share_license_status": "Copyrighted", "tombstone": "Lot's Wife, 1989. Anselm Kiefer (German, 1945-). Oil paint, ash, stucco, chalk, linseed oil, polymer emulsion, salt and applied elements (e.g., copper heating coil), on canvas, attached to lead foil, on plywood panels; framed: 350 x 410 cm (137 13/16 x 161 7/16 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1990.8.a. \u00a9 Anselm Kiefer", "current_location": "229B Contemporary", "title": "Lot's Wife", "creation_date": "1989", "creation_date_earliest": 1989, "creation_date_latest": 1989, "artists_tags": ["male"], "culture": ["Germany, 20th century"], "technique": "oil paint, ash, stucco, chalk, linseed oil, polymer emulsion, salt and applied elements (e.g., copper heating coil), on canvas, attached to lead foil, on plywood panels", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "measurements": "Framed: 350 x 410 cm (137 13/16 x 161 7/16 in.)", "dimensions": {"framed": {"height": 3.5, "width": 4.1}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Anselm Kiefer", "inscriptions": [{"inscription": "Titled in chalk on recto of lower panel: Lots Frau", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 393229, "title": "Contemporary Installation", "description": "<i>Contemporary Installation</i>. The Cleveland Museum of Art (organizer).", "opening_date": "2021-04-12T04:00:00"}], "legacy": [{"description": "CMA 1991:  \"Notable Acquisitions\" June 7-September 15, 1991, Bulletin 78 (June 1991), p. 109, repr.", "opening_date": "1991-06-07T00:00:00"}]}, "provenance": [{"description": "Anselm Kiefer", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The subject of railroad tracks was inspired by the artist\u2019s photograph of the Bordeaux rail facility.", "description": "As a German artist, Kiefer struggles with the aftermath of the Holocaust and creates work that engages history, ethical issues of the present, and German identity through images emblematic of Nazi sites. This barren, deeply recessed landscape is divided by train tracks, recalling the deportation and death issued by the Nazi party. A substructure of lead mounted on wood is marked by footprints and tire tracks, plastered, burned, and covered with ash. The raw natural materials and destructive artistic process symbolize human tragedy. Salt, applied to the upper half of the work, connects the historical event with the biblical narrative of Lot\u2019s escape from Sodom and Gomorrah. Lot\u2019s wife, who disobeyed warnings not to look back at God\u2019s destruction of the cities, was turned into a pillar of salt.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60476561"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art. <em>The CMA Companion: A Guide to the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2014.", "page_number": "Mentioned and reproduced: P. 121", "url": ""}], "url": "https://clevelandart.org/art/1990.8.a", "images": {}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Paula and Eugene Stevens Gallery", "athena_id": 155638, "creators": [{"id": 533, "description": "Anselm Kiefer (German, 1945-)", "extent": null, "qualifier": null, "role": "artist", "biography": "Anselm Kiefer German, 1945-\r\n\r\nOne of the most significant and reclusive artists of the past 20 years, Anselm Kiefer was born in Donaueschingen, Bavaria, two months before the end of World War II. His enormous mixed-media canvases, as well as his smaller bookworks, are laden with cultural, political, mythic, and religious symbolism. These works are made in direct response to his Teutonic heritage and, in particular, Germany's war experience. Kiefer addresses questions regarding German identity in the postwar world, a highly sensitive subject that has brought him both critical acclaim and adamant opposition.\r\n\tKiefer studied law and French at the University of Freiburg in 1965 before turning to painting. He graduated in 1970 and began informal study at the Staatliche Kunstakademie in D\u00fcsseldorf with Joseph Beuys, who encouraged him to paint despite dominance of conceptual art at the time and the declaration that painting was dead. Kiefer often spends years on a piece, working intermittently, and retains rigid control of the placement of his paintings after they leave his studio.\r\n\tAlthough Kiefer's work has changed little throughout his career, his earlier imagery relied on figurative elements and his later paintings have become more abstract, often incorporating architectural elements. He frequently begins with an enlarged photographic image, which he distorts by such techniques as scorching, staining, and burning. His materials include molten lead, tar, straw, and clay, metaphorical substances associated with the German land and its mythologies. The transformative process also recalls alchemy, a subject that interested Beuys, who believed art had the power to evoke a change of state from physical to spiritual.\r\n\tKiefer has had numerous international exhibitions and published monographs, and is represented in major American and European collections. In addition to one-person exhibitions in Germany, the Netherlands, Italy, France, Israel, and England, the Philadelphia Museum of Art organized a retrospective of his work that toured the United States in 1987-88. In recent years, Kiefer has begun to make films that, rooted in the medium of photography, extend the physical and narrative qualities characteristic of all his work into the realms of motion and time. He lives in Barjac, France. A.W.", "name_in_original_language": null, "birth_year": "1945", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1990-01-29T00:00:00", "sortable_date": 1989, "date_added_to_oa": null, "date_text": "1989", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1990.8", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:47.820000"}, {"id": 130712, "accession_number": "1953.429", "share_license_status": "Copyrighted", "tombstone": "Study No. 1 for: Church Bells Ringing, Rainy Winter Night, 1917. Charles Burchfield (American, 1893\u20131967). Gray/black wash, pen and black ink, and black and color crayons, with graphite and watercolor; sheet: 36.8 x 21.2 cm (14 1/2 x 8 3/8 in.). The Cleveland Museum of Art, Norman O. Stone and Ella A. Stone Memorial Fund, 1953.429. Reproduced with permission from the Charles E. Burchfield Foundation", "current_location": null, "title": "Study No. 1 for: Church Bells Ringing, Rainy Winter Night", "creation_date": "1917", "creation_date_earliest": 1917, "creation_date_latest": 1917, "artists_tags": ["May Show", "male", "Cleveland Institute of Art (alumni)"], "culture": ["America"], "technique": "gray/black wash, pen and black ink, and black and color crayons, with graphite and watercolor", "support_materials": [], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Sheet: 36.8 x 21.2 cm (14 1/2 x 8 3/8 in.)", "dimensions": {"sheet": {"height": 0.368, "width": 0.212}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "Reproduced with permission from the Charles E. Burchfield Foundation", "inscriptions": [], "exhibitions": {"current": [{"id": 311926, "title": "The Drawings of Charles E. Burchfield", "description": "<i>The Drawings of Charles E. Burchfield</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 4, 1953-January 10, 1954).", "opening_date": "1953-11-04T05:00:00"}, {"id": 301176, "title": "Charles Burchfield Retrospective Exhibition", "description": "<i>Charles Burchfield Retrospective Exhibition</i>. Whitney Museum of American Art (January 11-February 26, 1956); The Baltimore Museum of Art (March 14-April 22, 1956); Museum of Fine Arts, Boston (May 9-June 17, 1956); San Francisco Museum of Modern Art (July 11-August 19, 1956); Los Angeles County Museum of Art (September 5-October 14, 1956); The Phillips Collection (November 4-December 11, 1956); The Cleveland Museum of Art, Cleveland, OH (December 28, 1956-February 10, 1957).", "opening_date": "1956-12-28T05:00:00"}, {"id": 301184, "title": "Department of Prints and Drawings Opening Exhibition", "description": "<i>Department of Prints and Drawings Opening Exhibition</i>. The Cleveland Museum of Art (organizer) (March 3, 1958-October 11, 1959).", "opening_date": "1958-03-03T05:00:00"}, {"id": 338569, "title": "The Nature of Charles Burchfield: A Memorial Exhibition, 1893\u20131967, Paints, Drawings, Prints", "description": "<i>The Nature of Charles Burchfield: A Memorial Exhibition, 1893\u20131967, Paints, Drawings, Prints</i>. Munson Museum of Art, Utica, NY (organizer) (April 3-June 14, 1970).", "opening_date": "1970-04-03T05:00:00"}, {"id": 338564, "title": "An American Visionary: Watercolors and Drawings of Charles E. Burchfield", "description": "<i>An American Visionary: Watercolors and Drawings of Charles E. Burchfield</i>. Currier Museum of Art; Berkshire Museum; Boston Athenaeum (March 20-May 16, 1986).", "opening_date": "1986-03-20T05:00:00"}, {"id": 227084, "title": "Made in U.S.A., l'art am\u00e9ricain, 1908-1943, entre nationalisme et internationalisme [FRAME]", "description": "<i>Made in U.S.A., l'art am\u00e9ricain, 1908-1943, entre nationalisme et internationalisme [FRAME]</i>. Mus\u00e9e des Beaux-Arts de Rennes, Rennes, France (January 17-March 31, 2002).", "opening_date": "2001-10-05T00:00:00"}, {"id": 177916, "title": "Burchfield to Schreckengost: Cleveland Art of the Jazz Age", "description": "<i>Burchfield to Schreckengost: Cleveland Art of the Jazz Age</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 28-July 18, 2004).", "opening_date": "2004-03-28T00:00:00"}, {"id": 313096, "title": "Charles Burchfield: The Ohio Landscapes, 1915\u20131920", "description": "<i>Charles Burchfield: The Ohio Landscapes, 1915\u20131920</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 22, 2018-May 5, 2019).", "opening_date": "2018-12-22T05:00:00"}], "legacy": []}, "provenance": [{"description": "Charles Burchfield [1893-1967], Buffalo, NY, sold to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1917-1953", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1953-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Barely visible, two figures look out the window of the house on the left, standing near a Christmas tree that symbolized Burchfield's favorite holiday.", "description": "Burchfield drastically altered the church spire in this study for his 1917 watercolor <em>Church Bells Ringing, Rainy Winter Night</em>. Here, the tower takes on a wider, more open appearance than in the final drawing. The artist wrote in his private journal for December 1917 that he \u201cwandered between the Baptist and Presbyterian church to hear the bells ring. I ran back to one too late\u2014the other I arrived at in time to hear the last ponderous beats\u2014the whole tower seemed to vibrate with a dull roar afterwards, dying slowly with a growl.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780804"], "internet_archive": []}, "citations": [{"citation": "De Grazia, Diana. \"The Evolution of a Collection: Drawings in Cleveland.\" <em>Master Drawings </em>38, no. 3 (Autumn 2000): 249-260.", "page_number": "Mentioned: p. 258; Reproduced: p. 257", "url": null}, {"citation": "Prasse, Leona E. \"An Exhibition of the Drawings of Charles E. Burchfield.\" <em>Bulletin of the Cleveland Museum of Art</em> (November 1953): 203.", "page_number": "Mentioned: p. 203", "url": null}, {"citation": "Prasse, Leona E. T<em>he Drawings of Charles E. Burchfield</em>. Exh. Cat. Cleveland: Cleveland Museum of Art,1953.", "page_number": "Mentioned: no. 30; Reproduced: plate I", "url": null}, {"citation": "Townsend, J. Benjamin. <em>An American Visionary: Watercolors and Drawings of Charles E. Burchfield</em>. Exh. Cat. Boston: Athen\u00e6um, 1986.", "page_number": "Mentioned: no. 50", "url": null}, {"citation": "Trovato, Joseph S. <em>The Nature of Charles Burchfield: A Memorial Exhibition, 1893\u20131967, Paints, Drawings, Prints</em>. Exh. Cat. Utica, NY: Museum of Art, Munson-Williams-Proctor Institute, 1970.", "page_number": "Mentioned: no. 309", "url": null}, {"citation": "The Cleveland Museum of Art. <em>The Cleveland Museum of Art Handbook.</em> Cleveland, OH: The Cleveland Museum of Art, 1958.", "page_number": "Mentioned and Reproduced: cat. no. 613", "url": "https://archive.org/details/CMAHandbook1958/page/n114"}, {"citation": "Chassey, E\u0301ric de. <em>Made in USA l'art ame\u0301ricain, 1908-1947 : [exposition] Bordeaux, muse\u0301e des Beaux-Arts, 10 octobre-31 de\u0301cembre 2001, Rennes, muse\u0301e des Beaux-Arts, 18 janvier-31 mars 2002, Montpellier, muse\u0301e Fabre, 12 avril-23 juin 2001 [i.e. 2002]</em>. Paris: Re\u0301union des muse\u0301es nationaux, 2001.", "page_number": "Reproduced: p. 165", "url": null}, {"citation": "Robinson, William H., Kathleen McKeever, \"And All That Jazz\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 44 no. 05, May 2004", "page_number": "Mentioned & reproduced: 4-5", "url": "https://archive.org/details/CMAMM2004-05/page/n3/"}], "url": "https://clevelandart.org/art/1953.429", "images": {}, "alternate_images": [], "creditline": "Norman O. Stone and Ella A. Stone Memorial Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 130712, "creators": [{"id": 3989, "description": "Charles Burchfield (American, 1893\u20131967)", "extent": null, "qualifier": null, "role": "artist", "biography": "Charles Burchfield was among the most original and poetic painters of the Cleveland modernist movement. Born in Ashtabula, he moved to Salem, Ohio, following the death of his father in 1898. After graduating from high school, he attended Cleveland School of Art, studying with William Eastman, Frederick Gottwald, Henry Keller, and Frank Wilcox. In 1914 Burchfield began attending Kokoon Klub exhibitions, and in spring 1915 he went to Brandywine to meet William Sommer. Around this time Burchfild began experimenting with the brilliant colors and simplified forms of the Berlin Heights painters. He painted his first mature works in 1915, and grad ed from the Cleveland School of Art with a degree in illustration the following spring. That summer the Cleveland School of Art sponsored his first solo exhibition, and in the fall, after attending the National Academy of Design in New York for one month, he returned to Salem. In February 1917 the Cleveland School of Art mounted his second solo exhibition. Burchfield was inducted into the army that summer. After his return in 1919 he exhibited with other Cleveland modernists at the Play House, Laukhuff\u2019 s Book store, and other Cleveland venues. In 1921 he went on an extended sketching trip through eastern Ohio with Keller, Wilcox, and Paul Travis, exhibiting these recent paintings at the Cleveland School of Art and in the May Show at the Cleveland Museum of Art. Later that year he moved to Buffalo to work as a wallpaper designer, a position he retained until he resigned in 1929 to become a full-time painter. Over the next 30 years he exhibited extensively at museums and galleries across the country. Solo exhibitions of his paintings were held at New York\u2019s Museum of Modern Art (1930), Pittsburgh\u2019 s Carnegie Institute of Art (1935, 1938, 1946), and Buffalo\u2019 s Albright-Knox Art Gallery (1944, 1955, 1963, 1967). In 1953 New York\u2019s Whitney Museum of American Art organized a major exhibition that traveled to the Cleveland Museum of Art. Burchfield died in West Seneca, New York. <br>\"Transformations in Cleveland Art\" (CMA, 1996), p. 224", "name_in_original_language": null, "birth_year": "1893", "death_year": "1967", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1953-11-05T00:00:00", "sortable_date": 1917, "date_added_to_oa": null, "date_text": "1917", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:42.564000"}, {"id": 148370, "accession_number": "1975.82", "share_license_status": "Copyrighted", "tombstone": "The Crystal Vase, 1929. Georges Braque (French, 1882\u20131963). Oil on canvas; unframed: 41.2 x 120.5 cm (16 1/4 x 47 7/16 in.). The Cleveland Museum of Art, Gift of Alexandre P. Rosenberg, 1975.82. \u00a9 Artists Right Society (ARS), New York / ADAGP, Paris", "current_location": null, "title": "The Crystal Vase", "creation_date": "1929", "creation_date_earliest": 1929, "creation_date_latest": 1929, "artists_tags": ["male"], "culture": ["France, 20th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 41.2 x 120.5 cm (16 1/4 x 47 7/16 in.)", "dimensions": {"unframed": {"height": 0.412, "width": 1.205}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Artists Right Society (ARS), New York / ADAGP, Paris", "inscriptions": [{"inscription": "signed lower left:  G Braque / 29", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 302170, "title": "Year in Review: 1975", "description": "<i>Year in Review: 1975</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 3-March 7, 1976).", "opening_date": "1976-02-03T05:00:00"}, {"id": 218874, "title": "Georges Braque", "description": "<i>Georges Braque</i>. Mus\u00e9e d'art moderne Andr\u00e9 Malraux, 76600 Le Havre, France (organizer) (March 19-June 21, 1999).", "opening_date": "1999-03-19T00:00:00"}, {"id": 184132, "title": "Masterworks from The Phillips Collection", "description": "<i>Masterworks from The Phillips Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 20-May 29, 2005).", "opening_date": "2005-02-20T00:00:00"}, {"id": 231335, "title": "Georges Braque and the Cubist Still Life, 1928-1945", "description": "<i>Georges Braque and the Cubist Still Life, 1928-1945</i>. Mildred Lane Kemper Art Museum, St. Louis, MO (organizer) (January 25-April 21, 2013); The Phillips Collection, Washington, DC (June 8-September 1, 2013).", "opening_date": "2013-01-25T00:00:00"}, {"id": 396695, "title": "Impressionism to Modernism: The Keithley Collection", "description": "<i>Impressionism to Modernism: The Keithley Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 11, 2022-January 8, 2023).", "opening_date": "2022-09-11T04:00:00"}], "legacy": [{"description": "Le Havre, France. Mus\u00e9e des Beaux-Arts Andr\u00e9-Malraux \"Georges Braque\" (3/19 - 6/21/99) repr. p. 64.", "opening_date": "1999-06-21T00:00:00"}, {"description": "Cleveland, Ohio: The Cleveland Museum of Art; February 20 - May 29, 2005. \"Masterworks from The Phillips Collection\". Not in exh. cat.", "opening_date": "2005-02-20T00:00:00"}, {"description": "Mildred Lane Kemper Art Museum, Washington University, St. Louis (1/25/2013 - 4/21/2013) and The Phillips Collection, Washington, DC (6/8/2013 - 9/1/2103): \"Georges Braque and the Cubist Still Life,\", p. 123, Plate 5.", "opening_date": "2013-01-25T00:00:00"}]}, "provenance": [{"description": "Paul Rosenberg [1881-1959], Paris and New York, by descent to his son, Alexandre Rosenberg", "citations": [], "footnotes": ["<div><!--block-->In 1928-1929, Braque executed four compositions in preparation for four marble mosaic panels to be installed in the dining room floor of art dealer Paul Rosenberg\u2019s Paris apartment at 21 rue La Bo\u00ebtie.&nbsp; Braque gave the preparatory compositions and the CMA painting to Rosenberg. When Rosenberg sold the apartment in 1949, the marble panels were removed from the floor and made into table tops resting on wrought iron bases, also designed by Braque.&nbsp; The table made after <em>The Crystal Vase </em>was in the Paris collection of Rosenberg\u2019s daughter, Micheline, at the time of Alexandre\u2019s donation of the painting to the Cleveland Museum of Art.&nbsp;</div>"], "date": "1929-probably 1959", "sortorder": 1}, {"description": "Alexandre Rosenberg [1921-1987], New York, given to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "Probably 1959-1975", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, Ohio", "citations": [], "footnotes": [], "date": "1975-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "After meeting in 1907, Braque worked closely with Pablo Picasso to create Cubism, a radically new style concerned with formal abstraction and the reorganization of pictorial space.", "description": "This still life is one of four paintings commissioned from Georges Braque by collector Paul Rosenberg for his home at 21 rue de la Boetie in Paris. Each painting hung on a separate wall of the dining room, and mosaics based on the paintings were inlaid in the floor, creating a remarkably harmonious grouping known as the \"Rosenberg Quartet.\" When Rosenberg sold his apartment in 1949, the paintings were dispersed (another work from the series is at the Phillips Collection, Washington, DC) and the mosaics were converted to tabletops. Crystal Vase is unique among the group for its color scheme\u2014comprising thin washes of muted beiges, grays, and oranges\u2014and for its elegant placement of objects within the challenging elongated rectangular space. The painting combines Braque\u2019s Cubist style of the 1920s with homages to his French forebears Jean-Baptiste Sim\u00e9on Chardin and Paul C\u00e9zanne.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60472945"], "internet_archive": []}, "citations": [{"citation": "Braque, Georges. <em>Georges Braque. </em>Lyon: Fage Editions, 2018.", "page_number": "Mentioned and reproduced: P. 42-43", "url": null}, {"citation": "Alexandre Rosenberg, letter to Sherman Lee, Nov. 14, 1975, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Alexandre Rosenberg, letter to Sherman Lee, Nov. 14, 1975, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Lee, Sherman E. \u201cThe Year in Review for 1975.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 63, no. 2 (February 1976): 31\u201371.", "page_number": "Reproduced: p. 48; Mentioned: p. 69, no. 131", "url": "http://www.jstor.org/stable/25152624"}, {"citation": "Henning, Edward B. \u201cTwo Major Paintings by Georges Braque.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 64, no. 4 (April 1977): 137\u2013141.", "page_number": "Mentioned and reproduced: p. 137, fig. 2", "url": "http://www.jstor.org/stable/25159524"}, {"citation": "Moskowitz, Peta. \u201cThe Crystal Vase.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 64, no. 4 (April 1977): 147\u2013151.", "page_number": "Mentioned: p. 147-151; Reproduced: p. 147, fig. 1", "url": "http://www.jstor.org/stable/25159526"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 243", "url": "https://archive.org/details/CMAHandbook1978/page/n263"}, {"citation": "Henning, Edward B. \u201cTwo New Cubist Paintings by Juan Gris and Pablo Picasso.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 68, no. 2 (February 1981): 39\u201350.", "page_number": "Mentioned and reproduced: p. 40, fig. 6", "url": "http://www.jstor.org/stable/25159711"}], "url": "https://clevelandart.org/art/1975.82", "images": {}, "alternate_images": [], "creditline": "Gift of Alexandre P. Rosenberg", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 148370, "creators": [{"id": 3029, "description": "Georges Braque (French, 1882\u20131963)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1882", "death_year": "1963", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1975-11-29T00:00:00", "sortable_date": 1929, "date_added_to_oa": null, "date_text": "1929", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:33.991000"}, {"id": 153606, "accession_number": "1987.139", "share_license_status": "CC0", "tombstone": "White Pansy, 1927. Georgia O'Keeffe (American, 1887\u20131986). Oil on canvas; framed: 94.5 x 79.2 x 5.1 cm (37 3/16 x 31 3/16 x 2 in.); unframed: 91.7 x 76.3 cm (36 1/8 x 30 1/16 in.). The Cleveland Museum of Art, Bequest of Georgia O'Keeffe, 1987.139", "current_location": null, "title": "White Pansy", "creation_date": "1927", "creation_date_earliest": 1927, "creation_date_latest": 1927, "artists_tags": ["female"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 94.5 x 79.2 x 5.1 cm (37 3/16 x 31 3/16 x 2 in.); Unframed: 91.7 x 76.3 cm (36 1/8 x 30 1/16 in.)", "dimensions": {"framed": {"height": 0.945, "width": 0.792, "depth": 0.051}, "unframed": {"height": 0.917, "width": 0.763}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Stretcher: \"G [in circle] O'Keeffe\" (GO, graphite)\r\nBacking:  1. OK * (graphite) [twice]\r\n                2. \"White Pansy / 1927 / by Georgia O'Keeffe\" [in oval] (AS, black crayon)\r\n                3. \"Georgia O'Keeffe / 1927\" (AS, graphite)", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 310024, "title": "The Georgia O'Keeffe Gift", "description": "<i>The Georgia O'Keeffe Gift</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 4-November 15, 1987).", "opening_date": "1987-09-04T04:00:00"}, {"id": 215247, "title": "O'Keeffe's O'Keeffes: The Artist's Collection", "description": "<i>O'Keeffe's O'Keeffes: The Artist's Collection</i>. Milwaukee Art Museum, Milwaukee, WI (organizer) (May 4-August 19, 2001); Georgia O'Keeffe Museum, Santa Fe, NM (September 14, 2001-January 13, 2002); Louisiana Museum of Modern Art, Humbelbaek, Denmark (February 8-May 20, 2002).", "opening_date": "2001-05-04T00:00:00"}], "legacy": [{"description": "<em>Paintings by Nineteen Living Americans. </em>Museum of Modern Art, New York (December 13, 1929-January 12, 1930).", "opening_date": "1929-12-13T00:00:00"}, {"description": "<em>Georgia O\u2019Keeffe: Paintings. </em>Museum of Fine Arts, Santa Fe (December 19, 1986-April 12, 1987).", "opening_date": "1986-12-19T00:00:00"}, {"description": "<em>O'Keeffe Exhibition. </em>Intimate Gallery, New York (January 9-February 27, 1928) [unconfirmed].", "opening_date": "1928-01-09T00:00:00"}, {"description": "<em>An American Place, Georgia O'Keeffe: An Exhibition of Paintings. </em>New York (January 27-March 1, 1935) [unconfirmed].", "opening_date": "1935-01-27T00:00:00"}, {"description": "<em>Modern Realism. </em>Staten Island Museum, Staten Island (November 27, 1955-January 10, 1956) [unconfirmed].", "opening_date": "1955-11-27T00:00:00"}]}, "provenance": [{"description": "Estate of the artist, 1986", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "O'Keeffe displayed this painting above her living room couch before bequeathing it to the museum.", "description": "Among O'Keeffe's most admired works are her close-up images of flowers whose compositions border on abstraction. In this example, a large image of a white pansy is juxtaposed against much smaller blossoms of light blue forget-me-nots.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60475944"], "internet_archive": []}, "citations": [{"citation": "Wood, Myron, and Christine Taylor Patten. <em>O\u2019Keeffe at Abiquiu.</em> New York: H.N. Abrams, 1995.", "page_number": "Mentioned pp. 62, 65; reproduced p. 63.", "url": ""}, {"citation": "Danly, Susan, Barbara Buhler Lynes, Daniel E. O\u2019Leary, George G. King. <em>Georgia O\u2019Keeffe and the Camera: The Art of Identity. </em>New Haven, [Portland, Me.]: Yale University Press ; in association with the Portland Museum of Art, 2008.", "page_number": "Reproduced, pp. 30, 102.", "url": ""}, {"citation": "Barr, Alfred H. <em>Paintings by Nineteen Living Americans: December 13, 1929 to January 12, 1930, the Museum of Modern Art, New York</em>. New York: n.p., 1930.", "page_number": "Mentioned: p. 65", "url": null}, {"citation": "\"Art Museum Gets O'Keeffe Paintings.\" <em>The Cleveland Plain Dealer </em>(Cleveland, OH), April 22, 1986.", "page_number": "Mentioned: p, 5C", "url": null}, {"citation": "Turner, David G. <em>Georgia O'Keeffe: Paintings: Museum of Fine Arts, Museum of New Mexico, Santa Fe, December 19, 1986 to April 12, 1987</em>. Santa Fe: CG Books, 1986.", "page_number": "Mentioned", "url": null}, {"citation": "Cullinan, Helen. \"Georgia on our Minds, O'Keeffe Legacy: 5 Glowing New Oils at Museum.\" <em>The Cleveland Plain Dealer </em>(Cleveland, OH), September 5, 1987.", "page_number": "Mentioned: 4B", "url": null}, {"citation": "Chong, Alan. <em>European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogue</em>. Cleveland: Cleveland Museum of Art, 1993.", "page_number": "Reproduced", "url": null}, {"citation": "Lynes, Barbara Buhler. <em>Georgia O'Keeffe: Catalogue Raisonn\u00e9</em>. New Haven: Yale University Press, 1999.", "page_number": "Reproduced: p. 341", "url": null}, {"citation": "Lynes, Barbara Buhler. <em>O'Keefe's O'Keeffe's: The Artists Collection</em>. London: Thames &amp; Hudson, 2001.", "page_number": "Reproduced: fig. 47", "url": null}, {"citation": "\"New in the Galleries.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 57, no. 5 (September/October 2017): Back cover.", "page_number": "Reproduced and Mentioned: Back cover", "url": "https://archive.org/details/CMAMM2017-05/page/n13/mode/2up"}, {"citation": "Vie\u0301ville, Camille. <em>O'Keeffe.</em> Paris: Citadelles &amp; Mazenod, 2021.", "page_number": "Mentioned and reproduced: P. 308-309, no. 290", "url": ""}], "url": "https://clevelandart.org/art/1987.139", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1987.139/1987.139_web.jpg", "width": "735", "height": "893", "filesize": "392978", "filename": "1987.139_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1987.139/1987.139_print.jpg", "width": "2800", "height": "3400", "filesize": "6654385", "filename": "1987.139_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1987.139/1987.139_full.tif", "width": "4942", "height": "6000", "filesize": "88987196", "filename": "1987.139_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1987.139/1987.139_alt0_web.jpg", "width": "740", "height": "893", "filesize": "459526"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1987.139/1987.139_alt0_print.jpg", "width": "2818", "height": "3400", "filesize": "7691788"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1987.139/1987.139_alt0_full.tif", "width": "3690", "height": "4452", "filesize": "49308132"}}], "creditline": "Bequest of Georgia O'Keeffe", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 153606, "creators": [{"id": 3228, "description": "Georgia O'Keeffe (American, 1887\u20131986)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1887", "death_year": "1986", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1987-08-19T00:00:00", "sortable_date": 1927, "date_added_to_oa": null, "date_text": "1927", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:03:34.166000"}, {"id": 156571, "accession_number": "1992.278", "share_license_status": "CC0", "tombstone": "God of War, 1937. Paul Klee (German, 1879\u20131940). Gouache and tempera; sheet: 35.2 x 29 cm (13 7/8 x 11 7/16 in.); secondary support: 64.6 x 49.3 cm (25 7/16 x 19 7/16 in.). The Cleveland Museum of Art, Bequest of Lockwood Thompson, 1992.278", "current_location": null, "title": "God of War", "creation_date": "1937", "creation_date_earliest": 1937, "creation_date_latest": 1937, "artists_tags": ["male"], "culture": ["Germany, 20th century"], "technique": "Gouache and tempera", "support_materials": [{"description": "newspaper tipped onto cream(3) wove paper (artist's mount)", "watermarks": []}], "department": "Drawings", "collection": "DR - German", "type": "Drawing", "measurements": "Sheet: 35.2 x 29 cm (13 7/8 x 11 7/16 in.); Secondary Support: 64.6 x 49.3 cm (25 7/16 x 19 7/16 in.)", "dimensions": {"sheet": {"height": 0.352, "width": 0.29}, "secondary support": {"height": 0.646, "width": 0.493}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed, upper left, in paint: Klee; secondary support, by artist, lower center, in brown ink: 1937 K. 5. Kriegs Gott [\"37 K. 5. Kriegs Gott\" underlined in graphite]; lower center, in graphite: III; verso of secondary support, upper left, in graphite: Nos 39 31 / 35 x 29 [all circled]; upper left, on separately applied label: [upper portion cropped] / 1937 [inscribed in blue ink] No [printed in black ink] 0843 [stamped in blue ink] / Paul Klee / Dieu de la Guerre / 35 x 29 [last three lines inscribed in blue ink] / Photo No [printed in black ink]\r\n", "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": 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": 691553, "title": "Paul Klee: Other Possible Worlds", "description": "<i>Paul Klee: Other Possible Worlds</i>. The Jewish Museum, New York, NY (organizer) (March 20-July 26, 2026) https://thejewishmuseum.org/exhibitions/paul-klee-other-possible-worlds/.", "opening_date": "2026-03-20T04:00:00"}], "legacy": [{"description": "<em>Exhibition of Expressionism and Related Movements</em>. Cleveland Museum of Art, Cleveland, OH (January 25 - February 28, 1939).", "opening_date": "1939-01-25T00:00:00"}, {"description": "<em>Paul Klee: Memorial Exhibition. </em>Smith College Museum of Art, Northampton, MA (1941); Arts Club of Chicago (1940); Portland Art Museum, Oregon (1941); San Francisco Museum of Art (April 14 - May 5, 1941); Stendahl Art Galleries, Los Angeles (May 8 - May 18, 1941); City Art Museum, St. Louis (1941); Wellesley College, MA (1941); Museum of Modern Art, New York (1941).", "opening_date": "1941-04-14T00:00:00"}, {"description": "<em>Paul Klee</em>. Buchholz Gallery/Willard Gallery, New York (October 9 - November 2, 1940).", "opening_date": "1940-10-09T00:00:00"}, {"description": "<em>Paul Klee: Oeuvres R\u00e9centes</em>. Galerie Simon, Paris (January 24 - February 5, 1938).", "opening_date": "1938-01-24T00:00:00"}]}, "provenance": [{"description": "(Galerie Jeanne Bucher-Myrbor, Paris, sold to Lockwood Thompson)", "citations": [], "footnotes": null, "date": "September 14, 1938", "sortorder": null}, {"description": "Lockwood Thompson [1901-1992], Cleveland, OH, bequest to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1938-1992", "sortorder": 2}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1992-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": ["92.1939"], "did_you_know": "Shortly before this drawing was made, Paul Klee was exiled from Germany to his native Switzerland due to the political turmoil that led to World War II.", "description": "This drawing belongs to a series of large format works with bold colors, thick painterly lines, and pictograph formations that Paul Klee created late in his career. The period during which they were made was marked by anxiety for the artist, as political turmoil grew in Europe during the 1930s. To suggest this experience, Klee painted on a sheet of newspaper, allowing the printed text to intermingle with his own sign-like marks. The article visible here, for example, discusses the Spanish civil war. The figures that dominate the work more subtly suggest this crisis, including a large face with heavy eyelids and an enigmatic smile depicted in layers of yellow paint and several dancing or running figures in the foreground delineated by areas left unpainted.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79946087"], "internet_archive": ["https://archive.org/details/clevelandart-1992.278-god-of-war"]}, "citations": [{"citation": "Helfenstein, Josef and Christian R\u00fcmelin. <em>Paul Klee: Catalogue Raisonn\u00e9</em>. Bern: Kunstmuseum Bern, 1998-2004", "page_number": "Mentioned and reproduced: vol. 7, no. 6961", "url": null}, {"citation": "<em>Paul Klee: Oeuvres R\u00e9centes</em>. Exh. Cat. Paris: Galerie Simon, 1938.<em><br></em>", "page_number": "Mentioned: no. 34", "url": null}, {"citation": "<em>Paul Klee</em>. Exh. Cat. New York: Buchholz Gallery/Willard Gallery, 1940.", "page_number": "Mentioned and reproduced: no. 86", "url": null}, {"citation": "Vishny, Mich\u00e8le. \"Paul Klee and War: A Stance of Aloofness.\" <em>Gazette des Beaux-Arts </em>92 (December 1978): 233-243", "page_number": "Mentioned: p. 241", "url": null}, {"citation": "Kersten, Wolfgang. <em>Paul Klee, \u00dcbermut: Allegorie der k\u00fcnstlerischen Existenz</em>. Frankfurt am Main: Fischer Taschenbuch Verlag, 1990.", "page_number": "Mentioned: pp. 60-61; Reproduced: p. 63", "url": null}, {"citation": "Kersten, Wolfgang and Osamu Okuda. <em>Paul Klee: Im Zeichen der Teilung</em>. Exh. Cat. D\u00fcsseldorf: Kunstsammlung Nordrhein-Westfalen, 1995.", "page_number": "Mentioned: pp. 214-215", "url": null}, {"citation": "Francis, Henry S. \"Exhibition of Expressionism and Related Movements.\" <em>Bulletin of the Cleveland Museum of Art</em> 26, no. 2 (February 1939): 19.", "page_number": "Mentioned: p. 19", "url": null}, {"citation": "DeLamater, Peg. \"Klee and India<em>: </em>Krishna Themes in the Art of Paul Klee.\" PhD diss., University of Texas at Austin, 1991.", "page_number": "Mentioned: p. 245", "url": null}, {"citation": "\"The Year in Review for 1992.\" <em>Bulletin of the Cleveland Museum of Art</em> 80, no. 2 (February 1993): 39-72.", "page_number": "Mentioned: p. 72, no. 230; Reproduced: p. 62", "url": "https://www.jstor.org/stable/25161388"}, {"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. 11, pp. 260-261, 298; Reproduced: p. 261", "url": null}, {"citation": "Uhde-Stahl, Brigitte. <em>Paul Klees geheime Symbolik</em>. Berlin : Gebr. Mann Verlag, [2018]", "page_number": "Reproduced: p. 264; mentioned: pp. 335-337", "url": null}], "catalogue_raisonne": "Helfenstein and R\u00fcmelin 6961", "url": "https://clevelandart.org/art/1992.278", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1992.278/1992.278_web.jpg", "width": "778", "height": "900", "filesize": "257512", "filename": "1992.278_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1992.278/1992.278_print.jpg", "width": "2938", "height": "3400", "filesize": "3851659", "filename": "1992.278_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1992.278/1992.278_full.tif", "width": "7375", "height": "8536", "filesize": "188889552", "filename": "1992.278_full.tif"}}, "alternate_images": [{"date_created": "2013-03-18T14:37:46", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1992.278/1992.278_alt0_web.jpg", "width": "647", "height": "893", "filesize": "103256"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1992.278/1992.278_alt0_print.jpg", "width": "2465", "height": "3400", "filesize": "1312094"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1992.278/1992.278_alt0_full.tif", "width": "4220", "height": "5820", "filesize": "73705916"}}, {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1992.278/1992.278_alt1_web.jpg", "width": "686", "height": "893", "filesize": "566526"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1992.278/1992.278_alt1_print.jpg", "width": "2611", "height": "3400", "filesize": "7644502"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1992.278/1992.278_alt1_full.tif", "width": "3839", "height": "5000", "filesize": "57605180"}}, {"date_created": "2013-03-18T14:28:48", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1992.278/1992.278_alt2_web.jpg", "width": "693", "height": "893", "filesize": "65089"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1992.278/1992.278_alt2_print.jpg", "width": "2640", "height": "3400", "filesize": "858298"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1992.278/1992.278_alt2_full.tif", "width": "4656", "height": "5995", "filesize": "83762884"}}, {"date_created": "2025-07-28T16:06:23", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1992.278/1992.278_alt3_web.jpg", "width": "702", "height": "900", "filesize": "173147"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1992.278/1992.278_alt3_print.jpg", "width": "2651", "height": "3400", "filesize": "2478464"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1992.278/1992.278_alt3_full.tif", "width": "9579", "height": "12284", "filesize": "353034420"}}], "creditline": "Bequest of Lockwood Thompson", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 156571, "creators": [{"id": 11674, "description": "Paul Klee (German, 1879\u20131940)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1879", "death_year": "1940", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1992-12-07T00:00:00", "sortable_date": 1937, "date_added_to_oa": null, "date_text": "1937", "collapse_artists": false, "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 00:00:15.837000"}, {"id": 90541, "accession_number": "2020.112", "share_license_status": "Copyrighted", "tombstone": "Head (T\u00eate), 1926. Pablo Picasso (Spanish, 1881\u20131973). Oil on canvas; unframed: 21.6 x 14 cm (8 1/2 x 5 1/2 in.). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift, 2020.112. \u00a9 Estate of Pablo Picasso / Artists Rights Society (ARS), New York", "current_location": null, "title": "Head (T\u00eate)", "creation_date": "1926", "creation_date_earliest": 1926, "creation_date_latest": 1926, "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": "Unframed: 21.6 x 14 cm (8 1/2 x 5 1/2 in.)", "dimensions": {"unframed": {"height": 0.216, "width": 0.14}, "framed": {"height": 0.381, "width": 0.321, "depth": 0.048}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of Pablo Picasso / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "Signed and dated, upper left: Picasso / 26", "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>Picasso</em>. Kunsthaus Z\u00fcrich (September 11-October 30, 1932).", "opening_date": "1932-09-11T04:00:00Z"}, {"description": "Possibly included in: <em>School of Paris: Picasso and his Contemporaries</em>. Lefevre Gallery, London (May-June 1945).", "opening_date": "1945-05-01T00:00:00"}, {"description": "<em>Summer Loan Exhibitions</em>. Philadelphia Museum of Art, Philadelphia, PA (1969-1972).", "opening_date": "1969-01-01T00:00:00"}, {"description": "<em>Aspects of 20th Century Art</em>. David Jones Ltd. Gallery, Sydney, Australia (May 10-29, 1976).", "opening_date": "1976-05-10T04:00:00Z"}, {"description": "<em>Exposition Pablo Picasso</em>. Le Musee de la ville de Tokyo, Tokyo, Japan (October 15-December 4,1977); Prefectoral D'Aichi, Nagoya, Japan (December 13-26, 1977); Centre Culturel de Fukuoka, Fukuoka, Japan (January 5-22, 1987); Musee National d'Art Moderne, Kyoto, Japan (January 28-March 5, 1978).", "opening_date": "1977-10-15T04:00:00Z"}, {"description": "<em>Barnard Collects: The Educational Eye</em>. Salander-O'Reilly Galleries, Inc., New York, NY (September 28-October 31, 1989).", "opening_date": "1989-09-28T00:00:00"}]}, "provenance": [{"description": "Possibly Sir Roland Penrose [1900\u20131984], London, United Kingdom", "citations": [], "footnotes": ["<div><!--block-->According to documentation from Richard Feigen in the curatorial file dated June 2002, this painting was gifted to Roland Penrose by Picasso. However, Roland did not meet Picasso until 1936, introduced by Paul Eluard in July of that year. While this is not evidence that Penrose did not own this painting before this date, it is unlikely that it was a gift from the artist. See: James King, \u201cThe Modern Colossus (1936-1938),\u201d in <em>Roland Penrose: The Life of a Surrealist</em> (Edinburgh: Edinburgh University Press, 2016), p. 108.&nbsp;</div>"], "date": null, "sortorder": 1}, {"description": "(Wildenstein & Co., Paris)", "citations": [], "footnotes": null, "date": "by 1932", "sortorder": 2}, {"description": "Peter Watson [1908\u20131956], London, United Kingdom and Paris, FR", "citations": [], "footnotes": ["<div><!--block-->Christian Zervos, <em>Pablo Picasso</em> (Paris: Cahiers d\u2019Art, 1932), vol. VII, cat. no. 41, p. 19, ill.</div>"], "date": "by 1932", "sortorder": 3}, {"description": "George David Thompson [1899\u20131965], Pittsburgh, PA", "citations": [], "footnotes": null, "date": null, "sortorder": 4}, {"description": "(Richard L. Feigen, and Co., Chicago, IL)", "citations": [], "footnotes": [], "date": "1967", "sortorder": 5}, {"description": "Private Collection, New York, NY", "citations": [], "footnotes": [], "date": "1968", "sortorder": 6}, {"description": "(Richard L. Feigen and Co., Chicago, IL)", "citations": [], "footnotes": ["<div><!--block-->According to documents supplied by Richard L. Feigen &amp; Co. in the curatorial file.</div>"], "date": "1973", "sortorder": 7}, {"description": "Sandra Canning Kasper, New York, NY", "citations": [], "footnotes": ["<div><!--block-->According to documents supplied by Richard L. Feigen &amp; Co. in the curatorial file. Kasper was married to Richard Feigen from 1966-1978.</div>"], "date": "1978", "sortorder": 8}, {"description": "Bernice McIlhenny Wintersteen [1903\u20131986], Villanova, PA", "citations": [], "footnotes": ["<div><!--block--><br></div><div><!--block-->&nbsp;</div>"], "date": "", "sortorder": 9}, {"description": "(Richard Feigen Gallery, New York, NY, sold to Nancy F. and Joseph P. Keithley)", "citations": [], "footnotes": [], "date": "by 2002", "sortorder": 10}, {"description": "Nancy F. and Joseph P. Keithley, Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "2020", "sortorder": 11}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2020\u2013", "sortorder": 12}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Picasso was never an official member of the Surrealist movement, but he participated in their exhibitions; their leader Andr\u00e9 Breton wrote, \u201cWe proudly claim him as one of us.\u201d", "description": "The woman\u2019s head in this painting contains multiple perspectives, most notably seen in the opposing profiles formed by the red and tan forms in the center, each with its own eye. A third eye appears on the left side of the face which can be read as a frontal view. While the woman\u2019s features resemble those of Picasso\u2019s lover, Marie Th\u00e9r\u00e8se Walter, she was probably not the model since they did not meet until January 1927. The contrast in style between this painting and Picasso\u2019s <em>Head of a Boy</em> (1905\u20136) is a testament to the artist\u2019s boundless creativity.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q87481070"], "internet_archive": []}, "citations": [{"citation": "Zervos, Christian. <em>Pablo Picasso</em>. Paris: Cahiers d'art, 1932.", "page_number": "Reproduced: Vol. 7, P. 19, no. 41", "url": ""}, {"citation": "<em>Picasso</em>. Exh. Cat. Z\u00fcrich: Kunsthaus Z\u00fcrich, 1932.", "page_number": "Mentioned: p. 12, no. 165", "url": ""}, {"citation": "Penrose, Roland. <em>Picasso: His Life and Work</em>. London: Victor Gollancz, 1958.", "page_number": "Reproduced: no. 7", "url": ""}, {"citation": "Penrose, Roland. <em>Picasso: His Life and Work.</em> New York: Schocken Books, 1962.", "page_number": "Mentioned: P. 232; Reproduced: Pl. XI, 7", "url": ""}, {"citation": "Lieberman, William S. <em>Aspects of 20th Century Art</em>. Sydney, Australia : David Jones Limited, 1976.", "page_number": "Reproduced: p. 28", "url": null}, {"citation": "Weisner, Ulrich. <em>Picassos Surrealismus: Werke 1925-1937</em>. [Bielefeld]: Kunsthalle Bielefeld, 1991.", "page_number": "Reproduced: P. 35; mentioned and reproduced: P. 303, no. 5", "url": ""}, {"citation": "Chipp, Herschel Browning , Alan Wofsy, and Fernand Mourlot. <em>Picasso's paintings, watercolors, drawings and sculpture: a comprehensive illustrated catalogue, 1885-1973</em>. San Francisco, CA: Alan Wofsy Fine Arts, 1995.", "page_number": "Reproduced: Vol. 4, P. 73, no. 26-092", "url": null}, {"citation": "Palau i Fabre, Josep. <em>Picasso: From the Ballets to Drama (1917-1926).</em> Cologne: Ko\u0308nemann, 1999.", "page_number": "Reproduced: P. 481, no. 1710; mentioned: P. 524, no. 1710", "url": ""}, {"citation": "Bezzola, Tobia. <em>Picasso: His First Museum Exhibition, 1932</em>. Exh. Cat. Z\u00fcrich: Kunsthaus Z\u00fcrich, 2010.", "page_number": "Mentioned and reproduced: p. 237, no. 165", "url": ""}, {"citation": "Muse\u0301e Picasso (Paris, France). <em>Picasso: Tableaux Magiques</em>. Paris: Muse\u0301e National Picasso, 2019.", "page_number": "Reproduced: P. 44, TM 11", "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. 146-147; Mentioned: p. 257-258", "url": ""}], "catalogue_raisonne": "Zervos VII, 41", "url": "https://clevelandart.org/art/2020.112", "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": 90541, "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": "2020-03-02T00:00:00-05:00", "sortable_date": 1926, "date_added_to_oa": null, "date_text": "1926", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-04-03 13:35:08.533000"}, {"id": 74228, "accession_number": "2020.113", "share_license_status": "CC0", "tombstone": "Fishmarket, 1902. Camille Pissarro (French, 1830\u20131903). 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, 2020.113", "current_location": null, "title": "Fishmarket", "creation_date": "1902", "creation_date_earliest": 1902, "creation_date_latest": 1902, "artists_tags": ["male", "Jewish artists"], "culture": ["France, 20th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 66 x 81.3 cm (26 x 32 in.)", "dimensions": {"unframed": {"height": 0.66, "width": 0.813}, "framed": {"height": 0.852, "width": 0.999, "depth": 0.076}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed and dated lower left:  1902 C. Pissarro", "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>Inaugural Exposition of French Art</em>. California Palace of the Legion of Honor, San Francisco (1915).", "opening_date": "1915-01-01T00:00:00"}, {"description": "<em>Masterpieces of the Ex-Matsukata Collection</em>. National Museum of Western Art, Tokyo (May 14-July 10,1960).", "opening_date": "2014-05-01T00:00:00"}, {"description": "<em>Treasured Masterpieces of the XIXth Century Painting.</em> Galerie Fujikawa, Osaka; Yomiuri Shimbun, Tokyo (1973).", "opening_date": "1973-01-01T00:00:00"}, {"description": "<em>Western Painting and Modern Western Style Painting in Japan: One Century from Imitation to Creation.</em> Shizuoka Prefectural Museum of Art, Shizuoka City, Japan (August 15-September 26,1986).", "opening_date": "2015-08-01T00:00:00"}, {"description": "<em>The Triumph of French Painting: Masterpieces from Ingres to Matisse</em>. Baltimore Museum of Art, Baltimore (March 12-July 16, 2000); Philbrook Museum of Art, Tulsa (August 13-November 26, 2000); Norton Museum of Art, West Palm Beach (January 6-March 11, 2001); Royal Academy of Arts, London (June 30-September 23, 2001); Albright Knox Gallery, Buffalo (November 3, 2001-January 6, 2002).", "opening_date": "2000-03-12T00:00:00"}, {"description": "<em>XIXth and XXth Century Master Paintings and Sculpture</em>. Acquavella Galleries, New York, NY (March 1-May 1, 2002).", "opening_date": "2002-03-01T00:00:00"}]}, "provenance": [{"description": "Possibly Georges Petit [1856-1920] Paris, France", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "(possibly sold to dealer Duval-Fleury, Paris, France, February 14, 1918)", "citations": [], "footnotes": ["<div><!--block-->Provenance until 1918 is according to Joachim Pissarro and Claire Durand-Ruel Snollaerts, <em>Pissarro: Critical Catalogue of Paintings</em> (Paris: Wildenstein Institute Publications, 2005), vol. III, p. 879, cat. no. 1439.&nbsp; <br><br>Wilhelm Hansen was known to work with Duval-Fleury on other art purchases and may have bought this painting directly from the French dealer. See: Denys Sutton, \u201cThe Degas Sales and England,\u201d <em>Burlington Magazine</em> 131, no. 1033 (April 1989), pp. 266-272.&nbsp;</div>"], "date": "1918", "sortorder": 2}, {"description": "Wilhelm Hansen [1868-1936] Copenhagen, Denmark, sold to Baron Kojiro Matsudata", "citations": [], "footnotes": [], "date": "1918\u20131923", "sortorder": 3}, {"description": "Baron Kojiro Matsukata [1865\u20131950] Kobe, Japan, sold to the 15th Bank of Japan", "citations": [], "footnotes": ["<div><!--block-->In 1927, Baron Matsukata was forced to dispose of his own property to sustain his company through an economic crisis. See: Libby Horner, \u201cThe collection of Kojiro Matsukata (1865-1950) The fire at the London Pantechnicon in 1939,\u201d The British Art Journal 19, no. 1 (Spring 2018), pp. 84-90. According to the 2003 Sotheby\u2019s sale catalogue, the 5th Bank of Japan owned the painting until 1928.</div>"], "date": "1923\u20131927", "sortorder": 4}, {"description": "The 15th Bank, Tokyo, Japan", "citations": [], "footnotes": null, "date": "1927\u20131928", "sortorder": 5}, {"description": "Kyuzaemon Wada [1890\u20131968] Osaka, Japan", "citations": [], "footnotes": [], "date": "after 1928\u2013before 1971", "sortorder": 6}, {"description": "(Fujikawa Galleries, Tokyo, Japan, sold to Private Collection)", "citations": [], "footnotes": ["<div><!--block-->Provenance 1918-2003 is according to the 2003 Sotheby\u2019s sale catalogue.&nbsp;</div>"], "date": "1971\u20131974", "sortorder": 7}, {"description": "(sold at Sotheby\u2019s, New York, NY, November 5, 2003, lot 5)", "citations": [], "footnotes": null, "date": "2003", "sortorder": 8}, {"description": "(Acquavella Galleries, New York, NY, sold to Nancy F. and Joseph P. Keithley)", "citations": [], "footnotes": [], "date": "2004", "sortorder": 9}, {"description": "Nancy F. and Joseph P. Keithley, Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "2004\u20132020", "sortorder": 10}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2020\u2013", "sortorder": 11}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Pissarro painted this work from an upper level hotel room in Dieppe. He was suffering from a recurring eye infection at the time that prevented him from working outdoors.", "description": "This impressive view of a bustling fish market belongs to a series of paintings that Pissarro made during the summer of 1902 depicting the harbor at Dieppe. Borrowing from the Impressionist method of portraying a modern city from a high vantage point, he enlivened the scene with rich, vibrant colors applied with energetic, broken brushstrokes. Ever concerned with the fleeting effects of atmosphere, Pissarro painted the interpenetration of industrial steam with the clouds in the brilliant, sunlit sky.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q87480807"], "internet_archive": ["https://archive.org/details/clevelandart-2020.113-fishmarket"]}, "citations": [{"citation": "California Palace of the Legion of Honor. <em>Catalogue, Inaugural Exposition of French Art in the California Palace of the Legion of Honor, Lincoln Park, San Francisco, California, 1924-1925</em>. San Francisco: Press of the James H. Barry, 1924-1925.", "page_number": "Mentioned: P. 20, no. 46; Reproduced: no. 46", "url": null}, {"citation": "Pissarro, Ludovico Rodo, and Lionello Venturi. <em>Camille Pissarro; son art--son \u0153uvre</em>. Paris: P. Rosenberg, 1939.", "page_number": "Mentioned: Vol. 1, p. 254, no. 1249; Reproduced: Vol. 2, pl. 244, no. 1249", "url": null}, {"citation": "<em>Matsukata korekushon meisaku senbatsuten zuroku</em>. Tokyo: Kokuritsu Seiyo\u0304 Bijutsukan, 1960.", "page_number": "Reproduced: no. 105", "url": null}, {"citation": "Shizuoka Kenritsu Bijutsukan. <em>Kindai Nihon no yo\u0304ga to seiyo\u0304: moho\u0304 to so\u0304zo\u0304 no isseiki </em>(Western painting and modern Western style painting in Japan: One century from imitation to creation). Shizuoka-shi, Japan: Shizuoka Kenritsu Bijutuskan, 1986.", "page_number": "Mentioned and Reproduced: P. 80, no. 38", "url": null}, {"citation": "Brettell, Richard, Joachim Pissarro, and Mary Anne Stevens. <em>The Impressionist and the City: Pissarro's Series Paintings</em>. New Haven: Yale University Press, 1992.", "page_number": "Reproduced: p. 191, no. 143", "url": null}, {"citation": "Acquavella Galleries. <em>XIX &amp; XX Century Master Paintings and Sculpture: An Exhibition, March 18th to April 27th, 2002. </em>New York: Acquavella Galleries, 2002.", "page_number": "Mentioned and reproduced: Pl. 6", "url": ""}, {"citation": "Pissarro, Joachim and Claire Durand-Ruel Snollaerts. <em>Pissarro: critical catalogue of paintings</em>. Paris: Wildenstein Institute Publications, 2005.", "page_number": "Mentioned and Reproduced: Vol. III, P. 879, no. 1439", "url": null}, {"citation": "\u201cA Historic Gift. Longtime CMA supporters Joseph and Nancy Keithley give 114 works, the largest gift in more than 60 years.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>60, no. 3 (Summer 2020): Cover, 6-9.", "page_number": "Reproduced and Mentioned: P. 8.", "url": null}, {"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. 97, no. 8; mentioned: P. 93", "url": ""}, {"citation": "Robinson, William H. \"Modern European Painting.\" In <em>The Keithley Collection at the Cleveland Museum of Art, </em>edited by Heather Lemonedes Brown, 132-139, 142-149. Cleveland, OH: The Cleveland Museum of Art, 2022.", "page_number": "Mentioned and reproduced: p. 134-135; Mentioned: p. 270", "url": ""}, {"citation": "\"Exhibitions: Transformative Gift.\" <em>Art &amp; Antiques </em>XLV, no. 10 (November 2022): 48-53.", "page_number": "Mentioned and reproduced: p. 52", "url": ""}], "url": "https://clevelandart.org/art/2020.113", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2020.113/2020.113_web.jpg", "width": "900", "height": "721", "filesize": "432817", "filename": "2020.113_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2020.113/2020.113_print.jpg", "width": "3400", "height": "2725", "filesize": "5050477", "filename": "2020.113_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2020.113/2020.113_full.tif", "width": "12504", "height": "10020", "filesize": "375900488", "filename": "2020.113_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": 74228, "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": "2020-03-02T00:00:00-05:00", "sortable_date": 1902, "date_added_to_oa": null, "date_text": "1902", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:12.060000"}, {"id": 87891, "accession_number": "2023.38", "share_license_status": "CC0", "tombstone": "Strandgade, Sunshine, c. 1906. Vilhelm Hammersh\u00f8i (Danish, 1864\u20131916). Oil on canvas; unframed: 50.5 x 56.2 cm (19 7/8 x 22 1/8 in.). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift, 2023.38", "current_location": "222 Impressionism & Post-Impressionism", "title": "Strandgade, Sunshine", "creation_date": "c. 1906", "creation_date_earliest": 1901, "creation_date_latest": 1911, "artists_tags": ["male"], "culture": ["Denmark"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 50.5 x 56.2 cm (19 7/8 x 22 1/8 in.)", "dimensions": {"framed": {"height": 0.632, "width": 0.686, "depth": 0.057}, "unframed": {"height": 0.505, "width": 0.562}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Artist's signature:  \"V Hammershoi\" (lower right), in black paint", "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": []}, "provenance": [{"description": "Winkel & Magnussen, Copenhagen, Denmark", "citations": [], "footnotes": ["<div><!--block-->According to <em>Fortegnelse over arbejder af Vilhelm Hammersh\u00f8i</em> (Copenhagen: Trykt Hos. F. E. Bording, 1916), vol. 2, p. 7, cat. no. 64.</div>"], "date": "by 1916", "sortorder": 1}, {"description": "Dr. Axel Heine [1870\u20131943], Copenhagen, Denmark", "citations": [], "footnotes": ["<div><!--block-->According to Sophus Micha\u00eblis and Alfred Bramsen, <em>Vilhelm Hammersh\u00f8i: Kunstneren og Hans V\u00e6rk</em> (Copenhagen: Gyldendalske Boghandeln Nordisk, 1918), p. 105, cat. no. 285.&nbsp;</div>"], "date": "by 1918", "sortorder": 2}, {"description": "(Sold at Winkel & Magnussen, Copenhagen, Denmark, Heine sale, November 5, 1945, lot 474)", "citations": [], "footnotes": ["<div><!--block-->Provenance from 1918 until 1989 is according to documentation provided by L. &amp; R. Entwistle in the curatorial file.</div>"], "date": "November 5, 1945", "sortorder": 3}, {"description": "(Sold at Sotheby\u2019s, London, lot 48, March 14, 1989, to Lance and Roberta Entwistle, London)", "citations": [], "footnotes": ["<div><!--block-->Sold as \u2018Interior, Sunshine\u2019, 49 x 55 cm. Lance and Roberta Entwistle are the directors of the Entwistle Gallery.&nbsp;</div>"], "date": "March 14, 1989", "sortorder": 4}, {"description": "(Sold by Entwistle Gallery, London, to Nancy F. and Joseph P. Keithley, Cleveland, OH)", "citations": [], "footnotes": [], "date": "2001", "sortorder": 5}, {"description": "Nancy F. and Joseph P. Keithley, Cleveland, OH, promised gift to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "2020", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The poet Rainer Maria Rilke wrote, \"Hammersh\u00f8i is not one of those artists that one needs to talk about quickly. His work is long and slow and at whatever moment one comes to grips with it, one will have ample occasion to speak of what is significant and essential in art.\"", "description": "One of Denmark\u2019s most celebrated artists, Vilhelm Hammersh\u00f8i was a painter of quiet spaces, mystery, and silence. Among his most memorable works are paintings of his apartment at 30 Strandgade in Copenhagen, here seen with the sun shining through a window, illuminating the floor and door to the right, while a woman stands in the shadows. The nearly empty room, muted tones, and closed door next to a window evoke a haunting mood filled with psychological complexity.", "external_resources": {"wikidata": [], "internet_archive": ["https://archive.org/details/clevelandart-2023.38-strandgade-sunshine"]}, "citations": [{"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. 136-137; Mentioned: p. 264", "url": ""}, {"citation": "Hammersh\u00f8i, Vilhelm. <em>Fortegnelse over arbejder af Vilhelm Hammersh\u00f8i.</em> K\u00f8benhavn: Kunstforeningen, 1916.", "page_number": "Mentioned: Vol. 2, p. 7, cat. no. 64", "url": ""}, {"citation": "Michaelis, Sophus, and Alfred Bramsen. <em>Vilhelm Hammersh\u00f8i : kunstneren og hans v\u00e6rk. </em>K\u00f8benhavn. Denmark: Kristiania : Gyldendalske Boghandeln Nordisk Forlag, 1918.", "page_number": "Mentioned: p. 105, no. 285", "url": null}, {"citation": "Lemonedes Brown, Heather. \"Noteworthy and New: Three highlights from the year's acquisitions.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>63, no. 4 (2023): 14-15.", "page_number": "Reproduced and Mentioned: P. 15", "url": "https://archive.org/details/CMAMM2023-04/page/14/mode/2up"}], "url": "https://clevelandart.org/art/2023.38", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2023.38/2023.38_web.jpg", "width": "900", "height": "797", "filesize": "250672", "filename": "2023.38_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2023.38/2023.38_print.jpg", "width": "3400", "height": "3009", "filesize": "2923705", "filename": "2023.38_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2023.38/2023.38_full.tif", "width": "10779", "height": "9541", "filesize": "308554308", "filename": "2023.38_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": 87891, "creators": [{"id": 40169, "description": "Vilhelm Hammersh\u00f8i (Danish, 1864\u20131916)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1864", "death_year": "1916", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2023-04-03T04:00:00Z", "sortable_date": 1901, "date_added_to_oa": null, "date_text": "c. 1906", "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 00:06:16.013000"}, {"id": 93101, "accession_number": "1924.1425", "share_license_status": "CC0", "tombstone": "Head of Woman, 1920. Gaston Lachaise (American, born France, 1882\u20131935). Pink Tennessee marble and black pigment; overall: 64.2 x 54 x 40 cm (25 1/4 x 21 1/4 x 15 3/4 in.). The Cleveland Museum of Art, Hinman B. Hurlbut Collection, 1924.1425", "current_location": null, "title": "Head of Woman", "creation_date": "1920", "creation_date_earliest": 1920, "creation_date_latest": 1920, "artists_tags": ["male"], "culture": ["America"], "technique": "pink Tennessee marble and black pigment", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Sculpture", "type": "Sculpture", "measurements": "Overall: 64.2 x 54 x 40 cm (25 1/4 x 21 1/4 x 15 3/4 in.)", "dimensions": {"overall": {"height": 0.642, "width": 0.54, "depth": 0.4}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed on base: G. LACHAISE 1923", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 312457, "title": "Sculpture of Our Time", "description": "<i>Sculpture of Our Time</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 5-December 5, 1937).", "opening_date": "1937-11-05T05:00:00"}, {"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": 443482, "title": "Gaston Lachaise: Sculpture and Drawings", "description": "<i>Gaston Lachaise: Sculpture and Drawings</i>. Memorial Art Gallery of the University of Rochester, Rochester, NY (organizer) (January 21-March 4, 1979).", "opening_date": "1979-01-21T05:00:00"}, {"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": [{"description": "CMA, 1924: \"The Fourth Exhibition of Contemporary American Painting,\" no cat.", "opening_date": "1924-01-01T00:00:00"}, {"description": "CMA, 1924: \"Exhibition of Paintings by Zuloaga and Sorolla, and Sculpture by Lachaise and Bourdelle,\" no cat.", "opening_date": "1924-01-01T00:00:00"}, {"description": "NY: Museum of Modern Art, January 27 - March 8, 1935: Work of Gaston Lachaise, cat. no. 15, pl. 15.", "opening_date": "1935-01-01T00:00:00"}, {"description": "Los Angeles County Museum of Art, 1964: \"Work of Gaston Lachaise,\" and to NY, Whitney Museum of American Art", "opening_date": "1964-01-01T00:00:00"}, {"description": "Rochester, NY, Memorial Art Gallery of the University of Rochester, 1979: \"Gaston Lachaise: Sculpture and Drawings\"", "opening_date": "1979-01-01T00:00:00"}, {"description": "Washington, DC, The National Portrait Gallery, Smithsonian Institution, 1985: \"Portrait Sculpture of Gaston Lachaise,\" cat. p. 48, repr. p. 49.", "opening_date": "1985-01-01T00:00:00"}]}, "provenance": [{"description": "C. W. Kraushaar Art Galleries, NY", "citations": [], "footnotes": [], "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1354.1924", "1425.1924"], "did_you_know": "Born in Paris, France, Gaston Lachaise immigrated to the United States in 1906.", "description": "Gaston Lachaise acknowledged that his wife, Isabel Dutaud Nagel Lachaise, was \"the primary inspiration which awakened my vision and the leading influence that has directed my forces.\" <em>Head of a Woman </em>is one of several sculpted portraits he made of her.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q106653516"], "internet_archive": ["https://archive.org/details/clevelandart-1924.1425-head-of-a-woman"]}, "citations": [{"citation": "Milliken, William M. \"Head of a Woman by Gaston Lachaise.\" <em>The Bulletin of the Cleveland Museum of Art</em>. 11:8 (October 1924).", "page_number": "Mentioned: pp. 160-161; Reproduced: p. 167", "url": "https://www.jstor.org/stable/25136787"}, {"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"}, {"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": "cat. no. 24.", "url": null}, {"citation": "Solender, Katherine. <em>The American Way in Sculpture, 1890-1930</em>. Cleveland, OH: Published by the Cleveland Museum of Art in cooperation with Indiana University Press, 1986.", "page_number": "cat. #37, p. 39, repr.", "url": null}], "url": "https://clevelandart.org/art/1924.1425", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1924.1425/1924.1425_web.jpg", "width": "675", "height": "900", "filesize": "135340", "filename": "1924.1425_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1924.1425/1924.1425_print.jpg", "width": "2550", "height": "3400", "filesize": "1524601", "filename": "1924.1425_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1924.1425/1924.1425_full.tif", "width": "5673", "height": "7563", "filesize": "128743016", "filename": "1924.1425_full.tif"}}, "alternate_images": [{"date_created": "2015-04-16T11:35:14", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1924.1425/1924.1425_alt0_web.jpg", "width": "662", "height": "900", "filesize": "129870"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1924.1425/1924.1425_alt0_print.jpg", "width": "2499", "height": "3400", "filesize": "1450346"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1924.1425/1924.1425_alt0_full.tif", "width": "5749", "height": "7822", "filesize": "134934240"}}, {"date_created": "2015-04-16T11:50:00", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1924.1425/1924.1425_alt1_web.jpg", "width": "688", "height": "900", "filesize": "136965"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1924.1425/1924.1425_alt1_print.jpg", "width": "2598", "height": "3400", "filesize": "1555837"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1924.1425/1924.1425_alt1_full.tif", "width": "5785", "height": "7571", "filesize": "131423004"}}, {"date_created": "2015-04-16T13:11:15", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1924.1425/1924.1425_alt2_web.jpg", "width": "659", "height": "900", "filesize": "137994"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1924.1425/1924.1425_alt2_print.jpg", "width": "2489", "height": "3400", "filesize": "1621945"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1924.1425/1924.1425_alt2_full.tif", "width": "5727", "height": "7822", "filesize": "134418140"}}, {"date_created": "2015-04-16T13:29:43", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1924.1425/1924.1425_alt3_web.jpg", "width": "670", "height": "900", "filesize": "135826"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1924.1425/1924.1425_alt3_print.jpg", "width": "2532", "height": "3400", "filesize": "1581653"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1924.1425/1924.1425_alt3_full.tif", "width": "5785", "height": "7767", "filesize": "134824536"}}, {"date_created": "2015-04-16T13:57:07", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1924.1425/1924.1425_alt4_web.jpg", "width": "648", "height": "900", "filesize": "134199"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1924.1425/1924.1425_alt4_print.jpg", "width": "2447", "height": "3400", "filesize": "1545292"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1924.1425/1924.1425_alt4_full.tif", "width": "5465", "height": "7594", "filesize": "124531752"}}], "creditline": "Hinman B. Hurlbut Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 93101, "creators": [{"id": 14277, "description": "Gaston Lachaise (American, born France, 1882\u20131935)", "extent": null, "qualifier": null, "role": "sculptor", "biography": null, "name_in_original_language": null, "birth_year": "1882", "death_year": "1935", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1924-06-26T00:00:00", "sortable_date": 1920, "date_added_to_oa": null, "date_text": "1920", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:07:21.094000"}, {"id": 174074, "accession_number": "1932.964", "share_license_status": "Copyrighted", "tombstone": "The Seasons, 1932. Viktor Schreckengost (American, 1906\u20132008), in collaboration with Cowan Pottery Studio (America, Rocky River, Ohio, 1920\u20131931). Earthenware; diameter: 20.4 cm (8 1/16 in.); overall: 29.6 cm (11 5/8 in.). The Cleveland Museum of Art, Hinman B. Hurlbut Collection, 1932.964", "current_location": null, "title": "The Seasons", "creation_date": "1932", "creation_date_earliest": 1932, "creation_date_latest": 1932, "artists_tags": ["male", "Cleveland Institute of Art (faculty)", "Cleveland School", "May Show", "Cleveland Institute of Art (alumni)"], "culture": ["America, Ohio, Cleveland"], "technique": "earthenware", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Ceramic", "measurements": "Diameter: 20.4 cm (8 1/16 in.); Overall: 29.6 cm (11 5/8 in.)", "dimensions": {"diameter": {"width": 0.204}, "overall": {"height": 0.296}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "on bottom: \"Viktor Schreckengost.\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 382023, "title": "The May Show: 14th Annual Exhibition of Works by Cleveland Artists and Craftsmen", "description": "<i>The May Show: 14th Annual Exhibition of Works by Cleveland Artists and Craftsmen</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 27-June 5, 1932).", "opening_date": "1932-04-27T04:00:00"}, {"id": 445409, "title": "Art Deco", "description": "<i>Art Deco</i>. Western Reserve Historical Society, Cleveland, OH (organizer) (June 6-August 1, 1971).", "opening_date": "1971-06-06T04:00:00"}, {"id": 444884, "title": "Art Deco", "description": "<i>Art Deco</i>. The Butler Institute of American Art, Youngstown, OH (organizer) (December 2, 1973-January 27, 1974).", "opening_date": "1973-12-02T05:00:00"}, {"id": 443051, "title": "Art Deco", "description": "<i>Art Deco</i>. Beck Center for the Arts, Lakewood, OH (organizer) (September 7-October 15, 1979).", "opening_date": "1979-09-07T04:00:00"}, {"id": 309579, "title": "The Cleveland Institute of Art: 100 Years", "description": "<i>The Cleveland Institute of Art: 100 Years</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 22, 1982-January 30, 1983).", "opening_date": "1982-12-22T05:00:00"}, {"id": 218478, "title": "Craft in the Machine Age:  European Influences on American Modernism, 1920-1945", "description": "<i>Craft in the Machine Age:  European Influences on American Modernism, 1920-1945</i>. American Craft Museum (organizer) (October 19, 1995-February 25, 1996); Fort Wayne Museum of Art (September 7-November 3, 1996); Akron Art Museum (January 25-March 30, 1997); Milwaukee Art Museum (June 15-August 15, 1997); Samuel P. Harn Museum of Art (September 1-November 30, 1997).", "opening_date": "1995-10-19T00:00:00"}, {"id": 189020, "title": "Viktor Schreckengost and 20th-century Design", "description": "<i>Viktor Schreckengost and 20th-century Design</i>. The Cleveland Museum of Art (organizer) (November 12, 2000-February 4, 2001).", "opening_date": "2000-11-12T00:00:00"}, {"id": 200463, "title": "The Jazz Age: American Style in the 1920s", "description": "<i>The Jazz Age: American Style in the 1920s</i>. Cooper Hewitt, Smithsonian Design Museum, New York, NY (April 7-August 20, 2017); The Cleveland Museum of Art, Cleveland, OH (organizer) (September 30, 2017-January 14, 2018).", "opening_date": "2017-04-07T00:00:00"}], "legacy": [{"description": "Cleveland, Ohio: The Cleveland Museum of Art; November 12, 2000 - February 4, 2001. \"Viktor Schreckengost and 20th-Century Design\" exh. cat. no. 30, p. 163, color repr. p. 43.", "opening_date": "2000-11-12T00:00:00"}, {"description": "Cooper Hewitt, Smithsonian Design Museum, New York, NY (4/7/2017 - 8/20/2017) and The Cleveland Museum of Art, OH (9/30/2017 - 1/14/2018): \"The Jazz Age: American Style in the 1920s\"", "opening_date": "2017-04-07T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": ["1758.1932", "964.1932"], "did_you_know": "Cleveland ceramist and industrial designer Viktor Schreckengost produced this vase after returning from a year of study in Vienna. The Cleveland Museum of Art exhibited and purchased it within a year of its creation, giving his new style immediate exposure.", "description": "Although Viktor Schreckengost was introduced to new ideas in Vienna through the teaching of Michael Powolny and others, the exhibition and acquisition of Dina Kuhn\u2019s <em>Das Wasser (Water)</em> by the Cleveland Museum of Art before his departure in 1929 reveals that he may have already seen Viennese portrait design in his hometown.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q107378447"], "internet_archive": []}, "citations": [{"citation": "Basset, Mark and Naumann, Victoria. <em>Cowan Pottery and the Cleveland School</em>. Atglen: Schiffer Publishing Ltd., 1997. pp. 283-6, 314-5.", "page_number": "", "url": ""}, {"citation": "American Craft Museum. <em>Craft in the Machine Age: The History of Twentieth-Century American Craft (1920\u20131945).</em> New York: Harry N. Abrams, Inc., 1995. p 140.", "page_number": "", "url": ""}, {"citation": "Viktor Schreckengost Entry Card to 1932 May Show. Cleveland Museum of Art May Show Records, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/CMAMS02638"}, {"citation": "Hoffman, Jay, Dee Driscole, and Mary Clare Zahler. <em>A Study in Regional Taste: The May Show, 1919-1975</em>. [Cleveland]: Cleveland Museum of Art, 1977.<br>Published as: 964.32", "page_number": "Reproduced: P. 54, no. 59; Mentioned: P. 79, no. 59", "url": ""}], "url": "https://clevelandart.org/art/1932.964", "images": {}, "alternate_images": [], "creditline": "Hinman B. Hurlbut Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 174074, "creators": [{"id": 18616, "description": "Viktor Schreckengost (American, 1906\u20132008)", "extent": null, "qualifier": null, "role": "designer", "biography": null, "name_in_original_language": null, "birth_year": "1906", "death_year": "2008", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 681237, "description": "Cowan Pottery Studio (America, Rocky River, Ohio, 1920\u20131931)", "extent": null, "qualifier": "in collaboration with", "role": "made at", "biography": "The Cowan Pottery Studio was founded by R. Guy Cowan in Lakewood, Ohio, United States in 1912. It moved to Rocky River, Ohio in 1920, and operated until 1931, when the financial stress of the Great Depression resulted in its bankruptcy. Cowan Pottery produced both artistic and commercial work in a variety of styles influenced by the Arts and Crafts Movement, Art Deco, Chinese ceramics, and modern sculpture. <br> <br>During its two decades of operation, a number of well-known Cleveland School artists worked with Cowan at the studio: Elizabeth Anderson, Arthur Eugene Baggs, Alexander Blazys, Paul Bogatay, Edris Eckhardt, Waylande Gregory, A. Drexler Jacobson, Raoul Josset, Paul Manship, Jos\u00e9 Martin, Herman Matzen, F. Luis Mora, Elmer L. Novotny, Margaret Postgate, Stephen Rebeck, Guy L. Rixford, Viktor Schreckengost, Elsa Vick Shaw, Walter Sinz, Frank N. Wilcox, H. Edward Winter, and Thelma Frazier Winter. With the exception of Guy Cowan, himself, Waylande Gregory designed more pieces for the pottery than anyone else. Among Cowan's finest pieces were three limited edition figures relating to dance, including \"Salome\" (1928), \"The Nautch Dancer,\" (1930), and \"The Burlesque Dancer,\" (1930). For the last two, Gregory made sketches from the side of the stage of the well-known Ziegfeld Follies star, Gilda Grey, when she was performing in Cleveland.", "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1932-04-26T00:00:00", "sortable_date": 1932, "date_added_to_oa": null, "date_text": "1932", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Vase: The Seasons"], "is_highlight": false, "updated_at": "2026-03-27 00:07:38.951000"}, {"id": 124772, "accession_number": "1946.256", "share_license_status": "Copyrighted", "tombstone": "Sand Dunes, Wallace Head, Maine, 1915. John Marin (American, 1870\u20131953). Watercolor over graphite on thick wove paper; sheet: 41.8 x 49.2 cm (16 7/16 x 19 3/8 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1946.256. \u00a9 Estate of John Marin / Artists Rights Society (ARS), New York", "current_location": null, "title": "Sand Dunes, Wallace Head, Maine", "creation_date": "1915", "creation_date_earliest": 1915, "creation_date_latest": 1915, "artists_tags": ["male"], "culture": ["America"], "technique": "Watercolor over graphite on thick wove paper", "support_materials": [{"description": "cream(1) wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Sheet: 41.8 x 49.2 cm (16 7/16 x 19 3/8 in.)", "dimensions": {"sheet": {"height": 0.418, "width": 0.492}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of John Marin / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "signed, lower left in graphite: Marin 15; verso, probably by the artist, center, in graphite: Sand Dunes / Wallace Head / maine; upper right, in graphite: 305 [circled]; lower left, in graphite: a8; lower left, in graphite s.b.c. / 2 [circled]; lower right, in graphite: $850\r\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 361363, "title": "New Accessions U.S.A.", "description": "<i>New Accessions U.S.A.</i>. Colorado Springs Fine Arts Center, Colorado Springs, CO (organizer) (June 27-September 12, 1948).", "opening_date": "1948-06-27T04:00:00"}, {"id": 311950, "title": "Contemporary Drawings", "description": "<i>Contemporary Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (January 24-February 12, 1950).", "opening_date": "1950-01-24T05:00:00"}, {"id": 300831, "title": "John Marin Memorial Exhibition", "description": "<i>John Marin Memorial Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (November 17, 1955-January 1, 1956); San Francisco Museum of Modern Art, San Francisco, CA (March 1-October 13, 1956); The Phillips Collection (March 1-October 13, 1956); Minneapolis Institute of Art, Minneapolis, MN (March 1-October 13, 1956); Fowler Museum at UCLA, Los Angeles, CA (March 1-October 13, 1956); Museum of Fine Arts, Boston, Boston, MA (March 1-October 13, 1956).", "opening_date": "1955-11-17T05:00:00"}, {"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": 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": 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": 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": 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>Water Color Paintings</em>. American Federation of Arts Museum Series Program of Exhibitions (ten venues; 1949 - 1950).", "opening_date": "1949-01-01T00:00:00"}, {"description": "Possibly included in the one-man exhibition of Marin's work held at the Little Galleries of the Photo-Secession (known as 291), New York (January 18 -February 12, 1916. Cannot be confirmed since no checklist or catalogue exists.", "opening_date": null}]}, "provenance": [{"description": "(An American Place, New York, NY, sold to Mr. Zirinsky)", "citations": [], "footnotes": [], "date": "after 1915-1945", "sortorder": null}, {"description": "Mr. Zirinsky", "citations": [], "footnotes": ["<div><!--block-->According to CMA files, an old label from An American Place gallery, now lost, was inscribed in Stieglitz's hand: \"Acquired by Mr. Zirinsky 12/10/45\"</div>"], "date": "1945-by 1946", "sortorder": 2}, {"description": "(James N. Rosenberg, White Plains, NY, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": [], "date": "?-1946", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1946-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "John Marin worked closely with the important dealer and photographer Alfred Stieglitz, who championed his work around the time this drawing was made.", "description": "John Marin worked prolifically in watercolor, producing almost 2500 works in the medium during his long career. He was known for fragmented landscapes that convey a sense of energy and movement. An avid outdoorsman, Marin frequently depicted Maine, which he regularly visited beginning during the summer of 1914. This drawing is one of dozens that Marin made during 1915 while staying in Small Point. The composition veers toward abstraction, with areas of the paper left unpainted, layers of wash outlining dunes in the foreground, and schematically-rendered fir trees along the horizon. Marin worked creatively with watercolor, suggesting rough texture with agitated brush strokes and scribbled marks, translating his experience of nature to the viewer.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79902798"], "internet_archive": []}, "citations": [{"citation": "Kelly, Grace V. \"Superb Marin Water Color Acquired by Museum of Art.\" <em>Cleveland Plain Dealer </em>(July 25, 1948): 22-D.", "page_number": "Mentioned: p. 22-D", "url": null}, {"citation": "<em>New Accessions USA</em>. Exh. Cat. Colorado Springs: Colorado Fine Arts Center, 1948.", "page_number": "Mentioned: no. 14", "url": "https://archive.org/details/newacc00colo"}, {"citation": "Reich, Sheldon. <em>John Marin: Catalogue Raisonn\u00e9</em>. 2 Vols. Tucson: University of Arizona Press, 1970.", "page_number": "Mentioned and reproduced: II: p. 409, no. 15.35", "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, 8, pp. 234-235, 296-297; Reproduced: p. 235", "url": null}], "catalogue_raisonne": "Reich 15.35", "url": "https://clevelandart.org/art/1946.256", "images": {}, "alternate_images": [], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 124772, "creators": [{"id": 3179, "description": "John Marin (American, 1870\u20131953)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1870", "death_year": "1953", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1946-07-25T00:00:00", "sortable_date": 1915, "date_added_to_oa": null, "date_text": "1915", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-26 23:59:52.243000"}, {"id": 133469, "accession_number": "1956.116", "share_license_status": "Copyrighted", "tombstone": "Free Form Fruit Bowl, 1955. Frederick A. Miller (American, Cleveland, 1913\u20132000). Silver; overall: 16.6 x 26.8 x 21 cm (6 9/16 x 10 9/16 x 8 1/4 in.). The Cleveland Museum of Art, Silver Jubilee Treasure Fund, 1956.116", "current_location": null, "title": "Free Form Fruit Bowl", "creation_date": "1955", "creation_date_earliest": 1955, "creation_date_latest": 1955, "artists_tags": ["male"], "culture": ["America, Ohio, Cleveland"], "technique": "silver", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Silver", "measurements": "Overall: 16.6 x 26.8 x 21 cm (6 9/16 x 10 9/16 x 8 1/4 in.)", "dimensions": {"overall": {"height": 0.166, "width": 0.268, "depth": 0.21}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 301164, "title": "The May Show: 38th Annual Exhibition of Works by Cleveland Artists and Craftsmen", "description": "<i>The May Show: 38th Annual Exhibition of Works by Cleveland Artists and Craftsmen</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 2-June 10, 1956).", "opening_date": "1956-05-02T04:00:00"}, {"id": 701740, "title": "Craftsmanship in a Changing World", "description": "<i>Craftsmanship in a Changing World</i>. Museum of Arts and Design, New York, NY (organizer) (September 29-November 4, 1956).", "opening_date": "1956-09-29T04:00:00"}, {"id": 518724, "title": "Work of Frederick A. Miller", "description": "<i>Work of Frederick A. Miller</i>. Museum of Arts and Design, New York, NY (organizer) (February 17-March 5, 1961).", "opening_date": "1961-02-17T05:00:00"}, {"id": 517806, "title": "Fine Arts Award Exhibition: Frederick A. Miller", "description": "<i>Fine Arts Award Exhibition: Frederick A. Miller</i>. The Women's City Club of Cleveland, Cleveland, OH (organizer) (March 25-April 25, 1968).", "opening_date": "1968-03-25T05:00:00"}, {"id": 221961, "title": "Bringing Modernism Home:  Ohio Decorative Arts, 1890-1960", "description": "<i>Bringing Modernism Home:  Ohio Decorative Arts, 1890-1960</i>. Columbus Museum of Art, Columbus, OH (organizer) (January 28-April 17, 2005).", "opening_date": "2005-01-28T00:00:00"}, {"id": 213443, "title": "Modernism in American Silver: 20th-Century Design", "description": "<i>Modernism in American Silver: 20th-Century Design</i>. Renwick Gallery of the National Museum of American Art, Smithsonian Institution, Washington, DC (September 16, 2005-January 22, 2006); Nevada Museum of Art, Reno, NV (February 18-May 14, 2006); The Dallas Museum of Art, Dallas, TX (organizer) (June 18-September 24, 2006); The Wolfsonian - Florida International University, Miami, FL (November 17, 2006-March 25, 2007); The Dixon Gallery and Gardens, Memphis, TN (April 22-July 15, 2007).", "opening_date": "2005-09-16T00:00:00"}, {"id": 198152, "title": "In Honor of The Cleveland Arts Prize", "description": "<i>In Honor of The Cleveland Arts Prize</i>. The Cleveland Museum of Art (organizer) (June 13, 2010-March 13, 2011).", "opening_date": "2010-06-13T00:00:00"}], "legacy": [{"description": "Columbus Museum of Art (1/28/2005 - 4/17/2005):  \"Bringing Modernism Home, Ohio Decorative Arts, 1890-1960\", ex. cat. no. 66, p. 134.", "opening_date": "2005-01-28T00:00:00"}, {"description": "Dallas Museum of Art (organizer).  Renwick Gallery of the National Museum of American Art, Washington, DC (9/16/2005 - 1/22/2006), Nevada Art Museum (2/2006 - 5/2006), Dallas Art Museum, TX (6/2006 - 9/2006), The Wolfsonian - Florida International University (11/2006 - 3/2007), and the Dixon Gallery and Gardens, Memphis, TN (4/22/2007 - 7/15/2007)", "opening_date": "2005-09-16T00:00:00"}, {"description": "The Cleveland Museum of Art (06/13/2010 - 11/4/2010): \"In Honor of the Cleveland Arts Prize\"", "opening_date": "2010-06-13T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": ["1486.1956"], "did_you_know": "Fred Miller made this bowl by hand from a single disc of silver.", "description": "Frederick Miller was an exceptional silversmith who reintroduced the look, if not the technique, of hand-wrought fabrication to an industry that had fully mechanized its production by the 1950s. His work was often raised from a single disc of silver, beaten until stretched into a biomorphic or free form shape, such as in this fruit bowl. These unique shapes, gracefully lifted onto ebonized feet, were adapted and standardized by larger silver companies without his permission and became statements of modern design in the home. Designers and critics alike admired his work, but because of its expensive and time-consuming manner of production, Miller never achieved the commercial success of his peers whose designs were made by large manufacturers.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80025795"], "internet_archive": []}, "citations": [{"citation": "Milliken, William. \"Review of the Exhibition.\" <em>The Bulletin of the Cleveland Museum of Art </em>43, no. 5 (May 1956): 76-100.<em><br></em>", "page_number": "Reproduced: p. 74; Mentioned: p. 83", "url": "https://www.jstor.org/stable/25142128"}, {"citation": "Frederick A. Miller Entry Card to 1956 May Show. Cleveland Museum of Art May Show Records, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/CMAMS11117/"}, {"citation": "Johnston, Phillip M. <em>Catalogue of American Silver: The Cleveland Museum of Art</em>. Cleveland, Ohio: Cleveland Museum of Art, 1994.", "page_number": "Mentioned and reproduced: P. 108", "url": ""}, {"citation": "Frederick A. Miller collection. Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/FrederickMiller"}], "url": "https://clevelandart.org/art/1956.116", "images": {}, "alternate_images": [], "creditline": "Silver Jubilee Treasure Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 133469, "creators": [{"id": 8576, "description": "Frederick A. Miller (American, Cleveland, 1913\u20132000)", "extent": null, "qualifier": null, "role": "fabricator", "biography": null, "name_in_original_language": null, "birth_year": "1913", "death_year": "2000", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1956-04-30T00:00:00", "sortable_date": 1955, "date_added_to_oa": null, "date_text": "1955", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:03:05.100000"}, {"id": 108806, "accession_number": "1926.485", "share_license_status": "CC0", "tombstone": "The Apple Gatherers, 1912. Karl Anderson (American, 1874\u20131956). Oil on canvas; unframed: 134 x 127.6 cm (52 3/4 x 50 1/4 in.). The Cleveland Museum of Art, Bequest of Ralph King, 1926.485", "current_location": null, "title": "The Apple Gatherers", "creation_date": "1912", "creation_date_earliest": 1912, "creation_date_latest": 1912, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Unframed: 134 x 127.6 cm (52 3/4 x 50 1/4 in.)", "dimensions": {"unframed": {"height": 1.34, "width": 1.276}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower left: KARL/ANDERSON/1912", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "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": 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); Henry Street Settlement, New York, NY (April 6-28, 1963).", "opening_date": "1963-02-17T05:00:00"}, {"id": 517431, "title": "Exhibition of Ohio Painters", "description": "<i>Exhibition of Ohio Painters</i>. The Butler Institute of American Art, Youngstown, OH (organizer) (April 4-30, 1967).", "opening_date": "1967-04-04T05:00:00"}, {"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": "New York, Armory of the Sixty-Ninth Infantry, International Exhibition of Modern Art (17 February-15 March 1913) cat. no. 892, listed p. 60, and listed in Supplement to Catalogue p. 17; did not travel with show to Chicago or Boston.", "opening_date": "1913-02-17T00:00:00"}, {"description": "Cleveland, The Cleveland Museum of Art, An Exhibition of American Painting from 1860 Until Today at The Cleveland Museum of Art (23 June-4 October 1937) cat . no. 2, listed p. 11, not illus.", "opening_date": "1937-06-23T00:00:00"}, {"description": "Utica, NY, Munson-Williams-Proctor, 1913 Armory Show; 50th Anniversary Exhibition, 1963 (17 February-31 March 1963); traveled to New York, Armory of the 69th Regiment (6-28 April 1963) illus. cat. no. 892, p. 108.", "opening_date": "1963-02-17T00:00:00"}, {"description": "Clyde, Ohio, Community Room, Clyde Savings Bank, Arts and Crafts Show: Past-Present-Future (4-6 March 1966) listed, not illus. or numbered; organized by The Clyde Art Group.", "opening_date": "1966-03-04T00:00:00"}, {"description": "Youngstown, The Butler Institute of American Art, Pageant of Ohio Painters (4-30 April 1967) cat. no. 3, not illus or paginated.", "opening_date": "1967-04-04T00:00:00"}, {"description": "Shaker Heights, Ohio, Laurel School, Work of Karl Anderson (6 June 1967).", "opening_date": "1967-06-01T00:00:00"}, {"description": "Coshocton, OH, Johnson-Humrickhouse Museum, American Paintings 1825-1915 from The Cleveland Museum of Art (7 July-1 November 1979) listed, not illus; cat. not numbered or paginated.", "opening_date": "1979-07-07T00:00:00"}, {"description": "Lakewood, OH, The Kenneth C. Beck Center, American Paintings 1825-1915 from The Cleveland Museum of Art (17 September-13 October 1980)", "opening_date": "1980-09-17T00:00:00"}, {"description": "Roslyn Harbor, NY, Nassau County Museum of Fine Art, The Armory Show and the Eight: Before and After (24 April-29 July 1984) illus. cat. no. 94, p. 67 (see also References)", "opening_date": "1984-04-24T00:00:00"}]}, "provenance": [{"description": "The Artist (Lent it to Armory Show, 1913); Ralph King, Cleveland", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1843.18"], "did_you_know": "The apple variety depicted in this painting is the McIntosh, which today accounts for two-thirds of New England\u2019s annual apple harvest.", "description": "Karl Anderson disliked the industrialized cities of his day and opted to paint rural settings seemingly untouched by modern development. The leisurely activity of apple picking contrasts with demanding work in urban factories, and the young girl dressed in all white may represent idealized innocence. The artist stated that his paintings were meant to capture \u201cthe fragrance of the beauty of life.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60503663"], "internet_archive": []}, "citations": [{"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. 11, no. 2", "url": ""}], "url": "https://clevelandart.org/art/1926.485", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1926.485/1926.485_web.jpg", "width": "854", "height": "893", "filesize": "203181", "filename": "1926.485_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1926.485/1926.485_print.jpg", "width": "3250", "height": "3400", "filesize": "3337077", "filename": "1926.485_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1926.485/1926.485_full.tif", "width": "11500", "height": "12030", "filesize": "415058956", "filename": "1926.485_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.485/1926.485_alt0_web.jpg", "width": "855", "height": "893", "filesize": "709128"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.485/1926.485_alt0_print.jpg", "width": "3255", "height": "3400", "filesize": "9977511"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.485/1926.485_alt0_full.tif", "width": "3811", "height": "3981", "filesize": "45549644"}}], "creditline": "Bequest of Ralph King", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 108806, "creators": [{"id": 2993, "description": "Karl Anderson (American, 1874\u20131956)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1874", "death_year": "1956", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1926-11-30T00:00:00", "sortable_date": 1912, "date_added_to_oa": null, "date_text": "1912", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:57.877000"}, {"id": 117843, "accession_number": "1938.45", "share_license_status": "CC0", "tombstone": "Boy in a Blue Coat, 1915. George Bellows (American, 1882\u20131925). Oil on canvas; unframed: 91.5 x 61 cm (36 x 24 in.). The Cleveland Museum of Art, Bequest of Mrs. Henry A. Everett for the Dorothy Burnham Everett Memorial Collection, 1938.45", "current_location": null, "title": "Boy in a Blue Coat", "creation_date": "1915", "creation_date_earliest": 1915, "creation_date_latest": 1915, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Unframed: 91.5 x 61 cm (36 x 24 in.)", "dimensions": {"unframed": {"height": 0.915, "width": 0.61}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower left:  Geo Bellows.", "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": 445524, "title": "Celebrate Ohio: Fiftieth Anniversary Exhibition", "description": "<i>Celebrate Ohio: Fiftieth Anniversary Exhibition</i>. Akron Art Museum, Akron, OH (organizer) (September 27-November 7, 1971).", "opening_date": "1971-09-27T04:00:00"}, {"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"}], "legacy": [{"description": "Providence, Rhode Island School of Design, Annual Fall Exhibition of American Painting (12 October-9 November 1915), see The Bulletin of the Rhode Island School of Design (April, 1915, and January 1916), for references to the show.", "opening_date": "1915-10-12T00:00:00"}, {"description": "San Francisco, Palace of Fine Arts, Panama-Pacific International Exposition (1916), Bellows' notebooks indicated that this painting went to the Panama-Pacific Exposition in 1916, however the Exposition itself, ran from 20 February-4 December 1915; further, this painting is not listed in the catalogue for the 1915 show; however, p. 8 of the Report of the Department of Fine Arts does indicate that from 1 January-1 May 1916, the Department of Fine Arts conducted a post-Exposition exhibition in the Palace of Fine Arts which included both objects in the original 1915 exhibition and additional works.", "opening_date": "1915-02-20T00:00:00"}, {"description": "Buffalo, Albright Art Gallery, Twelfth Annual Exhibition of Selected Paintings by American Artists, (1918), cat. no. 6, illus.", "opening_date": "1918-01-01T00:00:00"}, {"description": "New York, Montross Gallery, Special Exhibition of Paintings, (1918), cat. no. 1(?).", "opening_date": "1918-01-01T00:00:00"}, {"description": "Akron, Akron Art Institute, 40 American Painters: A Survey of American Painting from Colonial to Modern Times (December, 1945), cat. no. 31, illus.", "opening_date": "1945-12-01T00:00:00"}, {"description": "Youngstown, OH, The Butler Institute of American Art, Exhibition of Ohio Painters (2-30 April 1967), cat. no. 5.&#9;", "opening_date": "1967-04-02T00:00:00"}, {"description": "Akron, Akron Art Institute, Celebrate Ohio: Fiftieth Anniversary Exhibition (27 September-7 November 1971), cat. not numbered, not illus.", "opening_date": "1971-09-27T00:00:00"}, {"description": "Coshocton, OH, Johnson-Humrickhouse Museum, American Paintings 1825-1915 from The Cleveland Museum of Art (7 July-1 November 1979), cat. not numbered, not illus.", "opening_date": "1979-07-07T00:00:00"}, {"description": "Lakewood, OH, The Kenneth C. Beck Center, American Paintings 1825-1915 from The Cleveland Museum of Art (17 September-13 October 1980), no separate catalogue seems to exist, but it is assumed that it would be similar to the Coshocton catalogue (see above).", "opening_date": "1980-09-17T00:00:00"}, {"description": "Grand Rapids, MI, Grand Rapids Art Museum, Pioneers: Early 20th Century Art from Midwestern Museums (17 September-1 November 1981), cat. no. 2, illus.", "opening_date": "1981-09-17T00:00:00"}]}, "provenance": [{"description": "Newman Emerson Montross [1849\u20131932], New York, NY", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "[American Galleries, New York, NY, February 8, 1923, lot 50]", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "[Ferargil Galleries, New York, NY, through purchase]", "citations": [], "footnotes": null, "date": null, "sortorder": 3}, {"description": "Josephine Pettengill Everett [1866\u20131937], Cleveland, OH", "citations": [], "footnotes": null, "date": null, "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH, through bequest in 1938", "citations": [], "footnotes": null, "date": null, "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "George Bellows painted more than 140 portraits during his brief career.", "description": "George Bellows created this work during July 1915 in Ogunquit, Maine. Because of frequent rainy weather, the artist tended to paint indoors, focusing on portraiture. The identity of the sitter in this example remains unknown.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60514240"], "internet_archive": []}, "citations": [{"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": "Reproduced: p. 126; Mentioned: p. 130", "url": "https://www.jstor.org/stable/25137944"}], "url": "https://clevelandart.org/art/1938.45", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1938.45/1938.45_web.jpg", "width": "673", "height": "893", "filesize": "384760", "filename": "1938.45_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1938.45/1938.45_print.jpg", "width": "2563", "height": "3400", "filesize": "4867627", "filename": "1938.45_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1938.45/1938.45_full.tif", "width": "3462", "height": "4593", "filesize": "47727076", "filename": "1938.45_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": 117843, "creators": [{"id": 3005, "description": "George Bellows (American, 1882\u20131925)", "extent": null, "qualifier": null, "role": "artist", "biography": "An accomplished athlete, George Bellows (1882\u20131925) was an especially appropriate artist to address the subject of sports. Born and raised in Columbus, Ohio, he played baseball and basketball as a youth, developing sufficient ability to letter in both at Ohio State University. According to some accounts, scouts for the Cincinnati Reds took notice of his shortstop talents. However, Bellows\u2019s first love, art, ultimately intervened, and after his junior year he relocated to New York to study painting. In a remarkably short period he became the leading artist of his generation, a reputation fueled through boxing subjects such as <em>Stag at Sharkey\u2019s.</em> In his later years he developed recreational passions for tennis and billiards, which he routinely played with friends. Bellows\u2019s life was cut short at the age of 42, due to complications after his appendix ruptured.", "name_in_original_language": null, "birth_year": "1882", "death_year": "1925", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1938-06-03T00:00:00", "sortable_date": 1915, "date_added_to_oa": null, "date_text": "1915", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:04:21.286000"}, {"id": 156949, "accession_number": "1993.109", "share_license_status": "Copyrighted", "tombstone": "Usuyuki, 1977\u20131978. Jasper Johns (American, b. 1930). Encaustic and collage on canvas; framed: 89.2 x 143.8 x 4.5 cm (35 1/8 x 56 5/8 x 1 3/4 in.); unframed: 86.4 x 45.7 cm (34 x 18 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1993.109. \u00a9  Jasper Johns / Licensed by VAGA at Artists Rights Society (ARS), NY", "current_location": null, "title": "Usuyuki", "creation_date": "1977\u20131978", "creation_date_earliest": 1977, "creation_date_latest": 1978, "artists_tags": ["male", "LGBTQ+ (after 1900)"], "culture": ["America"], "technique": "encaustic and collage on canvas", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "measurements": "Framed: 89.2 x 143.8 x 4.5 cm (35 1/8 x 56 5/8 x 1 3/4 in.); Unframed: 86.4 x 45.7 cm (34 x 18 in.)", "dimensions": {"framed": {"height": 0.892, "width": 1.438, "depth": 0.045}, "unframed": {"height": 0.864, "width": 0.457}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  Jasper Johns / Licensed by VAGA at Artists Rights Society (ARS), NY", "inscriptions": [{"inscription": "Stenciled in white paint lower left: Usuyuki; Stenciled in white paint lower right: J. Johns '77-'78", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 176231, "title": "Jasper Johns: A Retrospective\r\n", "description": "<i>Jasper Johns: A Retrospective\r\n</i>. Museum of Modern Art, NY (October 16, 1996-January 14, 1997); Museum Ludwig (March 7-June 1, 1997); Museum of Contemporary Art, Tokyo, Japan (June 28-August 17, 1997).", "opening_date": "1996-10-16T00:00:00"}, {"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"}, {"id": 211085, "title": "Jasper Johns/Edvard Munch", "description": "<i>Jasper Johns/Edvard Munch</i>. Munch Museet, Olso, Norway (June 18-September 25, 2016); Virginia Museum of Fine Arts, Richmond, VA (organizer) (November 19, 2016-February 20, 2017).", "opening_date": "2016-06-18T00:00:00"}, {"id": 287320, "title": "Jasper Johns: Something Resembling Truth", "description": "<i>Jasper Johns: Something Resembling Truth</i>. Royal Academy of Arts, London, United Kingdom of Great Britain and Northern Ireland (organizer) (September 23-December 10, 2017); The Broad Art Foundation, Los Angeles, CA (February 10-May 13, 2018).", "opening_date": "2017-09-23T04:00:00"}, {"id": 367813, "title": "Jasper Johns: Mind/Mirror", "description": "<i>Jasper Johns: Mind/Mirror</i>. Philadelphia Museum of Art, Philadelphia, PA (organizer) (September 29, 2021-February 13, 2022) https://www.philamuseum.org/calendar/exhibition/jasper-johns-mindmirror.", "opening_date": "2021-09-29T04:00:00"}], "legacy": [{"description": "<em>The 36th Biennale Exhibition of Contemporary American Painting</em>. Corcoran Gallery of Art, Washington, D.C. (February 24-April 8, 1979). <strong>cat. no. 11.</strong>", "opening_date": "1979-02-24T00:00:00"}, {"description": "<em>Jasper Johns: Works Since 1974</em>. Venice, Italy (June 26, 1988-September 30th, 1988); Philadelphia Museum of Art (October 23, 1988-January 1989). <strong>cat. no. 6.</strong>", "opening_date": "1988-06-26T00:00:00"}]}, "provenance": [{"description": "The Cleveland Museum of Art, Cleveland, OH, purchased from the artist", "citations": [], "footnotes": [], "date": "1993 -", "sortorder": 1}], "find_spot": null, "related_works": [], "former_accession_numbers": ["394.92"], "did_you_know": "Although the work may initially seem randomly designed, it is quite precisely ordered. The three panels are divided into 27 rectangular subsections.", "description": "Usuyuki is a Japanese word meaning thin or light snow and, indeed, the painting's subtle colors and intricate patterns, with their suggestions of movement, recall the drift of falling snowflakes. Johns's method of painting at this time involved cutting strips of newspaper and covering them with a mixture of pigment and beeswax, called encaustic. After applying this mixture to the canvas, Johns pressed circular and rectangular cans into the surface to create visible imprints throughout the image.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60476982"], "internet_archive": []}, "citations": [{"citation": "Storr, Robert. <em>Jasper Johns</em>. Edited by Francesca Pietropaolo. London: Heni Publishing, 2025.", "page_number": "Reproduced: catalog entry 35", "url": ""}, {"citation": "Cleveland Museum of Art, \u201cCleveland Adds Two Significant Works of Art,\u201d September 17, 1993, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr3828"}, {"citation": "\"1993 Annual Report.\" <em>The Bulletin of the Cleveland Museum of Art</em> 81, no. 6 (1994): 143-218.", "page_number": "Reproduced: cover, p. 160; Mentioned: p. 161", "url": "https://www.jstor.org/stable/25161457"}, {"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"}, {"citation": "Varnedoe, Kirk, and Roberta Bernstein. <em>Jasper Johns: A Retrospective</em>. New York, NY: Museum of Modern Art, 1996.", "page_number": "Reproduced: p. 295", "url": null}, {"citation": "Ravenal, John B. <em>Jasper Johns and Edvard Munch: Inspiration and Transformation</em>. Richmond, VA: Virginia Museum of Fine Arts and Yale University Press in partnership with the Munch Museum, 2016.", "page_number": "37", "url": null}, {"citation": "Bernstein, Roberta, Heidi Colsman-Freyberger, Caitlin Sweeney and Betsy Stepina Zinn.<em>Jasper Johns: Catalogue Raisonne\u0301 of Painting and Sculpture</em>. 2017.", "page_number": "Reproduced: pp. 48-49, cat. #P200", "url": null}, {"citation": "Bernstein, Roberta, Heidi Colsman-Freyberger, Caitlin Sweeney and Betsy Stepina Zinn. J<em>asper Johns: Catalogue Raisonne\u0301 of Painting and Sculpture</em>. 2017.", "page_number": "Reproduced: p. 166, cat #: P200", "url": null}, {"citation": "Donovan, Fiona. <em>Jasper Johns: Pictures Within Pictures 1980-2015</em>. London: Thames &amp; Hudson Ltd, 2017. p. 54", "page_number": "Reproduced: p.54, fig. 32", "url": null}, {"citation": "Bernstein,Roberta, ed. <em>Jasper Johns.</em> London, England; Los Angeles, California: Royal Academy of Arts in collaboration with the Broad, 2017. p. 170-171", "page_number": "Reproduced: P. 170-171", "url": null}], "url": "https://clevelandart.org/art/1993.109", "images": {}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 156949, "creators": [{"id": 39574, "description": "Jasper Johns (American, b. 1930)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1930", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1993-05-05T00:00:00", "sortable_date": 1977, "date_added_to_oa": null, "date_text": "1977\u20131978", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:05:47.129000"}, {"id": 150161, "accession_number": "1980.74.5", "share_license_status": "CC0", "tombstone": "Coffee Pot, c. 1907. Carlo Bugatti (Italian, 1856\u20131940), Adrien-Aur\u00e9lien Hebrard (French, 1866\u20131937). Gilt silver and ivory; overall: 18.5 x 15.4 x 9.9 cm (7 5/16 x 6 1/16 x 3 7/8 in.). The Cleveland Museum of Art, The Thomas L. Fawick Memorial Collection, 1980.74.5", "current_location": null, "title": "Coffee Pot", "creation_date": "c. 1907", "creation_date_earliest": 1902, "creation_date_latest": 1912, "artists_tags": ["male"], "culture": ["France, Paris"], "technique": "Gilt silver and ivory", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Silver", "measurements": "Overall: 18.5 x 15.4 x 9.9 cm (7 5/16 x 6 1/16 x 3 7/8 in.)", "dimensions": {"overall": {"height": 0.185, "width": 0.154, "depth": 0.099}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Made by A. A. Hebrard Firm, Paris", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"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"}, {"id": 220633, "title": "Carlo Bugatti", "description": "<i>Carlo Bugatti</i>. Mus\u00e9e d'Orsay, Paris, France (organizer) (April 9-July 15, 2001).", "opening_date": "2001-04-09T00:00:00"}, {"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": 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": [{"description": "Possibly exhibited at the Galerie Hebrard, Paris, France (1907).", "opening_date": "1907-01-01T00:00:00"}, {"description": "Possibly exhibited at the Prima Esposizione Internazionale d'Arte Decorativa Moderna, Turin, Italy (May 10-November 10, 1902).", "opening_date": "1902-05-10T00:00:00"}]}, "provenance": [{"description": "Carlo Bugatti [1856-1940], sold to Mrs. Anna Blake", "citations": [], "footnotes": null, "date": "c. 1907", "sortorder": 1}, {"description": "Mrs. Anna Blake, Cape Town, South Africa. [d. 1956], by descent to her son Robert da Costa Blake", "citations": [], "footnotes": null, "date": "c. 1907-c. 1956", "sortorder": 2}, {"description": "Robert da Costa Blake, Cape Town, South Africa, sold (Kirkcaldzs, Cape Town, South Africa, 24 May 1965, lot 34)", "citations": [], "footnotes": null, "date": "c. 1956-1965", "sortorder": 3}, {"description": "Private collection, South Africa, sold (Martin-Forest, London)", "citations": [], "footnotes": null, "date": null, "sortorder": 4}, {"description": "(Martin-Forest, London, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "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": ["1980.78"], "did_you_know": "This coffee pot is part of a larger tea and coffee service designed by Carlo Bugatti.", "description": "This tea and coffee service, salver, and table, together with some now missing cups, were all designed by Carlo Bugatti as an ensemble and presented at the 1902 exposition devoted to decorative arts in Turin, Italy. 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Suffolk: Antique Collectors' Club, 1994.", "page_number": "Reproduced P 157", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=31823650"}, {"citation": "Hawley, Henry H. <em>Bugatti</em>. Cleveland: Cleveland Museum of Art, 1999.", "page_number": "Mentioned & reproduced P 26, cat. no. 41, fig. 37", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=41002835"}, {"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 55-6", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=50820863"}, {"citation": "Mus\u00e9e d\u2019Orsay. <em>Carlo Bugatti. </em>Paris: Re\u0301union des muse\u0301es nationaux, 2001.", "page_number": "Reproduced P 39, cat. no. 137", "url": "http://library.clevelandart.org/opac/?func=full-set-set&set_number=000221&set_entry=000002&format=999"}, {"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 PP 35, 40, 324-5, reproduced PP 36 & 57, cat. no 10", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=230187932"}, {"citation": "Fromanger, Ve\u0301ronique. <em>Rembrandt Bugatti Sculpteur: Re\u0301pertoire Monographique</em>. Paris: L'Amateur, 2009.", "page_number": "Mentioned P 8, fig. 69", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=537862059"}, {"citation": "Pin\u0303a, Leslie A. <em>Furniture in History, 3000 B.C.-2000 A.D.</em> Boston: Prentice Hall, 2010.", "page_number": "Mentioned P 30", "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: Cleveland Museum of Art, 2012.", "page_number": "Mentioned & reproduced PP 294-5", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=813973055"}, {"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. 144", "url": ""}, {"citation": "Fromanger, Ve\u0301ronique and Carla Briner. <em>Rembrandt Bugatti, Sculptor: Re\u0301pertoire Monographique: A Meteoric Rise</em>. Paris: Les \u00c9ditions de l\u2019Amateur, 2016.", "page_number": "Mentioned P 20", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=949868383"}], "url": "https://clevelandart.org/art/1980.74.5", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1980.74.5/1980.74.5_web.jpg", "width": "714", "height": "900", "filesize": "175838", "filename": "1980.74.5_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1980.74.5/1980.74.5_print.jpg", "width": "2698", "height": "3400", "filesize": "1048666", "filename": "1980.74.5_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1980.74.5/1980.74.5_full.tif", "width": "2957", "height": "3727", "filesize": "33096996", "filename": "1980.74.5_full.tif"}}, "alternate_images": [{"date_created": "2019-04-09T12:36:04.076000", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.74.5/1980.74.5_alt0_web.jpg", "width": "725", "height": "900", "filesize": "186159"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.74.5/1980.74.5_alt0_print.jpg", "width": "2739", "height": "3400", "filesize": "1145897"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.74.5/1980.74.5_alt0_full.tif", "width": "2913", "height": "3616", "filesize": "31635448"}}, {"date_created": "2019-04-09T12:41:38.078000", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.74.5/1980.74.5_alt1_web.jpg", "width": "772", "height": "900", "filesize": "181658"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.74.5/1980.74.5_alt1_print.jpg", "width": "2918", "height": "3400", "filesize": "1124362"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.74.5/1980.74.5_alt1_full.tif", "width": "3266", "height": "3806", "filesize": "37326156"}}, {"date_created": "2019-04-09T13:06:58.003000", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.74.5/1980.74.5_alt2_web.jpg", "width": "900", "height": "778", "filesize": "171686"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.74.5/1980.74.5_alt2_print.jpg", "width": "3260", "height": "2818", "filesize": "1000880"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.74.5/1980.74.5_alt2_full.tif", "width": "3260", "height": "2818", "filesize": "27594664"}}, {"date_created": "2019-04-09T11:45:01.014000", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.74.5/1980.74.5_alt3_web.jpg", "width": "633", "height": "900", "filesize": "161906"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.74.5/1980.74.5_alt3_print.jpg", "width": "2393", "height": "3400", "filesize": "904335"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.74.5/1980.74.5_alt3_full.tif", "width": "2603", "height": "3699", "filesize": "28919752"}}, {"date_created": "2019-04-09T11:48:41.021000", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.74.5/1980.74.5_alt4_web.jpg", "width": "715", "height": "900", "filesize": "199301"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.74.5/1980.74.5_alt4_print.jpg", "width": "2486", "height": "3129", "filesize": "1118926"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.74.5/1980.74.5_alt4_full.tif", "width": "2486", "height": "3129", "filesize": "23371132"}}], "creditline": "The Thomas L. Fawick Memorial Collection", "image_credit": null, "sketchfab_id": "61abd87afdf245b19177f58fb9bcf045", "sketchfab_url": "https://sketchfab.com/models/61abd87afdf245b19177f58fb9bcf045", "gallery_donor_text": null, "athena_id": 150161, "creators": [{"id": 15830, "description": "Carlo Bugatti (Italian, 1856\u20131940)", "extent": null, "qualifier": null, "role": "designer", "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}, {"id": 15899, "description": "Adrien-Aur\u00e9lien Hebrard (French, 1866\u20131937)", "extent": null, "qualifier": null, "role": "maker", "biography": null, "name_in_original_language": null, "birth_year": "1866", "death_year": "1937", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1980-09-09T00:00:00", "sortable_date": 1902, "date_added_to_oa": null, "date_text": "c. 1907", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1980.74", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-04-07 22:01:57.398000"}, {"id": 150157, "accession_number": "1980.74.1", "share_license_status": "CC0", "tombstone": "Tray, c. 1907. Carlo Bugatti (Italian, 1856\u20131940), Adrien-Aur\u00e9lien Hebrard (French, 1866\u20131937). Gilt silver and ivory; overall: 13.5 x 76.9 x 19.9 cm (5 5/16 x 30 1/4 x 7 13/16 in.). The Cleveland Museum of Art, The Thomas L. Fawick Memorial Collection, 1980.74.1", "current_location": null, "title": "Tray", "creation_date": "c. 1907", "creation_date_earliest": 1902, "creation_date_latest": 1912, "artists_tags": ["male"], "culture": ["France, Paris"], "technique": "Gilt silver and ivory", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Silver", "measurements": "Overall: 13.5 x 76.9 x 19.9 cm (5 5/16 x 30 1/4 x 7 13/16 in.)", "dimensions": {"overall": {"height": 0.135, "width": 0.769, "depth": 0.199}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Made by A. A. Hebrard Firm, Paris", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"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"}, {"id": 220633, "title": "Carlo Bugatti", "description": "<i>Carlo Bugatti</i>. Mus\u00e9e d'Orsay, Paris, France (organizer) (April 9-July 15, 2001).", "opening_date": "2001-04-09T00:00:00"}, {"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": 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": [{"description": "Possibly exhibited at the Galerie Hebrard, Paris, France (1907).", "opening_date": "1907-01-01T00:00:00"}, {"description": "Possibly exhibited at Prima Esposizione Internazionale d'Arte Decorativa Moderna, Turin, Italy (May 10-November 10, 1902).", "opening_date": "1902-05-10T00:00:00"}]}, "provenance": [{"description": "Carlo Bugatti [1856-1940], sold to Mrs. Anna Blake", "citations": [], "footnotes": null, "date": "c. 1907", "sortorder": 1}, {"description": "Mrs. Anna Blake, Cape Town, South Africa. 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Cleveland: Cleveland Museum of Art, 1999.", "page_number": "Mentioned & reproduced P 26, cat. no. 41, fig. 37", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=41002835"}, {"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 55-6", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=50820863"}, {"citation": "Mus\u00e9e d\u2019Orsay. <em>Carlo Bugatti. </em>Paris: Re\u0301union des muse\u0301es nationaux, 2001.", "page_number": "Reproduced P 39, cat. no. 137", "url": "http://library.clevelandart.org/opac/?func=full-set-set&set_number=000221&set_entry=000002&format=999"}, {"citation": "Harrison, Stephen, Emmanuel Ducamp, and Jeannine J. Falino. <em>Artistic Luxury: Faberge\u0301 Tiffany Lalique</em>. 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Griffith Mann. <em>Treasures from the Cleveland Museum of Art. </em>Cleveland: Cleveland Museum of Art, 2012.", "page_number": "Mentioned & reproduced PP 294-5", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=813973055"}, {"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. 144", "url": ""}, {"citation": "Fromanger, Ve\u0301ronique and Carla Briner. <em>Rembrandt Bugatti, Sculptor: Re\u0301pertoire Monographique: A Meteoric Rise</em>. Paris: Les \u00c9ditions de l\u2019Amateur, 2016.", "page_number": "Mentioned P 20", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=949868383"}], "url": "https://clevelandart.org/art/1980.74.1", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1980.74.1/1980.74.1_web.jpg", "width": "900", "height": "268", "filesize": "121870", "filename": "1980.74.1_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1980.74.1/1980.74.1_print.jpg", "width": "3400", "height": "1011", "filesize": "317415", "filename": "1980.74.1_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1980.74.1/1980.74.1_full.tif", "width": "6900", "height": "2052", "filesize": "42510220", "filename": "1980.74.1_full.tif"}}, "alternate_images": [{"date_created": "2019-04-16T10:09:18.033000", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.74.1/1980.74.1_alt0_web.jpg", "width": "900", "height": "310", "filesize": "122657"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.74.1/1980.74.1_alt0_print.jpg", "width": "3400", "height": "1172", "filesize": "333145"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.74.1/1980.74.1_alt0_full.tif", "width": "6941", "height": "2393", "filesize": "49863332"}}, {"date_created": "2019-04-16T07:57:39", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.74.1/1980.74.1_alt1_web.jpg", "width": "900", "height": "471", "filesize": "134327"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.74.1/1980.74.1_alt1_print.jpg", "width": "3400", "height": "1778", "filesize": "494058"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.74.1/1980.74.1_alt1_full.tif", "width": "6930", "height": "3624", "filesize": "75377028"}}, {"date_created": "2019-04-16T09:35:28.081000", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.74.1/1980.74.1_alt2_web.jpg", "width": "900", "height": "357", "filesize": "135519"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.74.1/1980.74.1_alt2_print.jpg", "width": "3400", "height": "1349", "filesize": "469490"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.74.1/1980.74.1_alt2_full.tif", "width": "6793", "height": "2696", "filesize": "54976548"}}], "creditline": "The Thomas L. 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Carlo Bugatti (Italian, 1856\u20131940), Adrien-Aur\u00e9lien Hebrard (French, 1866\u20131937). Gilt silver and ivory; overall: 12.7 x 9.1 x 6.4 cm (5 x 3 9/16 x 2 1/2 in.). The Cleveland Museum of Art, The Thomas L. Fawick Memorial Collection, 1980.74.2", "current_location": null, "title": "Creamer", "creation_date": "c. 1907", "creation_date_earliest": 1902, "creation_date_latest": 1912, "artists_tags": ["male"], "culture": ["France, Paris"], "technique": "Gilt silver and ivory", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Silver", "measurements": "Overall: 12.7 x 9.1 x 6.4 cm (5 x 3 9/16 x 2 1/2 in.)", "dimensions": {"overall": {"height": 0.127, "width": 0.091, "depth": 0.064}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Made by A. A. Hebrard Firm, Paris", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"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"}, {"id": 220633, "title": "Carlo Bugatti", "description": "<i>Carlo Bugatti</i>. Mus\u00e9e d'Orsay, Paris, France (organizer) (April 9-July 15, 2001).", "opening_date": "2001-04-09T00:00:00"}, {"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": 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": [{"description": "Possibly exhibited at the Galerie Hebrard, Paris, France (1907).", "opening_date": "1907-01-01T00:00:00"}, {"description": "Possibly exhibited at the Prima Esposizione Internazionale d'Arte Decorativa Moderna, Turin, Italy (May 10-November 10, 1902).", "opening_date": "1902-05-10T00:00:00"}]}, "provenance": [{"description": "Carlo Bugatti [1856-1940], sold to Mrs. Anna Blake", "citations": [], "footnotes": null, "date": "c. 1907", "sortorder": 1}, {"description": "Mrs. Anna Blake, Cape Town, South Africa. [d. 1956], by descent to her son Robert da Costa Blake", "citations": [], "footnotes": null, "date": "c. 1907-c. 1956", "sortorder": 2}, {"description": "Robert da Costa Blake, Cape Town, South Africa, sold (Kirkcaldzs, Cape Town, South Africa, 24 May 1965, lot 34)", "citations": [], "footnotes": null, "date": "c. 1956-1965", "sortorder": 3}, {"description": "Private collection, South Africa, sold (Martin-Forest, London)", "citations": [], "footnotes": null, "date": null, "sortorder": 4}, {"description": "(Martin-Forest, London, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "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": ["1980.75"], "did_you_know": "This creamer is part of a tea and coffee service designed by Carlo Bugatti.", "description": "This tea and coffee service, salver, and table, together with some now missing cups, were all designed by Carlo Bugatti as an ensemble and presented at the 1902 exposition devoted to decorative arts in Turin, Italy. The set was probably acquired from Bugatti's 1907 exhibition at the Galerie H\u00e9brard in Paris by a wealthy South African widow, Anna Blake, who was living there at the time. Some of the animal and insect motifs suggest mythical beasts or the fossils of prehistoric animals. When Mrs. Blake returned to Cape Town, she took these and other pieces designed by Bugatti with her, and they remained in South Africa throughout her lifetime.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60754420"], "internet_archive": ["https://archive.org/details/clevelandart-1980.74.2-creamer"]}, "citations": [{"citation": "Kathman, Barbara A. <em>A Cleveland Bestiary</em>. Cleveland: Cleveland Museum of Art, 1981.", "page_number": "Mentioned & reproduced PP 24-5", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=9111934"}, {"citation": "Duncan, J. Alastair. \"The Silver of Carlo Bugatti,\" <em>The Magazine Antiques </em>136, no. 6, (December 1989): 1344-55.", "page_number": null, "url": "http://library.clevelandart.org/opac/?func=item-global&doc_library=CMA01&doc_number=000001278&year=&volume=&sub_library=CMA"}, {"citation": "Hawley, Henry. \"Some Furniture and Silver of Carlo Bugatti.\" <em>The Bulletin of the Cleveland Museum of Art</em> 79, no. 5 (May 1992): 130-43.", "page_number": "Mentioned PP 136-41", "url": "www.jstor.org/stable/25161359"}, {"citation": "Duncan, Alastair. <em>The Paris Salons, 1895-1914. </em>Suffolk: Antique Collectors' Club, 1994.", "page_number": "Reproduced P 157", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=31823650"}, {"citation": "Hawley, Henry H. <em>Bugatti</em>. Cleveland: Cleveland Museum of Art, 1999.", "page_number": "Mentioned & reproduced P 26, cat. no. 41, fig. 37", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=41002835"}, {"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 55-6", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=50820863"}, {"citation": "Mus\u00e9e d\u2019Orsay. <em>Carlo Bugatti. </em>Paris: Re\u0301union des muse\u0301es nationaux, 2001.", "page_number": "Reproduced P 39, cat. no. 137", "url": "http://library.clevelandart.org/opac/?func=full-set-set&set_number=000221&set_entry=000002&format=999"}, {"citation": "Harrison, Stephen, Emmanuel Ducamp, and Jeannine J. Falino. <em>Artistic Luxury: Faberge\u0301 Tiffany Lalique</em>. 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Carlo Bugatti (Italian, 1856\u20131940), Adrien-Aur\u00e9lien Hebrard (French, 1866\u20131937). Gilt silver and ivory; overall: 15.6 x 12.1 x 8.6 cm (6 1/8 x 4 3/4 x 3 3/8 in.). The Cleveland Museum of Art, The Thomas L. Fawick Memorial Collection, 1980.74.3", "current_location": null, "title": "Covered Sugar Bowl", "creation_date": "c. 1907", "creation_date_earliest": 1902, "creation_date_latest": 1912, "artists_tags": ["male"], "culture": ["France, Paris"], "technique": "Gilt silver and ivory", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Silver", "measurements": "Overall: 15.6 x 12.1 x 8.6 cm (6 1/8 x 4 3/4 x 3 3/8 in.)", "dimensions": {"overall": {"height": 0.156, "width": 0.121, "depth": 0.086}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Made by A. A. Hebrard Firm, Paris", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"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"}, {"id": 220633, "title": "Carlo Bugatti", "description": "<i>Carlo Bugatti</i>. Mus\u00e9e d'Orsay, Paris, France (organizer) (April 9-July 15, 2001).", "opening_date": "2001-04-09T00:00:00"}, {"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": 441598, "title": "Artlens Exhibition 2019", "description": "<i>Artlens Exhibition 2019</i>. 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Fawick Memorial Collection", "image_credit": null, "sketchfab_id": "272512c8c7c740c98f3aecadf533b595", "sketchfab_url": "https://sketchfab.com/models/272512c8c7c740c98f3aecadf533b595", "gallery_donor_text": null, "athena_id": 150160, "creators": [{"id": 15830, "description": "Carlo Bugatti (Italian, 1856\u20131940)", "extent": null, "qualifier": null, "role": "designer", "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}, {"id": 15899, "description": "Adrien-Aur\u00e9lien Hebrard (French, 1866\u20131937)", "extent": null, "qualifier": null, "role": "maker", "biography": null, "name_in_original_language": null, "birth_year": "1866", "death_year": "1937", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1980-09-09T00:00:00", "sortable_date": 1902, "date_added_to_oa": null, "date_text": "c. 1907", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1980.74", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-04-07 22:01:58.359000"}, {"id": 394840, "accession_number": "2020.261", "share_license_status": "CC0", "tombstone": "The Family (In Memory of a Summer in the White Mountains), 1917. Marguerite Zorach (American, 1887\u20131968). Plain weave silk; wool embroidery; object: 86.4 x 72.4 cm (34 x 28 1/2 in.); framed: 91.4 x 77.8 cm (36 x 30 5/8 in.). The Cleveland Museum of Art, Edwin R. and Harriet Pelton Perkins Memorial Fund, 2020.261", "current_location": null, "title": "The Family (In Memory of a Summer in the White Mountains)", "creation_date": "1917", "creation_date_earliest": 1917, "creation_date_latest": 1917, "artists_tags": ["female"], "culture": ["America"], "technique": "plain weave silk; wool embroidery", "support_materials": [], "department": "Textiles", "collection": "Textiles", "type": "Embroidery", "measurements": "object: 86.4 x 72.4 cm (34 x 28 1/2 in.); Framed: 91.4 x 77.8 cm (36 x 30 5/8 in.)", "dimensions": {"object": {"height": 0.864, "width": 0.724}, "framed": {"height": 0.914, "width": 0.778}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "THE FAMILY / DONE BY MARGUERITE ZORACH IN THE YEAR NINETEEN HUNDRED AND SEVENTEEN IN MEMORY OF A SUMMER IN THE WHITE MOUNTAINS", "inscription_translation": null, "inscription_remark": "The embroidered inscription is located on the outside border of the large centrally placed roundel on the front of the textile.   It is an elaborate inscription recounting details of the embroidery\u2019s inspiration and creation along with the artist's name and the date it was made.", "sortorder": null}], "exhibitions": {"current": [], "legacy": [{"description": "<em>Exhibition of Embroidered Tapestries by Marguerite Zorach</em>. Montross Gallery, New York, NY (5-17 February, 1923); traveled to Society of Arts and Crafts, Detroit, MI (1924).", "opening_date": "1923-02-05T00:00:00"}, {"description": "<em>Thirty-ninth Annual Exhibition</em>. Architectural League of New York, NY. (3 February - 2 March, 1924).", "opening_date": "1924-02-03T00:00:00"}, {"description": "<em>Opening Exhibition: Small Paintings by Leading Contemporary Artists</em>. Our Gallery, New York, NY (6 November - ?, 1926).", "opening_date": "1926-01-01T00:00:00"}, {"description": "<em>Marguerite and William Zorach: The Cubist Years, 1915-1918</em>. Currier Gallery of Art, Manchester, NH (11 January - 15 February, 1987); traveled to The Berkshire Museum, Pittsfield, MA (7 March - 19 April, 1987); to Colby College Museum of Art, Waterville, ME (26 April - 31 May, 1987); to Robert Hull Fleming Museum of Art, Burlington, VT (12 June - 16 August, 1987).", "opening_date": "1987-01-11T00:00:00"}, {"description": "<em>Edith Halpert: The Downtown Gallery and the Rise of American Art</em>. Jewish Museum, New York, NY (18 October, 2019 - 9 February, 2020).", "opening_date": "2019-10-18T00:00:00"}, {"description": "Omaha Society of Fine Arts, Omaha, NE (unknown date).", "opening_date": null}]}, "provenance": [{"description": "Collection of the artist, gifted to Nathan and Eda Krass, New York, NY", "citations": [], "footnotes": null, "date": "1917?", "sortorder": 1}, {"description": "Nathan and Eda Krass, New York, NY, gifted to their daughter, Alice Krass Loewenheim and Arnold J. Loewenheim, New York, NY", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "Alice Krass Loewenheim and Arnold J. Loewenheim, New York, by descent to their daughter Lucy Loewenheim Cohen, Rockville, MD", "citations": [], "footnotes": null, "date": null, "sortorder": 3}, {"description": "(James Reinish and Associates, and Kraushaar Galleries, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "2020", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2020-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In 1925, Zorach served as first president of the New York Society of Women Artists, an organization still in existence.", "description": "Marguerite Zorach conceived her large, complex embroideries as major artistic statements at a time when the medium was routinely considered \u201ccraft,\u201d as opposed to \u201cfine art.\u201d In doing so, she helped to erase such distinctions. One of her most acclaimed works, this example celebrates humanity in harmony with nature, presenting the artist, her husband (a Cleveland-raised sculptor named William Zorach), and their son amid an evergreen tree and four pairs of animals. Very time consuming to create, Zorach\u2019s embroideries are rare.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117244876"], "internet_archive": ["https://archive.org/details/clevelandart-2020.261-the-family-in-memory"]}, "citations": [{"citation": "<em>Year Book of the Architectural League of New York, and Catalogue of the Thirty-ninth Annual Exhibition</em>. 1924.", "page_number": "Reproduced: p.80", "url": null}, {"citation": "Lippman, Herbert. \"The Architectural League Inhibition.\" <em>The Arts</em> 5, No.3 (March 1924).", "page_number": "Mentioned: p.134; Reproduced: p.137", "url": null}, {"citation": "Friedman Hoffman, Marilyn. <em>Marguerite and William Zorach: The Cubist Years, 1915-1918</em>. Hanover, NH: University Press of New England, 1987.", "page_number": "Reproduced: Frontispiece", "url": null}, {"citation": "Shilliam, Nicola J. \"Emerging Identity: American Textile Artists in the Early Twentieth Century.\" In Carlano, Annie, and Nicola J. Shilliam. <em>Early Modern Textiles: From Arts and Crafts to Art Deco</em>. Boston: Museum of Fine Arts, 1993.", "page_number": "p. 28-44", "url": ""}, {"citation": "Burk, Efram L. \"Testament to American Modernism: The Prints of William and Marguerite Zorach.\" Ph.D. dissertation, The Pennsylvania State University, 1998.", "page_number": "Mentioned: pp.163, 211", "url": null}, {"citation": "Fowler, Cynthia. \"Early American Modernism and Craft Production: The Embroideries of Marguerite Zorach.\" Ph.D. dissertation, University of Delaware, 2002.", "page_number": "Mentioned: pp.112, 142; Reproduced: p.237", "url": null}, {"citation": "Cheney, Liana.<em> Essays on Women Artists: \"The Most Excellent.\" Vol.2.</em> Lewiston, N.Y.: Edwin Mellen Press, 2003.", "page_number": "Mentioned: p.78", "url": null}, {"citation": "Fowler, Cynthia.<em> The Modern Embroidery Movement</em>. London: Bloomsbury Visual Arts, 2018.", "page_number": "Mentioned: p.214; Reproduced: p.215, n.15", "url": null}, {"citation": "Shaykin, Rebecca, and Claudia Gould.<em> Edith Halpert: The Downtown Gallery and the Rise of American Art</em>. Jewish Museum, New York; New Haven, CT: Yale University Press, 2019.", "page_number": "Mentioned and reproduced: p.31", "url": null}, {"citation": "Butler, Eliza. \"Review:<em> Edith Halpert and the Rise of American Ar</em>t.\" <em>Panorama: Journal of the Association of Historians of American Ar</em>t 6, no.1 (Spring 2020).", "page_number": "Mentioned (unpaginated)", "url": "editions.lib.umn.edu/panorama/article/edith-halpert/"}, {"citation": "Litt, Steven. \"Piece from Rose Iron Works highlights latest acquisitions.\" <em>The Plain Dealer</em>. December 20, 2020.", "page_number": "Mentioned and reproduced: p.D3", "url": null}, {"citation": "Kenny, Nancy, \"Acquisitions,\" <em>Art Newspaper, </em>331 (February 2021).<em><br></em>", "page_number": "Mentioned and reproduced, p. 23.", "url": null}, {"citation": "\"New on View.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 64, no. 1 (2024): Back cover.", "page_number": "Reproduced and Mentioned: Back cover", "url": "https://archive.org/details/CMAMM-2024-01/page/n39/mode/2up"}], "url": "https://clevelandart.org/art/2020.261", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2020.261/2020.261_web.jpg", "width": "768", "height": "900", "filesize": "533111", "filename": "2020.261_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2020.261/2020.261_print.jpg", "width": "2900", "height": "3400", "filesize": "6060943", "filename": "2020.261_print.jpg"}, "full": {"url": 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"recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:23.678000"}, {"id": 173962, "accession_number": "1930.849", "share_license_status": "CC0", "tombstone": "The Sun Through the Trees, June 30, 1917. Charles Burchfield (American, 1893\u20131967). Watercolor and opaque watercolor; sheet: 55.9 x 45.7 cm (22 x 18 in.). The Cleveland Museum of Art, Hinman B. Hurlbut Collection, 1930.849", "current_location": null, "title": "The Sun Through the Trees", "creation_date": "June 30, 1917", "creation_date_earliest": 1917, "creation_date_latest": 1917, "artists_tags": ["May Show", "male", "Cleveland Institute of Art (alumni)"], "culture": ["America"], "technique": "Watercolor and opaque watercolor", "support_materials": [], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Sheet: 55.9 x 45.7 cm (22 x 18 in.)", "dimensions": {"sheet": {"height": 0.559, "width": 0.457}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 616515, "title": "Eighth Exhibition of Watercolors and Pastels", "description": "<i>Eighth Exhibition of Watercolors and Pastels</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 6-December 7, 1930).", "opening_date": "1930-11-06T00:00:00"}, {"id": 339885, "title": "Exhibition of Paintings by Charles Burchfield", "description": "<i>Exhibition of Paintings by Charles Burchfield</i>. The Cleveland School of Art.", "opening_date": "1941-04-20T05:00:00"}, {"id": 312144, "title": "Charles Burchfield: A Retrospective Exhibition of Watercolors and Oils 1916-1943", "description": "<i>Charles Burchfield: A Retrospective Exhibition of Watercolors and Oils 1916-1943</i>. Buffalo AKG Art Museum, Buffalo, NY (organizer); The Cleveland Museum of Art, Cleveland, OH (January 4-28, 1945).", "opening_date": "1945-01-04T05:00:00"}, {"id": 301176, "title": "Charles Burchfield Retrospective Exhibition", "description": "<i>Charles Burchfield Retrospective Exhibition</i>. Whitney Museum of American Art (January 11-February 26, 1956); The Baltimore Museum of Art (March 14-April 22, 1956); Museum of Fine Arts, Boston (May 9-June 17, 1956); San Francisco Museum of Modern Art (July 11-August 19, 1956); Los Angeles County Museum of Art (September 5-October 14, 1956); The Phillips Collection (November 4-December 11, 1956); The Cleveland Museum of Art, Cleveland, OH (December 28, 1956-February 10, 1957).", "opening_date": "1956-12-28T05:00:00"}, {"id": 338932, "title": "Fine Arts Exhibition", "description": "<i>Fine Arts Exhibition</i>. Ohio State Fair, Columbus, OH (August 27-September 7, 1970).", "opening_date": "1970-08-27T04:00:00"}, {"id": 444005, "title": "Cleveland Watercolors and Enamels", "description": "<i>Cleveland Watercolors and Enamels</i>. Beck Center for the Arts, Lakewood, OH (organizer) (April 20-July 26, 1976).", "opening_date": "1976-04-20T05:00:00"}, {"id": 338938, "title": "Charles Burchfield", "description": "<i>Charles Burchfield</i>. Ashtabula Arts Center.", "opening_date": "1979-01-01T05:00:00"}, {"id": 442797, "title": "Charles Burchfield Exhibition", "description": "<i>Charles Burchfield Exhibition</i>. Ashtabula Arts Center, Ashtabula, OH (organizer) (May 30-June 6, 1979).", "opening_date": "1979-05-30T04:00:00"}, {"id": 177916, "title": "Burchfield to Schreckengost: Cleveland Art of the Jazz Age", "description": "<i>Burchfield to Schreckengost: Cleveland Art of the Jazz Age</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 28-July 18, 2004).", "opening_date": "2004-03-28T00:00:00"}, {"id": 313096, "title": "Charles Burchfield: The Ohio Landscapes, 1915\u20131920", "description": "<i>Charles Burchfield: The Ohio Landscapes, 1915\u20131920</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 22, 2018-May 5, 2019).", "opening_date": "2018-12-22T05:00:00"}], "legacy": [{"description": "<em>Cleveland Watercolors and Enamels. </em>Civic Art Gallery, Lakewood, OH (1976).", "opening_date": "1976-01-01T00:00:00"}]}, "provenance": [{"description": "(Frank K.M. Rehn Gallery, NY, sold to Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "1930", "sortorder": 1}], "find_spot": null, "related_works": [], "former_accession_numbers": ["804.1930"], "did_you_know": "This work is an early example in which Burchfield began to paint directly and expressively with watercolor rather than carefully sketching out his composition in advance.", "description": "While sketching in the Ohio countryside in 1916, Burchfield began to represent the sun as a dramatic orb. This sheet is part of a group in which the artist suggested stained glass windows using trees and the sun. Here, branches reach toward the sun to form a dark, halo-like frame filled by sunlight that diffuses into an array of color. By combining landscape with religious iconography, Burchfield suggested the divine influence he saw in nature.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117230290"], "internet_archive": []}, "citations": [{"citation": "<em>Exhibition of Paintings by Charles Burchfield</em>. Exh. Cat. Cleveland: Cleveland School of Art, 1941.", "page_number": "Mentioned: no. 2", "url": null}, {"citation": "Trovato, Joseph S. <em>Charles Burchfield: Catalogue of Paintings in Public and Private Collections</em>. Utica: Munson-Williams-Proctor Institute, 1970.", "page_number": "Mentioned: p. 64, no. 350", "url": null}], "catalogue_raisonne": "Straus 240; Trovato 350", "url": "https://clevelandart.org/art/1930.849", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1930.849/1930.849_web.jpg", "width": "730", "height": "900", "filesize": "241145", "filename": "1930.849_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1930.849/1930.849_print.jpg", "width": "2758", "height": "3400", "filesize": "2367265", "filename": "1930.849_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1930.849/1930.849_full.tif", "width": "5755", "height": "7095", "filesize": "122528404", "filename": "1930.849_full.tif"}}, "alternate_images": [{"date_created": "2013-01-25T15:53:10", "annotation": "", "web": {}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1930.849/1930.849_alt0_print.jpg", "width": "2805", "height": "3400", "filesize": "1508163"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1930.849/1930.849_alt0_full.tif", "width": "4438", "height": "5378", "filesize": "71627400"}}, {"annotation": "", "web": {}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1930.849/1930.849_alt1_print.jpg", "width": "1536", "height": "1838", "filesize": "2460726"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1930.849/1930.849_alt1_full.tif", "width": "1536", "height": "1838", "filesize": "8472628"}}], "creditline": "Hinman B. Hurlbut Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 173962, "creators": [{"id": 3989, "description": "Charles Burchfield (American, 1893\u20131967)", "extent": null, "qualifier": null, "role": "artist", "biography": "Charles Burchfield was among the most original and poetic painters of the Cleveland modernist movement. Born in Ashtabula, he moved to Salem, Ohio, following the death of his father in 1898. After graduating from high school, he attended Cleveland School of Art, studying with William Eastman, Frederick Gottwald, Henry Keller, and Frank Wilcox. In 1914 Burchfield began attending Kokoon Klub exhibitions, and in spring 1915 he went to Brandywine to meet William Sommer. Around this time Burchfild began experimenting with the brilliant colors and simplified forms of the Berlin Heights painters. He painted his first mature works in 1915, and grad ed from the Cleveland School of Art with a degree in illustration the following spring. That summer the Cleveland School of Art sponsored his first solo exhibition, and in the fall, after attending the National Academy of Design in New York for one month, he returned to Salem. In February 1917 the Cleveland School of Art mounted his second solo exhibition. Burchfield was inducted into the army that summer. After his return in 1919 he exhibited with other Cleveland modernists at the Play House, Laukhuff\u2019 s Book store, and other Cleveland venues. In 1921 he went on an extended sketching trip through eastern Ohio with Keller, Wilcox, and Paul Travis, exhibiting these recent paintings at the Cleveland School of Art and in the May Show at the Cleveland Museum of Art. Later that year he moved to Buffalo to work as a wallpaper designer, a position he retained until he resigned in 1929 to become a full-time painter. Over the next 30 years he exhibited extensively at museums and galleries across the country. Solo exhibitions of his paintings were held at New York\u2019s Museum of Modern Art (1930), Pittsburgh\u2019 s Carnegie Institute of Art (1935, 1938, 1946), and Buffalo\u2019 s Albright-Knox Art Gallery (1944, 1955, 1963, 1967). In 1953 New York\u2019s Whitney Museum of American Art organized a major exhibition that traveled to the Cleveland Museum of Art. Burchfield died in West Seneca, New York. <br>\"Transformations in Cleveland Art\" (CMA, 1996), p. 224", "name_in_original_language": null, "birth_year": "1893", "death_year": "1967", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1930-03-06T00:00:00", "sortable_date": 1917, "date_added_to_oa": 20260212, "date_text": "June 30, 1917", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:07:52.081000"}, {"id": 126285, "accession_number": "1948.493", "share_license_status": "Copyrighted", "tombstone": "Markelius, c. 1942. Stig Lindberg (Swedish, 1916\u20131982), Knoll Associates (American, est. 1938). Plain weave linen (?), loom width, block printed; average: 321.3 x 128.3 cm (126 1/2 x 50 1/2 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1948.493", "current_location": null, "title": "Markelius", "creation_date": "c. 1942", "creation_date_earliest": 1940, "creation_date_latest": 1944, "artists_tags": ["male", "gender unknown"], "culture": ["America"], "technique": "Plain weave linen (?), loom width, block printed", "support_materials": [], "department": "Textiles", "collection": "Textiles", "type": "Textile", "measurements": "Average: 321.3 x 128.3 cm (126 1/2 x 50 1/2 in.)", "dimensions": {"average": {"height": 3.213, "width": 1.283}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 355758, "title": "Exhibition of the Month: Herbs in Art", "description": "<i>Exhibition of the Month: Herbs in Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 8-August 1, 1953).", "opening_date": "1953-05-08T04:00:00"}, {"id": 302021, "title": "Design in Printed Textiles", "description": "<i>Design in Printed Textiles</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 7-September 3, 1961).", "opening_date": "1961-04-07T05:00:00"}, {"id": 313463, "title": "Color and Comfort: Swedish Modern Design", "description": "<i>Color and Comfort: Swedish Modern Design</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 11, 2019-February 10, 2020).", "opening_date": "2019-02-17T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Though this pattern is often attributed to the architect Sven Markelius, this textile identifies Stig Lindberg as its designer on the selvage edge.", "description": "Stig Lindberg may have designed this textile in homage to Stockholm\u2019s most prominent post-World War II architect and city planner, Sven Markelius (1889\u20131972), for whom this textile is named. The strong use of geometry and the grid pattern were hallmarks of Markelius\u2019s building and city designs, linking this pattern to the urban planner\u2019s modernist visions for Sweden\u2019s capital.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79905570"], "internet_archive": []}, "citations": [{"citation": "Martin, Earl.<em> Knoll Textiles</em>. New Haven, CT: Published for Bard Graduate Center by Yale University Press, 2011.", "page_number": "Rep. 96 (Fig. 2.22) & 97 (Fig. 2.23), Disc. 105", "url": null}], "url": "https://clevelandart.org/art/1948.493", "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": 126285, "creators": [{"id": 56177, "description": "Stig Lindberg (Swedish, 1916\u20131982)", "extent": null, "qualifier": null, "role": "designer", "biography": "Stig Lindberg (born Frederick Stigurd Lindberg in Ume\u00e5, Sweden) was a Swedish ceramicist, glass artist, and textile designer. Having studied ceramics at the Konstfackskolen (School of Arts, Crafts, and Design) and the Kungliga Tekniska H\u00f6gskolan (Royal Institute of Technology), Lindberg\u2019s international reputation largely rests on his ceramic and glass designs for Gustavsberg Porcelain Factory and various Swedish glasshouses. Lindberg was the creative director of Gustavsberg between 1949 and 1957, and again between 1971 and 1980. Prior to his directorship, Lindberg illustrated children\u2019s books and designed textiles for Nordiska Kompaniet that often incorporated playful motifs.", "name_in_original_language": null, "birth_year": "1916", "death_year": "1982", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 16913, "description": "Knoll Associates (American, est. 1938)", "extent": null, "qualifier": null, "role": "manufacturer", "biography": "American furniture and interior design firm, founded in 1938 by Hans Knoll (1914-1955), who emigrated from Germany to the USA in 1935. It now has subsidiary companies all over the world, which operate under the name Knoll International.", "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1948-12-30T00:00:00", "sortable_date": 1940, "date_added_to_oa": null, "date_text": "c. 1942", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:04:45.169000"}, {"id": 162288, "accession_number": "2002.25", "share_license_status": "Copyrighted", "tombstone": "Zapatistas, 1935. Jos\u00e9 Clemente Orozco (Mexican, 1883\u20131949), published by Delphic Studios. Lithograph; sheet: 44 x 56.6 cm (17 5/16 x 22 5/16 in.); image: 32.2 x 41.3 cm (12 11/16 x 16 1/4 in.). The Cleveland Museum of Art, John L. Severance Fund, 2002.25. \u00a9 Jos\u00e9 Clemente Orozco / Artists Rights Society (ARS), New York / SOMAAP, Mexico ", "current_location": null, "title": "Zapatistas", "creation_date": "1935", "creation_date_earliest": 1935, "creation_date_latest": 1935, "artists_tags": ["male"], "culture": ["Mexico, 20th century"], "technique": "lithograph", "support_materials": [{"description": "P.M. Fabriano wove paper", "watermarks": ["P.M. Fabriano"]}], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Sheet: 44 x 56.6 cm (17 5/16 x 22 5/16 in.); Image: 32.2 x 41.3 cm (12 11/16 x 16 1/4 in.)", "dimensions": {"sheet": {"height": 0.44, "width": 0.566}, "image": {"height": 0.322, "width": 0.413}}, "state_of_the_work": "I/I", "edition_of_the_work": "130 official edition (187 actual printing)", "copyright": "\u00a9 Jos\u00e9 Clemente Orozco / Artists Rights Society (ARS), New York / SOMAAP, Mexico ", "inscriptions": [{"inscription": "lower right, in graphite: J.C. Orozco; below image in graphite: 65/130", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 373919, "title": "A Graphic Revolution: Prints and Drawings in Latin America", "description": "<i>A Graphic Revolution: Prints and Drawings in Latin America</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 14-August 2, 2020).", "opening_date": "2020-03-08T05:00:00"}], "legacy": []}, "provenance": [{"description": "(Abigail Furey Fine Prints and Drawings, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "2002", "sortorder": 1}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2002-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Jos\u00e9 Clemente Orozco was one of numerous Mexican muralists to depict Emiliano Zapata around the time this print was made.", "description": "This print depicts Emiliano Zapata (1879\u20131919), a leader of the Mexican Revolution who became a symbol of progressive politics in the decades following his assassination. Zapata disavowed his privileged background and fought for workers\u2019 rights. In spite of Zapata's heroic status, Jos\u00e9 Clemente Orozco\u2019s print presents a disillusioned view of his followers: virtually identical men, they march forward under the eye of leaders as nefarious as those they initially rebelled against. The image suggests the complicated views that artists held about a revolution that fundamentally transformed their worldview and way of life.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79986249"], "internet_archive": []}, "citations": [], "catalogue_raisonne": "Hopkins 29; Orozco 24", "url": "https://clevelandart.org/art/2002.25", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 162288, "creators": [{"id": 3234, "description": "Jos\u00e9 Clemente Orozco (Mexican, 1883\u20131949)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1883", "death_year": "1949", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 370942, "description": "Delphic Studios", "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": "2002-03-04T00:00:00", "sortable_date": 1935, "date_added_to_oa": null, "date_text": "1935", "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": "65", "alternate_titles": ["Generals", "Leaders"], "is_highlight": false, "updated_at": "2026-03-27 00:07:06.229000"}, {"id": 361505, "accession_number": "2019.197", "share_license_status": "Copyrighted", "tombstone": "Heliographs: Square, 1982, signed 2008. Le\u00f3n Ferrari (Argentinian, 1920\u20132013). Diazotype; image: 90.3 x 90.5 cm (35 9/16 x 35 5/8 in.); sheet: 98.3 x 98.2 cm (38 11/16 x 38 11/16 in.). The Cleveland Museum of Art, Gift of the Leon Ferrari Foundation, 2019.197. \u00a9 Le\u00f3n Ferrari", "current_location": null, "title": "Square", "series": "Heliographs", "creation_date": "1982, signed 2008", "creation_date_earliest": 1982, "creation_date_latest": 1982, "artists_tags": ["male", "Latine and Hispanic Artists"], "culture": ["Argentina"], "technique": "diazotype", "support_materials": [], "department": "Prints", "collection": "Prints", "type": "Print", "measurements": "Image: 90.3 x 90.5 cm (35 9/16 x 35 5/8 in.); Sheet: 98.3 x 98.2 cm (38 11/16 x 38 11/16 in.)", "dimensions": {"image": {"height": 0.903, "width": 0.905}, "sheet": {"height": 0.983, "width": 0.982}}, "state_of_the_work": "I/I", "edition_of_the_work": null, "copyright": "\u00a9 Le\u00f3n Ferrari", "inscriptions": [{"inscription": "inscribed at lower left, in black ink: x/\u221e; in red ink: 20 \u201cSIN TITULO\u201d 14/11/82 \u201cCUADRADO\u201d; in black ink: le\u00f3n ferrari 2008", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 373919, "title": "A Graphic Revolution: Prints and Drawings in Latin America", "description": "<i>A Graphic Revolution: Prints and Drawings in Latin America</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 14-August 2, 2020).", "opening_date": "2020-03-08T05:00:00"}], "legacy": []}, "provenance": [{"description": "Studio of the artist", "citations": [], "footnotes": [], "date": "1982-2013", "sortorder": 1}, {"description": "Estate of the artist, given to the Cleveland Museum of Art, Cleveland, OH through Sicardi Ayers Bacino, Houston, TX", "citations": [], "footnotes": [], "date": "2013-2019", "sortorder": 2}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2019-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Le\u00f3n Ferrari created this print with a photo-based printing process used for making blueprints.", "description": "This print belongs to a series that Argentinian artist Le\u00f3n Ferrari made while living in exile in Brazil after a military dictatorship took hold in his native country. He presented aspects of S\u00e3o Paulo\u2019s layout from an aerial perspective\u2014here, figures walk within areas of squares and stripes. Ferrari folded the prints and mailed them to friends throughout the world while separated from his homeland.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79878066"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2019.197", "images": {}, "alternate_images": [], "creditline": "Gift of the Leon Ferrari Foundation", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 361505, "creators": [{"id": 361500, "description": "Le\u00f3n Ferrari (Argentinian, 1920\u20132013)", "extent": null, "qualifier": null, "role": "artist", "biography": "Argentine sculptor, poet, and conceptual artist, 1920-2013", "name_in_original_language": null, "birth_year": "1920", "death_year": "2013", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2019-09-09T00:00:00-04:00", "sortable_date": 1982, "date_added_to_oa": null, "date_text": "1982, signed 2008", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:09.729000"}, {"id": 402987, "accession_number": "2020.262", "share_license_status": "Copyrighted", "tombstone": "Troyanas (de la serie M\u00f3dulos Infinitos) (Trojan Women [of the Infinite Module series]), 1964/1993. Zilia S\u00e1nchez (Cuban, 1926\u20132024). Acrylic on canvas; overall: 91.4 x 137.2 cm (36 x 54 in.). The Cleveland Museum of Art, Dorothea Wright Hamilton Fund, 2020.262. \u00a9 Zilia S\u00e1nchez, Courtesy Galerie Lelong & Co., New York", "current_location": null, "title": "Troyanas (de la serie M\u00f3dulos Infinitos) (Trojan Women [of the Infinite Module series])", "creation_date": "1964/1993", "creation_date_earliest": 1964, "creation_date_latest": 1964, "artists_tags": ["female", "Latine and Hispanic Artists", "LGBTQ+ (after 1900)"], "culture": ["Cuba"], "technique": "Acrylic on canvas", "support_materials": [], "department": "Contemporary Art", "collection": "Paintings", "type": "Painting", "measurements": "Overall: 91.4 x 137.2 cm (36 x 54 in.)", "dimensions": {"overall": {"height": 0.914, "width": 1.372}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Zilia S\u00e1nchez, Courtesy Galerie Lelong & Co., New York", "inscriptions": [], "exhibitions": {"current": [{"id": 393229, "title": "Contemporary Installation", "description": "<i>Contemporary Installation</i>. The Cleveland Museum of Art (organizer).", "opening_date": "2021-04-12T04:00:00"}], "legacy": []}, "provenance": [{"description": "Collection of the artist", "citations": [], "footnotes": null, "date": "1964/1993", "sortorder": 1}, {"description": "Private Collection, Puerto Rico", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "(Galerie Lelong & Co., New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "2020", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2020-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "According to the artist, the serial panels in this work can be arranged in any order or configuration.", "description": "Throughout her career Zilia S\u00e1nchez has turned repeatedly to female warriors for inspiration. The title <em>Troyanas</em> invokes the legendary women of Troy, and the strength they displayed while mourning the loss of their land. The serial bimorphic-shaped canvas panels evoke lines of female warriors standing together as one powerful unit or army, suggesting the collective power of women.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117246431"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2020.262", "images": {}, "alternate_images": [], "creditline": "Dorothea Wright Hamilton Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 402987, "creators": [{"id": 402954, "description": "Zilia S\u00e1nchez (Cuban, 1926\u20132024)", "extent": "execution", "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1926", "death_year": "2024", "use_in_caption": true, "include_extent": false, "weight": 0}], "legal_status": "accessioned", "accession_date": "2020-12-07T00:00:00-05:00", "sortable_date": 1964, "date_added_to_oa": null, "date_text": "1964/1993", "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 00:06:58.858000"}, {"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": 157336, "accession_number": "1994.2", "share_license_status": "Copyrighted", "tombstone": "Creative Therapy, 1949. Jacob Lawrence (American, 1917\u20132000). Casein over graphite; sheet: 56 x 76.4 cm (22 1/16 x 30 1/16 in.). The Cleveland Museum of Art, Delia E. Holden Fund, 1994.2. \u00a9  The Jacob and Gwendolyn Knight Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York", "current_location": null, "title": "Creative Therapy", "creation_date": "1949", "creation_date_earliest": 1949, "creation_date_latest": 1949, "artists_tags": ["Black American Artists", "male"], "culture": ["America"], "technique": "casein over graphite", "support_materials": [{"description": "cream Grumbacher (blind stamp lower left) wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Sheet: 56 x 76.4 cm (22 1/16 x 30 1/16 in.)", "dimensions": {"sheet": {"height": 0.56, "width": 0.764}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  The Jacob and Gwendolyn Knight Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "signed, lower right, in black casein: Jacob Lawrence / 49; verso, by artist, center, in graphite: \"Creative Therapy\" / Hillside Hospital 1949\r\n", "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"}, {"id": 213932, "title": "Over the Line: the Art and Life of Jacob Lawrence", "description": "<i>Over the Line: the Art and Life of Jacob Lawrence</i>. Museum of Fine Arts, Houston, Houston, TX (October 6, 2002-January 5, 2003).", "opening_date": "2002-10-06T00:00:00"}, {"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": 204176, "title": "Our Stories: African American Prints and Drawings", "description": "<i>Our Stories: African American Prints and Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 24-May 18, 2014).", "opening_date": "2014-01-24T00:00:00"}], "legacy": [{"description": "<em>Jacob Lawrence: Exhibition of New Paintings in Casein</em>. The Downtown Gallery, New York, NY (October 24 - November 11, 1950).", "opening_date": "1950-10-24T00:00:00"}]}, "provenance": [{"description": "(Downtown Gallery, New York, NY, sold to Mr. and Mrs. Irwin Zlowe, New York NY)", "citations": [], "footnotes": null, "date": "1950", "sortorder": 1}, {"description": "Mr. and Mrs. Irwin Zlowe, New York, NY", "citations": [], "footnotes": null, "date": "1950-?", "sortorder": 2}, {"description": "(Terry Dintenfass, Inc., New York, NY)", "citations": [], "footnotes": null, "date": "?-?", "sortorder": 3}, {"description": "Andrew and Ann Dintenfass, Pacific Palisades, CA", "citations": [], "footnotes": null, "date": "?-?", "sortorder": 4}, {"description": "(Terry Dintenfass, Inc. New York, NY, sold to Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "?-1994", "sortorder": 6}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1994-", "sortorder": 7}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Jacob Lawrence included a self portrait in this work, at left, showing himself so closely focused on his canvas that it obscures his face.", "description": "Jacob Lawrence established an important and successful career early on, working with a prestigious New York gallery and becoming the first African American artist to be represented in the collection of the Museum of Modern Art. He encountered anxiety and self-doubt, however, leading him to undertake a voluntary stay at Hillside Hospital, a psychiatric facility in Queens from 1949 through 1950. While there, he produced a series of drawings, to which this sheet belongs, depicting his experiences. In the present work, patients paint together, guided by a physician who saw art as a means of therapy. Lawrence experimented with geometric forms, flattened planes, and slanting recession of space to shift the image's perspective and place the viewer within the scene.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79973459"], "internet_archive": []}, "citations": [{"citation": "<em>Jacob Lawrence: Exhibition of New Paintings in Casein</em>. Exh. Cat. New York: The Downtown Gallery, 1950.", "page_number": "Mentioned: no. 4", "url": null}, {"citation": "Pearson, Ralph M. <em>The Modern Renaissance in American Art: Presenting the Work and Philosophy of Fifty-Four Distinguished Artists</em>. New York: Harper and Brothers, 1954.", "page_number": "Mentioned: p. 167", "url": null}, {"citation": "Litt, Steven. \"Art Museum Obtains Jacob Lawrence Work.\" <em>Cleveland Plain Dealer</em>, March 3, 1994, 7-E.", "page_number": "Mentioned and reproduced: p. 7-E", "url": null}, {"citation": "Cleveland Museum of Art, \u201cThe Cleveland Museum of Art Acquires Important Work by American Painter Jacob Lawrence,\u201d February 28, 1994, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr3867"}, {"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. 268-269, 298; Reproduced: p. 269", "url": null}, {"citation": "Nesbett, Peter T. and Michelle DuBois. <em>Jacob Lawrence: Paintings, Drawings, and Murals (1935-1999), A Catalogue Raisonn\u00e9</em>. Seattle: University of Washington Press, 2000.", "page_number": "Mentioned and reproduced: vol. 2, p. 113, no. P49-06", "url": null}, {"citation": "Nesbett, Peter T. and Michelle DuBois, eds. <em>Over the Line: The Art and Life of Jacob Lawrence</em>. Exh. Cat. Washington, D.C.: Phillips Collection, 2001.", "page_number": "Mentioned: p. 129; reproduced: p. 130", "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. 121; Reproduced: p. 27, no 87", "url": null}, {"citation": "Donley, Gregory M., \"Geometric Means\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 46 no. 05, May/June 2006", "page_number": "Mentioned & reproduced: p. 4", "url": "https://archive.org/details/CMAMM2006-05/page/4"}, {"citation": "Cole, Mark. <em>African American Art: The Cleveland Museum of Art</em>. Cleveland: The Cleveland Museum of Art, 2013.", "page_number": "Mentioned: p. 18; Reproduced: p. 4", "url": null}, {"citation": "Lee, Key Jo, and William Griswold. Perceptual Drift: Black Art and an Ethics of Looking. Cleveland, OH : Cleveland Museum of Art, 2022.", "page_number": "Mentioned and reproduced: p. 27, fig. 11", "url": ""}, {"citation": "Sheehan, Tanya. \"'A Different Kind of Struggle': Jacob Lawrence's Hospital Series and the Politics of Art as Therapy.\" <em>The Art Bulletin</em> 106, n. 2 (June 2024): 39-64.", "page_number": "Reproduced: p. 58, fig. 18; Mentioned: p. 39, 59,-61", "url": ""}], "catalogue_raisonne": "Nesbett and DuBois P49-06", "url": "https://clevelandart.org/art/1994.2", "images": {}, "alternate_images": [], "creditline": "Delia E. Holden Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 157336, "creators": [{"id": 4050, "description": "Jacob Lawrence (American, 1917\u20132000)", "extent": null, "qualifier": null, "role": "artist", "biography": "Jacob Lawrence (born 1917) has been a prominent artist since 1941 when, at age 24, he became the first African American to have a work in the permanent collection of the Museum of Modern Art in New York. His career, now spanning seven decades, has been devoted to documenting African-American life and history, from everyday scenes to the universal struggle for freedom, social justice, and human dignity. Moving to Harlem as a teenager in 1930, Lawrence was influenced by the artists, writers, and philosophers of the Harlem Renaissance-among them Romare Bearden, Langston Hughes, and W.E.B. DuBois-who fostered pride in African-American culture. Lawrence's subjects include the legendary abolitionist heroes Frederick Douglass, Harriet Tubman, and John Brown, and the story of the massive migration of African Americans from the rural South to the industrialized, urban North during the early decades of the 20th century. After thorough research, Lawrence chronicles the crucial events of each saga by creating a series of small paintings on paper in a modernist style of flat, brightly-colored forms.", "name_in_original_language": null, "birth_year": "1917", "death_year": "2000", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1994-02-15T00:00:00", "sortable_date": 1949, "date_added_to_oa": null, "date_text": "1949", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": true, "updated_at": "2026-03-27 00:09:48.691000"}, {"id": 127208, "accession_number": "1949.527", "share_license_status": "Copyrighted", "tombstone": "Mother and Child (Study for Mother and Child), 1921. Pablo Picasso (Spanish, 1881\u20131973). Pencil on paper; sheet: 24.8 x 32.1 cm (9 3/4 x 12 5/8 in.). The Cleveland Museum of Art, Mr. and Mrs. Lewis B. Williams Collection, 1949.527. \u00a9 Estate of  Pablo Picasso / Artists Rights Society (ARS), New York", "current_location": null, "title": "Mother and Child (Study for Mother and Child)", "creation_date": "1921", "creation_date_earliest": 1921, "creation_date_latest": 1921, "artists_tags": ["male", "Latine and Hispanic Artists"], "culture": ["Spain, 20th century"], "technique": "pencil on paper", "support_materials": [], "department": "Drawings", "collection": "DR - Spanish", "type": "Drawing", "measurements": "Sheet: 24.8 x 32.1 cm (9 3/4 x 12 5/8 in.)", "dimensions": {"sheet": {"height": 0.248, "width": 0.321}}, "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, in pencil, lower right: Picasso; watermark: VIDALON-LES-ANNONAY A CRAYON ANCNE MANUFRE CANSON", "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": 309667, "title": "Circa 1930", "description": "<i>Circa 1930</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 12-October 31, 1983).", "opening_date": "1983-04-12T05:00:00"}, {"id": 441991, "title": "Picasso's Classicism", "description": "<i>Picasso's Classicism</i>. Kunsthalle Bielefeld, D-33602 Bielefeld, Germany (organizer) (April 17-July 31, 1988).", "opening_date": "1988-04-17T04:00:00"}, {"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": 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": 317581, "title": "Picasso and Paper", "description": "<i>Picasso and Paper</i>. The Cleveland Museum of Art, Cleveland, OH (co-organizer) (December 8, 2024-March 23, 2025).", "opening_date": "2024-12-08T05:00:00"}], "legacy": [{"description": "<em>Pablo Picasso</em>. Wadsworth Atheneum, Hartford, CT (February 6-March 1, 1934).", "opening_date": "1934-02-06T05:00:00Z"}, {"description": "<em>French Art Since Eighteen Hundred</em>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 8-December 8, 1929).", "opening_date": "1929-11-08T05:00:00Z"}]}, "provenance": [{"description": "Mr. and Mrs. Lewis B. Williams, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "by 1934-1949", "sortorder": 1}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1949-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Pablo Picasso had also explored depictions of mothers and children decades earlier, during his Blue Period.", "description": "This drawing is a study for a painting of the same title, in the collection of the Art Institute of Chicago today. Around the time it was made, Picasso gravitated toward an austere, linear style evocative of Classical art and timeless subjects. Here, a mother wears a Greek robe, gazing down at her newborn who reaches upward. The composition is one of over ten versions that Picasso created around this time.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79907039"], "internet_archive": []}, "citations": [{"citation": "Zervos, Christian. <em>Pablo Picasso</em>. Paris: Cahiers d'art, 1932.", "page_number": "Mentioned: no. 176; Reproduced: pl. 85", "url": ""}, {"citation": "<em>Pablo Picasso</em>. Exh. Cat. Hartford, CT: Wadsworth Atheneum, 1934.", "page_number": "Mentioned: no. 128", "url": ""}, {"citation": "Weisner, Ulrich. <em>Picassos Klassizismus</em>. Exh. Cat. Bielefeld: Kunsthalle Bielefeld, 1988.", "page_number": "Mentioned and reproduced: pp. 250, 325, no. 51", "url": ""}, {"citation": "Chipp, Herschel Browning , Alan Wofsy, and Fernand Mourlot. <em>Picasso's paintings, watercolors, drawings and sculpture: a comprehensive illustrated catalogue, 1885-1973</em>. San Francisco, CA: Alan Wofsy Fine Arts, 1995.", "page_number": "Mentioned and reproduced: vol. 2, p. 222, no. 21-193", "url": ""}], "catalogue_raisonne": "Zervos V, 176; PP 21-193", "url": "https://clevelandart.org/art/1949.527", "images": {}, "alternate_images": [], "creditline": "Mr. and Mrs. Lewis B. Williams Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 127208, "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": "1949-12-23T00:00:00", "sortable_date": 1921, "date_added_to_oa": null, "date_text": "1921", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-04-03 13:35:08.726000"}, {"id": 131994, "accession_number": "1954.569", "share_license_status": "Copyrighted", "tombstone": "New Moon, November 1917. Charles Burchfield (American, 1893\u20131967). Watercolor and opaque watercolor with graphite on wove paper; sheet: 45.9 x 55.1 cm (18 1/16 x 21 11/16 in.). The Cleveland Museum of Art, Anonymous gift in memory of Henry G. Keller, 1954.569. Reproduced with permission from the Charles E. Burchfield Foundation", "current_location": null, "title": "New Moon", "creation_date": "November 1917", "creation_date_earliest": 1917, "creation_date_latest": 1917, "artists_tags": ["May Show", "male", "Cleveland Institute of Art (alumni)"], "culture": ["America"], "technique": "Watercolor and opaque watercolor with graphite on wove paper", "support_materials": [], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Sheet: 45.9 x 55.1 cm (18 1/16 x 21 11/16 in.)", "dimensions": {"sheet": {"height": 0.459, "width": 0.551}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "Reproduced with permission from the Charles E. Burchfield Foundation", "inscriptions": [], "exhibitions": {"current": [{"id": 301176, "title": "Charles Burchfield Retrospective Exhibition", "description": "<i>Charles Burchfield Retrospective Exhibition</i>. Whitney Museum of American Art (January 11-February 26, 1956); The Baltimore Museum of Art (March 14-April 22, 1956); Museum of Fine Arts, Boston (May 9-June 17, 1956); San Francisco Museum of Modern Art (July 11-August 19, 1956); Los Angeles County Museum of Art (September 5-October 14, 1956); The Phillips Collection (November 4-December 11, 1956); The Cleveland Museum of Art, Cleveland, OH (December 28, 1956-February 10, 1957).", "opening_date": "1956-12-28T05:00:00"}, {"id": 338932, "title": "Fine Arts Exhibition", "description": "<i>Fine Arts Exhibition</i>. Ohio State Fair, Columbus, OH (August 27-September 7, 1970).", "opening_date": "1970-08-27T04:00:00"}, {"id": 444005, "title": "Cleveland Watercolors and Enamels", "description": "<i>Cleveland Watercolors and Enamels</i>. Beck Center for the Arts, Lakewood, OH (organizer) (April 20-July 26, 1976).", "opening_date": "1976-04-20T05:00:00"}, {"id": 313096, "title": "Charles Burchfield: The Ohio Landscapes, 1915\u20131920", "description": "<i>Charles Burchfield: The Ohio Landscapes, 1915\u20131920</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 22, 2018-May 5, 2019).", "opening_date": "2018-12-22T05:00:00"}], "legacy": [{"description": "<em>Cleveland Watercolors and Enamels</em>. Civic Art Center, Lakewood, OH (1976).", "opening_date": "1976-01-01T00:00:00"}, {"description": "<em>Fine Arts Exhibition</em>. Ohio State Fair, Columbus, OH (August 27 - September 7, 1970).", "opening_date": "1970-08-27T00:00:00"}, {"description": "<em>Charles Burchfield: Recent Paintings</em>. Upton Hall Gallery, State University College at Buffalo (April 24 - May 19, 1963).", "opening_date": "1963-04-24T00:00:00"}, {"description": "<em>Exhibition of Paintings by Charles Burchfield</em>. Cleveland School of Art, Cleveland, OH (April 20 - May 10, 1941).", "opening_date": "1941-04-20T00:00:00"}, {"description": "<em>Early Water Colors of Charles Burchfield</em>. Phillips Memorial Gallery (November 5, 1933 - February 15, 1934).", "opening_date": "1933-11-05T00:00:00"}]}, "provenance": [{"description": "Louise M. Dunn [1875-1962], Cleveland, OH, gift to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "-1954", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1954-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The curved forms in the windows and roof of the building correspond with a system of symbols that Burchfield developed in 1917 to express universal moods and emotions.", "description": "This drawing represents a house in Burchfield's hometown, Salem, Ohio. Burchfield described passing the rundown building that he described as a \u201cbig black hulk against the pink sky\u201d and being overcome by his desire to record its \u201ccharacter.\u201d The house\u2019s sinking, curved form and the shapes within the windows suggest Burchfield\u2019s development of symbols and the foreboding mood of his work at this time.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60757381"], "internet_archive": []}, "citations": [{"citation": "Trovato, Joseph S. <em>Charles Burchfield: Catalogue of Paintings in Public and Private Collections</em>. Utica: Munson-Williams-Proctor Institute, 1970, no. 398, p. 70, repr. p. 64.", "page_number": "Mentioned: no. 398, p. 70; Reproduced: p. 64", "url": null}, {"citation": "<em>Exhibition of Paintings by Charles Burchfield</em>. Exh. Cat. Cleveland: Cleveland School of Art, 1941.", "page_number": "Mentioned: no. 15", "url": null}, {"citation": "Townsend, J. Benjamin, ed. <em>Charles Burchfield's Journals: The Poetry of Place</em>. Albany: State University of New York Press, 1993.", "page_number": "Mentioned: pp. 26-28; Reproduced: p. 28", "url": null}, {"citation": "Burdan, Amanda. <em>Jamie Wyeth: Unsettled. </em>New York: Rizzoli Electa, 2024.", "page_number": "Mentioned and Reproduced: p. 33, fig. 7", "url": ""}], "catalogue_raisonne": "Straus 278; Trovato 398", "url": "https://clevelandart.org/art/1954.569", "images": {}, "alternate_images": [], "creditline": "Anonymous gift in memory of Henry G. Keller", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 131994, "creators": [{"id": 3989, "description": "Charles Burchfield (American, 1893\u20131967)", "extent": null, "qualifier": null, "role": "artist", "biography": "Charles Burchfield was among the most original and poetic painters of the Cleveland modernist movement. Born in Ashtabula, he moved to Salem, Ohio, following the death of his father in 1898. After graduating from high school, he attended Cleveland School of Art, studying with William Eastman, Frederick Gottwald, Henry Keller, and Frank Wilcox. In 1914 Burchfield began attending Kokoon Klub exhibitions, and in spring 1915 he went to Brandywine to meet William Sommer. Around this time Burchfild began experimenting with the brilliant colors and simplified forms of the Berlin Heights painters. He painted his first mature works in 1915, and grad ed from the Cleveland School of Art with a degree in illustration the following spring. That summer the Cleveland School of Art sponsored his first solo exhibition, and in the fall, after attending the National Academy of Design in New York for one month, he returned to Salem. In February 1917 the Cleveland School of Art mounted his second solo exhibition. Burchfield was inducted into the army that summer. After his return in 1919 he exhibited with other Cleveland modernists at the Play House, Laukhuff\u2019 s Book store, and other Cleveland venues. In 1921 he went on an extended sketching trip through eastern Ohio with Keller, Wilcox, and Paul Travis, exhibiting these recent paintings at the Cleveland School of Art and in the May Show at the Cleveland Museum of Art. Later that year he moved to Buffalo to work as a wallpaper designer, a position he retained until he resigned in 1929 to become a full-time painter. Over the next 30 years he exhibited extensively at museums and galleries across the country. Solo exhibitions of his paintings were held at New York\u2019s Museum of Modern Art (1930), Pittsburgh\u2019 s Carnegie Institute of Art (1935, 1938, 1946), and Buffalo\u2019 s Albright-Knox Art Gallery (1944, 1955, 1963, 1967). In 1953 New York\u2019s Whitney Museum of American Art organized a major exhibition that traveled to the Cleveland Museum of Art. Burchfield died in West Seneca, New York. <br>\"Transformations in Cleveland Art\" (CMA, 1996), p. 224", "name_in_original_language": null, "birth_year": "1893", "death_year": "1967", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1954-08-11T00:00:00", "sortable_date": 1917, "date_added_to_oa": null, "date_text": "November 1917", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-26 23:59:53.529000"}, {"id": 118673, "accession_number": "1939.676", "share_license_status": "Copyrighted", "tombstone": "Zebra Vase, 1939. Victor Emanuel Lindstrand (Swedish, 1904\u20131983), Orrefors Glasshouse (Swedish, est. 1898). Graal glass; diameter: 15.8 cm (6 1/4 in.); overall: 23.2 cm (9 1/8 in.). The Cleveland Museum of Art, Dudley P. Allen Fund, 1939.676", "current_location": null, "title": "Zebra Vase", "creation_date": "1939", "creation_date_earliest": 1939, "creation_date_latest": 1939, "artists_tags": ["male", "gender unknown"], "culture": ["Sweden, 20th century"], "technique": "graal glass", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Glass", "measurements": "Diameter: 15.8 cm (6 1/4 in.); Overall: 23.2 cm (9 1/8 in.)", "dimensions": {"diameter": {"width": 0.158}, "overall": {"height": 0.232}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Inscribed: \"Orrefors-Sweden Ariel 115 Lindstrand - 39\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 212305, "title": "The Brilliance of Swedish Glass, 1918-1939: An Alliance of Art and Industry", "description": "<i>The Brilliance of Swedish Glass, 1918-1939: An Alliance of Art and Industry</i>. Bard Graduate Center: Decorative Arts, Design History, Material Culture (organizer) (November 20, 1996-March 2, 1997).", "opening_date": "1996-11-20T00:00:00"}, {"id": 313463, "title": "Color and Comfort: Swedish Modern Design", "description": "<i>Color and Comfort: Swedish Modern Design</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 11, 2019-February 10, 2020).", "opening_date": "2019-02-17T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This vase is Graal glass, a popular art glass technique in the 1930s known for trapping color between layers of clear glass.", "description": "Victor Emanuel \u201cVicke\u201d Lindstrand\u2019s award-winning designs are most often associated with the intricate Graal glass technique, in which different layers of glass are molded together. Lindstrand\u2019s objects were displayed internationally, including at the 1939 New York\u2019s World Fair, the same year as this <em>Zebra Vase</em> was produced and acquired by the Cleveland Museum of Art.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80013711"], "internet_archive": []}, "citations": [{"citation": "Huldt, A\u030ake. <em>Konsthantverk och hemslo\u0308jd i Sverige 1930-1940</em>. Gothenburg, Sweden: Bokfo\u0308rmedlingen, 1941.", "page_number": "Rep. 98 (Pl. II)", "url": null}, {"citation": "Ericsson, Anne-Marie, Derek E. Ostergard, and Nina Stritzler-Levine. <em>The Brilliance of Swedish Glass, 1918-1939: An Alliance of Art and Industry.</em> New Haven, CT: Published for the Bard Graduate Center for Studies in the Decorative Arts by Yale University Press, 1996.", "page_number": "Discussed: Pg. 297, Reproduced: Pg. 297 (Cat. No. 145)", "url": null}, {"citation": "Hawley, Henry H. <em>Glass Today: American Studio Glass from Cleveland Collections</em>. Cleveland: Cleveland Museum of Art, 1997.", "page_number": "Reproduced and mentioned: fig. 8, p. 15", "url": null}], "url": "https://clevelandart.org/art/1939.676", "images": {}, "alternate_images": [], "creditline": "Dudley P. Allen Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 118673, "creators": [{"id": 7273, "description": "Victor Emanuel Lindstrand (Swedish, 1904\u20131983)", "extent": null, "qualifier": null, "role": "designer", "biography": "Initially trained in graphic design at Gothenburg\u2019s Konstindustriskolan (School of Arts &amp; Crafts), Vicke Lindstrand began designing for Orrefors Glasshouse (est. 1898) in 1928. By 1930 his modernist inspired designs were praised at the Stockholm Exhibition. Lindstrand went on to display his designs at the world\u2019s fairs in Paris (1937) and New York (1939). In the mid-1930s Lindstrand began designing ceramics for various Swedish porcelain manufactories such as Upsala-Ekeby (1886-1980).", "name_in_original_language": null, "birth_year": "1904", "death_year": "1983", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 7297, "description": "Orrefors Glasshouse (Swedish, est. 1898)", "extent": null, "qualifier": null, "role": "manufacturer", "biography": "Established in 1898 in the Swedish region, Sm\u00e5land, Orrefors became the most prominent producer of Swedish modern art glass in the 20th century. At the height of Orrefors\u2019s popularity in the 1930s through 1960s, the firm\u2019s designers boasted prestigious awards from many world\u2019s fairs. The firm is associated with the development of the Graal and Ariel glass techniques, both considered distinctly Swedish styles of art glass. Since 1997, the firm has operated under the Danish design manufacturer, Royal Scandinavia. The Sm\u00e5land-based manufacturer closed in 2013.", "name_in_original_language": "Orrefors Glasbruk", "birth_year": "1898", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1939-12-19T00:00:00", "sortable_date": 1939, "date_added_to_oa": null, "date_text": "1939", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:04:36.724000"}, {"id": 93149, "accession_number": "2018.281", "share_license_status": "CC0", "tombstone": "Peacock Table Lamp, c. 1902. Probably by Clara Wolcott Driscoll (American, 1861\u20131944), Tiffany Studios (United States, New York, 1902\u201332). Leaded glass, bronze; diameter: 48 cm (18 7/8 in.); overall: 65 cm (25 9/16 in.). The Cleveland Museum of Art, Bequest of Charles Maurer, 2018.281", "current_location": null, "title": "Peacock Table Lamp", "creation_date": "c. 1902", "creation_date_earliest": 1902, "creation_date_latest": 1907, "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": "Diameter: 48 cm (18 7/8 in.); Overall: 65 cm (25 9/16 in.)", "dimensions": {"diameter": {"width": 0.48}, "overall": {"height": 0.65}}, "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"}, {"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": null, "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": "Originally designed to burn kerosene, this Peacock lamp still retains its original double wick and oil reservoir along with an adapter for electric light bulbs.", "description": "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. The Peacock table lamp, created by Tiffany's chief lamp designer Clara Wolcott Driscoll, evokes the wide circular swath of a peacock's preening feathers and attracted critical acclaim to both Driscoll and Tiffany Studios. This particular version retains its original kerosene burning fluid apparatus as well as an electric bulb armature. Although incandescent lamp bulbs had become more widely available in the 1890s, most households, even those of the wealthy, were not yet wired for electricity. Tiffany originally designed his lamps with an oil-burning apparatus, consisting of a reservoir and a double wick and chimney, as well as an electric attachment. He cleverly predicted, though, that electric households would eventually become commonplace, so he soon moved to all-electric designs, greatly increasing the illumination and appeal of his lamps.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79874442"], "internet_archive": ["https://archive.org/details/clevelandart-2018.281-peacock-table-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: Pg. 290; Discussed: Pg. 291; Mentioned: Pg. 340 (Cat. No. 292)", "url": null}, {"citation": "Harrison, Stephen. \u201cAcquisitions 2018: Decorative Art and Design.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>59, no. 2 (March/April 2019): 10-12.", "page_number": "Reproduced and Mentioned: P. 11.", "url": ""}, {"citation": "\"King Louis\". <em>Antique Collecting </em>58, no. 7 (December/January 2023-24): 36-40.", "page_number": "Mentioned and reproduced: p. 39", "url": ""}], "url": "https://clevelandart.org/art/2018.281", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2018.281/2018.281_web.jpg", "width": "688", "height": "900", "filesize": "140150", "filename": "2018.281_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2018.281/2018.281_print.jpg", "width": "2598", "height": "3400", "filesize": "1338768", "filename": "2018.281_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2018.281/2018.281_full.tif", "width": "6000", "height": 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"217174732"}}, {"date_created": "2007-11-21T18:45:51", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.281/2018.281_alt7_web.jpg", "width": "695", "height": "900", "filesize": "166317"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.281/2018.281_alt7_print.jpg", "width": "2627", "height": "3400", "filesize": "1104655"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.281/2018.281_alt7_full.tif", "width": "4244", "height": "5492", "filesize": "69948340"}}], "creditline": "Bequest of Charles Maurer", "image_credit": null, "sketchfab_id": "a24bcb6b7a2e448fad661004f403ae12", "sketchfab_url": "https://sketchfab.com/models/a24bcb6b7a2e448fad661004f403ae12", "gallery_donor_text": null, "athena_id": 93149, "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": 292194, "description": "Tiffany Studios (United States, New York, 1902\u201332)", "extent": null, "qualifier": null, "role": "maker", "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": 1902, "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": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-04-07 22:01:02.560000"}, {"id": 141921, "accession_number": "1965.461", "share_license_status": "Copyrighted", "tombstone": "The Sunflower Arch, 1917. Charles Burchfield (American, 1893\u20131967). Black crayon, colored crayons, and indelible pencil, with graphite on wove paper, lined. The Cleveland Museum of Art, Mr. and Mrs. Charles G. Prasse Collection, 1965.461. Reproduced with permission from the Charles E. Burchfield Foundation", "current_location": null, "title": "The Sunflower Arch", "creation_date": "1917", "creation_date_earliest": 1917, "creation_date_latest": 1917, "artists_tags": ["May Show", "male", "Cleveland Institute of Art (alumni)"], "culture": ["America"], "technique": "Black crayon, colored crayons, and indelible pencil, with graphite on wove paper, lined", "support_materials": [], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "dimensions": {"sheet": {"height": 0.505, "width": 0.355}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "Reproduced with permission from the Charles E. Burchfield Foundation", "inscriptions": [], "exhibitions": {"current": [{"id": 311926, "title": "The Drawings of Charles E. Burchfield", "description": "<i>The Drawings of Charles E. Burchfield</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 4, 1953-January 10, 1954).", "opening_date": "1953-11-04T05:00:00"}, {"id": 301176, "title": "Charles Burchfield Retrospective Exhibition", "description": "<i>Charles Burchfield Retrospective Exhibition</i>. Whitney Museum of American Art (January 11-February 26, 1956); The Baltimore Museum of Art (March 14-April 22, 1956); Museum of Fine Arts, Boston (May 9-June 17, 1956); San Francisco Museum of Modern Art (July 11-August 19, 1956); Los Angeles County Museum of Art (September 5-October 14, 1956); The Phillips Collection (November 4-December 11, 1956); The Cleveland Museum of Art, Cleveland, OH (December 28, 1956-February 10, 1957).", "opening_date": "1956-12-28T05:00:00"}, {"id": 351228, "title": "Mr. and Mrs. Charles G. Prasse Collection", "description": "<i>Mr. and Mrs. Charles G. Prasse Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 11-October 21, 1968).", "opening_date": "1968-06-11T04:00:00"}, {"id": 309881, "title": "Leona E. Prasse, Connoisseur and Curator", "description": "<i>Leona E. Prasse, Connoisseur and Curator</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 28-August 25, 1985).", "opening_date": "1985-05-28T04:00:00"}, {"id": 313096, "title": "Charles Burchfield: The Ohio Landscapes, 1915\u20131920", "description": "<i>Charles Burchfield: The Ohio Landscapes, 1915\u20131920</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 22, 2018-May 5, 2019).", "opening_date": "2018-12-22T05:00:00"}], "legacy": [{"description": "Main Gallery Rotation (gallery 228): February 22, 2010 - May 17, 2010.", "opening_date": "2010-02-22T00:00:00"}, {"description": "<em>The Nature of Charles Burchfield: A Memorial Exhibition, 1893\u20131967, Paints, Drawings, Prints</em>. Museum of Art, Munson-Williams-Proctor Institute, 1970 (April 9 \u2013 May 31, 1970).", "opening_date": "1970-05-31T00:00:00"}]}, "provenance": [{"description": "Leona E. Prasse [1897-1985], gift to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "-1965", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1965-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Burchfield especially liked drawing dying sunflowers because of their anthropomorphic forms.", "description": "At the time he made this drawing, Burchfield had begun to develop a personal symbolic language, which he called \u201cConventions for Abstract Thoughts.\u201d Using simple forms, such as the arched shape of the flowers seen here, he aimed to communicate universal emotions\u2014in this case, \u201cMute Sorrow.\u201d Burchfield saw a connection between this mood and sunflowers, which were among his favorite subjects. He often depicted them anthropomorphically, suggesting either open eyes or, as here, slumped human forms\u2014as he described, \u201cgiv[ing] a sense of pre-autumnal melancholy in early September.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60781088"], "internet_archive": []}, "citations": [{"citation": "Prasse, Leona E. T<em>he Drawings of Charles E. Burchfield</em>. Exh. Cat. Cleveland: Cleveland Museum of Art, 1953.", "page_number": "Mentioned: no. 24; Reproduced: plate V", "url": null}, {"citation": "Bauer, John I. H. <em>Charles Burchfield. </em>Exh. Cat. New York: Whitney Museum, 1956.", "page_number": "Mentioned: no. 99", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 191", "url": "https://archive.org/details/CMAHandbook1966/page/n215"}, {"citation": "Burchfield, Charles E., and Edith H. Jones. <em>The Drawings of Charles Burchfield</em>. New York: Frederic A. Praeger, 1968.", "page_number": "Mentioned: p. 13; Reproduced: plate 4", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 191", "url": "https://archive.org/details/CMAHandbook1969/page/n215"}, {"citation": "Trovato, Joseph S. <em>The Nature of Charles Burchfield: A Memorial Exhibition, 1893\u20131967, Paints, Drawings, Prints</em>. Exh. Cat. Utica, NY: Museum of Art, Munson-Williams-Proctor Institute, 1970.", "page_number": "Mentioned: no. 313", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 237", "url": "https://archive.org/details/CMAHandbook1978/page/n257"}, {"citation": "Thorson, Victoria. <em>Great Drawings of All Times: The Twentieth Century</em>, vol. II. Redding, CT: Talisman, 1979.", "page_number": "Reproduced: fig. 342", "url": null}], "url": "https://clevelandart.org/art/1965.461", "images": {}, "alternate_images": [], "creditline": "Mr. and Mrs. Charles G. Prasse Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 141921, "creators": [{"id": 3989, "description": "Charles Burchfield (American, 1893\u20131967)", "extent": null, "qualifier": null, "role": "artist", "biography": "Charles Burchfield was among the most original and poetic painters of the Cleveland modernist movement. Born in Ashtabula, he moved to Salem, Ohio, following the death of his father in 1898. After graduating from high school, he attended Cleveland School of Art, studying with William Eastman, Frederick Gottwald, Henry Keller, and Frank Wilcox. In 1914 Burchfield began attending Kokoon Klub exhibitions, and in spring 1915 he went to Brandywine to meet William Sommer. Around this time Burchfild began experimenting with the brilliant colors and simplified forms of the Berlin Heights painters. He painted his first mature works in 1915, and grad ed from the Cleveland School of Art with a degree in illustration the following spring. That summer the Cleveland School of Art sponsored his first solo exhibition, and in the fall, after attending the National Academy of Design in New York for one month, he returned to Salem. In February 1917 the Cleveland School of Art mounted his second solo exhibition. Burchfield was inducted into the army that summer. After his return in 1919 he exhibited with other Cleveland modernists at the Play House, Laukhuff\u2019 s Book store, and other Cleveland venues. In 1921 he went on an extended sketching trip through eastern Ohio with Keller, Wilcox, and Paul Travis, exhibiting these recent paintings at the Cleveland School of Art and in the May Show at the Cleveland Museum of Art. Later that year he moved to Buffalo to work as a wallpaper designer, a position he retained until he resigned in 1929 to become a full-time painter. Over the next 30 years he exhibited extensively at museums and galleries across the country. Solo exhibitions of his paintings were held at New York\u2019s Museum of Modern Art (1930), Pittsburgh\u2019 s Carnegie Institute of Art (1935, 1938, 1946), and Buffalo\u2019 s Albright-Knox Art Gallery (1944, 1955, 1963, 1967). In 1953 New York\u2019s Whitney Museum of American Art organized a major exhibition that traveled to the Cleveland Museum of Art. Burchfield died in West Seneca, New York. <br>\"Transformations in Cleveland Art\" (CMA, 1996), p. 224", "name_in_original_language": null, "birth_year": "1893", "death_year": "1967", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1965-11-06T00:00:00", "sortable_date": 1917, "date_added_to_oa": null, "date_text": "1917", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:27.348000"}, {"id": 128393, "accession_number": "1951.357", "share_license_status": "CC0", "tombstone": "Still Life with Rayfish, 1923. Cha\u00efm Soutine (Russian, 1893\u20131943). Oil on canvas; framed: 111.8 x 94.3 x 11.8 cm (44 x 37 1/8 x 4 5/8 in.); unframed: 80.5 x 64.5 cm (31 11/16 x 25 3/8 in.). The Cleveland Museum of Art, Gift of the Hanna Fund, 1951.357", "current_location": "223 20th Century Avant-Garde", "title": "Still Life with Rayfish", "creation_date": "1923", "creation_date_earliest": 1923, "creation_date_latest": 1923, "artists_tags": ["male", "Jewish artists"], "culture": ["Russia (worked in France), 20th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 111.8 x 94.3 x 11.8 cm (44 x 37 1/8 x 4 5/8 in.); Unframed: 80.5 x 64.5 cm (31 11/16 x 25 3/8 in.)", "dimensions": {"framed": {"height": 1.118, "width": 0.943, "depth": 0.118}, "unframed": {"height": 0.805, "width": 0.645}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right: \"Soutine\"", "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": 444968, "title": "Soutine", "description": "<i>Soutine</i>. Mus\u00e9e de l'Orangerie, Paris, France (April 27-September 17, 1973).", "opening_date": "1973-04-27T05:00:00"}, {"id": 443171, "title": "La Nature Morte de Brueghel \u00e0 Soutine (The Still Life of Brueghel in Soutine)", "description": "<i>La Nature Morte de Brueghel \u00e0 Soutine (The Still Life of Brueghel in Soutine)</i>. Mus\u00e9e des Beaux-Arts de Bordeaux, F-33000 Bordeaux, France (organizer) (May 5-September 1, 1978).", "opening_date": "1978-05-05T04:00:00"}, {"id": 412360, "title": "Cha\u00efm Soutine", "description": "<i>Cha\u00efm Soutine</i>. Museo d'Arte Moderna (organizer) (March 12-June 18, 1995).", "opening_date": "1995-03-12T05:00:00"}, {"id": 218214, "title": "Chaim Soutine", "description": "<i>Chaim Soutine</i>. Israel Museum, 91710 Jerusalem, Israel (April 26-August 14, 1998); Los Angeles County Museum of Art, Los Angeles, CA (September 17, 1998-January 3, 1999); The Cincinnati Art Museum, Cincinnati, OH (February 14-May 2, 1999).", "opening_date": "1998-04-26T00:00:00"}, {"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); 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": 220650, "title": "Cha\u00efm Soutine (1893-1943), l'ordre du chaos", "description": "<i>Cha\u00efm Soutine (1893-1943), l'ordre du chaos</i>. Mus\u00e9e de l'Orangerie, Paris, France (October 2, 2012-January 21, 2013).", "opening_date": "2012-10-02T00:00:00"}, {"id": 450430, "title": "Cha\u00efm Soutine - Against the Current", "description": "<i>Cha\u00efm Soutine - Against the Current</i>. Kunstsammlung Nordrhein-Westfalen, D\u00fcsseldorf, Germany (organizer) (September 1, 2023-January 14, 2024); Louisiana Museum of Modern Art, Humbelbaek, Denmark (February 9-July 14, 2024); Kunstmuseum Bern, Bern, Switzerland (August 16-December 1, 2024) https://www.kunstmuseumbern.ch/en/ausstellung/chaim-soutine.", "opening_date": "2023-09-01T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Paul Guillaume [1891-1953], Paris, probably sold to Jacques Doucet", "citations": [], "footnotes": ["<div><!--block-->One of Soutine\u2019s dealers, Guillaume handled much of the artist\u2019s output in the 1920s.&nbsp; Guillaume also had his own collection, most of which was acquired by the French state in the 1960s and is now at the Mus\u00e9e de l\u2019Orangerie.&nbsp; It is unclear in which capacity Guillaume handled the Cleveland Soutine.</div>"], "date": "By 1927-1928", "sortorder": 1}, {"description": "Jacques Doucet [1853-1929], Paris, presumably by inheritance to his wife Jeanne Roger Doucet", "citations": [], "footnotes": ["<div><!--block-->Doucet, the influential French couturier, amassed an extensive art, furniture, and book collection.&nbsp; When in his collection the Soutine hung next to Picasso\u2019s <em>Tete de l\u2019Arlequin </em>and <em>Les Desmoiselles d\u2019Avignon. &nbsp;</em></div>"], "date": "1928-1929", "sortorder": 2}, {"description": "(Cesar de Hauke, New York, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "Until 1951", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, Ohio", "citations": [], "footnotes": [], "date": "1951-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "The mutilated ray fish in this painting is strung across the top of the canvas, as if tortured or crucified, as its internal organs spill forth. The fish seems to express human anguish, transforming it into a powerful metaphor for suffering. Below the fish is a kettle that seems to twist away from the fish. Cha\u00efm Soutine frequently depicted animal carcasses in his paintings, highlighting their vulnerability and the violence of their deaths. Such paintings may allude to his own despair, from his youth as the 10th of 11 children of parents in poverty in a small Orthodox Jewish community in what is now Belarus, to his early years in Paris as a struggling artist.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60515874"], "internet_archive": ["https://archive.org/details/clevelandart-1951.357-still-life-with-rayf"]}, "citations": [{"citation": "Raynal, Maurice. <em>Modern French Painters</em>. 1928.", "page_number": null, "url": null}, {"citation": "Waldemar, George. <em>Soutine</em>. Paris: \u00c9ditions Le Triangle, 1928.", "page_number": null, "url": null}, {"citation": "Mus\u00e9e du Petit Palais (Paris). <em>Les maitres de l'art ind\u00e9pendant: 1895-1937</em>. Paris: Editions Arts &amp; M\u00e9tiers Graphiques, 1937.", "page_number": null, "url": null}, {"citation": "Ditner, David C. \"Chaim Soutine's Still Life with Rayfish.\" <em>The Bulletin of the Cleveland Museum of Art</em> 67, no. 2 (1980): 41-49.", "page_number": "Reproduced: p. 42; Mentioned: p. 41-49", "url": "https://www.jstor.org/stable/25159662"}, {"citation": "Tuchman, Maurice, Esti Dunow, and Klaus Perls. <em>Chaim Soutine (1893-1943): catalogue raisonn\u00e9 = Werkverzeichnis</em>. K\u00f6ln: Benedikt Taschen Verlag, 1993.", "page_number": null, "url": null}, {"citation": "Degel, Kirsten, and Malou Wedel Bruun, eds. <em>Cha\u00efm Soutine: Mod Str\u00f8mmen.</em> Humleb\u00e6k [Denmark]: Louisiana Museum of Modern Art, 2023.", "page_number": "Reproduced: p. 79, no. 20", "url": ""}], "url": "https://clevelandart.org/art/1951.357", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1951.357/1951.357_web.jpg", "width": "716", "height": "893", "filesize": "539920", "filename": "1951.357_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1951.357/1951.357_print.jpg", "width": "2726", "height": "3400", "filesize": "7849379", "filename": "1951.357_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1951.357/1951.357_full.tif", "width": "4151", "height": "5177", "filesize": "64503916", "filename": "1951.357_full.tif"}}, "alternate_images": [{"date_created": "2009-02-20T14:46:58", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.357/1951.357_alt0_web.jpg", "width": "767", "height": "893", "filesize": "626490"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.357/1951.357_alt0_print.jpg", "width": "2920", "height": "3400", "filesize": "7553929"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.357/1951.357_alt0_full.tif", "width": "3395", "height": "3953", "filesize": "40307120"}}], "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": 128393, "creators": [{"id": 3288, "description": "Cha\u00efm Soutine (Russian, 1893\u20131943)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1893", "death_year": "1943", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1951-08-09T00:00:00", "sortable_date": 1923, "date_added_to_oa": null, "date_text": "1923", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": ["Still Life with Skate"], "is_highlight": false, "updated_at": "2026-03-27 00:00:58.131000"}, {"id": 155639, "accession_number": "1990.8.b", "share_license_status": "Copyrighted", "tombstone": "Lot's Wife, 1989. Anselm Kiefer (German, 1945-). Oil paint, ash, stucco, chalk, linseed oil, polymer emulsion, salt and applied elements (e.g., copper heating coil), on canvas, attached to lead foil, on plywood panels. The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1990.8.b. \u00a9 Anselm Kiefer", "current_location": "229B Contemporary", "title": "Lot's Wife", "creation_date": "1989", "creation_date_earliest": 1989, "creation_date_latest": 1989, "artists_tags": ["male"], "culture": ["Germany, 20th century"], "technique": "oil paint, ash, stucco, chalk, linseed oil, polymer emulsion, salt and applied elements (e.g., copper heating coil), on canvas, attached to lead foil, on plywood panels", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Anselm Kiefer", "inscriptions": [{"inscription": "Titled in chalk on recto of lower panel: Lots Frau", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 393229, "title": "Contemporary Installation", "description": "<i>Contemporary Installation</i>. The Cleveland Museum of Art (organizer).", "opening_date": "2021-04-12T04:00:00"}], "legacy": [{"description": "CMA 1991:  \"Notable Acquisitions\" June 7-September 15, 1991, Bulletin 78 (June 1991), p. 109, repr.", "opening_date": "1991-06-07T00:00:00"}]}, "provenance": [{"description": "Anselm Kiefer", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The subject of railroad tracks was inspired by the artist\u2019s photograph of the Bordeaux rail facility.", "description": "Anselm Kiefer addresses the history and legacy of the Holocaust (in Hebrew: the Shoah) perpetrated by Germany. \"We see railway tracks anywhere and think about Auschwitz,\" the artist said soon after painting <em>Lot\u2019s Wife</em>. \"It will remain that way in the long run.\" The drama of the railway tracks dissecting a barren landscape is heightened by the work's surface, dense with gestural marks and a range of materials, including salt. Referring to the fate of Lot's wife in the book of Genesis\u2014who was turned to a pillar of salt when she looked back at the destruction of Sodom\u2014Kiefer frames a historical narrative within a biblical one.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60476566"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1990.8.b", "images": {}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Paula and Eugene Stevens Gallery", "athena_id": 155639, "creators": [{"id": 533, "description": "Anselm Kiefer (German, 1945-)", "extent": null, "qualifier": null, "role": "artist", "biography": "Anselm Kiefer German, 1945-\r\n\r\nOne of the most significant and reclusive artists of the past 20 years, Anselm Kiefer was born in Donaueschingen, Bavaria, two months before the end of World War II. His enormous mixed-media canvases, as well as his smaller bookworks, are laden with cultural, political, mythic, and religious symbolism. These works are made in direct response to his Teutonic heritage and, in particular, Germany's war experience. Kiefer addresses questions regarding German identity in the postwar world, a highly sensitive subject that has brought him both critical acclaim and adamant opposition.\r\n\tKiefer studied law and French at the University of Freiburg in 1965 before turning to painting. He graduated in 1970 and began informal study at the Staatliche Kunstakademie in D\u00fcsseldorf with Joseph Beuys, who encouraged him to paint despite dominance of conceptual art at the time and the declaration that painting was dead. Kiefer often spends years on a piece, working intermittently, and retains rigid control of the placement of his paintings after they leave his studio.\r\n\tAlthough Kiefer's work has changed little throughout his career, his earlier imagery relied on figurative elements and his later paintings have become more abstract, often incorporating architectural elements. He frequently begins with an enlarged photographic image, which he distorts by such techniques as scorching, staining, and burning. His materials include molten lead, tar, straw, and clay, metaphorical substances associated with the German land and its mythologies. The transformative process also recalls alchemy, a subject that interested Beuys, who believed art had the power to evoke a change of state from physical to spiritual.\r\n\tKiefer has had numerous international exhibitions and published monographs, and is represented in major American and European collections. In addition to one-person exhibitions in Germany, the Netherlands, Italy, France, Israel, and England, the Philadelphia Museum of Art organized a retrospective of his work that toured the United States in 1987-88. In recent years, Kiefer has begun to make films that, rooted in the medium of photography, extend the physical and narrative qualities characteristic of all his work into the realms of motion and time. He lives in Barjac, France. A.W.", "name_in_original_language": null, "birth_year": "1945", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1990-01-29T00:00:00", "sortable_date": 1989, "date_added_to_oa": null, "date_text": "1989", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1990.8", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:37.732000"}, {"id": 163004, "accession_number": "2003.428", "share_license_status": "Copyrighted", "tombstone": "Composition, 1934. Jean H\u00e9lion (French, 1904\u20131987). Oil on canvas; framed: 131.1 x 163.4 x 3.8 cm (51 5/8 x 64 5/16 x 1 1/2 in.); unframed: 130.8 x 161.9 cm (51 1/2 x 63 3/4 in.). The Cleveland Museum of Art, Gift of Dorothy Tremaine Hildt, 2003.428. \u00a9 Artists Rights Society (ARS), New York", "current_location": "223 20th Century Avant-Garde", "title": "Composition", "creation_date": "1934", "creation_date_earliest": 1934, "creation_date_latest": 1934, "artists_tags": ["male"], "culture": ["France, 20th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 131.1 x 163.4 x 3.8 cm (51 5/8 x 64 5/16 x 1 1/2 in.); Unframed: 130.8 x 161.9 cm (51 1/2 x 63 3/4 in.)", "dimensions": {"framed": {"height": 1.311, "width": 1.634, "depth": 0.038}, "unframed": {"height": 1.308, "width": 1.619}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "Signed and dated on verso: 1934", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": [{"description": "Museum of Modern Art: Painting Toward Architecture, 1948.  Also traveled to: Wadsworth Athenaeum, Hartford Connecticut; Contemporary Art Museum, Houston.", "opening_date": "1948-01-01T00:00:00"}, {"description": "Wadsworth Atheneum, Hartford, CT: The Tremaine Collection:  20th Century Masterpieces, 1984.", "opening_date": "1984-01-01T00:00:00"}]}, "provenance": [{"description": "(Valentine Dudensing Gallery); Miller Company, Meriden, CT, 1945; Mr. and Mrs. Burton G.Tremaine, Meriden, CT; Mrs. Dorothy T. Hildt by descent.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "While fighting for the French army during World War II, Jean H\u00e9lion was taken prisoner and sent to a camp in Pomerania and then Stettin. He escaped and made his way to France and then the United States where he published an account of his experience, <em>They Shall Not Have Me</em>, in 1943.", "description": "In the spring of 1934, Jean H\u00e9lion made a series of four paintings in which, for the first time, he combined several interlocking, abstract forms in a densely organized, allover design. This painting belongs to that series and features a carefully balanced arrangement of forms which appear to be floating free in space in harmony with one another. In Paris, H\u00e9lion shared a studio with Joaqu\u00edn Torres-Garc\u00eda who introduced him to Cubism and abstraction and became acquainted with Piet Mondrian.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60479749"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2003.428", "images": {}, "alternate_images": [], "creditline": "Gift of Dorothy Tremaine Hildt", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Michael J. Horvitz Family Gallery", "athena_id": 163004, "creators": [{"id": 47211, "description": "Jean H\u00e9lion (French, 1904\u20131987)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1904", "death_year": "1987", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2004-03-01T00:00:00", "sortable_date": 1934, "date_added_to_oa": null, "date_text": "1934", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:56.447000"}, {"id": 168484, "accession_number": "2010.236", "share_license_status": "Copyrighted", "tombstone": "White Form, c. 1990\u201395. Toshiko Takaezu (American, 1922\u20132011). Ceramic; overall: 85 x 40 cm (33 7/16 x 15 3/4 in.). The Cleveland Museum of Art, Gift of John Paul Miller, 2010.236", "current_location": "228A Cleveland Artists", "title": "White Form", "creation_date": "c. 1990\u201395", "creation_date_earliest": 1990, "creation_date_latest": 1995, "artists_tags": ["May Show", "female", "Cleveland Institute of Art (faculty)"], "culture": ["America"], "technique": "ceramic", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Ceramic", "measurements": "Overall: 85 x 40 cm (33 7/16 x 15 3/4 in.)", "dimensions": {"overall": {"height": 0.85, "width": 0.4}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 198203, "title": "Toshiko Takaezu", "description": "<i>Toshiko Takaezu</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 20, 2009-May 15, 2010).", "opening_date": "2009-06-20T00:00:00"}], "legacy": [{"description": "The Cleveland Museum of Art (06/20/2009 - 05/15/2010); \"Toshiko Takaezu\"", "opening_date": "2009-06-20T00:00:00"}]}, "provenance": [{"description": "Given to John Paul Miller by the artist, Toshiko Takaezu", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": ["5.2009"], "did_you_know": "Before closing the form, leaving no opening, the artist dropped a bead of clay wrapped in paper inside, so that the pieces would rattle when moved.", "description": "Shortly after studying in Japan, and while teaching at the Cleveland Institute of Art in the 1950s, Takaezu launched her signature series of closed vessels applied with painterly glazes. Constituting her primary output for nearly a half century, these works reveal her combined interests in Western and Eastern philosophies and aesthetics.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60761390"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2010.236", "images": {}, "alternate_images": [], "creditline": "Gift of John Paul Miller", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "David and Helen Kangesser Gallery", "athena_id": 168484, "creators": [{"id": 6647, "description": "Toshiko Takaezu (American, 1922\u20132011)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1922", "death_year": "2011", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2010-09-07T00:00:00", "sortable_date": 1990, "date_added_to_oa": null, "date_text": "c. 1990\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 00:00:39.330000"}, {"id": 375551, "accession_number": "2019.58.a", "share_license_status": "Copyrighted", "tombstone": "Blue Rational/Irrational (left panel), 1969. Al Loving (American, 1935\u20132005). Acrylic on canvas. The Cleveland Museum of Art, Gift of the KeyBank Collection, 2019.58.a. \u00a9 The Estate of Al Loving and Garth Greenan Gallery, New York", "current_location": "224A Contemporary Corridor", "title": "Blue Rational/Irrational (left panel)", "creation_date": "1969", "creation_date_earliest": 1964, "creation_date_latest": 1974, "artists_tags": ["Black American Artists", "male"], "culture": ["America"], "technique": "Acrylic on canvas", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 The Estate of Al Loving and Garth Greenan Gallery, New York", "inscriptions": [], "exhibitions": {"current": [{"id": 393229, "title": "Contemporary Installation", "description": "<i>Contemporary Installation</i>. The Cleveland Museum of Art (organizer).", "opening_date": "2021-04-12T04:00:00"}], "legacy": [{"description": "<em>Alvin Loving: Paintings</em>. Whitney Museum of American Art, New York, NY (December 19, 1969\u2013January 25, 1970).", "opening_date": "1969-12-19T00:00:00"}]}, "provenance": [{"description": "Collection of the artist", "citations": [], "footnotes": null, "date": "1969-?", "sortorder": 1}, {"description": "(KeyBank Collection, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": [], "date": "early 1990s-2019", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2019-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This was included in <em>Al Loving: Paintings </em>(1969) at the Whitney Museum, the museum\u2019s first solo exhibition of work by an African American artist.", "description": "Across both canvases of this large-scale diptych, Loving evokes a three-dimensional space on a two-dimensional surface through strategic layerings of cubic forms and carefully calibrated color juxtapositions. Around the time Loving made this work he wrote, \u201cI am tired of objects on walls. The wall must be pierced, brought forward, pushed back.\u201d <em>Blue Rational/Irrational</em> is a bold manifestation of this sentiment.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q84278602"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2019.58.a", "images": {}, "alternate_images": [], "creditline": "Gift of the KeyBank Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Betty and Max Ratner Gallery", "athena_id": 375551, "creators": [{"id": 63955, "description": "Al Loving (American, 1935\u20132005)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1935", "death_year": "2005", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2019-03-04T00:00:00-05:00", "sortable_date": 1964, "date_added_to_oa": null, "date_text": "1969", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "2019.58", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:25.837000"}, {"id": 518342, "accession_number": "2022.98.1", "share_license_status": "Copyrighted", "tombstone": "Survival: Wisdom/Knowledge, 1996. Jaune Quick-to-See Smith (Citizen of the Confederated Salish and Kootenai Nation, 1940\u20132025). Color lithograph; image and sheet: 91.1 x 62.8 cm (35 7/8 x 24 3/4 in.). The Cleveland Museum of Art, Norman O. Stone and Ella A. Stone Memorial Fund, 2022.98.1. \u00a9 Jaune Quick-to-See Smith / Garth Greenan Gallery, New York", "current_location": "101B Prints & Drawings", "title": "Wisdom/Knowledge", "series": "Survival", "creation_date": "1996", "creation_date_earliest": 1996, "creation_date_latest": 1996, "artists_tags": ["female"], "culture": [], "technique": "color lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image and Sheet: 91.1 x 62.8 cm (35 7/8 x 24 3/4 in.)", "dimensions": {"image and sheet": {"height": 0.911, "width": 0.628}}, "state_of_the_work": null, "edition_of_the_work": "37/50", "copyright": "\u00a9 Jaune Quick-to-See Smith / Garth Greenan Gallery, New York", "inscriptions": [{"inscription": "Inscribed, lower left, in graphite: 37/50; signed, lower right, in graphite: Jqs Smith", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 536086, "title": "Contemporary Art Rotation - Spring 2023", "description": "<i>Contemporary Art Rotation - Spring 2023</i>. 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This print belongs to a series of four, each of which references a value that Smith feels has protected and guided her tribe through years of challenges and trauma. Expressive lithographic marks are layered over found popular and artistic imagery to suggest such ongoing resilience.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q115755112"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2022.98.1", "images": {}, "alternate_images": [], "creditline": "Norman O. Stone and Ella A. Stone Memorial Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "These Galleries are the Gift of James and Hanna Bartlett", "athena_id": 518342, "creators": [{"id": 66341, "description": "Jaune Quick-to-See Smith (Citizen of the Confederated Salish and Kootenai Nation, 1940\u20132025)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1940", "death_year": "2025", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2022-09-12T04:00:00Z", "sortable_date": 1996, "date_added_to_oa": null, "date_text": "1996", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "2022.98", "is_nazi_era_provenance": false, "impression": "37", "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:03:36.984000"}, {"id": 518343, "accession_number": "2022.98.2", "share_license_status": "Copyrighted", "tombstone": "Survival: Humor, 1996. Jaune Quick-to-See Smith (Citizen of the Confederated Salish and Kootenai Nation, 1940\u20132025). Color lithograph with chine coll\u00e9; image and sheet: 91.4 x 62.8 cm (36 x 24 3/4 in.). The Cleveland Museum of Art, Norman O. Stone and Ella A. Stone Memorial Fund, 2022.98.2. \u00a9 Jaune Quick-to-See Smith / Garth Greenan Gallery, New York", "current_location": "101B Prints & Drawings", "title": "Humor", "series": "Survival", "creation_date": "1996", "creation_date_earliest": 1996, "creation_date_latest": 1996, "artists_tags": ["female"], "culture": [], "technique": "color lithograph with chine coll\u00e9", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image and Sheet: 91.4 x 62.8 cm (36 x 24 3/4 in.)", "dimensions": {"image and sheet": {"height": 0.914, "width": 0.628}}, "state_of_the_work": null, "edition_of_the_work": "37/50", "copyright": "\u00a9 Jaune Quick-to-See Smith / Garth Greenan Gallery, New York", "inscriptions": [{"inscription": "Inscribed, lower left, in graphite: 37/50; signed, lower right, in graphite: Jqs Smith", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 536086, "title": "Contemporary Art Rotation - Spring 2023", "description": "<i>Contemporary Art Rotation - Spring 2023</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 7-September 24, 2023).", "opening_date": "2023-04-07T04:00:00"}, {"id": 695926, "title": "still/emerging: Native American Works on Paper", "description": "<i>still/emerging: Native American Works on Paper</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 1-June 7, 2026).", "opening_date": "2026-02-01T05:00:00"}], "legacy": []}, "provenance": [{"description": "(Zanatta Editions, Shawnee, KS), sold to The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "?-2022", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "September 12, 2022-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Jaune Quick-To-See Smith has described artworks such as this print as having a personal significance\u2014comprising, in her words, \u201ca diary, or journal, of my life.\u201d", "description": "For the past five decades, artist and activist Jaune Quick-To-See Smith has developed a distinctive, collage-based style combining Indigenous stories and symbols with references to canonical modern art history to suggest a place for Indigenous culture within contemporary art. This print belongs to a series of four, each of which references a value that Smith feels has protected and guided her tribe through years of challenges and trauma. Expressive lithographic marks are layered over found popular and artistic imagery to suggest such ongoing resilience.", "external_resources": {"wikidata": [], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2022.98.2", "images": {}, "alternate_images": [], "creditline": "Norman O. Stone and Ella A. Stone Memorial Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "These Galleries are the Gift of James and Hanna Bartlett", "athena_id": 518343, "creators": [{"id": 66341, "description": "Jaune Quick-to-See Smith (Citizen of the Confederated Salish and Kootenai Nation, 1940\u20132025)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1940", "death_year": "2025", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2022-09-12T04:00:00Z", "sortable_date": 1996, "date_added_to_oa": null, "date_text": "1996", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "2022.98", "is_nazi_era_provenance": false, "impression": "37", "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:02:26.473000"}, {"id": 518344, "accession_number": "2022.98.3", "share_license_status": "Copyrighted", "tombstone": "Survival: Tribe/Community, 1996. Jaune Quick-to-See Smith (Citizen of the Confederated Salish and Kootenai Nation, 1940\u20132025). Color lithograph with chine coll\u00e9; image and sheet: 91.2 x 62.8 cm (35 7/8 x 24 3/4 in.). The Cleveland Museum of Art, Norman O. Stone and Ella A. Stone Memorial Fund, 2022.98.3. \u00a9 Jaune Quick-to-See Smith / Garth Greenan Gallery, New York", "current_location": "101B Prints & Drawings", "title": "Tribe/Community", "series": "Survival", "creation_date": "1996", "creation_date_earliest": 1996, "creation_date_latest": 1996, "artists_tags": ["female"], "culture": [], "technique": "color lithograph with chine coll\u00e9", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image and Sheet: 91.2 x 62.8 cm (35 7/8 x 24 3/4 in.)", "dimensions": {"image and sheet": {"height": 0.912, "width": 0.628}}, "state_of_the_work": null, "edition_of_the_work": "37/50", "copyright": "\u00a9 Jaune Quick-to-See Smith / Garth Greenan Gallery, New York", "inscriptions": [{"inscription": "Inscribed, lower left, in graphite: 37/50; signed, lower right, in graphite: Jqs Smith", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 536086, "title": "Contemporary Art Rotation - Spring 2023", "description": "<i>Contemporary Art Rotation - Spring 2023</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 7-September 24, 2023).", "opening_date": "2023-04-07T04:00:00"}, {"id": 695926, "title": "still/emerging: Native American Works on Paper", "description": "<i>still/emerging: Native American Works on Paper</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 1-June 7, 2026).", "opening_date": "2026-02-01T05:00:00"}], "legacy": []}, "provenance": [{"description": "(Zanatta Editions, Shawnee, KS), sold to The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "?-2022", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "September 12, 2022-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Jaune Quick-To-See Smith has described artworks such as this print as having a personal significance\u2014comprising, in her words, \u201ca diary, or journal, of my life.\u201d", "description": "For the past five decades, artist and activist Jaune Quick-To-See Smith has developed a distinctive, collage-based style combining Indigenous stories and symbols with references to canonical modern art history to suggest a place for Indigenous culture within contemporary art. 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Stone Memorial Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "These Galleries are the Gift of James and Hanna Bartlett", "athena_id": 518344, "creators": [{"id": 66341, "description": "Jaune Quick-to-See Smith (Citizen of the Confederated Salish and Kootenai Nation, 1940\u20132025)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1940", "death_year": "2025", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2022-09-12T04:00:00Z", "sortable_date": 1996, "date_added_to_oa": null, "date_text": "1996", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "2022.98", "is_nazi_era_provenance": false, "impression": "37", "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:04:56.943000"}, {"id": 518345, "accession_number": "2022.98.4", "share_license_status": "Copyrighted", "tombstone": "Survival: Nature/Medicine, 1996. Jaune Quick-to-See Smith (Citizen of the Confederated Salish and Kootenai Nation, 1940\u20132025). Color lithograph with chine coll\u00e9; image and sheet: 91.8 x 62.6 cm (36 1/8 x 24 5/8 in.). The Cleveland Museum of Art, Norman O. Stone and Ella A. Stone Memorial Fund, 2022.98.4. \u00a9 Jaune Quick-to-See Smith / Garth Greenan Gallery, New York", "current_location": "101B Prints & Drawings", "title": "Nature/Medicine", "series": "Survival", "creation_date": "1996", "creation_date_earliest": 1996, "creation_date_latest": 1996, "artists_tags": ["female"], "culture": [], "technique": "color lithograph with chine coll\u00e9", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image and Sheet: 91.8 x 62.6 cm (36 1/8 x 24 5/8 in.)", "dimensions": {"image and sheet": {"height": 0.918, "width": 0.626}}, "state_of_the_work": null, "edition_of_the_work": "37/50", "copyright": "\u00a9 Jaune Quick-to-See Smith / Garth Greenan Gallery, New York", "inscriptions": [{"inscription": "Inscribed, lower left, in graphite: 37/50; signed, low right, in graphite: Jqs Smith", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 536086, "title": "Contemporary Art Rotation - Spring 2023", "description": "<i>Contemporary Art Rotation - Spring 2023</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 7-September 24, 2023).", "opening_date": "2023-04-07T04:00:00"}, {"id": 695926, "title": "still/emerging: Native American Works on Paper", "description": "<i>still/emerging: Native American Works on Paper</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 1-June 7, 2026).", "opening_date": "2026-02-01T05:00:00"}], "legacy": []}, "provenance": [{"description": "(Zanatta Editions, Shawnee, KS), sold to The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "?-2022", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "September 12, 2022-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Jaune Quick-To-See Smith has described artworks such as this print as having a personal significance\u2014comprising, in her words, \u201ca diary, or journal, of my life.\u201d", "description": "For the past five decades, artist and activist Jaune Quick-To-See Smith has developed a distinctive, collage-based style combining Indigenous stories and symbols with references to canonical modern art history to suggest a place for Indigenous culture within contemporary art. 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Stone Memorial Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "These Galleries are the Gift of James and Hanna Bartlett", "athena_id": 518345, "creators": [{"id": 66341, "description": "Jaune Quick-to-See Smith (Citizen of the Confederated Salish and Kootenai Nation, 1940\u20132025)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1940", "death_year": "2025", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2022-09-12T04:00:00Z", "sortable_date": 1996, "date_added_to_oa": null, "date_text": "1996", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "2022.98", "is_nazi_era_provenance": false, "impression": "37", "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:05:31.338000"}, {"id": 541646, "accession_number": "2023.48", "share_license_status": "Copyrighted", "tombstone": "Ecriture No. 22\u201377, 1977. Park Seo-Bo (Korean, 1931\u20132023). Pencil and oil on hemp cloth; 130.2 x 195.3 cm (51 1/4 x 76 7/8 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 2023.48. \u00a9 Park Seo-Bo", "current_location": "236 Korean", "title": "Ecriture No. 22\u201377", "creation_date": "1977", "creation_date_earliest": 1977, "creation_date_latest": 1977, "artists_tags": ["male", "Asian (from 1900 to present)"], "culture": ["Korea"], "technique": "Pencil and oil on hemp cloth", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "measurements": "130.2 x 195.3 cm (51 1/4 x 76 7/8 in.)", "dimensions": {"No Extent Specified": {"height": 1.302, "width": 1.953}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Park Seo-Bo", "inscriptions": [{"inscription": "\u6734\u6816\u752b / \n\u547d\u984c\uff1a\u63cf\u6cd5 No. 22 - 77 /\n1977 \u5e74\u4f5c", "inscription_translation": "Artist's name, artwork's title, and creation date", "inscription_remark": "Proper left verso inscription within the top register of the canvas", "sortorder": 1}, {"inscription": "19 APR-27 NOV. 2022 /\nSOLO SHOW: /\nFONDAZIONE QUERINI STAMPALIOA, VENICE /\n(WHITE CUBE PRESENTED)", "inscription_translation": null, "inscription_remark": "Center inscription within the top register of the canvas", "sortorder": 2}, {"inscription": "PARK, SEO-BO / \n\u00c9CRITURE\u202fNo. 22-77 / \n1977, \u00e0 S\u00c9OUL / \nS.B. Park", "inscription_translation": "Artist's name, artwork's title, creation and place date, and artist's signature", "inscription_remark": "Proper right verso inscription within the top register of the canvas", "sortorder": 3}, {"inscription": "130.2 x 195.3 cm", "inscription_translation": "Painting's dimensions written on the stretcher", "inscription_remark": null, "sortorder": 4}], "exhibitions": {"current": [{"id": 517759, "title": "Material and Immaterial in Korean Modern and Contemporary Art", "description": "<i>Material and Immaterial in Korean Modern and Contemporary Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 28, 2023-February 25, 2024).", "opening_date": "2023-04-28T04:00:00"}, {"id": 677112, "title": "Juxtaposition and Juncture in Korean Modern and Contemporary Art", "description": "<i>Juxtaposition and Juncture in Korean Modern and Contemporary Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 21, 2025-May 3, 2026).", "opening_date": "2025-03-21T04:00:00"}], "legacy": []}, "provenance": [{"description": "(White Cube, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "?\u20132023", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2023\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Park Seo-Bo drew inspiration for his<em> \u00c9critures</em> series by watching his three-year-old son attempting to write a word inside a grid.", "description": "<em>\u00c9criture No. 22-77</em> by Park Seo-Bo represents one of the most important modern and contemporary Korean abstraction called <em>Dansaekhwa</em>, meaning monochrome painting in Korean. In this work, Park repetitively incised the tip of the pencil into a surface still wet with whitish paint, marking the ebb and flow of the drawing process. Then, he added the pencil mark, removing paint. Park considers this a process of erasure.<br><br>According to the artist, <em>\u00c9criture</em> series was born by watching his three-year-old son attempting to write a word inside a grid. Growing frustrated by his failure to fit within the lines, the boy abandoned his initial pursuit, and instead decided to create his own form of writing, a kind of repetitive scribbling. Park often compared the repetitive process of drawing lines to his way of practicing meditation in the time of frustration.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q121860112"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2023.48", "images": {}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 541646, "creators": [{"id": 62516, "description": "Park Seo-Bo (Korean, 1931\u20132023)", "extent": "execution", "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\ubc15\uc11c\ubcf4", "birth_year": "1931", "death_year": "2023", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2023-06-05T04:00:00Z", "sortable_date": 1977, "date_added_to_oa": null, "date_text": "1977", "collapse_artists": true, "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": ["\u00c9criture\u202fNo. 22-77"], "is_highlight": false, "updated_at": "2026-03-27 00:02:19.546000"}, {"id": 154803, "accession_number": "1989.386", "share_license_status": "Copyrighted", "tombstone": "New York, the Elevated, and Me, 1936. Ilse Bing (American, 1899\u20131998). Gelatin silver print; image: 18.8 x 28.2 cm (7 3/8 x 11 1/8 in.); matted: 40.6 x 50.8 cm (16 x 20 in.). The Cleveland Museum of Art, John L. Severance Fund, 1989.386. \u00a9 Estate of Ilse Bing", "current_location": null, "title": "New York, the Elevated, and Me", "creation_date": "1936", "creation_date_earliest": 1936, "creation_date_latest": 1936, "artists_tags": ["female", "Jewish artists"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 18.8 x 28.2 cm (7 3/8 x 11 1/8 in.); Matted: 40.6 x 50.8 cm (16 x 20 in.)", "dimensions": {"image": {"height": 0.188, "width": 0.282}, "matted": {"height": 0.406, "width": 0.508}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of Ilse Bing", "inscriptions": [{"inscription": "Written in white ink on recto: \"ILSE BING [signed]/1936\"; in pencil on verso: \"ILSE BING [signed]/1936\"; \"New York - The Elevated and Me\"", "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": 189766, "title": "Industry and Photography: Selections from the Permanent Collection", "description": "<i>Industry and Photography: Selections from the Permanent Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 16, 1997-March 1, 1998).", "opening_date": "1997-11-16T00:00:00"}, {"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": 370361, "title": "Ilse Bing: Queen of the Leica", "description": "<i>Ilse Bing: Queen of the Leica</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 6-October 11, 2020).", "opening_date": "2020-03-06T05:00:00"}], "legacy": [{"description": "CMA, Feb. 6 - April 15, 1990: \"Year in Review 1989,\" CMA Bulletin, 77 (Feb. 1990), p. 67, no. 24.", "opening_date": "1990-02-06T00:00:00"}, {"description": "Cleveland, Ohio:  The Cleveland Museum of Art; 11/16/97 - 3/1/98.  \"Industry and Photography:  Selections from the Permanent Collection.\"", "opening_date": "1997-11-16T00:00:00"}, {"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": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "In 1936 one of Ilse Bing\u2019s patrons arranged for her to spend almost two months in New York City. In this daytime view of Manhattan\u2019s skyscrapers shot from an elevated train platform, a self-portrait is hidden in the glass cover of the coin-operated scale. Bing also photographed the skyline by night, declaring the city\u2019s lighting \u201cphosphorescent.\u201d The scale of the metropolis made her feel, she recalled, like \u201can atom wandering in the universe.\u201d Bing and her work were enthusiastically received there. She had a solo exhibition of her photographs and met with magazine editors at <em>Fortune</em>,<em> Time</em>, and <em>Life</em>, which was then still in the conceptual stages. Despite possible employment, she returned to Paris to be with her fianc\u00e9, pianist and musicologist Konrad Wolff.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79942402"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art, Tom E Hinson. <em>Catalogue of Photography</em>. Cleveland, OH: Cleveland Museum of Art, 1996.", "page_number": "Reproduced: P. 97", "url": ""}, {"citation": "\"In Perspective: Leica queen.\"<em> Art &amp; Antiques </em>43, no. 3 (March 2020): 30.", "page_number": "Reproduced: p. 30; Mention: p. 30", "url": null}, {"citation": "Tannenbaum, Barbara. \u201cQueen of the Leica: Ilse Bing found freedom of expression in a small, lightweight camera.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>60, no. 2 (March/April 2020): 30-31.", "page_number": "Reproduced: P. 31; Mentioned: P. 30.", "url": ""}], "url": "https://clevelandart.org/art/1989.386", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 154803, "creators": [{"id": 235, "description": "Ilse Bing (American, 1899\u20131998)", "extent": null, "qualifier": null, "role": "artist", "biography": "Ilse Bing (American, b. Germany, 1899-1998). Ilse Bing became interested in photography while pursuing a doctoral degree in art history at Frankfurt University. Around 1927-28 she began taking photographs to illustrate her dissertation and in 1930 decided to move to Paris to look for freelance assignments. Using the new 35mm Leica camera, she worked as a fashion, portrait, and architectural photographer, as well as a photojournalist. During her years in Paris she took part in numerous exhibitions, including the Museum of Modern Art's Photography 1839-1937 show in New York. In 1941 Bing and her husband immigrated to the United States, settling in New York City. In New York she began to work on a different scale, using the larger-format Rolleiflex camera as well as electronic flash. By 1957 she was working exclusively in color. Two years later Bing gave up photography to concentrate on painting and poetry.", "name_in_original_language": null, "birth_year": "1899", "death_year": "1998", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1990-01-29T00:00:00", "sortable_date": 1936, "date_added_to_oa": null, "date_text": "1936", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:34.968000"}, {"id": 146824, "accession_number": "1972.244", "share_license_status": "Copyrighted", "tombstone": "\"Hot Pigs,\" Otis Steel Co., Cleveland, 1928. Margaret Bourke-White (American, 1904\u20131971). Gelatin silver print; image: 34.1 x 25.8 cm (13 7/16 x 10 3/16 in.); matted: 61 x 50.8 cm (24 x 20 in.). The Cleveland Museum of Art, Gift of Mrs. Albert A. Levin, 1972.244. \u00a9  Estate of Margaret Bourke-White / Licensed by VAGA at Artists Rights Society (ARS), NY", "current_location": null, "title": "\"Hot Pigs,\" Otis Steel Co., Cleveland", "creation_date": "1928", "creation_date_earliest": 1928, "creation_date_latest": 1928, "artists_tags": ["May Show", "female"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 34.1 x 25.8 cm (13 7/16 x 10 3/16 in.); Matted: 61 x 50.8 cm (24 x 20 in.)", "dimensions": {"image": {"height": 0.341, "width": 0.258}, "matted": {"height": 0.61, "width": 0.508}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  Estate of Margaret Bourke-White / Licensed by VAGA at Artists Rights Society (ARS), NY", "inscriptions": [{"inscription": "Written in pencil on recto of mount: \"#4\"; \"Bourke-White [signed]\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301752, "title": "Year in Review: 1972", "description": "<i>Year in Review: 1972</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 27-March 18, 1973).", "opening_date": "1973-02-27T05:00:00"}, {"id": 443401, "title": "130 Years of Ohio Photography", "description": "<i>130 Years of Ohio Photography</i>. Columbus Museum of Art, Columbus, OH (organizer) (December 1, 1978-January 3, 1979).", "opening_date": "1978-12-01T05:00:00"}, {"id": 309884, "title": "Urban Vicissitudes", "description": "<i>Urban Vicissitudes</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 2-September 29, 1985).", "opening_date": "1985-07-02T04:00:00"}, {"id": 310296, "title": "Margaret Bourke-White: A Retrospective", "description": "<i>Margaret Bourke-White: A Retrospective</i>. International Center of Photography, New York, NY (organizer) (March 4-May 1, 1988); The Detroit Institute of Arts, Detroit, MI (May 17-July 10, 1988); The Nelson-Atkins Museum of Art, Kansas City, MO (August 5-September 25, 1988); Minnesota Museum of American Art, Saint Paul, MN (October 16, 1988-January 1, 1989); Wadsworth Atheneum Museum of Art, Hartford, CT (January 22-March 19, 1989); California Museum of Photography, Riverside, CA (April 8-June 4, 1989); National Museum of Women in the Arts, Washington, DE (June 25-August 25, 1989); Amon Carter Museum, Fort Worth, TX (September 16-November 12, 1989); Stanford University Museum and Art Gallery, Stanford, CA (December 1, 1989-February 7, 1990); The Cleveland Museum of Art, Cleveland, OH (February 28-April 15, 1990).", "opening_date": "1990-02-28T05:00:00"}, {"id": 311444, "title": "Object Lessons: Cleveland Creates an Art Museum", "description": "<i>Object Lessons: Cleveland Creates an Art Museum</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 7-September 8, 1991).", "opening_date": "1991-06-07T04:00:00"}, {"id": 311873, "title": "Transformations in Cleveland Art, 1796-1946", "description": "<i>Transformations in Cleveland Art, 1796-1946</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 19-July 21, 1996).", "opening_date": "1996-05-19T04:00:00"}], "legacy": [{"description": "<em>Cubism and American Photography. 1910\u20131930. </em>Sterling and Francine Clark Art Institute, Williamstown, MA (October 31, 1981\u2013 December 6, 1981); International Museum of Photography at George Eastman House, Rochester, NY (December 18, 1981\u2013February 17, 1982); The Toledo Museum of Art (April 30, 1982\u2013June 13, 1982); The Minneapolis Institute of Art (July 2, 1982\u2013August 15, 1982); Bowdoin College Museum of Art, Brunswick, ME (September 3, 1982 \u2013October 17, 1982)", "opening_date": "1981-10-31T00:00:00"}, {"description": "<em>Main Gallery Rotation</em> (Gallery 228). The Cleveland Museum of Art, Cleveland, OH (March 24, 2009\u2013December 7, 2009)", "opening_date": "2009-03-24T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "\u201cPigs\u201d were small, oblong blocks molded from surplus molten steel; a grouping of the molds resembled a litter of piglets.", "description": "A leading photographer of her generation, Bourke-White launched her highly successful career in Cleveland. Captivated by dramatic scenes of industrial production, she received permission to photograph activities at the Otis Steel Company, a major firm with a mill located on the shore of Lake Erie and another on the bank of the Cuyahoga River. These images caught the attention of Henry Luce, founder of <em>Time</em>, <em>Fortune</em>, and <em>Life</em> magazines, who hired her to work as a photojournalist.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780956"], "internet_archive": []}, "citations": [{"citation": "Lee, Sherman E. \u201cThe Year in Review for 1972.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 60, no. 3 (1973): 63\u2013115", "page_number": "Mentioned: p. 113, no. 244", "url": "http://www.jstor.org/stable/25093732"}, {"citation": "Pultz, John, Catherine B. Scallen, and Sterling and Francine Clark Art Institute. <em>Cubism and American Photography, 1910-1930</em>. Williamstown, Mass.: Sterling and Francine Clark Art Institute, 1981.", "page_number": "Mentioned: no. 6; Reproduced: p. 48", "url": ""}, {"citation": "Goldberg, Vicki, International Center of Photography, Detroit Institute of Arts, Nelson-Atkins Museum of Art, Minnesota Museum of Art, Wadsworth Atheneum, California Museum of Photography, et al. <em>Bourke-White</em>. [Hartford, Connecticut]: United Technologies Corporation, 1988.", "page_number": "Mentioned: p. 118, no. 35", "url": ""}, {"citation": "Cleveland Museum of Art, Tom E Hinson. <em>Catalogue of Photography</em>. Cleveland, OH: Cleveland Museum of Art, 1996.", "page_number": "Reproduced: P. 102", "url": ""}, {"citation": "Robinson, William H., et. al. <em>Transformations in Cleveland Art, 1796-1946: Community and Diversity in Early Modern America</em>. Cleveland, Ohio: Cleveland Museum of Art, 1996.", "page_number": "Mentioned and Reproduced:  p.113, fig. 115; Mentioned: p. 245, no. 32", "url": ""}], "url": "https://clevelandart.org/art/1972.244", "images": {}, "alternate_images": [], "creditline": "Gift of Mrs. Albert A. Levin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 146824, "creators": [{"id": 262, "description": "Margaret Bourke-White (American, 1904\u20131971)", "extent": null, "qualifier": null, "role": "artist", "biography": "Margaret Bourke-White American, 1904-1971 Margaret Bourke-White was a preeminent photojournalist who gained fame for her striking images published in Fortune and Life magazines in the 1930s-50s. In 1922, while at Columbia University Teachers College in her native New York City, Bourke-White studied photography with Clarence White. She attended several other colleges before graduating from Cornell University (1927), then moved to Cleveland. The city's industrial landscape was influential in the development of Bourke-White's photographic style. One of her images from this period, Romance of Steel, was a first-place winner in the Cleveland Museum of Art's 1928 May Show, a regional juried exhibition. The following year Bourke-White moved back to New York to work for Henry Luce's new business magazine, Fortune. In 1934 she was sent by the magazine to cover the drought in the Midwest, an assignment she credited with awakening her social conscience. Three years later she collaborated with writer Erskine Caldwell on You Have Seen Their Faces, an acclaimed study of the plight of rural Southerners during the Great Depression. Bourke-White's long association with Life began in 1936 when she joined the magazine as one of its first staff photographers. When it premiered on November 23, 1936, her photographs of Fort Peck Dam in Montana were featured on the cover and in the lead story. During her career, Bourke-White covered many major world events: the Great Depression, World War II, the partitioning of India, and the Korean War. She continued to photograph throughout the 1950s, publishing her images in magazines and in a number of books, including Eyes on Russia (1931), North of the Danube, with Erskine Caldwell (1939), Say, Is This the U.S.A.?, with Erskine Caldwell (1941), Shooting the Russian War (1942), Dear Fatherland, Rest Quietly (1946), Halfway to Freedom: A Report on the New India (1949), and Portrait of Myself (her autobiography, 1963). M.M.", "name_in_original_language": null, "birth_year": "1904", "death_year": "1971", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1972-12-05T00:00:00", "sortable_date": 1928, "date_added_to_oa": null, "date_text": "1928", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-26 23:59:46.157000"}, {"id": 130743, "accession_number": "1953.457", "share_license_status": "CC0", "tombstone": "Mask, early 1900s, before 1933\u201337. Africa, West Africa, Liberia, Mano-style carver. 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": 146103, "accession_number": "1971.290", "share_license_status": "Copyrighted", "tombstone": "Shoulder crook (yo domolo), c. 1935. Africa, West Africa, Mali, Dogon-style blacksmith-carver. Wood; overall: 62.3 cm (24 1/2 in.). The Cleveland Museum of Art, Gift of Katherine C. White, 1971.290", "current_location": "108A African", "title": "Shoulder crook (yo domolo)", "creation_date": "c. 1935", "creation_date_earliest": 1930, "creation_date_latest": 1940, "artists_tags": [], "culture": ["Africa, West Africa, Mali, Dogon-style blacksmith-carver"], "technique": "wood", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "measurements": "Overall: 62.3 cm (24 1/2 in.)", "dimensions": {"overall": {"height": 0.623}}, "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": "(Herbert?) Rieser", "citations": [], "footnotes": ["<div><!--block-->Original object card, curatorial file.</div>"], "date": null, "sortorder": null}, {"description": "Katherine White Reswick [1929-1980], Gates Mills, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": ["<div><!--block-->Known as Katherine White Reswick, Katherine C. White (Reswick), Mrs. James B. Reswick</div><div><!--block--><br></div>"], "date": "?\u20131971", "sortorder": null}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1971\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": ["819.68"], "did_you_know": "The <em>yo domolo</em> is a ceremonial version of the everyday L-shaped staff (<em>domolo</em>) that a Dogon man carries.", "description": "This crook (<em>yo domolo</em>) commemorates a divine theft: a protohuman called a Nommo stole embers with a similar crook, bringing fire and ironworking to earth. Using yo domolo, the Yona society (\u201critual thieves\u201d) reenacts this event following members\u2019 deaths. Blacksmithing and fire are central to Dogon life; blacksmiths also carve. Each yo domolo they make links to a specific clan and can be visually interpreted several ways. This crook\u2019s open \u201cmouth\u201d shows where the Nommo held the stolen embers, while its length echoes their earthbound journey down a rainbow. The zig-zags may be the expanding universe, thieving snakes, or even the keys robbers use.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79924275"], "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. 4.", "page_number": "no. 4", "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. 20.", "page_number": "p. 106, no. 20", "url": null}], "url": "https://clevelandart.org/art/1971.290", "images": {}, "alternate_images": [], "creditline": "Gift of Katherine C. White", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 146103, "creators": [], "legal_status": "accessioned", "accession_date": "1971-12-11T00:00:00", "sortable_date": 1930, "date_added_to_oa": null, "date_text": "c. 1935", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Ceremonial Dance Throwing Stick (the Thief)"], "is_highlight": false, "updated_at": "2026-03-26 23:59:23.722000"}, {"id": 170461, "accession_number": "2012.66", "share_license_status": "Copyrighted", "tombstone": "Wall Drawing 590A, 1989. Sol LeWitt (American, 1928\u20132007). Color ink wash; overall: 543.6 x 1240.8 cm (214 x 488 1/2 in.). The Cleveland Museum of Art, Gift of the LeWitt Family in honor of Agnes Gund, 2012.66. \u00a9  The LeWitt Estate / Artists Rights Society (ARS), New York", "current_location": "224A Contemporary Corridor", "title": "Wall Drawing 590A", "creation_date": "1989", "creation_date_earliest": 1989, "creation_date_latest": 1989, "artists_tags": ["male", "Jewish artists"], "culture": ["America"], "technique": "color ink wash", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Installation Media", "type": "Drawing", "measurements": "Overall: 543.6 x 1240.8 cm (214 x 488 1/2 in.)", "dimensions": {"overall": {"height": 5.436, "width": 12.408}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  The LeWitt Estate / Artists Rights Society (ARS), New York", "inscriptions": [], "exhibitions": {"current": [], "legacy": [{"description": "Kunsthalle Bern, Switzerland (January 1989)", "opening_date": "1989-01-01T00:00:00"}]}, "provenance": [{"description": "The Cleveland Museum of Art, Cleveland, OH, a gift from the artist\u2019s family", "citations": [], "footnotes": null, "date": "2012 -", "sortorder": 1}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This artist creates instructions that the museum follows to complete this work.", "description": "From the 1980s onward a variety of simple geometric shapes emerge as autonomous motifs in Sol LeWitt\u2019s wall drawings. By 1982 he had transformed planar figures into three-dimensional objects, playfully experimenting with repetition and the opposition between the two-dimensional plane and the drawn perspective. That same year he started to use ink washes for his wall drawings. LeWitt once said, \"I would like to produce something I would not be ashamed to show Giotto.\" This statement clearly resounds in the luminosity and sensuality of surface of Wall Drawing #590A.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780822"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art. <em>Cleveland Art: Cleveland Museum of Art Members Magazine. Vol. 53 no. 02, March/April 2013 </em>", "page_number": "Mentioned and reproduced: p. 10-11", "url": "https://archive.org/details/CMAMM2013-02/page/n9"}, {"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. 122", "url": ""}], "url": "https://clevelandart.org/art/2012.66", "images": {}, "alternate_images": [], "creditline": "Gift of the LeWitt Family in honor of Agnes Gund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Betty and Max Ratner Gallery", "athena_id": 170461, "creators": [{"id": 14289, "description": "Sol LeWitt (American, 1928\u20132007)", "extent": null, "qualifier": null, "role": "artist", "biography": "One of the most important and influential contemporary artists, Sol LeWitt has created a significant body of work in different media, including sculpture, drawing, printmaking, and photography. Born in Hartford, Connecticut, LeWitt received a B.F.A. from Syracuse University (1949), beginning his career as a painter but later abandoning the flat surface of the canvas in favor of three-dimensional minimalist forms. During the 1960s, he and other artists of his generation challenged the basic nature of art by developing conceptual art, which holds that the idea behind a work of art is as important as its eventual visualization. While his art tends to be systematic and intellectual, LeWitt acknowledges the arbitrary and unexpected that arise from the creative process, and that the viewer's response is incidental to the artist's intention. According to this philosophy, his photographs document what he makes, acting as proof of the creative process but also as independent art objects that relate to specific projects. LeWitt's photographic works have been included in several group exhibitions, including Mirrors and Windows: American Photography since 1960 at the Museum of Modern Art, New York (1978), Target III: In Sequence at the Museum of Fine Arts, Houston (1982), Special Collections: The Photographic Order from Pop to Now at the International Center of Photography, New York (1992), and Beyond Boundaries: Art of the Sixties and Seventies at the San Francisco Museum of Modern Art (1993). The Cleveland Museum of Art also owns a sculpture by LeWitt. He lives in New York. A.W.", "name_in_original_language": null, "birth_year": "1928", "death_year": "2007", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2012-09-04T00:00:00", "sortable_date": 1989, "date_added_to_oa": null, "date_text": "1989", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:05:20.013000"}, {"id": 83584, "accession_number": "2017.202", "share_license_status": "Copyrighted", "tombstone": "Taft Anniversary Necklace, 1991. John Paul Miller (American, 1918\u20132013). Gold; 50 x 3.5 x 1 cm (19 11/16 x 1 3/8 x 3/8 in.). The Cleveland Museum of Art, Bequest of Frances P. Taft, Trustee of the Cleveland Museum of Art, 1973-2017, 2017.202", "current_location": "228B Cleveland Artists", "title": "Taft Anniversary Necklace", "creation_date": "1991", "creation_date_earliest": 1991, "creation_date_latest": 1991, "artists_tags": ["male", "Cleveland Institute of Art (faculty)", "Cleveland School", "May Show", "Cleveland Institute of Art (alumni)", "LGBTQ+ (after 1900)"], "culture": ["America"], "technique": "gold", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Jewelry", "measurements": "50 x 3.5 x 1 cm (19 11/16 x 1 3/8 x 3/8 in.)", "dimensions": {"No Extent Specified": {"height": 0.5, "width": 0.035, "depth": 0.01}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 197431, "title": "The Jewelry of John Paul Miller", "description": "<i>The Jewelry of John Paul Miller</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 13, 2010-January 2, 2011).", "opening_date": "2010-06-15T00:00:00"}], "legacy": []}, "provenance": [{"description": "Made by artist for Seth and Frances P. Taft, Cleveland, OH", "citations": [], "footnotes": null, "date": "1991", "sortorder": 1}, {"description": "Frances P. Taft, Cleveland, OH, bequest to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1991\u20132017", "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": "Drawings and preliminary studies exist for this work within the CMA archives.", "description": "The <em>Taft Anniversary Necklace</em> was commissioned by Seth Taft as a gift for his wife on their golden anniversary of 50 years of marriage. Miller had previously created two smaller, less ambitious works in this \u201cgold nugget\u201d or \u201cfragment\u201d style in 1971 and 1986, but the Taft necklace synthesizes his understanding of weight, balance, texture, and form in a way unlike any other work before or after. It is a masterwork of goldsmithing and represents a pinnacle in his career.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780959"], "internet_archive": []}, "citations": [{"citation": "Harrison, Stephen. \u201cAcquisition Highlights: Decorative Art.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 58, no. 2 (March/April 2018): 19.", "page_number": "Reproduced: P. 19; Mentioned: P. 6, 19", "url": "https://archive.org/details/CMAMM2018-02/page/n9/mode/2up"}, {"citation": "John Paul Miller collection. 1850-2010, bulk 1940-2000. Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/JohnPaulMiller"}], "url": "https://clevelandart.org/art/2017.202", "images": {}, "alternate_images": [], "creditline": "Bequest of Frances P. Taft, Trustee of the Cleveland Museum of Art, 1973-2017", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 83584, "creators": [{"id": 56027, "description": "John Paul Miller (American, 1918\u20132013)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1918", "death_year": "2013", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2017-12-04T00:00:00-05:00", "sortable_date": 1991, "date_added_to_oa": null, "date_text": "1991", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "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 23:59:20.533000"}, {"id": 449515, "accession_number": "2021.162", "share_license_status": "Copyrighted", "tombstone": "Miliki, 1987. Melvin Edwards (American, b. 1937). Steel; 33 x 22.9 x 20.8 cm (13 x 9 x 8 3/16 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 2021.162. \u00a9 Melvin Edwards / Artists Rights Society (ARS), New York", "current_location": "229B Contemporary", "title": "Miliki", "creation_date": "1987", "creation_date_earliest": 1987, "creation_date_latest": 1987, "artists_tags": ["Black American Artists", "male"], "culture": ["America"], "technique": "steel", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Sculpture", "type": "Metalwork", "measurements": "33 x 22.9 x 20.8 cm (13 x 9 x 8 3/16 in.)", "dimensions": {"No Extent Specified": {"height": 0.33, "width": 0.229, "depth": 0.208}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Melvin Edwards / Artists Rights Society (ARS), New York", "inscriptions": [], "exhibitions": {"current": [{"id": 445578, "title": "Contemporary Art Rotation - Spring 2022", "description": "<i>Contemporary Art Rotation - Spring 2022</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 1-September 25, 2022).", "opening_date": "2022-04-01T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "<em>Lynch Fragments</em> are hung at eye-level (determined by the artist\u2019s height) to invite a direct encounter with the viewer.", "description": "<em>Miliki</em> (1987) belongs to an ongoing series, <em>Lynch Fragments</em>, which Melvin Edwards began in 1963. The <em>Lynch Fragments</em> are small-scale abstract wall reliefs that feature recognizable objects\u2014often objects that could serve as weapons, such as chains, knives, and railroad spikes. Through Edwards\u2019s composition and welding technique, familiar elements shed their functional associations, becoming lines and shapes in space, and yielding innovative sculptural forms.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117247067"], "internet_archive": []}, "citations": [{"citation": "Pedrosa, Adriano, Rodrigo Moura, Renata Bittencourt, Rebecca Wolff, Hamid Irbouh, Melvin Edwards, and Melvin Edwards. <em>Melvin Edwards: Lynch fragments</em>. Sa\u0303o Paulo: Sa\u0303o Paulo Museum of Art, 2018.", "page_number": "Reproduced and mentioned: p. 110; reproduced: p. 111", "url": ""}, {"citation": "Valentine, Victoria L. \"Scenes from Frieze New York: A Look at African American Art Throughout the Fair.\" <em>Culture Type</em>, May 3, 2019.", "page_number": "Reproduced: https://www.culturetype.com/2019/05/03/scenes-from-frieze-new-york-a-look-at-african-american-art-throughout-the-fair/", "url": "https://www.culturetype.com/2019/05/03/scenes-from-frieze-new-york-a-look-at-african-american-art-throughout-the-fair/"}], "url": "https://clevelandart.org/art/2021.162", "images": {}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Paula and Eugene Stevens Gallery", "athena_id": 449515, "creators": [{"id": 448945, "description": "Melvin Edwards (American, b. 1937)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1937", "death_year": "2026", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2021-12-06T05:00:00Z", "sortable_date": 1987, "date_added_to_oa": null, "date_text": "1987", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-04-02 12:45:16.739000"}, {"id": 685866, "accession_number": "2024.143", "share_license_status": "Copyrighted", "tombstone": "Etrog Box, 1956. Ilya Schor (East European/American, 1904\u20131961). Silver; overall: 16.6 x 12.5 cm (6 9/16 x 4 15/16 in.). The Cleveland Museum of Art, Sundry Art - Judaica Fund, 2024.143. \u00a9 artist or artist's estate", "current_location": "225 German Expressionism & Surrealism", "title": "Etrog Box", "creation_date": "1956", "creation_date_earliest": 1950, "creation_date_latest": 1960, "artists_tags": ["male", "Jewish artists"], "culture": ["America"], "technique": "silver", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Metalwork", "measurements": "Overall: 16.6 x 12.5 cm (6 9/16 x 4 15/16 in.)", "dimensions": {"overall": {"width": 0.166, "depth": 0.125}, "box": {"height": 0.08, "width": 0.166, "depth": 0.125}, "lid": {"height": 0.1, "width": 0.162, "depth": 0.12}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 artist or artist's estate", "inscriptions": [{"inscription": "sisu b\u2019simchu b\u2019simchat Torah", "inscription_translation": "rejoice and be happy in the celebration of the Torah", "inscription_remark": null, "sortorder": null}, {"inscription": "David, Aharon, Moshe, Yosef", "inscription_translation": "David, Aaron, Moses, Joseph", "inscription_remark": null, "sortorder": null}, {"inscription": "Yaakov, Yitzchak, Avraham", "inscription_translation": "Jacob, Isaac, Abraham", "inscription_remark": null, "sortorder": null}, {"inscription": "Ana Adonai hoshiah na", "inscription_translation": "We implore You, Lord, deliver us", "inscription_remark": null, "sortorder": null}, {"inscription": "Ana Adonai hatzlicha na", "inscription_translation": "We implore You, Lord, grant us success", "inscription_remark": null, "sortorder": null}, {"inscription": "ozer dalim hoshiah na", "inscription_translation": "Helper of the needy, deliver us", "inscription_remark": null, "sortorder": null}, {"inscription": "podeh u\u2019matzil hatzlicha na", "inscription_translation": "Redeemer and Deliverer, grant us success", "inscription_remark": null, "sortorder": null}, {"inscription": "Ba\u2019sukkot teshvu shiva yamim", "inscription_translation": "You will sleep in the sukkah for seven days", "inscription_remark": null, "sortorder": null}, {"inscription": "I. SCHOR in English and Hebrew, with a bird and date 1956", "inscription_translation": null, "inscription_remark": null, "sortorder": 1}], "exhibitions": {"current": [{"id": 692097, "title": "Adorning Ritual: Jewish Ceremonial Art from the Jewish Museum, New York", "description": "<i>Adorning Ritual: Jewish Ceremonial Art from the Jewish Museum, New York</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 25, 2025-May 10, 2026).", "opening_date": "2025-05-25T04:00:00"}], "legacy": []}, "provenance": [{"description": "Collection of Mr. and Mrs. David M. Levitt, Great Neck NY", "citations": [], "footnotes": null, "date": "c. 1965", "sortorder": 1}, {"description": "Collection of Michael Steinhardt", "citations": [], "footnotes": null, "date": "\u20132013", "sortorder": 2}, {"description": "(Sale: Sotheby's, New York, April 29, 2013, Lot 381)", "citations": [], "footnotes": [], "date": null, "sortorder": 3}, {"description": "Private Collection", "citations": [], "footnotes": null, "date": "2013\u20132024", "sortorder": 4}, {"description": "The Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "2024\u2013", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Schor in Hebrew means \u201cox,\u201d but the artist used a bird as his logo, inspired by the meaning of the similar sounding word \u201cshir\u201d\u2014a song, as in a songbird.", "description": "An etrog box protects and stores the etrog, a citrus fruit used in the Jewish festival of Sukkot, which celebrates the fall harvest and the Israelites\u2019 exodus from enslavement in ancient Egypt. The decoration of this box includes Jewish historical and religious figures, a scene of a family celebrating Sukkot, the zodiac, and Hebrew inscriptions referring to Sukkot and Simchat Torah. The latter is a joyous holiday following the festival of Sukkot, marking the conclusion of the annual cycle of public Torah readings and the beginning of a new cycle. <br><br>Ilya Schor trained in metalcrafts and engraving before enrolling at the Warsaw Academy of Fine Arts to study painting. In 1937, he was awarded a grant by the Polish government to study in Paris. During the Second World War, he fled France and came to the United States.", "external_resources": {"wikidata": [], "internet_archive": []}, "citations": [{"citation": "Schor, Ilya, Tom L. Freudenheim, and The Jewish Museum. <em>Ilya Schor = Y. Shor. </em>New York: The Jewish Museum, 1965.", "page_number": "", "url": ""}, {"citation": "\"New on View.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>65, no. 3 (2025): Back cover.", "page_number": "Reproduced and Mentioned: Back cover", "url": "https://archive.org/details/CMAMM-2025-03"}], "url": "https://clevelandart.org/art/2024.143", "images": {}, "alternate_images": [], "creditline": "Sundry Art - Judaica Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 685866, "creators": [{"id": 685860, "description": "Ilya Schor (East European/American, 1904\u20131961)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1904", "death_year": "1961", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2024-12-09T05:00:00Z", "sortable_date": 1950, "date_added_to_oa": null, "date_text": "1956", "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 00:10:48.610000"}, {"id": 136672, "accession_number": "1961.21", "share_license_status": "Copyrighted", "tombstone": "Sleeper I, 1958. Philip Guston (American, 1913\u20131980). Oil on canvas; framed: 170 x 195 x 4.5 cm (66 15/16 x 76 3/4 x 1 3/4 in.); unframed: 168.2 x 193 cm (66 1/4 x 76 in.). The Cleveland Museum of Art, Contemporary Collection of The Cleveland Museum of Art, 1961.21. \u00a9 The Estate of Philip Guston", "current_location": null, "title": "Sleeper I", "creation_date": "1958", "creation_date_earliest": 1958, "creation_date_latest": 1958, "artists_tags": ["male", "Jewish artists"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 170 x 195 x 4.5 cm (66 15/16 x 76 3/4 x 1 3/4 in.); Unframed: 168.2 x 193 cm (66 1/4 x 76 in.)", "dimensions": {"framed": {"height": 1.7, "width": 1.95, "depth": 0.045}, "unframed": {"height": 1.682, "width": 1.93}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 The Estate of Philip Guston", "inscriptions": [{"inscription": "Signed lower right: Philip Guston; written on back of canvas: Philip Guston 'Sleeper' 1958", "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": 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": 301294, "title": "Works from the Contemporary Collection", "description": "<i>Works from the Contemporary Collection</i>. The Cleveland Museum of Art, Cleveland, OH (July 1-October 15, 1969).", "opening_date": "1969-07-01T04:00:00"}], "legacy": [{"description": "Cleveland, OH, The Cleveland Museum of Art, Year in Review (1 -26 November 1961)", "opening_date": "1961-11-01T00:00:00"}, {"description": "Cleveland, OH, The Cleveland Museum of Art, Shadowed Images (19 February - 31 March 1963)", "opening_date": "1963-02-19T00:00:00"}, {"description": "Cleveland, OH, The Cleveland Museum of Art, Fifty Years of Modern Art: 1916-1966 (15 June - 31 July 1966), cat. no. 132, repr.", "opening_date": "1966-06-15T00:00:00"}, {"description": "CMA:  Works from the Contemporary Collection, July 1-mid-October, 1969", "opening_date": "1969-10-01T00:00:00"}]}, "provenance": [{"description": "The artist", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "(Sidney Janis Gallery, New York, NY)", "citations": [], "footnotes": null, "date": "", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH, purchased in 1961", "citations": [], "footnotes": null, "date": "", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The artist was born in Montreal, Canada, to Jewish immigrants from Odessa, in present-day Ukraine.", "description": "Philip Guston\u2019s working method at the time he created <em>Sleeper I</em> entailed a progression from relying on accidental effects to being more deliberate; in his words, \u201cThe air of arbitrary vanishes and the paint falls into positions that feel destined.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60516677"], "internet_archive": []}, "citations": [{"citation": "Henning, Edward B. \u201cSome Contemporary Paintings.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 49, no. 3 (March 1962): 47\u201354.", "page_number": "Mentioned and reproduced: Cover, p. 52-53, fig. 4", "url": "http://www.jstor.org/stable/25142498"}, {"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. 202", "url": "https://archive.org/details/CMAHandbook1966/page/n226"}, {"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. 202", "url": "https://archive.org/details/CMAHandbook1969/page/n226"}, {"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. 3", "url": "https://archive.org/details/20thCenturyArtCMA/page/n3/"}, {"citation": "Henning, Edward B. \u201cReconstruction: A Painting by Jasper Johns.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 60, no. 8 (October 1973): 235\u201341.", "page_number": "Mentioned and reproduced: p. 239-240, fig. 14", "url": "http://www.jstor.org/stable/25152491"}, {"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. 253", "url": "https://archive.org/details/CMAHandbook1978/page/n273"}, {"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\u201323. http://www.jstor.org/stable/25159795.", "page_number": "Mentioned and reproduced: p. 319-321, fig. 16", "url": "http://www.jstor.org/stable/25159795"}], "url": "https://clevelandart.org/art/1961.21", "images": {}, "alternate_images": [], "creditline": "Contemporary Collection of The Cleveland Museum of Art", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 136672, "creators": [{"id": 3467, "description": "Philip Guston (American, 1913\u20131980)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1913", "death_year": "1980", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1961-12-02T00:00:00", "sortable_date": 1958, "date_added_to_oa": null, "date_text": "1958", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:02:10.616000"}, {"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": 128810, "accession_number": "1951.432", "share_license_status": "CC0", "tombstone": "Hillside, May 24, 1917. Charles Burchfield (American, 1893\u20131967). Watercolor and opaque watercolor on Strathmore wove paper. The Cleveland Museum of Art, The Mary Spedding Milliken Memorial Collection, Gift of William Mathewson Milliken, 1951.432", "current_location": null, "title": "Hillside", "creation_date": "May 24, 1917", "creation_date_earliest": 1917, "creation_date_latest": 1917, "artists_tags": ["May Show", "male", "Cleveland Institute of Art (alumni)"], "culture": ["America"], "technique": "Watercolor and opaque watercolor on Strathmore wove paper", "support_materials": [{"description": "Strathmore wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 616515, "title": "Eighth Exhibition of Watercolors and Pastels", "description": "<i>Eighth Exhibition of Watercolors and Pastels</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 6-December 7, 1930).", "opening_date": "1930-11-06T00:00:00"}, {"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": 301176, "title": "Charles Burchfield Retrospective Exhibition", "description": "<i>Charles Burchfield Retrospective Exhibition</i>. Whitney Museum of American Art (January 11-February 26, 1956); The Baltimore Museum of Art (March 14-April 22, 1956); Museum of Fine Arts, Boston (May 9-June 17, 1956); San Francisco Museum of Modern Art (July 11-August 19, 1956); Los Angeles County Museum of Art (September 5-October 14, 1956); The Phillips Collection (November 4-December 11, 1956); The Cleveland Museum of Art, Cleveland, OH (December 28, 1956-February 10, 1957).", "opening_date": "1956-12-28T05:00:00"}, {"id": 338932, "title": "Fine Arts Exhibition", "description": "<i>Fine Arts Exhibition</i>. Ohio State Fair, Columbus, OH (August 27-September 7, 1970).", "opening_date": "1970-08-27T04:00:00"}, {"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": 338938, "title": "Charles Burchfield", "description": "<i>Charles Burchfield</i>. Ashtabula Arts Center.", "opening_date": "1979-01-01T05:00:00"}, {"id": 442797, "title": "Charles Burchfield Exhibition", "description": "<i>Charles Burchfield Exhibition</i>. Ashtabula Arts Center, Ashtabula, OH (organizer) (May 30-June 6, 1979).", "opening_date": "1979-05-30T04:00:00"}, {"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": 313096, "title": "Charles Burchfield: The Ohio Landscapes, 1915\u20131920", "description": "<i>Charles Burchfield: The Ohio Landscapes, 1915\u20131920</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 22, 2018-May 5, 2019).", "opening_date": "2018-12-22T05:00:00"}], "legacy": [{"description": "<em>Exhibition of Paintings by Charles Burchfield</em>. Cleveland School of Art, Cleveland, OH (April 20 - May 10, 1941).", "opening_date": "1941-04-20T00:00:00"}]}, "provenance": [{"description": "William M. Milliken [1889-1978], Cleveland, OH, gift to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "-1951", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1951-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This drawing was made during 1917, which Burchfield describe as his \"golden year,\" the most prolific period of his entire career.", "description": "Burchfield was especially drawn to watercolor and experimented avidly with it throughout his entire career. This portable medium allowed him to explore the landscape and continuously rework his compositions. Here, he used shades of green to depict the countryside near his hometown, Salem, Ohio.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780962"], "internet_archive": []}, "citations": [{"citation": "<em>Exhibition of Paintings by Charles Burchfield</em>. Exh. Cat. Cleveland: Cleveland School of Art, 1941.", "page_number": "Mentioned: no. 13", "url": null}, {"citation": "Trovato, Joseph S. <em>Charles Burchfield: Catalogue of Paintings in Public and Private Collections</em>. Utica: Munson-Williams-Proctor Institute, 1970.", "page_number": "Mentioned: p. 60, no. 302", "url": null}], "catalogue_raisonne": "Straus 232; Trovato 302", "url": "https://clevelandart.org/art/1951.432", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1951.432/1951.432_web.jpg", "width": "900", "height": "731", "filesize": "275310", "filename": "1951.432_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1951.432/1951.432_print.jpg", "width": "3400", "height": "2760", "filesize": "2436921", "filename": "1951.432_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1951.432/1951.432_full.tif", "width": "6851", "height": "5561", "filesize": "114331360", "filename": "1951.432_full.tif"}}, "alternate_images": [{"date_created": "2014-10-21T14:53:09", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.432/1951.432_alt0_web.jpg", "width": "900", "height": "731", "filesize": "90808"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.432/1951.432_alt0_print.jpg", "width": "3400", "height": "2761", "filesize": "1179540"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.432/1951.432_alt0_full.tif", "width": "6856", "height": "5568", "filesize": "114550852"}}], "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": 128810, "creators": [{"id": 3989, "description": "Charles Burchfield (American, 1893\u20131967)", "extent": null, "qualifier": null, "role": "artist", "biography": "Charles Burchfield was among the most original and poetic painters of the Cleveland modernist movement. Born in Ashtabula, he moved to Salem, Ohio, following the death of his father in 1898. After graduating from high school, he attended Cleveland School of Art, studying with William Eastman, Frederick Gottwald, Henry Keller, and Frank Wilcox. In 1914 Burchfield began attending Kokoon Klub exhibitions, and in spring 1915 he went to Brandywine to meet William Sommer. Around this time Burchfild began experimenting with the brilliant colors and simplified forms of the Berlin Heights painters. He painted his first mature works in 1915, and grad ed from the Cleveland School of Art with a degree in illustration the following spring. That summer the Cleveland School of Art sponsored his first solo exhibition, and in the fall, after attending the National Academy of Design in New York for one month, he returned to Salem. In February 1917 the Cleveland School of Art mounted his second solo exhibition. Burchfield was inducted into the army that summer. After his return in 1919 he exhibited with other Cleveland modernists at the Play House, Laukhuff\u2019 s Book store, and other Cleveland venues. In 1921 he went on an extended sketching trip through eastern Ohio with Keller, Wilcox, and Paul Travis, exhibiting these recent paintings at the Cleveland School of Art and in the May Show at the Cleveland Museum of Art. Later that year he moved to Buffalo to work as a wallpaper designer, a position he retained until he resigned in 1929 to become a full-time painter. Over the next 30 years he exhibited extensively at museums and galleries across the country. Solo exhibitions of his paintings were held at New York\u2019s Museum of Modern Art (1930), Pittsburgh\u2019 s Carnegie Institute of Art (1935, 1938, 1946), and Buffalo\u2019 s Albright-Knox Art Gallery (1944, 1955, 1963, 1967). In 1953 New York\u2019s Whitney Museum of American Art organized a major exhibition that traveled to the Cleveland Museum of Art. Burchfield died in West Seneca, New York. <br>\"Transformations in Cleveland Art\" (CMA, 1996), p. 224", "name_in_original_language": null, "birth_year": "1893", "death_year": "1967", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1951-11-15T00:00:00", "sortable_date": 1917, "date_added_to_oa": 20260212, "date_text": "May 24, 1917", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:58.718000"}, {"id": 143617, "accession_number": "1967.77", "share_license_status": "Copyrighted", "tombstone": "Untitled, 1961. Lee Bontecou (American, 1931\u20132022). Welded steel, canvas, and wire; overall: 132.1 x 121.6 x 30.5 cm (52 x 47 7/8 x 12 in.). The Cleveland Museum of Art, Contemporary Collection of The Cleveland Museum of Art, 1967.77. \u00a9 Lee Bontecou", "current_location": null, "title": "Untitled", "creation_date": "1961", "creation_date_earliest": 1961, "creation_date_latest": 1961, "artists_tags": ["female"], "culture": ["America"], "technique": "Welded steel, canvas, and wire", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Sculpture", "type": "Sculpture", "measurements": "Overall: 132.1 x 121.6 x 30.5 cm (52 x 47 7/8 x 12 in.)", "dimensions": {"overall": {"height": 1.321, "width": 1.216, "depth": 0.305}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Lee Bontecou", "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": 343945, "title": "Lee Bontecou: A Retrospective", "description": "<i>Lee Bontecou: A Retrospective</i>. Museum of Contemporary Art, Chicago, Chicago, IL (organizer) (co-organizer) (March 25-May 7, 1972).", "opening_date": "1972-03-25T05:00:00"}, {"id": 343948, "title": "Vitality of Vision: Works by Women in Sculpture", "description": "<i>Vitality of Vision: Works by Women in Sculpture</i>. Contemporary Arts Center, Cincinnati, OH (organizer) (March 20-May 10, 1987).", "opening_date": "1987-03-20T05:00:00"}, {"id": 393229, "title": "Contemporary Installation", "description": "<i>Contemporary Installation</i>. The Cleveland Museum of Art (organizer).", "opening_date": "2021-04-12T04:00:00"}], "legacy": [{"description": "<em>Sculpture and Relief</em>. Leo Castelli Gallery, New York (May 23-June 1961).", "opening_date": "1961-05-23T04:00:00Z"}, {"description": "<em>Decade .7</em>. Southern Illinois University, Edwardsville, IL (April 16 -May 16, 1967).", "opening_date": "1967-04-16T00:00:00"}]}, "provenance": [{"description": "Collection of the artist", "citations": [], "footnotes": [], "date": null, "sortorder": null}, {"description": "(Leo Castelli Gallery, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "1968", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1967-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In the early 1960s, Lee Bontecou often used found objects to create her hanging sculptures, including canvas from conveyor belts discarded by a laundry below her East Village apartment and salvaged metal and wire.", "description": "In the early 1960s, Bontecou challenged artistic conventions through her creation of three-dimensional wall constructions that were neither sculpture nor painting, but a hybrid of the two. To construct this work, Bontecou used found objects such as welded steel, wire, and various types of canvas. An abstract form, riddled with dark openings that allude to bodily orifices, lunar craters, and gas masks, the work explores the relationship between the living and the machine.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780790"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art. \u201cLee Bontecou, Untitled.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 56, no. 2 (February 1969).", "page_number": "Reproduced p. 79; mentioned p. 78-80", "url": "http://www.jstor.org/stable/25152183."}, {"citation": "Cleveland Museum of Art. \"Year in Review, 1967,\" <em>The Bulletin of the Cleveland Museum of Art </em>54 (December 1967).", "page_number": "Reproduced p. 331, no. 134, mentioned p. 346.", "url": "http://www.jstor.org/stable/25152218."}, {"citation": "\u201cAccessions of American and Canadian Museums: October - December, 1967.\u201d <em>Art Quarterly </em>31, no. 2 (Summer 1968).", "page_number": "Reproduced p. 230; mentioned p. 226", "url": null}, {"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. 4 Reproduced: p. 6", "url": "https://archive.org/details/20thCenturyArtCMA/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. 114", "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": "Reproduced p. 327; mentioned p. 326.", "url": null}, {"citation": "Henning, Edward B. <em>Art of the Twentieth Century in the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced p. 6.", "url": null}, {"citation": "Henning, Edward B. \u201cThe Art Museum and the Avant-Garde.\u201d <em>Art Journal</em> 30, no. 1 (Autumn 1970): 20-26.", "page_number": "Reproduced p. 22.", "url": null}, {"citation": "Huntley, David C., ed. <em>Decade .7: Contemporary American Art, 1967</em>. Exh. Cat. Edwardsville, IL: Southern Illinois University, 1967", "page_number": "Cat. No. 5", "url": null}, {"citation": "Smith, Elizabeth A. T., ed. <em>Lee Bontecou: A Retrospective</em>. Exh. Cat. New Haven, CT: Yale University Press, published in association with the Museum of Contemporary Art, Chicago, and the Hammer Museum, Los Angeles, 2003.", "page_number": "Reproduced pgs. 39 and 225, Plate 28.", "url": null}], "url": "https://clevelandart.org/art/1967.77", "images": {}, "alternate_images": [], "creditline": "Contemporary Collection of The Cleveland Museum of Art", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 143617, "creators": [{"id": 3831, "description": "Lee Bontecou (American, 1931\u20132022)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1931", "death_year": "2022", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1968-01-12T00:00:00", "sortable_date": 1961, "date_added_to_oa": null, "date_text": "1961", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:54.226000"}, {"id": 156113, "accession_number": "1991.46", "share_license_status": "CC0", "tombstone": "Salver, c. 1907. Carlo Bugatti (Italian, 1856\u20131940), Adrien-Aur\u00e9lien Hebrard (French, 1866\u20131937). Gilt silver and ivory; overall: 14.6 x 33 cm (5 3/4 x 13 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1991.46", "current_location": null, "title": "Salver", "creation_date": "c. 1907", "creation_date_earliest": 1902, "creation_date_latest": 1912, "artists_tags": ["male"], "culture": ["France, Paris"], "technique": "Gilt silver and ivory", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Silver", "measurements": "Overall: 14.6 x 33 cm (5 3/4 x 13 in.)", "dimensions": {"overall": {"height": 0.146, "width": 0.33}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed inside one of six ovoid compartments:  \"Bugatti\" in ligature.  Engraved on back:  A.A. HEBRAND/ 8 RUE ROYAL/PARIS FRANCE.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"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"}, {"id": 220633, "title": "Carlo Bugatti", "description": "<i>Carlo Bugatti</i>. Mus\u00e9e d'Orsay, Paris, France (organizer) (April 9-July 15, 2001).", "opening_date": "2001-04-09T00:00:00"}, {"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": 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": [{"description": "Possibly exhibited at the Galerie Hebrard, Paris, France (1907).", "opening_date": "1907-01-01T00:00:00"}, {"description": "Possibly exhibited at the Prima Esposizione Internazionale d'Arte Decorativa Moderna, Turin, Italy (May 10-November 10, 1902).", "opening_date": "1902-05-10T00:00:00"}]}, "provenance": [{"description": "Carlo Bugatti [1856-1940], sold to Mrs. Anna Blake", "citations": [], "footnotes": null, "date": "c. 1907", "sortorder": 2}, {"description": "Mrs. Anna Blake, Cape Town, South Africa. [d. 1956], by descent to her son Robert da Costa Blake", "citations": [], "footnotes": null, "date": "c. 1907-c. 1956", "sortorder": 3}, {"description": "Robert da Costa Blake, Cape Town, South Africa, sold (Kirkcaldy's, 24 May 1965, lot 202)", "citations": [], "footnotes": null, "date": "c. 1956-1965", "sortorder": 4}, {"description": "Private collection, South Africa, sold (Galerie Moderne, Ltd., London)", "citations": [], "footnotes": null, "date": "until c. 1991", "sortorder": 5}], "find_spot": null, "related_works": [{"id": 156112, "description": "Tea Table, c. 1907. Carlo Bugatti (Italian, 1856\u20131940). Inlaid wood (mahogany?), cast and gilded bronze mounts, inlays of ivory or bone, metal, and mother-of-pearl (marine mussels or pearl oysters); overall: 71.5 x 67.1 x 41.3 cm (28 1/8 x 26 7/16 x 16 1/4 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1991.45", "relationship": null}, {"id": 150156, "description": "Tea and Coffee Service, c. 1907. Carlo Bugatti (Italian, 1856\u20131940), Adrien-Aur\u00e9lien Hebrard (French, 1866\u20131937). Gilt silver and ivory. The Cleveland Museum of Art, The Thomas L. Fawick Memorial Collection, 1980.74", "relationship": null}], "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": "This tea and coffee service, salver, and table, together with some now missing cups, were all designed by Carlo Bugatti as an ensemble and presented at the 1902 exposition devoted to decorative arts in Turin, Italy. The set was probably acquired from Bugatti's 1907 exhibition at the Galerie H\u00e9brard in Paris by a wealthy South African widow, Anna Blake, who was living there at the time. Some of the animal and insect motifs suggest mythical beasts or the fossils of prehistoric animals. When Mrs. Blake returned to Cape Town, she took these and other pieces designed by Bugatti with her, and they remained in South Africa throughout her lifetime.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60746895"], "internet_archive": ["https://archive.org/details/clevelandart-1991.46-salver"]}, "citations": [{"citation": "<em>L'Art Decoratif</em> 25, no. 1 (June 1911).", "page_number": "Mentioned P 307", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=1514270"}, {"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: p. 136-137; Mentioned: p.", "url": "https://www.jstor.org/stable/25161359"}, {"citation": "Duncan, Alastair. <em>The Paris Salons, 1895-1914</em>. Vol. 5 of <em>Objets d'Art and Metalware</em>. Suffolk: Antique Collectors' Club, 1994.", "page_number": "Reproduced P 157", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=31823650"}, {"citation": "Hawley, Henry H., Ve\u0301ronique Fromanger Des Cordes, and Mickey Mishne. <em>Bugatti</em>. Cleveland, OH: Cleveland Museum of Art, 1999.", "page_number": "Mentioned & reproduced P 26, cat. no. 39, fig. 38", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=41002835"}, {"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 55-6", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=50820863"}, {"citation": "Masse\u0301, Marie-Madeleine. <em>Carlo Bugatti au Muse\u0301e d'Orsay: catalogue sommaire illustre\u0301 du fonds d'archives et des collections</em>. Paris: Re\u0301union des muse\u0301es nationaux, 2001.", "page_number": "Mentioned & reproduced P 39, cat. no. 138", "url": null}, {"citation": "Harrison, Stephen, Emmanuel Ducamp, and Jeannine J. Falino. <em>Artistic Luxury: Faberge\u0301 Tiffany Lalique</em>. Cleveland, Cleveland: Cleveland Museum of Art, 2008.", "page_number": "Mentioned & reproduced PP 35-7, 40, 324-5, cat. no. 10", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=230187932"}, {"citation": "Fromanger, Ve\u0301ronique. <em>Rembrandt Bugatti Sculpteur: Re\u0301pertoire Monographique</em>. Paris: L'Amateur, 2009.", "page_number": "Mentioned P 8, fig. 69", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=537862059"}, {"citation": "Franklin, David and C. Griffith Mann. <em>Treasures from the Cleveland Museum of Art. </em>Cleveland: Cleveland Museum of Art, 2012.", "page_number": "Mentioned & reproduced PP 294-5", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=813973055"}, {"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. 144", "url": ""}], "url": "https://clevelandart.org/art/1991.46", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1991.46/1991.46_web.jpg", "width": "900", "height": "659", "filesize": "218568", "filename": "1991.46_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1991.46/1991.46_print.jpg", "width": "3400", "height": "2491", "filesize": "1307992", "filename": "1991.46_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1991.46/1991.46_full.tif", "width": "4872", "height": "3570", "filesize": "52215872", "filename": "1991.46_full.tif"}}, "alternate_images": [{"date_created": "2007-11-16T19:13:44", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.46/1991.46_alt0_web.jpg", "width": "900", "height": "707", "filesize": "141509"}, "print": {"url": 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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": 171157, "accession_number": "2013.7", "share_license_status": "CC0", "tombstone": "Perseus's Last Duty, 1949. Max Beckmann (German, 1884\u20131950). Oil on canvas; framed: 125 x 178.5 x 8.5 cm (49 3/16 x 70 1/4 x 3 3/8 in.); unframed: 89.4 x 142 cm (35 3/16 x 55 7/8 in.). The Cleveland Museum of Art, Gift of Mrs. Henry White Cannon by exchange, 2013.7", "current_location": "225 German Expressionism & Surrealism", "title": "Perseus's Last Duty", "creation_date": "1949", "creation_date_earliest": 1949, "creation_date_latest": 1949, "artists_tags": ["male"], "culture": ["Germany, 20th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 125 x 178.5 x 8.5 cm (49 3/16 x 70 1/4 x 3 3/8 in.); Unframed: 89.4 x 142 cm (35 3/16 x 55 7/8 in.)", "dimensions": {"framed": {"height": 1.25, "width": 1.785, "depth": 0.085}, "unframed": {"height": 0.894, "width": 1.42}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower middle: \"Beckmann NY 49\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Estate of the Artist, sold to Catherine Viviano Gallery", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "(Catherine Viviano Gallery, New York, NY,  1962, sold to Stanley J. Seeger)", "citations": [], "footnotes": [], "date": "1962", "sortorder": 2}, {"description": "Stanley J. Seeger [1930-2011], New York, NY and London, United Kingdom, consigned to Sotheby's NY for sale", "citations": [], "footnotes": [], "date": "1962-2001", "sortorder": 3}, {"description": "(Sotheby's, New York, NY, May 8, 2001, sold to Private Collection)", "citations": [], "footnotes": [], "date": "2001", "sortorder": 4}, {"description": "(French & Co., New York, NY, 2013, sold to the Cleveland Museum of Art )", "citations": [], "footnotes": [], "date": "2013", "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2013-", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": ["20.2012"], "did_you_know": "The reclining figure encircled by the griffin's tail at the far right may be the artist's self-portrait.", "description": "This painting depicts Perseus, a celebrated warrior from Greek mythology whose name derives from the Greek word \"to waste, ravage, sack, destroy.\" Perseus\u2019s most famous feat was cutting off Medusa\u2019s head. Yet, the mass slaughter depicted here is not found in the ancient myth, but instead suggests a nightmarish allegory filled with private, enigmatic symbols, perhaps reflecting Beckmann\u2019s experience of barely surviving two world wars. Traumatized while serving as a medical orderly during WWI, Beckmann later became the target of Nazi persecution. In 1947 he immigrated to the United States. Created in the aftermath of the Holocaust and under the Cold War threat of nuclear annihilation, this painting suggests a bitter critique of mankind\u2019s propensity for destruction. Presenting Perseus in female dress subverts the hypermasculine glamorization of military heroes common to national historical myths.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60482404"], "internet_archive": ["https://archive.org/details/clevelandart-2013.7-perseus-s-last-duty"]}, "citations": [{"citation": "<em>Max Beckmann: Exhibition of Paintings, 1925-1950 : January 9-27, 1962</em>. New York, NY: Catherine Viviano Gallery, 1962.", "page_number": "Reproduced: no. 19", "url": null}, {"citation": "Go\u0308pel, Erhard, and Barbara Go\u0308pel. <em>Max Beckmann: Katalog der Gema\u0308lde</em>. Bern, Switzerland: Kornfeld &amp; Cie, 1976.", "page_number": "Reproduced: p. 298, vol II", "url": null}, {"citation": "Schu\u0308tt, Jutta, David Anfam, and Karoline Feulner. <em>Beckmann &amp; America</em>. Ostfildern, Germany: Hatje Cantz, 2011.", "page_number": "Mentioned and reproduced: p. 230-232", "url": null}, {"citation": "Robinson, William. \"Perseus' Last Duty.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 53, no. 4 (July/August 2013): 18-19.", "page_number": "Mentioned and reproduced: p. 18-19", "url": "https://archive.org/details/CMAMM2013-04/page/n17/mode/2up"}, {"citation": "Robinson, William.  \"2013 Acquisitions: Modern Art.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>54, no. 2 (March/April 2014): 20.", "page_number": "Mentioned and Reproduced: p. 20", "url": "https://archive.org/details/CMAMM2014-02/page/n19/mode/2up"}, {"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. 99, no. 11; mentioned: P. 93", "url": ""}, {"citation": "Beckmann, Max, Anja Tiedemann, Erhard Go\u0308pel, Barbara Go\u0308pel, and Erhard Go\u0308pel. Max Beckmann: die Gema\u0308lde, Ahlen : Franz Dieter und Michaela Kaldewei Kulturstiftung, 2021, 477", "page_number": "Reproduced and mentioned: p. 477", "url": ""}], "url": "https://clevelandart.org/art/2013.7", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2013.7/2013.7_web.jpg", "width": "1263", "height": "785", "filesize": "245746", "filename": "2013.7_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2013.7/2013.7_print.jpg", "width": "3400", "height": "2114", "filesize": "1953943", "filename": "2013.7_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2013.7/2013.7_full.tif", "width": "7712", "height": "4796", "filesize": "110984976", "filename": "2013.7_full.tif"}}, "alternate_images": [{"date_created": "2013-04-01T15:37:36", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.7/2013.7_alt0_web.jpg", "width": "1263", "height": "887", "filesize": "109843"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.7/2013.7_alt0_print.jpg", "width": "3400", "height": "2389", "filesize": "721012"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.7/2013.7_alt0_full.tif", "width": "7580", "height": "5328", "filesize": "121180616"}}, {"date_created": "2013-04-01T15:51:40", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.7/2013.7_alt1_web.jpg", "width": "1191", "height": "893", "filesize": "192476"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.7/2013.7_alt1_print.jpg", "width": "3400", "height": "2550", "filesize": "1455267"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.7/2013.7_alt1_full.tif", "width": "8000", "height": "6000", "filesize": "144024552"}}], "creditline": "Gift of Mrs. Henry White Cannon by exchange", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 171157, "creators": [{"id": 25607, "description": "Max Beckmann (German, 1884\u20131950)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1884", "death_year": "1950", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2013-03-04T00:00:00", "sortable_date": 1949, "date_added_to_oa": null, "date_text": "1949", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Perseus' Last Duty"], "is_highlight": false, "updated_at": "2026-03-27 00:08:59.374000"}, {"id": 131996, "accession_number": "1954.571", "share_license_status": "CC0", "tombstone": "Backyards in Winter (Castoff Christmas Tree), January 1917. Charles Burchfield (American, 1893\u20131967). Watercolor, gouache, blue and orange crayons, and black wash on wove paper; sheet: 36.3 x 45.8 cm (14 5/16 x 18 1/16 in.). The Cleveland Museum of Art, Anonymous gift in memory of Henry G. Keller, 1954.571", "current_location": null, "title": "Backyards in Winter (Castoff Christmas Tree)", "creation_date": "January 1917", "creation_date_earliest": 1917, "creation_date_latest": 1917, "artists_tags": ["May Show", "male", "Cleveland Institute of Art (alumni)"], "culture": ["America"], "technique": "watercolor, gouache, blue and orange crayons, and black wash on wove paper", "support_materials": [], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Sheet: 36.3 x 45.8 cm (14 5/16 x 18 1/16 in.)", "dimensions": {"sheet": {"height": 0.363, "width": 0.458}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 616515, "title": "Eighth Exhibition of Watercolors and Pastels", "description": "<i>Eighth Exhibition of Watercolors and Pastels</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 6-December 7, 1930).", "opening_date": "1930-11-06T00:00:00"}, {"id": 338569, "title": "The Nature of Charles Burchfield: A Memorial Exhibition, 1893\u20131967, Paints, Drawings, Prints", "description": "<i>The Nature of Charles Burchfield: A Memorial Exhibition, 1893\u20131967, Paints, Drawings, Prints</i>. Munson Museum of Art, Utica, NY (organizer) (April 3-June 14, 1970).", "opening_date": "1970-04-03T05:00:00"}, {"id": 338932, "title": "Fine Arts Exhibition", "description": "<i>Fine Arts Exhibition</i>. Ohio State Fair, Columbus, OH (August 27-September 7, 1970).", "opening_date": "1970-08-27T04:00:00"}, {"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": 301972, "title": "American Water Colors from the Museum Collection", "description": "<i>American Water Colors from the Museum Collection</i>. The Cleveland Museum of Art, Cleveland, OH (July 23-September 25, 1974).", "opening_date": "1974-07-23T04:00:00"}, {"id": 444005, "title": "Cleveland Watercolors and Enamels", "description": "<i>Cleveland Watercolors and Enamels</i>. Beck Center for the Arts, Lakewood, OH (organizer) (April 20-July 26, 1976).", "opening_date": "1976-04-20T05:00:00"}, {"id": 338938, "title": "Charles Burchfield", "description": "<i>Charles Burchfield</i>. Ashtabula Arts Center.", "opening_date": "1979-01-01T05:00:00"}, {"id": 442797, "title": "Charles Burchfield Exhibition", "description": "<i>Charles Burchfield Exhibition</i>. Ashtabula Arts Center, Ashtabula, OH (organizer) (May 30-June 6, 1979).", "opening_date": "1979-05-30T04:00:00"}, {"id": 339085, "title": "Japanese Artists Who Studied in the U.S.A.", "description": "<i>Japanese Artists Who Studied in the U.S.A.</i>. The National Museum of Modern Art, Tokyo (July 24-September 11, 1982); National Museum of Modern Art, Kyoto (September 14-October 11, 1982).", "opening_date": "1982-07-24T04:00:00"}, {"id": 311726, "title": "Cleveland Traditions: Enamels and Watercolors from the Cleveland Museum of Art", "description": "<i>Cleveland Traditions: Enamels and Watercolors from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 30-October 16, 1983).", "opening_date": "1983-09-30T04:00:00"}, {"id": 313096, "title": "Charles Burchfield: The Ohio Landscapes, 1915\u20131920", "description": "<i>Charles Burchfield: The Ohio Landscapes, 1915\u20131920</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 22, 2018-May 5, 2019).", "opening_date": "2018-12-22T05:00:00"}], "legacy": []}, "provenance": [{"description": "Henry Keller [1869-1949], Cleveland, Ohio", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "Louise M. Dunn [1875-1962], gift to the Cleveland Museum of Art, Cleveland, Ohio", "citations": [], "footnotes": null, "date": "1954", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1954-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Christmas trees recurred throughout Burchfield's work around this time.", "description": "In this drawing, the gray and brown tones of a row of houses are interrupted by the bright green and yellow of a discarded Christmas tree. The work was created in the same year as <em>Church Bells Ringing</em>, where a Christmas tree visible through a window was meant to contrast the work\u2019s foreboding mood. This earlier image similarly suggests Burchfield\u2019s passion for his favorite holiday, which he saw as a symbol of goodness.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780971"], "internet_archive": []}, "citations": [{"citation": "Trovato, Joseph S. <em>Charles Burchfield: Catalogue of Paintings in Public and Private Collections</em>. Utica: Munson-Williams-Proctor Institute, 1970.", "page_number": "Mentioned: p. 56, no. 245", "url": null}], "catalogue_raisonne": "Straus; 281; Trovato 245", "url": "https://clevelandart.org/art/1954.571", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1954.571/1954.571_web.jpg", "width": "1122", "height": "893", "filesize": "230169", "filename": "1954.571_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1954.571/1954.571_print.jpg", "width": "3400", "height": "2707", "filesize": "1744655", "filename": "1954.571_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1954.571/1954.571_full.tif", "width": "4553", "height": "3625", "filesize": "49538592", "filename": "1954.571_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1954.571/1954.571_alt0_web.jpg", "width": "1132", "height": "893", "filesize": "878368"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1954.571/1954.571_alt0_print.jpg", "width": "1947", "height": "1536", "filesize": "2546681"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1954.571/1954.571_alt0_full.tif", "width": "1947", "height": "1536", "filesize": "8975028"}}], "creditline": "Anonymous gift in memory of Henry G. Keller", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 131996, "creators": [{"id": 3989, "description": "Charles Burchfield (American, 1893\u20131967)", "extent": null, "qualifier": null, "role": "artist", "biography": "Charles Burchfield was among the most original and poetic painters of the Cleveland modernist movement. Born in Ashtabula, he moved to Salem, Ohio, following the death of his father in 1898. After graduating from high school, he attended Cleveland School of Art, studying with William Eastman, Frederick Gottwald, Henry Keller, and Frank Wilcox. In 1914 Burchfield began attending Kokoon Klub exhibitions, and in spring 1915 he went to Brandywine to meet William Sommer. Around this time Burchfild began experimenting with the brilliant colors and simplified forms of the Berlin Heights painters. He painted his first mature works in 1915, and grad ed from the Cleveland School of Art with a degree in illustration the following spring. That summer the Cleveland School of Art sponsored his first solo exhibition, and in the fall, after attending the National Academy of Design in New York for one month, he returned to Salem. In February 1917 the Cleveland School of Art mounted his second solo exhibition. Burchfield was inducted into the army that summer. After his return in 1919 he exhibited with other Cleveland modernists at the Play House, Laukhuff\u2019 s Book store, and other Cleveland venues. In 1921 he went on an extended sketching trip through eastern Ohio with Keller, Wilcox, and Paul Travis, exhibiting these recent paintings at the Cleveland School of Art and in the May Show at the Cleveland Museum of Art. Later that year he moved to Buffalo to work as a wallpaper designer, a position he retained until he resigned in 1929 to become a full-time painter. Over the next 30 years he exhibited extensively at museums and galleries across the country. Solo exhibitions of his paintings were held at New York\u2019s Museum of Modern Art (1930), Pittsburgh\u2019 s Carnegie Institute of Art (1935, 1938, 1946), and Buffalo\u2019 s Albright-Knox Art Gallery (1944, 1955, 1963, 1967). In 1953 New York\u2019s Whitney Museum of American Art organized a major exhibition that traveled to the Cleveland Museum of Art. Burchfield died in West Seneca, New York. <br>\"Transformations in Cleveland Art\" (CMA, 1996), p. 224", "name_in_original_language": null, "birth_year": "1893", "death_year": "1967", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1954-08-11T00:00:00", "sortable_date": 1917, "date_added_to_oa": 20260211, "date_text": "January 1917", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Backyards in Winter"], "is_highlight": false, "updated_at": "2026-03-27 00:10:46.543000"}, {"id": 162293, "accession_number": "2002.29.a", "share_license_status": "Copyrighted", "tombstone": "Blind Man's Buff, 1984. Louise Bourgeois (American, 1911\u20132010). White marble on wooden base; overall: 92.7 x 88.9 x 63.5 cm (36 1/2 x 35 x 25 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 2002.29.a. \u00a9 The Easton Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY", "current_location": null, "title": "Blind Man's Buff", "creation_date": "1984", "creation_date_earliest": 1984, "creation_date_latest": 1984, "artists_tags": ["female"], "culture": ["America"], "technique": "white marble on wooden base", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Sculpture", "type": "Sculpture", "measurements": "Overall: 92.7 x 88.9 x 63.5 cm (36 1/2 x 35 x 25 in.)", "dimensions": {"overall": {"height": 0.927, "width": 0.889, "depth": 0.635}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 The Easton Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY", "inscriptions": [], "exhibitions": {"current": [{"id": 229612, "title": "Louise Bourgeois", "description": "<i>Louise Bourgeois</i>. Tate Modern, London, United Kingdom of Great Britain and Northern Ireland (organizer) (October 11, 2007-January 27, 2008); Centre national d'art et de culture Georges Pompidou, Paris cedex O4, France (March 5-June 2, 2008); Solomon R. Guggenheim Museum, New York, NY (June 27-September 28, 2008).", "opening_date": "2007-10-11T00:00:00"}, {"id": 226564, "title": "Double Sexus: Hans Bellmer and Louise Bourgeois", "description": "<i>Double Sexus: Hans Bellmer and Louise Bourgeois</i>. Wexner Center for the Arts, Columbus, OH (organizer) (March 26-August 7, 2011).", "opening_date": "2011-03-26T00:00:00"}, {"id": 393229, "title": "Contemporary Installation", "description": "<i>Contemporary Installation</i>. The Cleveland Museum of Art (organizer).", "opening_date": "2021-04-12T04:00:00"}], "legacy": [{"description": "New York, Robert Miller Gallery, Louise Bourgeois: Sculpture, September-October 1984", "opening_date": "1984-09-01T00:00:00"}, {"description": "University of Pittsburgh Gallery, Sculpture by Women in the Eighties, November-December 1985", "opening_date": "1985-11-01T00:00:00"}, {"description": "Cincinnati, The Taft Museum; Miami, The Art Museum at Florida International University; Austin, Laguna Gloria Art Museum; St Louis, Washington University, Gallery of Art; and Syracuse, Everson Museum of Art, Louise Bourgeois, May 1987-November 1989 (illustrated, n.p.)", "opening_date": "1987-05-01T00:00:00"}, {"description": "Frankfurt, Frankfurter Kunstverein; Munich, St\u00e4dtische Galerie im Lenbachhaus; Lyon, Mus\u00e9e d'Art Contemporain; Barcelona, Fonda\u00e7ion Tapies; Berne, Kunstmuseum; and Otterlo, Kr\u00f6ller-Muller-Museum, Louise Bourgeois: A Retrospective Exhibition, December 1989-July 1991, p. 151 (illustrated)", "opening_date": "1989-12-01T00:00:00"}, {"description": "London, Riverside Studios, Louise Bourgeois: Recent Work 1984-1989, May-June 1990, p.28 (illustrated)", "opening_date": "1990-05-01T00:00:00"}, {"description": "Brooklyn Museum of Art; Washington, D.C., The Corcoran Gallery of Art; Prague, Galerie Rudolfinum; and Mus\u00e9e d'Art Moderne de la Ville de Paris, Louise Bourgeois: The Locus of Memory, Works 1982-1993, April 1994-October 1995, p. 90, pl. 5 (illustrated)", "opening_date": "1994-04-01T00:00:00"}, {"description": "Tate Modern (10/11/2007 - 1/27/2008), Centre national d'art et de culture Georges Pompidou (3/5/2008 - 6/2/2008), and Solomon R. Guggenheim Museum (6/27/2008 - 9/28/2008):  \"Louise Bourgeois\" p. 58-59, fig. 42.", "opening_date": "2007-10-11T00:00:00"}, {"description": "Wexner Center for the Arts, The Ohio State University (3/26/2011 - 8/7/2011): \"Double Sexus: Hans Bellmer and Louise Bourgeois\"", "opening_date": "2011-03-26T00:00:00"}]}, "provenance": [{"description": "Louise Bourgeois [1911-2010], New York, NY, possibly consigned to Robert Miller Gallery, New York, NY", "citations": [], "footnotes": null, "date": "1984-?", "sortorder": null}, {"description": "(Robert Miller Gallery, New York, NY)", "citations": [], "footnotes": null, "date": "?-?", "sortorder": 2}, {"description": "(Galerie Karsten Greve, Cologne, Germany, 1995, sold to private collector)", "citations": [], "footnotes": null, "date": "1995", "sortorder": 3}, {"description": "Private Collector", "citations": [], "footnotes": null, "date": "1995-?", "sortorder": 4}, {"description": "(Christie's, NY, May, 14, 2002, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "2002", "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2002-", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Historians have made connections between the bulging, rounded forms in <em>Blind Man's Buff </em>and representations of Artemis of Ephesus, the goddess of fertility in Greek mythology, and the Venus of Willendorf, one of the earliest ancient art objects discovered.", "description": "Wit and play are essential elements throughout Louise Bourgeois's work. Here the work's title is a variation on \"Blind Man's Bluff,\" the child's game in which a blindfolded person must look for fellow players using only sound and touch. The artist's revision of \"bluff\" to \"buff\" has a dual meaning. It evokes the method of smoothing or \"buffing\" marble, which was part of the work's production. \"Buff\" also relates to the sculpture's evocation of nude body parts, both male and female. The allusion to nudity is reinforced by the fabric folds visible at the sculpture's edges, as if clothing has been cast aside.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79986264"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art. <em>The CMA Companion: A Guide to the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2014.", "page_number": "Mentioned and reproduced: P. 120", "url": ""}], "url": "https://clevelandart.org/art/2002.29.a", "images": {}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 162293, "creators": [{"id": 6371, "description": "Louise Bourgeois (American, 1911\u20132010)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1911", "death_year": "2010", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2002-05-14T00:00:00", "sortable_date": 1984, "date_added_to_oa": null, "date_text": "1984", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "2002.29", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-26 23:59:09.529000"}, {"id": 162294, "accession_number": "2002.29.b", "share_license_status": "Copyrighted", "tombstone": "Blind Man's Buff (base), 1984. Louise Bourgeois (American, 1911\u20132010). Wood; overall: 49 x 80 x 49 cm (19 5/16 x 31 1/2 x 19 5/16 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 2002.29.b. \u00a9 The Easton Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY", "current_location": null, "title": "Blind Man's Buff (base)", "creation_date": "1984", "creation_date_earliest": 1984, "creation_date_latest": 1984, "artists_tags": ["female"], "culture": ["America"], "technique": "wood", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Sculpture", "type": "Sculpture", "measurements": "Overall: 49 x 80 x 49 cm (19 5/16 x 31 1/2 x 19 5/16 in.)", "dimensions": {"overall": {"height": 0.49, "width": 0.8, "depth": 0.49}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 The Easton Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY", "inscriptions": [], "exhibitions": {"current": [{"id": 229612, "title": "Louise Bourgeois", "description": "<i>Louise Bourgeois</i>. Tate Modern, London, United Kingdom of Great Britain and Northern Ireland (organizer) (October 11, 2007-January 27, 2008); Centre national d'art et de culture Georges Pompidou, Paris cedex O4, France (March 5-June 2, 2008); Solomon R. Guggenheim Museum, New York, NY (June 27-September 28, 2008).", "opening_date": "2007-10-11T00:00:00"}, {"id": 226564, "title": "Double Sexus: Hans Bellmer and Louise Bourgeois", "description": "<i>Double Sexus: Hans Bellmer and Louise Bourgeois</i>. Wexner Center for the Arts, Columbus, OH (organizer) (March 26-August 7, 2011).", "opening_date": "2011-03-26T00:00:00"}, {"id": 393229, "title": "Contemporary Installation", "description": "<i>Contemporary Installation</i>. The Cleveland Museum of Art (organizer).", "opening_date": "2021-04-12T04:00:00"}], "legacy": [{"description": "New York, Robert Miller Gallery, Louise Bourgeois: Sculpture, September-October 1984", "opening_date": "1984-09-01T00:00:00"}, {"description": "University of Pittsburgh Gallery, Sculpture by Women in the Eighties, November-December 1985", "opening_date": "1985-11-01T00:00:00"}, {"description": "Cincinnati, The Taft Museum; Miami, The Art Museum at Florida International University; Austin, Laguna Gloria Art Museum; St Louis, Washington University, Gallery of Art; and Syracuse, Everson Museum of Art, Louise Bourgeois, May 1987-November 1989 (illustrated, n.p.)", "opening_date": "1987-05-01T00:00:00"}, {"description": "Frankfurt, Frankfurter Kunstverein; Munich, St\u00e4dtische Galerie im Lenbachhaus; Lyon, Mus\u00e9e d'Art Contemporain; Barcelona, Fonda\u00e7ion Tapies; Berne, Kunstmuseum; and Otterlo, Kr\u00f6ller-Muller-Museum, Louise Bourgeois: A Retrospective Exhibition, December 1989-July 1991, p. 151 (illustrated)", "opening_date": "1989-12-01T00:00:00"}, {"description": "London, Riverside Studios, Louise Bourgeois: Recent Work 1984-1989, May-June 1990, p.28 (illustrated)", "opening_date": "1990-05-01T00:00:00"}, {"description": "Brooklyn Museum of Art; Washington, D.C., The Corcoran Gallery of Art; Prague, Galerie Rudolfinum; and Mus\u00e9e d'Art Moderne de la Ville de Paris, Louise Bourgeois: The Locus of Memory, Works 1982-1993, April 1994-October 1995, p. 90, pl. 5 (illustrated)", "opening_date": "1994-04-01T00:00:00"}, {"description": "Tate Modern (10/11/2007 - 1/27/2008), Centre national d'art et de culture Georges Pompidou (3/5/2008 - 6/2/2008), and Solomon R. Guggenheim Museum (6/27/2008 - 9/28/2008):  \"Louise Bourgeois\"", "opening_date": "2007-10-11T00:00:00"}, {"description": "Wexner Center for the Arts, The Ohio State University (3/26/2011 - 8/7/2011): \"Double Sexus: Hans Bellmer and Louise Bourgeois\"", "opening_date": "2011-03-26T00:00:00"}]}, "provenance": [{"description": "Louise Bourgeois [1911-2010], New York, NY, possibly consigned to Robert Miller Gallery, New York, NY", "citations": [], "footnotes": [], "date": "1984-?", "sortorder": null}, {"description": "(Robert Miller Gallery, New York, NY)", "citations": [], "footnotes": null, "date": "?-?", "sortorder": 2}, {"description": "(Galerie Karsten Greve, Cologne, Germany, 1995, sold to private collector)", "citations": [], "footnotes": null, "date": "1995", "sortorder": 3}, {"description": "(Christie's, NY, May, 14, 2002, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "2002", "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2002-", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Historians have made connections between the bulging, rounded forms in <em>Blind Man's Buff </em>and representations of Artemis of Ephesus, the goddess of fertility in Greek mythology, and the Venus of Willendorf, one of the earliest ancient art objects discovered.", "description": "Wit and play are essential elements throughout Louise Bourgeois's work. Here the work's title is a variation on \"Blind Man's Bluff,\" the child's game in which a blindfolded person must look for fellow players using only sound and touch. The artist's revision of \"bluff\" to \"buff\" has a dual meaning. It evokes the method of smoothing or \"buffing\" marble, which was part of the work's production. \"Buff\" also relates to the sculpture's evocation of nude body parts, both male and female. The allusion to nudity is reinforced by the fabric folds visible at the sculpture's edges, as if clothing has been cast aside.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79986267"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art. <em>The CMA Companion: A Guide to the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2014.", "page_number": "Mentioned and reproduced: P. 120", "url": ""}], "url": "https://clevelandart.org/art/2002.29.b", "images": {}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 162294, "creators": [{"id": 6371, "description": "Louise Bourgeois (American, 1911\u20132010)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1911", "death_year": "2010", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2002-05-13T00:00:00", "sortable_date": 1984, "date_added_to_oa": null, "date_text": "1984", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "2002.29", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:04:38.551000"}, {"id": 128068, "accession_number": "1950.87", "share_license_status": "Copyrighted", "tombstone": "Marin Island (recto); Landscape (verso), 1914. John Marin (American, 1870\u20131953). Watercolor on thick wove paper; sheet: 41.5 x 36.6 cm (16 5/16 x 14 7/16 in.). The Cleveland Museum of Art, Norman O. Stone and Ella A. Stone Memorial Fund, 1950.87. \u00a9 Estate of John Marin / Artists Rights Society (ARS), New York", "current_location": null, "title": "Marin Island (recto); Landscape (verso)", "creation_date": "1914", "creation_date_earliest": 1914, "creation_date_latest": 1914, "artists_tags": ["male"], "culture": ["America"], "technique": "Watercolor on thick wove paper", "support_materials": [], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Sheet: 41.5 x 36.6 cm (16 5/16 x 14 7/16 in.)", "dimensions": {"sheet": {"height": 0.415, "width": 0.366}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of John Marin / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "recto: signed, lower right, in watercolor: Marin / 14 ; upper left, in graphite: 466- [circled]", "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": 300427, "title": "Chinese Landscape Painting", "description": "<i>Chinese Landscape Painting</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 5-December 26, 1954).", "opening_date": "1954-11-05T04:00:00"}, {"id": 300831, "title": "John Marin Memorial Exhibition", "description": "<i>John Marin Memorial Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (November 17, 1955-January 1, 1956); San Francisco Museum of Modern Art, San Francisco, CA (March 1-October 13, 1956); The Phillips Collection (March 1-October 13, 1956); Minneapolis Institute of Art, Minneapolis, MN (March 1-October 13, 1956); Fowler Museum at UCLA, Los Angeles, CA (March 1-October 13, 1956); Museum of Fine Arts, Boston, Boston, MA (March 1-October 13, 1956).", "opening_date": "1955-11-17T05:00:00"}, {"id": 454273, "title": "1914", "description": "<i>1914</i>. The Baltimore Museum of Art, Baltimore, MD (organizer) (October 6-November 15, 1964).", "opening_date": "1964-10-06T04:00:00"}, {"id": 515803, "title": "Roots of Abstract Art in America", "description": "<i>Roots of Abstract Art in America</i>. Smithsonian American Art Museum, Washington, DC (December 2, 1965-January 9, 1966).", "opening_date": "1965-12-02T05:00:00"}, {"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": 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": 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": "Though Marin Island became a painterly escape for the artist, it had no source of water and was not habitable for Marin\u2019s family.", "description": "Marin bought a small island off the coast of Maine, but never lived there due to its lack of running water. However, it provided the site for numerous watercolors during his first summers in Maine. He anchored this work\u2019s rainbow palette with a pool of dark green in the center, one of the few elements that grounds the composition in space. The playful blue flicks in the sky suggest something nonrepresentational, such as light, or energy.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79908460"], "internet_archive": []}, "citations": [{"citation": "Lee, Sherman E. <em>Chinese Landscape Painting.</em> 1954.", "page_number": "Mentioned: p. 158, cat. 127; Reproduced: p. 120", "url": "https://archive.org/details/ChineseLandscape"}, {"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. 130-131, fig. 31", "url": "http://www.jstor.org/stable/25159808"}, {"citation": "Fine, Ruth. \"John Marin.\" In <em>The Keithley Collection at the Cleveland Museum of Art, </em>edited by Heather Lemonedes Brown, 152-161. Cleveland, OH: The Cleveland Museum of Art, 2022.", "page_number": "Mentioned and reproduced: p. 152, fig. 23", "url": ""}], "url": "https://clevelandart.org/art/1950.87", "images": {}, "alternate_images": [], "creditline": "Norman O. Stone and Ella A. Stone Memorial Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 128068, "creators": [{"id": 3179, "description": "John Marin (American, 1870\u20131953)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1870", "death_year": "1953", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1950-03-16T00:00:00", "sortable_date": 1914, "date_added_to_oa": null, "date_text": "1914", "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 00:08:12.969000"}, {"id": 127742, "accession_number": "1950.399", "share_license_status": "Copyrighted", "tombstone": "Head of Christ, c. 1937. Georges Rouault (French, 1871\u20131958). Oil on canvas; framed: 128.9 x 99.1 x 8.9 cm (50 3/4 x 39 x 3 1/2 in.); unframed: 104.8 x 75 cm (41 1/4 x 29 1/2 in.). The Cleveland Museum of Art, Gift of the Hanna Fund, 1950.399. \u00a9 Artists Rights Society (ARS), New York / ADAGP, Paris", "current_location": "223 20th Century Avant-Garde", "title": "Head of Christ", "creation_date": "c. 1937", "creation_date_earliest": 1932, "creation_date_latest": 1942, "artists_tags": ["male"], "culture": ["France, 20th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 128.9 x 99.1 x 8.9 cm (50 3/4 x 39 x 3 1/2 in.); Unframed: 104.8 x 75 cm (41 1/4 x 29 1/2 in.)", "dimensions": {"framed": {"height": 1.289, "width": 0.991, "depth": 0.089}, "unframed": {"height": 1.048, "width": 0.75}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Artists Rights Society (ARS), New York / ADAGP, Paris", "inscriptions": [{"inscription": "Signed lower right: \"G. Rouault\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"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": 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": 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": 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": 515894, "title": "Rouault", "description": "<i>Rouault</i>. Frankfurter Kunstverein, Frankfurt am Main, Germany (February 1-March 20, 1966); Kunstverein in Hamburg, Hamberg, Germany (April 1-May 1, 1966).", "opening_date": "1966-02-01T05:00:00"}, {"id": 445831, "title": "Georges Rouault", "description": "<i>Georges Rouault</i>. Mus\u00e9e National d'Art Moderne, Paris, Cedex 04, France (May 27-September 27, 1971).", "opening_date": "1971-05-27T04:00:00"}, {"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": "(A. Vollard, Paris); (J. Seligmann, New York)", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "In this monumental image of Christ, Georges Rouault created both a sacred image and the representation of a mortal human being. In reaction to an increasingly materialistic, secular society, Rouault created deeply religious art based on his Catholic faith. His early experience as an apprentice in a stained glass workshop influenced his use of black outlines and rich colors.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60515774"], "internet_archive": []}, "citations": [{"citation": "Francis, Henry. \"A 'Head of Christ' by Georges Rouault.\" <em>The Bulletin of the Cleveland Museum of Art </em>38, no. 4 (April 1951): 71-72.", "page_number": "Reproduced: front cover; Mentioned: p. 71", "url": "https://www.jstor.org/stable/25141703"}, {"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. 523", "url": "https://archive.org/details/CMAHandbook1958/page/n96"}, {"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. 198", "url": "https://archive.org/details/CMAHandbook1966/page/n222"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 198", "url": "https://archive.org/details/CMAHandbook1969/page/n222"}, {"citation": "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. 247", "url": "https://archive.org/details/CMAHandbook1978/page/n267"}, {"citation": "Hinson, Tom E. \"Insight/On Site.\" <em>The Bulletin of the Cleveland Museum of Art</em> 78, no. 6 (1991): 246-71.", "page_number": "Reproduced and Mentioned: p. 256", "url": "https://www.jstor.org/stable/25161330"}, {"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. 45", "url": "https://archive.org/details/CMAPaintings1952"}], "url": "https://clevelandart.org/art/1950.399", "images": {}, "alternate_images": [], "creditline": "Gift of the Hanna Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Michael J. Horvitz Family Gallery", "athena_id": 127742, "creators": [{"id": 2136, "description": "Georges Rouault (French, 1871\u20131958)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1871", "death_year": "1958", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1950-11-07T00:00:00", "sortable_date": 1932, "date_added_to_oa": null, "date_text": "c. 1937", "collapse_artists": false, "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 00:08:30.703000"}, {"id": 125253, "accession_number": "1947.212", "share_license_status": "Copyrighted", "tombstone": "Melodi (Melody), 1947. Stig Lindberg (Swedish, 1916\u20131982), Nordiska Kompaniet (Swedish, est. 1902). Plain weave bleached linen, loom width, printed; overall: 94.6 x 78.1 cm (37 1/4 x 30 3/4 in.). The Cleveland Museum of Art, Gift of Mrs. B. P. Bole, Mr. and Mrs. Guerdon S. Holden, Mrs. Windsor T. White, and the L. E. Holden Fund, 1947.212", "current_location": null, "title": "Melodi (Melody)", "creation_date": "1947", "creation_date_earliest": 1947, "creation_date_latest": 1947, "artists_tags": ["male"], "culture": ["Sweden, 20th century"], "technique": "Plain weave bleached linen, loom width, printed", "support_materials": [], "department": "Textiles", "collection": "Textiles", "type": "Textile", "measurements": "Overall: 94.6 x 78.1 cm (37 1/4 x 30 3/4 in.)", "dimensions": {"overall": {"height": 0.946, "width": 0.781}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 302021, "title": "Design in Printed Textiles", "description": "<i>Design in Printed Textiles</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 7-September 3, 1961).", "opening_date": "1961-04-07T05:00:00"}, {"id": 313463, "title": "Color and Comfort: Swedish Modern Design", "description": "<i>Color and Comfort: Swedish Modern Design</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 11, 2019-February 10, 2020).", "opening_date": "2019-02-17T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The cut hair braid may represent a lover\u2019s lock of hair, a longstanding tradition to remember loved ones in Western cultures.", "description": "This whimsical pattern combines Swedish folk culture and classical mythology, depicting acts of infatuation such as carving hearts into trees and keeping a lover\u2019s lock of hair. The Greek figure Narcissus even makes an appearance on the wooden signposts as a male head engaged in a kiss with his own reflection.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79903603"], "internet_archive": []}, "citations": [{"citation": "Harrison, Stephen and Houblou, Kate M. \"Swedish Modern Design: A new exhibition looks at the fresh fabrics and furnishings that revolutionized interior decoration.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>59, no. 1 (January/February 2019): 10-11.", "page_number": "Reproduced: P. 11", "url": "https://archive.org/details/CMAMM2019-01/page/n5/mode/2up"}, {"citation": "Spadoni, Robert. \"Midsommar: Thing Theory\". <em>Quarterly Review of Film and Video</em>. 37:1.", "page_number": "p. 1-16; reproduced p. 2", "url": "https://doi.org/10.1080/10509208.2020.1744414"}], "url": "https://clevelandart.org/art/1947.212", "images": {}, "alternate_images": [], "creditline": "Gift of Mrs. B. P. Bole, Mr. and Mrs. Guerdon S. Holden, Mrs. Windsor T. White, and the L. E. Holden Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 125253, "creators": [{"id": 56177, "description": "Stig Lindberg (Swedish, 1916\u20131982)", "extent": null, "qualifier": null, "role": "designer", "biography": "Stig Lindberg (born Frederick Stigurd Lindberg in Ume\u00e5, Sweden) was a Swedish ceramicist, glass artist, and textile designer. Having studied ceramics at the Konstfackskolen (School of Arts, Crafts, and Design) and the Kungliga Tekniska H\u00f6gskolan (Royal Institute of Technology), Lindberg\u2019s international reputation largely rests on his ceramic and glass designs for Gustavsberg Porcelain Factory and various Swedish glasshouses. Lindberg was the creative director of Gustavsberg between 1949 and 1957, and again between 1971 and 1980. Prior to his directorship, Lindberg illustrated children\u2019s books and designed textiles for Nordiska Kompaniet that often incorporated playful motifs.", "name_in_original_language": null, "birth_year": "1916", "death_year": "1982", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 317384, "description": "Nordiska Kompaniet (Swedish, est. 1902)", "extent": null, "qualifier": null, "role": "manufacturer", "biography": "Josef Sachs established the department store Nordiska Kompaniet in 1902. The store\u2019s first building opened in 1915 on Hamngaten in Stockholm and is still in operation today.", "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1947-12-19T00:00:00", "sortable_date": 1947, "date_added_to_oa": null, "date_text": "1947", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Melodi"], "is_highlight": false, "updated_at": "2026-03-27 00:00:30.017000"}, {"id": 160197, "accession_number": "1998.116", "share_license_status": "Copyrighted", "tombstone": "Hall of Thirty-three Bays, 1995. Hiroshi Sugimoto (Japanese, 1948-). Gelatin silver print; image: 42.5 x 54.3 cm (16 3/4 x 21 3/8 in.); mounted: 48.9 x 63.7 cm (19 1/4 x 25 1/16 in.); paper: 47.6 x 60.3 cm (18 3/4 x 23 3/4 in.); matted: 63.5 x 81.3 cm (25 x 32 in.). The Cleveland Museum of Art, Gift of Mr. Donald F. Barney Jr., in memory of Helen Greene (Mrs. A. Dean) Perry, 1998.116", "current_location": null, "title": "Hall of Thirty-three Bays", "creation_date": "1995", "creation_date_earliest": 1995, "creation_date_latest": 1995, "artists_tags": ["male"], "culture": ["Japan"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - Japanese 20th Century", "type": "Photograph", "measurements": "Image: 42.5 x 54.3 cm (16 3/4 x 21 3/8 in.); Mounted: 48.9 x 63.7 cm (19 1/4 x 25 1/16 in.); Paper: 47.6 x 60.3 cm (18 3/4 x 23 3/4 in.); Matted: 63.5 x 81.3 cm (25 x 32 in.)", "dimensions": {"image": {"height": 0.425, "width": 0.543}, "mounted": {"height": 0.489, "width": 0.637}, "paper": {"height": 0.476, "width": 0.603}, "matted": {"height": 0.635, "width": 0.813}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "written in pencil on recto of mount: \"Hiroshi Sugimoto (signed)\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 221226, "title": "The History of Japanese Photography", "description": "<i>The History of Japanese Photography</i>. The Cleveland Museum of Art, Cleveland, OH (May 25-July 20, 2003).", "opening_date": "2003-05-25T00:00:00"}, {"id": 181802, "title": "The Persistence of Geometry: Form, Content and Culture in the Collection of the Cleveland Museum of Art", "description": "<i>The Persistence of Geometry: Form, Content and Culture in the Collection of the Cleveland Museum of Art</i>. Museum of Contemporary Art Cleveland (MOCA), Cleveland, OH (June 9-August 20, 2006).", "opening_date": "2006-06-09T00:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Sugimoto also refers to this series as the <em>Sea of Buddha</em>.", "description": "During the summer of 1995, Sugimoto created a remarkable group of 48 images at the great Buddhist temple Sanjusangen-do (Hall of Thirty-Three Bays), Kyoto. This 390-foot-long wood building, containing 33 bays, shelters 1,001 almost identical, life-size standing statues of Bodhisattva Kannon. They are placed in rows and grouped around a central monumental figure of the same divinity. These imposing sculptures were carved and gilded by more than 70 artists during the 1100s and 1200s. In this exquisite print Sugimoto recorded the intricate and serene figures as they catch and reflect the early morning sun. His claustrophobic composition is dense with detail, pattern, and cultural and historical references. Standing on a ladder to achieve the low aerial view, he produced an endless array of identical heads with radiating haloes rhythmically receding into space. Here he beautifully presented his long-held interest in photographically depicting infinity and eternity.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79981015"], "internet_archive": []}, "citations": [{"citation": "Sims, Lowery Stokes. The persistence of geometry: form, content, and culture in the collection of the Cleveland Museum of Art. Cleveland: Cleveland Museum of Art, 2006.", "page_number": "no. 140, p. 124, repr. p. 83 & p. 86.", "url": null}, {"citation": "Cleveland Museum of Art, \u201cCleveland Acquires Major New Sculpture, Rare Chinese Prints, Contemporary Prints, Drawings &amp; Photographs,\u201d October 30, 1998, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr4215"}], "url": "https://clevelandart.org/art/1998.116", "images": {}, "alternate_images": [], "creditline": "Gift of Mr. Donald F. Barney Jr., in memory of Helen Greene (Mrs. A. Dean) Perry", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 160197, "creators": [{"id": 985, "description": "Hiroshi Sugimoto (Japanese, 1948-)", "extent": null, "qualifier": null, "role": "artist", "biography": "Hiroshi Sugimoto Japanese, 1948-\r\n\r\nThe photographs of Hiroshi Sugimoto explore the connections between modern and ancient worlds. His early interior views of unpeopled cinemas, aglow with the eerie light of a projected film, suggest modern-day shrines. With similar intentions, he began to photograph in museums, particularly exhibits that featured life-size taxidermy animals and wax human figures.\r\n\tSince 1977 Sugimoto has traveled the world to photograph barren seascapes. These subjects, which have become his hallmark, are shown with subtle variations in time of day, horizon line, and weather conditions, achieving from a distance the effect of a color-field painting by encouraging viewers to lose themselves in the haze. The black-and-white format, however, is a continual reminder of both the actuality of the subject and its perilous environmental state.\r\n\tAs a child, Sugimoto (born in Tokyo) took up photography with a fervor. He graduated from Saint Paul's University, Tokyo (B.A., 1970), leaving Japan for the United States to study at the Art Center College of Design in Los Angeles (B.F.A., 1972). In 1974 he moved to New York City, opening an antiques business before launching full-time into freelance photography.\r\n\tIn addition to a one-person exhibition at the Cleveland Museum of Art (1989), Sugimoto has shown his work at the Palais des Beaux Arts, Charlerol, Belgium (1993), the Museum of Contemporary Art, Los Angeles (1993, and tour), and the Metropolitan Museum of Art, New York (1995). His awards include a New York Creative Artists Public Service Grant (1977) and fellowships from the John Simon Guggenheim Memorial Foundation (1980) and the National Endowment for the Arts (1982). Sugimoto lives in New York and Tokyo. A.W.", "name_in_original_language": null, "birth_year": "1948", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1998-09-08T00:00:00", "sortable_date": 1995, "date_added_to_oa": null, "date_text": "1995", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:08.076000"}, {"id": 153623, "accession_number": "1987.151", "share_license_status": "Copyrighted", "tombstone": "The Inferno--Grand Canyon, 1919. Karl F. Struss (American, 1886\u20131981). Palladium print; image: 11.5 x 9.2 cm (4 1/2 x 3 5/8 in.); matted: 45.7 x 35.6 cm (18 x 14 in.). The Cleveland Museum of Art, Gift of Mrs. R. Henry Norweb and Mrs. R. Henry Norweb Jr. in memory of Kenyon C. Bolton, 1987.151", "current_location": null, "title": "The Inferno--Grand Canyon", "creation_date": "1919", "creation_date_earliest": 1919, "creation_date_latest": 1919, "artists_tags": ["male"], "culture": ["America"], "technique": "palladium print", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 11.5 x 9.2 cm (4 1/2 x 3 5/8 in.); Matted: 45.7 x 35.6 cm (18 x 14 in.)", "dimensions": {"image": {"height": 0.115, "width": 0.092}, "matted": {"height": 0.457, "width": 0.356}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Written in pencil on print: \"Karl Struss [signed]\"; in pencil on mount: \"Karl Struss [signed]\"; \"5 [circled]\"; in pencil on verso: \" 'The Inferno-Grand Canyon' / Palladio print / $5 / 22195 / [an undistinguishable mark]\"", "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": 185373, "title": "American Space:  Landscape Photography 1900-1950", "description": "<i>American Space:  Landscape Photography 1900-1950</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 6-May 23, 2001).", "opening_date": "2001-01-06T00:00:00"}, {"id": 202729, "title": "Shadows and Dreams: Pictorialist Photography in America", "description": "<i>Shadows and Dreams: Pictorialist Photography in America</i>. The Cleveland Museum of Art (organizer) (September 5, 2015-January 17, 2016).", "opening_date": "2015-09-05T00:00:00"}], "legacy": [{"description": "CMA, February 24 - April 17, 1988: \"Year in Review 1987,\" CMA Bulletin, 75 (February 1988), p. 67, no. 87.", "opening_date": "1988-02-24T00:00:00"}, {"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": "CMA, January 3 - May 23, 2001: \"American Space: Landscape Photography, 1900-1950.\"", "opening_date": "2001-01-03T00:00:00"}, {"description": "The Cleveland Museum of Art (9/5/2015 - 1/17/2016); \"Pictorialist Photography\"", "opening_date": "2015-09-05T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "During the first two decades of the 20th century, Struss was one of the most important photographers working with Pictorialism. After closing his commercial studio in New York in 1919, he moved to Hollywood, where he later became a successful cinematographer. It was on the trip west that Struss visited the Grand Canyon, encountering light, color, and spatial effects surpassing anything he had ever experienced. Immediately inspired, he produced landscape images that were unlike any of his previous work. This photograph's visual complexity and the rich tonal range provided by the palladium process justly recorded the grandeur of the view, providing an immense sense of space and distance. Carefully composed to take advantage of strong light and shadow patterns, he turned geological formations into bold, interlocking abstract forms.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60781098"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art, Tom E Hinson. <em>Catalogue of Photography</em>. Cleveland, OH: Cleveland Museum of Art, 1996.", "page_number": "Reproduced: P. 347", "url": ""}], "url": "https://clevelandart.org/art/1987.151", "images": {}, "alternate_images": [], "creditline": "Gift of Mrs. R. Henry Norweb and Mrs. R. Henry Norweb Jr. in memory of Kenyon C. Bolton", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 153623, "creators": [{"id": 970, "description": "Karl F. Struss (American, 1886\u20131981)", "extent": null, "qualifier": null, "role": "artist", "biography": "Karl F. Struss American, 1886-1981\r\n\r\nBorn and raised in New York City, Karl Fischer Struss was an important early pictorialist and a cofounder of the Pictorial Photographers of America. He was also a member of the Photo-Secession, publishing his works in Camera Work (April 1912), and a photographer for publications such as Vogue, Vanity Fair, and Harper's Bazaar.\r\n\tA student of Clarence H. White, Struss was influenced by both White and Alvin Langdon Coburn. He developed his own style, however, an elegant synthesis of random qualities with formal composition. Struss experimented with various technical processes. He developed multiple platinum printing to enhance the depth of shadows and in 1909 designed the Struss Pictorial lens, which entered commercial production in 1915.\r\n\tShortly after the First World War, Struss moved to Hollywood, where he became a successful cinematographer. He worked first for Cecil B. De Mille and later freelanced for both independent and major studios until his retirement in 1970. Among his film credits are Ben Hur (1926), Dr. Jekyll and Mr. Hyde (1932), and the Chaplin classics The Great Dictator (1940) and Limelight (1952). In 1928 Struss received an Academy Award for his work on De Mille's film Sunrise. T.W.F.", "name_in_original_language": null, "birth_year": "1886", "death_year": "1981", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1987-11-18T00:00:00", "sortable_date": 1919, "date_added_to_oa": null, "date_text": "1919", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:47.717000"}, {"id": 153605, "accession_number": "1987.138", "share_license_status": "Copyrighted", "tombstone": "Dead Tree with Pink Hill, 1945. Georgia O'Keeffe (American, 1887\u20131986). Oil on canvas; framed: 76.5 x 102 x 3 cm (30 1/8 x 40 3/16 x 1 3/16 in.); unframed: 76.2 x 101.6 cm (30 x 40 in.). The Cleveland Museum of Art, Bequest of Georgia O'Keeffe, 1987.138. \u00a9  Georgia O'Keeffe Museum / Artists Rights Society (ARS), New York", "current_location": null, "title": "Dead Tree with Pink Hill", "creation_date": "1945", "creation_date_earliest": 1945, "creation_date_latest": 1945, "artists_tags": ["female"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 76.5 x 102 x 3 cm (30 1/8 x 40 3/16 x 1 3/16 in.); Unframed: 76.2 x 101.6 cm (30 x 40 in.)", "dimensions": {"framed": {"height": 0.765, "width": 1.02, "depth": 0.03}, "unframed": {"height": 0.762, "width": 1.016}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  Georgia O'Keeffe Museum / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "Backing:  \"#3 Dead Tree with Pink Hill / by Georgia O'Keeffe\" (AD, AAP3 black ink)", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 310024, "title": "The Georgia O'Keeffe Gift", "description": "<i>The Georgia O'Keeffe Gift</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 4-November 15, 1987).", "opening_date": "1987-09-04T04:00:00"}, {"id": 317416, "title": "Georgia O'Keeffe: Living Modern", "description": "<i>Georgia O'Keeffe: Living Modern</i>. The Cleveland Museum of Art, Cleveland, OH (November 21, 2018-March 3, 2019).", "opening_date": "2018-11-23T05:00:00"}, {"id": 522591, "title": "Art Bridges Loan Partnership", "description": "<i>Art Bridges Loan Partnership</i>. Mattatuck Museum, Waterbury, CT (August 16, 2024-September 21, 2025); San Antonio Museum of Art, San Antonio, TX (October 4, 2025-October 4, 2026) https://www.samuseum.org/artwork/exhibition/canvas-to-clay-georgia-okeeffe-maria-martinez-to-mata-ortiz-and-tonala/.", "opening_date": "2024-08-16T04:00:00"}], "legacy": [{"description": "<em>An American Place: Georgia O\u2019Keeffe</em>. An American Place, New York, NY (February 4-March 27, 1946).", "opening_date": "1946-02-04T00:00:00"}, {"description": "<em>Georgia O'Keeffe: Paintings. </em>Museum of Fine Arts, Santa Fe, NM (December 19, 1986-April 12, 1987).", "opening_date": "1986-12-19T00:00:00"}, {"description": "<em>Georgia O'Keeffe: An Exhibition of the Work of the Artist from 1915-1966. </em>Amon Carter Museum of Western Art, Fort Worth, TX (March 17-May 8, 1966).", "opening_date": "1966-03-17T00:00:00"}]}, "provenance": [{"description": "Estate of the artist, 1986", "citations": [], "footnotes": [], "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Under optimal environmental conditions, cottonwood trees can live up to 400 years.", "description": "Cottonwood trees that spread throughout the New Mexico landscape provided subjects for several of Georgia O\u2019Keeffe\u2019s paintings, including this example. Although no longer living, the majestic cottonwood seen here is framed against a distant double-peaked land mass in near symmetry. Upon her death at age 98, the artist bequeathed this painting\u2014along with four others\u2014to the Cleveland Museum of Art, an early supporter of her work.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60475941"], "internet_archive": []}, "citations": [{"citation": "<em>The New Yorker, </em>February 16, 1946.", "page_number": null, "url": null}, {"citation": "O'Keeffe, Georgia. <em>Georgia O'Keeffe: A Studio Book</em>. New York: Viking Press, 1976.", "page_number": "Reproduced: fig. 91", "url": null}, {"citation": "\"Art Museum Gets O'Keeffe Paintings.\" <em>The Cleveland Plain Dealer</em>, April 22, 1986.", "page_number": "Mentioned: p. 5C", "url": null}, {"citation": "Culllinan, Helen. \"Georgia On Our Minds: O'Keeffe Legacy: 5 Glowing New Oils at Museum.\" <em>The Cleveland Plain Dealer, </em>September 5, 1987.", "page_number": "Reproduced: p. 4B; Mentioned: p. ?", "url": null}, {"citation": "Cleveland Museum of Art. <em>Handbook of The Cleveland Museum of Art. </em>Cleveland: Cleveland Museum of Art, 1991.", "page_number": "Reproduced: p. 152", "url": null}, {"citation": "Chong, Alan. <em> European and American Painting in The Cleveland Museum of Art: A Summary Catalogue,</em> Cleveland: Cleveland Museum of Art, 1993.", "page_number": "Reproduced: p. 171", "url": null}, {"citation": "Benke, Britta. <em>Georgia O'Keeffe 1887-1986: Blumen in der W\u00fcste</em>. K\u00f6ln: Benedikt Taschen, 1994.", "page_number": "Reproduced: p. 66", "url": null}, {"citation": "Lynes, Barbara Buhler. <em>Georgia O'Keeffe: Catalogue Raisonn\u00e9</em>, 2 vols. New Haven: Yale University Press, 1999.", "page_number": "Reproduced: vol. 2 p. 706", "url": null}, {"citation": "O'Keeffe, Georgia, John Loengard, and Lothar Schirmer. <em>Georgia O'Keeffe/John Loengard: Paintings &amp; Photographs: A Visit to Abiquiu and Ghost Ranch</em>. M\u00fcnchen: Schirmer Mosel, 2006.", "page_number": null, "url": null}], "url": "https://clevelandart.org/art/1987.138", "images": {}, "alternate_images": [], "creditline": "Bequest of Georgia O'Keeffe", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 153605, "creators": [{"id": 3228, "description": "Georgia O'Keeffe (American, 1887\u20131986)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1887", "death_year": "1986", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1987-08-19T00:00:00", "sortable_date": 1945, "date_added_to_oa": null, "date_text": "1945", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:32.385000"}, {"id": 135308, "accession_number": "1958.318", "share_license_status": "Copyrighted", "tombstone": "Hadrian's Villa, 1958. Peter Blume (American, born Russian Empire [now Belarus], 1906\u20131992). Oil on canvas; framed: 93 x 108.6 x 7 cm (36 5/8 x 42 3/4 x 2 3/4 in.); unframed: 76.2 x 91.5 cm (30 x 36 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. Edward L. Holsten, 1958.318. \u00a9 [year] The Educational Alliance, Inc. / Estate of Peter Blume / Licensed by VAGA at Artists Rights Society (ARS), NY", "current_location": null, "title": "Hadrian's Villa", "creation_date": "1958", "creation_date_earliest": 1958, "creation_date_latest": 1958, "artists_tags": ["male", "Jewish artists"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 93 x 108.6 x 7 cm (36 5/8 x 42 3/4 x 2 3/4 in.); Unframed: 76.2 x 91.5 cm (30 x 36 in.)", "dimensions": {"framed": {"height": 0.93, "width": 1.086, "depth": 0.07}, "unframed": {"height": 0.762, "width": 0.915}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 [year] The Educational Alliance, Inc. / Estate of Peter Blume / Licensed by VAGA at Artists Rights Society (ARS), NY", "inscriptions": [{"inscription": "signed lower left:  Peter Blume, 1958", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 205860, "title": "Peter Blume: Nature and Metamorphosis", "description": "<i>Peter Blume: Nature and Metamorphosis</i>. Pennsylvania Academy of Fine Arts, Museum of American Art, Philadelphia, PA (organizer) (November 12, 2014-April 5, 2015); Wadsworth Atheneum Museum of Art, Hartford, CT (June 27-September 20, 2015).", "opening_date": "2014-11-12T00:00:00"}, {"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": "Pennsylvania Academy of Fine Arts, Philadelphia (11/12/2014 - 4/5/2015) and Wadsworth Atheneum Museum of Art, Hartford, CT (6/27/2015 - 9/20/2015):  \"Peter Blume: Nature and Metamorphosis'", "opening_date": "2014-11-12T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [{"id": 135283, "description": "Compositional Study for Hadrian's Villa, 1957. Peter Blume (American, born Russian Empire [now Belarus], 1906\u20131992). Black chalk; sheet: 79.3 x 94.8 x 0.6 cm (31 1/4 x 37 5/16 x 1/4 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. Edward L. Holsten, 1958.298. \u00a9 [year] The Educational Alliance, Inc. / Estate of Peter Blume / Licensed by VAGA at Artists Rights Society (ARS), NY", "relationship": null}, {"id": 135284, "description": "Study for Hadrian's Villa, 1957. Peter Blume (American, born Russian Empire [now Belarus], 1906\u20131992). Pen and black ink and black and red chalk, squared; image: 19 x 23 cm (7 1/2 x 9 1/16 in.); sheet: 21.5 x 25 cm (8 7/16 x 9 13/16 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. Edward L. Holsten, 1958.299. \u00a9 [year] The Educational Alliance, Inc. / Estate of Peter Blume / Licensed by VAGA at Artists Rights Society (ARS), NY", "relationship": null}], "former_accession_numbers": [], "did_you_know": "Born Piotr Sorek-Sabel to Russian Jewish parents, the future artist emigrated to the U.S. in 1911.", "description": "Peter Blume depicts a scene he witnessed at the ruins of Hadrian's Villa in Tivoli, Italy, where a group of workers harvested olives from a gnarled tree. While some of the figures climb ladders to access the fruit, others gather it in baskets. Ruined buildings frame the olive tree, contrasting the bounty of the harvest with decay.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60465093"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1958.318", "images": {}, "alternate_images": [], "creditline": "Gift of Mr. and Mrs. Edward L. Holsten", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 135308, "creators": [{"id": 3017, "description": "Peter Blume (American, born Russian Empire [now Belarus], 1906\u20131992)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1906", "death_year": "1992", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1958-06-21T00:00:00", "sortable_date": 1958, "date_added_to_oa": null, "date_text": "1958", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:07:51.935000"}, {"id": 132415, "accession_number": "1954.864", "share_license_status": "Copyrighted", "tombstone": "Wounded Soldier, 1930. Jos\u00e9 Clemente Orozco (Mexican, 1883\u20131949). Oil on canvas; framed: 118.1 x 98.2 x 4.6 cm (46 1/2 x 38 11/16 x 1 13/16 in.); unframed: 113 x 93 cm (44 1/2 x 36 5/8 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. Michael Straight, 1954.864. \u00a9 Jos\u00e9 Clemente Orozco / Artists Rights Society (ARS), New York / SOMAAP, Mexico ", "current_location": null, "title": "Wounded Soldier", "creation_date": "1930", "creation_date_earliest": 1930, "creation_date_latest": 1930, "artists_tags": ["male"], "culture": ["Mexico, 20th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 118.1 x 98.2 x 4.6 cm (46 1/2 x 38 11/16 x 1 13/16 in.); Unframed: 113 x 93 cm (44 1/2 x 36 5/8 in.)", "dimensions": {"framed": {"height": 1.181, "width": 0.982, "depth": 0.046}, "unframed": {"height": 1.13, "width": 0.93}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Jos\u00e9 Clemente Orozco / Artists Rights Society (ARS), New York / SOMAAP, Mexico ", "inscriptions": [{"inscription": "Signed lower left: \"J. C. Orozco\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 702991, "title": "Paintings and Drawings by Orozco", "description": "<i>Paintings and Drawings by Orozco</i>. Marion Koogler McNay Art Museum, San Antonio, TX (January 4-February 14, 1959).", "opening_date": "1959-01-04T05:00:00"}, {"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": 515760, "title": "Orozco: The Later Years", "description": "<i>Orozco: The Later Years</i>. The Gallery of Modern Art, New York, NY (organizer) (September 7-October 17, 1965).", "opening_date": "1965-09-07T04:00:00"}, {"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": 301294, "title": "Works from the Contemporary Collection", "description": "<i>Works from the Contemporary Collection</i>. The Cleveland Museum of Art, Cleveland, OH (July 1-October 15, 1969).", "opening_date": "1969-07-01T04:00:00"}, {"id": 444946, "title": "20th Century Mexican Painting", "description": "<i>20th Century Mexican Painting</i>. Akron Art Museum, Akron, OH (organizer) (November 5-December 3, 1972).", "opening_date": "1972-11-05T05:00:00"}, {"id": 215217, "title": "Jos\u00e9 Clemente Orozco in the United States, 1927-1934", "description": "<i>Jos\u00e9 Clemente Orozco in the United States, 1927-1934</i>. San Diego Museum of Art, San Diego, CA (March 8-May 19, 2002); Hood Museum of Art, Hanover, NH (organizer) (June 8-December 15, 2002).", "opening_date": "2002-03-08T00:00:00"}], "legacy": []}, "provenance": [{"description": "(Mrs. Alma Reed, Delphic Studios, New York)", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Orozco developed a personal style that he used to convey a need for social change. From political cartoons to frescoes, Orozco infused his beliefs into the content he created.", "description": "The central figure in a movement of revolutionary artists responding to political turmoil in Mexico during the 1920s, Jos\u00e9 Orozco believed that \"a new art cannot take place in an old world.\" The artist's early experience as a maker of political prints taught him the power of bold, simple statements. Wounded Soldier clearly communicates the strength of Orozco's convictions. The dark palette sets an anguished tone and the aggressive brushwork conveys the soldier's pain and his comrades' anguish.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60516627"], "internet_archive": []}, "citations": [{"citation": "San Diego Museum of Art (3/8/2002 - 5/19/2002) and the Hood Museum of Art, Hanover, NH (6/8/2002 - 12/15/2002): \"Jos\u00e9 Clemente Orozco in the United States, 1927-1934\"", "page_number": "fig. 32, p. 50", "url": ""}, {"citation": "Francis, Henry. \"'The Wounded Soldier' by Orozco.\"<em> The Bulletin of the Cleveland Museum of Art </em>42, no. 4 (April 1955): 61-63.", "page_number": "Mentioned: p. 61; Reproduced: p. 62", "url": "https://www.jstor.org/stable/25142031"}, {"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. 522", "url": "https://archive.org/details/CMAHandbook1958/page/n96"}, {"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. 198", "url": "https://archive.org/details/CMAHandbook1966/page/n222"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 198", "url": "https://archive.org/details/CMAHandbook1969/page/n222"}, {"citation": "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. 247", "url": "https://archive.org/details/CMAHandbook1978/page/n267"}], "url": "https://clevelandart.org/art/1954.864", "images": {}, "alternate_images": [], "creditline": "Gift of Mr. and Mrs. Michael Straight", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 132415, "creators": [{"id": 3234, "description": "Jos\u00e9 Clemente Orozco (Mexican, 1883\u20131949)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1883", "death_year": "1949", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1954-12-20T00:00:00", "sortable_date": 1930, "date_added_to_oa": null, "date_text": "1930", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:02:18.767000"}, {"id": 142780, "accession_number": "1966.48", "share_license_status": "Copyrighted", "tombstone": "Mother with Child, 1958. Isamu Noguchi (American, 1904\u20131988). White marble; overall: 110.5 x 23 x 23.6 cm (43 1/2 x 9 1/16 x 9 5/16 in.); with base: 204.4 x 45.8 x 45.8 cm (80 1/2 x 18 1/16 x 18 1/16 in.). The Cleveland Museum of Art, Contemporary Collection of The Cleveland Museum of Art, 1966.48. \u00a9 The Isamu Noguchi Foundation and Garden Museum, New York / Artists Rights Society (ARS), New York", "current_location": null, "title": "Mother with Child", "creation_date": "1958", "creation_date_earliest": 1958, "creation_date_latest": 1958, "artists_tags": ["Asian American", "male"], "culture": ["America"], "technique": "white marble", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Sculpture", "type": "Sculpture", "measurements": "Overall: 110.5 x 23 x 23.6 cm (43 1/2 x 9 1/16 x 9 5/16 in.); with base: 204.4 x 45.8 x 45.8 cm (80 1/2 x 18 1/16 x 18 1/16 in.)", "dimensions": {"overall": {"height": 1.105, "width": 0.23, "depth": 0.236}, "with base": {"height": 2.044, "width": 0.458, "depth": 0.458}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 The Isamu Noguchi Foundation and Garden Museum, New York / Artists Rights Society (ARS), New York", "inscriptions": [], "exhibitions": {"current": [{"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": 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"}], "legacy": [{"description": "Stable Gallery, NY, 1959", "opening_date": "1959-01-01T00:00:00"}, {"description": "CMA 1966: \"Fifty Years of Modern Art, cat. #135, repr.", "opening_date": "1966-01-01T00:00:00"}, {"description": "CMA 1966:  \"Golden Anniversary Acquisitions,\" Bulletin LIII (September 1966), repr. p. 245, listed p. 284", "opening_date": "1966-09-01T00:00:00"}, {"description": "Whitney Museum, NY, 1968:  \"Isamu Noguchi Retrospective\"", "opening_date": "1968-01-01T00:00:00"}, {"description": "CMA 1987:  \"Creativity in Art and Science, 1860-1960,\" cat. #47, p. 136, repr.", "opening_date": "1960-01-01T00:00:00"}]}, "provenance": [{"description": "[Sable Gallery, New York]", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "Nelson Rockefeller (1908\u20131979), purchased c. 1959", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "[Cordier & Ekstrom, New York, NY]", "citations": [], "footnotes": null, "date": null, "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH, purchased in 1966.", "citations": [], "footnotes": null, "date": null, "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1247.61"], "did_you_know": "Noguchi said, \"You can find out how to do something and then do it, or do something and then find out what you did.\"", "description": "American sculptor Isamu Noguchi carved <em>Mother with Child</em> from a from a single block of marble. Its abstract forms consist of two smooth cylindrical shapes enveloped by a horizontal band having a greater degree of texture. The sculpture\u2019s composition suggests the bond of human intimacy indicated by its title.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80042903"], "internet_archive": []}, "citations": [{"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 201", "url": "https://archive.org/details/CMAHandbook1966/page/n225"}, {"citation": "Stechow, Wolfgang. \"Cleveland's Golden Anniversary Acquisitions.\" <em>Artnews</em> 65, no. 5 (September 1966): 30-64.", "page_number": "Reproduced: p. 33; Mentioned: p. 64", "url": null}, {"citation": "Henning, Edward B. \u201cTwo New Contemporary Sculptures.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 54, no. 7 (September 1967): 219\u2013227.", "page_number": "Mentioned and reproduced: p. 220-222, fig. 1", "url": "http://www.jstor.org/stable/25152168"}, {"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. 201", "url": "https://archive.org/details/CMAHandbook1969/page/n225"}, {"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. 253", "url": "https://archive.org/details/CMAHandbook1978/page/n273"}, {"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. 136, no. 47", "url": ""}], "url": "https://clevelandart.org/art/1966.48", "images": {}, "alternate_images": [], "creditline": "Contemporary Collection of The Cleveland Museum of Art", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 142780, "creators": [{"id": 29845, "description": "Isamu Noguchi (American, 1904\u20131988)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1904", "death_year": "1988", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1967-01-30T00:00:00", "sortable_date": 1958, "date_added_to_oa": null, "date_text": "1958", "collapse_artists": false, "on_loan": false, "recently_acquired": 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 Child"], "is_highlight": false, "updated_at": "2026-03-27 00:01:44.028000"}, {"id": 156577, "accession_number": "1992.283", "share_license_status": "Copyrighted", "tombstone": "Untitled, c. 1939. Yves Tanguy (French, 1900\u20131955). Gouache with some incised lines drawn in metal point; sheet: 31.9 x 24.6 cm (12 9/16 x 9 11/16 in.); secondary support: 44.6 x 36.6 cm (17 9/16 x 14 7/16 in.). The Cleveland Museum of Art, Bequest of Lockwood Thompson, 1992.283. \u00a9 Estate of Yves Tanguy / Artists Rights Society (ARS), New York", "current_location": null, "title": "Untitled", "creation_date": "c. 1939", "creation_date_earliest": 1934, "creation_date_latest": 1944, "artists_tags": ["male"], "culture": ["France, 20th century"], "technique": "Gouache with some incised lines drawn in metal point", "support_materials": [{"description": "off-white (probably wove) paper mounted on gray board", "watermarks": []}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 31.9 x 24.6 cm (12 9/16 x 9 11/16 in.); Secondary Support: 44.6 x 36.6 cm (17 9/16 x 14 7/16 in.)", "dimensions": {"sheet": {"height": 0.319, "width": 0.246}, "secondary support": {"height": 0.446, "width": 0.366}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of Yves Tanguy / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "inscribed by artist, lower right, in black gouache: A Madame Jeanne Bucher, / avec La gratitude / d'yves tanguy. 39", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304405, "title": "Surrealism in Perspective", "description": "<i>Surrealism in Perspective</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 3, 1979-January 6, 1980).", "opening_date": "1979-10-03T04:00:00"}, {"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": 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"}], "legacy": [{"description": "<em>Surrealism in Perspective</em>. Cleveland Museum of Art, Cleveland, OH (October 3, 1979 - January 6, 1980).", "opening_date": "1979-10-03T00:00:00"}, {"description": "<em>Contemporary Drawings</em>. Cleveland Museum of Art, Cleveland, OH (June 13 - August 3, 1975).", "opening_date": "1975-06-13T00:00:00"}, {"description": "<em>Exposition Yves Tanguy</em>. Galerie Jeanne Bucher-Myrbor, Paris (May 17 - May 30, 1938).", "opening_date": "1938-05-17T00:00:00"}, {"description": "Possibly included.", "opening_date": null}]}, "provenance": [{"description": "Jeanne Bucher, Paris", "citations": [], "footnotes": ["<div><!--block-->inscribed to her by Tanguy</div>"], "date": "probably 1939-?", "sortorder": 1}, {"description": "(possibly Galerie Jeanne Bucher, Paris, probably sold to Lockwood Thompson)", "citations": [], "footnotes": null, "date": "?-?", "sortorder": 3}, {"description": "Lockwood Thompson [1901-1992], Cleveland, OH, bequest to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": ["<div><!--block-->Thompson may have purchased the work directly from the gallery since he frequently bought from Paris and London galleries -- Galerie Jeanne Bucher owned other works by Tanguy as late as 1963 (according to Kay Sage's catalogue raisonn\u00e9 of that year); since the Cleveland drawing does not appear in the 1963 catalogue, Thompson may have owned it by that time, unbeknown to Tanguy's wife, Kay Sage.</div>"], "date": "by 1979-1992", "sortorder": 4}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1992-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1065.79"], "did_you_know": "This drawing was made around the time that Yves Tanguy fled Europe for the United States, in November 1939, following the outbreak of World War II.", "description": "Yves Tanguy developed an interest in the surrealist movement during the early decades of the 20th century, creating vague but evocative and meticulously rendered images that suggested dreams and the subconscious. Using smoothly applied color, Tanguy painted enigmatic biomorphic forms that often suggest human or animal figures and cast dramatic shadows throughout the composition. These shapes are found in the present drawing, within a sparse setting. The gray background tones suggest underwater depths, and could relate to the artist's experience in the Merchant Navy during World War I.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79946099"], "internet_archive": []}, "citations": [{"citation": "Lawrence, Michael G. <em>Surrealism in Perspective</em>. Exh. Cat. Cleveland: Cleveland Museum of Art, 1979.", "page_number": "Mentioned: p. 34", "url": null}, {"citation": "\"Catalogue.\" <em>Bulletin of the Cleveland Museum of Art</em> 80, no. 1 (January 1993): 65-73.", "page_number": "Mentioned: p. 75, no. 317", "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. 75", "url": "http://www.jstor.org/stable/25161388"}, {"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. 11, pp. 262-263, 298; Reproduced: p. 263", "url": null}], "url": "https://clevelandart.org/art/1992.283", "images": {}, "alternate_images": [], "creditline": "Bequest of Lockwood Thompson", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 156577, "creators": [{"id": 12379, "description": "Yves Tanguy (French, 1900\u20131955)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1900", "death_year": "1955", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1992-12-07T00:00:00", "sortable_date": 1934, "date_added_to_oa": null, "date_text": "c. 1939", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": ["Seascape"], "is_highlight": true, "updated_at": "2026-03-27 00:02:03.947000"}, {"id": 109045, "accession_number": "1927.211", "share_license_status": "CC0", "tombstone": "The City Fettering Nature, 1927. Alexander Blazys (American, born Russian Empire [now Lithuania], 1894\u20131963). Bronze; without base: 235.6 x 177.8 x 104.2 cm (92 3/4 x 70 x 41 in.). The Cleveland Museum of Art, Gift of Mrs. B. P. Bole, Leonard C. Hanna Jr., John L. Severance and F. F. Prentiss, 1927.211", "current_location": "WL West Lawn", "title": "The City Fettering Nature", "creation_date": "1927", "creation_date_earliest": 1927, "creation_date_latest": 1927, "artists_tags": ["May Show", "male", "Cleveland Institute of Art (faculty)"], "culture": ["America, Ohio, Cleveland"], "technique": "bronze", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Sculpture", "type": "Sculpture", "measurements": "without base: 235.6 x 177.8 x 104.2 cm (92 3/4 x 70 x 41 in.)", "dimensions": {"without base": {"height": 2.356, "width": 1.778, "depth": 1.042}, "No Extent Specified": {}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 381573, "title": "The May Show: 9th Annual Exhibition of Works by Cleveland Artists and Craftsmen", "description": "<i>The May Show: 9th Annual Exhibition of Works by Cleveland Artists and Craftsmen</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 27-June 5, 1927).", "opening_date": "1927-04-27T04:00:00"}], "legacy": []}, "provenance": [{"description": "the cast was sent to the foundry of Antioch College, Yellow Springs, Ohio, where it was cast in bronze by Giovanni Polizzoti, a teacher at the College, with the aid of two students; the bronze was returned and installed on the lawn north of the Museum, 12/14/1927.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This monumental bronze sculpture weighs 1,500 pounds and requires a crane to install.", "description": "Alexander Blazys, a Lithuanian immigrant, became a leading sculptor in Cleveland during the 1920s, when he created <em>The City Fettering Nature</em> for the Cleveland Museum of Art\u2019s grounds. In this composition, Utility and Beauty, two characteristics of the city, are shown as intertwined figures attempting to subdue Nature\u2019s power. The brawny figure of Nature, still standing despite this attack, struggles to free himself from the restraints.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80001169"], "internet_archive": ["https://archive.org/details/clevelandart-1927.211-the-city-fettering-n"]}, "citations": [{"citation": "Alexander Blazys Entry Card to 1927 May Show. 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P. Bole, Leonard C. Hanna Jr., John L. Severance and F. F. Prentiss", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 109045, "creators": [{"id": 14713, "description": "Alexander Blazys (American, born Russian Empire [now Lithuania], 1894\u20131963)", "extent": null, "qualifier": null, "role": "sculptor", "biography": "Cleveland\u2019 s leading modernist sculptor of the 1920s, Alexander Blazys was born in Poniewiesz, Lithuania. After graduating from military school, he studied sculpture for seven years at the St. Petersburg Academy of Fine Arts. He visited Paris frequently during this period and in 1920 decided not to return to the Soviet Union because of the political restrictions placed on modernist art. Working in Paris, he received critical acclaim for sculptures exhibited in the Salon des Ind\u00e9pendants. In 1923 he immigrated to Detroit, where exhibited and received his first American commissions. The following year he moved to New York City but, upon the invitation of a friend, settled in Cleveland in 1925. Blazys\u2019 gracefully stylized sculptures of East European folk dancers and musicians in the 1926 May Show at the Cleveland Museum of Art established his reputation as \u201cthe sculptor of rhythms.\u201d He was immediately embraced by the Cleveland art community, receiving numerous commissions for portrait busts, from which he earned his primary income. He was head of the sculpture department at the Cleveland School of Art, 1926\u201338. In 1927 his large bronze figural work <em>City Fettering Nature</em> was installed on the grounds of the Cleveland Museum of Art. Around this time Blazys joined the staff of the Cowan Pottery Studio as a designer and encouraged the studio to experiment with ceramic sculpture. Cleveland\u2019s Eastman Bolton Gallery sponsored his first solo exhibition (1929), and his works subsequently appeared in group shows in Cleveland, Chicago, and Philadelphia though he remained active in the local art scene during the 1930s, his popularity waned, and in the early 1940s, after com plet ing a Works Progress Administration commission to create stone relief carvings for the Woodhill Homes housing project, he moved to New Jersey and worked for a series of ceramic firms creating molds for mass-produced figurines. Blazys returned to Cleveland in 1952. Selected References Fort, Ilene Susan. <br>\"Transformations in Cleveland Art\" (CMA, 1996), p. 223", "name_in_original_language": null, "birth_year": "1894", "death_year": "1963", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1927-06-27T00:00:00", "sortable_date": 1927, "date_added_to_oa": null, "date_text": "1927", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:05:34.830000"}, {"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": 148803, "accession_number": "1976.53", "share_license_status": "CC0", "tombstone": "Cabinet, c. 1910. Louis Majorelle (French, 1859\u20131926). Wood marquetry with metal mounts; overall: 130.8 x 162.5 x 58.4 cm (51 1/2 x 64 x 23 in.). The Cleveland Museum of Art, John L. Severance Fund, 1976.53", "current_location": "221 19th Century Decorative Arts", "title": "Cabinet", "creation_date": "c. 1910", "creation_date_earliest": 1905, "creation_date_latest": 1915, "artists_tags": ["male"], "culture": ["France, early 20th Century"], "technique": "wood marquetry with metal mounts", "support_materials": [], "department": "Decorative Art and Design", "collection": "Furniture", "type": "Furniture and woodwork", "measurements": "Overall: 130.8 x 162.5 x 58.4 cm (51 1/2 x 64 x 23 in.)", "dimensions": {"overall": {"height": 1.308, "width": 1.625, "depth": 0.584}}, "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": "(Macklowe Gallery, New York).", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Let your eye trace the sinuous lines and leafy forms of this chest. Its design emphasizes the beauty of the wood, celebrating nature. Louis Majorelle designed it in the Art Nouveau style.", "description": "The Majorelle family operated a large furniture making business at Nancy in eastern France. There they produced distinguished furniture in the Art Nouveau style. 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Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 226", "url": "https://archive.org/details/CMAHandbook1978/page/n246"}], "url": "https://clevelandart.org/art/1976.53", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1976.53/1976.53_web.jpg", "width": "900", "height": "689", "filesize": "300292", "filename": "1976.53_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1976.53/1976.53_print.jpg", "width": "3400", "height": "2604", "filesize": "2079602", "filename": "1976.53_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1976.53/1976.53_full.tif", "width": "6232", "height": "4773", "filesize": "89283072", "filename": "1976.53_full.tif"}}, "alternate_images": [{"date_created": "2007-11-01T16:02:16", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1976.53/1976.53_alt0_web.jpg", "width": "1144", "height": "893", "filesize": "150410"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1976.53/1976.53_alt0_print.jpg", "width": "3400", "height": "2655", "filesize": "1141554"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1976.53/1976.53_alt0_full.tif", "width": "6233", "height": "4869", "filesize": "91088068"}}], "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": 148803, "creators": [{"id": 12737, "description": "Louis Majorelle (French, 1859\u20131926)", "extent": null, "qualifier": null, "role": "made by", "biography": "Louis Majorelle, the son of a cabinet-maker, Auguste Majorelle, who worked in Nancy and specialized in reproduction 18th C. furniture. He was trained as a painter (under Millet in Paris) but gave up on painting and returned to Nancy to run the family workshops when his father died in 1879. Until 1890 he continued to work, like his father, in 18th C. styles for furniture. In the 1880s Gall\u00e9's first Art Nouveau pieces of furniture were made (in Nancy), and by 1900 Majorelle had so successfully turned over to the new style that he had become the main producer of Art Nouveau furniture and perhaps Europe. He mechanized his workshops, which were said to have been 'organized in the manner of a big industrial concern': and although his factory produced nothing that could not have been made as well, if not better, by the techniques of hand-craftsmanship, it was able to produce luxury furniture at a price within the range of the middle class.", "name_in_original_language": null, "birth_year": "1859", "death_year": "1926", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1976-07-29T00:00:00", "sortable_date": 1905, "date_added_to_oa": null, "date_text": "c. 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 00:06:11.870000"}, {"id": 151901, "accession_number": "1984.190", "share_license_status": "CC0", "tombstone": "Parrot, c. 1910. Zsolnay Factory (Hungarian). Earthenware with lustre glazes; overall: 38.3 x 26.7 x 19.9 cm (15 1/16 x 10 1/2 x 7 13/16 in.). The Cleveland Museum of Art, Gift in memory of Mrs. Magda N\u00e0dasy, from her estate, 1984.190", "current_location": "221 19th Century Decorative Arts", "title": "Parrot", "creation_date": "c. 1910", "creation_date_earliest": 1905, "creation_date_latest": 1915, "artists_tags": ["gender unknown"], "culture": ["Hungary"], "technique": "earthenware with lustre glazes", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Ceramic", "measurements": "Overall: 38.3 x 26.7 x 19.9 cm (15 1/16 x 10 1/2 x 7 13/16 in.)", "dimensions": {"overall": {"height": 0.383, "width": 0.267, "depth": 0.199}}, "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": "The glaze technique on this parrot is eosin, which takes its name from Eos, the Greek goddess of dawn.", "description": "This parrot's distinctive metallic sheen is achieved through a technique known as luster glazing, in which ground metals, typically silver, gold, or platinum, are incorporated into the glazing process. The parrot is decorated with green-gold luster, while the base is decorated with blue-purple-gold luster.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60749044"], "internet_archive": []}, "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 and reproduced: p. 203, no. 92", "url": "http://www.jstor.org/stable/25159897"}], "url": "https://clevelandart.org/art/1984.190", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1984.190/1984.190_web.jpg", "width": "735", "height": "893", "filesize": "307232", "filename": "1984.190_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1984.190/1984.190_print.jpg", "width": "2797", "height": "3400", "filesize": "4801382", "filename": "1984.190_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1984.190/1984.190_full.tif", "width": "4219", "height": "5129", "filesize": "64951404", "filename": "1984.190_full.tif"}}, "alternate_images": [{"date_created": "2008-09-24T17:54:17", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1984.190/1984.190_alt0_web.jpg", "width": "750", "height": "893", "filesize": "304492"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1984.190/1984.190_alt0_print.jpg", "width": "2855", "height": "3400", "filesize": "4809136"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1984.190/1984.190_alt0_full.tif", "width": "4341", "height": "5170", "filesize": "67362296"}}], "creditline": "Gift in memory of Mrs. Magda N\u00e0dasy, from her estate", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Victoire and Alfred Rankin Jr. Gallery", "athena_id": 151901, "creators": [{"id": 20927, "description": "Zsolnay Factory (Hungarian)", "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": "1985-01-21T00:00:00", "sortable_date": 1905, "date_added_to_oa": null, "date_text": "c. 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 00:05:11.748000"}, {"id": 156583, "accession_number": "1992.289", "share_license_status": "Copyrighted", "tombstone": "Seascape, 1945. John Tunnard (British, 1900\u20131971). Gouache on masonite; framed: 40.7 x 33 cm (16 x 13 in.); unframed: 30.5 x 22.9 cm (12 x 9 in.). The Cleveland Museum of Art, Bequest of Lockwood Thompson, 1992.289", "current_location": "225 German Expressionism & Surrealism", "title": "Seascape", "creation_date": "1945", "creation_date_earliest": 1945, "creation_date_latest": 1945, "artists_tags": ["male"], "culture": ["England, 20th century"], "technique": "gouache on masonite", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 40.7 x 33 cm (16 x 13 in.); Unframed: 30.5 x 22.9 cm (12 x 9 in.)", "dimensions": {"framed": {"height": 0.407, "width": 0.33}, "unframed": {"height": 0.305, "width": 0.229}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "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"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The Abstract Expressionist Mark Rothko admired John Tunnard\u2019s paintings.", "description": "During World War II, John Tunnard served in the coast guard off the south coast of Cornwall, England. The experience of gazing at the nighttime sea and sky may account for the frequency of marine subjects in his work during this period. A true Surrealist, Tunnard painted from his imagination, explaining, \u201cThe objects you see in my paintings and which you say do not exist do in fact exist, but in a world of my own. This world of my own is just as natural to me as your world is to you.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60476826"], "internet_archive": []}, "citations": [{"citation": "Turner, Evan H. \u201cThe Year in Review for 1992.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 80, no. 2 (February 1993): 38\u201379.", "page_number": "Mentioned: p. 75", "url": "http://www.jstor.org/stable/25161388"}], "url": "https://clevelandart.org/art/1992.289", "images": {}, "alternate_images": [], "creditline": "Bequest of Lockwood Thompson", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 156583, "creators": [{"id": 22962, "description": "John Tunnard (British, 1900\u20131971)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1900", "death_year": "1971", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1992-12-07T00:00:00", "sortable_date": 1945, "date_added_to_oa": null, "date_text": "1945", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:03:53.230000"}, {"id": 296863, "accession_number": "2018.263", "share_license_status": "CC0", "tombstone": "Daffodil Table Lamp, c. 1910\u201313. Tiffany Studios (United States, New York, 1902\u201332). Leaded glass, blown glass, bronze; shade: 23.2 x 49.3 x 49.3 cm (9 1/8 x 19 7/16 x 19 7/16 in.). The Cleveland Museum of Art, Bequest of Charles Maurer, 2018.263", "current_location": "209 Tiffany", "title": "Daffodil Table Lamp", "creation_date": "c. 1910\u201313", "creation_date_earliest": 1905, "creation_date_latest": 1918, "artists_tags": ["gender unknown"], "culture": ["America"], "technique": "Leaded glass, blown glass, bronze", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Lamp", "measurements": "Shade: 23.2 x 49.3 x 49.3 cm (9 1/8 x 19 7/16 x 19 7/16 in.)", "dimensions": {"diameter": {"width": 0.495}, "base": {"height": 0.71, "width": 0.32, "depth": 0.32}, "shade": {"height": 0.232, "width": 0.493, "depth": 0.493}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "TIFFANY STUDIOS NEW YORK 3171", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "TIFFANY STUDIOS/NEW YORK/25922", "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\u20132016], Cleveland, OH, bequest to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "?-2018", "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": "Giant bronze crabs, likely cast from a real crustacean, set the scene for this rare Tiffany Studios base in which green glass is blown into a bronze cage\u2014a very difficult technique since glass and bronze cool at different temperatures risking a complete shatter if not executed correctly.", "description": "In the 1870s a renewed emphasis on natural landscapes ushered in a generation of cottage gardeners who delighted in planting perennials in large quantities. Louis Comfort Tiffany was among those who championed the lush, sometimes wild-looking displays of varied floral species in the garden at his Long Island estate, Laurelton Hall. Tiffany 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 patterns for lamps and mosaics based on the colorful blooms of spring that became among the most sought after and commercially successful of Tiffany\u2019s production.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60740021"], "internet_archive": []}, "citations": [{"citation": "Lima Taub, Stefanie. \"Celebrate Light: Holiday opportunities for illumination.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>63, no. 4 (2023): 36-37.", "page_number": "Reproduced and Mentioned: P. 36", "url": "https://archive.org/details/CMAMM2023-04/page/36/mode/2up"}], "url": "https://clevelandart.org/art/2018.263", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2018.263/2018.263_web.jpg", "width": "708", "height": "900", "filesize": "131930", "filename": "2018.263_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2018.263/2018.263_print.jpg", "width": "2673", "height": "3400", "filesize": "1140630", "filename": "2018.263_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2018.263/2018.263_full.tif", "width": "6000", "height": "7632", "filesize": "137405436", "filename": "2018.263_full.tif"}}, "alternate_images": [{"date_created": "2018-03-16T15:29:23", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.263/2018.263_alt0_web.jpg", "width": "709", "height": "900", "filesize": "288975"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.263/2018.263_alt0_print.jpg", "width": "2678", "height": "3400", "filesize": "2096832"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.263/2018.263_alt0_full.tif", "width": "6000", "height": "7619", "filesize": "137179732"}}], "creditline": "Bequest of Charles Maurer", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 296863, "creators": [{"id": 292194, "description": "Tiffany Studios (United States, New York, 1902\u201332)", "extent": null, "qualifier": null, "role": "maker", "biography": "American jewelry and glass manufactory, 1902-1932", "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": 1905, "date_added_to_oa": null, "date_text": "c. 1910\u201313", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "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 19:03:27.926000"}, {"id": 93168, "accession_number": "2018.291", "share_license_status": "Copyrighted", "tombstone": "Agate Vase, c. 1909. Tiffany Studios (United States, New York, 1902\u201332). Favrile glass; overall: 22.3 x 11 cm (8 3/4 x 4 5/16 in.). The Cleveland Museum of Art, Bequest of Charles Maurer, 2018.291", "current_location": "209 Tiffany", "title": "Agate Vase", "creation_date": "c. 1909", "creation_date_earliest": 1908, "creation_date_latest": 1910, "artists_tags": ["gender unknown"], "culture": ["America, New York"], "technique": "Favrile glass", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Glass", "measurements": "Overall: 22.3 x 11 cm (8 3/4 x 4 5/16 in.)", "dimensions": {"overall": {"height": 0.223, "width": 0.11}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "engraved on underside: 7004 D L.C.Tiffany - Favrile", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "affixed to underside: paper label inscribed in graphite: 383", "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"}], "legacy": []}, "provenance": [{"description": "Charles Maurer [1929-2016], Cleveland, OH, bequest to the Cleveland Museum of Art", "citations": [], "footnotes": null, "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": "The glass in this vase is multicolored and cut to resemble agate stone vases, popular in Germany and Vienna in the early 1800s.", "description": "This vase is made of Louis Comfort Tiffany's signature Favrile glass. 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/Q79874449"], "internet_archive": []}, "citations": [{"citation": null, "page_number": null, "url": null}], "url": "https://clevelandart.org/art/2018.291", "images": {}, "alternate_images": [], "creditline": "Bequest of Charles Maurer", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 93168, "creators": [{"id": 292194, "description": "Tiffany Studios (United States, New York, 1902\u201332)", "extent": null, "qualifier": null, "role": "artist", "biography": "American jewelry and glass manufactory, 1902-1932", "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": 1908, "date_added_to_oa": null, "date_text": "c. 1909", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-04-01 19:07:10.592000"}, {"id": 374707, "accession_number": "2019.237", "share_license_status": "Copyrighted", "tombstone": "body object series #5 \u2022 sagebrush, 1986\u201388. Ann Hamilton (American, b. 1956). Gelatin silver print; image: 9.9 x 9.9 cm (3 7/8 x 3 7/8 in.); paper: 25.2 x 20.2 cm (9 15/16 x 7 15/16 in.); framed (interior): 55.9 x 50.8 cm (22 x 20 in.); framed (exterior): 57.5 x 52.4 cm (22 5/8 x 20 5/8 in.). The Cleveland Museum of Art, The Severance and Greta Millikin Purchase Fund, 2019.237. \u00a9 Ann Hamilton", "current_location": "229C Contemporary", "title": "body object series #5 \u2022 sagebrush", "creation_date": "1986\u201388", "creation_date_earliest": 1986, "creation_date_latest": 1988, "artists_tags": ["female"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1951-Present", "type": "Photograph", "measurements": "Image: 9.9 x 9.9 cm (3 7/8 x 3 7/8 in.); Paper: 25.2 x 20.2 cm (9 15/16 x 7 15/16 in.); Framed (interior): 55.9 x 50.8 cm (22 x 20 in.); Framed (exterior): 57.5 x 52.4 cm (22 5/8 x 20 5/8 in.)", "dimensions": {"paper": {"height": 0.252, "width": 0.202}, "image": {"height": 0.099, "width": 0.099}, "framed (interior)": {"height": 0.559, "width": 0.508}, "framed (exterior)": {"height": 0.575, "width": 0.524}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Ann Hamilton", "inscriptions": [], "exhibitions": {"current": [{"id": 683481, "title": "Ann Hamilton: still and moving \u2022 the tactile image", "description": "<i>Ann Hamilton: still and moving \u2022 the tactile image</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 14, 2025-April 19, 2026).", "opening_date": "2025-12-14T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Born in Lima and a longtime resident of Columbus, Ohio, Ann Hamilton has received many honors including the National Medal of the Arts and a MacArthur Fellowship.", "description": "The <em>body object</em> series was Ann Hamilton\u2019s first photographic project. Conceived and staged by the artist, these images are surrealist and absurdist, and sometimes humorous, with strong roots in conceptual, performance, and installation art. The sense of touch is a prevalent theme. Hamilton\u2019s imagery may be personal, but the images are universal in their evocation of the body as a receptor of sensation.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q84280146"], "internet_archive": []}, "citations": [{"citation": "Tannenbaum, Barbara. \u201cStill, Yet Moving: Ann Hamilton and Photography.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 65, no. 4 (2025): 4-5.", "page_number": "Reproduced: p. 4; Mentioned: p. 4, 5", "url": "https://archive.org/details/CMAMM-2025-04"}], "url": "https://clevelandart.org/art/2019.237", "images": {}, "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": 374707, "creators": [{"id": 9187, "description": "Ann Hamilton (American, b. 1956)", "extent": null, "qualifier": null, "role": "artist", "biography": "Lima-born and Columbus-based Ann Hamilton has received, among many honors, the National Medal of the Arts and a MacArthur Fellowship. She represented the United States in the 1991 S\u00e3o Paulo Bienal and the 1999 Venice Biennial, and has exhibited extensively around the world. Hamilton has served on the faculty of The Ohio State University since 2001, where she is a Distinguished University Professor in the Department of Art. Hamilton is best known for her large-scale installations and public commissions, but has also worked in other media including photography and film.", "name_in_original_language": null, "birth_year": "1956", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2019-12-02T00:00:00-05:00", "sortable_date": 1986, "date_added_to_oa": null, "date_text": "1986\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": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-26 23:59:34.694000"}, {"id": 374709, "accession_number": "2019.238", "share_license_status": "Copyrighted", "tombstone": "body object series #3 \u2022 shoe, 1984. Ann Hamilton (American, b. 1956). Gelatin silver print; image: 10.3 x 10.2 cm (4 1/16 x 4 in.); paper: 25.2 x 20.2 cm (9 15/16 x 7 15/16 in.); framed (interior): 55.9 x 50.8 cm (22 x 20 in.); framed (exterior): 57.5 x 52.4 cm (22 5/8 x 20 5/8 in.). The Cleveland Museum of Art, The Severance and Greta Millikin Purchase Fund, 2019.238. \u00a9 Ann Hamilton", "current_location": "229C Contemporary", "title": "body object series #3 \u2022 shoe", "creation_date": "1984", "creation_date_earliest": 1984, "creation_date_latest": 1984, "artists_tags": ["female"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1951-Present", "type": "Photograph", "measurements": "Image: 10.3 x 10.2 cm (4 1/16 x 4 in.); Paper: 25.2 x 20.2 cm (9 15/16 x 7 15/16 in.); Framed (interior): 55.9 x 50.8 cm (22 x 20 in.); Framed (exterior): 57.5 x 52.4 cm (22 5/8 x 20 5/8 in.)", "dimensions": {"image": {"height": 0.103, "width": 0.102}, "paper": {"height": 0.252, "width": 0.202}, "framed (interior)": {"height": 0.559, "width": 0.508}, "framed (exterior)": {"height": 0.575, "width": 0.524}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Ann Hamilton", "inscriptions": [{"inscription": "Written in pencil on verso: \"Ann Hamilton (signed)/1984\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 683481, "title": "Ann Hamilton: still and moving \u2022 the tactile image", "description": "<i>Ann Hamilton: still and moving \u2022 the tactile image</i>. 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Here, her imagery may be personal, but the images are universal in their evocation of the body as a receptor of sensation.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q84280186"], "internet_archive": []}, "citations": [{"citation": "Brown, Heather Lemonedes. \u201cAcquisitions 2019.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>60, no. 2 (March/April 2020): 6-7.", "page_number": "Reproduced: P. 7; Mentioned: P. 7, 25.", "url": ""}], "url": "https://clevelandart.org/art/2019.238", "images": {}, "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": 374709, "creators": [{"id": 9187, "description": "Ann Hamilton (American, b. 1956)", "extent": null, "qualifier": null, "role": "artist", "biography": "Lima-born and Columbus-based Ann Hamilton has received, among many honors, the National Medal of the Arts and a MacArthur Fellowship. She represented the United States in the 1991 S\u00e3o Paulo Bienal and the 1999 Venice Biennial, and has exhibited extensively around the world. Hamilton has served on the faculty of The Ohio State University since 2001, where she is a Distinguished University Professor in the Department of Art. Hamilton is best known for her large-scale installations and public commissions, but has also worked in other media including photography and film.", "name_in_original_language": null, "birth_year": "1956", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2019-12-02T00:00:00-05:00", "sortable_date": 1984, "date_added_to_oa": null, "date_text": "1984", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:42.349000"}, {"id": 449518, "accession_number": "2021.163", "share_license_status": "Copyrighted", "tombstone": "\u00c0 Lusaka, 1982. Melvin Edwards (American, b. 1937). Steel; 29.6 x 19.4 x 14 cm (11 5/8 x 7 5/8 x 5 1/2 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 2021.163. \u00a9 Melvin Edwards / Artists Rights Society (ARS), New York", "current_location": "229B Contemporary", "title": "\u00c0 Lusaka", "creation_date": "1982", "creation_date_earliest": 1982, "creation_date_latest": 1982, "artists_tags": ["Black American Artists", "male"], "culture": ["America"], "technique": "steel", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Sculpture", "type": "Metalwork", "measurements": "29.6 x 19.4 x 14 cm (11 5/8 x 7 5/8 x 5 1/2 in.)", "dimensions": {"No Extent Specified": {"height": 0.296, "width": 0.194, "depth": 0.14}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Melvin Edwards / Artists Rights Society (ARS), New York", "inscriptions": [], "exhibitions": {"current": [{"id": 445578, "title": "Contemporary Art Rotation - Spring 2022", "description": "<i>Contemporary Art Rotation - Spring 2022</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 1-September 25, 2022).", "opening_date": "2022-04-01T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "<em>Lynch Fragments</em> are hung at eye-level (determined by the artist\u2019s height) to invite a direct encounter with the viewer.", "description": "<em>\u00c0 Lusaka</em> (1982) belongs to an ongoing series, <em>Lynch Fragments</em>, which Melvin Edwards began in 1963. The <em>Lynch Fragments</em> are small-scale abstract wall reliefs that feature recognizable objects\u2014often objects that could serve as weapons, such as chains, knives, and railroad spikes. Through Edwards\u2019s composition and welding technique, familiar elements shed their functional associations, becoming lines and shapes in space, and yielding innovative sculptural forms.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117247071"], "internet_archive": []}, "citations": [{"citation": "\"Melvin Edwards: Crossroads.\" Baltimore: Baltimore Museum of Art, 2019, Exhibition brochure, p. 17.", "page_number": "", "url": ""}], "url": "https://clevelandart.org/art/2021.163", "images": {}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Paula and Eugene Stevens Gallery", "athena_id": 449518, "creators": [{"id": 448945, "description": "Melvin Edwards (American, b. 1937)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1937", "death_year": "2026", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2021-12-06T05:00:00Z", "sortable_date": 1982, "date_added_to_oa": null, "date_text": "1982", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-04-02 12:45:16.758000"}, {"id": 170898, "accession_number": "2013.357", "share_license_status": "CC0", "tombstone": "Sheriff of Pecos , 1931\u201332. Russell Barnett Aitken (American, 1910\u20132002). Ceramic; overall: 29 x 15 x 22 cm (11 7/16 x 5 7/8 x 8 11/16 in.). The Cleveland Museum of Art, Gift of Irene Roosevelt Aitken, 2013.357", "current_location": null, "title": "Sheriff of Pecos ", "creation_date": "1931\u201332", "creation_date_earliest": 1931, "creation_date_latest": 1932, "artists_tags": ["May Show", "male", "Cleveland Institute of Art (alumni)"], "culture": ["America, Ohio, Cleveland"], "technique": "ceramic", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Ceramic", "measurements": "Overall: 29 x 15 x 22 cm (11 7/16 x 5 7/8 x 8 11/16 in.)", "dimensions": {"overall": {"height": 0.29, "width": 0.15, "depth": 0.22}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed on the base on the back side\r\n\"Russell Aitken\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 382023, "title": "The May Show: 14th Annual Exhibition of Works by Cleveland Artists and Craftsmen", "description": "<i>The May Show: 14th Annual Exhibition of Works by Cleveland Artists and Craftsmen</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 27-June 5, 1932).", "opening_date": "1932-04-27T04:00:00"}], "legacy": [{"description": "Webb C. Ball Galleries, 1932", "opening_date": "1932-01-01T00:00:00"}, {"description": "The Greenbrier White Sulphur Springs, W. VA.", "opening_date": null}, {"description": "1934", "opening_date": "1934-01-01T00:00:00"}, {"description": "Ceramics by RBA", "opening_date": null}, {"description": "Loaned by Mrs. George W. Crawford", "opening_date": null}, {"description": "1st prize for Ceramic Sculpture, Group of Five, Cleveland Museum of Art, May Show, 1932", "opening_date": "1932-01-01T00:00:00"}, {"description": "1st prize, Texas State Fair", "opening_date": null}, {"description": "The Cleveland Museum of Art; \"The Jazz Age: American Style in the 1920s.\" Sept. 30, 2017-Jan. 14, 2018.", "opening_date": "2017-09-30T00:00:00"}]}, "provenance": [{"description": "Collection of the Artist", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "Thence by descent to his widow, Irene Roosevelt Aitken, 2002", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Caricature, or the exaggeration of prominent features, was a hallmark of Russell Barnett Aitken's style of modeling figures.", "description": "Figural studies were emphasized in ceramics classes at the Kunstgewerbeschule, where Clevelanders Viktor Schreckengost and Russell Barnett Aitken studied in 1929\u201330. Aitken absorbed the Viennese style of exaggeration and caricature as seen in this depiction of a popular folk hero of the Wild West, incorporating such motifs into his work for the rest of his career.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80080300"], "internet_archive": ["https://archive.org/details/clevelandart-2013.357-sheriff-of-pecos"]}, "citations": [{"citation": "Russell Barnett Aitken Entry Card to 1932 May Show. Cleveland Museum of Art May Show Records, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/CMAMS02362"}, {"citation": "Aitken, Russell. Russell Barnett Aitken Collection. Cleveland Museum of Art Archives.", "page_number": null, "url": "http://library.clevelandart.org/russell-barnett-aitken-collection"}], "url": "https://clevelandart.org/art/2013.357", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2013.357/2013.357_web.jpg", "width": "678", "height": "900", "filesize": "146624", "filename": "2013.357_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2013.357/2013.357_print.jpg", "width": "2563", "height": "3400", "filesize": "1312017", "filename": "2013.357_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2013.357/2013.357_full.tif", "width": "4914", "height": "6519", "filesize": "96134924", "filename": "2013.357_full.tif"}}, "alternate_images": [{"date_created": "2014-05-13T09:09:43", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.357/2013.357_alt0_web.jpg", "width": "622", "height": "900", "filesize": "122588"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.357/2013.357_alt0_print.jpg", "width": "2350", "height": "3400", "filesize": "1012811"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.357/2013.357_alt0_full.tif", "width": "4470", "height": "6466", "filesize": "86739904"}}, {"date_created": "2014-05-13T09:18:42", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.357/2013.357_alt1_web.jpg", "width": "730", "height": "900", "filesize": "151372"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.357/2013.357_alt1_print.jpg", "width": "2758", "height": "3400", "filesize": "1332173"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.357/2013.357_alt1_full.tif", "width": "4905", "height": "6046", "filesize": "88998800"}}, {"date_created": "2014-05-13T09:24:29", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.357/2013.357_alt2_web.jpg", "width": "731", "height": "900", "filesize": "158860"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.357/2013.357_alt2_print.jpg", "width": "2761", "height": "3400", "filesize": "1424427"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.357/2013.357_alt2_full.tif", "width": "4910", "height": "6047", "filesize": "89104328"}}, {"date_created": "2014-05-13T09:27:40", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.357/2013.357_alt3_web.jpg", "width": "647", "height": "900", "filesize": "134260"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.357/2013.357_alt3_print.jpg", "width": "2443", "height": "3400", "filesize": "1121224"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.357/2013.357_alt3_full.tif", "width": "4491", "height": "6249", "filesize": "84223980"}}], "creditline": "Gift of Irene Roosevelt Aitken", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 170898, "creators": [{"id": 18625, "description": "Russell Barnett Aitken (American, 1910\u20132002)", "extent": null, "qualifier": null, "role": "maker", "biography": null, "name_in_original_language": null, "birth_year": "1910", "death_year": "2002", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2014-03-03T00:00:00", "sortable_date": 1931, "date_added_to_oa": null, "date_text": "1931\u201332", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Cactus Kid"], "is_highlight": false, "updated_at": "2026-03-27 00:02:35.984000"}, {"id": 147517, "accession_number": "1973.28", "share_license_status": "Copyrighted", "tombstone": "Reconstruction, 1959. Jasper Johns (American, b. 1930). Encaustic and collage on canvas; framed: 154 x 114.5 x 4 cm (60 5/8 x 45 1/16 x 1 9/16 in.); unframed: 155 x 111.7 cm (61 x 44 in.). The Cleveland Museum of Art, Purchase, Accessions Reserve Fund, and Andrew R. and Martha Holden Jennings Fund, 1973.28. \u00a9  Jasper Johns / Licensed by VAGA at Artists Rights Society (ARS), NY", "current_location": null, "title": "Reconstruction", "creation_date": "1959", "creation_date_earliest": 1959, "creation_date_latest": 1959, "artists_tags": ["male", "LGBTQ+ (after 1900)"], "culture": ["America"], "technique": "encaustic and collage on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 154 x 114.5 x 4 cm (60 5/8 x 45 1/16 x 1 9/16 in.); Unframed: 155 x 111.7 cm (61 x 44 in.)", "dimensions": {"framed": {"height": 1.54, "width": 1.145, "depth": 0.04}, "unframed": {"height": 1.55, "width": 1.117}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  Jasper Johns / Licensed by VAGA at Artists Rights Society (ARS), NY", "inscriptions": [{"inscription": "Inscribed on back of canvas: Reconstruction/ J. Johns  '59", "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": 224466, "title": "Abstract Expressionism in the United States", "description": "<i>Abstract Expressionism in the United States</i>. Centro Cultural Arte Contemporaneo, Mexico City (October 10, 1996-January 12, 1997).", "opening_date": "1996-10-10T00:00:00"}, {"id": 177249, "title": "Jasper Johns: An Allegory of Painting, 1955-1965", "description": "<i>Jasper Johns: An Allegory of Painting, 1955-1965</i>. National Gallery of Art, Landover, MD (organizer) (January 28-April 29, 2007).", "opening_date": "2007-01-28T00:00:00"}, {"id": 367813, "title": "Jasper Johns: Mind/Mirror", "description": "<i>Jasper Johns: Mind/Mirror</i>. Philadelphia Museum of Art, Philadelphia, PA (organizer) (September 29, 2021-February 13, 2022) https://www.philamuseum.org/calendar/exhibition/jasper-johns-mindmirror.", "opening_date": "2021-09-29T04:00:00"}], "legacy": [{"description": "CMA 1974: \"Year in Review 1973\" Bulletin LXI (February 1974), p. 77, cat. no. 148, repr. p. 56.", "opening_date": "1974-02-01T00:00:00"}, {"description": "Buffalo, NY. Albright Knox Art Gallery, Heritage and Horizons: American Paintings 1776-1976, March 6-April 11, 1976, cat. no. 59 (also to Detroit Institute of Arts, May 5-June 13, 1976; Toledo Museum of Art, July 4-August 15, 1976; and The Cleveland Museum of Art, September 8-Octiber 10, 1976).", "opening_date": "1976-03-06T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Jasper Johns was awarded the Medal of Freedom, bestowed by President Barack Obama in 2011.", "description": "In the encaustic technique, pigment is suspended in wax that is heated and used as paint, and dries quickly once it is applied to the canvas. The gesture of the artist\u2019s hand and the strokes and drips of the brushwork are thus readily apparent. Johns also applied a piece of extra canvas to this work, folding it into the surface to create a three-part composition. The title suggests that the painting really only has meaning in the mind of the spectator, who \u201creconstructs\u201d the work according to the basic vocabulary of marks and materials that the artist presents.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60472525"], "internet_archive": []}, "citations": [{"citation": "Henning, Edward B. \u201cReconstruction: A Painting by Jasper Johns.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 60, no. 8 (October 1973): 234\u2013241.", "page_number": "Reproduced: p. 234, fig. 1; Mentioned: p. 238", "url": "http://www.jstor.org/stable/25152491"}, {"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. 56; Mentioned: p. 77, no. 148", "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. 255", "url": "https://archive.org/details/CMAHandbook1978/page/n275"}, {"citation": "Bernstein, Roberta, Heidi Colsman-Freyberger, Caitlin Sweeney and Betsy Stepina Zinn. Jasper Johns: Catalogue Raisonne\u0301 of Painting and Sculpture. NY: The Wildenstein Plattner Institute, 2017.", "page_number": "Mentioned and Reproduced: p. 156-157, cat. # P78", "url": null}, {"citation": "Bernstein, Roberta, Heidi Colsman-Freyberger, Caitlin Sweeney and Betsy Stepina Zinn. Jasper Johns: Catalogue Raisonne\u0301 of Painting and Sculpture. NY: The Wildenstein Plattner Institute, 2017.", "page_number": "Reprorreproduced: p. 119, cat #: P78", "url": null}], "url": "https://clevelandart.org/art/1973.28", "images": {}, "alternate_images": [], "creditline": "Purchase, Accessions Reserve Fund, and Andrew R. and Martha Holden Jennings Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 147517, "creators": [{"id": 39574, "description": "Jasper Johns (American, b. 1930)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1930", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1973-12-28T00:00:00", "sortable_date": 1959, "date_added_to_oa": null, "date_text": "1959", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:09.809000"}, {"id": 153217, "accession_number": "1986.19", "share_license_status": "Copyrighted", "tombstone": "Untitled (Cubi Study), 1962. David Smith (American, 1906\u20131965). Blue and black spray paint on heavy weight wove paper; sheet: 50.5 x 66.2 cm (19 7/8 x 26 1/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1986.19. \u00a9  The Estate of David Smith / Licensed by VAGA at Artists Rights Society (ARS), NY", "current_location": null, "title": "Untitled (Cubi Study)", "creation_date": "1962", "creation_date_earliest": 1962, "creation_date_latest": 1962, "artists_tags": ["male"], "culture": ["America"], "technique": "blue and black spray paint on heavy weight wove paper", "support_materials": [], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Sheet: 50.5 x 66.2 cm (19 7/8 x 26 1/16 in.)", "dimensions": {"sheet": {"height": 0.505, "width": 0.662}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  The Estate of David Smith / Licensed by VAGA at Artists Rights Society (ARS), NY", "inscriptions": [{"inscription": "On verso: estate of david smith / acc. no. 73 62.208 [stamped in black ink, numbers written in ballpoint pen]; upper center, in graphite: T; lower right, in graphite, 2 / 26", "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": 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"}, {"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"}, {"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": "<em>David Smith: Sprays from Bolton Landing</em>. Anthony d'Offay, London (July 3 - August 24, 1985).", "opening_date": "1985-07-03T00:00:00"}, {"description": "<em>David Smith: Zeichnungen</em>. Staatsgalerie Stuttgart Graphische Sammlung (January - February 29, 1976); Nationalgalerie Berlin Staatliche Museen Preussen Kulturbesitz (March 16 - May 2, 1976); Wilhelm-Lehmbruck-Museum der Stadt Duisburg.", "opening_date": "1976-03-16T00:00:00"}]}, "provenance": [{"description": "Estate of the artist (the artist's daughters Candida and Rebecca Smith)", "citations": [], "footnotes": null, "date": "1965-?", "sortorder": null}, {"description": "(Anthony d'Offay Gallery, London, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "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": "Although David Smith was best known as a sculptor, drawing was integral to his creative process.", "description": "This drawing belongs to sculptor David Smith's \"sprays\" series (about 1957 to early 1960s), which exemplifies the artist's additive approach to composition. The drawings developed from his sculpture-making process, in which he manipulated pieces of steel on large white rectangles painted on his studio floor. Similarly, for his spray drawings, Smith placed scraps of metal, paper, and other found objects on a sheet of paper or canvas and sprayed enamel paint from various angles, allowing the support to set the image where the objects blocked the paint.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780888"], "internet_archive": []}, "citations": [{"citation": "<em>David Smith: Zeichnungen</em>. Exh. Cat. Stuttgart: Staatsgalerie, 1976.", "page_number": "Mentioned: pp. 6-7, 25, no. 65; Reproduced: p. 25", "url": null}, {"citation": "Ameringer, Will. <em>David Smith: Sprays from Bolton Landing</em>. Exh. Cat. London: Anthony d'Offay, 1985.", "page_number": "Mentioned and reproduced: no. 47", "url": null}, {"citation": "Turner, Evan H. \"The Year in Review for 1986.\" <em>Bulletin of the Cleveland Museum of Art</em> 74, no. 2 (February 1987): 38-79.", "page_number": "Mentioned: p. 73; Reproduced: p. 71", "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. 9, pp. 276-277, 298; Reproduced: p. 277", "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>. Exh. Cat. Cleveland: Cleveland Museum of Art, 2006.", "page_number": "Mentioned: p. 121, no. 101", "url": null}], "url": "https://clevelandart.org/art/1986.19", "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": 153217, "creators": [{"id": 3959, "description": "David Smith (American, 1906\u20131965)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1906", "death_year": "1965", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1986-08-06T00:00:00", "sortable_date": 1962, "date_added_to_oa": null, "date_text": "1962", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Cubi Study"], "is_highlight": false, "updated_at": "2026-03-27 00:01:32.019000"}, {"id": 155784, "accession_number": "1991.111", "share_license_status": "Copyrighted", "tombstone": "Cornwall Circle, 1991. Richard Long (British, 1945-). Slate; diameter: 540 cm (212 5/8 in.). The Cleveland Museum of Art, Seventy-fifth anniversary gift of the Cleveland Society for Contemporary Art on the occasion of its Thirtieth Anniversary, 1991.111. \u00a9 Richard Long, 2006 / Artists Right Society (ARS), New York\r\nCourtesy Haunch of Venison, London", "current_location": null, "title": "Cornwall Circle", "creation_date": "1991", "creation_date_earliest": 1991, "creation_date_latest": 1991, "artists_tags": ["male"], "culture": ["England, 20th century"], "technique": "slate", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Sculpture", "type": "Sculpture", "measurements": "Diameter: 540 cm (212 5/8 in.)", "dimensions": {"diameter": {"width": 5.4}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Richard Long, 2006 / Artists Right Society (ARS), New York\r\nCourtesy Haunch of Venison, London", "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": 219039, "title": "Extended Loan of Richard Long Sculpture", "description": "<i>Extended Loan of Richard Long Sculpture</i>. Museum of Contemporary Art Cleveland (MOCA), Cleveland, OH (organizer) (August 21-December 31, 2006).", "opening_date": "2006-08-21T00:00:00"}, {"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"}], "legacy": [{"description": "<em>Richard Long Walking in Circles</em>. Hayward Gallery, South Bank Center, London, UK (June 14-August 11, 1991).", "opening_date": "1991-06-14T00:00:00"}]}, "provenance": [{"description": "(Anthony d'Offay Gallery, London, England)", "citations": [], "footnotes": null, "date": "1991", "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": null, "description": "Richard Long's art is based on nature and his interaction with it. He has explained, \"My work is real, not illusory or conceptual. It is about real stones, real time, real actions. I use the world as I find it.\" This haunting sculpture contains almost 200 previously cut, irregular pieces of slate arranged in a circle. Long obtained the stones from a quarry in the small village of Delabole in Cornwall, England, which has been a source of materials for his sculptures since the 1960s. The quarry's usual customers are builders, who use cut slate for various architectural purposes such as floors, roofs, and counter tops. In providing these products, the quarry cuts the stone, often leaving discarded pieces. Long then selects these castoffs to create his evocative works of art. In <em>Cornwall Circle</em>, each stone is unique in shape, size, and textural markings. However, the overall arrangement is a unified composition with geologic and natural references. For example, when viewed from a low vantage point, the stones suggest a mountain range.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79944176"], "internet_archive": []}, "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. 50; Mentioned: p. 49-50, 66", "url": "https://www.jstor.org/stable/25161388"}, {"citation": "\"1992 Annual Report.\" <em>The Bulletin of the Cleveland Museum of Art</em> 80, no. 6 (1993): 215-95.", "page_number": "Mentioned: p. 245, 287", "url": "https://www.jstor.org/stable/25161418"}, {"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 and Reproduced: pp. 4\u20135", "url": "https://archive.org/details/CMAMM2002-10/page/n3"}, {"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. 28, no. 132", "url": ""}, {"citation": "Donley, Gregory M., \"Geometric Means\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 46 no. 05, May/June 2006", "page_number": "Mentioned adnd Reproduced: p. 3", "url": "https://archive.org/details/CMAMM2006-05/page/2"}], "url": "https://clevelandart.org/art/1991.111", "images": {}, "alternate_images": [], "creditline": "Seventy-fifth anniversary gift of the Cleveland Society for Contemporary Art on the occasion of its Thirtieth Anniversary", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 155784, "creators": [{"id": 595, "description": "Richard Long (British, 1945-)", "extent": null, "qualifier": null, "role": "artist", "biography": "Richard Long British, 1945 -\r\n\r\nRichard Long derives inspiration from his interaction with nature, experiencing the land through the English tradition of walking. He collects materials from these ventures,stones, willow branches, seaweed,and incorporates them into his on-site sculpture, often in arrangements such as a circle, spiral, line, or cross that conjure ancient patterns. Using his camera to document these temporary sculptures, Long explores the themes of transformation, the ephemerality of human existence on the land, and notions of time, place, and movement. Long's photographs record the transient aspects of his art-making process and address human presence through implication rather than direct representation.\r\n\tLong, who lives in his native Bristol, studied at the Bristol School of Art (1962) and St. Martin's School of Art, London (1966-68). He has been at the forefront of contemporary art for the past 25 years, with many one-person exhibitions throughout Europe, Australia, the United States, and Canada. In addition to his photographic triptych, the Cleveland Museum of Art owns a Long sculpture. A.W.", "name_in_original_language": null, "birth_year": "1945", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1991-09-23T00:00:00", "sortable_date": 1991, "date_added_to_oa": null, "date_text": "1991", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:09.916000"}, {"id": 151516, "accession_number": "1983.68", "share_license_status": "Copyrighted", "tombstone": "Impala, 1968. Alex Katz (American, b. 1927). Oil on canvas; framed: 187 x 278 x 4 cm (73 5/8 x 109 7/16 x 1 9/16 in.); unframed: 182.9 x 276.9 cm (72 x 109 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund and Gift of the Eppler Family Foundation and Agnes Gund, 1983.68. \u00a9  Alex Katz / Licensed by VAGA at Artists Rights Society (ARS), NY", "current_location": null, "title": "Impala", "creation_date": "1968", "creation_date_earliest": 1968, "creation_date_latest": 1968, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "measurements": "Framed: 187 x 278 x 4 cm (73 5/8 x 109 7/16 x 1 9/16 in.); Unframed: 182.9 x 276.9 cm (72 x 109 in.)", "dimensions": {"framed": {"height": 1.87, "width": 2.78, "depth": 0.04}, "unframed": {"height": 1.829, "width": 2.769}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  Alex Katz / Licensed by VAGA at Artists Rights Society (ARS), NY", "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": 227413, "title": "Brand-New & Terrific: Alex Katz in the 1950s", "description": "<i>Brand-New & Terrific: Alex Katz in the 1950s</i>. The Cleveland Museum of Art, Cleveland, OH (April 30-August 6, 2017).", "opening_date": "2015-07-11T04:00:00"}], "legacy": [{"description": "Fischbach Gallery, New York (September 26-October 22, 1970).", "opening_date": "1970-09-26T00:00:00"}, {"description": "<em>Alex Katz Retrospective</em>. Utah Museum of Fine Arts, Salt Lake City (January 7-February 7, 1971); University of California, San Diego (February 22-April 14, 1971); Minnesota Museum of Art, St. Paul (July 16-October 3, 1971); Wadsworth Atheneum, Hartford, CT (November 10-December 31, 1971).", "opening_date": "1971-01-07T00:00:00"}, {"description": "<em>Alex Katz</em>. Whitney Museum of American Art, New York (March 6-June 15, 1986).", "opening_date": "1986-03-06T00:00:00"}]}, "provenance": [{"description": "Mrs. Herbert Fischbach, New York", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "(Hirschl & Adler Modern, New York)", "citations": [], "footnotes": null, "date": null, "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Katz made five quick oil sketches prior to composing <em>Impala</em>; because of his preparations the final image was completed in just one session.", "description": "<em>Impala</em> is one of at least 80 portraits Alex Katz painted of his wife, Ada. Here, he presents her as a passenger in the vivid red interior of a 1960s Chevy Impala on a drive through the American Southwest. A mountainous view of Utah is visible through the car window. Combining realism and abstraction, Katz borrows the large scale and bold forms of Abstract Expressionism to invigorate his straightforward approach to figurative painting.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60475237"], "internet_archive": []}, "citations": [{"citation": "Gilbert, Rita, and William McCarter.<em> Living with Art</em>. New York: Knopf, 1988.", "page_number": "Reproduced p. 21", "url": ""}, {"citation": "Katz, Alex, David Sylvester, and Merlin James.<em> Alex Katz: Twenty Five Years of Painting from the Saatchi Collection</em>. London: Saatchi Gallery, 1997.", "page_number": "Reproduced and mentioned p. 173", "url": ""}, {"citation": "Marshall, Richard, Alex Katz, and Robert Rosenblum. <em>Alex Katz</em>. New York: Rizzoli, 1986.", "page_number": "Reproduced p. 91, fig 60", "url": ""}, {"citation": "Sandler, Irving. <em>Alex Katz</em>. New York: H.N. Abrams, 1979.", "page_number": "Reproduced p. 40, fig. 28; mentioned p. 38", "url": ""}, {"citation": "Katz, Alex, Irving Sandler, and Bill Berkson. <em>Alex Katz</em>. New York: Praeger Publishers, 1971. .", "page_number": "Reproduced p. 91", "url": ""}, {"citation": "Turner, Evan H. \"Year in Review for 1983,\" <em>The Bulletin of the Cleveland Museum of Art </em>71, no. 2 (1984): 38-79.", "page_number": "Reproduced and mentioned p. 56, cat. 95", "url": ""}, {"citation": "Hinson, Tom H. \"Alex Katz's Impala,\" <em>The Bulletin of the Cleveland Museum of Art</em> 73, no.8 (1986): 314-26.", "page_number": "Reproduced on cover, p. 314; mentioned p. 314", "url": ""}, {"citation": "Sandler, Irving. <em>Alex Katz: A Retrospective</em>. New York: Harry N. Abrams, 1998.", "page_number": "Reproduced p. 56", "url": ""}, {"citation": "Katz, Alex. <em>Alex Katz: The Sixties</em>. Milano: Charta, 2006.", "page_number": "Reproduced pp. 72-72", "url": ""}, {"citation": "Storr, Robert, Lawrence Alloway, and James Schuyler.<em> Alex Katz Paints Ada, 1957-2005</em>. New Haven, Conn: Yale University Press, 2006.", "page_number": "Reproduced . 96; mentioned p. 95, 101", "url": ""}, {"citation": "Cole, Mark. \u201cBrand-New &amp; Terrific: The innovative early works of Alex Katz remain fresh and vital.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 57, no. 3 (May/June 2017): Cover, 5-7.", "page_number": "Reproduced and Mentioned: P. 7", "url": "https://archive.org/details/CMAMM2017-03/page/n1/mode/2up"}], "url": "https://clevelandart.org/art/1983.68", "images": {}, "alternate_images": [], "creditline": "Mr. and Mrs. William H. Marlatt Fund and Gift of the Eppler Family Foundation and Agnes Gund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 151516, "creators": [{"id": 28709, "description": "Alex Katz (American, b. 1927)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1927", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1983-05-09T00:00:00", "sortable_date": 1968, "date_added_to_oa": null, "date_text": "1968", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:18.076000"}, {"id": 150428, "accession_number": "1981.207", "share_license_status": "Copyrighted", "tombstone": "Crickets in November, 1917. Charles Burchfield (American, 1893\u20131967). Pen and brown ink with black ink, colored crayons, and graphite, with watercolor on two sheets of butt-joined wove paper, lined; 21.9 x 27.6 cm (8 5/8 x 10 7/8 in.). The Cleveland Museum of Art, Mr. and Mrs. Charles G. Prasse Collection, 1981.207. Reproduced with permission from the Charles E. Burchfield Foundation", "current_location": null, "title": "Crickets in November", "creation_date": "1917", "creation_date_earliest": 1917, "creation_date_latest": 1917, "artists_tags": ["May Show", "male", "Cleveland Institute of Art (alumni)"], "culture": ["America"], "technique": "Pen and brown ink with black ink, colored crayons, and graphite, with watercolor on two sheets of butt-joined wove paper, lined", "support_materials": [], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "21.9 x 27.6 cm (8 5/8 x 10 7/8 in.)", "dimensions": {"No Extent Specified": {"height": 0.219, "width": 0.276}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "Reproduced with permission from the Charles E. Burchfield Foundation", "inscriptions": [{"inscription": "signed, in ink, at lower right: CEB (monogram) / 1917", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 311926, "title": "The Drawings of Charles E. Burchfield", "description": "<i>The Drawings of Charles E. Burchfield</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 4, 1953-January 10, 1954).", "opening_date": "1953-11-04T05:00:00"}, {"id": 301176, "title": "Charles Burchfield Retrospective Exhibition", "description": "<i>Charles Burchfield Retrospective Exhibition</i>. Whitney Museum of American Art (January 11-February 26, 1956); The Baltimore Museum of Art (March 14-April 22, 1956); Museum of Fine Arts, Boston (May 9-June 17, 1956); San Francisco Museum of Modern Art (July 11-August 19, 1956); Los Angeles County Museum of Art (September 5-October 14, 1956); The Phillips Collection (November 4-December 11, 1956); The Cleveland Museum of Art, Cleveland, OH (December 28, 1956-February 10, 1957).", "opening_date": "1956-12-28T05:00:00"}, {"id": 304599, "title": "The Year in Review for 1981", "description": "<i>The Year in Review for 1981</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 17-March 21, 1982).", "opening_date": "1982-02-17T05:00:00"}, {"id": 309881, "title": "Leona E. Prasse, Connoisseur and Curator", "description": "<i>Leona E. Prasse, Connoisseur and Curator</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 28-August 25, 1985).", "opening_date": "1985-05-28T04:00:00"}, {"id": 313096, "title": "Charles Burchfield: The Ohio Landscapes, 1915\u20131920", "description": "<i>Charles Burchfield: The Ohio Landscapes, 1915\u20131920</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 22, 2018-May 5, 2019).", "opening_date": "2018-12-22T05:00:00"}], "legacy": [{"description": "<em>The Nature of Charles Burchfield: A Memorial Exhibition, 1893\u20131967, Paints, Drawings, Prints</em>. Museum of Art, Munson-Williams-Proctor Institute, 1970 (April 9 \u2013 May 31, 1970).", "opening_date": "1970-05-31T00:00:00"}]}, "provenance": [{"description": "Leona E. Prasse [1897-1985], Cleveland, OH, gift to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "-1981", "sortorder": 1}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1981-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Burchfield had an interest in depicting personified buildings, and the windows of the house at right were meant to make it seem alive.", "description": "This drawing contains themes that Burchfield developed to visually convey sound\u2014in this case, the repetitive chirping of crickets. The combination of script-like lines and repeated forms in the foreground evoked the rising and falling of the insects\u2019 noise, and recurred throughout Burchfield\u2019s work around this time.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780918"], "internet_archive": []}, "citations": [{"citation": "Maciejunes, Nannette V., and Norine S. Hendricks. \"Nurturing His Muse: The Archives of Charles Burchfield's Creative Life.\" American Art Journal 28, no. 1/2 (1997): 68, 74 (repr. of reproduction).", "page_number": null, "url": null}, {"citation": "Prasse, Leona E. T<em>he Drawings of Charles E. Burchfield</em>. Exh. Cat. Cleveland: Cleveland Museum of Art,1953.", "page_number": "Mentioned: no. 28; Reproduced: plate II", "url": null}, {"citation": "Bauer, John I. H. <em>Charles Burchfield. </em>Exh. Cat. New York: Whitney Museum, 1956.", "page_number": "Mentioned: no. 98", "url": null}, {"citation": "Trovato, Joseph S. <em>The Nature of Charles Burchfield: A Memorial Exhibition, 1893\u20131967, Paints, Drawings, Prints</em>. Exh. Cat. Utica, NY: Museum of Art, Munson-Williams-Proctor Institute, 1970.", "page_number": "Mentioned: no. 311", "url": null}, {"citation": "Prasse, Leona E. T<em>he Drawings of Charles E. Burchfield</em>. Exh. Cat. Cleveland: Cleveland Museum of Art,1953, no. 28, repr. plate II.", "page_number": null, "url": null}, {"citation": "Bauer, John I. H. <em>Charles Burchfield. </em>Exh. Cat. New York. Whitney Museum, 1956, no. 98.", "page_number": null, "url": null}, {"citation": "Lee, Sherman E. \u201cThe Year in Review for 1981.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 69, no. 2 (February 1982): 39\u201382.", "page_number": "Reproduced: p. 59; Mentioned: p. 80, no. 67", "url": "http://www.jstor.org/stable/25159758"}], "url": "https://clevelandart.org/art/1981.207", "images": {}, "alternate_images": [], "creditline": "Mr. and Mrs. Charles G. Prasse Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 150428, "creators": [{"id": 3989, "description": "Charles Burchfield (American, 1893\u20131967)", "extent": null, "qualifier": null, "role": "artist", "biography": "Charles Burchfield was among the most original and poetic painters of the Cleveland modernist movement. Born in Ashtabula, he moved to Salem, Ohio, following the death of his father in 1898. After graduating from high school, he attended Cleveland School of Art, studying with William Eastman, Frederick Gottwald, Henry Keller, and Frank Wilcox. In 1914 Burchfield began attending Kokoon Klub exhibitions, and in spring 1915 he went to Brandywine to meet William Sommer. Around this time Burchfild began experimenting with the brilliant colors and simplified forms of the Berlin Heights painters. He painted his first mature works in 1915, and grad ed from the Cleveland School of Art with a degree in illustration the following spring. That summer the Cleveland School of Art sponsored his first solo exhibition, and in the fall, after attending the National Academy of Design in New York for one month, he returned to Salem. In February 1917 the Cleveland School of Art mounted his second solo exhibition. Burchfield was inducted into the army that summer. After his return in 1919 he exhibited with other Cleveland modernists at the Play House, Laukhuff\u2019 s Book store, and other Cleveland venues. In 1921 he went on an extended sketching trip through eastern Ohio with Keller, Wilcox, and Paul Travis, exhibiting these recent paintings at the Cleveland School of Art and in the May Show at the Cleveland Museum of Art. Later that year he moved to Buffalo to work as a wallpaper designer, a position he retained until he resigned in 1929 to become a full-time painter. Over the next 30 years he exhibited extensively at museums and galleries across the country. Solo exhibitions of his paintings were held at New York\u2019s Museum of Modern Art (1930), Pittsburgh\u2019 s Carnegie Institute of Art (1935, 1938, 1946), and Buffalo\u2019 s Albright-Knox Art Gallery (1944, 1955, 1963, 1967). In 1953 New York\u2019s Whitney Museum of American Art organized a major exhibition that traveled to the Cleveland Museum of Art. Burchfield died in West Seneca, New York. <br>\"Transformations in Cleveland Art\" (CMA, 1996), p. 224", "name_in_original_language": null, "birth_year": "1893", "death_year": "1967", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1982-03-08T00:00:00", "sortable_date": 1917, "date_added_to_oa": null, "date_text": "1917", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-26 23:59:16.212000"}, {"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": 116592, "accession_number": "1937.185", "share_license_status": "Copyrighted", "tombstone": "Flora [II], c. 1925\u201330. Josef Frank (Swedish, born Austria, 1885\u20131967), Haus & Garten (Austrian, est. 1925). Cotton: plain weave, printed, loom width; overall: 50.7 x 127 cm (19 15/16 x 50 in.). The Cleveland Museum of Art, Educational Purchase Fund, 1937.185", "current_location": null, "title": "Flora [II]", "creation_date": "c. 1925\u201330", "creation_date_earliest": 1925, "creation_date_latest": 1930, "artists_tags": ["male", "Jewish artists"], "culture": ["Austria, Vienna"], "technique": "Cotton: plain weave, printed, loom width", "support_materials": [], "department": "Textiles", "collection": "Textiles", "type": "Textile", "measurements": "Overall: 50.7 x 127 cm (19 15/16 x 50 in.)", "dimensions": {"overall": {"height": 0.507, "width": 1.27}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 359283, "title": "Flowers in Art", "description": "<i>Flowers in Art</i>. Karamu House (organizer) (June 30-September 30, 1965).", "opening_date": "1965-06-30T04:00:00"}, {"id": 313463, "title": "Color and Comfort: Swedish Modern Design", "description": "<i>Color and Comfort: Swedish Modern Design</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 11, 2019-February 10, 2020).", "opening_date": "2019-02-17T05:00:00"}], "legacy": []}, "provenance": [{"description": "Likely purchased by Mrs. Ruth F. Ruggles in Vienna, Austria from \"Haus & Garten\"", "citations": [], "footnotes": [], "date": "1937", "sortorder": 1}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Frank enjoyed sketching wildflowers; he called this pattern \u201cPepi\u201d after his childhood nickname.", "description": "Also affectionately called<em> Pepi\u2019s Flora</em> after Josef Frank\u2019s childhood nickname \u201cPepi,\u201d this design depicts imaginary wildflowers concocted by Frank. The whimsically placed yet tightly packed flowers are meant to evoke flowers in the background as well as the borders of French tapestries.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80010872"], "internet_archive": []}, "citations": [{"citation": "See \"December, 1937.\"  Education Department Annual Report, 1937, CMA Archives.", "page_number": null, "url": null}], "url": "https://clevelandart.org/art/1937.185", "images": {}, "alternate_images": [], "creditline": "Educational Purchase Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 116592, "creators": [{"id": 56189, "description": "Josef Frank (Swedish, born Austria, 1885\u20131967)", "extent": null, "qualifier": null, "role": "designer", "biography": "Born to a Jewish family in Baden, Austria, Josef Frank was an architect and designer who came of age in pre-war Vienna. He graduated from the Technische Hochschule (Polytechnic) in 1910 and taught at the Kunstgewerbeschule (School of Arts and Crafts) until the mid-1920s. An associate of the Wiener Werkst\u00e4tte, Frank founded his own interior design firm Haus &amp; Garten in 1925 with Oskar Wlach (1881-1963) and Walter Sobotka (1888-1972). During this venture Frank wrote several design treatises including <em>Architektur als Symbol</em> (1931). Frank married Anna Sebenius, a Swedish woman, in 1912 and in 1933 began designing for the Stockholm-based interior design company Svenkst Tenn. Although he immigrated to Sweden and adopted Swedish citizenship in 1938, Frank spent World War II in the United States teaching at the New School for Social Research in New York. In 1946 Frank returned to Sweden, continuing work with Svenkst Tenn until his death in 1967. Frank is considered to be one of the pioneers of Swedish modern design and the \u201cScandinavian Style.\u201d", "name_in_original_language": null, "birth_year": "1885", "death_year": "1967", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 40234, "description": "Haus & Garten (Austrian, est. 1925)", "extent": null, "qualifier": null, "role": "manufacturer", "biography": "Established by Josef Frank (1885-1967), Oskar Wlach (1881-1963) and Walter Sobotka (1888-1972) in 1925, the Vienna-based interior design firm Haus &amp; Garten worked concurrent with the Wiener Werkst\u00e4tte. Frank acted as lead designer with Wlach overseeing the business. Despite his immigration to Sweden in 1933, Frank continued working with the firm until giving up his partnership in 1938. Sobotka departed from the firm earlier in 1926.", "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1937-12-20T00:00:00", "sortable_date": 1925, "date_added_to_oa": null, "date_text": "c. 1925\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": ["Pepis Flora (Flora)"], "is_highlight": false, "updated_at": "2026-03-27 00:06:44.531000"}, {"id": 131588, "accession_number": "1954.202", "share_license_status": "Copyrighted", "tombstone": "Under Ekvatorn (Beneath the Equator), 1941. Josef Frank (Swedish, born Austria, 1885\u20131967), Svenskt Tenn (Swedish, est. 1924). Plain weave bleached linen, loom width, printed; overall: 192.4 x 127 cm (75 3/4 x 50 in.). The Cleveland Museum of Art, The Harold T. Clark Educational Extension Fund, 1954.202", "current_location": null, "title": "Under Ekvatorn (Beneath the Equator)", "creation_date": "1941", "creation_date_earliest": 1941, "creation_date_latest": 1941, "artists_tags": ["male", "Jewish artists"], "culture": ["Sweden, Stockholm, Svenskt Tenn, 20th century"], "technique": "Plain weave bleached linen, loom width, printed", "support_materials": [], "department": "Textiles", "collection": "Textiles", "type": "Textile", "measurements": "Overall: 192.4 x 127 cm (75 3/4 x 50 in.)", "dimensions": {"overall": {"height": 1.924, "width": 1.27}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 359283, "title": "Flowers in Art", "description": "<i>Flowers in Art</i>. Karamu House (organizer) (June 30-September 30, 1965).", "opening_date": "1965-06-30T04:00:00"}, {"id": 313463, "title": "Color and Comfort: Swedish Modern Design", "description": "<i>Color and Comfort: Swedish Modern Design</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 11, 2019-February 10, 2020).", "opening_date": "2019-02-17T05:00:00"}], "legacy": []}, "provenance": [{"description": "purchased from Bonnier's, New York", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "All the flowers depicted in this design are imaginary flowers created by Josef Frank.", "description": "Though this pattern is titled <em>Under Ekvatorn</em> or Beneath the Equator, the design and textile were both produced in Sweden. Frank\u2019s use of brightly colored flowers on a black background suggests a warm equatorial environment brimming with vitality.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80023045"], "internet_archive": []}, "citations": [{"citation": "Harrison, Stephen and Houblou, Kate M. \u201cSwedish Modern Design: A new exhibition looks at the fresh fabrics and furnishings that revolutionized interior decoration.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>59, no. 1 (January/February 2019): 10-11.", "page_number": "Reproduced: P. 10", "url": "https://archive.org/details/CMAMM2019-01/page/n5/mode/2up"}], "url": "https://clevelandart.org/art/1954.202", "images": {}, "alternate_images": [], "creditline": "The Harold T. Clark Educational Extension Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 131588, "creators": [{"id": 56189, "description": "Josef Frank (Swedish, born Austria, 1885\u20131967)", "extent": null, "qualifier": null, "role": "designer", "biography": "Born to a Jewish family in Baden, Austria, Josef Frank was an architect and designer who came of age in pre-war Vienna. He graduated from the Technische Hochschule (Polytechnic) in 1910 and taught at the Kunstgewerbeschule (School of Arts and Crafts) until the mid-1920s. An associate of the Wiener Werkst\u00e4tte, Frank founded his own interior design firm Haus &amp; Garten in 1925 with Oskar Wlach (1881-1963) and Walter Sobotka (1888-1972). During this venture Frank wrote several design treatises including <em>Architektur als Symbol</em> (1931). Frank married Anna Sebenius, a Swedish woman, in 1912 and in 1933 began designing for the Stockholm-based interior design company Svenkst Tenn. Although he immigrated to Sweden and adopted Swedish citizenship in 1938, Frank spent World War II in the United States teaching at the New School for Social Research in New York. In 1946 Frank returned to Sweden, continuing work with Svenkst Tenn until his death in 1967. Frank is considered to be one of the pioneers of Swedish modern design and the \u201cScandinavian Style.\u201d", "name_in_original_language": null, "birth_year": "1885", "death_year": "1967", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 317397, "description": "Svenskt Tenn (Swedish, est. 1924)", "extent": null, "qualifier": null, "role": "manufacturer", "biography": "Founded by Estrid Ericson in 1924, the Stockhlm studio and shop Svenskt Tenn (Swedish Tin) originally specialized in pewterware. After the Stockholm Exhibition of 1930, Ericson restructured the firm as a furnishings company specializing in the functionalist design exhibited at the fair. In 1933 Ericson hired the Austrian architect and designer Josef Frank to be the firm\u2019s chief designer, allowing her to focus on the company\u2019s business matters. Svenskt Tenn is still operating in Stockholm.", "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1954-05-04T00:00:00", "sortable_date": 1941, "date_added_to_oa": null, "date_text": "1941", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Under Ekvatorn"], "is_highlight": false, "updated_at": "2026-03-27 00:05:48.094000"}, {"id": 141898, "accession_number": "1965.440", "share_license_status": "Copyrighted", "tombstone": "Self-Portrait with Hat, 1919. Karl Schmidt-Rottluff (German, 1884\u20131976). Oil on canvas; framed: 84.8 x 76.8 x 6.4 cm (33 3/8 x 30 1/4 x 2 1/2 in.); unframed: 73.3 x 65 cm (28 7/8 x 25 9/16 in.). The Cleveland Museum of Art, Bequest of Dr. William R. Valentiner, 1965.440. \u00a9 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn", "current_location": "225 German Expressionism & Surrealism", "title": "Self-Portrait with Hat", "creation_date": "1919", "creation_date_earliest": 1919, "creation_date_latest": 1919, "artists_tags": ["male"], "culture": ["Germany, 20th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 84.8 x 76.8 x 6.4 cm (33 3/8 x 30 1/4 x 2 1/2 in.); Unframed: 73.3 x 65 cm (28 7/8 x 25 9/16 in.)", "dimensions": {"framed": {"height": 0.848, "width": 0.768, "depth": 0.064}, "unframed": {"height": 0.733, "width": 0.65}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn", "inscriptions": [{"inscription": "Signed upper left: \"S. Rottluff\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 444155, "title": "German and Austrian Expressionism, 1900 - 1920", "description": "<i>German and Austrian Expressionism, 1900 - 1920</i>. Indiana University Art Museum, Bloomington, IN (organizer) (October 23-December 3, 1977).", "opening_date": "1977-10-23T04:00:00"}, {"id": 309658, "title": "Portraiture: The Image of the Individual", "description": "<i>Portraiture: The Image of the Individual</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 22, 1983-January 22, 1984).", "opening_date": "1983-11-22T05:00:00"}, {"id": 213354, "title": "Utopia and Alienation: German Art and Expressionsim, 1900-1935", "description": "<i>Utopia and Alienation: German Art and Expressionsim, 1900-1935</i>. Allen Memorial Art Museum, Oberlin, OH (organizer) (September 5-December 17, 1999).", "opening_date": "1999-09-05T00:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. Beijing World Art Museum (May 26-August 27, 2006); Mori Art Center (September 16-November 26, 2006); Seoul Art Center, South Korea (December 22, 2006-March 28, 2007); Seoul Olympic Museum of Art, South Korea (April 7-May 20, 2007); Vancouver Art Gallery, Vancouver, Canada (June 9-September 16, 2007); The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008); Frist Art Museum, Nashville, TN (February 15-June 1, 2008); Utah Museum of Fine Arts, Salt Lake City, UT (June 22-September 21, 2008); The Detroit Institute of Arts, Detroit, MI (October 12, 2008-January 18, 2009).", "opening_date": "2006-05-27T00:00:00"}, {"id": 443702, "title": "Currents and Constellations: Black Art in Focus", "description": "<i>Currents and Constellations: Black Art in Focus</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 20-June 26, 2022).", "opening_date": "2022-02-20T05:00:00"}], "legacy": []}, "provenance": [{"description": "Dr. William R. Valentiner [1880-1958], New York, NY, by bequest to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1965", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1965-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Schmidt-Rottluff painted this powerful self-portrait in Berlin, where he settled after being discharged from the army in World War I. The jarring colors reflect the artist's desire to project his inner, emotional self. The angular, geometric features reveal the influence of Cubism and African wood sculpture. Schmidt-Rottluff was a founding member of Die Br\u00fccke (The Bridge), a group of German Expressionists devoted to establishing a bridge between artists and society.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60469494"], "internet_archive": []}, "citations": [{"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 197", "url": "https://archive.org/details/CMAHandbook1966/page/n221"}, {"citation": "Henning, Edward B. \u201cTwo German Expressionist Paintings.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 55, no. 4 (April 1968): 95\u2013102.", "page_number": "Mentioned and reproduced: p. 95, 97, fig. 2", "url": "http://www.jstor.org/stable/25152208"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 197", "url": "https://archive.org/details/CMAHandbook1969/page/n221"}, {"citation": "Cleveland Museum of Art. <em>Art of the Twentieth Century in the Cleveland Museum of Art</em>. Cleveland, OH: Dept. of Art History &amp; Education, CMA, 1969. .", "page_number": "Mentioned and Reproduced: p. 1", "url": "https://archive.org/details/20thCenturyArtCMA/page/n1"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 245", "url": "https://archive.org/details/CMAHandbook1978/page/n265"}, {"citation": "Henning, Edward B. \u201cA Late Self-Portrait by Lovis Corinth.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 67, no. 9 (November 1980): 279\u2013284.", "page_number": "Mentioned and reproduced: p. 283, fig. 6", "url": "http://www.jstor.org/stable/25159696"}, {"citation": "Henning, Edward B. \u201cTwo New Cubist Paintings by Juan Gris and Pablo Picasso.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 68, no. 2 (February 1981): 39\u201350.", "page_number": "Mentioned and reproduced: p. 41-43, fig. 10", "url": "http://www.jstor.org/stable/25159711"}, {"citation": "Michaud, Eric. <em>Un art de l'e\u0301ternite\u0301: l'image et le temps du national-socialisme</em>. Paris, France: Gallimard, 1996. .", "page_number": "Reproduced: p. 243, pl. 72", "url": null}, {"citation": "Moeller, Magdalena M., Roman Zieglga\u0308nsberger, Janina Dahlmanns, P. Forster, Christiane Remm, and Roman Zieglga\u0308nsberger. <em>Karl Schmidt-Rottluff Bild und Selbstbild</em>. Mu\u0308nchen, Germany: Hirmer, 2015.", "page_number": "Reproduced: P. 48, abb. 27", "url": null}, {"citation": "Cleveland Museum of Art. Masterworks on Loan: Celebrating the 100th Anniversary of the Cleveland Museum of Art: July Through September 2016. [Cleveland]: Cleveland Museum of Art, 2016.", "page_number": "p. 21-25", "url": null}, {"citation": "Lacis, Indra K. \"Together and Apart: Karl Schmidt-Rottluff's <em>Portrait of Emy</em> and <em>Self-Portrait with Hat</em>.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 56, no. 5 (September/October 2016): 19.", "page_number": "Reproduced and Mentioned: p. 19", "url": "https://archive.org/details/CMAMM2016-05/page/n9/mode/2up"}], "url": "https://clevelandart.org/art/1965.440", "images": {}, "alternate_images": [], "creditline": "Bequest of Dr. William R. Valentiner", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 141898, "creators": [{"id": 3273, "description": "Karl Schmidt-Rottluff (German, 1884\u20131976)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1884", "death_year": "1976", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1965-11-06T00:00:00", "sortable_date": 1919, "date_added_to_oa": null, "date_text": "1919", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:58.607000"}, {"id": 166333, "accession_number": "2008.172", "share_license_status": "Copyrighted", "tombstone": "Double Portrait with Hat, c. 1936\u201337. Dora Maar (French, 1907\u20131997). Gelatin silver print, montage with handwork on negative; image: 29.8 x 23.8 cm (11 3/4 x 9 3/8 in.). The Cleveland Museum of Art, Gift of David Raymond, 2008.172. \u00a9 Artists Rights Society (ARS), New York / ADAGP, Paris", "current_location": null, "title": "Double Portrait with Hat", "creation_date": "c. 1936\u201337", "creation_date_earliest": 1936, "creation_date_latest": 1937, "artists_tags": ["female"], "culture": ["France, 20th century"], "technique": "gelatin silver print, montage with handwork on negative", "support_materials": [], "department": "Photography", "collection": "PH - French 20th Century", "type": "Photograph", "measurements": "Image: 29.8 x 23.8 cm (11 3/4 x 9 3/8 in.)", "dimensions": {"image": {"height": 0.298, "width": 0.238}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Artists Rights Society (ARS), New York / ADAGP, Paris", "inscriptions": [{"inscription": "Dora Maar estate stamp on verso of print: \"DM/1999\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 335981, "title": "Dora Maar: Bataille, Picasso, et les Surr\u00e9alistes", "description": "<i>Dora Maar: Bataille, Picasso, et les Surr\u00e9alistes</i>. Haus der Kunst, Munich, M\u00f9nich, Germany (October 13, 2001-January 6, 2002); Centre de la Vieille Charit\u00e9, Marseille, France (February 7-April 30, 2002); Centre d\u2019Art Tecla Sala, L\u2019Hospitalet, Spain (May 21-July 15, 2002).", "opening_date": "2001-10-13T04:00:00"}, {"id": 335822, "title": "Dora Maar: Photographer", "description": "<i>Dora Maar: Photographer</i>. Dorsky Gallery (April 25-June 28, 2004).", "opening_date": "2004-04-25T04:00:00"}, {"id": 203169, "title": "Forbidden Games: Surrealist and Modernist Photography", "description": "<i>Forbidden Games: Surrealist and Modernist Photography</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 19, 2014-January 11, 2015).", "opening_date": "2014-10-19T00:00:00"}, {"id": 317519, "title": "Dora Maar", "description": "<i>Dora Maar</i>. Tate Modern (November 19, 2019-March 15, 2020).", "opening_date": "2019-06-05T04:00:00"}, {"id": 317581, "title": "Picasso and Paper", "description": "<i>Picasso and Paper</i>. The Cleveland Museum of Art, Cleveland, OH (co-organizer) (December 8, 2024-March 23, 2025).", "opening_date": "2024-12-08T05:00:00"}], "legacy": []}, "provenance": [{"description": "The artist's estate, Paris", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "(PIASA; Drouot Richelieu, Paris, Nov. 19, 1999, no. 47)", "citations": [], "footnotes": [], "date": "November 19, 1999", "sortorder": 2}, {"description": "(Edwynn Houk Gallery, New York, NY)", "citations": [], "footnotes": [], "date": null, "sortorder": 3}, {"description": "David Raymond [b.1979], New York, NY", "citations": [], "footnotes": [], "date": null, "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2008-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Dora Maar scavenged the two faces from a magazine assignment she did on springtime hats.", "description": "Maar sandwiched two negatives of the same model and painted the background and hat (or is it a decomposing halo?) onto the negative. Softening the emulsion, she scraped and lifted it off, techniques that involve destruction and suggest disintegration. The face evokes depictions of female faces in the art of her lover, Pablo Picasso, especially his 1938 paintings of weeping women for which Maar was the model.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60757932"], "internet_archive": []}, "citations": [{"citation": "Baring, Louise. <em>Dora Maar: Paris in the Time of Man Ray, Jean Cocteau, and Picasso</em>. New York, NY : Rizzoli Interntaional Publications, Inc., 2017.", "page_number": "Mentioned p. 168; Reproduced pp. 120-121.", "url": null}, {"citation": "Hinson, Tom, Ian Walker, and Lisa Kurzner. <em>Forbidden Games: Surrealist and Modernist Photography: the David Raymond Collection.</em> Cleveland Museum of Art. 2014.", "page_number": "Mentioned: p. 26; reproduced: p. 27; reproduced: p. (x); mentioned p. 102; mentioned: pp. 225.", "url": null}, {"citation": "Maar, Dora. Dora Maar: Bataille, Picasso et les surre\u0301alistes. Marseille: Muse\u0301es de Marseille, 2000.", "page_number": "Reproduced: p. 214, no. 184; mentioned: pp. 271.", "url": null}, {"citation": "Victoria Combali\u0301a Dexeus. <em>Dora Maar : Haus der Kunst M\u00fcnchen, 13. Oktober 2001-6. Januar 2002 ; Mus\u00e9es de Marseille, Centre de la Vieille Charit\u00e9, 20. Januar-4. Mai 2002 ; Centre Cultural Tecla Sala, L\u2019Hospitalet Barcelona, 15. Mai-15. Juli 2002.</em> Mu\u0308nchen: Haus der Kunst Mu\u0308nchen, 2001.", "page_number": "Reproduced: p. 250, no. 176; mentioned: pp. 332.", "url": null}, {"citation": "Johnson, Annabella. <em>Dora Maar: Photographer</em>. Long Island City, NY: Dorsky Gallery, 2004.", "page_number": "Reproduced: pg. 1.", "url": null}, {"citation": "Beisiegel, Katharina. <em>Picasso: The Artist and His Muses</em>. Black Dog Publishing, London, 2016.", "page_number": "Reproduced and mentioned: p. 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. 312", "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. 24", "url": ""}, {"citation": "Benkemoun, Brigitte. \"Discovering Dora Maar,\" In <em>Gagosian, </em>Fall 2019, pp. 58-61.", "page_number": "Reproduced and mentioned: pp. 58-61.", "url": null}, {"citation": "Benkemoun, Brigitte. Discovering Dora Maar.\" <em>Gagosian, </em>(Fall 2019): 58-61..", "page_number": "Reproduced: p. 59", "url": null}], "url": "https://clevelandart.org/art/2008.172", "images": {}, "alternate_images": [], "creditline": "Gift of David Raymond", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 166333, "creators": [{"id": 11223, "description": "Dora Maar (French, 1907\u20131997)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1907", "death_year": "1997", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2008-12-08T00:00:00", "sortable_date": 1936, "date_added_to_oa": null, "date_text": "c. 1936\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": [], "is_highlight": true, "updated_at": "2026-03-27 00:07:50.825000"}, {"id": 146804, "accession_number": "1972.225", "share_license_status": "Copyrighted", "tombstone": "The Windshield, On the Road to Villacoublay, 1917. Henri Matisse (French, 1869\u20131954). Oil on canvas; framed: 58 x 75 x 7 cm (22 13/16 x 29 1/2 x 2 3/4 in.); unframed: 38.2 x 55.2 cm (15 1/16 x 21 3/4 in.). The Cleveland Museum of Art, Bequest of Lucia McCurdy McBride in memory of John Harris McBride II, 1972.225. \u00a9 Succession H. Matisse / Artists Rights Society (ARS), New York", "current_location": "223 20th Century Avant-Garde", "title": "The Windshield, On the Road to Villacoublay", "creation_date": "1917", "creation_date_earliest": 1917, "creation_date_latest": 1917, "artists_tags": ["male"], "culture": ["France, 20th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 58 x 75 x 7 cm (22 13/16 x 29 1/2 x 2 3/4 in.); Unframed: 38.2 x 55.2 cm (15 1/16 x 21 3/4 in.)", "dimensions": {"framed": {"height": 0.58, "width": 0.75, "depth": 0.07}, "unframed": {"height": 0.382, "width": 0.552}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Succession H. Matisse / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "Signed upper right: \"Henri-Matisse\"", "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": 221073, "title": "Speed-Visions of an Accelerated Age", "description": "<i>Speed-Visions of an Accelerated Age</i>. Whitechapel Art Gallery (organizer) (September 11-November 22, 1998).", "opening_date": "1998-09-11T00:00:00"}, {"id": 325381, "title": "Cin\u00e9matisse", "description": "<i>Cin\u00e9matisse</i>. Mus\u00e9e Matisse, Nice, France (organizer) (September 18, 2019-January 5, 2020) http://www.musee-matisse-nice.org/.", "opening_date": "2019-09-18T04:00:00"}, {"id": 672839, "title": "Roaring: Art, Fashion, and the Automobile in Interwar France", "description": "<i>Roaring: Art, Fashion, and the Automobile in Interwar France</i>. Saint Louis Art Museum, St. Louis, MO (organizer) (April 12-July 27, 2025) https://www.slam.org/exhibitions/roaring-art-fashion-and-the-automobile-in-france/.", "opening_date": "2025-04-12T04:00:00"}], "legacy": [{"description": "Los Angeles, California, The Museum of Contemporary Art, The Automobile and Culture, July 21, 1984-January 6, 1985.", "opening_date": "1984-07-21T00:00:00"}, {"description": "Washington, D.C., The National Gallery of Art, Henri Matisse:  The Early Years in Nice, November 2, 1986-March 29, 1987.", "opening_date": "1986-11-02T00:00:00"}, {"description": "Pensacola, Florida, Pensacola Museum of Art, Carsinart, May 1, July 15, 1990.", "opening_date": "1990-07-15T00:00:00"}, {"description": "London, England. Whitechapel Art Gallery. \"Speed\" 9/11 - 11/22/98.", "opening_date": "1998-11-22T00:00:00"}]}, "provenance": [{"description": "Sold through Bernheim-Jeune to Adrien H\u00e9brard, 1917; Mrs. R. A. Workman, London (1924); (Kraushaar, 1929, sold to donor, Mrs. Malcolm McBride, in 1941)", "citations": [], "footnotes": [], "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Henri Matisse painted this unusual view of a road and the surrounding rural landscape in summer of 1917 while being chauffeured by his son Pierre toward an airport on the outskirts of Paris. Seized by the novel idea of depicting the road from inside the car, Matisse asked his son to pull over so he could begin painting. Although forced to keep the windows shut, and despite passing traffic rocking the old Renault back and forth, Matisse managed to create a novel view of life in the modern automobile age.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60472224"], "internet_archive": []}, "citations": [{"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 249", "url": "https://archive.org/details/CMAHandbook1978/page/n269"}, {"citation": "Hinson, Tom E. \u201cAlex Katz\u2019s Impala.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 73, no. 8 (October 1986): 314\u2013326.", "page_number": "Mentioned and reproduced: p. 324, fig. 16", "url": "http://www.jstor.org/stable/25159954"}, {"citation": "Krauss, Rosalind E. <em>Willem De Kooning Nonstop: Cherchez La Femme</em>. Chicago, London: The University of Chicago Press, 2015.", "page_number": "Mentioned: p. 30; Reproduced: p. 133, figure 62", "url": null}], "url": "https://clevelandart.org/art/1972.225", "images": {}, "alternate_images": [], "creditline": "Bequest of Lucia McCurdy McBride in memory of John Harris McBride II", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Michael J. Horvitz Family Gallery", "athena_id": 146804, "creators": [{"id": 2130, "description": "Henri Matisse (French, 1869\u20131954)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1869", "death_year": "1954", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1972-12-05T00:00:00", "sortable_date": 1917, "date_added_to_oa": null, "date_text": "1917", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Through the Windshield (La Route a Villacoublay)"], "is_highlight": false, "updated_at": "2026-03-27 00:00:50.827000"}, {"id": 140334, "accession_number": "1964.285", "share_license_status": "CC0", "tombstone": "Portrait of a Child (Anton Peschka Jr.), 1916. Egon Schiele (Austrian, 1890\u20131918). Gouache, watercolor, and graphite; sheet: 49.9 x 32.2 cm (19 5/8 x 12 11/16 in.). The Cleveland Museum of Art, Severance and Greta Millikin Collection, 1964.285", "current_location": null, "title": "Portrait of a Child (Anton Peschka Jr.)", "creation_date": "1916", "creation_date_earliest": 1916, "creation_date_latest": 1916, "artists_tags": ["male"], "culture": ["Austria"], "technique": "Gouache, watercolor, and graphite", "support_materials": [{"description": "beige(1) wove paper, discolored to yellow-beige", "watermarks": []}], "department": "Drawings", "collection": "DR - Austrian", "type": "Drawing", "measurements": "Sheet: 49.9 x 32.2 cm (19 5/8 x 12 11/16 in.)", "dimensions": {"sheet": {"height": 0.499, "width": 0.322}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed, lower right, in graphite: egon / schiele 1916 [enclosed in a box]; verso, lower right, in graphite: Serena Lederer\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": 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": 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": 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": 695213, "title": "Egon Schiele: Portrait of Dr. Erwin von Graff", "description": "<i>Egon Schiele: Portrait of Dr. Erwin von Graff</i>. Neue Galerie, New York, NY (organizer) (February 12-May 25, 2026) https://www.neuegalerie.org/exhibitions/schiele-and-graff.", "opening_date": "2026-02-12T05:00:00"}], "legacy": [{"description": "<em>Secession im Glaspalast</em>. Kunstausstellungsgeb\u00e4ude, Munich (1917).", "opening_date": "1917-01-01T00:00:00"}, {"description": "Possibly exhibited.", "opening_date": null}]}, "provenance": [{"description": "Lederer family, Vienna, sold to Walter Feilchenfeldt, Zurich", "citations": [], "footnotes": ["<div><!--block-->According to inscription on verso.</div>"], "date": "by 1917-before 1959", "sortorder": null}, {"description": "(Walter Feilchenfeldt, Zurich, sold to Severance and Greta Millikin, Cleveland, OH)", "citations": [], "footnotes": [], "date": "?-1959", "sortorder": 2}, {"description": "Severance and Greta Millikin, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1959-1964", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1964-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The child seen in this drawing, Anton Peschka Jr., served as a model for several compositions by Egon Schiele.", "description": "Egon Schiele depicted a small child, the son of a friend, in this drawing devoid of setting. The child teeters at an awkward angle, seemingly unsupported but for a multipatterned fabric wrap that occupies the artist\u2019s primary interest. This contorted pose is typical of Schiele\u2019s many drawings of people in which he explored the expressive capacity of the human form, often using the body to indicate their psychic state (see another drawing by Schiele nearby). He died in the Spanish influenza epidemic in 1918 at age 28, leaving a vast number of drawings.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80038426"], "internet_archive": ["https://archive.org/details/clevelandart-1964.285-portrait-of-a-child"]}, "citations": [{"citation": "Schiele, Egon. <em>Zeichnungen Egon Schiele: 12 Blatter in Originalgrosse</em>. Vienna: Richard Lanyi, 1917.", "page_number": "Reproduced: plate 10", "url": null}, {"citation": "<em>Catalogue of the Severance and Greta Millikin Collection</em>. Exh. Cat. Cleveland: Cleveland Museum of Art, 1990.", "page_number": "Mentioned: p. 8-9; Reproduced: p. 42, no. 236", "url": null}, {"citation": "Kallir, Jane. <em>Egon Schiele: The Complete Works</em>. New York: Harry N. Abrams, 1998.", "page_number": "Mentioned and reproduced: p. 560, no. 1814", "url": null}, {"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. 7, p. 236-37, p. 297; Reproduced: p. 237", "url": null}], "catalogue_raisonne": "Kallir 1814", "url": "https://clevelandart.org/art/1964.285", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1964.285/1964.285_web.jpg", "width": "586", "height": "900", "filesize": "195873", "filename": "1964.285_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1964.285/1964.285_print.jpg", "width": "2215", "height": "3400", "filesize": "2341545", "filename": "1964.285_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1964.285/1964.285_full.tif", "width": "7771", "height": "11927", "filesize": "278084412", "filename": "1964.285_full.tif"}}, "alternate_images": [{"date_created": "2013-01-03T20:05:26", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1964.285/1964.285_alt0_web.jpg", "width": "568", "height": "893", "filesize": "91580"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1964.285/1964.285_alt0_print.jpg", "width": "2163", "height": "3400", "filesize": "1159963"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1964.285/1964.285_alt0_full.tif", "width": "3501", "height": "5503", "filesize": "57822036"}}, {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1964.285/1964.285_alt1_web.jpg", "width": "583", "height": "893", "filesize": "407482"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1964.285/1964.285_alt1_print.jpg", "width": "1337", "height": "2048", "filesize": "2108232"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1964.285/1964.285_alt1_full.tif", "width": "1337", "height": "2048", "filesize": "8217444"}}, {"date_created": "2025-08-20T16:06:06", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1964.285/1964.285_alt2_web.jpg", "width": "579", "height": "900", "filesize": "189022"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1964.285/1964.285_alt2_print.jpg", "width": "2188", "height": "3400", "filesize": "2254406"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1964.285/1964.285_alt2_full.tif", "width": "8245", "height": "12810", "filesize": "316885552"}}], "creditline": "Severance and Greta Millikin Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 140334, "creators": [{"id": 11671, "description": "Egon Schiele (Austrian, 1890\u20131918)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1890", "death_year": "1918", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1964-06-09T00:00:00", "sortable_date": 1916, "date_added_to_oa": null, "date_text": "1916", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 16:32:37.232000"}, {"id": 147478, "accession_number": "1973.211", "share_license_status": "Copyrighted", "tombstone": "First Theme, 1963. Burgoyne Diller (American, 1906\u20131965). Oil on canvas; framed: 231 x 99 x 4 cm (90 15/16 x 39 x 1 9/16 in.); unframed: 228.6 x 96.5 cm (90 x 38 in.). The Cleveland Museum of Art, Andrew R. and Martha Holden Jennings Fund, 1973.211. \u00a9  Estate of Burgoyne Diller / Licensed by VAGA at Artists Rights Society (ARS), NY", "current_location": null, "title": "First Theme", "creation_date": "1963", "creation_date_earliest": 1963, "creation_date_latest": 1963, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "measurements": "Framed: 231 x 99 x 4 cm (90 15/16 x 39 x 1 9/16 in.); Unframed: 228.6 x 96.5 cm (90 x 38 in.)", "dimensions": {"framed": {"height": 2.31, "width": 0.99, "depth": 0.04}, "unframed": {"height": 2.286, "width": 0.965}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  Estate of Burgoyne Diller / Licensed by VAGA at Artists Rights Society (ARS), NY", "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"}, {"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": "\"Burgoyne Diller Exhibition,\" Walker Art Center, Minn. (Dec. 1971 - Jan.16, 1972), Dallas Museum of Fine Arts (Feb. 16 - March 26, 1972), Pasadena Art Museum (May 9 - July 2, 1972).", "opening_date": "1972-02-16T00:00:00"}, {"description": "Museum of Contemporary Art, Chicago (Spring 1973).", "opening_date": "1973-01-01T00:00:00"}, {"description": "\"Year in Review 1973,\" CMA (1974).", "opening_date": "1974-01-01T00:00:00"}, {"description": "\"Burgoyne Diller,\" Whitney Museum of American Art, New York (Sept. 14 - Nov. 26, 1990).", "opening_date": "1990-09-14T00:00:00"}, {"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. 102, p. 122, color repr. p. 66.", "opening_date": "2006-06-09T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "During the Great Depression, while trying to support his education at the Art Students League, Diller painted signs for restaurants in exchange for meals.", "description": "For much of his long and productive career, Burgoyne Diller sought to create the illusion of volume and space through colors on a flat surface. He pursued this effort by exploring three themes, all involving geometric forms against contrasting backgrounds. In \"First Theme\" paintings, floating rectangular shapes are dominant. In \"Second\" and \"Third Theme\" works, these elements become part of increasingly complex grid systems. The controlled and ordered tensions in this First Theme painting result from a long and painstaking process of creation. Diller composed his works by arranging colored paper rectangles on a canvas. When satisfied with their placement, he removed them and painted the shapes in primary colors, as well as black, white, and gray. He often rubbed the surface with fine sandpaper to avoid the distraction of glare and remove any indication of brushmarks, along with all evidence of emotional expressiveness.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60472502"], "internet_archive": []}, "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. 57; Mentioned: p. 77, no. 142", "url": "http://www.jstor.org/stable/25152513"}, {"citation": "Diller, Burgoyne, Leon Polk Smith, and Edward B. Henning. \u201cTwo New Paintings in the Neo-Plastic Tradition.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 62, no. 4 (April 1975): 106\u2013119.", "page_number": "Mentioned: p. 107-108; Reproduced: Cover", "url": "http://www.jstor.org/stable/25152584"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 253", "url": "https://archive.org/details/CMAHandbook1978/page/n273"}, {"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. 66-67, no. 102", "url": ""}], "url": "https://clevelandart.org/art/1973.211", "images": {}, "alternate_images": [], "creditline": "Andrew R. and Martha Holden Jennings Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 147478, "creators": [{"id": 3426, "description": "Burgoyne Diller (American, 1906\u20131965)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1906", "death_year": "1965", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1973-12-28T00:00:00", "sortable_date": 1963, "date_added_to_oa": null, "date_text": "1963", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:19.355000"}, {"id": 150430, "accession_number": "1981.209", "share_license_status": "Copyrighted", "tombstone": "Chestnut Trees, 1920. Charles Burchfield (American, 1893\u20131967). Pen and gray and black ink and gray and black wash with graphite on wove paper, lined; sheet: 22.6 x 40.7 cm (8 7/8 x 16 in.). The Cleveland Museum of Art, Mr. and Mrs. Charles G. Prasse Collection, 1981.209. Reproduced with permission from the Charles E. Burchfield Foundation", "current_location": null, "title": "Chestnut Trees", "creation_date": "1920", "creation_date_earliest": 1920, "creation_date_latest": 1920, "artists_tags": ["May Show", "male", "Cleveland Institute of Art (alumni)"], "culture": ["America"], "technique": "Pen and gray and black ink and gray and black wash with graphite on wove paper, lined", "support_materials": [{"description": "wove paper, lined", "watermarks": []}], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Sheet: 22.6 x 40.7 cm (8 7/8 x 16 in.)", "dimensions": {"sheet": {"height": 0.226, "width": 0.407}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "Reproduced with permission from the Charles E. Burchfield Foundation", "inscriptions": [{"inscription": "signed, in ink, at lower left: CEB (monogram) / 1920", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 311926, "title": "The Drawings of Charles E. Burchfield", "description": "<i>The Drawings of Charles E. Burchfield</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 4, 1953-January 10, 1954).", "opening_date": "1953-11-04T05:00:00"}, {"id": 304599, "title": "The Year in Review for 1981", "description": "<i>The Year in Review for 1981</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 17-March 21, 1982).", "opening_date": "1982-02-17T05:00:00"}, {"id": 309881, "title": "Leona E. Prasse, Connoisseur and Curator", "description": "<i>Leona E. Prasse, Connoisseur and Curator</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 28-August 25, 1985).", "opening_date": "1985-05-28T04:00:00"}, {"id": 339874, "title": "The Early Work of Charles E. Burchfield", "description": "<i>The Early Work of Charles E. Burchfield</i>. Columbus Museum of Art (December 13, 1987-February 7, 1988); Laguna Art Museum (March 5-April 24, 1988); Burchfield Penney Art Center (May 14-July 3, 1988).", "opening_date": "1987-12-13T05:00:00"}, {"id": 310252, "title": "Cleveland Art Comes of Age: 1919-1940", "description": "<i>Cleveland Art Comes of Age: 1919-1940</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 28-September 10, 1989).", "opening_date": "1989-06-28T04:00:00"}, {"id": 311461, "title": "Generous Donors: A Tribute to The Print Club of Cleveland", "description": "<i>Generous Donors: A Tribute to The Print Club of Cleveland</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 2-August 4, 1991).", "opening_date": "1991-04-02T05:00:00"}, {"id": 313096, "title": "Charles Burchfield: The Ohio Landscapes, 1915\u20131920", "description": "<i>Charles Burchfield: The Ohio Landscapes, 1915\u20131920</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 22, 2018-May 5, 2019).", "opening_date": "2018-12-22T05:00:00"}], "legacy": []}, "provenance": [{"description": "Charles E. Burchfield [1893-1967], Buffalo, NY, sold to Leona E. Prasse, Cleveland, OH", "citations": [], "footnotes": null, "date": "1920-1953", "sortorder": 1}, {"description": "Leona E. Prasse [1897-1985], Cleveland, OH, gift to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1953-1981", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1981-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Burchfield made this drawing while sketching in scenic areas near his hometown of Salem, Ohio.", "description": "After serving in World War I, Charles Burchfield found it difficult to return to his watercolor practice and temporarily experimented with other media. He made this pair of drawings using a combination of finely drawn pen lines and thick areas of wash, diluted to produce a wide variation of tones. With these materials, Burchfield could record the texture and sculptural forms of trunks\u2014the aspects of these trees, encountered near Little Beaver Creek on the Pennsylvania border, that interested him most.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780934"], "internet_archive": []}, "citations": [{"citation": "Prasse, Leona E. T<em>he Drawings of Charles E. Burchfield</em>. Exh. Cat. Cleveland: Cleveland Museum of Art,1953.", "page_number": "Mentioned: p. 21, no. 72; Reproduced: plate VI", "url": null}, {"citation": "Jones, Edith H. <em>The Drawings of Charles Burchfield</em>. New York: Frederic A. Praeger, 1968.", "page_number": "Mentioned: p. 13; Reproduced: plate 6", "url": null}, {"citation": "Maciejunes, Nannette V. <em>The Early Works of Charles E. Burchfield, 1915-1921</em>. Exh. Cat. Columbus, OH: Columbus Museum of Art, 1987.", "page_number": "Mentioned: no. 47, p. 67; Reproduced: 63", "url": null}, {"citation": "De Grazia, Diane and Carter E. Foster. <em>Master Drawings from The Cleveland Museum of Art. </em>Cleveland: Cleveland Museum of Art, 2000.", "page_number": "Mentioned and reproduced: p. 9", "url": null}], "url": "https://clevelandart.org/art/1981.209", "images": {}, "alternate_images": [], "creditline": "Mr. and Mrs. Charles G. Prasse Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 150430, "creators": [{"id": 3989, "description": "Charles Burchfield (American, 1893\u20131967)", "extent": null, "qualifier": null, "role": "artist", "biography": "Charles Burchfield was among the most original and poetic painters of the Cleveland modernist movement. Born in Ashtabula, he moved to Salem, Ohio, following the death of his father in 1898. After graduating from high school, he attended Cleveland School of Art, studying with William Eastman, Frederick Gottwald, Henry Keller, and Frank Wilcox. In 1914 Burchfield began attending Kokoon Klub exhibitions, and in spring 1915 he went to Brandywine to meet William Sommer. Around this time Burchfild began experimenting with the brilliant colors and simplified forms of the Berlin Heights painters. He painted his first mature works in 1915, and grad ed from the Cleveland School of Art with a degree in illustration the following spring. That summer the Cleveland School of Art sponsored his first solo exhibition, and in the fall, after attending the National Academy of Design in New York for one month, he returned to Salem. In February 1917 the Cleveland School of Art mounted his second solo exhibition. Burchfield was inducted into the army that summer. After his return in 1919 he exhibited with other Cleveland modernists at the Play House, Laukhuff\u2019 s Book store, and other Cleveland venues. In 1921 he went on an extended sketching trip through eastern Ohio with Keller, Wilcox, and Paul Travis, exhibiting these recent paintings at the Cleveland School of Art and in the May Show at the Cleveland Museum of Art. Later that year he moved to Buffalo to work as a wallpaper designer, a position he retained until he resigned in 1929 to become a full-time painter. Over the next 30 years he exhibited extensively at museums and galleries across the country. Solo exhibitions of his paintings were held at New York\u2019s Museum of Modern Art (1930), Pittsburgh\u2019 s Carnegie Institute of Art (1935, 1938, 1946), and Buffalo\u2019 s Albright-Knox Art Gallery (1944, 1955, 1963, 1967). In 1953 New York\u2019s Whitney Museum of American Art organized a major exhibition that traveled to the Cleveland Museum of Art. Burchfield died in West Seneca, New York. <br>\"Transformations in Cleveland Art\" (CMA, 1996), p. 224", "name_in_original_language": null, "birth_year": "1893", "death_year": "1967", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1982-03-08T00:00:00", "sortable_date": 1920, "date_added_to_oa": null, "date_text": "1920", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:49.492000"}, {"id": 152009, "accession_number": "1984.61", "share_license_status": "Copyrighted", "tombstone": "Still Life Under a Lamp, Mougins, March 19, 1962. Pablo Picasso (Spanish, 1881\u20131973), printed by Hidalgo Arn\u00e9ra (Spanish, 1922\u20132007), published by Galerie Louise Leiris. Color linocut on wove paper; image: 52.8 x 63.8 cm (20 13/16 x 25 1/8 in.); sheet: 62 x 74.8 cm (24 7/16 x 29 7/16 in.). The Cleveland Museum of Art, John L. Severance Fund, 1984.61. \u00a9 2024 Estate of Pablo Picasso / Artists Rights Society (ARS), New York", "current_location": null, "title": "Still Life Under a Lamp", "creation_date": "Mougins, March 19, 1962", "creation_date_earliest": 1962, "creation_date_latest": 1962, "artists_tags": ["male", "Latine and Hispanic Artists", "gender unknown"], "culture": ["Spain, 20th century"], "technique": "Color linocut on wove paper", "support_materials": [], "department": "Prints", "collection": "PR - Linocut", "type": "Print", "measurements": "Image: 52.8 x 63.8 cm (20 13/16 x 25 1/8 in.); Sheet: 62 x 74.8 cm (24 7/16 x 29 7/16 in.)", "dimensions": {"image": {"height": 0.528, "width": 0.638}, "sheet": {"height": 0.62, "width": 0.748}}, "state_of_the_work": "5b/5 (Baer)", "edition_of_the_work": "22/50", "copyright": "\u00a9 2024 Estate of Pablo Picasso / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "Inscribed, lower left, in graphite: 22/50; signed, lower right, in graphite: Picasso", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Watermark, lower center margin: ARCHES [reversed]", "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": 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": 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": 185544, "title": "Object in Focus: Picasso, Still Life Under a Lamp, 1962 [linoleum cut 1984.61]", "description": "<i>Object in Focus: Picasso, Still Life Under a Lamp, 1962 [linoleum cut 1984.61]</i>. The Cleveland Museum of Art (organizer) (October 30-November 25, 2001).", "opening_date": "2001-10-30T00:00:00"}, {"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": 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": 317581, "title": "Picasso and Paper", "description": "<i>Picasso and Paper</i>. The Cleveland Museum of Art, Cleveland, OH (co-organizer) (December 8, 2024-March 23, 2025).", "opening_date": "2024-12-08T05:00:00"}], "legacy": []}, "provenance": [{"description": "Robert Walker, Swarthmore, PA", "citations": [], "footnotes": null, "date": "?", "sortorder": 1}, {"description": "Addison Gallery of American Art, Phillips Academy, Andover, MA", "citations": [], "footnotes": null, "date": "?", "sortorder": 2}, {"description": "R.M. Light, Santa Barbara, CA (sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "?-1984", "sortorder": 3}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1984-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Picasso made over 2,500 prints during his artistic career.", "description": "This print was created using a variation of the linocut technique that Picasso developed himself. He did so because he found the traditional process\u2014which involves carefully lining up and printing a different linoleum block for each color\u2014too laborious. Instead, the artist cut away areas of a single block and reprinted each color as he went. Although this method removed the need for careful alignment, it presented its own challenges: a single mistake could ruin the entire edition.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79936074"], "internet_archive": []}, "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. 196; Mentioned: p. 205, no. 134", "url": "http://www.jstor.org/stable/25159897"}, {"citation": "Planas, Clausstre Rafart. \"Materials and Techniques.\" In <em>Picasso and Paper</em>. William H. Robinson, et al., 292-313. London: Royal Academy of Arts, 2020.", "page_number": "Reproduced: P. 301, cat. no. 316", "url": ""}, {"citation": "Harris, Roger. \u201cPicasso and Paper : at the Cleveland Museum of Art, a Long-Awaited Exhibition Celebrates Picasso's Use of Paper Over the Course of His Legendary Artistic Career.\" <em>Art &amp; Antiques</em> 47, n. 6 (November/December 2024): 42-47.", "page_number": "Reproduced: p. 46", "url": ""}, {"citation": "\"Exhibitions Through May 2025.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>65, no. 1 (2025): 12-13.", "page_number": "Reproduced: p. 13; Mentioned: p. 12", "url": "https://archive.org/details/CMAMM-2025-01"}], "catalogue_raisonne": "Bloch 1101; Baer V.437.1312", "url": "https://clevelandart.org/art/1984.61", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 152009, "creators": [{"id": 2160, "description": "Pablo Picasso (Spanish, 1881\u20131973)", "extent": null, "qualifier": null, "role": "artist", "biography": "Pablo Ruiz Picasso (1881-1973), the most prolific and influential artist of the 20th century, shifted the emphasis of art from its traditional concern with beauty toward radical innovation. The son of an art teacher, Picasso demonstrated remarkable talents as a child and entered the royal art academy in Madrid at age sixteen. Less than a year later, he abandoned his studies and soon joined several avant-garde artist and anarchist groups in Barcelona and Paris. After passing through a succession of stylistic periods, most notably the Blue (1901-1904) and Rose (1904-1906) Periods, he collaborated with Georges Braque (1882-1963) in 1908 to invent Cubism, a revolutionary method of restructuring pictorial space. Picasso remained active until his death in 1973. Although his art still appears radical, many of his works are over one hundred years old. Cubism, perhaps the most important development in 20th-century art, was invented around 1908 by Pablo Picasso (1881-1973) and Georges Braque (1882-1963). The most revolutionary aspect of the style was not its obvious emphasis on geometric form; rather, it was the introduction of a radically new approach to configuring pictorial space. Since the Renaissance, artists had used various methods to create the illusion of distant space receding behind the canvas surface. The Cubists rejected that idea and collapsed space by compressing foreground, middle ground, and background into a continuous web of overlapping, intersecting planes. During the 1910s, other painters and sculptors embraced or adapted Cubism to their own ends. This revolutionary approach inspired a host of related movements and continues to influence the visual language of artists, architects, and designers throughout the world.", "name_in_original_language": null, "birth_year": "1881", "death_year": "1973", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 687468, "description": "Hidalgo Arn\u00e9ra (Spanish, 1922\u20132007)", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "birth_year": "1922", "death_year": "2007", "use_in_caption": true, "include_extent": true, "weight": 2}, {"id": 53562, "description": "Galerie Louise Leiris", "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": "1984-09-24T00:00:00", "sortable_date": 1962, "date_added_to_oa": null, "date_text": "Mougins, March 19, 1962", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": "22", "alternate_titles": [], "is_highlight": false, "updated_at": "2026-04-02 20:06:31.837000"}, {"id": 162070, "accession_number": "2001.256", "share_license_status": "Copyrighted", "tombstone": "Source, 1967. Tony Smith (American, 1912\u20131980). Painted steel; overall: 335.2 x 899.1 x 1036.3 cm (131 15/16 x 354 x 408 in.). The Cleveland Museum of Art, Gift of the Metropolitan Bank & Trust Company, 2001.256. \u00a9 Estate of Tony Smith / Artists Rights Society (ARS), New York", "current_location": "NG North Sculpture Garden", "title": "Source", "creation_date": "1967", "creation_date_earliest": 1967, "creation_date_latest": 1967, "artists_tags": ["male"], "culture": ["America"], "technique": "painted steel", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Sculpture", "type": "Sculpture", "measurements": "Overall: 335.2 x 899.1 x 1036.3 cm (131 15/16 x 354 x 408 in.)", "dimensions": {"overall": {"height": 3.352, "width": 8.991, "depth": 10.363}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of Tony Smith / Artists Rights Society (ARS), New York", "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Artist's studio", "citations": [], "footnotes": null, "date": "1967\u20131977?", "sortorder": 1}, {"description": "Metropolitan Bank & Trust Company, Cleveland, OH", "citations": [], "footnotes": null, "date": "1977?\u20132001", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2001\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The name of this sculpture was inspired by the French realist painter Gustave Courbet's <em>The Source of the Loue</em> (1864).", "description": "Considered a forerunner of minimalism, Smith created monumental sculptures in geometric forms often inspired by nature. Source possesses a balance between mass and volume, creating a playful energy that spills over into the public space.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780986"], "internet_archive": []}, "citations": [{"citation": "Lippard, Lucy R. <em>Tony Smith</em>. New York: H.N. Abrams, 1972.", "page_number": "", "url": ""}, {"citation": "Storr, Robert, John Keenen, and Joan Pachner. <em>Tony Smith: Architect, Painter, Sculptor.</em> New York: The Museum of Modern Art, New York, 1998.", "page_number": "", "url": ""}, {"citation": "Voorhies, James, and Sarah Auld. <em>Tony Smith Sculpture: Catalogue Raisonn</em>e\u0301. Cambridge, Massachusetts: The MIT Press, 2024.", "page_number": "Mentioned and Reproduced: p. 312-313, no. 54.01", "url": ""}, {"citation": "Arzuaga, Rachel and Beth Edelstein. \"Building and Grounds. Encounter the Grounds Anew: Interpretation and Conservation's Updated Outdoor Map.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>65, no. 1 (2025): 6-7.", "page_number": "Reproduced and Mentioned: p. 22", "url": "https://archive.org/details/CMAMM-2025-01"}], "url": "https://clevelandart.org/art/2001.256", "images": {}, "alternate_images": [], "creditline": "Gift of the Metropolitan Bank & Trust Company", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Donna and Stewart Kohl Sculpture Garden", "athena_id": 162070, "creators": [{"id": 3962, "description": "Tony Smith (American, 1912\u20131980)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1912", "death_year": "1980", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1999-06-07T00:00:00", "sortable_date": 1967, "date_added_to_oa": null, "date_text": "1967", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:35.374000"}, {"id": 457528, "accession_number": "2022.39", "share_license_status": "Copyrighted", "tombstone": "Mardi Soir, 1973. Carmen Herrera (American, b. Cuba, 1915\u20132022). Acrylic on canvas; 106.7 x 162.6 cm (42 x 64 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 2022.39. \u00a9 Carmen Herrera", "current_location": "224A Contemporary Corridor", "title": "Mardi Soir", "creation_date": "1973", "creation_date_earliest": 1973, "creation_date_latest": 1973, "artists_tags": ["female", "Latine and Hispanic Artists"], "culture": ["America"], "technique": "Acrylic on canvas", "support_materials": [], "department": "Contemporary Art", "collection": "Paintings", "type": "Painting", "measurements": "106.7 x 162.6 cm (42 x 64 in.)", "dimensions": {"No Extent Specified": {"height": 1.067, "width": 1.626}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Carmen Herrera", "inscriptions": [{"inscription": "Signed, titled and dated, verso HERR730002", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Artist's collection", "citations": [], "footnotes": null, "date": "1973\u20132022", "sortorder": 1}, {"description": "Lisson Gallery, New York, NY, sold to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "2022", "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": [], "did_you_know": "Carmen Herrera did not sell her first painting until she was 89 years old.", "description": "A groundbreaking abstract artist who worked for decades\u2014with formal forays remarkably ahead of her male counterparts in the Minimalist and concrete art movements\u2014Herrera\u2019s work was underappreciated for much of her lifetime. For this reason, she did not achieve commercial success until she was in her 90s, and her first major museum retrospective occurred when she was 100. The saturated cobalt blue hue used in this painting is striking, and typical of the jewel-toned palette that the artist frequently used, off-set with black or white to create rhythmic compositions. The zig-zag pattern is indicative of the dynamism of forms, and movement beyond the painting\u2019s frame, reinforced by the painted edges of her work. This detail entices viewers to the front of the painting, activating the three-dimensional space that connects viewer to object, and encouraging multiple vantage points. The title is in French, translating to \"Tuesday evening.\" This painting is part of Herrera\u2019s larger investigation of the affective qualities of color and how they relate to time and memory.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117247325"], "internet_archive": []}, "citations": [{"citation": "Miller, Dana, Carmen Herrera, Serge Lemoine, Gerardo Mosquera, Edward J Sullivan, Espinel Mo\u0301nica, Dana Miller, et al. <em>Carmen Herrera: Lines of Sight.</em> New York: Whitney Museum of American Art, 2016.", "page_number": "", "url": ""}, {"citation": "\"New on View.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>62, no. 4 (December 2022).", "page_number": "Reproduced and Mentioned: Back cover", "url": "https://archive.org/details/CMAMM2022-04/page/n39/mode/2up"}, {"citation": "\"Remembering Toby Lewis.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 64, no. 1 (2024): 33-34.", "page_number": "Reproduced: P. 33; Mentioned: P. 34", "url": "https://archive.org/details/CMAMM-2024-01/page/32/mode/2up"}, {"citation": "Fellah, Nadiah Rivera. \"Closing the Gap: Carmen Herrera &amp; Leon Polk Smith in American Museums.\" In <em>Both Sides of the Line: Carmen Herrera &amp; Leon Polk Smith,</em> edited by Dana Miller, 36-43. Ann Arbor, MI: University of Michigan Museum of Art, 2025.", "page_number": "Mentioned and reproduced: p. 40, fig. 6", "url": ""}], "url": "https://clevelandart.org/art/2022.39", "images": {}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Betty and Max Ratner Gallery", "athena_id": 457528, "creators": [{"id": 457523, "description": "Carmen Herrera (American, b. Cuba, 1915\u20132022)", "extent": "execution", "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1915", "death_year": "2022", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2022-06-06T04:00:00Z", "sortable_date": 1973, "date_added_to_oa": null, "date_text": "1973", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:35.343000"}, {"id": 153328, "accession_number": "1986.4", "share_license_status": "Copyrighted", "tombstone": "Untitled, 1959. Barnett Newman (American, 1905\u20131970). Brush and black ink on cream wove paper; sheet: 53.5 x 61.1 cm (21 1/16 x 24 1/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1986.4. \u00a9 Barnett Newman Foundation / Artists Rights Society (ARS), New York", "current_location": null, "title": "Untitled", "creation_date": "1959", "creation_date_earliest": 1959, "creation_date_latest": 1959, "artists_tags": ["male", "Jewish artists"], "culture": ["America"], "technique": "brush and black ink on cream wove paper", "support_materials": [{"description": "cream wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Sheet: 53.5 x 61.1 cm (21 1/16 x 24 1/16 in.)", "dimensions": {"sheet": {"height": 0.535, "width": 0.611}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Barnett Newman Foundation / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "signed, lower right, in black ink: Barnett Newman 59; verso, upper center, in graphite: T; lower left, along left margin, in graphite: p-33-362%\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"}, {"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"}, {"id": 202383, "title": "Less is More: Minimal Prints", "description": "<i>Less is More: Minimal Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 16-October 20, 2013).", "opening_date": "2013-06-16T00:00:00"}], "legacy": [{"description": "<em>Barnett Newman: The Complete Drawings, 1944-1969</em>. Baltimore Museum of Art (April 29 - June 17, 1979); Detroit Institute of Arts (August 7 - September 30, 1979); Museum of Contemporary Art, Chicago (November 2, 1979 - January 6, 1980); Metropolitan Museum of Ar,t New York (February 12 - April 9, 1980); Stedelijk Museum, Amsterdam (September 8 - October 19, 1980); Mus\u00e9e Naitonal d'Art Moderne/Centre Georges Pompidou, Paris (November 12, 1980 - January 4, 1981); Museum Ludwig, Cologne (February 9 - April 5, 1981); Kunstmuseum Basel (May 11 - July 5, 1981).", "opening_date": "1979-04-29T00:00:00"}, {"description": "<em>200 Years of Watercolor Painting in America: An Exhibition Commemorating the Centennial of the American Watercolor Society</em>. Metropolitan Museum of Art, New York, NY (December 8, 1966 - January 29, 1967).", "opening_date": "1966-12-08T00:00:00"}]}, "provenance": [{"description": "Barnett Newman [1905\u20131970], New York, NY, sold to Cleve and Francine du Plessix Gray", "citations": [], "footnotes": null, "date": "1959\u20131961", "sortorder": 1}, {"description": "Cleve [1918\u20132004] and Francine du Plessix [1930\u20132019] Gray, Warren, CT", "citations": [], "footnotes": null, "date": "1961\u2013probably 1985", "sortorder": 2}, {"description": "(Xavier Fourcade, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "by 1985\u20131986", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1986\u2013", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Newman made this drawing just after a decade-long period during which he had not worked at all on paper.", "description": "A pioneer of abstract painting, Barnett Newman developed his own severe, minimal style around 1945 and spent the rest of his career working within a strict vocabulary of form. He focused on the \"zip,\" the long vertical element extending from top to bottom on his canvases. This important drawing is related to a series of fourteen paintings that he named <em>The Stations of the Cross</em> (National Gallery of Art, Washington, DC), perhaps his greatest achievement. In many ways the paintings are like large drawings, and this work has much in common with them, using the same vocabulary of positive black and negative white forms to declare space.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780978"], "internet_archive": []}, "citations": [{"citation": "Du Plessix, Francine. \"Painters and Poets.\" <em>Art in America</em> (October - November 1965).", "page_number": "Reproduced: p. 33", "url": null}, {"citation": "<em>200 Years of Watercolor Painting in America: An Exhibition Commemorating the Centennial of the American Watercolor Society</em>. Exh. Cat. New York: Metropolitan Museum of Art, 1966.", "page_number": "Mentioned: p. 33, no. 228", "url": null}, {"citation": "Richardson, Brenda. <em>Barnett Newman: The Complete Drawings, 1944-1969</em>. Exh. Cat. Baltimore: Baltimore Museum of Art, 1979.", "page_number": "Mentioned: p. 156, no. 60; Reproduced: p. 157", "url": null}, {"citation": "Turner, Evan H. \"The Year in Review for 1986.\" <em>Bulletin of the Cleveland Museum of Art</em> 74, no. 2 (February 1987): 38-79.", "page_number": "Mentioned: p. 47, 72; Reproduced: p. 47", "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. 9, pp. 274-275, p. 298; Reproduced: p. 275", "url": null}, {"citation": "Shiff, Richard, Carol C. Mancusi-Ungaro, and Heidi Colsman-Freyberger. <em>Barnett Newman: A Catalogue Raisonn\u00e9</em>. New Haven:  Yale University Press, 2004.", "page_number": "Mentioned and reproduced: p. 425, no. 178", "url": null}], "catalogue_raisonne": "Shiff 178", "url": "https://clevelandart.org/art/1986.4", "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": 153328, "creators": [{"id": 4094, "description": "Barnett Newman (American, 1905\u20131970)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1905", "death_year": "1970", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1986-02-11T00:00:00", "sortable_date": 1959, "date_added_to_oa": null, "date_text": "1959", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:45.045000"}, {"id": 149066, "accession_number": "1977.193", "share_license_status": "Copyrighted", "tombstone": "Prisma, 1968. Richard Anuszkiewicz (American, 1930\u20132020). Acrylic on canvas; framed: 185.4 x 276.8 x 3.9 cm (73 x 109 x 1 9/16 in.); unframed: 182.8 x 274.3 cm (71 15/16 x 108 in.). The Cleveland Museum of Art, Gift of Katherine C. White, 1977.193. \u00a9 Richard Anuszkiewicz/Licensed by VAGA, New York, NY", "current_location": null, "title": "Prisma", "creation_date": "1968", "creation_date_earliest": 1968, "creation_date_latest": 1968, "artists_tags": ["May Show", "male", "Jewish artists"], "culture": ["America, Ohio, Cleveland"], "technique": "acrylic on canvas", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "measurements": "Framed: 185.4 x 276.8 x 3.9 cm (73 x 109 x 1 9/16 in.); Unframed: 182.8 x 274.3 cm (71 15/16 x 108 in.)", "dimensions": {"framed": {"height": 1.854, "width": 2.768, "depth": 0.039}, "unframed": {"height": 1.828, "width": 2.743}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Richard Anuszkiewicz/Licensed by VAGA, New York, NY", "inscriptions": [], "exhibitions": {"current": [{"id": 309579, "title": "The Cleveland Institute of Art: 100 Years", "description": "<i>The Cleveland Institute of Art: 100 Years</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 22, 1982-January 30, 1983).", "opening_date": "1982-12-22T05:00:00"}, {"id": 309861, "title": "Contemporary Art and Textiles Collection", "description": "<i>Contemporary Art and Textiles Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 13-August 26, 1984).", "opening_date": "1984-07-13T04:00:00"}, {"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": "Kent, OH: Van Deusen Gallery, Kent State University, 1968: \"15 Paintings/Anuszkiewicz,\" cat. no. 14, not reproduced", "opening_date": "1968-01-01T00:00:00"}, {"description": "CMA, 1982: \"The Cleveland Institute of Art: 100 Years,\" cat. no. 96, p. 32, not reproduced", "opening_date": "1982-01-01T00:00:00"}, {"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. 107, p. 122, color repr. p. 80.", "opening_date": "2006-06-09T00:00:00"}, {"description": "\"Contemporary Collection,\" Cleveland Museum of Art (Aug. 17 - Nov. 6, 1983).", "opening_date": "1983-08-17T00:00:00"}, {"description": "\"Richard Anuskiewicz,\" Butler Institute of Art (March 4 - April 1, 1984).", "opening_date": "1984-03-04T00:00:00"}, {"description": "Cleveland Museum of Art, (04//11/2011 - 02/26/2012); \"Op Art\"", "opening_date": "2012-02-26T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "From 1948 to 1953, Anuszkiewicz studied at the Cleveland Institute of Art.", "description": "Anuszkiewicz\u2019s arrangement of six radiating square outlines in blues and greens against a bold red background generates a complex network of nestled diamond patterns primarily through color relationships. Interestingly, the composition\u2019s red background is the uppermost layer of paint. The blue and green \"lines\" are actually large areas of underpaint that were taped off when the red layer was applied, and then uncovered when the tape was removed.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60473316"], "internet_archive": []}, "citations": [{"citation": "Sims, Lowery Stokes. <em>The Persistence of Geometry: Form, Content, and Culture in the Collection of the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2006.", "page_number": "Mentioned and reproduced: P. 79-80, no. 107", "url": ""}], "url": "https://clevelandart.org/art/1977.193", "images": {}, "alternate_images": [], "creditline": "Gift of Katherine C. White", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 149066, "creators": [{"id": 3351, "description": "Richard Anuszkiewicz (American, 1930\u20132020)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1930", "death_year": "2020", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1978-05-08T00:00:00", "sortable_date": 1968, "date_added_to_oa": null, "date_text": "1968", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:00.202000"}, {"id": 108615, "accession_number": "1926.308", "share_license_status": "Copyrighted", "tombstone": "The High Level Bridge, Cleveland, 1926. Rudolph Ruzicka (American, born Bohemia, 1883\u20131978). Color woodcut; image: 17.9 x 12.9 cm (7 1/16 x 5 1/16 in.); sheet: 26 x 19.4 cm (10 1/4 x 7 5/8 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1926.308", "current_location": null, "title": "The High Level Bridge, Cleveland", "creation_date": "1926", "creation_date_earliest": 1926, "creation_date_latest": 1926, "artists_tags": ["male"], "culture": ["America"], "technique": "color woodcut", "support_materials": [], "department": "Prints", "collection": "PR - Woodcut", "type": "Print", "measurements": "Image: 17.9 x 12.9 cm (7 1/16 x 5 1/16 in.); Sheet: 26 x 19.4 cm (10 1/4 x 7 5/8 in.)", "dimensions": {"image": {"height": 0.179, "width": 0.129}, "sheet": {"height": 0.26, "width": 0.194}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 356916, "title": "Prints of Industrial Subjects", "description": "<i>Prints of Industrial Subjects</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 12, 1934-January 15, 1935).", "opening_date": "1934-12-12T05:00:00"}, {"id": 344811, "title": "Print Club Publications: Past Fifteen Years", "description": "<i>Print Club Publications: Past Fifteen Years</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 9-March 20, 1938).", "opening_date": "1938-02-09T05:00:00"}, {"id": 301677, "title": "Presentation Prints of the Print Club of Cleveland: 40th Anniversary Exhibition of the Print Club of Cleveland", "description": "<i>Presentation Prints of the Print Club of Cleveland: 40th Anniversary Exhibition of the Print Club of Cleveland</i>. The Cleveland Museum of Art, Cleveland, OH (October 13-December 2, 1959).", "opening_date": "1959-10-13T04:00:00"}, {"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": 310243, "title": "The Precisionist Aesthetic in American Art", "description": "<i>The Precisionist Aesthetic in American Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 24-April 9, 1989).", "opening_date": "1989-01-24T05:00:00"}, {"id": 311649, "title": "The Print Club of Cleveland: Publication Prints 1924-1994", "description": "<i>The Print Club of Cleveland: Publication Prints 1924-1994</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 9-June 26, 1994).", "opening_date": "1994-03-09T05:00:00"}, {"id": 311873, "title": "Transformations in Cleveland Art, 1796-1946", "description": "<i>Transformations in Cleveland Art, 1796-1946</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 19-July 21, 1996).", "opening_date": "1996-05-19T04:00:00"}, {"id": 177916, "title": "Burchfield to Schreckengost: Cleveland Art of the Jazz Age", "description": "<i>Burchfield to Schreckengost: Cleveland Art of the Jazz Age</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 28-July 18, 2004).", "opening_date": "2004-03-28T00:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [{"id": 117629, "description": "The High Level Bridge, Cleveland, 1926. Rudolph Ruzicka (American, born Bohemia, 1883\u20131978). Pencil and crayon. The Cleveland Museum of Art, Gift of the Artist, 1938.282", "relationship": "based on"}], "former_accession_numbers": [], "did_you_know": "In addition to working as a printmaker, Ruzicka produced many book illustrations.", "description": "Ruzicka produced this color woodcut, commissioned by the Print Club of Cleveland, from a pencil and crayon sketch. It depicts the \u201cHigh Level\u201d or Detroit-Superior Bridge, an engineering marvel completed in 1918, having an upper deck for vehicular traffic and a lower deck (now closed) for electric streetcars. The High Level Bridge was the first span across the Cuyahoga River tall enough to allow boats to pass without raising or lowering elements and stopping car traffic. Many artists were attracted by both the bridge\u2019s modern structure and its symbolic meaning as the link between the city\u2019s east and west sides.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80000143"], "internet_archive": []}, "citations": [{"citation": "Robinson, William H., et. al. <em>Transformations in Cleveland Art, 1796-1946: Community and Diversity in Early Modern America</em>. Cleveland, Ohio: Cleveland Museum of Art, 1996.", "page_number": "Reproduced and Mentioned: p. 118", "url": null}, {"citation": "Engelbrecht, Theresa Moir. \"Inter-Collected: The Shared History of the Print Club and Museum Collection.\" <em>Art in Print, </em>7, no. 2 (July-August 2017): 30-33.", "page_number": "Reproduced; p. 33", "url": ""}], "url": "https://clevelandart.org/art/1926.308", "images": {}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 108615, "creators": [{"id": 32473, "description": "Rudolph Ruzicka (American, born Bohemia, 1883\u20131978)", "extent": null, "qualifier": null, "role": "artist", "biography": "Born in Bohemia, Rudolph Ruzicka immigrated with his family to Chicago in 1894. At the age of 14, he left school to become a wood-engraving apprentice at the Franklin Engraving Company in Chicago. He attended evening classes at the Art Institute of Chicago as well as weekend drawing classes at Hull House, 1897\u20131900. He moved to New York to work as a commericial printmaker in 1903. He had solo exhibitions in Cleveland at Korner &amp; Wood Galleries (1913) and the Cleveland Museum of Art (1917). He traveled to Cleveland and sketched the city after receiving a commission to create work for the Cleveland Print Club in 1927. He moved to Boston during the late 1940s and over the subsequent decades added book illustration to his career achievements. Ruzicka died in Hanover, New Hampshire. <br>\"Transformations in Cleveland Art\" (CMA, 1996), p. 235", "name_in_original_language": null, "birth_year": "1883", "death_year": "1978", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1926-07-07T00:00:00", "sortable_date": 1926, "date_added_to_oa": null, "date_text": "1926", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:05:13.853000"}, {"id": 93308, "accession_number": "1949.1774", "share_license_status": "Copyrighted", "tombstone": "Mountain Farm, c. 1915. Preston Dickinson (American, 1891\u20131930). Oil on canvas; framed: 86 x 68.5 x 5.5 cm (33 7/8 x 26 15/16 x 2 3/16 in.); unframed: 65.7 x 48.1 cm (25 7/8 x 18 15/16 in.). The Cleveland Museum of Art, Hinman B. Hurlbut Collection, 1949.1774", "current_location": null, "title": "Mountain Farm", "creation_date": "c. 1915", "creation_date_earliest": 1908, "creation_date_latest": 1918, "artists_tags": ["male", "LGBTQ+ (after 1900)"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 86 x 68.5 x 5.5 cm (33 7/8 x 26 15/16 x 2 3/16 in.); Unframed: 65.7 x 48.1 cm (25 7/8 x 18 15/16 in.)", "dimensions": {"framed": {"height": 0.86, "width": 0.685, "depth": 0.055}, "unframed": {"height": 0.657, "width": 0.481}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "not signed", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 703004, "title": "1959 January Show", "description": "<i>1959 January Show</i>. Kingwood Center Gardens, Mansfield, OH (organizer) (January 11-31, 1959).", "opening_date": "1959-01-11T05:00:00"}, {"id": 442514, "title": "Preston Dickinson, 1889-1930", "description": "<i>Preston Dickinson, 1889-1930</i>. Sheldon Memorial Art Gallery and Sculpture Garden, Lincoln, NE (organizer) (September 4-October 7, 1979); Whitney Museum of American Art, New York, NY (December 18, 1979-February 24, 1980); University Art Museum of New Mexico, Albuquerque, NM (March 8-April 13, 1980); Colorado Springs Fine Arts Center, Colorado Springs, CO (May 13-June 10, 1980); Georgia Museum of Art, Athens, GA (July 13-August 10, 1980).", "opening_date": "1979-09-04T04:00:00"}], "legacy": [{"description": "New York, NY, Whitney Museum of American Art, Pioneers of Modern Art in America (9 March - 19 May 1946), no. 32, p. 21, ill. (no page)", "opening_date": "1946-03-09T00:00:00"}, {"description": "Mansfield, OH, Kingwood Center, January Show (11-31 January 1959).", "opening_date": "1959-01-11T00:00:00"}, {"description": "MI, Michigan State University, American Art from 1900 to Present (18 June - 28 July 1960).", "opening_date": "1960-06-18T00:00:00"}, {"description": "New York, NY, Whitney Museum of American Art, The Decade of the Armory Show (27 February - 14 April 1963), cat. no. 29; traveled to St. Louis, MO, City Art Museum of St. Louis (1 June - 14 July 1963); Cleveland, OH, Cleveland Museum of Art (6 August - 15 September 1963); Philadelphia, PA, Pennsylvania Academy of the Fine Arts (30 September - 30 October 1963); Chicago, IL, Art Institute of Chicago (15 November - 29 December 1963); Buffalo, NY, Albright-Knox Gallery (20 January - 23 February 1964).", "opening_date": "1963-02-27T00:00:00"}, {"description": "Lincoln, NE, Sheldon Memorial Art Gallery, Preston Dickinson 1889-1930 (4 September - 7 October 1979), cat. no. 9, p. 20; traveled to New York, NY, Whitney Museum of American Art (18 December 1979 - 24 February 1980); Albuquerque, NM, University of New Mexico Art Museum (8 March - 13 April 1980); Colorado, Colorado Springs Fine Arts Center (18 May - 10 June 1980); Athens, GA, Georgia Museum of Art (13 July - 10 August 1980).", "opening_date": "1979-09-04T00:00:00"}, {"description": "Cleveland, OH, Cleveland Museum of Art, The Precisionist Aesthetic in American Art (24 January - 9 April 1989).", "opening_date": "1989-01-24T00:00:00"}]}, "provenance": [{"description": "(Daniel Gallery, New York); Edith Denniston; (Kraushaar Art Galleries, bought by the Museum, 1949).", "citations": [], "footnotes": [], "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1729.1949", "1774.1949"], "did_you_know": "Early in his career, Preston Dickinson peddled socks door-to-door in order to supplement his meager income.", "description": "According to the title of a closely related painting that Preston Dickinson made, <em>Mountain Farm</em> was inspired by the Catskill region in southeastern New York State. The artist's abstracted, highly geometric composition features several objects and natural forms\u2014including houses, hills, and spidery trees\u2014arranged among rectangular and wedged-shaped areas of the canvas.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q107313753", "https://www.wikidata.org/wiki/Q60502144"], "internet_archive": []}, "citations": [{"citation": "Frankfurter, Alfred M. \"O Pioneers!\" <em>Art News.</em> 45:2 (April 1946):", "page_number": "Reproduced: p. 35", "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. 64", "url": null}], "url": "https://clevelandart.org/art/1949.1774", "images": {}, "alternate_images": [], "creditline": "Hinman B. Hurlbut Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 93308, "creators": [{"id": 4007, "description": "Preston Dickinson (American, 1891\u20131930)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1891", "death_year": "1930", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1949-08-03T00:00:00", "sortable_date": 1908, "date_added_to_oa": null, "date_text": "c. 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": "2026-03-26 23:59:49.449000"}, {"id": 136601, "accession_number": "1961.162", "share_license_status": "Copyrighted", "tombstone": "The Theater\r\n, 1909. John Sloan (American, 1871\u20131951). Color monotype; platemark: 19.1 x 22.8 cm (7 1/2 x 9 in.); sheet: 27.3 x 27 cm (10 3/4 x 10 5/8 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. Ralph L. Wilson in memory of Anna Elizabeth Wilson, 1961.162. \u00a9  Delaware Art Museum / Artists Rights Society (ARS), New York", "current_location": null, "title": "The Theater\r\n", "creation_date": "1909", "creation_date_earliest": 1909, "creation_date_latest": 1909, "artists_tags": ["male"], "culture": ["America"], "technique": "color monotype", "support_materials": [], "department": "Prints", "collection": "PR - Monotype", "type": "Print", "measurements": "Platemark: 19.1 x 22.8 cm (7 1/2 x 9 in.); Sheet: 27.3 x 27 cm (10 3/4 x 10 5/8 in.)", "dimensions": {"sheet": {"height": 0.273, "width": 0.27}, "platemark": {"height": 0.191, "width": 0.228}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  Delaware Art Museum / Artists Rights Society (ARS), New York", "inscriptions": [], "exhibitions": {"current": [{"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": 350592, "title": "Prints and Drawings, 1916-1965", "description": "<i>Prints and Drawings, 1916-1965</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 20-July 24, 1966).", "opening_date": "1966-05-20T04:00:00"}, {"id": 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": 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": 316631, "title": "Metropolitan Lives: The Ashcan Artists and Their New York, 1897-1917", "description": "<i>Metropolitan Lives: The Ashcan Artists and Their New York, 1897-1917</i>. National Museum of American Art, Washington, DC (co-organizer) (November 17, 1995-March 17, 1996).", "opening_date": "1995-11-17T05:00:00"}, {"id": 223825, "title": "On the Edge of Your Seat:  Popular Theatre and Film in Early 20th-century American Art", "description": "<i>On the Edge of Your Seat:  Popular Theatre and Film in Early 20th-century American Art</i>. Frederick R. Weisman Art Museum (organizer) (April 27-August 4, 2002); Pennsylvania Academy of Fine Arts, Museum of American Art, Philadelphia, PA (February 8-April 20, 2003).", "opening_date": "2002-04-27T00:00:00"}, {"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": 381923, "title": "Ashcan School Prints and the American City, 1900\u20131940", "description": "<i>Ashcan School Prints and the American City, 1900\u20131940</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 18-December 26, 2021).", "opening_date": "2021-07-17T04:00:00"}], "legacy": []}, "provenance": [{"description": "Mr. and Mrs. Ralph L. Wilson, Canton, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "?-1961", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "August 19, 1961", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "To make this monotype, John Sloan covered a printing plate with ink and wiped it away in areas to create an image, a technique called \"dark-field manner.\"", "description": "The opera houses, symphony halls, and theaters constructed in the first quarter of the 1900s in America\u2019s cities accommodated increasingly large audiences and constituted a new realm of \u201chigh\u201d culture. This print records John Sloan\u2019s first experience with opera: likely that of <em>Tannh\u00e4user </em>or <em>Louise</em>, both of which he saw with his wife, Dolly, in February 1909. To make this monotype\u2014a unique image printed from a design made on a printing plate\u2014Sloan manipulated and wiped black and green ink to evoke the effects of artificial lighting on a darkened interior, focusing more attention on the crowd than on the performance itself.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80030644"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art. <em>The CMA Companion: A Guide to the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2014.", "page_number": "Mentioned and reproduced: P. 357", "url": ""}, {"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. 7; Mentioned: p. 7, 8", "url": "https://archive.org/details/CMAMM2015-03"}], "catalogue_raisonne": "not in Morse", "url": "https://clevelandart.org/art/1961.162", "images": {}, "alternate_images": [], "creditline": "Gift of Mr. and Mrs. Ralph L. Wilson in memory of Anna Elizabeth Wilson", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 136601, "creators": [{"id": 3285, "description": "John Sloan (American, 1871\u20131951)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1871", "death_year": "1951", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1961-08-19T00:00:00", "sortable_date": 1909, "date_added_to_oa": null, "date_text": "1909", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": true, "updated_at": "2026-03-27 00:05:21.448000"}, {"id": 163548, "accession_number": "2004.88", "share_license_status": "Copyrighted", "tombstone": "Giant Toothpaste Tube, 1964. Claes Thure Oldenburg (American, 1929\u20132022). Vinyl over canvas filled with kapok; wood, metal and cast plastic; overall: 64.8 x 167.6 x 43.2 cm (25 1/2 x 66 x 17 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 2004.88. \u00a9 Claes Thure Oldenburg", "current_location": null, "title": "Giant Toothpaste Tube", "creation_date": "1964", "creation_date_earliest": 1964, "creation_date_latest": 1964, "artists_tags": ["male"], "culture": ["America"], "technique": "vinyl over canvas filled with kapok; wood, metal and cast plastic", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Sculpture", "type": "Sculpture", "measurements": "Overall: 64.8 x 167.6 x 43.2 cm (25 1/2 x 66 x 17 in.)", "dimensions": {"overall": {"height": 0.648, "width": 1.676, "depth": 0.432}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Claes Thure Oldenburg", "inscriptions": [], "exhibitions": {"current": [], "legacy": [{"description": "<em>Claes Oldenburg: An Anthology</em>. National Gallery of Art, Washington, D.C. (February 12-May 7,1995); Museum of Contemporary Art, Los Angeles (June 18-September 3, 1995); Solomon R. Guggenheim Museum, New York (October 7, 1995-January 21, 1996); Kunst-und Ausstellunghalle der Bundesrepublik Deutschland, Bonn (February 15-May 12, 1996); The Hayward Gallery London, (June 6-August 19, 1996).", "opening_date": "1995-06-18T00:00:00"}, {"description": "<em>The Pop Art Show</em>. Royal Academy of Art, London (September 13-December 16, 1991); Museum Ludwig, Cologne (January 22-April 21, 1992); Museo Nacional Centro de Arte Reina Sof\u00eda, Madrid (June 16-September 24, 1992); Mus\u00e9e des beaux-arts, Montr\u00e9al (October 22, 1992-January 24, 1993).", "opening_date": "1991-09-13T00:00:00"}, {"description": "<em>Claes Oldenburg: Object into Monument</em>. Pasadena Art Museum (December 7, 1971-February 6, 1972); University Art Museum, Berkeley, CA (February 28-April 9, 1972); Des Moines Art Center, Des Moines (September 18-October 29, 1972), The Art Institute of Chicago (January 20-February 25, 1973).", "opening_date": "1972-02-28T00:00:00"}, {"description": "<em>Oldenburg. </em>The Tate Gallery, London (June 24-August 16, 1970).", "opening_date": "1970-06-24T00:00:00"}, {"description": "<em>Claes Oldenburg</em>. Stedelijk Museum of Modern Art, Amsterdam (January 16-March 15, 1970).", "opening_date": "1970-01-16T00:00:00"}, {"description": "<em>Claes Oldenburg</em>. Museum of Modern Art, New York (September 25-November 23, 1969).", "opening_date": "1969-09-25T00:00:00"}, {"description": "Robert Fraser Gallery, London (1966).", "opening_date": "1966-01-01T00:00:00"}, {"description": "<em>Exhibition of Recent Work by Claes Oldenburg</em>. Sidney Janis Gallery, New York (April 7-May 2, 1964)", "opening_date": "1964-04-07T00:00:00"}]}, "provenance": [{"description": "The Artist; Sydney Janis Gallery, New York; Alan Power, London; Private Collection, London; Richard Lane, New York (acquired from Didier Imbert Fine Art, Paris 1989); Private Collection, USA (acquired from James Mayor Gallery, London 1992).", "citations": [], "footnotes": [], "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Oldenburg kept the color and shape of the toothpaste tube he recreated true to reality, and instead changed the context, size, and state of his subject to render his object surreal and humorous.", "description": "Oldenburg became known in the 1960s for his involvement with New York counterculture figures in producing group performances called happenings and art films. Later in the decade, he mined ubiquitous consumer culture to create sculptures of commonplace objects rendered in monumental size through unexpected materials. Elevated from a banal household thing into a work of art, these works make the most everyday subjects strange, presenting them as if we were encountering them for the first time.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60781112"], "internet_archive": []}, "citations": [{"citation": "Olszewski, Edward J. <em>Claes Oldenburg and Coosje Van Bruggen, Cleveland's Free Stamp</em>. Athens, Ohio: Ohio University Press, 2017. p. 66", "page_number": "Reproduced: P. 66, fig. 33", "url": null}, {"citation": "Foster, Hal. <em>Brutal Aesthetics: Dubuffet, Bataille, Jorn, Paolozzi, Oldenburg.</em> Princeton: Princeton University Press, 2020.", "page_number": "Mentioned and reproduced: P. 230-231, fig. 5.35", "url": ""}], "url": "https://clevelandart.org/art/2004.88", "images": {}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 163548, "creators": [{"id": 9243, "description": "Claes Thure Oldenburg (American, 1929\u20132022)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1929", "death_year": "2022", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2004-12-06T00:00:00", "sortable_date": 1964, "date_added_to_oa": null, "date_text": "1964", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "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 00:03:02.125000"}, {"id": 156887, "accession_number": "1992.96", "share_license_status": "Copyrighted", "tombstone": "Future (Woman in Stockholm), 1917. Gabriele M\u00fcnter (German, 1877\u20131962). Oil on canvas; framed: 114.3 x 81.3 x 7 cm (45 x 32 x 2 3/4 in.); unframed: 97.5 x 63.8 cm (38 3/8 x 25 1/8 in.); former: 123.8 x 89.9 x 6.4 cm (48 3/4 x 35 3/8 x 2 1/2 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. Frank E. Taplin Jr., 1992.96. \u00a9 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn", "current_location": null, "title": "Future (Woman in Stockholm)", "creation_date": "1917", "creation_date_earliest": 1917, "creation_date_latest": 1917, "artists_tags": ["female"], "culture": ["Germany, 20th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 114.3 x 81.3 x 7 cm (45 x 32 x 2 3/4 in.); Unframed: 97.5 x 63.8 cm (38 3/8 x 25 1/8 in.); Former: 123.8 x 89.9 x 6.4 cm (48 3/4 x 35 3/8 x 2 1/2 in.)", "dimensions": {"framed": {"height": 1.143, "width": 0.813, "depth": 0.07}, "unframed": {"height": 0.975, "width": 0.638}, "former": {"height": 1.238, "width": 0.899, "depth": 0.064}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn", "inscriptions": [{"inscription": "signed lower left:  M\u00fcnter / 8.IV.17 [inscribed lower right:  An Peter]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 215262, "title": "Gabriele M\u00fcnter:  The Years of Expressionism, 1900-1920", "description": "<i>Gabriele M\u00fcnter:  The Years of Expressionism, 1900-1920</i>. Milwaukee Art Museum, Milwaukee, WI (organizer) (December 5, 1997-March 1, 1998); Columbus Museum of Art, Columbus, OH (April 18-June 21, 1998); Virginia Museum of Fine Arts, Richmond, VA (July 13-September 20, 1998); Marion Koogler McNay Art Museum, San Antonio, TX (October 20-December 23, 1998).", "opening_date": "1997-12-05T00:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. Beijing World Art Museum (May 26-August 27, 2006); Mori Art Center (September 16-November 26, 2006); Seoul Art Center, South Korea (December 22, 2006-March 28, 2007); Seoul Olympic Museum of Art, South Korea (April 7-May 20, 2007); Vancouver Art Gallery, Vancouver, Canada (June 9-September 16, 2007); The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008); Frist Art Museum, Nashville, TN (February 15-June 1, 2008); Utah Museum of Fine Arts, Salt Lake City, UT (June 22-September 21, 2008); The Detroit Institute of Arts, Detroit, MI (October 12, 2008-January 18, 2009).", "opening_date": "2006-05-27T00:00:00"}, {"id": 455287, "title": "Gabriele M\u00fcnter: The Great Expressionist Woman Painter", "description": "<i>Gabriele M\u00fcnter: The Great Expressionist Woman Painter</i>. Museo Nacional Thyssen-Bornemisza, Madrid, Spain (organizer) (November 12, 2024-February 9, 2025) https://www.museothyssen.org/en/exhibitions/gabriele-munter.", "opening_date": "2024-11-12T05:00:00"}, {"id": 677543, "title": "Gabriele M\u00fcnter: Contours of a World", "description": "<i>Gabriele M\u00fcnter: Contours of a World</i>. Solomon R. Guggenheim Museum, New York, NY (organizer) (November 7, 2025-April 26, 2026) https://www.guggenheim.org/exhibition/gabriele-munter.", "opening_date": "2025-11-07T05:00:00"}], "legacy": []}, "provenance": [{"description": "Gabriele M\u00fcnter Estate, Munich", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "Purchased from Dalzell Hatfield Galleries, Los Angeles, by Mr. Frank E. Taplin Jr. in 1963", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "Mr. Frank E. [1916-2003] and Mrs. Frank E. [1914-2011] Taplin, Jr., given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "-1992", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1992-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The black outlines on the figure and objects in this scene are reminiscent of stained glass.", "description": "Gabriele M\u00fcnter was a founding member of Der Blaue Reiter (The Blue Rider), a German Expressionist group formed in Munich in 1911. In July 1915, after the outbreak of World War I, she moved to neutral Sweden. In early 1917, she painted several portraits of Gertrude Holz, a friend and her preferred model of the time, each expressing a different mood. <em>Future (Woman in Stockholm)</em> belongs to this series. Although it was a time of financial hardship and professional uncertainty for M\u00fcnter, the bouquet of tulips, sunlight streaming into the interior, and vibrant palette seem to suggest the hope of spring.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60476977"], "internet_archive": []}, "citations": [{"citation": "Eichner, Johannes. <em>Kandinsky Und Gabriele Mu\u0308nter; von Urspru\u0308ngen Moderner Kunst</em>. Mu\u0308nchen: F. Bruckmann, 1957.", "page_number": "Mentioned: p. 177", "url": ""}, {"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. 66, no. 52", "url": "http://www.jstor.org/stable/25161388"}, {"citation": "Heller, Reinhold. <em>Gabriele Mu\u0308nter: The Years of Expressionism, 1903-1920</em>. Munich, Germany: Prestel, 1997.", "page_number": "Reproduced: p. 161", "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. 281", "url": null}, {"citation": "Hille, Karoline. <em>Gabriele Mu\u0308nter: die Ku\u0308nstlerin mit der Zauberhand</em>. Ko\u0308ln, Germany: DuMont Buchverlag, 2012.", "page_number": "Reproduced: p. 186, 261", "url": null}, {"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": "p. 18-19", "url": null}, {"citation": "Lacis, Indra K. \"Poignant Abstraction: Kandinsky's otherworldly view of the guns of war marks a time of social as well as personal turmoil.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 56, no. 5 (September/October 2016): 20.", "page_number": "Reproduced and Mentioned: p. 20", "url": "https://archive.org/details/CMAMM2016-05/page/n9/mode/2up"}, {"citation": "Behr, Shulamith. <em>Women Artists in Expressionism: From Empire to Emancipation. </em>Princeton: Princeton University Press, 2022.", "page_number": "Mentioned and Reproduced: p. 144-145, fig. 118", "url": ""}, {"citation": "Jansen, Isabelle. \"'Ohne Respekt vor dem Menschen ist kein wahres Bildnis m\u00f6glich.' Die Beduetung der Menschendarstellung f\u00fcr Gabriele M\u00fcnter.\" In <em>Gabriele Mu\u0308nter, Menschenbilder : eine Ausstellung in Kooperation mit der Gabriele Mu\u0308nter- und Johannes Eichner-Stiftung, Mu\u0308nchen, und der Sta\u0308dtischen Galerie im Lenbachhaus und Kunstbau Mu\u0308nchen, </em>edited by Kathrin Baumstark, 30-41. Mu\u0308nchen: Hirmer Verlag, 2023.", "page_number": "Reproduced: p. 36, fig. 6", "url": ""}, {"citation": "Ruiz del A\u0301rbol, Marta, and Museo Thyssen-Bornemisza. <em>Gabriele Mu\u0308nter.</em> Madrid: Museo Nacional Thyssen-Bornemisza, 2024.", "page_number": "Reproduced: p. 176, no. 123", "url": ""}, {"citation": "Chow, Diana F. L. \"The Dazzling Female Blue Knight: Gabriele M\u00fcnter Retrospective at the Museo Nacional Thyssen-Bornemisza.\" <em>Artist Magazine</em> 596 (January 2025): 252-259.", "page_number": "Reproduced: p. 256, fig. 2", "url": ""}, {"citation": "White, Katie, ed. \"German Expressionist Gabriele M\u00fcnter Finally Gets Her Moment in the Spotlight.\" <em>ArtNet News </em>(February 4, 2025).", "page_number": "Mentioned and reproduced: p. 10-11", "url": "https://news.artnet.com/art-world/gabriele-munter-german-expressionist-thyssen-guggenheim-2601602"}, {"citation": "Horrocks, Victoria, Isabelle Jansen, Iris M\u00fcller-Westermann, and Dorothy Price. <em>Gabriele M\u00fcnter: Contours of a World.</em> Edited by Megan M. Fontanella. [New York, NY]: Guggenheim New York, 2025.", "page_number": "Reproduced: p. 141", "url": ""}], "url": "https://clevelandart.org/art/1992.96", "images": {}, "alternate_images": [], "creditline": "Gift of Mr. and Mrs. Frank E. Taplin Jr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 156887, "creators": [{"id": 3210, "description": "Gabriele M\u00fcnter (German, 1877\u20131962)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1877", "death_year": "1962", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1992-05-18T00:00:00", "sortable_date": 1917, "date_added_to_oa": null, "date_text": "1917", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": ["Woman in Stockholm"], "is_highlight": false, "updated_at": "2026-03-27 00:03:16.487000"}, {"id": 120267, "accession_number": "1941.122", "share_license_status": "Copyrighted", "tombstone": "My Son!  My Son!, 1941. William E. Smith (American, 1913\u20131997). Linocut; image: 19.7 x 13.7 cm (7 3/4 x 5 3/8 in.); sheet: 28.5 x 22.7 cm (11 1/4 x 8 15/16 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1941.122. \u00a9 William E. Smith", "current_location": null, "title": "My Son!  My Son!", "creation_date": "1941", "creation_date_earliest": 1941, "creation_date_latest": 1941, "artists_tags": ["Black American Artists", "May Show", "male"], "culture": ["America, Ohio, Cleveland"], "technique": "linocut", "support_materials": [], "department": "Prints", "collection": "PR - Linocut", "type": "Print", "measurements": "Image: 19.7 x 13.7 cm (7 3/4 x 5 3/8 in.); Sheet: 28.5 x 22.7 cm (11 1/4 x 8 15/16 in.)", "dimensions": {"image": {"height": 0.197, "width": 0.137}, "sheet": {"height": 0.285, "width": 0.227}}, "state_of_the_work": null, "edition_of_the_work": "25", "copyright": "\u00a9 William E. Smith", "inscriptions": [{"inscription": "inscribed, lower left margin, in graphite: \"My Son My Son\"; lower right margin, in graphite: William E Smith 1941", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 382032, "title": "The May Show: 23rd Annual Exhibition of Works by Cleveland Artists and Craftsmen", "description": "<i>The May Show: 23rd Annual Exhibition of Works by Cleveland Artists and Craftsmen</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 30-June 8, 1941).", "opening_date": "1941-04-30T04:00:00"}, {"id": 302646, "title": "A Study in Regional Taste: May Show 1919 - 1975", "description": "<i>A Study in Regional Taste: May Show 1919 - 1975</i>. The Cleveland Museum of Art, Cleveland, OH (July 13-August 21, 1977).", "opening_date": "1977-07-13T04:00:00"}, {"id": 442774, "title": "Impressions / Expressions: Black American Graphics", "description": "<i>Impressions / Expressions: Black American Graphics</i>. Studio Museum in Harlem, New York, NY (organizer) (October 7, 1979-January 6, 1980); Howard University, Washington, D.C., DC (February 10-March 28, 1980).", "opening_date": "1979-10-07T04:00:00"}, {"id": 311873, "title": "Transformations in Cleveland Art, 1796-1946", "description": "<i>Transformations in Cleveland Art, 1796-1946</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 19-July 21, 1996).", "opening_date": "1996-05-19T04:00:00"}, {"id": 667699, "title": "Karamu Artists Inc.: Printmaking, Race, and Community", "description": "<i>Karamu Artists Inc.: Printmaking, Race, and Community</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 23-August 17, 2025).", "opening_date": "2025-03-23T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "William E. Smith frequently depicted the tender bond between parent and child.", "description": "This print by William E. Smith was one of the first by any Black American artist to enter the CMA\u2019s collection. It was purchased from the museum\u2019s May Show, an annual exhibition highlighting regional contemporary art. Karamu Artists Inc. used this juried display to establish a reputation locally that they were then able to leverage into further opportunities. The praise that their prints received was widely noted at a time when Black artists were otherwise unrepresented in museums; as a critic for Cleveland\u2019s historically Black newspaper, the <em>Call and Post</em>, noted, \u201cA feeling of deep racial pride was mine as I noticed the names of [members of Karamu Artists Inc. in the galleries].\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80015736"], "internet_archive": []}, "citations": [{"citation": "William E. Smith Entry Card to 1941 May Show. Cleveland Museum of Art May Show Records, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/CMAMS06070/"}, {"citation": "Hoffman, Jay, Dee Driscole, and Mary Clare Zahler. <em>A Study in Regional Taste: The May Show, 1919-1975</em>. [Cleveland]: Cleveland Museum of Art, 1977.", "page_number": "Reproduced: P. 59, no. 46; Mentioned: P. 79, no. 46", "url": ""}, {"citation": "Robinson, William H., et. al. <em>Transformations in Cleveland Art, 1796-1946: Community and Diversity in Early Modern America</em>. Cleveland, Ohio: Cleveland Museum of Art, 1996.", "page_number": "Reproduced: p. 148, fig. 170; Mentioned: p. 146, p. 250, no. 181", "url": null}, {"citation": "Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 36 no. 06, Summer 1996", "page_number": "Mentioned & reproduced: p. 6", "url": "https://archive.org/details/CMAMM1996-06/page/6"}, {"citation": "Benay, Erin. \"Peripheral Prints: Karamu House and the Rise of African American Art in the Midwest.\" <em>Panorama: Journal of the Association of Historians of American Art </em>10, no. 1 (Spring 2024).", "page_number": "Mentioned and reproduced: fig. 5", "url": "https://journalpanorama.org/article/peripheral-prints/"}, {"citation": "Salsbury, Britany, and Erin E. Benay. <em>Karamu Artists Inc.: Printmaking, Race, and Community</em>. Cleveland, OH: Cleveland Museum of Art, 2025.", "page_number": "Reproduced: p. 46, no. 16", "url": ""}, {"citation": "King, Amanda D. \"Nobody Knows the Glory: Karamu Artists Inc. and Cleveland's Black Arts Resurgence.\" <em>CAN Journal</em> (Spring 2025): 7-9.", "page_number": "Reproduced: cover", "url": ""}, {"citation": "Connors, Thomas. \"Black and White.\" <em>The Magazine Antiques</em> 192, n. 2 (March/April 2025): 56-58.", "page_number": "Reproduced: p. 58", "url": ""}], "catalogue_raisonne": "Teller 8; Salsbury, Benay, and Kruse 97", "url": "https://clevelandart.org/art/1941.122", "images": {}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 120267, "creators": [{"id": 7978, "description": "William E. Smith (American, 1913\u20131997)", "extent": null, "qualifier": null, "role": "artist", "biography": "A highly skilled printmaker, William Elijah Smith specialized in genre scenes of working-class African-American life in Cleveland. Born in Chattanooga, Smith moved to Cleveland at the age of 13 and became involved with Karamu House, learning print making and stage design. He studied art at the Huntington Polytechnic Institute, 1933\u201334. During this time he began teaching at Karamu House and continued to do so until 1940. In 1941 he won the art competition for presenting one of his prints to the Library of Congress for its permanent collection. Smith exhibited at the Connecticut Academy of Fine Arts in Hartford (1935), in the annual May Shows at the Cleveland Museum of Art (1936\u2013 49), at the Associated American Artists Galleries of New York (1942), and at Atlanta University (1942). During World War II, he served as a photographer in the army\u2019s educational department. After the war, he returned to Cleveland and established a commercial silkscreening studio. In 1946 the Lyman Brothers\u2019 Gallery in Indianapolis mounted his first solo exhibition. From 1946 to 1948 he studied painting and printmaking at the Cleveland School of Art and the Cooper School of Art. In the late 1940s Smith moved to Los Angeles, where he associated with Curtis Tann, a former colleague from Karamu House. With Tann, Smith cofounded the Eleven Associated Artists Gallery, the first Los Angeles gallery devoted specifically to African art. In 1952 Smith was hired to work as a blueprint draftsman at Lockheed Aircraft, beginning a long association with the corporation. In 1960 he cofounded Art West Associated, an African-American artists\u2019 advocacy organization in Los Angeles. In 1970 he published illustrations of subjects from African-American history for Cleveland\u2019s New Day Press. Smith\u2019 s works were displayed ins numerous group exhibitions in the Los Angeles area (1960s\u201380s).<br><em>Transformations in Cleveland Art.</em> (CMA, 1996), p. 238", "name_in_original_language": null, "birth_year": "1913", "death_year": "1997", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1941-06-10T00:00:00", "sortable_date": 1941, "date_added_to_oa": null, "date_text": "1941", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:54.078000"}, {"id": 141206, "accession_number": "1964.444", "share_license_status": "CC0", "tombstone": "Headdress, early 1900s. Africa, West Africa, Nigeria, Idoma-style carver. Wood, human hair, paint, and possibly kaolin; overall: 20.4 x 17.8 x 16.2 cm (8 1/16 x 7 x 6 3/8 in.). The Cleveland Museum of Art, James Albert and Mary Gardiner Ford Memorial Fund, 1964.444", "current_location": "108A African", "title": "Headdress", "creation_date": "early 1900s", "creation_date_earliest": 1900, "creation_date_latest": 1920, "artists_tags": [], "culture": ["Africa, West Africa, Nigeria, Idoma-style carver"], "technique": "Wood, human hair, paint, and possibly kaolin", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Mask", "measurements": "Overall: 20.4 x 17.8 x 16.2 cm (8 1/16 x 7 x 6 3/8 in.)", "dimensions": {"overall": {"height": 0.204, "width": 0.178, "depth": 0.162}}, "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"}], "legacy": []}, "provenance": [{"description": "M. Sainsbury, Bath", "citations": [], "footnotes": null, "date": "?\u20131964", "sortorder": null}, {"description": "The Cleveland Museum of Art by purchase", "citations": [], "footnotes": null, "date": "1964\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Holes in the neck once attached a flat raffia disk or strings for wearing the headdress-type mask on top of the head.", "description": "This was used in masked performances of the Agrinya society, a powerful guild formerly restricted to men who had killed an elephant, lion, or man. The white pigment connotes the realm of the ancestors, while the aggressive expression of the face seems to suggest the courage of Agrinya society members.", "external_resources": {"wikidata": [], "internet_archive": ["https://archive.org/details/clevelandart-1964.444-headdress"]}, "citations": [], "url": "https://clevelandart.org/art/1964.444", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1964.444/1964.444_web.jpg", "width": "678", "height": "893", "filesize": "363034", "filename": "1964.444_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1964.444/1964.444_print.jpg", "width": "2583", "height": "3400", "filesize": "4937640", "filename": "1964.444_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1964.444/1964.444_full.tif", "width": "3568", "height": "4697", "filesize": "50294080", "filename": "1964.444_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": 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"https://openaccess-cdn.clevelandart.org/alternate/1964.444/1964.444_alt6_web.jpg", "width": "682", "height": "893", "filesize": "359817"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1964.444/1964.444_alt6_print.jpg", "width": "2595", "height": "3400", "filesize": "5136866"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1964.444/1964.444_alt6_full.tif", "width": "3837", "height": "5027", "filesize": "57882896"}}], "creditline": "James Albert and Mary Gardiner Ford Memorial Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 141206, "creators": [], "legal_status": "accessioned", "accession_date": "1964-12-19T00:00:00", "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": ["Headdress in the Form of a Human Head (Agringa)"], "is_highlight": false, "updated_at": "2026-03-27 00:10:22.983000"}, {"id": 150153, "accession_number": "1980.71", "share_license_status": "Copyrighted", "tombstone": "Vase, c. 1915\u201320. Tiffany Studios (United States, New York, 1902\u201332). Favrile glass; overall: 21.3 x 21.1 cm (8 3/8 x 8 5/16 in.). The Cleveland Museum of Art, Gift of Audrey Calvert Caunter, 1980.71", "current_location": "209 Tiffany", "title": "Vase", "creation_date": "c. 1915\u201320", "creation_date_earliest": 1915, "creation_date_latest": 1920, "artists_tags": ["gender unknown"], "culture": ["America, New York"], "technique": "favrile glass", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Glass", "measurements": "Overall: 21.3 x 21.1 cm (8 3/8 x 8 5/16 in.)", "dimensions": {"overall": {"height": 0.213, "width": 0.211}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "engraved on bottom: 6511M - L.C. Tiffany Inc. Favrille Exhibition Piece", "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": "Mrs. Donald T. Caunter, Shaker Heights, Ohio.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Tiffany's artisans designed this vase with multicolored swirling patterns to reflect the taste for naturalistic forms and colors fashionable in the early 1900s.", "description": "When Louis Comfort Tiffany began collaborating with glass artists on new types of production, his aesthetic ambitions were finally realized in the development of Favrile glass, a term he created to imply \u201chandmade.\u201d Largely through his marketing ability, Favrile glass became America\u2019s greatest contribution to the Art Nouveau style. His works were exhibited at international expositions; at 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/Q60780765"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1980.71", "images": {}, "alternate_images": [], "creditline": "Gift of Audrey Calvert Caunter", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 150153, "creators": [{"id": 292194, "description": "Tiffany Studios (United States, New York, 1902\u201332)", "extent": null, "qualifier": null, "role": "maker", "biography": "American jewelry and glass manufactory, 1902-1932", "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1980-05-23T00:00:00", "sortable_date": 1915, "date_added_to_oa": null, "date_text": "c. 1915\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": "2026-04-01 19:07:11.172000"}, {"id": 150483, "accession_number": "1981.46.a", "share_license_status": "Copyrighted", "tombstone": "Rock Carvings: Passage of the Seasons, 1981. Isamu Noguchi (American, 1904\u20131988). Basalt with mineral accretions; overall: 286.9 cm (112 15/16 in.). The Cleveland Museum of Art, Gift of the Mildred Andrews Fund, 1981.46.a. \u00a9 The Isamu Noguchi Foundation and Garden Museum, New York / Artists Rights Society (ARS), New York", "current_location": "NL North Lawn", "title": "Rock Carvings: Passage of the Seasons", "creation_date": "1981", "creation_date_earliest": 1981, "creation_date_latest": 1981, "artists_tags": ["Asian American", "male"], "culture": ["America"], "technique": "basalt with mineral accretions", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Sculpture", "type": "Sculpture", "measurements": "Overall: 286.9 cm (112 15/16 in.)", "dimensions": {"overall": {"height": 2.869}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 The Isamu Noguchi Foundation and Garden Museum, New York / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "Initialed on base: \"I.N.\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": [{"description": "CMA 1982:  \"Year in Review 1981\" cat. no. 48", "opening_date": "1981-01-01T00:00:00"}]}, "provenance": [{"description": "The Mildred Andrews Fund, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1981", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1981\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This three-part stone sculpture was commissioned for the Cleveland Museum of Art's north lawn in 1981.", "description": "Noguchi's use of interesting stones with a minimum of carved manipulation derives in part from Eastern traditions of reverence for the mystic qualities and natural aesthetics of rocks. It also draws from modern art movements in the artist's incorporation of pre-existing and serendipitous formal qualities of the material itself.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60781024"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1981.46.a", "images": {}, "alternate_images": [], "creditline": "Gift of the Mildred Andrews Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 150483, "creators": [{"id": 29845, "description": "Isamu Noguchi (American, 1904\u20131988)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1904", "death_year": "1988", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1981-08-19T00:00:00", "sortable_date": 1981, "date_added_to_oa": null, "date_text": "1981", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1981.46", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:17.097000"}, {"id": 150484, "accession_number": "1981.46.b", "share_license_status": "Copyrighted", "tombstone": "Rock Carvings: Passage of the Seasons, 1981. Isamu Noguchi (American, 1904\u20131988). Basalt with mineral accretions; overall: 347.8 cm (136 15/16 in.). The Cleveland Museum of Art, Gift of the Mildred Andrews Fund, 1981.46.b. \u00a9 The Isamu Noguchi Foundation and Garden Museum, New York / Artists Rights Society (ARS), New York", "current_location": "NL North Lawn", "title": "Rock Carvings: Passage of the Seasons", "creation_date": "1981", "creation_date_earliest": 1981, "creation_date_latest": 1981, "artists_tags": ["Asian American", "male"], "culture": ["America"], "technique": "basalt with mineral accretions", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Sculpture", "type": "Sculpture", "measurements": "Overall: 347.8 cm (136 15/16 in.)", "dimensions": {"overall": {"width": 3.478}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 The Isamu Noguchi Foundation and Garden Museum, New York / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "Initialed on base: \"I.N.\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": [{"description": "CMA 1982:  \"Year in Review 1981\" cat. no. 48", "opening_date": "1981-01-01T00:00:00"}]}, "provenance": [{"description": "The Mildred Andrews Fund, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1981", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1981\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This three-part stone sculpture was commissioned for the Cleveland Museum of Art's north lawn in 1981.", "description": "Noguchi's use of interesting stones with a minimum of carved manipulation derives in part from Eastern traditions of reverence for the mystic qualities and natural aesthetics of rocks. It also draws from modern art movements in the artist's incorporation of pre-existing and serendipitous formal qualities of the material itself.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780787"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1981.46.b", "images": {}, "alternate_images": [], "creditline": "Gift of the Mildred Andrews Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 150484, "creators": [{"id": 29845, "description": "Isamu Noguchi (American, 1904\u20131988)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1904", "death_year": "1988", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1981-08-19T00:00:00", "sortable_date": 1981, "date_added_to_oa": null, "date_text": "1981", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1981.46", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:00.565000"}, {"id": 150485, "accession_number": "1981.46.c", "share_license_status": "Copyrighted", "tombstone": "Rock Carvings: Passage of the Seasons, 1981. Isamu Noguchi (American, 1904\u20131988). Basalt with mineral accretions; overall: 208.4 cm (82 1/16 in.). The Cleveland Museum of Art, Gift of the Mildred Andrews Fund, 1981.46.c. \u00a9 The Isamu Noguchi Foundation and Garden Museum, New York / Artists Rights Society (ARS), New York", "current_location": "NL North Lawn", "title": "Rock Carvings: Passage of the Seasons", "creation_date": "1981", "creation_date_earliest": 1981, "creation_date_latest": 1981, "artists_tags": ["Asian American", "male"], "culture": ["America"], "technique": "basalt with mineral accretions", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Sculpture", "type": "Sculpture", "measurements": "Overall: 208.4 cm (82 1/16 in.)", "dimensions": {"overall": {"length": 2.084}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 The Isamu Noguchi Foundation and Garden Museum, New York / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "Initialed on base: \"I.N.\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": [{"description": "CMA 1982:  \"Year in Review 1981\" cat. no. 48", "opening_date": "1981-01-01T00:00:00"}]}, "provenance": [{"description": "The Mildred Andrews Fund, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1981", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1981\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This three-part stone sculpture was commissioned for the Cleveland Museum of Art's north lawn in 1981.", "description": "Noguchi's use of interesting stones with a minimum of carved manipulation derives in part from Eastern traditions of reverence for the mystic qualities and natural aesthetics of rocks. It also draws from modern art movements in the artist's incorporation of pre-existing and serendipitous formal qualities of the material itself.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780809"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1981.46.c", "images": {}, "alternate_images": [], "creditline": "Gift of the Mildred Andrews Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 150485, "creators": [{"id": 29845, "description": "Isamu Noguchi (American, 1904\u20131988)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1904", "death_year": "1988", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1981-08-19T00:00:00", "sortable_date": 1981, "date_added_to_oa": null, "date_text": "1981", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1981.46", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:25.331000"}, {"id": 150935, "accession_number": "1982.341.1", "share_license_status": "Copyrighted", "tombstone": "Bracelet, before 1927. Africa, West Africa, Liberia, Dan-style maker. Copper alloy; overall: 16 x 14.2 cm (6 5/16 x 5 9/16 in.). The Cleveland Museum of Art, Gift of Willett Rankin Wilson, in memory of Audley R. and Edna Moore Wilson, 1982.341.1", "current_location": "108A African", "title": "Bracelet", "creation_date": "before 1927", "creation_date_earliest": 1920, "creation_date_latest": 1927, "artists_tags": [], "culture": ["Africa, West Africa, Liberia, Dan-style maker"], "technique": "Copper alloy", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Jewelry", "measurements": "Overall: 16 x 14.2 cm (6 5/16 x 5 9/16 in.)", "dimensions": {"overall": {"width": 0.16, "depth": 0.142}}, "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": "Collected by Willett Rankin Wilson in Liberia, 1927/28", "citations": [], "footnotes": ["<div><!--block-->Memorandum from Virginia Crawford to Dr. Lee, 12-8-82, curatorial file</div>", "<div><!--block-->Letter from Willett R. Wilson to Virginia Crawford, 12-20-82, curatorial file</div>"], "date": "1927/28", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": ["<div><!--block-->The Bulletin of the Cleveland Museum of Art, 1984, p. 76<br><br></div>"], "date": "1982\u2013", "sortorder": 2}, {"description": "Willett Rankin Wilson, Lyndhurst, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": ["<div><!--block-->Memorandum from Virginia Crawford to Dr. Lee, 12-8-82, curatorial file</div>", "<div><!--block-->Letter from Willett R. Wilson to Virginia Crawford, 12-20-82, curatorial file</div>"], "date": "1927/28\u20131982", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1982.341"], "did_you_know": "From 1822 to 1847, the American Colonization Society colonized what became Liberia. Americo-Liberians (Congau) ruled until 1980. However, blacksmiths generally sourced brass for jewelry making from kettles or bullets brought by nearby French colonials from the 1890s onwards.", "description": "This bracelet was created by the \"lost-wax\" (cire-perdue) technique---first modelled in wax, next covered with clay, then heated to melt or \"lose\" the wax, which was replaced by molten brass. Several such anklets were attached at the time of a woman's marriage and only removed after her death. Their weight and decorative richness expressed her husband's wealth and prestige as well as her own favored status, for such a woman was expected to live a life of some leisure while other wives and retainers did farming and domestic chores. The spheres around the perimeter--bells--added beautiful sounds to an impressive sight.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79933959"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1982.341.1", "images": {}, "alternate_images": [], "creditline": "Gift of Willett Rankin Wilson, in memory of Audley R. and Edna Moore Wilson", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 150935, "creators": [], "legal_status": "accessioned", "accession_date": "1983-03-07T00:00:00", "sortable_date": 1920, "date_added_to_oa": null, "date_text": "before 1927", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1982.341", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:02:17.380000"}, {"id": 150936, "accession_number": "1982.341.2", "share_license_status": "Copyrighted", "tombstone": "Anklet, before 1927. Africa, West Africa, Liberia, Dan-style blacksmith. Copper alloy; overall: 14.1 x 11.7 cm (5 9/16 x 4 5/8 in.). The Cleveland Museum of Art, Gift of Willett Rankin Wilson, in memory of Audley R. and Edna Moore Wilson, 1982.341.2", "current_location": "108A African", "title": "Anklet", "creation_date": "before 1927", "creation_date_earliest": 1920, "creation_date_latest": 1927, "artists_tags": [], "culture": ["Africa, West Africa, Liberia, Dan-style blacksmith"], "technique": "Copper alloy", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Jewelry", "measurements": "Overall: 14.1 x 11.7 cm (5 9/16 x 4 5/8 in.)", "dimensions": {"overall": {"width": 0.141, "depth": 0.117}}, "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": "Collected by Willett Rankin Wilson in Liberia, 1927\u201328", "citations": [], "footnotes": ["<div><!--block-->Memorandum from Virginia Crawford to Dr. Lee, 12-8-82, curatorial file</div>", "<div><!--block-->Letter from Willett R. Wilson to Virginia Crawford, 12-20-82, curatorial file</div>"], "date": "1927/28", "sortorder": 1}, {"description": "Willett Rankin Wilson, Lyndhurst, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": ["<div><!--block-->Memorandum from Virginia Crawford to Dr. Lee, 12-8-82, curatorial file</div>", "<div><!--block-->Letter from Willett R. Wilson to Virginia Crawford, 12-20-82, curatorial file</div>"], "date": "1927/28\u20131982", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": ["<div><!--block-->The Bulletin of the Cleveland Museum of Art, 1984, p. 76<br><br></div>"], "date": "1982\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1982.342"], "did_you_know": "From 1822\u20131847, the American Colonization Society colonized what became Liberia. Americo-Liberians (Congau) ruled until 1980. However, blacksmiths generally sourced brass for jewelry-making from kettles or bullets brought by nearby French colonials from the 1890s onwards.", "description": "Copper alloy bracelets and anklets historically signified a woman\u2019s married status. They were bonded to her in life and removed following death. A blacksmith cast these heavy adornments. Given their weight, their owner couldn\u2019t do domestic or farm work, showing others her privilege as a member of the elite leisure class. Slowed by this jewelry, her movements sent bells jingling in the hollow balls. Following a 1930s economic collapse, women stopped wearing the bracelets to take part in manual labor. At the same time, a national decree outlawed them; many were melted down.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79933961"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1982.341.2", "images": {}, "alternate_images": [], "creditline": "Gift of Willett Rankin Wilson, in memory of Audley R. and Edna Moore Wilson", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 150936, "creators": [], "legal_status": "accessioned", "accession_date": "1983-03-07T00:00:00", "sortable_date": 1920, "date_added_to_oa": null, "date_text": "before 1927", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1982.341", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:02:27.706000"}, {"id": 153150, "accession_number": "1986.154", "share_license_status": "Copyrighted", "tombstone": "First Move, 1969. Jules Olitski (American, 1922\u20132007). Acrylic on canvas; unframed: 267 x 48.3 cm (105 1/8 x 19 in.). The Cleveland Museum of Art, Gift of Louis D. Kacalieff, M.D., 1986.154. \u00a9  Estate of Jules Olitski / Licensed by VAGA at Artists Rights Society (ARS), NY", "current_location": "227 Abstract Expressionism", "title": "First Move", "creation_date": "1969", "creation_date_earliest": 1969, "creation_date_latest": 1969, "artists_tags": ["male", "Jewish artists"], "culture": ["America"], "technique": "acrylic on canvas", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "measurements": "Unframed: 267 x 48.3 cm (105 1/8 x 19 in.)", "dimensions": {"unframed": {"height": 2.67, "width": 0.483}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  Estate of Jules Olitski / Licensed by VAGA at Artists Rights Society (ARS), NY", "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": "(David Mirvish Gallery, Toronto;  Louis D. Kacalieff, Pepper Pike, Ohio.", "citations": [], "footnotes": [], "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": ["878.73"], "did_you_know": "On occasion Olitski experimented with unusually shaped canvases, such as this tall and narrow example.", "description": "In order to create the many diaphanous and interpenetrating layers of color in First Move, Olitski used spray guns powered by air compressors to apply the paint. This method effectively eliminated such compositional elements as shape and outline, which are traditional in the history of painting. However, the artist attached masking tape to the upper border of this canvas, sprayed additional colors, and then removed the tape - thereby breaking the uniformity of the surface.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60475797"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1986.154", "images": {}, "alternate_images": [], "creditline": "Gift of Louis D. Kacalieff, M.D.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Frank H. and Nancy L. Porter Gallery", "athena_id": 153150, "creators": [{"id": 3573, "description": "Jules Olitski (American, 1922\u20132007)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1922", "death_year": "2007", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1986-12-15T00:00:00", "sortable_date": 1969, "date_added_to_oa": null, "date_text": "1969", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:24.320000"}, {"id": 164630, "accession_number": "2006.139", "share_license_status": "CC0", "tombstone": "Night Caf\u00e9, c. 1923. Louis Marcoussis (French, 1883\u20131941). Oil on canvas; framed: 87.3 x 105.7 x 7 cm (34 3/8 x 41 5/8 x 2 3/4 in.); unframed: 70.5 x 88.1 cm (27 3/4 x 34 11/16 in.). The Cleveland Museum of Art, Given in loving memory of W. Chave and Mary Tyler McCracken by their daughters, 2006.139", "current_location": "223 20th Century Avant-Garde", "title": "Night Caf\u00e9", "creation_date": "c. 1923", "creation_date_earliest": 1918, "creation_date_latest": 1928, "artists_tags": ["male", "Jewish artists"], "culture": ["France, 20th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 87.3 x 105.7 x 7 cm (34 3/8 x 41 5/8 x 2 3/4 in.); Unframed: 70.5 x 88.1 cm (27 3/4 x 34 11/16 in.)", "dimensions": {"framed": {"height": 0.873, "width": 1.057, "depth": 0.07}, "unframed": {"height": 0.705, "width": 0.881}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": [{"description": "Betty Parsons Gallery, New York, NY. $850.00", "opening_date": null}]}, "provenance": [{"description": "Frederick Clay Barlett Collection, New York (by 1929); Betty Parsons Gallery, New York; Carroll-Knight Gallery, St. Louis; Rev. W. Chave McCracken, Cleveland Heights, Ohio (acquired in 1948); Adelaide McCracken, Bethel Vermont.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The French poet Guillaume Apollinaire urged the artist to change his name to Marcoussis, after a French village south of Paris. The artist was born Louis Casimir Ladislas Markus in Warsaw, Poland, and moved to Paris in 1903.", "description": "Following Cubist principles, this painting depicts a table from multiple perspectives, providing different views of various objects simultaneously. Louis Casimir Ladislas Markus was born in Warsaw, Poland, into a Jewish family that had converted to Catholicism. In 1903, he moved to Paris where he met poet Guillaume Apollinaire and artists Georges Braque and Pablo Picasso. He then began experimenting with Cubism. Also of Polish descent, Apollinaire had changed his own name and urged the artist to change his name to Marcoussis after a French village. The yellow hot air balloon and the French flag glimpsed out of the window pay homage to the artist\u2019s adopted homeland.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60480347"], "internet_archive": ["https://archive.org/details/clevelandart-2006.139-night-cafe"]}, "citations": [], "url": "https://clevelandart.org/art/2006.139", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2006.139/2006.139_web.jpg", "width": "1125", "height": "893", "filesize": "813999", "filename": "2006.139_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2006.139/2006.139_print.jpg", "width": "3400", "height": "2699", "filesize": "7084656", "filename": "2006.139_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2006.139/2006.139_full.tif", "width": "5000", "height": "3969", "filesize": "59553140", "filename": "2006.139_full.tif"}}, "alternate_images": [], "creditline": "Given in loving memory of W. Chave and Mary Tyler McCracken by their daughters", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Michael J. Horvitz Family Gallery", "athena_id": 164630, "creators": [{"id": 34885, "description": "Louis Marcoussis (French, 1883\u20131941)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1883", "death_year": "1941", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2006-09-05T00:00:00", "sortable_date": 1918, "date_added_to_oa": null, "date_text": "c. 1923", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:07:22.648000"}, {"id": 449517, "accession_number": "2021.164", "share_license_status": "Copyrighted", "tombstone": "Long Term, 1980. Melvin Edwards (American, b. 1937). Steel; 31.2 x 18 x 20.6 cm (12 5/16 x 7 1/16 x 8 1/8 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 2021.164. \u00a9 Melvin Edwards / Artists Rights Society (ARS), New York", "current_location": "229B Contemporary", "title": "Long Term", "creation_date": "1980", "creation_date_earliest": 1980, "creation_date_latest": 1980, "artists_tags": ["Black American Artists", "male"], "culture": ["America"], "technique": "steel", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Sculpture", "type": "Metalwork", "measurements": "31.2 x 18 x 20.6 cm (12 5/16 x 7 1/16 x 8 1/8 in.)", "dimensions": {"No Extent Specified": {"height": 0.312, "width": 0.18, "depth": 0.206}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Melvin Edwards / Artists Rights Society (ARS), New York", "inscriptions": [], "exhibitions": {"current": [{"id": 445578, "title": "Contemporary Art Rotation - Spring 2022", "description": "<i>Contemporary Art Rotation - Spring 2022</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 1-September 25, 2022).", "opening_date": "2022-04-01T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "<em>Lynch Fragments</em> are hung at eye-level (determined by the artist\u2019s height) to invite a direct encounter with the viewer.", "description": "<em>Long Term</em> (1980) belongs to an ongoing series, <em>Lynch Fragments</em>, which Melvin Edwards began in 1963. The <em>Lynch Fragments</em> are small-scale abstract wall reliefs that feature recognizable objects\u2014often objects that could serve as weapons, such as chains, knives, and railroad spikes. Through Edwards\u2019s composition and welding technique, familiar elements shed their functional associations, becoming lines and shapes in space, and yielding innovative sculptural forms.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117247068"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2021.164", "images": {}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Paula and Eugene Stevens Gallery", "athena_id": 449517, "creators": [{"id": 448945, "description": "Melvin Edwards (American, b. 1937)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1937", "death_year": "2026", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2021-12-06T05:00:00Z", "sortable_date": 1980, "date_added_to_oa": null, "date_text": "1980", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-04-02 12:45:16.749000"}, {"id": 518341, "accession_number": "2022.98", "share_license_status": "Copyrighted", "tombstone": "Survival, 1996. Jaune Quick-to-See Smith (Citizen of the Confederated Salish and Kootenai Nation, 1940\u20132025), printed by The Lawrence Lithography Workshop, 2011 Tracy Avenue, Kansas City, MO 64108, Zanatta Editions. 4 color lithographs, 3 with chine coll\u00e9. The Cleveland Museum of Art, Norman O. Stone and Ella A. Stone Memorial Fund, 2022.98. \u00a9 Jaune Quick-to-See Smith / Garth Greenan Gallery, New York", "current_location": "101B Prints & Drawings", "title": "Survival", "creation_date": "1996", "creation_date_earliest": 1996, "creation_date_latest": 1996, "artists_tags": ["female"], "culture": [], "technique": "4 color lithographs, 3 with chine coll\u00e9", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": "37/50", "copyright": "\u00a9 Jaune Quick-to-See Smith / Garth Greenan Gallery, New York", "inscriptions": [], "exhibitions": {"current": [{"id": 695926, "title": "still/emerging: Native American Works on Paper", "description": "<i>still/emerging: Native American Works on Paper</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 1-June 7, 2026).", "opening_date": "2026-02-01T05:00:00"}], "legacy": []}, "provenance": [{"description": "(Zanatta Editions, Shawnee, KS), sold to The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "?-2022", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "September 12, 2022-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Jaune Quick-To-See Smith has described artworks such as this print as having a personal significance\u2014comprising, in her words, \u201ca diary, or journal, of my life.\u201d", "description": "For the past five decades, artist and activist Jaune Quick-To-See Smith has developed a distinctive, collage-based style combining Indigenous stories and symbols with references to canonical modern art history to suggest a place for Indigenous culture within contemporary art. This print belongs to a series of four, each of which references a value that Smith feels has protected and guided her tribe through years of challenges and trauma. Expressive lithographic marks are layered over found popular and artistic imagery to suggest such ongoing resilience.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117842722"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2022.98", "images": {}, "alternate_images": [], "creditline": "Norman O. Stone and Ella A. Stone Memorial Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "These Galleries are the Gift of James and Hanna Bartlett", "athena_id": 518341, "creators": [{"id": 66341, "description": "Jaune Quick-to-See Smith (Citizen of the Confederated Salish and Kootenai Nation, 1940\u20132025)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1940", "death_year": "2025", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 69341, "description": "The Lawrence Lithography Workshop, 2011 Tracy Avenue, Kansas City, MO 64108", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": true, "weight": 2}, {"id": 69569, "description": "Zanatta Editions", "extent": "published by", "qualifier": null, "role": "publisher", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 3}], "legal_status": "accessioned", "accession_date": "2022-09-12T04:00:00Z", "sortable_date": 1996, "date_added_to_oa": null, "date_text": "1996", "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": "37", "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:03.139000"}, {"id": 540602, "accession_number": "2023.91", "share_license_status": "Copyrighted", "tombstone": "Untitled (Cover Girl), 1989. Jean LaMarr (Member of Northern Paiute/Achomawi nation, b. 1945), published by Brandywine Workshop, Philadelphia, PA. Color offset lithograph; image and sheet: 54.8 x 76 cm (21 9/16 x 29 15/16 in.). The Cleveland Museum of Art, Gift of Linda and Jack Lissauer, M.D., 2023.91", "current_location": "101A Prints & Drawings", "title": "Untitled (Cover Girl)", "creation_date": "1989", "creation_date_earliest": 1989, "creation_date_latest": 1989, "artists_tags": ["Indigenous", "female"], "culture": ["America"], "technique": "Color offset lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image and Sheet: 54.8 x 76 cm (21 9/16 x 29 15/16 in.)", "dimensions": {"image and sheet": {"height": 0.548, "width": 0.76}}, "state_of_the_work": null, "edition_of_the_work": "Edition of 96", "copyright": null, "inscriptions": [{"inscription": "Signed, lower right, in graphite: LeMarr", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 695926, "title": "still/emerging: Native American Works on Paper", "description": "<i>still/emerging: Native American Works on Paper</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 1-June 7, 2026).", "opening_date": "2026-02-01T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "An enrolled member of the Susanville Indian Rancheria, LaMarr\u2019s politically motivated art includes murals, dioramas, sculptures, and installations in addition to prints.", "description": "Northern Paiute/Achomawi artist Jean LaMarr has worked primarily as a printmaker, using it as a tool for political art. In this work, part of her <em>Cover Girl </em>series, she refers to exploitative nineteenth-century photographs of half-dressed Native American women, adorning them with clothing, jewelry, and basketry to reclaim the women\u2019s dignity and respect.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q122828772"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2023.91", "images": {}, "alternate_images": [], "creditline": "Gift of Linda and Jack Lissauer, M.D.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "These Galleries are the Gift of James and Hanna Bartlett", "athena_id": 540602, "creators": [{"id": 540598, "description": "Jean LaMarr (Member of Northern Paiute/Achomawi nation, b. 1945)", "extent": null, "qualifier": null, "role": "artist", "biography": "Native American etcher, lithographer, and sculptor, born 1945", "name_in_original_language": null, "birth_year": "1945", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 543135, "description": "Brandywine Workshop, Philadelphia, PA", "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": "2023-06-05T04:00:00Z", "sortable_date": 1989, "date_added_to_oa": null, "date_text": "1989", "collapse_artists": true, "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 00:10:36.292000"}, {"id": 540608, "accession_number": "2023.93", "share_license_status": "Copyrighted", "tombstone": "Untitled, 1992. Emmi Whitehorse (American, Member of Navajo Nation, b. 1957), published by Tabor Presse, Berlin, Germany. Color lithograph; image: 69.5 x 53.2 cm (27 3/8 x 20 15/16 in.); sheet: 85.4 x 65.2 cm (33 5/8 x 25 11/16 in.). 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The Cleveland Museum of Art, Cleveland, OH (organizer) (February 1-June 7, 2026).", "opening_date": "2026-02-01T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Whitehorse\u2019s marks are meant to signify nature that is either very close, or very far away, according to the viewer\u2019s attention.", "description": "Navajo artist Emmie Whitehorse creates works teaming with symbols and indigenous iconography, which she draws in an intuitive manner hearkening back to the Surrealists. 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Kay WalkingStick (American, Member of the Cherokee Nation/Oklahoma, b. 1935), printed by Robert Franklin (American, b. 1930), published by Brandywine Workshop, Philadelphia, PA. Offset lithograph, triptych; overall: 50.6 x 121.5 cm (19 15/16 x 47 13/16 in.). 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George Morrison (Grand Portage Band of Chippewa, 1919\u20132000). Gouache; matted: 59.7 x 74.9 cm (23 1/2 x 29 1/2 in.); frame: 61.6 x 76.8 x 3.8 cm (24 1/4 x 30 1/4 x 1 1/2 in.); sheet: 50.2 x 66.2 cm (19 3/4 x 26 1/16 in.). The Cleveland Museum of Art, Severance and Greta Millikin Trust, 2024.144", "current_location": "101A Prints & Drawings", "title": "Structural Forms", "creation_date": "1953", "creation_date_earliest": 1953, "creation_date_latest": 1953, "artists_tags": ["Indigenous", "male"], "culture": ["America"], "technique": "gouache", "support_materials": [], "department": "Drawings", "collection": "DR - Misc. Countries", "type": "Drawing", "measurements": "Matted: 59.7 x 74.9 cm (23 1/2 x 29 1/2 in.); Frame: 61.6 x 76.8 x 3.8 cm (24 1/4 x 30 1/4 x 1 1/2 in.); Sheet: 50.2 x 66.2 cm (19 3/4 x 26 1/16 in.)", "dimensions": {"sheet": {"height": 0.502, "width": 0.662}, "image": {"height": 0.484, "width": 0.61}, "matted": {"height": 0.597, "width": 0.749}, "frame": {"height": 0.616, "width": 0.768, "depth": 0.038}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed, lower left, in black ink: GEORGE MORRISON - ANTIBES - JAN - 1953", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 695926, "title": "still/emerging: Native American Works on Paper", "description": "<i>still/emerging: Native American Works on Paper</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 1-June 7, 2026).", "opening_date": "2026-02-01T05:00:00"}], "legacy": []}, "provenance": [{"description": "George Morrison [1919\u20132000] (the artist), given to Beverly Roman", "citations": [], "footnotes": null, "date": "?\u2013?", "sortorder": 1}, {"description": "Beverly Roman", "citations": [], "footnotes": null, "date": "?\u2013?", "sortorder": 2}, {"description": "(David Zwirner, Los Angeles, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "?\u20132024", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "December 9, 2024\u2013", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "George Morrison described drawings such as this one as featuring \u201cmosaic-like shapes...to suggest organic and structural forms in nature.\u201d", "description": "This drawing relates to Ojibwe artist George Morrison\u2019s desire to combine his Native heritage with his ongoing interest in abstraction. The artist began his career in New York during the 1940s, when abstract expressionism dominated the art world. In 1952, Morrison traveled to France and, there, developed a signature style featuring layers of color and geometric forms to suggest his native landscape. He saw the tones and repeated forms in the drawing as suggestive of the bodies of water that had defined his life, from Lake Superior in Minnesota to the Atlantic in New York and the Mediterranean Sea in France.", "external_resources": {"wikidata": [], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2024.144", "images": {}, "alternate_images": [], "creditline": "Severance and Greta Millikin Trust", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "These Galleries are the Gift of James and Hanna Bartlett", "athena_id": 685409, "creators": [{"id": 685406, "description": "George Morrison (Grand Portage Band of Chippewa, 1919\u20132000)", "extent": null, "qualifier": null, "role": "artist", "biography": "American painter, 1919-2000", "name_in_original_language": null, "birth_year": "1919", "death_year": "2000", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2024-12-09T05:00:00Z", "sortable_date": 1953, "date_added_to_oa": null, "date_text": "1953", "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 23:59:57.734000"}, {"id": 674528, "accession_number": "2024.62", "share_license_status": "Copyrighted", "tombstone": "Holly and Her Kids, 1987. G. Peter Jemison (Enrolled member of the Seneca Nation, b. 1945). Collage with color xerography, watercolor, and colored pencil, with graphite and foil-stamped fabric sticker,  on paper; sheet: 78.3 x 56.4 cm (30 13/16 x 22 3/16 in.). The Cleveland Museum of Art, Dudley P. Allen Fund, 2024.62", "current_location": "101A Prints & Drawings", "title": "Holly and Her Kids", "creation_date": "1987", "creation_date_earliest": 1987, "creation_date_latest": 1987, "artists_tags": ["Indigenous", "male"], "culture": ["America"], "technique": "Collage with color xerography, watercolor, and colored pencil, with graphite and foil-stamped fabric sticker,  on paper", "support_materials": [], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Sheet: 78.3 x 56.4 cm (30 13/16 x 22 3/16 in.)", "dimensions": {"sheet": {"height": 0.783, "width": 0.564}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Inscribed, center, in red: ABK; signed, center right, in red: Jemison; inscribed, lower center, in graphite: \"Holly and her Kids\"; signed, lower right, in red: Jemison 87", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 695926, "title": "still/emerging: Native American Works on Paper", "description": "<i>still/emerging: Native American Works on Paper</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 1-June 7, 2026).", "opening_date": "2026-02-01T05:00:00"}], "legacy": []}, "provenance": [{"description": "(K Art Gallery, Buffalo, NY, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "?\u20132024", "sortorder": 1}, {"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": "G. Peter Jemison was the first curator of New York City\u2019s American Indian Community House Gallery, where he worked from 1978 to 1985.", "description": "This drawing is exemplary of G. Peter Jemison\u2019s use of found material, featuring collaged and hand-colored xeroxed imagery of a woman and her children with drawings of buffaloes in various degrees of finish. For over six decades, Jemison has worked as an artist, curator, and educator in the field of Native art, focusing on found imagery and materials in his own practice. Although his relationship to the family featured in the images is not specified, the figures depicted and the vernacular style of photographs reproduced both relate to his interest in telling the story of Native history through everyday materials and anecdotal stories from family and friends.", "external_resources": {"wikidata": [], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2024.62", "images": {}, "alternate_images": [], "creditline": "Dudley P. Allen Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "These Galleries are the Gift of James and Hanna Bartlett", "athena_id": 674528, "creators": [{"id": 674521, "description": "G. Peter Jemison (Enrolled member of the Seneca Nation, b. 1945)", "extent": null, "qualifier": null, "role": "artist", "biography": "Native American painter and sculptor, born 1945", "name_in_original_language": null, "birth_year": "1945", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2024-09-09T04:00:00Z", "sortable_date": 1987, "date_added_to_oa": null, "date_text": "1987", "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 00:08:53.918000"}, {"id": 692269, "accession_number": "2025.151", "share_license_status": "CC0", "tombstone": "Necklace with pendant (waqari or wakari?), likely early to mid-1900s. East Africa, probably Harar, Ethiopia, unknown silversmith. Silver alloy, glass. The Cleveland Museum of Art, Gift of Raymond A. Silverman, 2025.151", "current_location": "108C African Jewelry and Metalwork", "title": "Necklace with pendant (waqari or wakari?)", "creation_date": "likely early to mid-1900s", "creation_date_earliest": 1900, "creation_date_latest": 1950, "artists_tags": [], "culture": ["East Africa, probably Harar, Ethiopia, unknown silversmith"], "technique": "silver alloy, glass", "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": 2}, {"description": "Dr. Raymond Silverman", "citations": [], "footnotes": null, "date": "c. 2000\u20132025", "sortorder": 3}, {"description": "The Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "2025", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Silversmiths also made objects for religious and royal use, like crowns and crosses.", "description": "Ornate filigree jewelry was historically made in Ethiopia for royals and nobility by specialized silversmiths trained through long apprenticeships. This elaborate pendant necklace (<em>waqari)</em> probably made and worn in the Muslim city of Harar. 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. The crescent symbol has existed as a talismanic form in Ethiopia since the Aksumite Empire (1\u2013700s CE).", "external_resources": {"wikidata": [], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2025.151", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2025.151/2025.151_web.jpg", "width": "678", "height": "900", "filesize": "73818", "filename": "2025.151_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2025.151/2025.151_print.jpg", "width": "2561", "height": "3400", "filesize": "590392", "filename": "2025.151_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2025.151/2025.151_full.tif", "width": "9138", "height": "12134", "filesize": "332667712", "filename": "2025.151_full.tif"}}, "alternate_images": [{"date_created": "2025-09-30T16:52:08", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2025.151/2025.151_alt0_web.jpg", "width": "900", "height": "879", "filesize": "119963"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2025.151/2025.151_alt0_print.jpg", "width": "3400", "height": "3320", "filesize": "1215644"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2025.151/2025.151_alt0_full.tif", "width": "4656", "height": "4546", "filesize": "63526252"}}, {"date_created": "2025-09-30T22:29:57", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2025.151/2025.151_alt1_web.jpg", "width": "682", "height": "900", "filesize": "89828"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2025.151/2025.151_alt1_print.jpg", "width": "2575", "height": "3400", "filesize": "808149"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2025.151/2025.151_alt1_full.tif", "width": "3994", "height": "5274", "filesize": "63220012"}}, {"date_created": "2025-09-30T22:18:42", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2025.151/2025.151_alt2_web.jpg", "width": "549", "height": "900", "filesize": "67665"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2025.151/2025.151_alt2_print.jpg", "width": "2075", "height": "3400", "filesize": "489655"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2025.151/2025.151_alt2_full.tif", "width": "8354", "height": "13688", "filesize": "343074756"}}, {"date_created": "2025-09-30T22:18:42", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2025.151/2025.151_alt3_web.jpg", "width": "900", "height": "815", "filesize": "116258"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2025.151/2025.151_alt3_print.jpg", "width": "3400", "height": "3079", "filesize": "1103257"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2025.151/2025.151_alt3_full.tif", "width": "4791", "height": "4338", "filesize": "62377804"}}], "creditline": "Gift of Raymond A. Silverman", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 692269, "creators": [], "legal_status": "accessioned", "accession_date": "2025-06-09T04:00:00Z", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "likely early to mid-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 00:08:22.328000"}, {"id": 699727, "accession_number": "2025.246", "share_license_status": "Copyrighted", "tombstone": "Punk Petroglyph (Heart Line), 1984. Truman Lowe (Ho-Chunk, 1944\u20132019). Pastel on paper; sheet: 55.9 x 76.2 cm (22 x 30 in.). The Cleveland Museum of Art, Sundry Art - Miscellaneous Fund, 2025.246. \u00a9 Truman T. Lowe Estate", "current_location": "101B Prints & Drawings", "title": "Punk Petroglyph (Heart Line)", "creation_date": "1984", "creation_date_earliest": 1984, "creation_date_latest": 1984, "artists_tags": ["Indigenous", "male"], "culture": ["America"], "technique": "pastel on paper", "support_materials": [], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Sheet: 55.9 x 76.2 cm (22 x 30 in.)", "dimensions": {"sheet": {"height": 0.559, "width": 0.762}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Truman T. Lowe Estate", "inscriptions": [], "exhibitions": {"current": [{"id": 695926, "title": "still/emerging: Native American Works on Paper", "description": "<i>still/emerging: Native American Works on Paper</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 1-June 7, 2026).", "opening_date": "2026-02-01T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In addition to his prolific career as an artist Truman Lowe taught sculpture at the \t\tUniversity of Wisconsin-Madison for 35 years and was the founding curator of \t\tcontemporary art at the Smithsonian\u2019s National Museum of the American Indian.", "description": "In this drawing, Truman Lowe rendered the outline of a buck in bold yellow. The animal appears against powdery pastel layers applied in repeating marks. In contrast to their color and smoothness, a spare blood-red line connects it to the outside world. Called heartlines, these were a prominent feature in ancient Indigenous rock art\u2014a longstanding interest of and inspiration to the artist. Lowe used pastel frequently throughout his long career, which involved not only his artistic practice, but also decades spent as an educator and curator. Here, he used drawing to evoke sculptural qualities of petroglyphs, and to commemorate the wildlife of the Wisconsin forests where he was raised and where his people had lived for generations.", "external_resources": {"wikidata": [], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2025.246", "images": {}, "alternate_images": [], "creditline": "Sundry Art - Miscellaneous Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "These Galleries are the Gift of James and Hanna Bartlett", "athena_id": 699727, "creators": [{"id": 699718, "description": "Truman Lowe (Ho-Chunk, 1944\u20132019)", "extent": null, "qualifier": null, "role": "artist", "biography": "Native American metalworker and sculptor, born 1944", "name_in_original_language": null, "birth_year": "1944", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2025-12-08T05:00:00Z", "sortable_date": 1984, "date_added_to_oa": null, "date_text": "1984", "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 00:10:14.003000"}, {"id": 688545, "accession_number": "2025.5", "share_license_status": "Copyrighted", "tombstone": "Memorial Woodcut Suite, c. 1978. T. C. Cannon (Kiowa-Caddo, 1946\u20131978), Maeda Kentaro (Japanese, c. 1891\u20131987), printed by Matashiro Uchikawa (Japanese, active 1900s), Aberbach Fine Art (New York). Suite of five color woodcuts. The Cleveland Museum of Art, Partial purchase from the Severance and Greta Millikin Purchase Fund and partial gift from Stephen Dull, 2025.5. \u00a9 Estate of T.C. Cannon", "current_location": "101B Prints & Drawings", "title": "Memorial Woodcut Suite", "creation_date": "c. 1978", "creation_date_earliest": 1973, "creation_date_latest": 1978, "artists_tags": ["Indigenous", "male"], "culture": ["America"], "technique": "Suite of five color woodcuts", "support_materials": [], "department": "Prints", "collection": "PR - Woodblock", "type": "Print", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": "154/200", "copyright": "\u00a9 Estate of T.C. Cannon", "inscriptions": [], "exhibitions": {"current": [{"id": 695926, "title": "still/emerging: Native American Works on Paper", "description": "<i>still/emerging: Native American Works on Paper</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 1-June 7, 2026).", "opening_date": "2026-02-01T05:00:00"}], "legacy": []}, "provenance": [{"description": "Auerback Fine Art, New York, NY", "citations": [], "footnotes": null, "date": "?\u2013?", "sortorder": 1}, {"description": "(Zaplin Lampert Gallery, Santa Fe, NM, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "?\u20132025", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "T. C. Cannon studied with Native American painter Fritz Scholder while a student at the Institute of American Indian Art in Santa Fe, New Mexico.", "description": "One of the most highly sought-after Indigenous artists, Cannon was a talented painter and an enrolled member of the Kiowa Tribe. His distinct portraits of Native subjects, infused with a bright color palette and drawing from a Pop aesthetic, combine both traditional and contemporary aesthetic traditions. The group in its entirety gives an overview of the artist\u2019s unique visual vocabulary and investigations into the nuance and complexity of Indigenous identity. Each print is based on a major painting in the artist\u2019s oeuvre.", "external_resources": {"wikidata": [], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2025.5", "images": {}, "alternate_images": [], "creditline": "Partial purchase from the Severance and Greta Millikin Purchase Fund and partial gift from Stephen Dull", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "These Galleries are the Gift of James and Hanna Bartlett", "athena_id": 688545, "creators": [{"id": 688541, "description": "T. C. Cannon (Kiowa-Caddo, 1946\u20131978)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1946", "death_year": "1978", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 695547, "description": "Maeda Kentaro (Japanese, c. 1891\u20131987)", "extent": "carved by", "qualifier": null, "role": "carver", "biography": null, "name_in_original_language": null, "birth_year": "1891", "death_year": "1987", "use_in_caption": true, "include_extent": false, "weight": 2}, {"id": 695549, "description": "Matashiro Uchikawa (Japanese, active 1900s)", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": true, "weight": 3}, {"id": 696810, "description": "Aberbach Fine Art (New York)", "extent": "published by", "qualifier": null, "role": "publisher", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 4}], "legal_status": "accessioned", "accession_date": "2025-03-03T05:00:00Z", "sortable_date": 1973, "date_added_to_oa": null, "date_text": "c. 1978", "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": "154", "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:07:08.977000"}, {"id": 688546, "accession_number": "2025.5.1", "share_license_status": "Copyrighted", "tombstone": "Memorial Woodcut Suite: Two Guns Arikara, c. 1978. T. C. Cannon (Kiowa-Caddo, 1946\u20131978), carved by Maeda Kentaro (Japanese, c. 1891\u20131987), printed by Matashiro Uchikawa (Japanese, active 1900s), Aberbach Fine Art (New York). Color woodcut; image: 47.9 x 39.5 cm (18 7/8 x 15 9/16 in.); sheet: 64 x 51 cm (25 3/16 x 20 1/16 in.). The Cleveland Museum of Art, Partial purchase from the Severance and Greta Millikin Purchase Fund and partial gift from Stephen Dull, 2025.5.1. \u00a9 Estate of T.C. Cannon", "current_location": "101B Prints & Drawings", "title": "Two Guns Arikara", "series": "Memorial Woodcut Suite", "creation_date": "c. 1978", "creation_date_earliest": 1973, "creation_date_latest": 1978, "artists_tags": ["Indigenous", "male"], "culture": ["America"], "technique": "color woodcut", "support_materials": [], "department": "Prints", "collection": "PR - Woodblock", "type": "Print", "measurements": "Image: 47.9 x 39.5 cm (18 7/8 x 15 9/16 in.); Sheet: 64 x 51 cm (25 3/16 x 20 1/16 in.)", "dimensions": {"sheet": {"height": 0.64, "width": 0.51}, "image": {"height": 0.479, "width": 0.395}}, "state_of_the_work": null, "edition_of_the_work": "154/200", "copyright": "\u00a9 Estate of T.C. Cannon", "inscriptions": [{"inscription": "Inscribed, lower left margin, in graphite: 154/200; signed, lower left margin, in graphite: Walter Cannon; signed, lower right margin, in black: T C Cannon [signed by Walter Cannon]; stamped, lower right, vertical seals: Kentaro Maeda [carver] Matashiro Uchikawa [printer]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 695926, "title": "still/emerging: Native American Works on Paper", "description": "<i>still/emerging: Native American Works on Paper</i>. 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The Cleveland Museum of Art, Bequest of Felicia Meyer Marsh, 1979.64. \u00a9 Estate of Reginald Marsh / Art Students League, New York / Artists Rights Society (ARS), New   \r\n    York", "current_location": null, "title": "Locomotives Watering", "creation_date": "1932", "creation_date_earliest": 1932, "creation_date_latest": 1932, "artists_tags": ["male"], "culture": ["America"], "technique": "oil and tempera on panel", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Unframed: 61 x 91.4 cm (24 x 36 in.)", "dimensions": {"unframed": {"height": 0.61, "width": 0.914}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of Reginald Marsh / Art Students League, New York / Artists Rights Society (ARS), New   \r\n    York", "inscriptions": [{"inscription": "signed lower right:  REGINALD MARSH 1932", "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": 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"}], "legacy": [{"description": "New York, The Whitney Museum of American Art, Reginald Marsh (21 September - 6 November 1955); traveled to The Columbus Gallery of Fine Arts (27 November - 25 December 1955); traveled to Detroit, MI, The Detroit Institute of Arts (13 January - 12 February 1956); traveled to St. Louis, MO, City Art Museum of St. Louis (2 March - 1 April 1956); traveled to Dallas, TX, Dallas Museum of Fine Arts (15 April - 20 May 1956); traveled to Los Angeles, CA, Los Angeles County Museum (10 June - 8 July 1956); traveled to Santa Barbara, CA, Santa Barbara Museum of Art (25 July - 26 August 1956); traveled to San Francisco, CA, San Francisco Museum of Art (13 September - 14 October 1956); exhibition catalogue, cat. no. 7, reproduced on unnumbered page; painting was lent to the exhibition by Marsh's wife.", "opening_date": "1955-09-21T00:00:00"}, {"description": "Newport Beach, CA, Newport Harbor Art Museum, Reginald Marsh: A Retrospective Exhibition (2 November - 10 December 1972); traveled to Des Moines, Iowa, Des Moines Art Center (8 January - 18 February 1973); traveled to Fort Worth, TX, Fort Worth Art Center Museum (27 February - 1 April 1973); traveled to Austin, TX, University of Texas at Austin Art Museum (15 April - 31 May 1973); exhibition catalogue, cat. no. 13.", "opening_date": "1972-11-02T00:00:00"}, {"description": "New York, The Whitney Museum of American Art, Reginald Marsh: Selections from the Felicia Meyer Marsh Bequest (13 June - 26 August 1979); traveled to Philadelphia, PA, Moore College of Art (7 - 29 September 1979); not reproduced.", "opening_date": "1979-06-13T00:00:00"}, {"description": "Cleveland, OH, The Cleveland Museum of Art, Year in Review 1979 (1980), no cat; see Bulletin of The Cleveland Museum of Art.", "opening_date": "1980-01-01T00:00:00"}, {"description": "Cleveland, OH, The Cleveland Musum of Art, American Realism and the Industrial Age (12 December 1980 - 18 January 1981); traveled to Lakewood, OH, Beck Center for the Cultural Arts (18 February - 15 March 1981); traveled to Columbus, OH, Columbus Museum of Art (11 April - 31 May 1981); in catalogue, Doezema discusses Marsh and the Fourteenth Street School's depictions of life and industry in New York City. Special attention is paid to Marsh's WPA-FAP shipping murals in NYC's Customs House.  Locomotives Watering is reproduced and used to illustrate Marsh's fascination with commercial activities and \"the city at work\"; pp. 115-21, ill. no. 41 on p. 116.", "opening_date": "1981-02-18T00:00:00"}, {"description": "Tokyo, The National Museum of Modern Art, Tokyo, 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, Kyoto (14 September - 11 October 1982); cat. no. 92, p. 115.", "opening_date": "1982-07-24T00:00:00"}, {"description": "Cleveland, Cleveland Museum of Art, The Hand of Man: Images of the Industrial Age (31 March - 28 June 1987).", "opening_date": "1987-03-31T00:00:00"}, {"description": "Bordeaux, Mus\u00e9e des Beaux-Arts, Made in USA: L'art Am\u00e9rican, 1908-1947 (10 October-31 December 2001); traveled to Rennes, Mus\u00e9e des Beaux-Arts (18 January-31 March 2002); Montpellier, Mus\u00e9e Fabre (12 April-23 June 2002); cat. not numbered, illus. p. 186.", "opening_date": "2001-10-10T00:00:00"}]}, "provenance": [{"description": "Felicia Meyer Marsh [1912\u20131978], New York, NY, the artist's widow", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH, by bequest in 1979", "citations": [], "footnotes": null, "date": null, "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Reginald Marsh despised abstract art, describing it as \"high and pure and sterile\u2014no sex, no drinks, no muscles.\"", "description": "The title of Reginald Marsh\u2019s painting refers to the process of refilling the water supply for a steam locomotive, a task taking place at left. Fascinated by trains and their attendant activities, the artist made sketches for this scene at the Erie Railroad yard in Jersey City, NJ.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60474052"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1979.64", "images": {}, "alternate_images": [], "creditline": "Bequest of Felicia Meyer Marsh", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 149675, "creators": [{"id": 31614, "description": "Reginald Marsh (American, born France, 1898\u20131954)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1898", "death_year": "1954", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1979-08-17T00:00:00", "sortable_date": 1932, "date_added_to_oa": null, "date_text": "1932", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-26 23:59:29.068000"}, {"id": 138404, "accession_number": "1962.33", "share_license_status": "Copyrighted", "tombstone": "Crest, 1958. Jack Tworkov (American, born Russian Empire [now Poland], 1900\u20131982). Oil on canvas; unframed: 190.5 x 149.8 cm (75 x 59 in.). The Cleveland Museum of Art, Contemporary Collection of The Cleveland Museum of Art, 1962.33. \u00a9  Estate of Jack Tworkov / Licensed by VAGA at Artists Rights Society (ARS), NY", "current_location": null, "title": "Crest", "creation_date": "1958", "creation_date_earliest": 1958, "creation_date_latest": 1958, "artists_tags": ["male", "Jewish artists"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Unframed: 190.5 x 149.8 cm (75 x 59 in.)", "dimensions": {"unframed": {"height": 1.905, "width": 1.498}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  Estate of Jack Tworkov / Licensed by VAGA at Artists Rights Society (ARS), NY", "inscriptions": [], "exhibitions": {"current": [{"id": 518973, "title": "Masterpieces of Art", "description": "<i>Masterpieces of Art</i>. Century 21 Exposition, Seattle, WA (organizer) (April 21-September 4, 1962).", "opening_date": "1962-04-21T05:00:00"}, {"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": 520384, "title": "Jack Tworkov", "description": "<i>Jack Tworkov</i>. Whitney Museum of American Art, New York, NY (organizer) (March 25-May 3, 1964); Washington Gallery of Modern Art, Washington, DC (May 8-June 21, 1964); Norton Simon Museum, Pasadena, CA (July 6-August 16, 1964); San Francisco Museum of Modern Art, San Francisco, CA (August 31-October 4, 1964); Walker Art Center, Minneapolis, MN (January 4-February 7, 1965); The Rose Art Museum, Waltham, MA (February 22-April 4, 1965).", "opening_date": "1964-03-25T05:00:00"}, {"id": 301294, "title": "Works from the Contemporary Collection", "description": "<i>Works from the Contemporary Collection</i>. The Cleveland Museum of Art, Cleveland, OH (July 1-October 15, 1969).", "opening_date": "1969-07-01T04:00:00"}, {"id": 215346, "title": "Founders and Heirs of the New York School", "description": "<i>Founders and Heirs of the New York School</i>. Museum of Contemporary Art, Tokyo, Japan (January 25-March 16, 1997); Miyagi Museum of Art, Sendai (April 5-May 25, 1997); Museum of Modern Art, Ibaraki (June 28-August 3, 1997).", "opening_date": "1997-01-25T00:00:00"}, {"id": 227768, "title": "Jack Tworkov: Against Extremes/Five Decades of Painting", "description": "<i>Jack Tworkov: Against Extremes/Five Decades of Painting</i>. Provincetown Art Association and Museum, Provincetown, MA (organizer) (July 9-August 22, 2010).", "opening_date": "2010-07-09T00:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This painting was exhibited at the Seattle World's Fair in 1962.", "description": "According to the artist, <em>Crest </em>was inspired by the land and sea of coastal Cape Cod near Provincetown, MA, where he maintained a summer studio. However, the painting is not a specific record of a scene; rather, it is an emotional response to the forms and forces of nature.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60468987"], "internet_archive": []}, "citations": [{"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 202", "url": "https://archive.org/details/CMAHandbook1966/page/n226"}, {"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. 202", "url": "https://archive.org/details/CMAHandbook1969/page/n226"}, {"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. 253", "url": "https://archive.org/details/CMAHandbook1978/page/n273"}, {"citation": "Hinson, Tom E. \"Recent Paintings by Richard Diebenkorn and Jack Tworkov.\" <em>The Bulletin of the Cleveland Museum of Art</em> 67, no. 2 (1980): 31-40.", "page_number": "Reproduced: p. 36; Mentioned: p. 31-40", "url": "https://www.jstor.org/stable/25159661"}, {"citation": "<em>20-seiki kaiga no shintairiku: Nyu\u0304 Yo\u0304ku suku\u0304ru: Porokku, de Ku\u0304ningu ... soshite genzai</em> [<em>Founders and Heirs of the New York School = 20\u4e16\u7d00\u7d75\u753b\u306e\u65b0\u5927\u9678 : \u30cb\u30e5\u30fc\u30e8\u30fc\u30af\u30fb\u30b9\u30af\u30fc\u30eb:\u30dd\u30ed\u30c3\u30af, \u30c6\u30fb\u30af\u30fc\u30cb\u30f3\u30b0. . . \u305d\u3057\u3066\u73fe\u5728]. </em>Japan: Yomiuri Shinbunsha, 1997.", "page_number": "Reproduced: p. 50", "url": null}], "url": "https://clevelandart.org/art/1962.33", "images": {}, "alternate_images": [], "creditline": "Contemporary Collection of The Cleveland Museum of Art", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 138404, "creators": [{"id": 30643, "description": "Jack Tworkov (American, born Russian Empire [now Poland], 1900\u20131982)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1900", "death_year": "1982", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1962-11-17T00:00:00", "sortable_date": 1958, "date_added_to_oa": null, "date_text": "1958", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:22.119000"}, {"id": 141485, "accession_number": "1964.95", "share_license_status": "Copyrighted", "tombstone": "The Kitchen Garden at La Bruni\u00e9, 1941. Jacques Villon (French, 1875\u20131963). Oil on canvas; unframed: 65 x 92 cm (25 9/16 x 36 1/4 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1964.95. \u00a9 Artists Right Society (ARS), New York / ADAGP, Paris", "current_location": null, "title": "The Kitchen Garden at La Bruni\u00e9", "creation_date": "1941", "creation_date_earliest": 1941, "creation_date_latest": 1941, "artists_tags": ["male"], "culture": ["France, 20th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 65 x 92 cm (25 9/16 x 36 1/4 in.)", "dimensions": {"unframed": {"height": 0.65, "width": 0.92}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Artists Right Society (ARS), New York / ADAGP, Paris", "inscriptions": [{"inscription": "Signed lower right: \"JACQUES Villon / 41\"", "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": 515679, "title": "An Exhibition of Modern Art in Honor of Agnes Rindge Claflin", "description": "<i>An Exhibition of Modern Art in Honor of Agnes Rindge Claflin</i>. The Frances Lehman Loeb Art Center, Poughkeepsie, NY (organizer) (April 30-June 4, 1965).", "opening_date": "1965-04-30T04:00:00"}, {"id": 300779, "title": "Juxtapositions", "description": "<i>Juxtapositions</i>. The Cleveland Museum of Art, Cleveland, OH (September 11-October 10, 1965).", "opening_date": "1965-09-11T04:00:00"}, {"id": 300904, "title": "Fifty Years of Modern Art", "description": "<i>Fifty Years of Modern Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 15-July 31, 1966).", "opening_date": "1966-06-15T04:00:00"}, {"id": 444059, "title": "Exposition Jacques Villon", "description": "<i>Exposition Jacques Villon</i>. Mus\u00e9e des Beaux-Arts de Rouen, Rouen, France (organizer) (June 14-September 21, 1975); Galeries Nationales du Grand Palais, 75008 Paris, France (October 11-December 15, 1975); Fogg Art Museum/Harvard University, Cambridge, MA (January 17-February 29, 1976); Neuberger Museum of Art, Purchase College, NY, Purchase, NY (March 23-May 23, 1976).", "opening_date": "1975-06-14T04:00:00"}, {"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": "(Galerie Louis Carr\u00e9, New York, 1949)", "citations": [], "footnotes": [], "date": null, "sortorder": 1}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Born Guston Duchamp, Jacques Villon was the brother of three artists: Raymond Duchamp-Villon, Marcel Duchamp, and Suzanne Duchamp-Crotti.", "description": "In this view of a distant kitchen garden, nature has been transformed into an intersecting network of abstract, geometric forms. Diagonal lines suggesting roads and fields in the foreground converge on the long, horizontal garden structure and tall trees in the distance. Transparent planes of prismatic color infuse the entire composition with dynamic energy. The artist was member of the Puteaux or Section d\u2019Or (Golden Section) Cubists, who based their compositions on principles of scientific color theory and mathematics.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60469459"], "internet_archive": []}, "citations": [{"citation": "Henning, Edward B. \u201cTwo New Modern Paintings.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 52, no. 1 (January 1965): 7\u201318.", "page_number": "Mentioned and reproduced: p. 11-13", "url": "http://www.jstor.org/stable/25152028"}, {"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. 199", "url": "https://archive.org/details/CMAHandbook1966/page/n223"}, {"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. 199", "url": "https://archive.org/details/CMAHandbook1969/page/n223"}, {"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. 248", "url": "https://archive.org/details/CMAHandbook1978/page/n268"}, {"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/1964.95", "images": {}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 141485, "creators": [{"id": 3318, "description": "Jacques Villon (French, 1875\u20131963)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1875", "death_year": "1963", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1964-05-06T00:00:00", "sortable_date": 1941, "date_added_to_oa": null, "date_text": "1941", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": ["Potager \u00e0 la Bruni\u00e9 (Kitchen Garden at Brunie)"], "is_highlight": false, "updated_at": "2026-03-27 00:08:34.034000"}, {"id": 141909, "accession_number": "1965.450", "share_license_status": "Copyrighted", "tombstone": "Louis II, 1962. Richard Lindner (American, 1901\u20131978). Oil on canvas; unframed: 127 x 101.6 cm (50 x 40 in.). The Cleveland Museum of Art, Contemporary Collection of The Cleveland Museum of Art, 1965.450. \u00a9 Artists Right Society (ARS), New York", "current_location": null, "title": "Louis II", "creation_date": "1962", "creation_date_earliest": 1962, "creation_date_latest": 1962, "artists_tags": ["male", "Jewish artists"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "measurements": "Unframed: 127 x 101.6 cm (50 x 40 in.)", "dimensions": {"unframed": {"height": 1.27, "width": 1.016}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Artists Right Society (ARS), New York", "inscriptions": [{"inscription": "signed lower right:  R. Lindner 1962.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"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": 518130, "title": "Richard Lindner", "description": "<i>Richard Lindner</i>. Morsbroich Museum, Leverkusen, Germany (organizer) (October 11-November 24, 1968); Kestner-Gesellschaft, Hannover, Germany, Hannover, Germany (December 6, 1968-January 19, 1969); Staatliche Kunsthalle Baden-Baden, Baden-Baden, Germany (January 24-March 9, 1969); Berkeley Museum of Art/Pacific Film Archive, CA, Berkeley, CA (June 17-July 27, 1969).", "opening_date": "1968-10-11T04:00:00"}, {"id": 455280, "title": "Richard Lindner Exposition", "description": "<i>Richard Lindner Exposition</i>. Mus\u00e9e National d'art Moderne, Paris, France (January 5-March 3, 1974); Museum Boijmans Van Beuningen, Rotterdam, Netherlands (March 15-May 12, 1974); Staatliche Kunsthalle, Karlsruhe, Germany (June 13-July 28, 1974); Kunsthaus Z\u00fcrich, CH-8024 Z\u00fcrich, Switzerland (August 7-September 29, 1974); Kunsthalle N\u00fcrnberg, 90402 N\u00fcrnberg, Germany (December 14, 1974-February 2, 1975).", "opening_date": "1974-01-04T05:00:00"}, {"id": 443704, "title": "Richard Lindner", "description": "<i>Richard Lindner</i>. Museum of Contemporary Art, Chicago, Chicago, IL (organizer) (May 7-July 10, 1977).", "opening_date": "1977-05-07T04:00:00"}, {"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": 205468, "title": "Richard Lindner: Paintings and Watercolors, 1948-1977", "description": "<i>Richard Lindner: Paintings and Watercolors, 1948-1977</i>. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC (October 17, 1996-January 12, 1997).", "opening_date": "1996-10-17T00:00:00"}], "legacy": []}, "provenance": [{"description": "(Arne K. Ekstrom, New York).", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Lindner appears in the second row of the Beatles\u2019 <em>St. Pepper\u2019s Lonely Hearts Club Band</em> (1967) album cover.", "description": "Richard Lindner\u2019s often colorful figures in hard-edge style build a bridge between the classic modern European art and aspects of American popular culture. With the historical figure of Louis II, Lindner refers to a memory of his childhood in Germany that is the subject in several of his later paintings. Ludwig II of Bavaria (sometimes rendered as Louis II in English) was King of Bavaria from 1864 until shortly before his death. He is sometimes called the Swan King (or M\u00e4rchenk\u00f6nig in German) and is considered to have been mentally ill, though the medical diagnosis remains controversial. Adding to the controversy are his eccentric character and the mysterious circumstances under which he died. In Lindner\u2019s painting Ludwig II appears as an enigmatic, yet powerful figure whose legacy is strongly connected with the history of art.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60483526"], "internet_archive": []}, "citations": [{"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 203", "url": "https://archive.org/details/CMAHandbook1966/page/n227"}, {"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. 203", "url": "https://archive.org/details/CMAHandbook1969/page/n227"}, {"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. 4", "url": "https://archive.org/details/20thCenturyArtCMA/page/n5"}, {"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. 255", "url": "https://archive.org/details/CMAHandbook1978/page/n275"}, {"citation": "Zilczer, Judith, and Peter Selz. <em>Richard Lindner: Paintings and Watercolors, 1948-1977</em>. Washington, DC: Hirshhorn Museum and Sculpture Garden, 1996.", "page_number": "Reproduced: p. 73", "url": null}], "url": "https://clevelandart.org/art/1965.450", "images": {}, "alternate_images": [], "creditline": "Contemporary Collection of The Cleveland Museum of Art", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 141909, "creators": [{"id": 3526, "description": "Richard Lindner (American, 1901\u20131978)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1901", "death_year": "1978", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1966-01-03T00:00:00", "sortable_date": 1962, "date_added_to_oa": null, "date_text": "1962", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:06.928000"}, {"id": 165140, "accession_number": "2007.142", "share_license_status": "Copyrighted", "tombstone": "Ladder of Ladders, 1931. Manuel \u00c1lvarez Bravo (Mexican, 1902\u20132002). Gelatin silver print; image: 24.4 x 18.3 cm (9 5/8 x 7 3/16 in.); mounted: 30 x 23 cm (11 13/16 x 9 1/16 in.). The Cleveland Museum of Art, John L. Severance Fund, 2007.142. \u00a9 Colette Urbajtel/ Archivo Manuel \u00c1lvarez Bravo, S.C", "current_location": null, "title": "Ladder of Ladders", "creation_date": "1931", "creation_date_earliest": 1931, "creation_date_latest": 1931, "artists_tags": ["male", "Latine and Hispanic Artists"], "culture": ["Mexico, 20th century"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - Mexican", "type": "Photograph", "measurements": "Image: 24.4 x 18.3 cm (9 5/8 x 7 3/16 in.); Mounted: 30 x 23 cm (11 13/16 x 9 1/16 in.)", "dimensions": {"image": {"height": 0.244, "width": 0.183}, "mounted": {"height": 0.3, "width": 0.23}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Colette Urbajtel/ Archivo Manuel \u00c1lvarez Bravo, S.C", "inscriptions": [{"inscription": "Written in pencil on recto of mount: \"Manuel Alvarez Bravo (signed)\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Written in brown ink on verso of print: cajas para muertes grandes y chicas and MAlvarez Bravo/Mexico", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 335815, "title": "Focus on Minotaure: the Animal-Headed Review", "description": "<i>Focus on Minotaure: the Animal-Headed Review</i>. Mus\u00e9e Rath (October 17, 1987-January 31, 1988); Mus\u00e9e d'Art Moderne de Paris (March 17-May 29, 1988).", "opening_date": "1987-10-17T04:00:00"}, {"id": 335716, "title": "Andre Breton: La Beaute Convulsive", "description": "<i>Andre Breton: La Beaute Convulsive</i>. Centre national d'art et de culture Georges Pompidou (April 25-August 26, 1991).", "opening_date": "1991-04-25T04:00:00"}, {"id": 227242, "title": "La R\u00e9volution surr\u00e9aliste", "description": "<i>La R\u00e9volution surr\u00e9aliste</i>. Centre national d'art et de culture Georges Pompidou, Paris cedex O4, France (organizer) (March 6-June 24, 2002).", "opening_date": "2002-03-06T00:00:00"}, {"id": 335720, "title": "Surrealismus 1919- 1944", "description": "<i>Surrealismus 1919- 1944</i>. Kunstsammlung Nordrhein-Westfalen (July 20-November 24, 2002).", "opening_date": "2002-07-20T04:00:00"}, {"id": 203169, "title": "Forbidden Games: Surrealist and Modernist Photography", "description": "<i>Forbidden Games: Surrealist and Modernist Photography</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 19, 2014-January 11, 2015).", "opening_date": "2014-10-19T00:00:00"}, {"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": "The artist, Mexico City", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "Collection of Andr\u00e9 Breton [1896-1966], Paris", "citations": [], "footnotes": [], "date": null, "sortorder": 2}, {"description": "(Calmels Cohen Auction, Paris, 2003)", "citations": [], "footnotes": [], "date": "2003", "sortorder": 3}, {"description": "David Raymond [b.1979], New York, NY", "citations": [], "footnotes": [], "date": "2007", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": null, "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Manuel Alvarez Bravo encouraged viewers to discover their own meanings in his pictures.", "description": "Manuel \u00c1lvarez Bravo captured unusual scenes of everyday life in his home country of Mexico. In the three photographs included here, each focuses on isolated fragments of urban iconography through storefronts and billboards. <em>Ladder of Ladders </em>strikes a particularly dark note. The workshop pictured here manufactured caskets for children at a time when the infant mortality rate in Mexico City was 75%. The stacked coffins just inside the shop\u2019s doorway formally play on light and darkness in the same way the photograph\u2019s subject matter metaphorically references the tension between life and death in the city.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780960"], "internet_archive": []}, "citations": [{"citation": "Spies, Werner. La re\u0301volution surre\u0301aliste: exposition pre\u0301sente\u0301e au Centre Pompidou, Galerie 1, 6 mars-24 juin 2002. Paris: Centre Pompidou, 2002.", "page_number": null, "url": null}, {"citation": "Spies, Werner. Surrealismus 1919-1944: die surrealistische Revolution : Dali, Max Ernst, Magritte, Miro, Picasso--. Du\u0308sseldorf: K20 Kunstsammlung Nordrhein-Westfalen, 2002.", "page_number": null, "url": null}, {"citation": "Breton, Andre\u0301, Agne\u0300s Angliviel de La Beaumelle, Isabelle Monod-Fontaine, and Claude Schweisguth. Andre\u0301 Breton, la beaute\u0301 convulsive: Muse\u0301e national d'art moderne, Centre Georges Pompidou. Paris: Editions du Centre Pompidou, 1991.", "page_number": null, "url": null}, {"citation": "Cleveland Museum of Art, Tom E. Hinson, Ian Walker, and Lisa Kurzner. Forbidden Games: Surrealist and Modernist Photography : the David Raymond Collection in the Cleveland Museum of Art. 2014.", "page_number": "cat no. 24, p. 51", "url": null}, {"citation": "<em>Andre Breton: 42, rue Fontaine,</em> no. 5047. Paris: Calmels Cohen, 2003.", "page_number": null, "url": null}], "url": "https://clevelandart.org/art/2007.142", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 165140, "creators": [{"id": 192, "description": "Manuel \u00c1lvarez Bravo (Mexican, 1902\u20132002)", "extent": null, "qualifier": null, "role": "artist", "biography": "Manuel Alvarez Bravo Mexican, 1902-2002\r\n\r\nBorn in Mexico City, Manuel Alvarez Bravo has achieved international fame as one of Mexico's most talented photographers. In 1918 he studied painting and music at the Academia Nacional de Bellas Artes. After taking up the camera in 1924, Alvarez Bravo was encouraged by photographers Hugo Brehme and Edward Weston to pursue a career in the medium. Over the next several years he worked as a government employee, a photography instructor, and a photographer for the magazine Mexican Folkways. In 1931 he became a freelancer specializing in the reproduction of paintings and other works of art. A variety of jobs followed, including that of photographer and cameraman at the Sindicato de Trabajadores de la Producci\u00f3n Cinematogr\u00e1fica de M\u00e9xico (1943-59). He also served as cofounder, director, and chief photographer for El Fondo Editorial de la Pl\u00e1stica Mexicana, a publisher of fine art books (1959-80).\r\n\tAlvarez Bravo has been awarded the National Arts Prize of Mexico (1975), named an honorary member of the Mexican Academy of Arts (1980), made an Officier des Arts et Lettres in France (1981), and received the Hasselblad Prize (1984). He has had numerous individual exhibitions at venues throughout the world, including the Palacio Nacional de Bellas Artes, Mexico City (1934, 1968, 1972), the Art Institute of Chicago (1943, 1974), the Museum of Photographic Arts, San Diego (1990), and the J. Paul Getty Museum, Malibu (1992).\r\n\tAlvarez Bravo's personal work is deeply rooted in Mexican culture, as were the paintings of his friend Diego Rivera and the other Mexican muralists. Like them, he has focused on his country and its people to create straightforward, evocative images. Alvarez Bravo lives in Mexico City. M.M.", "name_in_original_language": null, "birth_year": "1902", "death_year": "2002", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2007-02-26T00:00:00", "sortable_date": 1931, "date_added_to_oa": null, "date_text": "1931", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:04:28.045000"}, {"id": 166209, "accession_number": "2008.150", "share_license_status": "CC0", "tombstone": "Female Mask (Gambanda or Kambanda), early 1900s. Africa, Central Africa, Democratic Republic of Congo, Pende-style maker. Wood, plant fiber, and colorant; overall: 27 x 22 x 28.5 cm (10 5/8 x 8 11/16 x 11 1/4 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 2008.150", "current_location": "108A African", "title": "Female Mask (Gambanda or Kambanda)", "creation_date": "early 1900s", "creation_date_earliest": 1901, "creation_date_latest": 1920, "artists_tags": [], "culture": ["Africa, Central Africa, Democratic Republic of Congo, Pende-style maker"], "technique": "Wood, plant fiber, and colorant", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Mask", "measurements": "Overall: 27 x 22 x 28.5 cm (10 5/8 x 8 11/16 x 11 1/4 in.)", "dimensions": {"overall": {"height": 0.27, "width": 0.22, "depth": 0.285}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Field-collected by Belgian territorial administrator, Maurice Matton, in the Bandundu Province of the Democratic Republic of the Congo (then still Belgian Congo)", "citations": [], "footnotes": null, "date": "1934", "sortorder": 1}, {"description": "Ex collection Annie and Jean-Pierre Jernander, Brussels, Belgium", "citations": [], "footnotes": null, "date": "?\u20131996", "sortorder": 2}, {"description": "(Drouot-Richelieu, Paris, France, lot 29, June 29, 1996, sold to private collection)", "citations": [], "footnotes": null, "date": "June 29, 1996", "sortorder": 3}, {"description": "Private collection", "citations": [], "footnotes": null, "date": "1996\u20132008", "sortorder": 4}, {"description": "(Sotheby's, Paris, France, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "2008", "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2008\u2013", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This female mask would have performed in a collective multimedia event with audience participation.", "description": "Realized in typical Central Pende style, this mask is believed to represent <em>gambanda</em>, the chief's wife. In light of Pende theories about gender and physiognomy, the mask is an ideal expression of a woman's facial features and thus reflects her calm, obedient, peaceful, and self-controlled demeanor. The intricate hairstyle consisting of hundreds of miniature twists imitates a once fashionable hairdo.", "external_resources": {"wikidata": [], "internet_archive": ["https://archive.org/details/clevelandart-2008.150-female-mask-gambanda"]}, "citations": [{"citation": "Petridis, Constantine. \"New Acquisitions of African Art at the Cleveland Museum of Art\". African Arts. (44) No. 1, Spring 2011. Pg. 65, 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. 34-35", "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. 275, no. 9.11", "url": ""}], "url": "https://clevelandart.org/art/2008.150", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2008.150/2008.150_web.jpg", "width": "689", "height": "893", "filesize": "340337", "filename": "2008.150_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2008.150/2008.150_print.jpg", "width": "2623", "height": "3400", "filesize": "5403222", "filename": "2008.150_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2008.150/2008.150_full.tif", "width": "4554", "height": "5904", "filesize": "80709848", "filename": "2008.150_full.tif"}}, "alternate_images": [{"date_created": "2009-09-10T16:03:14", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.150/2008.150_alt0_web.jpg", "width": "755", "height": "893", "filesize": "378311"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.150/2008.150_alt0_print.jpg", "width": "2876", "height": "3400", "filesize": "5628977"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.150/2008.150_alt0_full.tif", "width": "4723", "height": "5583", "filesize": "79139296"}}, {"date_created": "2009-09-22T14:55:02", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.150/2008.150_alt1_web.jpg", "width": "705", "height": "893", "filesize": "357941"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.150/2008.150_alt1_print.jpg", "width": "2684", "height": "3400", "filesize": "5701477"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.150/2008.150_alt1_full.tif", "width": "4700", "height": "5954", "filesize": "84012040"}}, {"date_created": "2009-09-10T17:28:20", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.150/2008.150_alt2_web.jpg", "width": "924", "height": "893", "filesize": "412752"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.150/2008.150_alt2_print.jpg", "width": "3400", "height": "3285", "filesize": "5660724"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.150/2008.150_alt2_full.tif", "width": "4928", "height": "4762", "filesize": "70434948"}}, {"date_created": "2009-09-10T17:44:10", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.150/2008.150_alt3_web.jpg", "width": "842", "height": "893", "filesize": "407869"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.150/2008.150_alt3_print.jpg", "width": "3205", "height": "3400", "filesize": "6053857"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.150/2008.150_alt3_full.tif", "width": "4414", "height": "4682", "filesize": "62032904"}}, {"date_created": "2009-09-10T17:13:39", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.150/2008.150_alt4_web.jpg", "width": "810", "height": "893", "filesize": "390924"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.150/2008.150_alt4_print.jpg", "width": "3083", "height": "3400", "filesize": "5238063"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.150/2008.150_alt4_full.tif", "width": "4901", "height": "5405", "filesize": "79503920"}}], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 166209, "creators": [], "legal_status": "accessioned", "accession_date": "2008-12-08T00:00:00", "sortable_date": 1901, "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": ["Female Face Mask (Gambanda)", "GAMBANDA"], "is_highlight": false, "updated_at": "2026-03-26 23:59:40.073000"}, {"id": 128822, "accession_number": "1951.443", "share_license_status": "Copyrighted", "tombstone": "Vase, c. 1950. Karl Edvin \u00d6hrstr\u00f6m (Swedish, 1906\u20131994), Orrefors Glasshouse (Swedish, est. 1898). Ariel glass; overall: 11.6 x 10.8 cm (4 9/16 x 4 1/4 in.). The Cleveland Museum of Art, Gift of A. B. Orrefors Glasbruk, 1951.443", "current_location": null, "title": "Vase", "creation_date": "c. 1950", "creation_date_earliest": 1945, "creation_date_latest": 1955, "artists_tags": ["male", "gender unknown"], "culture": ["Sweden, 20th century"], "technique": "ariel glass", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Glass", "measurements": "Overall: 11.6 x 10.8 cm (4 9/16 x 4 1/4 in.)", "dimensions": {"overall": {"height": 0.116, "width": 0.108}}, "state_of_the_work": null, "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": 313463, "title": "Color and Comfort: Swedish Modern Design", "description": "<i>Color and Comfort: Swedish Modern Design</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 11, 2019-February 10, 2020).", "opening_date": "2019-02-17T05:00:00"}], "legacy": []}, "provenance": [{"description": "A. B. Orrefors Glasbruk, Orrefors, Sweden.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The glass bubbles in this Ariel vase were produced through a sandblasting technique.", "description": "The iridescent bubbles caught between two layers of glass in this vase are an example of the Ariel glass technique in which designs are sandblasted into the glass. Orrefors Glasshouse was the originator of this technique, where \u00d6hrstr\u00f6m was the glass style\u2019s primary designer in the 1950s. \u00d6hrstr\u00f6m\u2019s vases went on to become some of the firm\u2019s most popular items.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79909310"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1951.443", "images": {}, "alternate_images": [], "creditline": "Gift of A. B. Orrefors Glasbruk", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 128822, "creators": [{"id": 16426, "description": "Karl Edvin \u00d6hrstr\u00f6m (Swedish, 1906\u20131994)", "extent": null, "qualifier": null, "role": "made by", "biography": "Having studied sculpture and graphic design at Stockholm\u2019s Konstfackskolan (University College of Arts, Crafts and Design), the Tekniska Skolan (Royal Institute of Technology), and the Kungliga Konsth\u00f6gskolan (Royal University College of Fine Arts), Edvin \u00d6hrstr\u00f6m began designing for Orrefors Glasshouse (est. 1898) in the mid-1930s. \u00d6hrstr\u00f6m patented a couple of innovative glass techniques, including the Ariel technique. The Ariel style glass came to epitomize mid-century Swedish art glass. \u00d6hrstr\u00f6m went on to achieve critical acclaim at world\u2019s fairs including in Paris (1937) and New York (1939). In 1956 \u00d6hrstr\u00f6m left Orrefors to be a full-time independent glass sculptor.", "name_in_original_language": null, "birth_year": "1906", "death_year": "1994", "use_in_caption": true, "include_extent": false, "weight": 2}, {"id": 7297, "description": "Orrefors Glasshouse (Swedish, est. 1898)", "extent": null, "qualifier": null, "role": "manufacturer", "biography": "Established in 1898 in the Swedish region, Sm\u00e5land, Orrefors became the most prominent producer of Swedish modern art glass in the 20th century. At the height of Orrefors\u2019s popularity in the 1930s through 1960s, the firm\u2019s designers boasted prestigious awards from many world\u2019s fairs. The firm is associated with the development of the Graal and Ariel glass techniques, both considered distinctly Swedish styles of art glass. Since 1997, the firm has operated under the Danish design manufacturer, Royal Scandinavia. The Sm\u00e5land-based manufacturer closed in 2013.", "name_in_original_language": "Orrefors Glasbruk", "birth_year": "1898", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1951-11-15T00:00:00", "sortable_date": 1945, "date_added_to_oa": null, "date_text": "c. 1950", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "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 23:59:39.509000"}, {"id": 129985, "accession_number": "1952.402", "share_license_status": "Copyrighted", "tombstone": "Fruktl\u00e5da (Case of Fruit), 1947. Stig Lindberg (Swedish, 1916\u20131982), Knoll Associates (American, est. 1938). Cotton: plain weave, loom width, printed; overall: 89.5 x 128.3 cm (35 1/4 x 50 1/2 in.). The Cleveland Museum of Art, The Harold T. Clark Educational Extension Fund, 1952.402", "current_location": null, "title": "Fruktl\u00e5da (Case of Fruit)", "creation_date": "1947", "creation_date_earliest": 1947, "creation_date_latest": 1947, "artists_tags": ["male", "gender unknown"], "culture": ["America, New York"], "technique": "Cotton: plain weave, loom width, printed", "support_materials": [], "department": "Textiles", "collection": "Textiles", "type": "Textile", "measurements": "Overall: 89.5 x 128.3 cm (35 1/4 x 50 1/2 in.)", "dimensions": {"overall": {"height": 0.895, "width": 1.283}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 302021, "title": "Design in Printed Textiles", "description": "<i>Design in Printed Textiles</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 7-September 3, 1961).", "opening_date": "1961-04-07T05:00:00"}, {"id": 313463, "title": "Color and Comfort: Swedish Modern Design", "description": "<i>Color and Comfort: Swedish Modern Design</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 11, 2019-February 10, 2020).", "opening_date": "2019-02-17T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The apple tree likely refers to the Tree of Life, called the \u201cYggdrasil\u201d in Norse mythology.", "description": "Initially produced by the Swedish department store Nordiska Kompaniet, this version of <em>Fruktl\u00e5da </em>was manufactured in America despite its Swedish name. The textile\u2019s bright blue color was only associated with the version printed by Knoll Associates, who usually identified the pattern as <em>Apples</em>. Its strongly delineated pattern depicts the various stages of an apple\u2019s life from seed to decay.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79911555"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1952.402", "images": {}, "alternate_images": [], "creditline": "The Harold T. Clark Educational Extension Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 129985, "creators": [{"id": 56177, "description": "Stig Lindberg (Swedish, 1916\u20131982)", "extent": null, "qualifier": null, "role": "designer", "biography": "Stig Lindberg (born Frederick Stigurd Lindberg in Ume\u00e5, Sweden) was a Swedish ceramicist, glass artist, and textile designer. Having studied ceramics at the Konstfackskolen (School of Arts, Crafts, and Design) and the Kungliga Tekniska H\u00f6gskolan (Royal Institute of Technology), Lindberg\u2019s international reputation largely rests on his ceramic and glass designs for Gustavsberg Porcelain Factory and various Swedish glasshouses. Lindberg was the creative director of Gustavsberg between 1949 and 1957, and again between 1971 and 1980. Prior to his directorship, Lindberg illustrated children\u2019s books and designed textiles for Nordiska Kompaniet that often incorporated playful motifs.", "name_in_original_language": null, "birth_year": "1916", "death_year": "1982", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 16913, "description": "Knoll Associates (American, est. 1938)", "extent": null, "qualifier": null, "role": "manufacturer", "biography": "American furniture and interior design firm, founded in 1938 by Hans Knoll (1914-1955), who emigrated from Germany to the USA in 1935. It now has subsidiary companies all over the world, which operate under the name Knoll International.", "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1952-11-29T00:00:00", "sortable_date": 1947, "date_added_to_oa": null, "date_text": "1947", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Apples (Fruktlada)"], "is_highlight": false, "updated_at": "2026-03-27 00:04:40.490000"}, {"id": 131192, "accession_number": "1953.78", "share_license_status": "Copyrighted", "tombstone": "V\u00e5gorna (Waves), c. 1947. Stig Lindberg (Swedish, 1916\u20131982), Nordiska Kompaniet (Swedish, est. 1902). Plain weave bleached linen, loom width, print; overall: 116.8 x 131.4 cm (46 x 51 3/4 in.). The Cleveland Museum of Art, The Harold T. Clark Educational Extension Fund, 1953.78", "current_location": null, "title": "V\u00e5gorna (Waves)", "creation_date": "c. 1947", "creation_date_earliest": 1945, "creation_date_latest": 1950, "artists_tags": ["male"], "culture": ["Sweden, 20th century"], "technique": "Plain weave bleached linen, loom width, print", "support_materials": [], "department": "Textiles", "collection": "Textiles", "type": "Textile", "measurements": "Overall: 116.8 x 131.4 cm (46 x 51 3/4 in.)", "dimensions": {"overall": {"height": 1.168, "width": 1.314}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 302021, "title": "Design in Printed Textiles", "description": "<i>Design in Printed Textiles</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 7-September 3, 1961).", "opening_date": "1961-04-07T05:00:00"}, {"id": 313463, "title": "Color and Comfort: Swedish Modern Design", "description": "<i>Color and Comfort: Swedish Modern Design</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 11, 2019-February 10, 2020).", "opening_date": "2019-02-17T05:00:00"}], "legacy": []}, "provenance": [{"description": "purchased from Bonniers", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This textile shows a variety of fish which are often featured in Scandinavian cuisine.", "description": "Stig Lindberg\u2019s textiles are known for their whimsical motifs. <em>V\u00e5gorna </em>depicts a stylized fish enveloped into a wavy stream. The vertical lines indicate this textile\u2019s use as drapery, emphasizing its natural folds when displayed.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80022497"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1953.78", "images": {}, "alternate_images": [], "creditline": "The Harold T. Clark Educational Extension Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 131192, "creators": [{"id": 56177, "description": "Stig Lindberg (Swedish, 1916\u20131982)", "extent": null, "qualifier": null, "role": "designer", "biography": "Stig Lindberg (born Frederick Stigurd Lindberg in Ume\u00e5, Sweden) was a Swedish ceramicist, glass artist, and textile designer. Having studied ceramics at the Konstfackskolen (School of Arts, Crafts, and Design) and the Kungliga Tekniska H\u00f6gskolan (Royal Institute of Technology), Lindberg\u2019s international reputation largely rests on his ceramic and glass designs for Gustavsberg Porcelain Factory and various Swedish glasshouses. Lindberg was the creative director of Gustavsberg between 1949 and 1957, and again between 1971 and 1980. Prior to his directorship, Lindberg illustrated children\u2019s books and designed textiles for Nordiska Kompaniet that often incorporated playful motifs.", "name_in_original_language": null, "birth_year": "1916", "death_year": "1982", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 317384, "description": "Nordiska Kompaniet (Swedish, est. 1902)", "extent": null, "qualifier": null, "role": "manufacturer", "biography": "Josef Sachs established the department store Nordiska Kompaniet in 1902. The store\u2019s first building opened in 1915 on Hamngaten in Stockholm and is still in operation today.", "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1953-04-17T00:00:00", "sortable_date": 1945, "date_added_to_oa": null, "date_text": "c. 1947", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Vagnora"], "is_highlight": false, "updated_at": "2026-03-26 23:59:08.042000"}, {"id": 131193, "accession_number": "1953.79", "share_license_status": "Copyrighted", "tombstone": "Textile with Fall Leaves, c. 1952. Possibly by Astrid Sampe (Swedish, 1909\u20132002), possibly by Nordiska Kompaniet (Swedish, est. 1902). Plain weave bleached linen, loom width, printed; overall: 111.8 x 127 cm (44 x 50 in.). The Cleveland Museum of Art, The Harold T. Clark Educational Extension Fund, 1953.79", "current_location": null, "title": "Textile with Fall Leaves", "creation_date": "c. 1952", "creation_date_earliest": 1945, "creation_date_latest": 1953, "artists_tags": ["female"], "culture": ["Sweden, 20th century"], "technique": "Plain weave bleached linen, loom width, printed", "support_materials": [], "department": "Textiles", "collection": "Textiles", "type": "Textile", "measurements": "Overall: 111.8 x 127 cm (44 x 50 in.)", "dimensions": {"overall": {"height": 1.118, "width": 1.27}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 302021, "title": "Design in Printed Textiles", "description": "<i>Design in Printed Textiles</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 7-September 3, 1961).", "opening_date": "1961-04-07T05:00:00"}, {"id": 313463, "title": "Color and Comfort: Swedish Modern Design", "description": "<i>Color and Comfort: Swedish Modern Design</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 11, 2019-February 10, 2020).", "opening_date": "2019-02-17T05:00:00"}], "legacy": []}, "provenance": [{"description": "purchased from Bonniers, New York", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This characteristic six-pronged leaf is seen in several of Astrid Sampe\u2019s designs from the late 1930s.", "description": "Though Sampe\u2019s later designs often feature abstracted grids and lines, this design harkens back to the designer\u2019s earlier motifs with soft organic shapes. The placement of leaves in this pattern follow a prevailing geometry. Always concerned with functionality and practicality, Sampe\u2019s designs were conducive to a variety of interior purposes such as drapery and upholstery.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80022498"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1953.79", "images": {}, "alternate_images": [], "creditline": "The Harold T. Clark Educational Extension Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 131193, "creators": [{"id": 317388, "description": "Astrid Sampe (Swedish, 1909\u20132002)", "extent": null, "qualifier": "possibly by", "role": "designer", "biography": "Astrid Sampe was a Swedish textile designer and head of the textile division at the Stockholm-based department store Nordiska Kompaniet from 1937 until 1971. Educated at the Konstfackskolen (School of Arts, Crafts, and Design) and the Royal College of Art in London, Sampe developed a network of international contacts early in her career. As head of the textile division of Nordiska Kompaniet, Sampe fostered a successful partnership between Swedish designers and the American furnishings company Knoll Associates. As a designer, Sampe was known for developing innovative textiles including a fiberglass-coated yarn that was purportedly fire-proof.", "name_in_original_language": null, "birth_year": "1909", "death_year": "2002", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 317384, "description": "Nordiska Kompaniet (Swedish, est. 1902)", "extent": null, "qualifier": "possibly by", "role": "manufacturer", "biography": "Josef Sachs established the department store Nordiska Kompaniet in 1902. The store\u2019s first building opened in 1915 on Hamngaten in Stockholm and is still in operation today.", "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1953-04-17T00:00:00", "sortable_date": 1945, "date_added_to_oa": null, "date_text": "c. 1952", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Fall Seasons"], "is_highlight": false, "updated_at": "2026-03-27 00:07:06.810000"}, {"id": 131586, "accession_number": "1954.200", "share_license_status": "Copyrighted", "tombstone": "Raff, c. 1950. Viola Gr\u00e5sten (Swedish, born Finland, 1910\u20131994), Nordiska Kompaniet (Swedish, est. 1902). Plain weave linen, loom width, printed; overall: 97.2 x 130.8 cm (38 1/4 x 51 1/2 in.). The Cleveland Museum of Art, The Harold T. Clark Educational Extension Fund, 1954.200", "current_location": null, "title": "Raff", "creation_date": "c. 1950", "creation_date_earliest": 1945, "creation_date_latest": 1954, "artists_tags": ["female"], "culture": ["Sweden, 20th century"], "technique": "Plain weave linen, loom width, printed", "support_materials": [], "department": "Textiles", "collection": "Textiles", "type": "Textile", "measurements": "Overall: 97.2 x 130.8 cm (38 1/4 x 51 1/2 in.)", "dimensions": {"overall": {"height": 0.972, "width": 1.308}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 357303, "title": "Good Design", "description": "<i>Good Design</i>. Museum of Modern Art, NY.", "opening_date": "1953-09-01T04:00:00"}, {"id": 313463, "title": "Color and Comfort: Swedish Modern Design", "description": "<i>Color and Comfort: Swedish Modern Design</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 11, 2019-February 10, 2020).", "opening_date": "2019-02-17T05:00:00"}], "legacy": []}, "provenance": [{"description": "purchased from Bonnier's, New York", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Gr\u00e5sten\u2019s grid-patterned textiles were especially popular with young urban women in the 1950s.", "description": "Viola Gr\u00e5sten\u2019s textile patterns often use stark abstraction and geometry, a design feature of traditional native Finnish rugs. Her textile design <em>Raff </em>won her a gold medal at the important 1951 Triennale in Milan. Throughout the mid-20th century Gr\u00e5sten continued to design abstract patterns that were especially popular among young consumers for their modernist flair.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80023041"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1954.200", "images": {}, "alternate_images": [], "creditline": "The Harold T. Clark Educational Extension Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 131586, "creators": [{"id": 56755, "description": "Viola Gr\u00e5sten (Swedish, born Finland, 1910\u20131994)", "extent": null, "qualifier": null, "role": "designer", "biography": "Born and trained in Finland at Helsinki\u2019s Centralskolen f\u00f6r Konstflit (now incorporated into Aalto University), Gr\u00e5sten immigrated to Sweden in 1944. Prior to her relocation, Gr\u00e5sten worked for the Finska Handarbetets V\u00e4nner (Friends of Finnish Handicraft). In Sweden, Gr\u00e5sten was initially employed by Elsa Gullberg\u2019s firm to design traditional Finnish rya rugs. She designed for Nordiska Kompaniet from 1949 until 1956 when she transitioned to the artistic head of fashion textiles at M\u00f6lnlycke V\u00e4fveri where she stayed until 1973. Gr\u00e5sten won numerous prestigious design awards throughout her career, including gold medals at the 1939 Paris World\u2019s Fair and 1951 Milan Triennial.", "name_in_original_language": null, "birth_year": "1910", "death_year": "1994", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 317384, "description": "Nordiska Kompaniet (Swedish, est. 1902)", "extent": null, "qualifier": null, "role": "manufacturer", "biography": "Josef Sachs established the department store Nordiska Kompaniet in 1902. The store\u2019s first building opened in 1915 on Hamngaten in Stockholm and is still in operation today.", "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1954-05-04T00:00:00", "sortable_date": 1945, "date_added_to_oa": null, "date_text": "c. 1950", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:04:23.301000"}, {"id": 131664, "accession_number": "1954.254", "share_license_status": "Copyrighted", "tombstone": "Bonad (Hanging Tapestry): copy of \u201cCarl Hanson, Leksand, 1801\u201d, 1952. Leksands Hemsl\u00f6jdsforening (Swedish, est. 1904), Jobs Handtryck (Swedish, est. 1944). Plain weave linen, loom width, printed; overall: 191.1 x 135.3 cm (75 1/4 x 53 1/4 in.). The Cleveland Museum of Art, The Harold T. Clark Educational Extension Fund, 1954.254", "current_location": null, "title": "Bonad (Hanging Tapestry): copy of \u201cCarl Hanson, Leksand, 1801\u201d", "creation_date": "1952", "creation_date_earliest": 1952, "creation_date_latest": 1952, "artists_tags": ["gender unknown"], "culture": ["Sweden, Vastanvik, Leksand, 20th century"], "technique": "Plain weave linen, loom width, printed", "support_materials": [], "department": "Textiles", "collection": "Textiles", "type": "Textile", "measurements": "Overall: 191.1 x 135.3 cm (75 1/4 x 53 1/4 in.)", "dimensions": {"overall": {"height": 1.911, "width": 1.353}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 359283, "title": "Flowers in Art", "description": "<i>Flowers in Art</i>. Karamu House (organizer) (June 30-September 30, 1965).", "opening_date": "1965-06-30T04:00:00"}, {"id": 313463, "title": "Color and Comfort: Swedish Modern Design", "description": "<i>Color and Comfort: Swedish Modern Design</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 11, 2019-February 10, 2020).", "opening_date": "2019-02-17T05:00:00"}], "legacy": []}, "provenance": [{"description": "purchased from Elizabeth Hanna Imports", "citations": [], "footnotes": [], "date": null, "sortorder": 1}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This style of flower, called a <em>kurbits</em>, is associated with traditional folkloric painting in Sweden.", "description": "The top line of text on this wall hanging reads \u201cCarl Hanson, Leksand, year 1801,\u201d indicating that this design is an adaption of a wall painting from 1801 by the Swedish muralist Winter Carl Hansson (1777\u20131805), whose work is reflected throughout Leksand homes and churches in the in the Dalarna region of Sweden. Wall hangings were used to decorate modern urban homes, reminding Swedes of their rural roots.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80023078"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1954.254", "images": {}, "alternate_images": [], "creditline": "The Harold T. Clark Educational Extension Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 131664, "creators": [{"id": 60280, "description": "Leksands Hemsl\u00f6jdsforening (Swedish, est. 1904)", "extent": null, "qualifier": null, "role": "designer", "biography": "This regional handicrafts association was established in the Dalarana municipality Leksand in 1904. The organization largely produced textiles and ceramics based on the region\u2019s folkloric art style.", "name_in_original_language": "Leksands Hemsl\u00f6jdsforening", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 60277, "description": "Jobs Handtryck (Swedish, est. 1944)", "extent": null, "qualifier": null, "role": "manufacturer", "biography": "Established by Peer Jobs (1913-1989) in 1944, this Dalarna-based textile press specialized in manufacturing designs by Peer\u2019s sisters Lisbet Jobs (1909-1961) and Ingrid \u201cGocken\u201d Jobs (1914-1995). The press also collaborated with Leksand\u2019s Handicrafts Association (Leksands Hemslj\u00f6dsforening). As of 2019, the press operates out of V\u00e4stanvik, Sweden.", "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1954-05-04T00:00:00", "sortable_date": 1952, "date_added_to_oa": null, "date_text": "1952", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:07:35.262000"}, {"id": 133109, "accession_number": "1955.508", "share_license_status": "CC0", "tombstone": "Pierre Bonnard, 1902. Odilon Redon (French, 1840\u20131916), printed by Blanchard. Lithograph; image: 14.5 x 12.3 cm (5 11/16 x 4 13/16 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1955.508", "current_location": null, "title": "Pierre Bonnard", "creation_date": "1902", "creation_date_earliest": 1902, "creation_date_latest": 1902, "artists_tags": ["male"], "culture": ["France, early 20th Century"], "technique": "lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image: 14.5 x 12.3 cm (5 11/16 x 4 13/16 in.)", "dimensions": {"image": {"height": 0.145, "width": 0.123}}, "state_of_the_work": "I/I", "edition_of_the_work": "edition of 12", "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 304612, "title": "Portraits in Prints", "description": "<i>Portraits in Prints</i>. The Cleveland Museum of Art, Cleveland, OH (September 10, 1963-February 6, 1964).", "opening_date": "1963-09-10T04:00:00"}, {"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"}], "legacy": []}, "provenance": [{"description": "(Ferdinand Roten, Baltimore, MD, sold to the Print Club of Cleveland, Cleveland, OH)", "citations": [], "footnotes": null, "date": "?-1955", "sortorder": 1}, {"description": "The Print Club of Cleveland, Cleveland, OH", "citations": [], "footnotes": [], "date": "1955", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1955-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Pierre Bonnard once said of Redon: \u201cAll of our generation fell under his charm and received his advice.\u201d", "description": "Later in life, Odilon Redon turned to portraiture, creating likenesses of both commissioned sitters and his close friends. This print represents a figure central to his artistic and social milieu: Pierre Bonnard was a younger artist who admired Redon\u2019s emphasis on interior states. Redon depicted only the head and profile of his subject, sketching Bonnard with fine and delicate detail. He produced just a small number of impressions of the lithograph, accentuating its personal and intimate theme.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80025309"], "internet_archive": ["https://archive.org/details/clevelandart-1955.508-pierre-bonnard"]}, "citations": [], "catalogue_raisonne": "Mellerio 191", "url": "https://clevelandart.org/art/1955.508", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1955.508/1955.508_web.jpg", "width": "835", "height": "893", "filesize": "532886", "filename": "1955.508_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1955.508/1955.508_print.jpg", "width": "3178", "height": "3400", "filesize": "7109970", "filename": "1955.508_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1955.508/1955.508_full.tif", "width": "3912", "height": "4185", "filesize": "49144992", "filename": "1955.508_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": 133109, "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}], "legal_status": "accessioned", "accession_date": "1955-11-21T00:00:00", "sortable_date": 1902, "date_added_to_oa": null, "date_text": "1902", "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 00:07:49.674000"}, {"id": 133821, "accession_number": "1956.414", "share_license_status": "Copyrighted", "tombstone": "Ros och Lilja (Rose and Lily), 1955\u201356. Hanna Ingrid Elisabet Jobs (Swedish, 1914\u20131995), Jobs Handtryck (Swedish, est. 1944). Plain weave bleached linen, handprinted; overall: 90.2 x 94.3 cm (35 1/2 x 37 1/8 in.). The Cleveland Museum of Art, The Harold T. Clark Educational Extension Fund, 1956.414", "current_location": null, "title": "Ros och Lilja (Rose and Lily)", "creation_date": "1955\u201356", "creation_date_earliest": 1955, "creation_date_latest": 1956, "artists_tags": ["male", "gender unknown"], "culture": ["Sweden, Vastanvik, Leksand, 20th century"], "technique": "Plain weave bleached linen, handprinted", "support_materials": [], "department": "Textiles", "collection": "Textiles", "type": "Textile", "measurements": "Overall: 90.2 x 94.3 cm (35 1/2 x 37 1/8 in.)", "dimensions": {"overall": {"height": 0.902, "width": 0.943}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 302021, "title": "Design in Printed Textiles", "description": "<i>Design in Printed Textiles</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 7-September 3, 1961).", "opening_date": "1961-04-07T05:00:00"}, {"id": 313463, "title": "Color and Comfort: Swedish Modern Design", "description": "<i>Color and Comfort: Swedish Modern Design</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 11, 2019-February 10, 2020).", "opening_date": "2019-02-17T05:00:00"}], "legacy": []}, "provenance": [{"description": "purchased from Elizabeth Hanna Imports", "citations": [], "footnotes": [], "date": null, "sortorder": 1}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This design features a single pink rose, which traditionally symbolizes gratitude.", "description": "This design was likely conceived when Ingrid \u201cGocken\u201d Jobs was a student of graphic design at the Konstakademin (Royal Swedish Academy of Fine Arts). <em>Rose and Lily</em> shows a sampling of indigenous Swedish flowers against a black background. The loose floral arrangement is typical of Gocken Jobs\u2019s whimsical style.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80026293"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1956.414", "images": {}, "alternate_images": [], "creditline": "The Harold T. Clark Educational Extension Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 133821, "creators": [{"id": 56180, "description": "Hanna Ingrid Elisabet Jobs (Swedish, 1914\u20131995)", "extent": null, "qualifier": null, "role": "designer", "biography": "The youngest of eight children, Hanna Ingrid Jobs was affectionately nicknamed \u201cGocken\u201d by her family. She was born in 1914 in the Swedish-province Dalarna. In 1930 she enrolled at the Tekniska Skolen in Stockholm where she studied illustration and ceramics, graduating in 1935. After schooling, she designed for her sister\u2019s firm Jobs Ceramics and Textiles in Stockholm and later for her brother Peer\u2019s textile press Jobs Handtryck (est. 1944). Throughout the 1930s, Gocken with her sister Lisbet displayed ceramics and textiles at world fairs including in Paris (1937), New York (1939), and San Francisco (1939). Gocken also exhibited in the important exhibitions <em>Svensk form</em> (1942) and <em>N\u00e4r sk\u00f6nheten kom till byn</em> (1945) which were central to establishing the Swedish Modern Design movement.", "name_in_original_language": null, "birth_year": "1914", "death_year": "1995", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 60277, "description": "Jobs Handtryck (Swedish, est. 1944)", "extent": null, "qualifier": null, "role": "manufacturer", "biography": "Established by Peer Jobs (1913-1989) in 1944, this Dalarna-based textile press specialized in manufacturing designs by Peer\u2019s sisters Lisbet Jobs (1909-1961) and Ingrid \u201cGocken\u201d Jobs (1914-1995). The press also collaborated with Leksand\u2019s Handicrafts Association (Leksands Hemslj\u00f6dsforening). As of 2019, the press operates out of V\u00e4stanvik, Sweden.", "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1956-10-24T00:00:00", "sortable_date": 1955, "date_added_to_oa": null, "date_text": "1955\u201356", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:46.299000"}, {"id": 140305, "accession_number": "1964.27", "share_license_status": "CC0", "tombstone": "Roger Marx, 1904. Odilon Redon (French, 1840\u20131916), printed by Auguste Clot (French, 1858\u20131936). Lithograph on China paper laid on wove paper; image: 25 x 14.5 cm (9 13/16 x 5 11/16 in.). The Cleveland Museum of Art, In honor of Leona E. Prasse through The Print Club of Cleveland, 1964.27", "current_location": null, "title": "Roger Marx", "creation_date": "1904", "creation_date_earliest": 1904, "creation_date_latest": 1904, "artists_tags": ["male"], "culture": ["France, early 20th 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 x 14.5 cm (9 13/16 x 5 11/16 in.)", "dimensions": {"image": {"height": 0.25, "width": 0.145}}, "state_of_the_work": "I/I", "edition_of_the_work": "edition of 20 (15 impressions in black and 5 impressions in red)", "copyright": null, "inscriptions": [{"inscription": "Inscribed in stone at lower right below image: 1904", "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": 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": "Mr. and Mrs. Richard H. Zinser, Forest Hills, NY, given to the Print Club of Cleveland, Cleveland, OH", "citations": [], "footnotes": null, "date": "?-1964", "sortorder": 1}, {"description": "The Print Club of Cleveland, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1964", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1964-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Roger Marx (1859\u20131913), was an influential collector in addition to his work as an art critic.", "description": "Later in life, Odilon Redon turned to portraiture, creating likenesses of both commissioned sitters and his close friends. This print represents a figure central to his artistic and social milieu: Roger Marx was an influential critic who championed Redon\u2019s work. Redon depicted only the head and profile of his subject, sketching Marx with fine and delicate detail. He produced just a small number of impressions of the lithograph, accentuating its personal and intimate theme.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80038342"], "internet_archive": ["https://archive.org/details/clevelandart-1964.27-roger-marx"]}, "citations": [], "catalogue_raisonne": "Mellerio 196", "url": "https://clevelandart.org/art/1964.27", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1964.27/1964.27_web.jpg", "width": "571", "height": "900", "filesize": "187122", "filename": "1964.27_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1964.27/1964.27_print.jpg", "width": "2157", "height": "3400", "filesize": "2091847", "filename": "1964.27_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1964.27/1964.27_full.tif", "width": "8338", "height": "13144", "filesize": "328809524", "filename": "1964.27_full.tif"}}, "alternate_images": [{"date_created": "2019-08-01T15:06:18", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1964.27/1964.27_alt0_web.jpg", "width": "575", "height": "900", "filesize": "183117"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1964.27/1964.27_alt0_print.jpg", "width": "2171", "height": "3400", "filesize": "2595224"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1964.27/1964.27_alt0_full.tif", "width": "8461", "height": "13249", "filesize": "336324428"}}], "creditline": "In honor of Leona E. Prasse through The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 140305, "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": "1964-02-22T00:00:00", "sortable_date": 1904, "date_added_to_oa": null, "date_text": "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 00:07:24.647000"}, {"id": 379440, "accession_number": "2020.227", "share_license_status": "Copyrighted", "tombstone": "Two Heads #1, 1968. Jack Whitten (American, 1939\u20132018). Pastel on laid paper; sheet: 29.2 x 50.2 cm (11 1/2 x 19 3/4 in.); framed: 37.4 x 58.3 x 3.8 cm (14 3/4 x 22 15/16 x 1 1/2 in.). The Cleveland Museum of Art, Severance and Greta Millikin Purchase Fund, 2020.227. \u00a9 Jack Whitten", "current_location": null, "title": "Two Heads #1", "creation_date": "1968", "creation_date_earliest": 1968, "creation_date_latest": 1968, "artists_tags": ["Black American Artists", "male"], "culture": ["America"], "technique": "pastel on laid paper", "support_materials": [], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Sheet: 29.2 x 50.2 cm (11 1/2 x 19 3/4 in.); Framed: 37.4 x 58.3 x 3.8 cm (14 3/4 x 22 15/16 x 1 1/2 in.)", "dimensions": {"sheet": {"height": 0.292, "width": 0.502}, "framed": {"height": 0.374, "width": 0.583, "depth": 0.038}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Jack Whitten", "inscriptions": [{"inscription": "signed and dated, at lower right, in crayon: Whitten 68", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 449916, "title": "ArtLens Light-Sensitive Rotation\u2014March 2022", "description": "<i>ArtLens Light-Sensitive Rotation\u2014March 2022</i>. The Cleveland Museum of Art (organizer) (March 12-June 5, 2022).", "opening_date": "2022-03-12T05:00:00"}], "legacy": [{"description": "<em>Jack Whitten: Transitional Space, A Drawing Survey</em>. Hauser &amp; Wirth, New York (January 28 - April 4, 2020).", "opening_date": "2020-01-28T05:00:00Z"}]}, "provenance": [{"description": "Studio of the artist [1939-2018]", "citations": [], "footnotes": [], "date": "1968-2018", "sortorder": 1}, {"description": "Estate of the artist", "citations": [], "footnotes": [], "date": "2018-2020", "sortorder": 2}, {"description": "(Hauser & Wirth, New York, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "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": "Drawing was central to Jack Whitten\u2019s artistic practice and he described it once as \u201can act of brave exploration into unknown territories.\u201d", "description": "For over five decades, Jack Whitten experimented with materials and process to create his own distinctive style of abstract drawing. This work dates to a period shortly after the artist relocated to New York from rural Alabama and was involved with the Civil Rights Movement. Depicting two anonymous African American women, it belongs to a series of portraits, created by the artist as a means of commentary on the lack of visibility of such figures throughout Western art. Depicted in gestural marks of bright color, the subjects command the viewer\u2019s attention and convey a sense of power and dignity.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117244600"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2020.227", "images": {}, "alternate_images": [], "creditline": "Severance and Greta Millikin Purchase Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 379440, "creators": [{"id": 59136, "description": "Jack Whitten (American, 1939\u20132018)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1939", "death_year": "2018", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2020-09-14T00:00:00-04:00", "sortable_date": 1968, "date_added_to_oa": null, "date_text": "1968", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": "Two faces emerge from a riot of pastel colors laid down with brusque gestural marks. In passages where the medium more solidly coats the paper support, a fine ribbed texture is amplified and reads as part of the design. This textural feature identifies the paper as \"laid and chain.\"<br><br>With close inspection it is possible to confirm that two varieties of pastel were used to make this drawing; certain colors are dry and matte, conforming to the more common pastel variety characterized by a highly powdery material, and others form a more compact slick coating consistent with oil pastel.<br><br>Four daylight fluorescent (Day-Glo) colors including pink, orange, green, and yellow can be identified in this colorful palette by their luminescence: they even glow slightly in visible light. Juxtaposing and layering the \u201cregular\u201d relatively opaque colors, whether bright pink or dull gray, with the more brilliant and more translucent Day-Glo colors, produces three-dimensional effects. The illusion that the colors occupy different planes\u2014certain colors recede, and others push forward\u2014is amplified when looking at the drawing with a full-spectrum light source. <br><br>Working in the late 1960s in New York during the heyday of Day-Glo and at the center of the Pop Art scene, Whitten was perfectly situated to incorporate these brash hyper-bright colors into his artwork and was no doubt aware of their physiological effects on vision. With their enhanced perceptibility by the human eye, he would have understood the effects of viewing this drawing with a full-spectrum light source or with long-wave ultraviolet radiation (\"black light\") exclusively.", "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 00:10:33.552000"}, {"id": 173643, "accession_number": "1932.719", "share_license_status": "Copyrighted", "tombstone": "Nude (Study for The Harem), spring-summer 1906. Pablo Picasso (Spanish, 1881\u20131973). Gouache on laid paper; unframed: 63.6 x 48.3 cm (25 1/16 x 19 in.). The Cleveland Museum of Art, Hinman B. Hurlbut Collection, 1932.719. \u00a9 2024 Estate of Pablo Picasso / Artists Rights Society (ARS), New York", "current_location": null, "title": "Nude (Study for The Harem)", "creation_date": "spring-summer 1906", "creation_date_earliest": 1905, "creation_date_latest": 1905, "artists_tags": ["male", "Latine and Hispanic Artists"], "culture": ["Spain, 20th century"], "technique": "Gouache on laid paper", "support_materials": [], "department": "Drawings", "collection": "DR - Spanish", "type": "Drawing", "measurements": "Unframed: 63.6 x 48.3 cm (25 1/16 x 19 in.)", "dimensions": {"unframed": {"height": 0.636, "width": 0.483}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 2024 Estate of Pablo Picasso / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "signed, in pink pastel, lower right: Picasso; watermark, along left margin: INGRES", "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": 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": 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": 317581, "title": "Picasso and Paper", "description": "<i>Picasso and Paper</i>. The Cleveland Museum of Art, Cleveland, OH (co-organizer) (December 8, 2024-March 23, 2025).", "opening_date": "2024-12-08T05:00:00"}], "legacy": [{"description": "<em>Ninth Annual Exhibition of Water Colors and Pastels</em>. Cleveland Museum of Art (January 13 - February 14, 1932).", "opening_date": "1932-01-13T00:00:00"}, {"description": "<em>Pablo Picasso</em>. Wadsworth Atheneum, Hartford, CT (February 6 - March 1, 1934).", "opening_date": "1934-02-06T00:00:00"}, {"description": "<em>Picasso: \"Blue\" and \"Rose\" Peroids, 1901-1906</em>. Jacques Seligmann, New York (November 2 - November 26, 1936).", "opening_date": "1936-11-02T00:00:00"}, {"description": "<em>The Sixteenth International Exhibition: Water Colors, Pastels, Drawings and Monotypes</em>. Art Institute of Chicago (March 18 - May 16, 1937).", "opening_date": "1937-03-18T00:00:00"}, {"description": "<em>Contemporary Movements in European Painting</em>. Toledo Museum of Art (November 6 - December 11, 1938).", "opening_date": "1938-11-06T00:00:00"}, {"description": "<em>Picasso: Forty Years of His Art. </em>Museum of Modern Art, New York (November 15, 1939 - January 7, 1940).", "opening_date": "1939-11-15T00:00:00"}, {"description": "<em>Picasso before 1907</em>. Knoedler Galleries, New York (October 15 - November 8, 1947).", "opening_date": "1947-10-15T00:00:00"}, {"description": "<em>Five Hundred Years of Watercolor</em>. Society of the Four Arts, Palm Beach (February 6 - February 29, 1948).", "opening_date": "1948-02-06T00:00:00"}]}, "provenance": [{"description": "(Marie Harriman Gallery, Inc., NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "?-1932", "sortorder": null}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1932-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": ["55.1932", "435.1932"], "did_you_know": "This drawing dates from Picasso's Rose period (1904\u20136), named for the rosy pink and orange hues that dominate many of his compositions from this time.", "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117230253"], "internet_archive": []}, "citations": [{"citation": "\"Cleveland and Detroit Acquire Picassos.\" <em>The Art Digest</em> (March 15, 1932): 6.", "page_number": "Mentioned and reproduced: p. 6", "url": ""}, {"citation": "<em>Pablo Picasso</em>. Exh. Cat. Hartford, CT: Wadsworth Atheneum, 1934.", "page_number": "Mentioned: no. 91", "url": ""}, {"citation": "Francis, Henry S. \"A Picasso Water Color.\" <em>Bulletin of the Cleveland Museum of Art</em>  22, no. 7 (July 1935): 117-119.", "page_number": "Mentioned: pp. 117-119; Reproduced: p. 114", "url": ""}, {"citation": "Bulliet, C.J. <em>The Significant Moderns and Their Pictures</em>. New York: Covici Friede, 1936.", "page_number": "Mentioned and reproduced: no. 106", "url": ""}, {"citation": "<em>Picasso: \"Blue\" and \"Rose\" Periods, 1901-1906</em>. Exh. Cat. New York: Jacques Seligmann, 1936.", "page_number": "Mentioned: p. 22, no. 27; Reproduced: pl. 27", "url": ""}, {"citation": "Milliken, William Mathewson. <em>The Twentieth Anniversary Exhibition of the Cleveland Museum of Art: The Official Art Exhibit of the Great Lakes Exposition.</em> New York: The Art news, 1936.", "page_number": "Mentioned: p. 125, no. 333 (as Nude [Pink])", "url": ""}, {"citation": "<em>The Sixth International Exhibition: Water Colors, Pastels, Drawings and Monotypes</em>. Exh. Cat. Chicago: Art Institute of Chicago, 1937.", "page_number": "Mentioned and reproduced: no. 118", "url": ""}, {"citation": "<em>Contemporary Movements in European Painting. </em>Exh. Cat. Toledo: Toledo Museum of Art, 1938.", "page_number": "Mentioned: no. 86", "url": ""}, {"citation": "Barr, Jr. Alfred H. <em>Picasso: Forty Years of His Art</em>. Exh. Cat. New York: Museum of Modern Art, 1939.", "page_number": "Mentioned and reproduced: p. 54, no. 61", "url": ""}, {"citation": "Barr, Jr. Alfred H. <em>Picasso: Fifty Years of His Art</em>. New York: Museum of Modern Art, 1946.", "page_number": "Mentioned: p. 281", "url": ""}, {"citation": "<em>Picasso before 1907: Loan Exhibition for the Benefit of the Public Education Association</em>. Exh. Cat. New York: Knoedler Galleries, 1947.<em><br></em>", "page_number": "Mentioned: no. 25", "url": ""}, {"citation": "<em>Five Hundred Years of Watercolor</em>. Exh. Cat. Palm Beach: Society of the Four Arts, 1948.", "page_number": "Mentioned: no. 55", "url": ""}, {"citation": "Zervos, Christian. <em>Pablo Picasso. </em>Paris: Cahiers d'Art, 1962.", "page_number": "Mentioned and reproduced: no. 320", "url": ""}, {"citation": "Daix, Pierre, Georges Boudaille, and Joan Rosselet. <em>Picasso, 1900-1906: Catalogue raisonn\u00e9 de l'oeuvre peint</em>. Neuchatel: Ides et Calends, 1966-88.", "page_number": "Mentioned and reproduced: p. 302, no. XV.38", "url": ""}, {"citation": "Sutton, Denys and Paolo Lecaldano. <em>The Complete Paintings of Picasso: Blue and Rose Periods</em>. New York: Harry N. Abrams, 1968.", "page_number": "Mentioned and reproduced: p. 110, no. 273", "url": ""}, {"citation": "Palau i Fabre, Josep. <em>Picasso: The Early Years, 1881-1907</em>. Translated by Kenneth Lyons. New York: Rizzoli, 1981.", "page_number": "Mentioned: p. 550-51; Reproduced: p. 453, no. 1265", "url": ""}, {"citation": "<em>Picasso, 1905-1906: From the Rose Period to the Ochres of G\u00f3sol</em>. Exh. Cat. Barcelona: Museu Picasso, 1992.", "page_number": "Mentioned: p. 322", "url": ""}, {"citation": "L\u00e9al, Brigitte, Christine Piot, Marie-Laure Bernadac. <em>Picasso: The Monograph, 1881-1973</em>. Barcelona: Poligrafa, 2003.", "page_number": "Reproduced: p. 100, no. 203", "url": ""}, {"citation": "Robinson, William H., Jordi Falga\u0300s, Carmen Belen Lord, and Josefina Alix Trueba. <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. 245, fig. 9, no. 6:7", "url": ""}, {"citation": "Serraler, Francisco Calvo and and Carmen Gime\u0301nez. <em>Picasso: Tradition and Avant-Garde.</em> Madrid: Museo Nacional del Prado; Museo Nacional Centro de Arte Reina Sofi\u0301a, 2006.", "page_number": "Reproduced: p. 108, fig. 5.5", "url": ""}, {"citation": "Dumas, Ann. \"The Rose Period.\" In <em>Picasso and Paper</em>. William H. Robinson, et al., 80-101. London: Royal Academy of Arts, 2020.", "page_number": "Reproduced: p. 99, no. 72", "url": ""}, {"citation": "Harris, Roger. \u201cPicasso and Paper : at the Cleveland Museum of Art, a Long-Awaited Exhibition Celebrates Picasso's Use of Paper Over the Course of His Legendary Artistic Career.\" <em>Art &amp; Antiques</em> 47, n. 6 (November/December 2024): 42-47.", "page_number": "Reproduced: p. 44", "url": ""}], "catalogue_raisonne": "Zervos I.320; Sutton/Lecaldano 273; Daix, Boudaille, Rosselet XV.38; Palau i Fabre 1265; PP 1906-061", "url": "https://clevelandart.org/art/1932.719", "images": {}, "alternate_images": [], "creditline": "Hinman B. Hurlbut Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 173643, "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": "1932-01-02T00:00:00", "sortable_date": 1905, "date_added_to_oa": null, "date_text": "spring-summer 1906", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-04-03 13:35:09.431000"}, {"id": 159525, "accession_number": "1996.289", "share_license_status": "Copyrighted", "tombstone": "Sharecropper, 1952. Elizabeth Catlett (American, 1915\u20132012). Color linoleum cut; image: 45 x 42.5 cm (17 11/16 x 16 3/4 in.); sheet: 76.2 x 56.5 cm (30 x 22 1/4 in.). The Cleveland Museum of Art, John L. Severance Fund, 1996.289. \u00a9 Catlett Mora Family Trust / Licensed by VAGA at Artists Rights Society (ARS), NY", "current_location": null, "title": "Sharecropper", "creation_date": "1952", "creation_date_earliest": 1952, "creation_date_latest": 1952, "artists_tags": ["female", "Black American Artists"], "culture": ["America"], "technique": "color linoleum cut", "support_materials": [], "department": "Prints", "collection": "PR - Linocut", "type": "Print", "measurements": "Image: 45 x 42.5 cm (17 11/16 x 16 3/4 in.); Sheet: 76.2 x 56.5 cm (30 x 22 1/4 in.)", "dimensions": {"sheet": {"height": 0.762, "width": 0.565}, "image": {"height": 0.45, "width": 0.425}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Catlett Mora Family Trust / Licensed by VAGA at Artists Rights Society (ARS), NY", "inscriptions": [], "exhibitions": {"current": [], "legacy": [{"description": "The Cleveland Museum of Art (1/26/2014 - 5/18/2014); \"Our Stories: African American Prints and Drawings\"", "opening_date": "2014-01-26T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Elizabeth Catlett asserted that in her artworks, she hoped to \"present black people in their beauty and dignity for ourselves and others to understand and enjoy.\u201d", "description": "Proud of her heritage\u2014three of her grandparents had been slaves\u2014the artist Elizabeth Catlett devoted her career to exposing persecution and commemorating the courage, endurance, and achievements of African American women. The sharecropper's worn but proud face is framed by a large straw hat, her jacket fastened by a safety pin. She embodies the suffering and strength of Black women. The angularity of her features derives from West African masks, an influence Catlett purposefully evoked.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79979233"], "internet_archive": []}, "citations": [{"citation": "Glaubinger, Jane.  \u201cOur Stories: Reflection of the African American cultural heritage.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 54, no. 2 (March/April 2014): 10.", "page_number": "Reproduced and Mentioned: p. 10", "url": "https://archive.org/details/CMAMM2014-02"}, {"citation": "Benay, Erin. \"From Prints to Power: Karamu House and the Black Art Market in Cleveland, 1960-1980.\" In <em>Karamu Artists Inc.: Printmaking, Race, and Community, </em>Britany Salsbury and Erin Benay, 102-117. Cleveland, OH: Cleveland Museum of Art, 2025.", "page_number": "Mentioned and reproduced: p. 106-107, fig. 34", "url": ""}], "url": "https://clevelandart.org/art/1996.289", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 159525, "creators": [{"id": 42564, "description": "Elizabeth Catlett (American, 1915\u20132012)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1915", "death_year": "2012", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1996-09-16T00:00:00", "sortable_date": 1952, "date_added_to_oa": null, "date_text": "1952", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": "40", "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:03.145000"}, {"id": 164540, "accession_number": "2006.1", "share_license_status": "Copyrighted", "tombstone": "Valley of the Heart No. 9 (\u5fc3\u58d1\u4e4b\u4e5d), 1998. Wong Wucius (Chinese, b. 1936). Ink and color on paper; overall: 94 x 213.4 cm (37 x 84 in.). The Cleveland Museum of Art, Alma Kroeger Fund, 2006.1", "current_location": null, "title": "Valley of the Heart No. 9", "title_in_original_language": "\u5fc3\u58d1\u4e4b\u4e5d", "creation_date": "1998", "creation_date_earliest": 1998, "creation_date_latest": 1998, "artists_tags": ["male", "Asian (from 1900 to present)"], "culture": ["China"], "technique": "ink and color on paper", "support_materials": [], "department": "Chinese Art", "collection": "Chinese Art", "type": "Painting", "measurements": "Overall: 94 x 213.4 cm (37 x 84 in.)", "dimensions": {"overall": {"height": 0.94, "width": 2.134}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "lower left: \"Valley of the Heart No. 9\", signed \"Wang Wuxie\", with an artist's seal, dated 1998.", "inscription_translation": null, "inscription_remark": null, "sortorder": 1}], "exhibitions": {"current": [], "legacy": [{"description": "<em>Main Asian Rotation (Gallery 242)</em>. The Cleveland Museum of Art, Cleveland, OH (November 21, 2013-July 28, 2014).", "opening_date": "2013-11-21T00:00:00"}]}, "provenance": [{"description": "(Kaikodo America Inc., New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "?\u20132006", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2006\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Wucius Wong's <em>Valley of the Heart No. 9 </em>shows how Chinese ink painting tradition endures in the contemporary world and is simultaneously transformed.", "description": "Many contemporary Chinese painters like Wucius Wong are interested in reinventing traditional Chinese ink painting with new artistic sensitivities to express modern experiences. Wong painted this after relocating to Hong Kong, but his landscapes were inspired by the Hudson River and its cliffs, near where he lived in New Jersey from 1986 to 1994. His brushwork and use of ink are traditionally Chinese, while the impact of Western modernism is seen in the rhythm and diagonal structure of the peaks and valleys.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60480337"], "internet_archive": []}, "citations": [{"citation": "Chung, Anita, \"New Chinese Landscapes\", 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: p. 11", "url": "https://archive.org/details/CMAMM2007-05/page/10"}, {"citation": "Chung, Anita. \"Re-emergence: New Chinese Galleries and Art Acquisitions of The Cleveland Museum of Art.\" <em>Orientations</em> vol 44 no. 8 (November/December 2013): 64\u201375.", "page_number": "Reproduced: pp. 72\u201373, fig. 8", "url": null}], "url": "https://clevelandart.org/art/2006.1", "images": {}, "alternate_images": [], "creditline": "Alma Kroeger Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 164540, "creators": [{"id": 54166, "description": "Wong Wucius (Chinese, b. 1936)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\u738b\u7121\u90aa", "birth_year": "1936", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2006-02-27T00:00:00", "sortable_date": 1998, "date_added_to_oa": null, "date_text": "1998", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:56.428000"}, {"id": 320493, "accession_number": "2018.300", "share_license_status": "Copyrighted", "tombstone": "Nefertiti, 1973. John Wilson (American, 1922\u20132015). Charcoal and lithographic crayon on paper; sheet: 45.7 x 61 cm (18 x 24 in.). The Cleveland Museum of Art, Gift of the Print Club of Cleveland in honor of Elizabeth Shearer, 2018.300. \u00a9  Estate of John Woodrow Wilson / Licensed by VAGA at Artists Rights Society (ARS), NY", "current_location": null, "title": "Nefertiti", "creation_date": "1973", "creation_date_earliest": 1973, "creation_date_latest": 1973, "artists_tags": ["Black American Artists", "male"], "culture": ["America"], "technique": "charcoal and lithographic crayon on paper", "support_materials": [], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Sheet: 45.7 x 61 cm (18 x 24 in.)", "dimensions": {"sheet": {"height": 0.457, "width": 0.61}, "matted": {"height": 0.756, "width": 0.635}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  Estate of John Woodrow Wilson / Licensed by VAGA at Artists Rights Society (ARS), NY", "inscriptions": [{"inscription": "In black charcoal at lower right: \u201cWilson 1973\u201d", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 541557, "title": "New Narratives: Contemporary Works on Paper", "description": "<i>New Narratives: Contemporary Works on Paper</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 19, 2023-April 14, 2024).", "opening_date": "2023-11-19T05:00:00"}], "legacy": []}, "provenance": [{"description": "Estate of John Wilson [1922-2015], Boston, MA", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "Center Street Studio, Milton, MA", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "December 3, 2018", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The sitter in this drawing went on to become an artist herself.", "description": "This drawing depicts Nefertiti, a friend of artist John Wilson\u2019s daughter. He created a series of portraits of young women during the 1970s, presenting them on a large scale and from a close-up perspective that countered the marginalization of Black Americans in society. Here, Wilson drew with a waxy lithographic crayon to boldly outline Nefertiti\u2019s face, emphasizing her determined but wary expression.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79874523"], "internet_archive": []}, "citations": [{"citation": "Wilson, John, and Joseph Norman. Dialogue, John Wilson/Joseph Norman. Boston: Museum of the National Center of Afro-American Artists in association with the Museum of Fine Arts, Boston, 1995.", "page_number": "p. 139, no. 43, ill. p. 83", "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 and Mentioned: P. 21.", "url": ""}], "url": "https://clevelandart.org/art/2018.300", "images": {}, "alternate_images": [], "creditline": "Gift of the Print Club of Cleveland in honor of Elizabeth Shearer", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 320493, "creators": [{"id": 7996, "description": "John Wilson (American, 1922\u20132015)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1922", "death_year": "2015", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2018-12-03T00:00:00-05:00", "sortable_date": 1973, "date_added_to_oa": null, "date_text": "1973", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:02:37.676000"}, {"id": 110544, "accession_number": "1929.114", "share_license_status": "Copyrighted", "tombstone": "Vase, c. 1928. Maurice Marinot (French, 1882\u20131960). Blown glass, acid etched; diameter: 16.6 cm (6 9/16 in.); overall: 22 cm (8 11/16 in.). The Cleveland Museum of Art, Gift of C. M. de Hauke, 1929.114", "current_location": null, "title": "Vase", "creation_date": "c. 1928", "creation_date_earliest": 1923, "creation_date_latest": 1933, "artists_tags": ["male"], "culture": ["France"], "technique": "blown glass, acid etched", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Glass", "measurements": "Diameter: 16.6 cm (6 9/16 in.); Overall: 22 cm (8 11/16 in.)", "dimensions": {"diameter": {"width": 0.166}, "overall": {"height": 0.22}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 445409, "title": "Art Deco", "description": "<i>Art Deco</i>. Western Reserve Historical Society, Cleveland, OH (organizer) (June 6-August 1, 1971).", "opening_date": "1971-06-06T04:00:00"}, {"id": 443995, "title": "Arts and Crafts in Detroit 1906 - 1976: The Movement, The Society, The School", "description": "<i>Arts and Crafts in Detroit 1906 - 1976: The Movement, The Society, The School</i>. The Detroit Institute of Arts, Detroit, MI (organizer) (November 26, 1976-January 16, 1977).", "opening_date": "1976-11-26T05:00:00"}, {"id": 309667, "title": "Circa 1930", "description": "<i>Circa 1930</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 12-October 31, 1983).", "opening_date": "1983-04-12T05:00:00"}, {"id": 189463, "title": "Glass Today: Recent American Studio Glass from Cleveland Collections", "description": "<i>Glass Today: Recent American Studio Glass from Cleveland Collections</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 22-September 14, 1997).", "opening_date": "1997-06-22T00:00:00"}, {"id": 200463, "title": "The Jazz Age: American Style in the 1920s", "description": "<i>The Jazz Age: American Style in the 1920s</i>. Cooper Hewitt, Smithsonian Design Museum, New York, NY (April 7-August 20, 2017); The Cleveland Museum of Art, Cleveland, OH (organizer) (September 30, 2017-January 14, 2018).", "opening_date": "2017-04-07T00:00:00"}, {"id": 313840, "title": "Maurice Marinot. The Glass 1911-1924", "description": "<i>Maurice Marinot. The Glass 1911-1924</i>. Le Stanze del Vetro, Venice, Italy (organizer) (March 24-July 28, 2019).", "opening_date": "2019-03-24T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This vase references African masks, a popular genre of collecting in 1920s Paris.", "description": "A renewed interest in African art arose from the colonial aspirations of France in northern Africa after the First World War. African forms, color, pattern, and decorative motifs appeared in every genre, referencing the spirit of a faraway land. While decorators created whole interiors in an African style, some artisans focused on African themes and symbols of the culture in their work.<br>Celebrated for the bold forms and expressive castings of his works, Maurice Marinot became one of the most acclaimed glass artisans of his time.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80002644"], "internet_archive": []}, "citations": [{"citation": "W. M. M. \u201cA Glass Vase by Maurice Marinot.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 16, no. 10 (1929): 181\u201383.", "page_number": "Mentioned: pp. 181-183", "url": "http://www.jstor.org/stable/25137254."}, {"citation": "Hawley, Henry H. <em>Glass Today: American Studio Glass from Cleveland Collections</em>. Cleveland: Cleveland Museum of Art, 1997.", "page_number": "Reproduced: p. 22", "url": null}, {"citation": "Coffin, Sarah D., and Stephen Harrison. <em>The Jazz Age: American style in the 1920s. </em>Cleveland: Cleveland Museum of Art, 2017.", "page_number": "Reproduced: fig. 45, p. 27; Mentioned: p. 26", "url": ""}, {"citation": "Marinot, Maurice, Jean-Luc Olivie\u0301 and Cristina Beltrami. <em>Maurice Marinot: The Glass, 1911-1934</em>. Milano: Skira, 2019.", "page_number": "Mnetioned & reproduced: pp. 122-123 C", "url": null}], "url": "https://clevelandart.org/art/1929.114", "images": {}, "alternate_images": [], "creditline": "Gift of C. M. de Hauke", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 110544, "creators": [{"id": 5122, "description": "Maurice Marinot (French, 1882\u20131960)", "extent": null, "qualifier": null, "role": "designer", "biography": null, "name_in_original_language": null, "birth_year": "1882", "death_year": "1960", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1929-03-12T00:00:00", "sortable_date": 1923, "date_added_to_oa": null, "date_text": "c. 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 00:09:59.378000"}, {"id": 114968, "accession_number": "1935.140", "share_license_status": "Copyrighted", "tombstone": "Workers' Meeting, 1935. Jol\u00e1n Gross-Bettelheim (American, 1900\u20131972). Etching; platemark: 21.4 x 17.5 cm (8 7/16 x 6 7/8 in.); sheet: 36.6 x 26.9 cm (14 7/16 x 10 9/16 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1935.140", "current_location": null, "title": "Workers' Meeting", "creation_date": "1935", "creation_date_earliest": 1935, "creation_date_latest": 1935, "artists_tags": ["May Show", "female"], "culture": ["America"], "technique": "etching", "support_materials": [], "department": "Prints", "collection": "PR - Etching", "type": "Print", "measurements": "Platemark: 21.4 x 17.5 cm (8 7/16 x 6 7/8 in.); Sheet: 36.6 x 26.9 cm (14 7/16 x 10 9/16 in.)", "dimensions": {"platemark": {"height": 0.214, "width": 0.175}, "sheet": {"height": 0.366, "width": 0.269}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 382026, "title": "The May Show: 17th Annual Exhibition of Works by Cleveland Artists and Craftsmen", "description": "<i>The May Show: 17th Annual Exhibition of Works by Cleveland Artists and Craftsmen</i>. The Cleveland Museum of Art (organizer) (April 24-June 2, 1935).", "opening_date": "1935-04-24T05:00:00"}, {"id": 356130, "title": "Prints Accessioned in 1935", "description": "<i>Prints Accessioned in 1935</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 14-November 8, 1936).", "opening_date": "1936-10-14T05:00:00"}, {"id": 310252, "title": "Cleveland Art Comes of Age: 1919-1940", "description": "<i>Cleveland Art Comes of Age: 1919-1940</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 28-September 10, 1989).", "opening_date": "1989-06-28T04:00:00"}, {"id": 311873, "title": "Transformations in Cleveland Art, 1796-1946", "description": "<i>Transformations in Cleveland Art, 1796-1946</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 19-July 21, 1996).", "opening_date": "1996-05-19T04:00:00"}, {"id": 226376, "title": "Jolan Gross-Bettelheim", "description": "<i>Jolan Gross-Bettelheim</i>. Faulconer Gallery, Print & Drawing Study Room - Burling Library, Grinnel, IA (April 25-May 21, 2001).", "opening_date": "2001-04-25T00:00:00"}, {"id": 381923, "title": "Ashcan School Prints and the American City, 1900\u20131940", "description": "<i>Ashcan School Prints and the American City, 1900\u20131940</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 18-December 26, 2021).", "opening_date": "2021-07-17T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Hungarian-born Jol\u00e1n Gross-Bettelheim lived and worked in Cleveland from 1925 to 1956.", "description": "This tense political print was made as the Communist Party gained a foothold in America\u2019s cities among the underemployed and working class during the Depression. One of the men holds the <em>Daily Worker</em>, a Communist newspaper, while \u201cShall Not Die / The Scottsboro Boys\u201d is scratched above the cramped and angry crowd. The words refer to the trial and conviction of nine Black teenagers in Alabama for allegedly raping two white women; their appeals were sponsored by the Communist Party. Jol\u00e1n Gross-Bettelheim herself was a vocal party member.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80007910"], "internet_archive": []}, "citations": [{"citation": "Jol\u00e1n Gross-Bettelheim Entry Card to 1935 May Show. Cleveland Museum of Art May Show Records, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/CMAMS03496/"}, {"citation": "Robinson, William H., et. al. <em>Transformations in Cleveland Art, 1796-1946: Community and Diversity in Early Modern America</em>. Cleveland, Ohio: Cleveland Museum of Art, 1996.", "page_number": "Reproduced and Mentioned: p. 142", "url": null}, {"citation": "Stamey, Emilyand Faulconer Gallery. <em>Jola\u0301n Gross-Bettelheim : The American Prints : Print and Drawing Study Room of the Faulconer Gallery, Grinnell College, April 27-May 21, 2001</em>. Grinnell, IA: Gallery, 2001.", "page_number": "exh. cat. p. 35, fig. 7", "url": ""}, {"citation": "Channing, Laurence, \"Before Neo: The May Show\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 45 no. 07, September 2005", "page_number": "Mentioned & reproduced: p. 6", "url": "https://archive.org/details/CMAMM2005-07/page/6"}], "url": "https://clevelandart.org/art/1935.140", "images": {}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 114968, "creators": [{"id": 5835, "description": "Jol\u00e1n Gross-Bettelheim (American, 1900\u20131972)", "extent": null, "qualifier": null, "role": "artist", "biography": "Jol\u00e1n Gross-Bettelheim, a Hungarian artist, lived in the United States between 1925 and 1956. Although details about her life remain sketchy, she is best known for her social and political prints of industrial urban life. Born in 1900 in Nitra, then in the Austro-Hungarian empire but now in the Slovak Republic, she began her art studies in 1919 at the Budapest School of Fine Art, where she studied painting with R\u00f3bert Ber\u00e9ny. In 1920 she studied with Emil Orlik at the Kunstgewerbeschule in Vienna and within a year went to Berlin and enrolled at the Akademie der Bildenden K\u00fcnst. Between 1922 and 1924 she lived in Paris and studied at the Acad\u00e9mie de Grande Chaumi\u00e8re. By 1925 she was living in Cleveland, married to Frigyes Bettelheim, a Hungarian-born radiologist. She exhibited in annual May Shows at the Cleveland Museum of Art (1927\u201337) and had her first solo exhibition at the Kokoon Klub (1932). In 1936, while on the Works Progress Administration graphic arts project in Cleveland, she made her first lithographs. In 1938 she moved to Jackson Heights, New York, with her husband, who opened a practice in Manhattan. A committed communist, Gross-Bettelheim was a contributor to the <em>New Masses</em> and the <em>Daily Worker</em> as well as a member of the John Reed Club and the American Artists\u2019 Congress. During the 1930s and 1940s her works were exhibited extensively in Ohio, Chicago, Philadelphia, New York, Seattle, and Washington, D.C. She was included in the exhibitions <em>America Today</em>, shown simultaneously in 30 cities (1936), <em>Artists for Victory</em> at the Metropolitan Museum of Art in New York (1942), and<em> America in the War</em>, shown simultaneously in 26 locations (1943). Following the death of her husband, she returned to Hungary after 1956. Gross-Bettelheim died in Budapest. <br><em>Transformations in Cleveland Art.</em> (CMA, 1996), p. 230", "name_in_original_language": null, "birth_year": "1900", "death_year": "1972", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1935-06-24T00:00:00", "sortable_date": 1935, "date_added_to_oa": null, "date_text": "1935", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-26 23:59:06.995000"}, {"id": 121948, "accession_number": "1942.249", "share_license_status": "Copyrighted", "tombstone": "Paris Subway, Ferris Wheel and Eiffel Tower, c. 1912\u201313. Gino Severini (Italian, 1883\u20131966). Pastel and charcoal; sheet: 59.6 x 48.2 cm (23 7/16 x 19 in.); framed: 92 x 71.8 x 3 cm (36 1/4 x 28 1/4 x 1 3/16 in.). The Cleveland Museum of Art, Gift of Mrs. Malcolm L. McBride, 1942.249. \u00a9 Artists Rights Society (ARS), New York", "current_location": null, "title": "Paris Subway, Ferris Wheel and Eiffel Tower", "creation_date": "c. 1912\u201313", "creation_date_earliest": 1912, "creation_date_latest": 1913, "artists_tags": ["male"], "culture": ["Italy, 20th century"], "technique": "pastel and charcoal", "support_materials": [], "department": "Drawings", "collection": "DR - Italian", "type": "Drawing", "measurements": "Sheet: 59.6 x 48.2 cm (23 7/16 x 19 in.); Framed: 92 x 71.8 x 3 cm (36 1/4 x 28 1/4 x 1 3/16 in.)", "dimensions": {"sheet": {"height": 0.596, "width": 0.482}, "framed": {"height": 0.92, "width": 0.718, "depth": 0.03}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "Signed bottom center: \"Severini\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 361352, "title": "Visual Shapes and Space", "description": "<i>Visual Shapes and Space</i>. Cleveland Public Library, Cleveland, OH (organizer) (February 20-May 22, 1965).", "opening_date": "1965-02-20T05:00:00"}, {"id": 361351, "title": "Futurism and the International Avant-Garde", "description": "<i>Futurism and the International Avant-Garde</i>. Philadelphia Museum of Art (organizer) (October 24, 1980-January 4, 1981).", "opening_date": "1980-10-24T04:00:00"}, {"id": 361350, "title": "Utopian Visions in Modern Art: Dreams and Nightmares", "description": "<i>Utopian Visions in Modern Art: Dreams and Nightmares</i>. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC (December 8, 1983-February 12, 1984).", "opening_date": "1983-12-08T05:00:00"}, {"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": 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"}], "legacy": []}, "provenance": [{"description": "John Quinn [1870-1924], New York", "citations": [], "footnotes": [], "date": "after 1913-1924", "sortorder": null}, {"description": "(sale, John Quinn Collection, American Art Association, New York, February 9-12, 1927, no. 412)", "citations": [], "footnotes": [], "date": "1927    ", "sortorder": null}, {"description": "Mrs. Malcolm L. McBride, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "after 1927-1942", "sortorder": null}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1942-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The blue and white text in Gino Severini's drawing refers to the signs for the S\u00e8vres and Cambronne stations, which he passed while taking the Paris M\u00e9tro to the Eiffel Tower.", "description": "Gino Severini joined the Futurist movement, which emphasized the dynamism, movement, and energy of the modern city, in 1910. He began to depict modern modes of transportation and developed an interest in machines and speed. This pastel was created after Severini visited Paris, in 1911, where he admired technological advances such as the Eiffel Tower and the M\u00e9tro, the city's relatively new public transportation system. Here, he suggests velocity through shifting planes and viewpoints and abruptly juxtaposing word and image.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80018254"], "internet_archive": []}, "citations": [{"citation": "Fletcher, Valerie J. <em>Dreams and Nightmares: Utopian Visions in Modern Art</em>. Exh. Cat. Washington, DC: Hirshhorn Museum, 1983.", "page_number": "Mentioned: p. 35", "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. 6; Reproduced: p. 6", "url": null}, {"citation": "Hicken, Adrian. <em>Apollinaire, Cubism and Orphism</em>. New York: Routledge, 2002.", "page_number": "Mentioned: p. 208, n. 52", "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. 58-59, fig. 10", "url": ""}], "url": "https://clevelandart.org/art/1942.249", "images": {}, "alternate_images": [], "creditline": "Gift of Mrs. Malcolm L. McBride", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 121948, "creators": [{"id": 9608, "description": "Gino Severini (Italian, 1883\u20131966)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1883", "death_year": "1966", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1942-04-27T00:00:00", "sortable_date": 1912, "date_added_to_oa": null, "date_text": "c. 1912\u201313", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_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 00:05:54.812000"}, {"id": 138629, "accession_number": "1962.52", "share_license_status": "Copyrighted", "tombstone": "Forms Carried Aloft, No. 2, 1960. Richard Hunt (American, 1935\u20132023). Brazed and welded steel; overall: 128.2 cm (50 1/2 in.). The Cleveland Museum of Art, Contemporary Collection of The Cleveland Museum of Art, 1962.52. \u00a9 Richard Hunt", "current_location": null, "title": "Forms Carried Aloft, No. 2", "creation_date": "1960", "creation_date_earliest": 1960, "creation_date_latest": 1960, "artists_tags": ["Black American Artists", "male"], "culture": ["America"], "technique": "brazed and welded steel", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Sculpture", "type": "Sculpture", "measurements": "Overall: 128.2 cm (50 1/2 in.)", "dimensions": {"overall": {"height": 1.282}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Richard Hunt", "inscriptions": [{"inscription": "Signed and dated on bottom of metal plate: \"R. Hunt 60\"", "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": 445303, "title": "Richard Hunt", "description": "<i>Richard Hunt</i>. The Museum of Modern Art, New York, NY (organizer) (March 23-June 7, 1971).", "opening_date": "1971-03-23T05:00:00"}, {"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": 302349, "title": "Materials and Techniques of 20th-Century Artists", "description": "<i>Materials and Techniques of 20th-Century Artists</i>. The Cleveland Museum of Art, Cleveland, OH (November 17, 1976-January 2, 1977).", "opening_date": "1976-11-17T05:00:00"}, {"id": 309861, "title": "Contemporary Art and Textiles Collection", "description": "<i>Contemporary Art and Textiles Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 13-August 26, 1984).", "opening_date": "1984-07-13T04:00:00"}, {"id": 443702, "title": "Currents and Constellations: Black Art in Focus", "description": "<i>Currents and Constellations: Black Art in Focus</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 20-June 26, 2022).", "opening_date": "2022-02-20T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Hunt has completed more public sculptures than any other artist in the United States.", "description": "A master of welded and cast metal sculpture, Hunt creates abstract works that often reference nature. Describing this early example, the artist said, \"I wanted to give an impression of forms being lifted and projected upward by the rod rising from the base, which I think of as a kind of energized line, partly a stem and in part a trajectory.\"", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80034695"], "internet_archive": []}, "citations": [{"citation": "Lee, Key Jo. \u201cCurrents and Constellations: A universe of ideas.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine  </em>62, no. 1: 12-15.", "page_number": "Reproduced: P. 15; Mentioned: P. 12.", "url": ""}, {"citation": "Hunt, Richard, Charles R. Loving, and Sharon F. Patton. <em>Richard Hunt : Extending Form. </em>[Notre Dame, Indiana]: Snite Museum of Art, University of Notre Dame, 2012.", "page_number": "Mentioned p. 36; reproduced p. 38.", "url": ""}, {"citation": "Henning, Edward B. \u201cIn Pursuit of: Content.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 50, no. 8 (October 1963): 219\u2013239.", "page_number": "Mentioned and reproduced: p. 238, fig. 11", "url": "http://www.jstor.org/stable/25151964"}, {"citation": "Kupka, Frank, Paul Klee, Larry Poons, Richard Hunt, and Edward B. Henning. \u201cA Group of Twentieth-Century Works of Art Recently Acquired.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 57, no. 4 (April 1970): 107\u2013127.", "page_number": "Mentioned and reproduced: p. 123-126, fig. 19", "url": "http://www.jstor.org/stable/25152324"}], "url": "https://clevelandart.org/art/1962.52", "images": {}, "alternate_images": [], "creditline": "Contemporary Collection of The Cleveland Museum of Art", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 138629, "creators": [{"id": 3883, "description": "Richard Hunt (American, 1935\u20132023)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1935", "death_year": "2023", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1962-11-17T00:00:00", "sortable_date": 1960, "date_added_to_oa": null, "date_text": "1960", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:10.592000"}, {"id": 112649, "accession_number": "1931.268", "share_license_status": "Copyrighted", "tombstone": "Street, 1919\u201323. George Grosz (German, 1893\u20131959). Photolithograph. The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1931.268. \u00a9  Estate of George Grosz / Licensed by VAGA at Artists Rights Society (ARS), NY", "current_location": null, "title": "Street", "creation_date": "1919\u201323", "creation_date_earliest": 1914, "creation_date_latest": 1928, "artists_tags": ["male"], "culture": ["Germany, Berlin, 20th century"], "technique": "Photolithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  Estate of George Grosz / Licensed by VAGA at Artists Rights Society (ARS), NY", "inscriptions": [], "exhibitions": {"current": [{"id": 541503, "title": "The First International Competitive Print Exhibition", "description": "<i>The First International Competitive Print Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (March 18-April 15, 1931).", "opening_date": "1931-03-18T05:00:00"}, {"id": 311957, "title": "Work of George Grosz", "description": "<i>Work of George Grosz</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 22, 1949-January 29, 1950).", "opening_date": "1949-11-22T05:00:00"}, {"id": 304514, "title": "German Expressionist Graphics", "description": "<i>German Expressionist Graphics</i>. The Cleveland Museum of Art (organizer) (May 7-October 5, 1980).", "opening_date": "1980-05-07T04:00:00"}, {"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": 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": 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": 310264, "title": "Cross Section: Graphic Art in Germany after the First World War", "description": "<i>Cross Section: Graphic Art in Germany after the First World War</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 10, 1989-January 7, 1990).", "opening_date": "1989-10-10T04:00:00"}, {"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"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Photolithography, the hybrid technique used to make this print, was George Grosz's preferred process and he used it frequently.", "description": "In this print<em>,</em> George Grosz lays out the nightmare of postwar Germany: the disabled, homeless soldier panhandling; the overstuffed bourgeois capitalist; the dismal grind of the workers; and the shameless prostitute. This image reveals his satirical\u2014verging on misanthropic\u2014view of German society after the war. He wrote: \u201cThe slaughter takes place on the city streets.\u201d Grosz\u2019s approach to printmaking differed from that of many of his contemporaries. He saw it as a means to reproduce his drawings, thus quickly distributing his political and social ideas to the widest possible audience.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80005184"], "internet_archive": []}, "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. 39", "url": "https://archive.org/details/Lithography/page/n46"}], "catalogue_raisonne": "D\u00fcckers E66", "url": "https://clevelandart.org/art/1931.268", "images": {}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 112649, "creators": [{"id": 12615, "description": "George Grosz (German, 1893\u20131959)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1893", "death_year": "1959", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1931-06-18T00:00:00", "sortable_date": 1914, "date_added_to_oa": null, "date_text": "1919\u201323", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:52.531000"}, {"id": 123387, "accession_number": "1943.62", "share_license_status": "Copyrighted", "tombstone": "Yellow Grain, c. 1942. Joe Jones (American, 1909\u20131963). Oil on canvas; framed: 98 x 122.5 x 9.5 cm (38 9/16 x 48 1/4 x 3 3/4 in.); unframed: 74.9 x 101.6 cm (29 1/2 x 40 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1943.62", "current_location": null, "title": "Yellow Grain", "creation_date": "c. 1942", "creation_date_earliest": 1940, "creation_date_latest": 1943, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 98 x 122.5 x 9.5 cm (38 9/16 x 48 1/4 x 3 3/4 in.); Unframed: 74.9 x 101.6 cm (29 1/2 x 40 in.)", "dimensions": {"framed": {"height": 0.98, "width": 1.225, "depth": 0.095}, "unframed": {"height": 0.749, "width": 1.016}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower left:  Joe Jones", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 703004, "title": "1959 January Show", "description": "<i>1959 January Show</i>. Kingwood Center Gardens, Mansfield, OH (organizer) (January 11-31, 1959).", "opening_date": "1959-01-11T05:00:00"}, {"id": 214123, "title": "Joe Jones: Painter of the American Scene", "description": "<i>Joe Jones: Painter of the American Scene</i>. Saint Louis Art Museum, St. Louis, MO (organizer) (October 10, 2010-January 2, 2011); Dixon Gallery and Gardens, Memphis, TN (January 23, 2011-April 17, 2017).", "opening_date": "2010-10-10T00:00:00"}], "legacy": [{"description": "The Metropolitan Museum of Art Artists for Victory:  An Exhibition of Contemporary American Art (New York 1942).", "opening_date": "1942-01-01T00:00:00"}, {"description": "Toronto, Art Gallery of Toronto, Museum's Choice (February, 1945)", "opening_date": "1945-02-01T00:00:00"}, {"description": "Providence, Rhode Island School of Design, American Contemporary Painting (6 February-28 February 1946)", "opening_date": "1946-02-06T00:00:00"}, {"description": "Andover, MA, Addison Gallery of Art, Museum's Choice (8 March-8 April 1946)", "opening_date": "1946-03-08T00:00:00"}, {"description": "Mansfield, OH, Kingwood Center, '59 January Show (1 January-31 January 1959)", "opening_date": "1959-01-01T00:00:00"}, {"description": "Saint Louis Art Museum )10/10/2010 - 1/2/2011) and the Dixon Gallery and Gardens (1/23/2011 - 4/17/2011):  \"Joe Jones: Painter of the American Scene\". ex. cat. no. 82, p. 176.", "opening_date": "2010-10-10T00:00:00"}]}, "provenance": [{"description": "The artist", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "[Artists for Victory, Inc., New York, NY], by 1942", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH, purchased in 1943", "citations": [], "footnotes": null, "date": null, "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In his hometown of Saint Louis, the young Joe Jones first worked as a house painter, the same profession as his father.", "description": "Joe Jones\u2019s <em>Yellow Grain</em> presents a Midwest wheat harvest as a communal activity, with 10 workers engaging in a variety of tasks that include pitching hay and loading a thresher. This subject of harmonious collective labor may reflect the artist\u2019s enthusiasm for Communist politics. The individual stalks of wheat, artfully arranged in the foreground, suggest the beauty and bounty of the crop.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60514913"], "internet_archive": []}, "citations": [{"citation": "Walker, Andrew, ed. <em>Radical Painter of the American Scene, </em>exh. cat. St. Louis, MO: Saint Louis Art Museum in association with University of Washington Press, 2010.", "page_number": "Mentioned pp. 76-77, 196-97, 204; reproduced pp. 176, 178 (detail).", "url": ""}], "url": "https://clevelandart.org/art/1943.62", "images": {}, "alternate_images": [], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 123387, "creators": [{"id": 3152, "description": "Joe Jones (American, 1909\u20131963)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1909", "death_year": "1963", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1943-02-03T00:00:00", "sortable_date": 1940, "date_added_to_oa": null, "date_text": "c. 1942", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:02:50.347000"}, {"id": 126420, "accession_number": "1948.59", "share_license_status": "Copyrighted", "tombstone": "Beauty Nap, 1948. Viktor Schreckengost (American, 1906\u20132008). Glazed ceramic; with base: 26.5 x 21 cm (10 7/16 x 8 1/4 in.); without base: 23.6 x 20.3 cm (9 5/16 x 8 in.). The Cleveland Museum of Art, Silver Jubilee Treasure Fund, 1948.59", "current_location": null, "title": "Beauty Nap", "creation_date": "1948", "creation_date_earliest": 1948, "creation_date_latest": 1948, "artists_tags": ["male", "Cleveland Institute of Art (faculty)", "Cleveland School", "May Show", "Cleveland Institute of Art (alumni)"], "culture": ["America, Ohio, Cleveland"], "technique": "glazed ceramic", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Cleveland School", "type": "Ceramic", "measurements": "with base: 26.5 x 21 cm (10 7/16 x 8 1/4 in.); without base: 23.6 x 20.3 cm (9 5/16 x 8 in.)", "dimensions": {"with base": {"height": 0.265, "width": 0.21, "length": 0.56}, "without base": {"height": 0.236, "width": 0.203, "length": 0.554}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed under mouth, in center: \"Victor Schreckengost\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 382062, "title": "The May Show: 30th Annual Exhibition of Works by Cleveland Artists and Craftsmen", "description": "<i>The May Show: 30th Annual Exhibition of Works by Cleveland Artists and Craftsmen</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 5-June 13, 1948).", "opening_date": "1948-05-05T04:00:00"}, {"id": 706729, "title": "Ohio Ceramics", "description": "<i>Ohio Ceramics</i>. Columbus Museum of Art, Columbus, OH (organizer) (July 1-31, 1953); Akron Art Museum, Akron, OH (September 29-October 25, 1953).", "opening_date": "1953-07-01T04:00:00"}, {"id": 309579, "title": "The Cleveland Institute of Art: 100 Years", "description": "<i>The Cleveland Institute of Art: 100 Years</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 22, 1982-January 30, 1983).", "opening_date": "1982-12-22T05:00:00"}, {"id": 189020, "title": "Viktor Schreckengost and 20th-century Design", "description": "<i>Viktor Schreckengost and 20th-century Design</i>. The Cleveland Museum of Art (organizer) (November 12, 2000-February 4, 2001).", "opening_date": "2000-11-12T00:00:00"}, {"id": 182128, "title": "Animals in Art: Clay Creatures by Viktor Schreckengost", "description": "<i>Animals in Art: Clay Creatures by Viktor Schreckengost</i>. The Cleveland Metroparks Zoo, Cleveland, OH (April 29-August 13, 2006).", "opening_date": "2006-04-29T00:00:00"}], "legacy": [{"description": "CMA: May Show 1948.", "opening_date": "1948-01-01T00:00:00"}, {"description": "Cleveland, Ohio: The Cleveland Museum of Art; November 12, 2000 - February 4, 2001. \"Viktor Schreckengost and 20th-Century Design\" exh. cat. no. 46, p. 163, color repr. p. 49.", "opening_date": "2000-11-12T00:00:00"}, {"description": "Cleveland Metroparks Zoo (4/29/2006 - 8/13/2006):  \"Animals in Art: Highlights from Viktor Schreckengost\" no catalogue", "opening_date": "2006-04-29T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Hippos can sleep up to 16 hours a day.", "description": "During the early decades of his career, Viktor Schreckengost created dozens of ceramic animal sculptures, often giving them humorous titles. <em>Beauty Nap</em> features a baby hippopotamus atop its mother, both asleep. Mottled brown and white glazes drip down from the upper register of the composition onto the lower part, which is unglazed.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79905771"], "internet_archive": []}, "citations": [{"citation": "Viktor Schreckengost Entry Card to 1948 May Show. Cleveland Museum of Art May Show Records, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/CMAMS08387/"}], "url": "https://clevelandart.org/art/1948.59", "images": {}, "alternate_images": [], "creditline": "Silver Jubilee Treasure Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 126420, "creators": [{"id": 18616, "description": "Viktor Schreckengost (American, 1906\u20132008)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1906", "death_year": "2008", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1949-05-03T00:00:00", "sortable_date": 1948, "date_added_to_oa": null, "date_text": "1948", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:04.711000"}, {"id": 95196, "accession_number": "1915.88", "share_license_status": "CC0", "tombstone": "The Umbrian Valley, Italy, 1914. Frederick Gottwald (American, born Austria, 1860\u20131941). Oil on canvas; unframed: 72.8 x 60.4 cm (28 11/16 x 23 3/4 in.). The Cleveland Museum of Art, Gift of Mrs. John Huntington, 1915.88", "current_location": null, "title": "The Umbrian Valley, Italy", "creation_date": "1914", "creation_date_earliest": 1914, "creation_date_latest": 1914, "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: 72.8 x 60.4 cm (28 11/16 x 23 3/4 in.)", "dimensions": {"unframed": {"height": 0.728, "width": 0.604}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower left:  F. C. Gottwald", "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": 309579, "title": "The Cleveland Institute of Art: 100 Years", "description": "<i>The Cleveland Institute of Art: 100 Years</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 22, 1982-January 30, 1983).", "opening_date": "1982-12-22T05:00:00"}, {"id": 311873, "title": "Transformations in Cleveland Art, 1796-1946", "description": "<i>Transformations in Cleveland Art, 1796-1946</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 19-July 21, 1996).", "opening_date": "1996-05-19T04:00:00"}, {"id": 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"}, {"id": 695005, "title": "Ohio Artists Showcase", "description": "<i>Ohio Artists Showcase</i>. Office of Senator Bernie Moreno, Washington, DC (organizer) (July 1, 2025-January 3, 2031).", "opening_date": "2025-07-01T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This was the first painting by a living artist acquired by the Cleveland Museum of Art.", "description": "Munich-trained Frederick Gottwald taught for more than four decades at the Cleveland School (now Institute) of Art, and was the most influential figure in the city\u2019s burgeoning artistic development. During the years leading up to World War I, he spent summers in Italy, where he created this work.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60502260"], "internet_archive": ["https://archive.org/details/clevelandart-1915.88-the-umbrian-valley-i"]}, "citations": [{"citation": "\"The Collection of Painting.\" <em>The Bulletin of the Cleveland Museum of Art</em>. 2:2 (July, 1915).", "page_number": "Mentioned: p. 5", "url": null}, {"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. 38; Mentioned: p. 36", "url": null}, {"citation": "Witchey, Holly Rarick, with John Vacha. <em>Fine Arts in Cleveland: An Illustrated History</em>. Bloomington: Indiana University Press, 1994.", "page_number": "Reproduced: plate 17, between pp. 32-33", "url": null}, {"citation": "Robinson, William H., et. al. <em>Transformations in Cleveland Art, 1796-1946: Community and Diversity in Early Modern America</em>. Cleveland, Ohio: Cleveland Museum of Art, 1996.", "page_number": "Reproduced: p. 58, fig. 51; Mentioned: p. 247", "url": null}, {"citation": "Adams, Henry, and Lawrence Waldman. <em>Painting in Pure Color: Modern Art in Cleveland Before the Armory Show (1908-1913)</em>. Cleveland, OH: Cleveland Artists Foundation, 2013.", "page_number": "Reproduced: p. 23, fig. 10", "url": null}, {"citation": "Migliorati, Alessandra. \"L'Umbria del lupo eugubino e della Natura sorella. Brevi note su spiritualita francescana e pittura di paesaggio tra Otto e Novecento.\" In <em>Francesco E Frate Lupo: L\u2019arte Racconta La Leggenda Dell\u2019incontro, e</em>dited by Cristina Galassi and Ettore A. Sannipoli, 146-157. Cinisello Balsamo, Milano: Silvana Editoriale, 2025.", "page_number": "Mentioned and reproduced: p. 150-151, fig. 4", "url": ""}], "url": "https://clevelandart.org/art/1915.88", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1915.88/1915.88_web.jpg", "width": "1073", "height": "893", "filesize": "826221", "filename": "1915.88_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1915.88/1915.88_print.jpg", "width": "3400", "height": "2830", "filesize": "8771934", "filename": "1915.88_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1915.88/1915.88_full.tif", "width": "5376", "height": "4476", "filesize": "72219324", "filename": "1915.88_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.88/1915.88_alt0_web.jpg", "width": "1080", "height": "893", "filesize": "982566"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.88/1915.88_alt0_print.jpg", "width": "1858", "height": "1536", "filesize": "3088714"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.88/1915.88_alt0_full.tif", "width": "1858", "height": "1536", "filesize": "8564916"}}, {"date_created": "2010-11-11T16:27:42", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.88/1915.88_alt1_web.jpg", "width": "1074", "height": "893", "filesize": "708818"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.88/1915.88_alt1_print.jpg", "width": "3400", "height": "2826", "filesize": "9423343"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.88/1915.88_alt1_full.tif", "width": "5620", "height": "4672", "filesize": "78797180"}}], "creditline": "Gift of Mrs. John Huntington", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 95196, "creators": [{"id": 4424, "description": "Frederick Gottwald (American, born Austria, 1860\u20131941)", "extent": null, "qualifier": null, "role": "artist", "biography": "Born in Vienna, Austria, Gottwald imigrated with his family to Cleveland in 1862. He studied privately with Archibald Willard at the artists\u2019s studio in Cleveland, 1875\u201380, then went to New York for a year of classes taught by William Merritt Chase at the Art Students League. Gottwald then traveled to Munich and attended the Kunstakademie, 1882\u201385. Returning to Cleveland, he began teaching at the Western Reserve School of Design for Women and remained on the facility until retiring in 1926. He frequently participated in local group exhibitions at the Art Club, the Brush and Palette Club, the Cleveland School of Art, and the Cleveland Museum of Art. He also showed at the Boston Art Club and the National Academy of Design in New York. Around the turn of the century, he made several summer painting trips to Holland. Beginning in 1903, the Cleveland School of Art mounted the first of many solo exhibitions of his paintings. From 1907 to 1915 he produced a series of landscapes created during annual summer excursions to Italy. He exhibited these works, which yielded his greatest critical and popular acclaim, on a regular basis at the Cleveland School of Art. He was instrumental in founding the Cleveland Society of Artists in 1913. During the 1920s he painted in Italy, Southern France, Spain, and North Africa. His last exhibition was held in Cleveland (1931). The following year Gottwald retired to Pasadena, where he died. <br>\"Transformations in Cleveland Art\" (CMA, 1996), p. 229", "name_in_original_language": null, "birth_year": "1860", "death_year": "1941", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1915-06-03T00:00:00", "sortable_date": 1914, "date_added_to_oa": null, "date_text": "1914", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:07:51.546000"}, {"id": 150058, "accession_number": "1980.269", "share_license_status": "CC0", "tombstone": "Quai au Sable, Chart\u00e8ves, 1904. L\u00e9on Augustin Lhermitte (French, 1844\u20131925). Pastel on gray wove paper; framed: 94.3 x 124.2 x 8 cm (37 1/8 x 48 7/8 x 3 1/8 in.); overall: 69 x 99 cm (27 3/16 x 39 in.). The Cleveland Museum of Art, Bequest of Noah L. Butkin, 1980.269", "current_location": null, "title": "Quai au Sable, Chart\u00e8ves", "creation_date": "1904", "creation_date_earliest": 1904, "creation_date_latest": 1904, "artists_tags": ["male"], "culture": ["France, 20th century"], "technique": "pastel on gray wove paper", "support_materials": [], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Framed: 94.3 x 124.2 x 8 cm (37 1/8 x 48 7/8 x 3 1/8 in.); Overall: 69 x 99 cm (27 3/16 x 39 in.)", "dimensions": {"framed": {"height": 0.943, "width": 1.242, "depth": 0.08}, "overall": {"height": 0.69, "width": 0.99}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed, lower right, in black pastel: L. Lhermitte / 1904", "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": 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"}, {"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": "(Boussod, Valadon & Co., Paris)", "citations": [], "footnotes": ["<div><!--block-->According to Le Pelley Fonteny catalogue raisonne.</div>"], "date": "after 1904-by 1919", "sortorder": 1}, {"description": "(Wallis, London)", "citations": [], "footnotes": ["<div><!--block-->According to Le Pelley Fonteny catalogue raisonne.</div>"], "date": "?-by 1976", "sortorder": 2}, {"description": "(sale, Sotheby Parke Bernet, New York, May 14, 1976. no. 287, sold to Shepherd Gallery, New York)", "citations": [], "footnotes": [], "date": "1976", "sortorder": 3}, {"description": "(Shepherd Gallery, New York, sold to Noah L. Butkin, Shaker Heights, OH)", "citations": [], "footnotes": [], "date": "1976", "sortorder": 4}, {"description": "Noah L. Butkin [1918\u20131980], Shaker Heights, OH, bequeathed to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1976-1980", "sortorder": 5}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1980-", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Lhermitte received a stipend from his hometown Mont-Saint-P\u00e8re to study in Paris.", "description": "Like many of L\u00e9on-Augustin Lhermitte\u2019s pastels, this drawing shows the Marne River in northeastern France. Such artworks were created both because of the artist\u2019s attraction to the subject and due to their marketability. Drawing from memory, Lhermitte worked in his studio, producing a complex range of marks with pastel crayon on densely textured paper and even manipulating the powdery material with brushes and sponges. Although his comparatively traditional style did not align with artistic movements of his time, it was hugely popular around 1900\u2014especially in the United States, where the hardworking laborers that populated his landscapes appealed to industrialist collectors.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79932105"], "internet_archive": ["https://archive.org/details/clevelandart-1980.269-quai-au-sable-charte"]}, "citations": [{"citation": "<em>19th Century European Paintings</em>. New York: Sotheby Parke Bernet, 1976.", "page_number": "Mentioned and reproduced: no. 287", "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 (1981): 163-219.", "page_number": "Mentioned: pp. 182, 213; Reproduced: p. 179, no. 100", "url": "http://www.jstor.org/stable/25159730"}, {"citation": "Le Pelley Fonteny, Monique. <em>L\u00e9on Augustin Lhermitte (1844\u20131925): Catalogue raisonn\u00e9</em>. Paris: \u00c9ditions cercle d\u2019art, 1991.", "page_number": "Mentioned and reproduced: p. 182, no. 108", "url": null}, {"citation": "Chong, Alan. <em>European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogue</em>. Cleveland: Cleveland Museum of Art, 1993.", "page_number": "Mentioned and reproduced: p. 131", "url": null}, {"citation": "Feagler, Linda. \"Living Color.\" <em>Ohio Magazine</em>, November 2016.", "page_number": "Mentioned and reproduced", "url": "https://www.ohiomagazine.com/arts/article/living-color"}, {"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. 192-193, no. 41", "url": ""}], "catalogue_raisonne": "Le Pelley Fonteny 108", "url": "https://clevelandart.org/art/1980.269", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1980.269/1980.269_web.jpg", "width": "900", "height": "632", "filesize": "314620", "filename": "1980.269_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1980.269/1980.269_print.jpg", "width": "3400", "height": "2387", "filesize": "4509533", "filename": "1980.269_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1980.269/1980.269_full.tif", "width": "15302", "height": "10745", "filesize": "493291236", "filename": "1980.269_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.269/1980.269_alt0_web.jpg", "width": "1258", "height": "893", "filesize": "1113359"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.269/1980.269_alt0_print.jpg", "width": "2048", "height": "1454", "filesize": "3001818"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.269/1980.269_alt0_full.tif", "width": "2048", "height": "1454", "filesize": "8936468"}}, {"date_created": "2016-06-10T15:06:28", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.269/1980.269_alt1_web.jpg", "width": "900", "height": "628", "filesize": "305990"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.269/1980.269_alt1_print.jpg", "width": "3400", "height": "2372", "filesize": "4506810"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.269/1980.269_alt1_full.tif", "width": "15196", "height": "10602", "filesize": "483353832"}}], "creditline": "Bequest of Noah L. Butkin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 150058, "creators": [{"id": 13601, "description": "L\u00e9on Augustin Lhermitte (French, 1844\u20131925)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1844", "death_year": "1925", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1980-12-19T00:00:00", "sortable_date": 1904, "date_added_to_oa": null, "date_text": "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": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:52.918000"}, {"id": 121293, "accession_number": "1942.1164", "share_license_status": "Copyrighted", "tombstone": "The Kitchen Table, 1935. Paul Outerbridge (American, 1896\u20131958). Assembly process color print (three-color carbro process); image: 30 x 39.3 cm (11 13/16 x 15 1/2 in.); paper: 30.1 x 42.5 cm (11 7/8 x 16 3/4 in.); matted: 45.7 x 55.9 cm (18 x 22 in.). The Cleveland Museum of Art, Gift of Mrs. Ralph S. Allen, 1942.1164", "current_location": null, "title": "The Kitchen Table", "creation_date": "1935", "creation_date_earliest": 1935, "creation_date_latest": 1935, "artists_tags": ["male"], "culture": ["America"], "technique": "assembly process color print (three-color carbro process)", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 30 x 39.3 cm (11 13/16 x 15 1/2 in.); Paper: 30.1 x 42.5 cm (11 7/8 x 16 3/4 in.); Matted: 45.7 x 55.9 cm (18 x 22 in.)", "dimensions": {"image": {"height": 0.3, "width": 0.393}, "paper": {"height": 0.301, "width": 0.425}, "matted": {"height": 0.457, "width": 0.559}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "At the top right corner of margin, written in pencil: \" ---- fill this in\"? . On the verso, a black ink stamp:  \" THE CLEVELAND MUSEUM OF ART/ 42.1164\".", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 310243, "title": "The Precisionist Aesthetic in American Art", "description": "<i>The Precisionist Aesthetic in American Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 24-April 9, 1989).", "opening_date": "1989-01-24T05:00:00"}, {"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": 217118, "title": "Paul Outerbridge: Command Performance", "description": "<i>Paul Outerbridge: Command Performance</i>. J. Paul Getty Museum, Los Angeles, CA (organizer) (March 31-August 9, 2009).", "opening_date": "2009-03-31T00:00:00"}, {"id": 299125, "title": "From Riches to Rags: American Photography in the Depression", "description": "<i>From Riches to Rags: American Photography in the Depression</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 13-December 31, 2017).", "opening_date": "2017-08-13T04:00:00"}], "legacy": [{"description": "Laguna Beach Museum of Art, Nov. 21 - Jan. 10, 1982: \"Paul Outerbridge: A Singular Aesthetic: Photographs &amp; Drawings, 1921-1941: A Catalogue Raisonn\u00e9,\" catalogue no. 445.", "opening_date": "1982-11-21T00:00:00"}, {"description": "CMA, January 24 - April 9, 1989: \"The Precisionist Aesthetic in American Art,\" folder 191.89.", "opening_date": "1989-01-24T00:00:00"}, {"description": "CMA, July 10 - August 19, 1990: \"The Camera,\" no exhibition catalogue.", "opening_date": "1990-07-10T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The gray scale at the bottom, intended to help printers in color matching, would not have been visible in the printed reproduction of the image.", "description": "A gift of six color images by Outerbridge was the second group of photographs to enter the museum\u2019s fine art collection. Supporting himself as an advertising photographer and graphic designer, he began experimenting with color photography and printing in 1929, when the processes were still very unstable and arcane. Outerbridge preferred the vivid hues and permanence of the dauntingly complex carbro process, which produced color prints from black-and-white negatives.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780955"], "internet_archive": []}, "citations": [{"citation": "Chassey, Eric de. <em>Made in USA: l'art ame\u0301ricain, 1908-1947</em> : 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": "repr. p. 140", "url": null}, {"citation": "Cleveland Museum of Art, Tom E Hinson. <em>Catalogue of Photography</em>. Cleveland, OH: Cleveland Museum of Art, 1996.", "page_number": "Reproduced: P. 265", "url": ""}], "url": "https://clevelandart.org/art/1942.1164", "images": {}, "alternate_images": [], "creditline": "Gift of Mrs. Ralph S. Allen", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 121293, "creators": [{"id": 760, "description": "Paul Outerbridge (American, 1896\u20131958)", "extent": null, "qualifier": null, "role": "artist", "biography": "Paul Outerbridge, Jr. American, 1896-1958\r\n\r\nPaul Outerbridge, Jr., was a modernist photographer and early pioneer in color work who embarked on a successful advertising career in the 1920s. Following studies at the Art Students League in his native New York (1915-17) and service in the British Royal Flying Corps (Canada) and U.S. Army, Outerbridge enrolled in Clarence H. White's School of Photography in 1921. Influenced by the school's strong emphasis on design, he created carefully composed, often abstracted, still-life studies of everyday objects. After a year of study he began work as a commercial photographer, providing innovative images for such publications as Vogue, Vanity Fair, and Harper's Bazaar. He also continued his personal work, producing still lifes, cityscapes, and figure studies.\r\n\tIn 1925 Outerbridge moved to Paris, where he established himself as a freelance photographer and became acquainted with a number of artists, including Man Ray, Marcel Duchamp, and Berenice Abbott. Three years later he was in Berlin working on motion pictures and that same year also worked in London as a set advisor to film director E. A. Dupont. Returning to the United States in 1929, Outerbridge resumed his commercial work, first in New York City, then in Monsey, New York. He also experimented with color photography, perfecting the three-color carbo process technique that he used during the 1930s.\r\n\tOuterbridge moved to Hollywood in 1943, but soon left to settle in Laguna Beach and open a small portrait studio. Following his marriage to fashion designer Lois Weir in 1945, Outerbridge closed his studio to focus on their joint fashion business, Lois-Paul Originals. He also traveled extensively during these years. From the mid-1950s until his death in 1958, Outerbridge contributed a column on color photography to U.S. Camera magazine. M.M.", "name_in_original_language": null, "birth_year": "1896", "death_year": "1958", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1942-12-31T00:00:00", "sortable_date": 1935, "date_added_to_oa": null, "date_text": "1935", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:42.803000"}, {"id": 122977, "accession_number": "1943.244", "share_license_status": "Copyrighted", "tombstone": "Siesta, 1943. William E. Smith (American, 1913\u20131997). Linocut; plate: 22.9 x 20.4 cm (9 x 8 1/16 in.); sheet: 27.8 x 21.6 cm (10 15/16 x 8 1/2 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1943.244. \u00a9 William E. Smith", "current_location": null, "title": "Siesta", "creation_date": "1943", "creation_date_earliest": 1943, "creation_date_latest": 1943, "artists_tags": ["Black American Artists", "May Show", "male"], "culture": ["America, Ohio, Cleveland"], "technique": "linocut", "support_materials": [], "department": "Prints", "collection": "PR - Linocut", "type": "Print", "measurements": "Plate: 22.9 x 20.4 cm (9 x 8 1/16 in.); Sheet: 27.8 x 21.6 cm (10 15/16 x 8 1/2 in.)", "dimensions": {"plate": {"height": 0.229, "width": 0.204}, "sheet": {"height": 0.278, "width": 0.216}}, "state_of_the_work": null, "edition_of_the_work": "21, 25, or 70", "copyright": "\u00a9 William E. Smith", "inscriptions": [{"inscription": "inscribed, lower left margin, in blue pencil: \"SIESTA\"; lower right margin, in blue pencil: William E. Smith \"43\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 382035, "title": "The May Show: 25th Annual Exhibition of Works by Cleveland Artists and Craftsmen", "description": "<i>The May Show: 25th Annual Exhibition of Works by Cleveland Artists and Craftsmen</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 27-June 6, 1943).", "opening_date": "1943-04-27T04:00:00"}, {"id": 442774, "title": "Impressions / Expressions: Black American Graphics", "description": "<i>Impressions / Expressions: Black American Graphics</i>. Studio Museum in Harlem, New York, NY (organizer) (October 7, 1979-January 6, 1980); Howard University, Washington, D.C., DC (February 10-March 28, 1980).", "opening_date": "1979-10-07T04:00:00"}, {"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": 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": 381923, "title": "Ashcan School Prints and the American City, 1900\u20131940", "description": "<i>Ashcan School Prints and the American City, 1900\u20131940</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 18-December 26, 2021).", "opening_date": "2021-07-17T04:00:00"}, {"id": 667699, "title": "Karamu Artists Inc.: Printmaking, Race, and Community", "description": "<i>Karamu Artists Inc.: Printmaking, Race, and Community</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 23-August 17, 2025).", "opening_date": "2025-03-23T04:00:00"}], "legacy": [{"description": "<em>Our Stories: African American Prints and Drawings</em>. Cleveland Museum of Art, Cleveland, OH (January 26 - May 18, 2014).", "opening_date": "2014-01-26T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "With a fellow artist, William E. Smith went on to found the first gallery specifically devoted to African American art in Los Angeles after World War II.", "description": "William E. Smith conceived of this print at the height of the Great Depression as a statement on the struggles of unemployment, especially in Black communities, during that global economic downturn. He originally titled it <em>Poverty and Fatigue</em>, dramatically shifting our interpretation of a man who slumps forward and gazes downward. In this context, the man\u2019s well-kept clothing might relate to a job search while his defeated pose could suggest the difficulty he faces in finding work. Smith himself benefited from federally funded support for unemployed artists that occasionally subsidized the salaries of Karamu teaching artists.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80019551"], "internet_archive": []}, "citations": [{"citation": "William E. Smith Entry Card to 1943 May Show. Cleveland Museum of Art May Show Records, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/CMAMS06708/"}, {"citation": "Salsbury, Britany, and Erin E. Benay. <em>Karamu Artists Inc.: Printmaking, Race, and Community</em>. Cleveland, OH: Cleveland Museum of Art, 2025.", "page_number": "Reproduced: p. 50, no. 20", "url": ""}], "catalogue_raisonne": "Teller 17 (as Poverty and Fatigue); Salsbury, Benay, and Kruse 98", "url": "https://clevelandart.org/art/1943.244", "images": {}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 122977, "creators": [{"id": 7978, "description": "William E. Smith (American, 1913\u20131997)", "extent": null, "qualifier": null, "role": "artist", "biography": "A highly skilled printmaker, William Elijah Smith specialized in genre scenes of working-class African-American life in Cleveland. Born in Chattanooga, Smith moved to Cleveland at the age of 13 and became involved with Karamu House, learning print making and stage design. He studied art at the Huntington Polytechnic Institute, 1933\u201334. During this time he began teaching at Karamu House and continued to do so until 1940. In 1941 he won the art competition for presenting one of his prints to the Library of Congress for its permanent collection. Smith exhibited at the Connecticut Academy of Fine Arts in Hartford (1935), in the annual May Shows at the Cleveland Museum of Art (1936\u2013 49), at the Associated American Artists Galleries of New York (1942), and at Atlanta University (1942). During World War II, he served as a photographer in the army\u2019s educational department. After the war, he returned to Cleveland and established a commercial silkscreening studio. In 1946 the Lyman Brothers\u2019 Gallery in Indianapolis mounted his first solo exhibition. From 1946 to 1948 he studied painting and printmaking at the Cleveland School of Art and the Cooper School of Art. In the late 1940s Smith moved to Los Angeles, where he associated with Curtis Tann, a former colleague from Karamu House. With Tann, Smith cofounded the Eleven Associated Artists Gallery, the first Los Angeles gallery devoted specifically to African art. In 1952 Smith was hired to work as a blueprint draftsman at Lockheed Aircraft, beginning a long association with the corporation. In 1960 he cofounded Art West Associated, an African-American artists\u2019 advocacy organization in Los Angeles. In 1970 he published illustrations of subjects from African-American history for Cleveland\u2019s New Day Press. Smith\u2019 s works were displayed ins numerous group exhibitions in the Los Angeles area (1960s\u201380s).<br><em>Transformations in Cleveland Art.</em> (CMA, 1996), p. 238", "name_in_original_language": null, "birth_year": "1913", "death_year": "1997", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1943-04-26T00:00:00", "sortable_date": 1943, "date_added_to_oa": null, "date_text": "1943", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Poverty and Fatigue"], "is_highlight": false, "updated_at": "2026-03-26 23:59:46.802000"}, {"id": 136265, "accession_number": "1960.158", "share_license_status": "Copyrighted", "tombstone": "Tanzerinnen (Dancers), 1917. Emil Nolde (German, 1876\u20131956). Woodcut. The Cleveland Museum of Art, Delia E. Holden Fund, 1960.158", "current_location": null, "title": "Tanzerinnen (Dancers)", "creation_date": "1917", "creation_date_earliest": 1917, "creation_date_latest": 1917, "artists_tags": ["male"], "culture": ["Germany, 20th century"], "technique": "woodcut", "support_materials": [], "department": "Prints", "collection": "PR - Woodcut", "type": "Print", "dimensions": {"No Extent Specified": {"height": 0.238, "width": 0.312}}, "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": 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": 304514, "title": "German Expressionist Graphics", "description": "<i>German Expressionist Graphics</i>. The Cleveland Museum of Art (organizer) (May 7-October 5, 1980).", "opening_date": "1980-05-07T04:00:00"}, {"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": 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": 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": 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"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Before making prints, Emile Nolde worked as a wood-carver, a technique that later informed his woodcuts.", "description": "These two swooning female dancers in long, elegant robes express themselves in dramatic but graceful curves, which are matched by Nolde\u2019s vigorous gouging of the block. He combined a richly inked block with embossing, created by printing the block without ink (especially evident on the dancers\u2019 white dresses). Throughout his career, Nolde returned to the theme of the dancer as the embodiment of freedom and expressivity. He knew several renowned avant-garde dancers whose form of modern dance involved elemental poses and free movements, often accompanied only by a drumbeat.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80029850"], "internet_archive": []}, "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. 34-35, no. 25; Mentioned: p. 67", "url": ""}, {"citation": "Peters, Emily J. \"Collection Highlight. Two Dancers: Rhythmic ecstasy conveyed through a chiseled woodblock.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 58. no. 2 (March/April 2018): 32.", "page_number": "Reproduced and Mentioned: P. 32", "url": "https://archive.org/details/CMAMM2018-02/page/n15/mode/2up"}], "catalogue_raisonne": "Schiefler and Mosel 132", "url": "https://clevelandart.org/art/1960.158", "images": {}, "alternate_images": [], "creditline": "Delia E. Holden Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 136265, "creators": [{"id": 12713, "description": "Emil Nolde (German, 1876\u20131956)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1876", "death_year": "1956", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1960-08-13T00:00:00", "sortable_date": 1917, "date_added_to_oa": null, "date_text": "1917", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:49.203000"}, {"id": 157268, "accession_number": "1994.14", "share_license_status": "Copyrighted", "tombstone": "Mask (n'tomo), c. 1930. Africa, West Africa, Mali, Bamana-style or Malinke-style blacksmith-carver. Wood, aluminum, copper alloy, animal hair, and steel; overall: 62.2 x 23 x 15.3 cm (24 1/2 x 9 1/16 x 6 in.). The Cleveland Museum of Art, Andrew R. and Martha Holden Jennings Fund, 1994.14", "current_location": "108A African", "title": "Mask (n'tomo)", "creation_date": "c. 1930", "creation_date_earliest": 1925, "creation_date_latest": 1935, "artists_tags": [], "culture": ["Africa, West Africa, Mali, Bamana-style or Malinke-style blacksmith-carver"], "technique": "Wood, aluminum, copper alloy, animal hair, and steel", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Mask", "measurements": "Overall: 62.2 x 23 x 15.3 cm (24 1/2 x 9 1/16 x 6 in.)", "dimensions": {"overall": {"height": 0.622, "width": 0.23, "depth": 0.153}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "(Bellas Artes Gallery, Santa Fe, NM, sold to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?\u20131995", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1995\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This wood and metal mask was worn with a cloth costume; together, it was considered a \"full body mask.\"", "description": "<em>Malinke</em> is the term used for Islamic Bamana speakers in Mali. Although Muslim, the Malinke have retained traditional initiation societies responsible for training boys to fulfill their adult roles. Masking performances and other techniques are used to instill self-awareness, discipline, and sacred knowledge in young men. Aluminum, which first became available with the advent of airplanes, enriches the mask\u2019s surface with cut and stamped geometric shapes.", "external_resources": {"wikidata": [], "internet_archive": []}, "citations": [{"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, 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. 8-9", "url": "https://archive.org/details/CMAMM2006-02/page/8"}], "url": "https://clevelandart.org/art/1994.14", "images": {}, "alternate_images": [], "creditline": "Andrew R. and Martha Holden Jennings Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 157268, "creators": [], "legal_status": "accessioned", "accession_date": "1995-05-24T00:00:00", "sortable_date": 1925, "date_added_to_oa": null, "date_text": "c. 1930", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Initiation Society Mask"], "is_highlight": false, "updated_at": "2026-03-27 00:10:35.250000"}, {"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.). The Cleveland Museum of Art, Gift of Phyllis Sloane in memory of Rose White, 1998.85", "current_location": "108A African", "title": "Rattle Staff (ukhuhre)", "creation_date": "1900s", "creation_date_earliest": 1900, "creation_date_latest": 1998, "artists_tags": [], "culture": ["Nigeria, Benin Kingdom, \u1eb8do peoples, member(s) of the Igbesanmwan (wood and ivory carvers) guild"], "technique": "Wood, paint, cowrie shells, and plant fiber", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "measurements": "Overall: 149.5 x 7.5 x 8 cm (58 7/8 x 2 15/16 x 3 1/8 in.)", "dimensions": {"overall": {"height": 1.495, "width": 0.075, "depth": 0.08}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Commissioned from the Igbesanmwan, Benin Kingdom", "citations": [], "footnotes": [], "date": "1900s", "sortorder": 1}, {"description": "Odyssey, Ltd. 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": 168206, "accession_number": "2009.92", "share_license_status": "Copyrighted", "tombstone": "Set of Gold and Enamel Jewelry, 1972. John Paul Miller (American, 1918\u20132013). Gold, enamel. The Cleveland Museum of Art, Gift of Mr. and Mrs. Herbert F. Leisy and family, 2009.92", "current_location": "228B Cleveland Artists", "title": "Set of Gold and Enamel Jewelry", "creation_date": "1972", "creation_date_earliest": 1972, "creation_date_latest": 1972, "artists_tags": ["male", "Cleveland Institute of Art (faculty)", "Cleveland School", "May Show", "Cleveland Institute of Art (alumni)", "LGBTQ+ (after 1900)"], "culture": ["America, Ohio, Cleveland"], "technique": "gold, enamel", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Jewelry", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The artist was inspired by the natural world in making this gold and enamel sea creature pendant.", "description": "Miller\u2019s considerable prowess in making jewelry is evident in his lavish use of difficult techniques such as granulation\u2014an ancient practice of attaching tiny beads of gold without solder, which he is credited with rediscovering\u2014and multicolor enameling.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780968"], "internet_archive": []}, "citations": [{"citation": "John Paul Miller collection. 1850-2010, bulk 1940-2000. Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/JohnPaulMiller"}, {"citation": "Falino, Jeannine. \"Scholars Seek Information on a Cleveland Jewelry esigner.\" <em>The Magazine Antiques</em> 191, no. 1 (January/February 2024): 52.", "page_number": "Reproduced: p. 42", "url": ""}], "url": "https://clevelandart.org/art/2009.92", "images": {}, "alternate_images": [], "creditline": "Gift of Mr. and Mrs. Herbert F. Leisy and family", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 168206, "creators": [{"id": 56027, "description": "John Paul Miller (American, 1918\u20132013)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1918", "death_year": "2013", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2009-06-08T00:00:00", "sortable_date": 1972, "date_added_to_oa": null, "date_text": "1972", "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 00:05:22.834000"}, {"id": 169766, "accession_number": "2011.72", "share_license_status": "Copyrighted", "tombstone": "Sleeping Figure, c. 1909\u20131912. Robert Rafailovich Falk (Russian, 1886\u20131958). Oil on canvas; unframed: 99.1 x 121.9 cm (39 x 48 in.). The Cleveland Museum of Art, Bequest of Dr. Paul J. Vignos Jr., 2011.72", "current_location": "223 20th Century Avant-Garde", "title": "Sleeping Figure", "creation_date": "c. 1909\u20131912", "creation_date_earliest": 1904, "creation_date_latest": 1917, "artists_tags": ["male", "Jewish artists"], "culture": ["Russia"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 99.1 x 121.9 cm (39 x 48 in.)", "dimensions": {"unframed": {"height": 0.991, "width": 1.219}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "(Leonard Hutton Galleries, New York, NY, 1968, sold to Dr. Paul J. Vignos, Jr.)", "citations": [], "footnotes": null, "date": "1968", "sortorder": null}, {"description": "Dr. Paul J. Vignos, Jr. [1919-2010] Gates Mills, OH, by bequest to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1968-2011", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2011-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The sitter in this painting may be the artist's first wife, Elizaveta Sergheyevna Potekhina, who was also an artist.", "description": "This painting by the Russian Jewish artist Robert Rafailovich Falk combines the brilliant hues of the Fauves, who used color for expressive purposes, and the simplification and structure of the Cubists, whose subjects were analyzed, broken up, and reassembled in abstract forms. Falk was a founding member of the Moscow avant-garde artists\u2019 group, Knave of Diamonds, who sought to bring the influence of modern French styles together with the traditions of Russian folk art and popular prints.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60480891"], "internet_archive": []}, "citations": [{"citation": "Leonard Hutton Galleries. <em>Fauves and Expressionists</em>. New York, NY: Leonard Hutton Galleries, 1968.", "page_number": null, "url": null}, {"citation": "Werner, Alfred. \"Explosions of Color at Hutton.\" <em>Arts Magazine</em>, 42 (May 1968):37-39.", "page_number": "Mentioned and reproduced: p. 37-39", "url": null}], "url": "https://clevelandart.org/art/2011.72", "images": {}, "alternate_images": [], "creditline": "Bequest of Dr. Paul J. Vignos Jr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Michael J. Horvitz Family Gallery", "athena_id": 169766, "creators": [{"id": 60286, "description": "Robert Rafailovich Falk (Russian, 1886\u20131958)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1886", "death_year": "1958", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2011-06-06T00:00:00", "sortable_date": 1904, "date_added_to_oa": null, "date_text": "c. 1909\u20131912", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:50.733000"}, {"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. Wade Fund, 2014.1", "current_location": "108A African", "title": "Mask (wan-balinga)", "creation_date": "early 1900s", "creation_date_earliest": 1900, "creation_date_latest": 1925, "artists_tags": [], "culture": ["Africa, West Africa, Burkina Faso, Mossi-style blacksmith-carver"], "technique": "Wood and paint", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Mask", "measurements": "Overall: 34 x 14 x 14 cm (13 3/8 x 5 1/2 x 5 1/2 in.)", "dimensions": {"overall": {"height": 0.34, "width": 0.14, "depth": 0.14}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Charles Ratton, Paris, France", "citations": [], "footnotes": [], "date": "before 1967", "sortorder": null}, {"description": "Evelyn Annenberg Hall & William Jaffe, New York, NY", "citations": [], "footnotes": [], "date": "1967\u2013?", "sortorder": null}, {"description": "Galerie Jacques Germain, Montreal, Canada", "citations": [], "footnotes": [], "date": null, "sortorder": null}, {"description": "(Galerie Jacques Germain, Montreal, Canada, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "?\u20132014", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2014\u2013", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This mask was worn and danced upon the death of an elder, escorting the corpse to the grave.", "description": "Only the farmers among the Mossi people employ masks. 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>. Montre\u0301al: Jacques Germain Arts Ethnographiques, p.31.", "page_number": "", "url": ""}, {"citation": "Petridis, Constantine. \u201cAcquisition Highlights 2014: African Art.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 55, no. 2 (March/April 2015): 17.", "page_number": "Reproduced and Mentioned: p. 17", "url": "https://archive.org/details/CMAMM2015-02"}], "url": "https://clevelandart.org/art/2014.1", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2014.1/2014.1_web.jpg", "width": "612", "height": "900", "filesize": "127981", "filename": "2014.1_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2014.1/2014.1_print.jpg", "width": "2311", "height": "3400", "filesize": "1187324", "filename": "2014.1_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2014.1/2014.1_full.tif", "width": "3949", "height": "5809", "filesize": "68850300", "filename": "2014.1_full.tif"}}, "alternate_images": 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"https://openaccess-cdn.clevelandart.org/alternate/2014.1/2014.1_alt7_print.jpg", "width": "2550", "height": "3400", "filesize": "1141149"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.1/2014.1_alt7_full.tif", "width": "6000", "height": "8000", "filesize": "144030764"}}, {"date_created": "2014-06-23T15:40:37", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.1/2014.1_alt8_web.jpg", "width": "675", "height": "900", "filesize": "128386"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.1/2014.1_alt8_print.jpg", "width": "2550", "height": "3400", "filesize": "1251321"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.1/2014.1_alt8_full.tif", "width": "6000", "height": "8000", "filesize": "144030896"}}], "creditline": "Purchase from the J. 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": 316897, "accession_number": "2018.306", "share_license_status": "Copyrighted", "tombstone": "Cleveland West Side, Hillside Houses, c. 1914\u201317. August Biehle, Jr. (American, 1885\u20131979). Oil on board; 71.1 x 100.3 cm (28 x 39 1/2 in.); 81.3 x 110.5 cm (32 x 43 1/2 in.). The Cleveland Museum of Art, Gift of the John and Susan Horseman Collection, 2018.306", "current_location": "228B Cleveland Artists", "title": "Cleveland West Side, Hillside Houses", "creation_date": "c. 1914\u201317", "creation_date_earliest": 1914, "creation_date_latest": 1917, "artists_tags": ["May Show", "Cleveland Institute of Art"], "culture": ["America"], "technique": "oil on board", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Cleveland School", "type": "Painting", "measurements": "71.1 x 100.3 cm (28 x 39 1/2 in.); 81.3 x 110.5 cm (32 x 43 1/2 in.)", "dimensions": {"No Extent Specified": {"height": 0.813, "width": 1.105}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [{"id": 368180, "description": "Hillside Houses, Cleveland West Side, c. 1914\u201317. August Biehle, Jr. (American, 1885\u20131979). Graphite, gouache; sheet: 19.1 x 28.6 cm (7 1/2 x 11 1/4 in.). The Cleveland Museum of Art, Gift of Frederick Biehle 2019.221", "relationship": null}, {"id": 368182, "description": "Hillside Houses, Cleveland West Side, 1936. August Biehle, Jr. (American, 1885\u20131979). Lithograph; sheet: 19.1 x 29.2 cm (7 1/2 x 11 1/2 in.). The Cleveland Museum of Art, Gift of Frederick Biehle 2019.222", "relationship": null}, {"id": 368181, "description": "Sketch for Cleveland West Side, Hillside Houses, c. 1914\u201317. August Biehle, Jr. (American, 1885\u20131979). Pencil on toned paper with gouache; sheet: 29.8 x 44.5 cm (11 3/4 x 17 1/2 in.). The Cleveland Museum of Art, Gift of Frederick Biehle 2019.223", "relationship": null}], "former_accession_numbers": [], "did_you_know": "This view of the Tremont neighborhood was made from the now-demolished Clark Avenue Bridge.", "description": "August Biehle Jr. was born and trained in Cleveland and studied further in Munich. While supporting himself in advertising and commercial work, he participated in a number of local exhibitions devoted to cutting-edge art at a time when there was little support. <em>Cleveland West Side, Hillside Houses</em> is his most significant early modern oil painting.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60687346"], "internet_archive": []}, "citations": [{"citation": "Adams, Henry, Marianne Berardi, and Grafton Nunes. <em>Cleveland, a Cultural Center: Wolfs Gallery, Cleveland, Ohio, July 12, 2018-August 31, 2018. 2018. </em>Cleveland, OH: Wolfs Gallery, 2018.", "page_number": "Reproduced: p. 28, cat. # 13", "url": null}, {"citation": "Cole, Mark. \u201cAcquisitions 2018: American Painting and Sculpture (Until 1960).\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>vol. 59, no. 2 (March/April 2019): 16-17", "page_number": "Reproduced: P. 16, 17; Mentioned: P. 17.", "url": "https://archive.org/details/CMAMM2019-02/page/n7/mode/2up"}], "url": "https://clevelandart.org/art/2018.306", "images": {}, "alternate_images": [], "creditline": "Gift of the John and Susan Horseman Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "William P. and Amanda C. Madar Gallery", "athena_id": 316897, "creators": [{"id": 545786, "description": "August Biehle, Jr. (American, 1885\u20131979)", "extent": null, "qualifier": null, "role": "artist", "biography": "Biographical information exists in the Cleveland Museum of Art Archives.", "name_in_original_language": null, "birth_year": "1885", "death_year": "1979", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2018-12-03T00:00:00-05:00", "sortable_date": 1914, "date_added_to_oa": null, "date_text": "c. 1914\u201317", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:05.128000"}, {"id": 157335, "accession_number": "1994.199", "share_license_status": "Copyrighted", "tombstone": "Swirl Melon Bowl, 1994. Nancy Youngblood (Santa Clara Pueblo, b. 1955). Ceramic, slip; overall: 15 x 23.1 cm (5 7/8 x 9 1/8 in.). The Cleveland Museum of Art, James Albert and Mary Gardiner Ford Memorial Fund, 1994.199", "current_location": null, "title": "Swirl Melon Bowl", "creation_date": "1994", "creation_date_earliest": 1994, "creation_date_latest": 1994, "artists_tags": ["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: 15 x 23.1 cm (5 7/8 x 9 1/8 in.)", "dimensions": {"overall": {"height": 0.15, "width": 0.231}}, "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": 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": 457027, "title": "Parall(elles): A History of Women in Design", "description": "<i>Parall(elles): A History of Women in Design</i>. Montr\u00e9al Museum of Fine Arts, Montreal, Quebec, Canada (organizer) (February 18-May 28, 2023) https://www.mbam.qc.ca/en/exhibitions/parallelles/.", "opening_date": "2023-02-18T05:00:00"}], "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. 138,  p. 124, repr. p. 90.", "opening_date": "2006-06-09T00:00:00"}, {"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": "Nancy Youngblood is known for \u201cmelon\u201d jars with deep, perfectly regular, hand-carved ribs\u2014here, 32 swirl dramatically around the chamber, each polished to a sheen. Youngblood belongs to Santa Clara Pueblo\u2019s fabled Tafoya pottery family and she is committed to preserving family techniques and forms, including the melon. She works in black ware, a Santa Clara tradition, and takes no shortcuts, offering a prayer before digging her own clay, building the vessel with clay coils, patiently polishing with handed-down polishing stones, and firing in an open fire rather than a kiln.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780783"], "internet_archive": []}, "citations": [{"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": "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. 89-90, no. 138", "url": ""}], "url": "https://clevelandart.org/art/1994.199", "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": 157335, "creators": [{"id": 16898, "description": "Nancy Youngblood (Santa Clara Pueblo, b. 1955)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1955", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1994-12-06T00:00:00", "sortable_date": 1994, "date_added_to_oa": null, "date_text": "1994", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:01.096000"}, {"id": 130880, "accession_number": "1953.578", "share_license_status": "Copyrighted", "tombstone": "Sunflower Studies, 1917. Charles Burchfield (American, 1893\u20131967). Graphite on wove paper, lined. The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1953.578. Reproduced with permission from the Charles E. Burchfield Foundation", "current_location": null, "title": "Sunflower Studies", "creation_date": "1917", "creation_date_earliest": 1917, "creation_date_latest": 1917, "artists_tags": ["May Show", "male", "Cleveland Institute of Art (alumni)"], "culture": ["America"], "technique": "Graphite on wove paper, lined", "support_materials": [], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "dimensions": {"sheet": {"height": 0.446, "width": 0.281}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "Reproduced with permission from the Charles E. Burchfield Foundation", "inscriptions": [], "exhibitions": {"current": [{"id": 311926, "title": "The Drawings of Charles E. Burchfield", "description": "<i>The Drawings of Charles E. Burchfield</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 4, 1953-January 10, 1954).", "opening_date": "1953-11-04T05:00:00"}, {"id": 301176, "title": "Charles Burchfield Retrospective Exhibition", "description": "<i>Charles Burchfield Retrospective Exhibition</i>. Whitney Museum of American Art (January 11-February 26, 1956); The Baltimore Museum of Art (March 14-April 22, 1956); Museum of Fine Arts, Boston (May 9-June 17, 1956); San Francisco Museum of Modern Art (July 11-August 19, 1956); Los Angeles County Museum of Art (September 5-October 14, 1956); The Phillips Collection (November 4-December 11, 1956); The Cleveland Museum of Art, Cleveland, OH (December 28, 1956-February 10, 1957).", "opening_date": "1956-12-28T05:00:00"}, {"id": 350592, "title": "Prints and Drawings, 1916-1965", "description": "<i>Prints and Drawings, 1916-1965</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 20-July 24, 1966).", "opening_date": "1966-05-20T04:00:00"}, {"id": 338569, "title": "The Nature of Charles Burchfield: A Memorial Exhibition, 1893\u20131967, Paints, Drawings, Prints", "description": "<i>The Nature of Charles Burchfield: A Memorial Exhibition, 1893\u20131967, Paints, Drawings, Prints</i>. Munson Museum of Art, Utica, NY (organizer) (April 3-June 14, 1970).", "opening_date": "1970-04-03T05:00:00"}, {"id": 311461, "title": "Generous Donors: A Tribute to The Print Club of Cleveland", "description": "<i>Generous Donors: A Tribute to The Print Club of Cleveland</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 2-August 4, 1991).", "opening_date": "1991-04-02T05:00:00"}, {"id": 313096, "title": "Charles Burchfield: The Ohio Landscapes, 1915\u20131920", "description": "<i>Charles Burchfield: The Ohio Landscapes, 1915\u20131920</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 22, 2018-May 5, 2019).", "opening_date": "2018-12-22T05:00:00"}], "legacy": []}, "provenance": [{"description": "Charles Burchfield [1893-1967], Buffalo, NY, sold to the Print Club of Cleveland as a gift for the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1917-1953", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1953-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Burchfield developed a language of visual symbols, in which the slumping forms of these sunflowers stood for \"Mute Sorrow.\"", "description": "Charles Burchfield made numerous studies of dead sunflowers, focusing on the leaning and twisted forms of the plant. In these drawings, he hoped to capture the contrast of a flower that he saw as \u201cgloriously alive . . . at the height of its vigor . . . [which] nevertheless seems more alive . . . when quite dead.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780885"], "internet_archive": []}, "citations": [{"citation": "Burchfield, Charles E., and Edith H. Jones. <em>The Drawings of Charles Burchfield</em>. New York: Frederic A. Praeger, 1968.", "page_number": "Mentioned: p. 13; Reproduced: plate 5", "url": null}, {"citation": "Prasse, Leona E. T<em>he Drawings of Charles E. Burchfield</em>. Exh. Cat. Cleveland: Cleveland Museum of Art,1953.", "page_number": "Mentioned: p. 7, no. 25", "url": null}, {"citation": "Trovato, Joseph S. <em>The Nature of Charles Burchfield: A Memorial Exhibition, 1893\u20131967, Paints, Drawings, Prints</em>. Exh. Cat. Utica, NY: Museum of Art, Munson-Williams-Proctor Institute, 1970.", "page_number": "Mentioned: no. 314", "url": null}], "url": "https://clevelandart.org/art/1953.578", "images": {}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 130880, "creators": [{"id": 3989, "description": "Charles Burchfield (American, 1893\u20131967)", "extent": null, "qualifier": null, "role": "artist", "biography": "Charles Burchfield was among the most original and poetic painters of the Cleveland modernist movement. Born in Ashtabula, he moved to Salem, Ohio, following the death of his father in 1898. After graduating from high school, he attended Cleveland School of Art, studying with William Eastman, Frederick Gottwald, Henry Keller, and Frank Wilcox. In 1914 Burchfield began attending Kokoon Klub exhibitions, and in spring 1915 he went to Brandywine to meet William Sommer. Around this time Burchfild began experimenting with the brilliant colors and simplified forms of the Berlin Heights painters. He painted his first mature works in 1915, and grad ed from the Cleveland School of Art with a degree in illustration the following spring. That summer the Cleveland School of Art sponsored his first solo exhibition, and in the fall, after attending the National Academy of Design in New York for one month, he returned to Salem. In February 1917 the Cleveland School of Art mounted his second solo exhibition. Burchfield was inducted into the army that summer. After his return in 1919 he exhibited with other Cleveland modernists at the Play House, Laukhuff\u2019 s Book store, and other Cleveland venues. In 1921 he went on an extended sketching trip through eastern Ohio with Keller, Wilcox, and Paul Travis, exhibiting these recent paintings at the Cleveland School of Art and in the May Show at the Cleveland Museum of Art. Later that year he moved to Buffalo to work as a wallpaper designer, a position he retained until he resigned in 1929 to become a full-time painter. Over the next 30 years he exhibited extensively at museums and galleries across the country. Solo exhibitions of his paintings were held at New York\u2019s Museum of Modern Art (1930), Pittsburgh\u2019 s Carnegie Institute of Art (1935, 1938, 1946), and Buffalo\u2019 s Albright-Knox Art Gallery (1944, 1955, 1963, 1967). In 1953 New York\u2019s Whitney Museum of American Art organized a major exhibition that traveled to the Cleveland Museum of Art. Burchfield died in West Seneca, New York. <br>\"Transformations in Cleveland Art\" (CMA, 1996), p. 224", "name_in_original_language": null, "birth_year": "1893", "death_year": "1967", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1953-12-15T00:00:00", "sortable_date": 1917, "date_added_to_oa": null, "date_text": "1917", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:25.615000"}, {"id": 151536, "accession_number": "1983.81", "share_license_status": "Copyrighted", "tombstone": "Lilies and Sparrow, c. 1920. Joseph Stella (American, 1877\u20131946). Colored pencil, silverpoint, and white gouache; sheet: 72.4 x 57.1 cm (28 1/2 x 22 1/2 in.). The Cleveland Museum of Art, Delia E. Holden Fund, 1983.81", "current_location": null, "title": "Lilies and Sparrow", "creation_date": "c. 1920", "creation_date_earliest": 1915, "creation_date_latest": 1925, "artists_tags": ["male"], "culture": ["America"], "technique": "Colored pencil, silverpoint, and white gouache", "support_materials": [{"description": "beige(1) wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Sheet: 72.4 x 57.1 cm (28 1/2 x 22 1/2 in.)", "dimensions": {"sheet": {"height": 0.724, "width": 0.571}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed, lower right, in graphite: Joseph Stella; along right edge, in graphite: 62 x 74 / 48 [circled]\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": 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": 361551, "title": "Joseph Stella", "description": "<i>Joseph Stella</i>. Whitney Museum of American Art, New York, NY (organizer) (April 21-October 9, 1994).", "opening_date": "1994-04-21T04:00:00"}, {"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"}, {"id": 439519, "title": "Joseph Stella: Visionary Nature", "description": "<i>Joseph Stella: Visionary Nature</i>. High Museum of Art, Atlanta, GA (organizer) (February 23-May 21, 2023) https://high.org/exhibition/joseph-stella-visionary-nature/.", "opening_date": "2023-02-23T05:00:00"}], "legacy": []}, "provenance": [{"description": "Sergio Stella, Glen Head, NY", "citations": [], "footnotes": null, "date": "?-?", "sortorder": 1}, {"description": "(Harriet Griffin Fine Arts, Inc., New York, NY, sold to Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "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": "Joseph Stella loved drawing flowers and described his wish that \"my every working day...might begin and end...with the light, gay painting of a flower.\"", "description": "Joseph Stella made nature studies throughout his career. For this simple, spare composition he used metalpoint, a medium associated with the Italian Renaissance and rarely seen in the 20th century. Although metalpoint cannot be erased, its unique qualities -- precision, delicacy, and sharpness -- appealed to Stella and he often combined it with colored pencils to achieve a brightness that resembled oil painting. The careful execution and large size of this sheet suggest that Stella considered it a finished work of art.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79935192"], "internet_archive": []}, "citations": [{"citation": "Glaubinger, Jane. \"Two Drawings by Joseph Stella.\" <em>Bulletin of the Cleveland Museum of Art</em> 70, no. 10 (December 1983): 382-395.", "page_number": "Mentioned: 382-395; Reproduced: p. 393", "url": null}, {"citation": "Haskell, Barbara. <em>Joseph Stella</em>. Exh. Cat. New York: Whitney Museum of American Art, 1994.", "page_number": "Mentioned and reproduced: p. 120; Reproduced: no. 136", "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. 244-245, 297; Reproduced: p. 245", "url": null}], "url": "https://clevelandart.org/art/1983.81", "images": {}, "alternate_images": [], "creditline": "Delia E. Holden Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 151536, "creators": [{"id": 4109, "description": "Joseph Stella (American, 1877\u20131946)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1877", "death_year": "1946", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1983-05-09T00:00:00", "sortable_date": 1915, "date_added_to_oa": null, "date_text": "c. 1920", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Sparrow and Lilies"], "is_highlight": false, "updated_at": "2026-03-26 23:59:50.171000"}, {"id": 154286, "accession_number": "1988.94", "share_license_status": "CC0", "tombstone": "Old Woman, c. 1923\u201324. Cha\u00efm Soutine (Russian, 1893\u20131943). Oil on canvas; framed: 88.9 x 78.7 x 8.6 cm (35 x 31 x 3 3/8 in.); unframed: 65 x 54 cm (25 9/16 x 21 1/4 in.). The Cleveland Museum of Art, Gift of the Mildred Andrews Fund, 1988.94", "current_location": null, "title": "Old Woman", "creation_date": "c. 1923\u201324", "creation_date_earliest": 1923, "creation_date_latest": 1924, "artists_tags": ["male", "Jewish artists"], "culture": ["Russia (worked in France), 20th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 88.9 x 78.7 x 8.6 cm (35 x 31 x 3 3/8 in.); Unframed: 65 x 54 cm (25 9/16 x 21 1/4 in.)", "dimensions": {"framed": {"height": 0.889, "width": 0.787, "depth": 0.086}, "unframed": {"height": 0.65, "width": 0.54}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right: \"Soutine\"", "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": 220650, "title": "Cha\u00efm Soutine (1893-1943), l'ordre du chaos", "description": "<i>Cha\u00efm Soutine (1893-1943), l'ordre du chaos</i>. Mus\u00e9e de l'Orangerie, Paris, France (October 2, 2012-January 21, 2013).", "opening_date": "2012-10-02T00:00:00"}, {"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>Expressionisme. Van Gogh tot Picasso. </em>Stedelijk Museum, Amsterdam. (1949).", "opening_date": "1949-01-01T05:00:00Z"}, {"description": "Group exhibition (untitled). Groningen (1933).", "opening_date": "1933-01-02T05:00:00Z"}, {"description": "<em>Nineteenth and Twentieth Century European Masters</em>. Marlborough Fine Art, Ltd., London (Summer 1959).", "opening_date": "1959-06-01T04:00:00Z"}]}, "provenance": [{"description": "(A. Mak, Amsterdam) (October 11, 1932, lot 75).", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "P. A. Regnault, Laren, The Netherlands (October 11, 1932 -- October 22-23, 1958).", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "(Paul Brandt, Amsterdam, \"Collection de taubleaux modernes de feu P. A. Regnault\") (October 22-23, 1958, lot 127).", "citations": [], "footnotes": null, "date": null, "sortorder": 3}, {"description": "(Marlborough Fine Art, Ltd., London) (October 22-23, 1958 -- September 1961.", "citations": [], "footnotes": null, "date": null, "sortorder": 4}, {"description": "Peter A. Putnam, Cleveland, OH (September 1961-1988).", "citations": [], "footnotes": null, "date": null, "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Roald Dahl, author of <em>Charlie and the Chocolate Factory</em>, was inspired by Soutine's work for his short story \"Skin.\"", "description": "In the nearly 200 portraits Cha\u00efm Soutine painted, he was remarkably consistent in his approach:he almost always painted solitary, unidentified models, seated in half- or three-quarter-length poses facing frontally with hands placed on the hips or folded in the lap, as seen here. The physical distortions\u2014the woman\u2019s large hands, arched green eyebrows, and pointed chin\u2014executed with agitated, slashing brushstrokes heighten the portrait\u2019s expressive qualities. The sitter here is remarkably similar to the figure in another Soutine portrait of a schoolteacher named Melanie at the Columbus Museum of Art.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60476334"], "internet_archive": ["https://archive.org/details/clevelandart-1988.94-seated-woman"]}, "citations": [{"citation": "Courthion, Pierre. <em>Soutine, Peintre Du de\u0301Chirant.</em> [Lausanne], [Paris], [Fribourg]: Edita, Denoe\u0308l; [Distributeur exclusif pour la Suisse, Office du livre], 1972.", "page_number": "Reproduced: p. 235, no. A", "url": ""}, {"citation": "Tuchman, Maurice, Esti Dunow, and Klaus Perls. <em>Chaim Soutine (1893-1943): Catalogue Raisonne\u0301 = Werkverzeichnis.</em> Ko\u0308ln: Benedikt Taschen Verlag, 1993.", "page_number": "Mentioned: p. 614, no. 68, Vol. II; Reproduced: p. 616, Vol. II", "url": ""}, {"citation": "Vial, Marie-Paule, Claire Bernardi, Muse\u0301e de l\u2019Orangerie, and Muse\u0301e d\u2019Orsay. <em>Chai\u0308m Soutin</em>e. Paris: Hazan: Muse\u0301e d\u2019Orsay, 2012.", "page_number": "Reproduced: p. 144, no. 58", "url": ""}], "url": "https://clevelandart.org/art/1988.94", "images": {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/1988.94/1988.94_web.jpg", "width": "741", "height": "893", "filesize": "136760", "filename": "1988.94_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1988.94/1988.94_print.jpg", "width": "2821", "height": "3400", "filesize": "2382861", "filename": "1988.94_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1988.94/1988.94_full.tif", "width": "4720", "height": "5687", "filesize": "80551292", "filename": "1988.94_full.tif"}}, "alternate_images": [{"date_created": "2012-01-04T15:58:41", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.94/1988.94_alt0_web.jpg", "width": "739", "height": "893", "filesize": "229416"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.94/1988.94_alt0_print.jpg", "width": "2812", "height": "3400", "filesize": "4043485"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.94/1988.94_alt0_full.tif", "width": "3367", "height": "4071", "filesize": "41152848"}}, {"date_created": "2012-06-19T15:52:22", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.94/1988.94_alt1_web.jpg", "width": "748", "height": "893", "filesize": "201824"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.94/1988.94_alt1_print.jpg", "width": "2847", "height": "3400", "filesize": "3008736"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.94/1988.94_alt1_full.tif", "width": "4888", "height": "5836", "filesize": "85602388"}}], "creditline": "Gift of the Mildred Andrews Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 154286, "creators": [{"id": 3288, "description": "Cha\u00efm Soutine (Russian, 1893\u20131943)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1893", "death_year": "1943", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1988-09-22T00:00:00", "sortable_date": 1923, "date_added_to_oa": null, "date_text": "c. 1923\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": true, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:58.744000"}, {"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": 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": 134873, "accession_number": "1957.432", "share_license_status": "Copyrighted", "tombstone": "Self-Portrait, 1927. Rufino Tamayo (Mexican, 1899\u20131991). Watercolor with graphite; sheet: 25.2 x 17.7 cm (9 15/16 x 6 15/16 in.). The Cleveland Museum of Art, Gift of Mrs. Malcolm L. McBride, 1957.432. \u00a9 Tamayo Heirs / Mexico / Artists Rights Society (ARS), New York", "current_location": null, "title": "Self-Portrait", "creation_date": "1927", "creation_date_earliest": 1927, "creation_date_latest": 1927, "artists_tags": ["male", "Latine and Hispanic Artists"], "culture": ["Mexico, 20th century"], "technique": "watercolor with graphite", "support_materials": [], "department": "Drawings", "collection": "DR - Mexican", "type": "Drawing", "measurements": "Sheet: 25.2 x 17.7 cm (9 15/16 x 6 15/16 in.)", "dimensions": {"sheet": {"height": 0.252, "width": 0.177}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Tamayo Heirs / Mexico / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "signed and inscribed below center at left: Tamayo / 27", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"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": 423534, "title": "Rufino Tamayo: Del Reflejo al Sue\u00f1o, 1920-1950", "description": "<i>Rufino Tamayo: Del Reflejo al Sue\u00f1o, 1920-1950</i>. Centro Cultural Arte Contemporaneo, A.C. (organizer) (October 12, 1995-January 21, 1996).", "opening_date": "1995-10-12T04:00:00"}, {"id": 223869, "title": "Aaron Copeland's America", "description": "<i>Aaron Copeland's America</i>. Heckscher Museum of Art, Huntington, Long Island, NY (organizer) (November 4, 2000-January 21, 2001).", "opening_date": "2000-11-04T00:00:00"}, {"id": 373919, "title": "A Graphic Revolution: Prints and Drawings in Latin America", "description": "<i>A Graphic Revolution: Prints and Drawings in Latin America</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 14-August 2, 2020).", "opening_date": "2020-03-08T05:00:00"}], "legacy": [{"description": "<em>The Latin American Spirit: Art and Artists in the United States, 1920-1970</em>. Bronx Museum of the Arts (September 29, 1988 - January 29, 1989); El Paso Museum of Art (February 27 - April 23, 1989).", "opening_date": "1989-02-27T00:00:00"}]}, "provenance": [{"description": "Mrs. Malcolm L. McBride, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "?-1957", "sortorder": 1}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1957-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Rufino Tamayo created this drawing the year after his first exhibition, held at New York's Weyhe Gallery.", "description": "Rufino Tamayo created this early self-portrait during a period spent living in New York. The drawing presents the young artist's face from a close-up perspective with a direct gaze meant to convey intensity and focus.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80027603"], "internet_archive": []}, "citations": [{"citation": "<em>The Latin American Spirit: Art and Artists in the United States, 1920-1970</em>. Exh. Cat. Bronx: Bronx Museum of the Arts, 1988.", "page_number": null, "url": null}, {"citation": "Tibol, Raquel. <em>Rufino Tamayo: Del Reflejo al Sue\u00f1o, 1920-1950</em>. Exh. Cat. Mexico City: Fundacion Cultural Televisa, 1995.", "page_number": "Mentioned: p. 18; Reproduced: p. 19, no. 11", "url": null}, {"citation": "Levin, Gail and Judith Tick. <em>Aaron Copland's America: A Cultural Perspective</em>. Exh. Cat. Huntington, NY: Heckscher Museum of Art, 2000.", "page_number": "Mentioned: p. 43", "url": null}, {"citation": "Du Pont, Diana C., ed. <em>Tamayo: A Modern Icon Reinterpreted</em>. Exh. Cat. Santa Barbara: Santa Barbara Museum of Art, 2007.", "page_number": "Mentioned: p. 55, 64; Reproduced: p. 54", "url": null}, {"citation": "Ramos, E. Carmen. <em>Tamayo: The New York Years</em>. Washington, DC: Smithsonian American Art Museum, 2017.", "page_number": "Mentioned and reproduced: p. 21", "url": null}], "url": "https://clevelandart.org/art/1957.432", "images": {}, "alternate_images": [], "creditline": "Gift of Mrs. Malcolm L. McBride", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 134873, "creators": [{"id": 3300, "description": "Rufino Tamayo (Mexican, 1899\u20131991)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1899", "death_year": "1991", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1957-10-31T00:00:00", "sortable_date": 1927, "date_added_to_oa": null, "date_text": "1927", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:41.491000"}, {"id": 140140, "accession_number": "1964.143", "share_license_status": "Copyrighted", "tombstone": "Video, c. 1955\u201363. Joseph Cornell (American, 1903\u20131972). Wood, glass, and found objects; framed: 25 x 37 x 9.5 cm (9 13/16 x 14 9/16 x 3 3/4 in.); overall: 24.8 x 36.9 x 9.2 cm (9 3/4 x 14 1/2 x 3 5/8 in.). The Cleveland Museum of Art, Contemporary Collection of The Cleveland Museum of Art, 1964.143. \u00a9  The Joseph and Robert Cornell Memorial Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY", "current_location": null, "title": "Video", "creation_date": "c. 1955\u201363", "creation_date_earliest": 1955, "creation_date_latest": 1963, "artists_tags": ["male"], "culture": ["America"], "technique": "wood, glass, and found objects", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Sculpture", "type": "Sculpture", "measurements": "Framed: 25 x 37 x 9.5 cm (9 13/16 x 14 9/16 x 3 3/4 in.); Overall: 24.8 x 36.9 x 9.2 cm (9 3/4 x 14 1/2 x 3 5/8 in.)", "dimensions": {"framed": {"height": 0.25, "width": 0.37, "depth": 0.095}, "overall": {"height": 0.248, "width": 0.369, "depth": 0.092}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  The Joseph and Robert Cornell Memorial Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY", "inscriptions": [{"inscription": "Signed on back (in reverse) lower left corner", "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": 302349, "title": "Materials and Techniques of 20th-Century Artists", "description": "<i>Materials and Techniques of 20th-Century Artists</i>. The Cleveland Museum of Art, Cleveland, OH (November 17, 1976-January 2, 1977).", "opening_date": "1976-11-17T05:00:00"}, {"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"}], "legacy": [{"description": "CMA 1964: \"Year in Review,\" CMA Bulletin, listed no. 155", "opening_date": "1964-01-01T00:00:00"}, {"description": "CMA 1976: \"Materials and Techniques of 20th Century Artists,\" cat. no. 8, reproduced p. 13", "opening_date": "1976-01-01T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The poet Charles Simic described Cornell's boxes as \"dreams in which objects are renamed and invested with imaginary lives.\"", "description": "Cornell devoted much of his life to assembling glass-fronted boxes of objects and printed material that he found or acquired from second-hand shops and bookstores. By virtue of their unexpected juxtapositions, the artist\u2019s arrangements generate poetic associations. In this example, the cork balls, metal ring, black disk, and constellation diagram evoke the structure and mysteries of the universe. The meaning behind the title of the work remains elusive, perhaps as Cornell intended.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80037868"], "internet_archive": []}, "citations": [{"citation": "Henning, Edward B. \u201cThe Language of Art.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 51, no. 9 (November 1964): 211\u2013231.", "page_number": "Mentioned and reproduced: p. 220-221, figs. 5-6", "url": "http://www.jstor.org/stable/25152016"}, {"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. 201", "url": "https://archive.org/details/CMAHandbook1966/page/n225"}, {"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. 201", "url": "https://archive.org/details/CMAHandbook1969/page/n225"}, {"citation": "Henning, Edward B. \u201cSky Cathedral-Moon Garden Wall by Louise Nevelson.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 64, no. 7 (September 1977): 242\u2013251.", "page_number": "Mentioned and reproduced: p. 243-244, fig. 4", "url": "http://www.jstor.org/stable/25159539"}, {"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. 252", "url": "https://archive.org/details/CMAHandbook1978/page/n272"}], "url": "https://clevelandart.org/art/1964.143", "images": {}, "alternate_images": [], "creditline": "Contemporary Collection of The Cleveland Museum of Art", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 140140, "creators": [{"id": 3974, "description": "Joseph Cornell (American, 1903\u20131972)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1903", "death_year": "1972", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1964-12-19T00:00:00", "sortable_date": 1955, "date_added_to_oa": null, "date_text": "c. 1955\u201363", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "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 23:59:46.540000"}, {"id": 144250, "accession_number": "1968.95", "share_license_status": "Copyrighted", "tombstone": "Berkeley #42, 1955. Richard Diebenkorn (American, 1922\u20131993). Oil on canvas; framed: 147.6 x 132.7 x 4.6 cm (58 1/8 x 52 1/4 x 1 13/16 in.); unframed: 146 x 130.8 cm (57 1/2 x 51 1/2 in.). The Cleveland Museum of Art, Contemporary Collection of The Cleveland Museum of Art, 1968.95. \u00a9 The Estate of Richard Diebenkorn", "current_location": null, "title": "Berkeley #42", "creation_date": "1955", "creation_date_earliest": 1955, "creation_date_latest": 1955, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 147.6 x 132.7 x 4.6 cm (58 1/8 x 52 1/4 x 1 13/16 in.); Unframed: 146 x 130.8 cm (57 1/2 x 51 1/2 in.)", "dimensions": {"framed": {"height": 1.476, "width": 1.327, "depth": 0.046}, "unframed": {"height": 1.46, "width": 1.308}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 The Estate of Richard Diebenkorn", "inscriptions": [{"inscription": "Initialed at bottom right: RD 55", "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": 301294, "title": "Works from the Contemporary Collection", "description": "<i>Works from the Contemporary Collection</i>. The Cleveland Museum of Art, Cleveland, OH (July 1-October 15, 1969).", "opening_date": "1969-07-01T04:00:00"}, {"id": 309861, "title": "Contemporary Art and Textiles Collection", "description": "<i>Contemporary Art and Textiles Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 13-August 26, 1984).", "opening_date": "1984-07-13T04:00:00"}], "legacy": [{"description": "Poindexter Gallery: Richard Diebenkorn: February 1956-March 1956", "opening_date": "1956-02-01T00:00:00"}, {"description": "CMA: The Figure: de Kooning to Warhol, no cat., listed #2 in handout.", "opening_date": null}]}, "provenance": [{"description": "The artist; [Poindexter Gallery, NY, 1958]; Ellen Johnson, Oberlin, OH, purchased in 1958; The Cleveland Museum of Art, purchased from Ellen Johnson in 1968.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The original owner of this painting sold it to the museum because she felt it was too large to comfortably hang in the Frank Lloyd Wright house she had just purchased.", "description": "The hilly coastal landscape of Berkeley, California, informed a series of paintings by Richard Diebenkorn, who assigned numbers as titles to most of them. Despite this source, the artist emphasized the abstract qualities of these works, insisting in his notebook, \"I am not a landscape painter.\"", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60483514"], "internet_archive": []}, "citations": [{"citation": "\"Year in Review for 1968,\" Bulletin of the Cleveland Museum of Art LVI (January 1969), p. 48, no. 110, repr. .", "page_number": "p. 29, 48", "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. 252", "url": "https://archive.org/details/CMAHandbook1978/page/n272"}, {"citation": "Hinson, Tom E. \"Recent Paintings by Richard Diebenkorn and Jack Tworkov.\" <em>The Bulletin of the Cleveland Museum of Art</em> 67, no. 2 (1980): 31-40.", "page_number": "Reproduced: p. 32; Mentioned: p. 31-40", "url": "https://www.jstor.org/stable/25159661"}, {"citation": "Livingston, Jane and Andrea Liguori. <em>Richard Diebenkorn: The Catalogue Raisonne\u0301</em>. New Haven: Yale University Press, 2016.", "page_number": "Reproduced: p. 579, #1478", "url": null}, {"citation": "Shields, Scott A., Matt Gonzalez, Paul Wonner, and William Theo Brown. Breaking the Rules: Paul Wonner and Theophilus Brown. New York, NY : Scala Arts Publishers ; Sacramento, CA : Crocker Art Museum, 2023.", "page_number": "Reproduced: p. 30", "url": ""}], "url": "https://clevelandart.org/art/1968.95", "images": {}, "alternate_images": [], "creditline": "Contemporary Collection of The Cleveland Museum of Art", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 144250, "creators": [{"id": 3423, "description": "Richard Diebenkorn (American, 1922\u20131993)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1922", "death_year": "1993", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1969-01-22T00:00:00", "sortable_date": 1955, "date_added_to_oa": null, "date_text": "1955", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Berkeley"], "is_highlight": false, "updated_at": "2026-03-27 00:08:36.164000"}, {"id": 156567, "accession_number": "1992.274", "share_license_status": "Copyrighted", "tombstone": "The Human Condition, 1945. Ren\u00e9 Magritte (Belgian, 1898\u20131967). Watercolor, crayon over graphite, ink and gouache; sheet: 42.2 x 32.2 cm (16 5/8 x 12 11/16 in.). The Cleveland Museum of Art, Bequest of Lockwood Thompson, 1992.274. \u00a9  C. Herscovici / Artists Rights Society (ARS), New York", "current_location": null, "title": "The Human Condition", "creation_date": "1945", "creation_date_earliest": 1945, "creation_date_latest": 1945, "artists_tags": ["male"], "culture": ["Belgium, 20th century"], "technique": "watercolor, crayon over graphite, ink and gouache", "support_materials": [], "department": "Drawings", "collection": "DR - Belgian", "type": "Drawing", "measurements": "Sheet: 42.2 x 32.2 cm (16 5/8 x 12 11/16 in.)", "dimensions": {"sheet": {"height": 0.422, "width": 0.322}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  C. Herscovici / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "signed, at lower right, in black ink: Magritte; inscribed, on verso, in pencil: La Condition Humaine", "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": 398452, "title": "Ren\u00e9 Magritte", "description": "<i>Ren\u00e9 Magritte</i>. Montr\u00e9al Museum of Fine Arts (organizer) (June 20-October 27, 1996).", "opening_date": "1996-06-20T04:00:00"}, {"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": 229110, "title": "The Colour of My Dreams: The Surrealist Revolution in Art", "description": "<i>The Colour of My Dreams: The Surrealist Revolution in Art</i>. Vancouver Art Gallery, Vancouver, Canada (organizer) (May 28-October 2, 2011).", "opening_date": "2011-05-28T00:00:00"}, {"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": "Lockwood Thompson, Cleveland, OH, bequeathed to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "?-1992", "sortorder": 1}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1992-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "During World War II, when this drawing was made, Ren\u00e9 Magritte focused on beauty in contrast to the chaos of the time and favored calm scenes and light colors in his work.", "description": "This drawing belongs to a series in which Ren\u00e9 Magritte depicted an easel before a window. Each features a canvas that exactly replicates the landscape beyond it, inviting questions about the boundaries between art and reality. Magritte juxtaposed a highly realistic style and unexpected imagery to evoke the subconscious and question the experience of time and space. Of his <em>Human Condition </em>series, he wrote that he wanted to place the viewer \u201cinside the room in the picture and, at the same time, conceptually outside in the real landscape.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79946080"], "internet_archive": []}, "citations": [{"citation": "Turner, Evan H. \u201cThe Year in Review for 1992.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 80, no. 2 (February 1993): 38\u201379.", "page_number": "Mentioned: p. 73", "url": "http://www.jstor.org/stable/25161388"}, {"citation": "Ottinger, Didier. <em>Magritte</em>. Exh. Cat. Montreal: Montreal Museum of Fine Arts, 1996.", "page_number": "Mentioned and reproduced: p. 146", "url": null}, {"citation": "Ades, Dawn. <em>The Color of My Dreams: The Surrealist Revolution in Art</em>. Exh. Cat. Vancouver: Vancouver Art Gallery, 2011.", "page_number": "Mentioned: p. 325; Reproduced: p. 311", "url": null}, {"citation": "Cassin, Barbara. \"The Painter-King.\" In <em>Magritte: The Treachery of Images. </em>Didier Ottinger, ed., 114-141. Exh. Cat. Munich: Prestel, 2017.", "page_number": "Reproduced and mentioned: p. 119.", "url": null}, {"citation": "Salsbury, Britany. \u201cOpen Windows.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>61, no. 1 (Winter 2021): 26.", "page_number": "Reproduced and Mentioned: P. 26.", "url": ""}], "url": "https://clevelandart.org/art/1992.274", "images": {}, "alternate_images": [], "creditline": "Bequest of Lockwood Thompson", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 156567, "creators": [{"id": 3173, "description": "Ren\u00e9 Magritte (Belgian, 1898\u20131967)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1898", "death_year": "1967", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1992-12-07T00:00:00", "sortable_date": 1945, "date_added_to_oa": null, "date_text": "1945", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:36.356000"}, {"id": 165683, "accession_number": "2007.87", "share_license_status": "Copyrighted", "tombstone": "Three Covered Statues, 1931\u201336. Dora Maar (French, 1907\u20131997). Gelatin silver print; image: 39.9 x 29.8 cm (15 11/16 x 11 3/4 in.). The Cleveland Museum of Art, John L. Severance Fund, 2007.87. \u00a9 2013 Artists Rights Society (ARS), New York / ADAGP, Paris", "current_location": null, "title": "Three Covered Statues", "creation_date": "1931\u201336", "creation_date_earliest": 1931, "creation_date_latest": 1936, "artists_tags": ["female"], "culture": ["France, 20th century"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - French 20th Century", "type": "Photograph", "measurements": "Image: 39.9 x 29.8 cm (15 11/16 x 11 3/4 in.)", "dimensions": {"image": {"height": 0.399, "width": 0.298}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 2013 Artists Rights Society (ARS), New York / ADAGP, Paris", "inscriptions": [], "exhibitions": {"current": [{"id": 335981, "title": "Dora Maar: Bataille, Picasso, et les Surr\u00e9alistes", "description": "<i>Dora Maar: Bataille, Picasso, et les Surr\u00e9alistes</i>. Haus der Kunst, Munich, M\u00f9nich, Germany (October 13, 2001-January 6, 2002); Centre de la Vieille Charit\u00e9, Marseille, France (February 7-April 30, 2002); Centre d\u2019Art Tecla Sala, L\u2019Hospitalet, Spain (May 21-July 15, 2002).", "opening_date": "2001-10-13T04:00:00"}, {"id": 335822, "title": "Dora Maar: Photographer", "description": "<i>Dora Maar: Photographer</i>. Dorsky Gallery (April 25-June 28, 2004).", "opening_date": "2004-04-25T04:00:00"}, {"id": 203169, "title": "Forbidden Games: Surrealist and Modernist Photography", "description": "<i>Forbidden Games: Surrealist and Modernist Photography</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 19, 2014-January 11, 2015).", "opening_date": "2014-10-19T00:00:00"}, {"id": 317519, "title": "Dora Maar", "description": "<i>Dora Maar</i>. Centre national d'art et de culture Georges Pompidou, Paris, France (organizer) (June 5-July 28, 2019); Tate Modern (November 19, 2019-March 15, 2020).", "opening_date": "2019-06-05T04:00:00"}, {"id": 317581, "title": "Picasso and Paper", "description": "<i>Picasso and Paper</i>. The Cleveland Museum of Art, Cleveland, OH (co-organizer) (December 8, 2024-March 23, 2025).", "opening_date": "2024-12-08T05:00:00"}], "legacy": []}, "provenance": [{"description": "The artist's estate, Paris", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "(PIASA, Paris, Nov. 19, 1999, no. 32, sold to Charles Isaacs)", "citations": [], "footnotes": [], "date": "November 19, 1999", "sortorder": 2}, {"description": "(Charles Isaacs, New York, NY)", "citations": [], "footnotes": [], "date": null, "sortorder": 3}, {"description": "Michael Mattis [b.1960-1], New York, NY", "citations": [], "footnotes": [], "date": null, "sortorder": 4}, {"description": "David Raymond [b.1979], New York, NY", "citations": [], "footnotes": [], "date": null, "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2007-", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Primarily known for her photography, Maar also worked in a variety of different artistic media including painting.", "description": "In addition to her practice as a commercial photographer, Dora Maar was among the few women to exhibit with the Surrealists, a group of artists who produced uncanny images exploring dreams and the unconscious in their work. This photograph is exemplary of her experimental approach, which often involved manipulating negatives. The strong profiles and doubling of imagery seen here resemble Picasso\u2019s work around this time. The two worked closely after meeting in 1935, and both their relationship and Maar\u2019s practice had a profound impact on the style and subject matter of Picasso\u2019s work.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60755523"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art, Tom E. Hinson, Ian Walker, and Lisa Kurzner. Forbidden Games: Surrealist and Modernist Photography : the David Raymond Collection in the Cleveland Museum of Art. 2014.", "page_number": "Reproduced: p. 116, no. 74; mentioned: pp. 222.", "url": null}, {"citation": "Maar, Dora. Dora Maar: Bataille, Picasso et les surre\u0301alistes. [Marseille]: Muse\u0301es de Marseille, 2000.", "page_number": "Mentioned: pp. 268.", "url": null}, {"citation": "Maar, Dora, and Victoria Combali\u0301a Dexeus. Dora Maar: Haus der Kunst Mu\u0308nchen, 13. Oktober 2001-6. Januar 2002 ; Muse\u0301es de Marseille, Centre de la Vieille Charite\u0301, 20. Januar-4. Mai 2002 ; Centre Cultural Tecla Sala, L'Hospitalet Barcelona, 15. Mai- 15. Juli 2002. Mu\u0308nchen: Haus der Kunst Mu\u0308nchen, 2001.", "page_number": "Reproduced: p. 179, no. 116; mentioned: pp. 328.", "url": null}, {"citation": "Maar, Dora. Dora Maar: Photographer. Long Island City, NY: Dorsky Gallery, 2004.", "page_number": null, "url": null}, {"citation": "Ades, Dawn. \"Chance Encounters and the 'Modern Marvelous'.\" In Dora Maar, 77-98. Eds., Damarice Amao, Amanda Maddox, and Karolina Ziebinska-Lewandowska. Exh. Cat. Los Angeles: The J. Paul Getty Museum, 2019.", "page_number": "Reproduced: p. 86, Plate 92.", "url": ""}], "url": "https://clevelandart.org/art/2007.87", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 165683, "creators": [{"id": 11223, "description": "Dora Maar (French, 1907\u20131997)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1907", "death_year": "1997", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2007-02-26T00:00:00", "sortable_date": 1931, "date_added_to_oa": null, "date_text": "1931\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": [], "is_highlight": false, "updated_at": "2026-03-27 00:02:01.649000"}, {"id": 116587, "accession_number": "1937.180", "share_license_status": "Copyrighted", "tombstone": "Antscha - Yellow and Green, c. 1925\u201330. Josef Frank (Swedish, born Austria, 1885\u20131967), Haus & Garten (Austrian, est. 1925). Cotton: paired plain weave warp; linen: unbleached weft; loom width, block printed; overall: 72.4 x 128.9 cm (28 1/2 x 50 3/4 in.). The Cleveland Museum of Art, Educational Purchase Fund, 1937.180", "current_location": null, "title": "Antscha - Yellow and Green", "creation_date": "c. 1925\u201330", "creation_date_earliest": 1925, "creation_date_latest": 1930, "artists_tags": ["male", "Jewish artists"], "culture": [], "technique": "Cotton: paired plain weave warp; linen: unbleached weft; loom width, block printed", "support_materials": [], "department": "Textiles", "collection": "Textiles", "type": "Textile", "measurements": "Overall: 72.4 x 128.9 cm (28 1/2 x 50 3/4 in.)", "dimensions": {"overall": {"height": 0.724, "width": 1.289}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 313463, "title": "Color and Comfort: Swedish Modern Design", "description": "<i>Color and Comfort: Swedish Modern Design</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 11, 2019-February 10, 2020).", "opening_date": "2019-02-17T05:00:00"}], "legacy": []}, "provenance": [{"description": "Likely purchased by Mrs. Ruth F. Ruggles in Vienna, Austria from \"Haus & Garten\"", "citations": [], "footnotes": [], "date": "1937", "sortorder": 1}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This textile was produced in at least two different colorways.", "description": "With a title derived from a feminine Hungarian name, the <em>Antscha </em>pattern shows Josef Frank\u2019s early use of long sinuous vines. Another example of the same textile (1937.181) exists in pink and blue, suggesting that pattern colors were customizable to fit the customer\u2019s d\u00e9cor. These examples are likely the only surviving versions in an institutional collection.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80010858"], "internet_archive": []}, "citations": [{"citation": "See \"December, 1937.\"  Education Department Annual Report, 1937, CMA Archives.", "page_number": null, "url": null}], "url": "https://clevelandart.org/art/1937.180", "images": {}, "alternate_images": [], "creditline": "Educational Purchase Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 116587, "creators": [{"id": 56189, "description": "Josef Frank (Swedish, born Austria, 1885\u20131967)", "extent": null, "qualifier": null, "role": "designer", "biography": "Born to a Jewish family in Baden, Austria, Josef Frank was an architect and designer who came of age in pre-war Vienna. He graduated from the Technische Hochschule (Polytechnic) in 1910 and taught at the Kunstgewerbeschule (School of Arts and Crafts) until the mid-1920s. An associate of the Wiener Werkst\u00e4tte, Frank founded his own interior design firm Haus &amp; Garten in 1925 with Oskar Wlach (1881-1963) and Walter Sobotka (1888-1972). During this venture Frank wrote several design treatises including <em>Architektur als Symbol</em> (1931). Frank married Anna Sebenius, a Swedish woman, in 1912 and in 1933 began designing for the Stockholm-based interior design company Svenkst Tenn. Although he immigrated to Sweden and adopted Swedish citizenship in 1938, Frank spent World War II in the United States teaching at the New School for Social Research in New York. In 1946 Frank returned to Sweden, continuing work with Svenkst Tenn until his death in 1967. Frank is considered to be one of the pioneers of Swedish modern design and the \u201cScandinavian Style.\u201d", "name_in_original_language": null, "birth_year": "1885", "death_year": "1967", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 40234, "description": "Haus & Garten (Austrian, est. 1925)", "extent": null, "qualifier": null, "role": "manufacturer", "biography": "Established by Josef Frank (1885-1967), Oskar Wlach (1881-1963) and Walter Sobotka (1888-1972) in 1925, the Vienna-based interior design firm Haus &amp; Garten worked concurrent with the Wiener Werkst\u00e4tte. Frank acted as lead designer with Wlach overseeing the business. Despite his immigration to Sweden in 1933, Frank continued working with the firm until giving up his partnership in 1938. Sobotka departed from the firm earlier in 1926.", "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1937-12-20T00:00:00", "sortable_date": 1925, "date_added_to_oa": null, "date_text": "c. 1925\u201330", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": "This textile is from Josef Frank\u2019s interior furnishing company, HAUS &amp; GARTEN. It is plain weave and features a paired warp which is not seen in any other Josef Frank textiles. Under magnification there is a noticeable color difference between the warp and the weft. A polarized light microscope can be used to identify fibers; each fiber type has a unique structure that is visible under magnification. This technique requires a very small sample to be removed from the object. Through polarized light microscopy (PLM), the warp was identified as cotton with its helical structure, and the weft was identified as a bast fiber, likely linen, because it has striations perpendicular to the length of the fiber.", "has_conservation_images": true, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["No Title"], "is_highlight": false, "updated_at": "2026-03-27 00:09:07.839000"}, {"id": 116588, "accession_number": "1937.181", "share_license_status": "Copyrighted", "tombstone": "Antscha - Pink and Blue, c. 1925\u201330. Josef Frank (Swedish, born Austria, 1885\u20131967), Haus & Garten (Austrian, est. 1925). Plain weave paired cotton warp and unbleached linen weft, loom width, block printed; overall: 73.7 x 128.9 cm (29 x 50 3/4 in.). The Cleveland Museum of Art, Educational Purchase Fund, 1937.181", "current_location": null, "title": "Antscha - Pink and Blue", "creation_date": "c. 1925\u201330", "creation_date_earliest": 1925, "creation_date_latest": 1930, "artists_tags": ["male", "Jewish artists"], "culture": [], "technique": "Plain weave paired cotton warp and unbleached linen weft, loom width, block printed", "support_materials": [], "department": "Textiles", "collection": "Textiles", "type": "Textile", "measurements": "Overall: 73.7 x 128.9 cm (29 x 50 3/4 in.)", "dimensions": {"overall": {"height": 0.737, "width": 1.289}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 313463, "title": "Color and Comfort: Swedish Modern Design", "description": "<i>Color and Comfort: Swedish Modern Design</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 11, 2019-February 10, 2020).", "opening_date": "2019-02-17T05:00:00"}], "legacy": []}, "provenance": [{"description": "Likely purchased by Mrs. Ruth F. Ruggles in Vienna, Austria from \"Haus & Garten\"", "citations": [], "footnotes": null, "date": "1937", "sortorder": 1}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This textile was produced in at least two different colorways.", "description": "With a title derived from a feminine Hungarian name, the <em>Antscha </em>pattern shows Josef Frank\u2019s early use of long sinuous vines. Another example of the same textile (1937.180) exists in yellow and green, suggesting that pattern colors were customizable to fit the customer\u2019s d\u00e9cor. These examples are likely the only surviving versions in an institutional collection.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80010864"], "internet_archive": []}, "citations": [{"citation": "See \"December, 1937.\"  Education Department Annual Report, 1937, CMA Archives.", "page_number": null, "url": null}], "url": "https://clevelandart.org/art/1937.181", "images": {}, "alternate_images": [], "creditline": "Educational Purchase Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 116588, "creators": [{"id": 56189, "description": "Josef Frank (Swedish, born Austria, 1885\u20131967)", "extent": null, "qualifier": null, "role": "designer", "biography": "Born to a Jewish family in Baden, Austria, Josef Frank was an architect and designer who came of age in pre-war Vienna. He graduated from the Technische Hochschule (Polytechnic) in 1910 and taught at the Kunstgewerbeschule (School of Arts and Crafts) until the mid-1920s. An associate of the Wiener Werkst\u00e4tte, Frank founded his own interior design firm Haus &amp; Garten in 1925 with Oskar Wlach (1881-1963) and Walter Sobotka (1888-1972). During this venture Frank wrote several design treatises including <em>Architektur als Symbol</em> (1931). Frank married Anna Sebenius, a Swedish woman, in 1912 and in 1933 began designing for the Stockholm-based interior design company Svenkst Tenn. Although he immigrated to Sweden and adopted Swedish citizenship in 1938, Frank spent World War II in the United States teaching at the New School for Social Research in New York. In 1946 Frank returned to Sweden, continuing work with Svenkst Tenn until his death in 1967. Frank is considered to be one of the pioneers of Swedish modern design and the \u201cScandinavian Style.\u201d", "name_in_original_language": null, "birth_year": "1885", "death_year": "1967", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 40234, "description": "Haus & Garten (Austrian, est. 1925)", "extent": null, "qualifier": null, "role": "manufacturer", "biography": "Established by Josef Frank (1885-1967), Oskar Wlach (1881-1963) and Walter Sobotka (1888-1972) in 1925, the Vienna-based interior design firm Haus &amp; Garten worked concurrent with the Wiener Werkst\u00e4tte. Frank acted as lead designer with Wlach overseeing the business. Despite his immigration to Sweden in 1933, Frank continued working with the firm until giving up his partnership in 1938. Sobotka departed from the firm earlier in 1926.", "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1937-12-20T00:00:00", "sortable_date": 1925, "date_added_to_oa": null, "date_text": "c. 1925\u201330", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": "This textile is from Josef Frank\u2019s interior furnishing company, HAUS &amp; GARTEN. It is plain weave and features a paired warp which is not seen in any other Josef Frank textiles. Under magnification there is a noticeable color difference between the warp and the weft. A polarized light microscope can be used to identify fibers; each fiber type has a unique structure that is visible under magnification. This technique requires a very small sample to be removed from the object. Through polarized light microscopy (PLM), the warp was identified as cotton with its helical structure, and the weft was identified as a bast fiber, likely linen, because it has striations perpendicular to the length of the fiber.", "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["No Title"], "is_highlight": false, "updated_at": "2026-03-27 00:00:05.285000"}, {"id": 116590, "accession_number": "1937.183", "share_license_status": "Copyrighted", "tombstone": "Mirakel (Miracle), c. 1925\u201330. Josef Frank (Swedish, born Austria, 1885\u20131967), Haus & Garten (Austrian, est. 1925). Linen: bleached, plain weave, block printed, loom width; overall: 95.7 x 121.3 cm (37 11/16 x 47 3/4 in.). The Cleveland Museum of Art, Educational Purchase Fund, 1937.183", "current_location": null, "title": "Mirakel (Miracle)", "creation_date": "c. 1925\u201330", "creation_date_earliest": 1925, "creation_date_latest": 1930, "artists_tags": ["male", "Jewish artists"], "culture": ["Austria, Vienna"], "technique": "Linen: bleached, plain weave, block printed, loom width", "support_materials": [], "department": "Textiles", "collection": "Textiles", "type": "Textile", "measurements": "Overall: 95.7 x 121.3 cm (37 11/16 x 47 3/4 in.)", "dimensions": {"overall": {"height": 0.957, "width": 1.213}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 313463, "title": "Color and Comfort: Swedish Modern Design", "description": "<i>Color and Comfort: Swedish Modern Design</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 11, 2019-February 10, 2020).", "opening_date": "2019-02-17T05:00:00"}], "legacy": []}, "provenance": [{"description": "Likely purchased by Mrs. Ruth F. Ruggles in Vienna, Austria from \"Haus & Garten\"", "citations": [], "footnotes": [], "date": "1937", "sortorder": 1}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Josef Frank often layered patterns; the background uses a dotted pattern that could evoke a placid pond or a starry sky.", "description": "Named for the technical \u201cmiracle\u201d that is this textile\u2019s stacked rotating design, <em>Mirakel </em>is still produced by the Stockholm-based interior design firm <em>Svenskt Tenn</em>. Though the design is now screenprinted in Sweden, this textile fragment was block printed by Josef Frank\u2019s Austrian firm <em>Haus &amp; Garten</em>, giving it an earlier production date. The design features imaginary flowers and sinuous vines, signature design elements of Frank\u2019s textiles.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80010867"], "internet_archive": []}, "citations": [{"citation": "See \"December, 1937.\"  Education Department Annual Report, 1937, CMA Archives.", "page_number": null, "url": null}], "url": "https://clevelandart.org/art/1937.183", "images": {}, "alternate_images": [], "creditline": "Educational Purchase Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 116590, "creators": [{"id": 56189, "description": "Josef Frank (Swedish, born Austria, 1885\u20131967)", "extent": null, "qualifier": null, "role": "designer", "biography": "Born to a Jewish family in Baden, Austria, Josef Frank was an architect and designer who came of age in pre-war Vienna. He graduated from the Technische Hochschule (Polytechnic) in 1910 and taught at the Kunstgewerbeschule (School of Arts and Crafts) until the mid-1920s. An associate of the Wiener Werkst\u00e4tte, Frank founded his own interior design firm Haus &amp; Garten in 1925 with Oskar Wlach (1881-1963) and Walter Sobotka (1888-1972). During this venture Frank wrote several design treatises including <em>Architektur als Symbol</em> (1931). Frank married Anna Sebenius, a Swedish woman, in 1912 and in 1933 began designing for the Stockholm-based interior design company Svenkst Tenn. Although he immigrated to Sweden and adopted Swedish citizenship in 1938, Frank spent World War II in the United States teaching at the New School for Social Research in New York. In 1946 Frank returned to Sweden, continuing work with Svenkst Tenn until his death in 1967. Frank is considered to be one of the pioneers of Swedish modern design and the \u201cScandinavian Style.\u201d", "name_in_original_language": null, "birth_year": "1885", "death_year": "1967", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 40234, "description": "Haus & Garten (Austrian, est. 1925)", "extent": null, "qualifier": null, "role": "manufacturer", "biography": "Established by Josef Frank (1885-1967), Oskar Wlach (1881-1963) and Walter Sobotka (1888-1972) in 1925, the Vienna-based interior design firm Haus &amp; Garten worked concurrent with the Wiener Werkst\u00e4tte. Frank acted as lead designer with Wlach overseeing the business. Despite his immigration to Sweden in 1933, Frank continued working with the firm until giving up his partnership in 1938. Sobotka departed from the firm earlier in 1926.", "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1937-12-20T00:00:00", "sortable_date": 1925, "date_added_to_oa": null, "date_text": "c. 1925\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": ["Mirakel"], "is_highlight": false, "updated_at": "2026-03-27 00:04:54.262000"}, {"id": 116593, "accession_number": "1937.186", "share_license_status": "Copyrighted", "tombstone": "Ret H\u00fcgel (Ret Hill), c. 1925. Josef Frank (Swedish, born Austria, 1885\u20131967), Haus & Garten (Austrian, est. 1925). Cotton: plain weave, printed, loom width; overall: 76.2 x 137.8 cm (30 x 54 1/4 in.). The Cleveland Museum of Art, Educational Purchase Fund, 1937.186", "current_location": null, "title": "Ret H\u00fcgel (Ret Hill)", "creation_date": "c. 1925", "creation_date_earliest": 1920, "creation_date_latest": 1930, "artists_tags": ["male"], "culture": ["Austria, Vienna"], "technique": "Cotton: plain weave, printed, loom width", "support_materials": [], "department": "Textiles", "collection": "Textiles", "type": "Textile", "measurements": "Overall: 76.2 x 137.8 cm (30 x 54 1/4 in.)", "dimensions": {"overall": {"height": 0.762, "width": 1.378}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 313463, "title": "Color and Comfort: Swedish Modern Design", "description": "<i>Color and Comfort: Swedish Modern Design</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 11, 2019-February 10, 2020).", "opening_date": "2019-02-17T05:00:00"}], "legacy": []}, "provenance": [{"description": "Likely purchased by Mrs. Ruth F. Ruggles in Vienna, Austria from \"Haus & Garten\"", "citations": [], "footnotes": [], "date": "1937", "sortorder": 1}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This textile was printed by Josef Frank\u2019s Austrian firm Haus &amp; Garten. Later, the Swedish firm Svenskt Tenn reproduced the same pattern under the Swedish name <em>Kullarna</em>, meaning \u201cThe Hills.\u201d", "description": "Unusual for its color and simplicity of design, <em>Ret Hill</em> was also produced in green. These colors reflect an atmospheric landscape of grass and sky. This version may be the only complete width example to have survived from the period.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80010875"], "internet_archive": []}, "citations": [{"citation": "See \"December, 1937.\"  Education Department Annual Report, 1937, CMA Archives.", "page_number": null, "url": null}], "url": "https://clevelandart.org/art/1937.186", "images": {}, "alternate_images": [], "creditline": "Educational Purchase Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 116593, "creators": [{"id": 317228, "description": "Josef Frank (Swedish, born Austria, 1885\u20131967)", "extent": null, "qualifier": null, "role": "designer", "biography": "Born to a Jewish family in Baden, Austria, Josef Frank was an architect and designer who came of age in pre-war Vienna. He graduated from the Technische Hochschule (Polytechnic) in 1910 and taught at the Kunstgewerbeschule (School of Arts and Crafts) until the mid-1920s. An associate of the Wiener Werkst\u00e4tte, Frank founded his own interior design firm Haus &amp; Garten in 1925 with Oskar Wlach (1881-1963) and Walter Sobotka (1888-1972). During this venture Frank wrote several design treatises including <em>Architektur als Symbol</em> (1931). Frank married Anna Sebenius, a Swedish woman, in 1912 and in 1933 began designing for the Stockholm-based interior design company Svenkst Tenn. Although he immigrated to Sweden and adopted Swedish citizenship in 1938, Frank spent World War II in the United States teaching at the New School for Social Research in New York. In 1946 Frank returned to Sweden, continuing work with Svenkst Tenn until his death in 1967. Frank is considered to be one of the pioneers of Swedish modern design and the \u201cScandinavian Style.\u201d", "name_in_original_language": null, "birth_year": "1885", "death_year": "1967", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 40234, "description": "Haus & Garten (Austrian, est. 1925)", "extent": null, "qualifier": null, "role": "manufacturer", "biography": "Established by Josef Frank (1885-1967), Oskar Wlach (1881-1963) and Walter Sobotka (1888-1972) in 1925, the Vienna-based interior design firm Haus &amp; Garten worked concurrent with the Wiener Werkst\u00e4tte. Frank acted as lead designer with Wlach overseeing the business. Despite his immigration to Sweden in 1933, Frank continued working with the firm until giving up his partnership in 1938. Sobotka departed from the firm earlier in 1926.", "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1937-12-20T00:00:00", "sortable_date": 1920, "date_added_to_oa": null, "date_text": "c. 1925", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Re't Blau (Design #2673a)"], "is_highlight": false, "updated_at": "2026-03-27 00:04:58.528000"}, {"id": 116595, "accession_number": "1937.188", "share_license_status": "Copyrighted", "tombstone": "Fatima , c. 1925\u201330. Josef Frank (Swedish, born Austria, 1885\u20131967), Haus & Garten (Austrian, est. 1925). Cotton: plain weave, loom width, block printed; overall: 76.8 x 137.8 cm (30 1/4 x 54 1/4 in.). The Cleveland Museum of Art, Educational Purchase Fund, 1937.188", "current_location": null, "title": "Fatima ", "creation_date": "c. 1925\u201330", "creation_date_earliest": 1925, "creation_date_latest": 1930, "artists_tags": ["male", "Jewish artists"], "culture": ["Austria, Vienna"], "technique": "cotton: plain weave, loom width, block printed", "support_materials": [], "department": "Textiles", "collection": "Textiles", "type": "Textile", "measurements": "Overall: 76.8 x 137.8 cm (30 1/4 x 54 1/4 in.)", "dimensions": {"overall": {"height": 0.768, "width": 1.378}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 313463, "title": "Color and Comfort: Swedish Modern Design", "description": "<i>Color and Comfort: Swedish Modern Design</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 11, 2019-February 10, 2020).", "opening_date": "2019-02-17T05:00:00"}], "legacy": []}, "provenance": [{"description": "Likely purchased by Mrs. Ruth F. Ruggles in Vienna, Austria from \"Haus & Garten\"", "citations": [], "footnotes": [], "date": "1937", "sortorder": 1}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This pattern includes fourteen discernable types of flowers.", "description": "Inspired by English cotton chintz patterns, Josef Frank created several designs for cotton textiles used as clothing. <em>Fatima </em>was likely meant for summer evening gowns due to the cotton\u2019s light weight. The design\u2019s vibrant floral motifs in intricate arrangements would have made a fresh and fashionable impression without overemphasizing the pattern\u2019s geometry.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80010883"], "internet_archive": []}, "citations": [{"citation": "See \"December, 1937.\"  Education Department Annual Report, 1937, CMA Archives.", "page_number": null, "url": null}], "url": "https://clevelandart.org/art/1937.188", "images": {}, "alternate_images": [], "creditline": "Educational Purchase Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 116595, "creators": [{"id": 56189, "description": "Josef Frank (Swedish, born Austria, 1885\u20131967)", "extent": null, "qualifier": null, "role": "designer", "biography": "Born to a Jewish family in Baden, Austria, Josef Frank was an architect and designer who came of age in pre-war Vienna. He graduated from the Technische Hochschule (Polytechnic) in 1910 and taught at the Kunstgewerbeschule (School of Arts and Crafts) until the mid-1920s. An associate of the Wiener Werkst\u00e4tte, Frank founded his own interior design firm Haus &amp; Garten in 1925 with Oskar Wlach (1881-1963) and Walter Sobotka (1888-1972). During this venture Frank wrote several design treatises including <em>Architektur als Symbol</em> (1931). Frank married Anna Sebenius, a Swedish woman, in 1912 and in 1933 began designing for the Stockholm-based interior design company Svenkst Tenn. Although he immigrated to Sweden and adopted Swedish citizenship in 1938, Frank spent World War II in the United States teaching at the New School for Social Research in New York. In 1946 Frank returned to Sweden, continuing work with Svenkst Tenn until his death in 1967. Frank is considered to be one of the pioneers of Swedish modern design and the \u201cScandinavian Style.\u201d", "name_in_original_language": null, "birth_year": "1885", "death_year": "1967", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 40234, "description": "Haus & Garten (Austrian, est. 1925)", "extent": null, "qualifier": null, "role": "manufacturer", "biography": "Established by Josef Frank (1885-1967), Oskar Wlach (1881-1963) and Walter Sobotka (1888-1972) in 1925, the Vienna-based interior design firm Haus &amp; Garten worked concurrent with the Wiener Werkst\u00e4tte. Frank acted as lead designer with Wlach overseeing the business. Despite his immigration to Sweden in 1933, Frank continued working with the firm until giving up his partnership in 1938. Sobotka departed from the firm earlier in 1926.", "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1937-12-20T00:00:00", "sortable_date": 1925, "date_added_to_oa": null, "date_text": "c. 1925\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 00:05:21.692000"}, {"id": 161714, "accession_number": "2000.75", "share_license_status": "Copyrighted", "tombstone": "Man Spirit Mask, 1999. Willie Cole (American, b. 1955). Embossed photoetching hand-colored with lemon juice; photoscreenprint hand-colored with lemon juice; photoetching and woodcut; sheet: 99.8 x 67.5 cm (39 5/16 x 26 9/16 in.). The Cleveland Museum of Art, John L. Severance Fund, 2000.75", "current_location": null, "title": "Man Spirit Mask", "creation_date": "1999", "creation_date_earliest": 1999, "creation_date_latest": 1999, "artists_tags": ["Black American Artists", "male"], "culture": ["America"], "technique": "embossed photoetching hand-colored with lemon juice; photoscreenprint hand-colored with lemon juice; photoetching and woodcut", "support_materials": [], "department": "Prints", "collection": "PR - Etching", "type": "Print", "measurements": "Sheet: 99.8 x 67.5 cm (39 5/16 x 26 9/16 in.)", "dimensions": {"sheet": {"height": 0.998, "width": 0.675}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 441598, "title": "Artlens Exhibition 2019", "description": "<i>Artlens Exhibition 2019</i>. The Cleveland Museum of Art, Cleveland, OH (organizer).", "opening_date": "2019-06-11T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The steam iron is a personal symbol for this artist and it appears in many of his works.", "description": "This artwork is composed of three prints, each referencing the artist\u2019s identity as a Black man in America grappling with the legacy of slavery. The central print depicts a ghostly scorch mark made by an iron. This ordinary household tool may reference domestic servitude, but also echoes the shape of ships that carried millions of captive African people to the United States. On the flanking prints, the artist layered the imprint and image of the same iron over his own face, suggesting African masks and scarification rites, and the branding of Black bodies as property. By incorporating the iron imagery onto his own face, Cole suggests that scars from the past can and do affect the present.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79984803"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art, \u201cRecent Acquisitions Press Release,\u201d October 6, 2000, Cleveland Museum of Art Archives.", "page_number": "Mentioned: p. 3", "url": "https://archive.org/details/cmapr4354"}], "url": "https://clevelandart.org/art/2000.75", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 161714, "creators": [{"id": 23893, "description": "Willie Cole (American, b. 1955)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1955", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2000-09-18T00:00:00", "sortable_date": 1999, "date_added_to_oa": null, "date_text": "1999", "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 00:04:09.523000"}, {"id": 117129, "accession_number": "1937.696", "share_license_status": "CC0", "tombstone": "Strawberry Thief, c 1936. Designed by William Morris (British, 1834\u20131896). Plain weave cotton, discharge printed; overall: 88.3 x 99.1 cm (34 3/4 x 39 in.). The Cleveland Museum of Art, Gift of Mrs. Henry Chisholm, 1937.696", "current_location": null, "title": "Strawberry Thief", "creation_date": "c 1936", "creation_date_earliest": 1936, "creation_date_latest": 1936, "artists_tags": ["male"], "culture": ["England, Merton Abbey, 20th century"], "technique": "plain weave cotton, discharge printed", "support_materials": [], "department": "Textiles", "collection": "Textiles", "type": "Textile", "measurements": "Overall: 88.3 x 99.1 cm (34 3/4 x 39 in.)", "dimensions": {"overall": {"height": 0.883, "width": 0.991}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 302021, "title": "Design in Printed Textiles", "description": "<i>Design in Printed Textiles</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 7-September 3, 1961).", "opening_date": "1961-04-07T05:00:00"}, {"id": 310016, "title": "Transitions: 19th and Early 20th Century French and English Textiles", "description": "<i>Transitions: 19th and Early 20th Century French and English Textiles</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 3-November 16, 1986).", "opening_date": "1986-06-03T04:00:00"}, {"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": 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": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Perhaps the most recognizable of Morris\u2019s textiles, <em>Strawberry Thief</em> celebrates the thrushes in Kelmscott Manor\u2019s garden. May Morris remarked, \u201cYou can picture my Father going out in the early morning and watching the rascally thrushes at work on the fruit beds and telling the gardener who growls, \u2018I\u2019d like to wring their necks!\u2019 that no bird in the garden must be touched.\u201d With <em>Strawberry Thief, </em>Morris perfected the indigo-discharge process, which required the entire cloth to be dyed blue before it was bleached and block printed, in this case with more colors than any of his other textiles.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60745767"], "internet_archive": ["https://archive.org/details/clevelandart-1937.696-strawberry-thief"]}, "citations": [{"citation": "Parry, Linda. William Morris Textiles. London: Weidenfeld and Nicolson, 1983.", "page_number": "p. 155, no 46", "url": null}, {"citation": "Lemonedes, Heather. \u201cImaging the Garden: The garden is a ground plot for the mind. \u2014Thomas Hill, <em>The Gardener\u2019s Labyrinth</em> (1577).\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 55, no. 6 (November/December 2015): 4-6.", "page_number": "Reproduced and Mentioned: p. 6", "url": "https://archive.org/details/CMAMM2015-06"}, {"citation": "Korkow, Cory. \"Textiles.\" IN <em>William Morris: Designing an Earthly Paradise.</em> Cory Korkow and Victoria Hepburn, 8-23. Cleveland, Ohio : Cleveland Museum of Art, 2017.", "page_number": "Mentioned: pp. 18-19; reproduced: p. 19, fig, 13.", "url": null}], "url": "https://clevelandart.org/art/1937.696", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1937.696/1937.696_web.jpg", "width": "900", "height": "803", "filesize": "600627", "filename": "1937.696_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1937.696/1937.696_print.jpg", "width": "3400", "height": "3035", "filesize": "6453300", "filename": "1937.696_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1937.696/1937.696_full.tif", "width": "13272", "height": "11848", "filesize": "471780016", "filename": "1937.696_full.tif"}}, "alternate_images": [{"date_created": "2006-11-08T16:17:36", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1937.696/1937.696_alt0_web.jpg", "width": "1007", "height": "893", "filesize": "913423"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1937.696/1937.696_alt0_print.jpg", "width": "3400", "height": "3015", "filesize": "8006034"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1937.696/1937.696_alt0_full.tif", "width": "4096", "height": "3632", "filesize": "44668820"}}, {"date_created": "2017-07-12T08:53:59", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1937.696/1937.696_alt1_web.jpg", "width": "621", "height": "900", "filesize": "481981"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1937.696/1937.696_alt1_print.jpg", "width": "2347", "height": "3400", "filesize": "5249651"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1937.696/1937.696_alt1_full.tif", "width": "10537", "height": "15263", "filesize": "482516448"}}], "creditline": "Gift of Mrs. Henry Chisholm", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 117129, "creators": [{"id": 24604, "description": "William Morris (British, 1834\u20131896)", "extent": "designed by", "qualifier": null, "role": "designer", "biography": null, "name_in_original_language": null, "birth_year": "1834", "death_year": "1896", "use_in_caption": true, "include_extent": true, "weight": 1}], "legal_status": "accessioned", "accession_date": "1937-12-20T00:00:00", "sortable_date": 1936, "date_added_to_oa": null, "date_text": "c 1936", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-26 23:59:32.605000"}, {"id": 119741, "accession_number": "1940.575", "share_license_status": "CC0", "tombstone": "Dancing Figure, 1916\u201318. Elie Nadelman (American, born Russian Empire [now Poland], 1882\u20131946). Bronze; overall: 79.4 x 35.6 x 28 cm (31 1/4 x 14 x 11 in.). The Cleveland Museum of Art, Bequest of James Parmelee, 1940.575", "current_location": null, "title": "Dancing Figure", "creation_date": "1916\u201318", "creation_date_earliest": 1916, "creation_date_latest": 1918, "artists_tags": ["male", "Jewish artists"], "culture": ["America"], "technique": "bronze", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Sculpture", "type": "Sculpture", "measurements": "Overall: 79.4 x 35.6 x 28 cm (31 1/4 x 14 x 11 in.)", "dimensions": {"overall": {"height": 0.794, "width": 0.356, "depth": 0.28}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed:  Elie Nadelman", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"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": 309667, "title": "Circa 1930", "description": "<i>Circa 1930</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 12-October 31, 1983).", "opening_date": "1983-04-12T05:00:00"}, {"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": 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": 185539, "title": "Object in Focus: Elie Nadelman, Kneeling Dancer", "description": "<i>Object in Focus: Elie Nadelman, Kneeling Dancer</i>. The Cleveland Museum of Art (organizer) (August 28-October 14, 2001).", "opening_date": "2001-08-28T00:00:00"}], "legacy": [{"description": "Atlantic City, New Jersey, The Municipal Gallery, 1919: \"Exhibition of American Contemporary Art,\" cat. #48 (as The Dancer), repr. p. 65", "opening_date": "1919-01-01T00:00:00"}, {"description": "Whitney Museum of American Art, New York, 9/23/1975-2/15/1976: \"Elie Nadelman Exhibition\"", "opening_date": "1975-09-23T00:00:00"}]}, "provenance": [{"description": "James Parmelee", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "A larger version of this sculpture was originally conceived in limestone to decorate an outdoor garden in Long Island.", "description": "<em>Dancing Figure</em> displays the geometrically simplified forms and softened angles that are a hallmark of Elie Nadelman\u2019s work. Its spiraling composition presents a woman whose body partially twists on bended knee. Her raised arms echo the position of her legs.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79624851"], "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. #40, pp. 41-42, repr. p. 41", "url": null}], "url": "https://clevelandart.org/art/1940.575", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1940.575/1940.575_web.jpg", "width": "675", "height": "900", "filesize": "98324", "filename": "1940.575_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1940.575/1940.575_print.jpg", "width": "2550", "height": "3400", "filesize": "708786", "filename": "1940.575_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1940.575/1940.575_full.tif", "width": "6000", "height": "8000", "filesize": "144030532", "filename": "1940.575_full.tif"}}, "alternate_images": [{"date_created": "2015-08-04T09:29:27", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1940.575/1940.575_alt0_web.jpg", "width": "675", "height": "900", "filesize": "102160"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1940.575/1940.575_alt0_print.jpg", "width": "2550", "height": "3400", "filesize": "742680"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1940.575/1940.575_alt0_full.tif", "width": "6000", "height": "8000", "filesize": "144030144"}}, {"date_created": "2015-07-30T15:29:33", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1940.575/1940.575_alt1_web.jpg", "width": "523", "height": "900", "filesize": "93104"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1940.575/1940.575_alt1_print.jpg", "width": "1974", "height": "3400", "filesize": "651111"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1940.575/1940.575_alt1_full.tif", "width": "4434", "height": "7637", "filesize": "101617128"}}, {"date_created": "2015-08-04T09:38:56", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1940.575/1940.575_alt2_web.jpg", "width": "675", "height": "900", "filesize": "100912"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1940.575/1940.575_alt2_print.jpg", "width": "2550", "height": "3400", "filesize": "727905"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1940.575/1940.575_alt2_full.tif", "width": "6000", "height": "8000", "filesize": "144030052"}}, {"date_created": "2015-08-04T10:26:01", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1940.575/1940.575_alt3_web.jpg", "width": "675", "height": "900", "filesize": "96579"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1940.575/1940.575_alt3_print.jpg", "width": "2550", "height": "3400", "filesize": "717822"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1940.575/1940.575_alt3_full.tif", "width": "6000", "height": "8000", "filesize": "144030028"}}], "creditline": "Bequest of James Parmelee", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 119741, "creators": [{"id": 7156, "description": "Elie Nadelman (American, born Russian Empire [now Poland], 1882\u20131946)", "extent": null, "qualifier": null, "role": "sculptor", "biography": null, "name_in_original_language": null, "birth_year": "1882", "death_year": "1946", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1940-10-30T00:00:00", "sortable_date": 1916, "date_added_to_oa": null, "date_text": "1916\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": ["Dancing Figure"], "is_highlight": false, "updated_at": "2026-03-27 00:04:37.452000"}, {"id": 153610, "accession_number": "1987.140", "share_license_status": "Copyrighted", "tombstone": "Sunflower, New Mexico, I, 1935. Georgia O'Keeffe (American, 1887\u20131986). Oil on canvas; framed: 53.3 x 43.2 x 3.8 cm (21 x 17 x 1 1/2 in.); unframed: 50.8 x 40.6 cm (20 x 16 in.). The Cleveland Museum of Art, Bequest of Georgia O'Keeffe, 1987.140. \u00a9  Georgia O'Keeffe Museum / Artists Rights Society (ARS), New York", "current_location": null, "title": "Sunflower, New Mexico, I", "creation_date": "1935", "creation_date_earliest": 1935, "creation_date_latest": 1935, "artists_tags": ["female"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 53.3 x 43.2 x 3.8 cm (21 x 17 x 1 1/2 in.); Unframed: 50.8 x 40.6 cm (20 x 16 in.)", "dimensions": {"framed": {"height": 0.533, "width": 0.432, "depth": 0.038}, "unframed": {"height": 0.508, "width": 0.406}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  Georgia O'Keeffe Museum / Artists Rights Society (ARS), New York", "inscriptions": [], "exhibitions": {"current": [{"id": 310024, "title": "The Georgia O'Keeffe Gift", "description": "<i>The Georgia O'Keeffe Gift</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 4-November 15, 1987).", "opening_date": "1987-09-04T04:00:00"}, {"id": 228348, "title": "Georgia O'Keeffe and the Southwestern Still Life", "description": "<i>Georgia O'Keeffe and the Southwestern Still Life</i>. Indianapolis Museum of Art, Indianapolis, IN (October 30, 2014-February 15, 2015).", "opening_date": "2014-10-30T00:00:00"}, {"id": 317416, "title": "Georgia O'Keeffe: Living Modern", "description": "<i>Georgia O'Keeffe: Living Modern</i>. The Cleveland Museum of Art, Cleveland, OH (November 21, 2018-March 3, 2019).", "opening_date": "2018-11-23T05:00:00"}, {"id": 522591, "title": "Art Bridges Loan Partnership", "description": "<i>Art Bridges Loan Partnership</i>. Mattatuck Museum, Waterbury, CT (August 16, 2024-September 21, 2025); San Antonio Museum of Art, San Antonio, TX (October 4, 2025-October 4, 2026) https://www.samuseum.org/artwork/exhibition/canvas-to-clay-georgia-okeeffe-maria-martinez-to-mata-ortiz-and-tonala/.", "opening_date": "2024-08-16T04:00:00"}], "legacy": [{"description": "New York, An American Place Georgia O'Keeffe:  Exhibition of Recent Paintings, 1935 (1936), No. 11.", "opening_date": "1936-01-01T00:00:00"}, {"description": "Cleveland, The Cleveland Museum of Art, The Georgia O'Keeffe Gift (4 September-15 November 1987)", "opening_date": "1987-09-04T00:00:00"}, {"description": "International Arts (organizer).  Indianapolis Museum of Art, IN (10/30/2014 - 2/15/2015):  \"Georgia O'Keeffe and the Southwestern Still Life:\"", "opening_date": "2014-10-30T00:00:00"}]}, "provenance": [{"description": "Estate of the artist, 1986", "citations": [], "footnotes": [], "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The sunflower was a rare subject for O'Keeffe, who painted them on only three occasions.", "description": "Unlike most of O\u2019Keeffe\u2019s close-up images of flowers, this example appears in a landscape environment, with bloom, stem, and leaves framed against the bright blue Southwestern sky.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60475946"], "internet_archive": []}, "citations": [{"citation": "<em>Georgia O'Keeffe. </em>New York: Viking Press, 1976.", "page_number": "Reproduced: p. 71, no. 27", "url": ""}], "url": "https://clevelandart.org/art/1987.140", "images": {}, "alternate_images": [], "creditline": "Bequest of Georgia O'Keeffe", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 153610, "creators": [{"id": 3228, "description": "Georgia O'Keeffe (American, 1887\u20131986)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1887", "death_year": "1986", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1987-08-19T00:00:00", "sortable_date": 1935, "date_added_to_oa": null, "date_text": "1935", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:36.903000"}, {"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": 166639, "accession_number": "2008.36", "share_license_status": "Copyrighted", "tombstone": "Goldsmiths, 1919. Emil Nolde (German, 1876\u20131956). Oil on wood; framed: 90.2 x 72.4 x 5.1 cm (35 1/2 x 28 1/2 x 2 in.); unframed: 69 x 51 cm (27 3/16 x 20 1/16 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 2008.36", "current_location": "225 German Expressionism & Surrealism", "title": "Goldsmiths", "creation_date": "1919", "creation_date_earliest": 1919, "creation_date_latest": 1919, "artists_tags": ["male"], "culture": ["Germany, 20th century"], "technique": "oil on wood", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 90.2 x 72.4 x 5.1 cm (35 1/2 x 28 1/2 x 2 in.); Unframed: 69 x 51 cm (27 3/16 x 20 1/16 in.)", "dimensions": {"framed": {"height": 0.902, "width": 0.724, "depth": 0.051}, "unframed": {"height": 0.69, "width": 0.51}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed. lower right: \"Emil Nolde\"; 1919", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "(Betty Krulik Fine Art, Ltd., New York, NY, 2008, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "2008", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2008-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Emile Node once stated: \"Every color holds within it a soul, which makes me happy or repels me, and which acts as a stimulus.\"", "description": "A leading artist of the German Expressionist group Die Br\u00fccke (The Bridge), Nolde criticized French modernism as overly intellectual and tepid. Seeking a new art of radically simplified form and emotive color, he found inspiration in Oceanic sculpture and the medieval paintings of Matthias Gr\u00fcnewald. Deeply religious, Nolde depicted biblical subjects with a deliberately crude, ferocious vigor intended to elevate spirituality over descriptive form. This painting may allude to two goldsmiths divinely selected to make religious objects, and whose work so pleased God that Moses blessed them (Exodus 35:30-43). Such images are not literal illustrations, Nolde explained, but visions that sprang from his own imagination, driven by the spontaneous release of emotion. \"In art\" he wrote, \"I fight for unconscious creation. Labor destroys paintings.\"", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60480461"], "internet_archive": []}, "citations": [{"citation": "Adams, Henry. \"The Invisible Man: William Robinson.\" <em>CAN Journal </em>(Spring 2017): 80-83.<em> </em>", "page_number": "Reproduced: p. 82", "url": ""}], "url": "https://clevelandart.org/art/2008.36", "images": {}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 166639, "creators": [{"id": 12713, "description": "Emil Nolde (German, 1876\u20131956)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1876", "death_year": "1956", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2008-06-23T00:00:00", "sortable_date": 1919, "date_added_to_oa": null, "date_text": "1919", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:02:57.514000"}, {"id": 93155, "accession_number": "2021.156", "share_license_status": "CC0", "tombstone": "Tea Cup and Holder, c. 1908\u201317. House of Faberg\u00e9 (Russian, 1842\u20131918). Silver, glass; handle: 7.6 cm (3 in.). The Cleveland Museum of Art, Gift of the Hiller-Borneman Collection, 2021.156", "current_location": "211 Faberg\u00e9", "title": "Tea Cup and Holder", "creation_date": "c. 1908\u201317", "creation_date_earliest": 1908, "creation_date_latest": 1917, "artists_tags": ["gender unknown"], "culture": ["Russian"], "technique": "silver, glass", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Glass", "measurements": "Handle: 7.6 cm (3 in.)", "dimensions": {"handle": {"height": 0.076}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "(Wartski Ltd, London, sold to J. Randolph Hiller)", "citations": [], "footnotes": null, "date": "1999", "sortorder": 1}, {"description": "Hiller-Borneman Collection, Pittsburgh, PA, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?\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": "In Russia, tea has been served in glasses since the eighteenth century.", "description": "Likely from a larger set, this tea glass with its holder is an excellent example of Faberg\u00e9\u2019s ability to imbue objects of everyday use with exceptional artistry. The holder features elegant scroll motifs forming two horizontal bands and a handle, an ingenious take on the French ornamental style of the mid-eighteenth century.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q116695561"], "internet_archive": []}, "citations": [{"citation": "", "page_number": "", "url": ""}], "url": "https://clevelandart.org/art/2021.156", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2021.156/2021.156_web.jpg", "width": "771", "height": "900", "filesize": "168216", "filename": "2021.156_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2021.156/2021.156_print.jpg", "width": "2913", "height": "3400", "filesize": "1132548", "filename": "2021.156_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2021.156/2021.156_full.tif", "width": "5201", "height": "6070", "filesize": "94735640", "filename": "2021.156_full.tif"}}, "alternate_images": [], "creditline": "Gift of the Hiller-Borneman Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 93155, "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": 1908, "date_added_to_oa": null, "date_text": "c. 1908\u201317", "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 00:08:34.197000"}, {"id": 375091, "accession_number": "2021.156.b", "share_license_status": "CC0", "tombstone": "Tea Cup, c. 1908\u20131917. House of Faberg\u00e9 (Russian, 1842\u20131918). Glass; handle: 7.6 cm (3 in.). The Cleveland Museum of Art, Gift of the Hiller-Borneman Collection, 2021.156.b", "current_location": "211 Faberg\u00e9", "title": "Tea Cup", "creation_date": "c. 1908\u20131917", "creation_date_earliest": 1908, "creation_date_latest": 1917, "artists_tags": ["gender unknown"], "culture": ["Russian"], "technique": "glass", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Glass", "measurements": "Handle: 7.6 cm (3 in.)", "dimensions": {"handle": {"height": 0.076}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "(Wartski Ltd, London, sold to 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": 1}], "legal_status": "accessioned", "accession_date": "2021-09-13T04:00:00Z", "sortable_date": 1908, "date_added_to_oa": null, "date_text": "c. 1908\u20131917", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "2021.156", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:02:20.644000"}, {"id": 93256, "accession_number": "2021.158", "share_license_status": "CC0", "tombstone": "Cigarette Case, 1911. House of Faberg\u00e9 (Russian, 1842\u20131918), August Hollming (Finnish, 1854\u20131913). Silver, ruby, textile; overall: 10.2 cm (4 in.). The Cleveland Museum of Art, Gift of the Hiller-Borneman Collection, 2021.158", "current_location": "211 Faberg\u00e9", "title": "Cigarette Case", "creation_date": "1911", "creation_date_earliest": 1911, "creation_date_latest": 1911, "artists_tags": ["gender unknown", "male"], "culture": ["Russian"], "technique": "Silver, ruby, textile", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Silver", "measurements": "Overall: 10.2 cm (4 in.)", "dimensions": {"overall": {"width": 0.102}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed with initials of the workmaster August Hollming (active 1880-1913)", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Listed in the inventory of the Faberg\u00e9 London branch (#20039), sold to Queen Alexandra", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "Hiller-Borneman Collection, Pittsburgh, PA, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": null, "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 cigarette case also includes a compartment for a match striker.", "description": "Faberg\u00e9 offered variations of a cigarette case model such as this example, using different materials, surface treatments, and ornamentation. Accommodating individual clients\u2019 wishes, the firm would also add a family insignia or additional decoration. The finely ridged surface demonstrates the superb handling of the precious metal by August Hollming, a Finnish master who worked for Faberg\u00e9 in Saint Petersburg.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q116695587"], "internet_archive": []}, "citations": [{"citation": "None found", "page_number": "", "url": ""}], "url": "https://clevelandart.org/art/2021.158", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2021.158/2021.158_web.jpg", "width": "900", "height": "598", "filesize": "177054", "filename": "2021.158_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2021.158/2021.158_print.jpg", "width": "3400", "height": "2260", "filesize": "1302860", "filename": "2021.158_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2021.158/2021.158_full.tif", "width": "7467", "height": "4963", "filesize": "111201172", "filename": "2021.158_full.tif"}}, "alternate_images": [{"date_created": "2019-11-25T15:07:58", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.158/2021.158_alt0_web.jpg", "width": "900", "height": "553", "filesize": "165982"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.158/2021.158_alt0_print.jpg", "width": "3400", "height": "2089", "filesize": "1066619"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.158/2021.158_alt0_full.tif", "width": "7174", "height": "4408", "filesize": "94893992"}}, {"date_created": "2019-11-25T14:55:05", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.158/2021.158_alt1_web.jpg", "width": "900", "height": "665", "filesize": "187747"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.158/2021.158_alt1_print.jpg", "width": "3400", "height": "2514", "filesize": "1371016"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.158/2021.158_alt1_full.tif", "width": "7461", "height": "5517", "filesize": "123512456"}}, {"date_created": "2019-11-25T15:00:03", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.158/2021.158_alt2_web.jpg", "width": "900", "height": "506", "filesize": "170259"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.158/2021.158_alt2_print.jpg", "width": "3048", "height": "1712", "filesize": "1078660"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.158/2021.158_alt2_full.tif", "width": "3048", "height": "1712", "filesize": "15678788"}}, {"date_created": "2019-11-25T15:00:55", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.158/2021.158_alt3_web.jpg", "width": "740", "height": "900", "filesize": "260807"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.158/2021.158_alt3_print.jpg", "width": "1327", "height": "1613", "filesize": "610412"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.158/2021.158_alt3_full.tif", "width": "1327", "height": "1613", "filesize": "6445852"}}, {"date_created": "2019-11-25T15:04:25", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.158/2021.158_alt4_web.jpg", "width": "900", "height": "524", "filesize": "256378"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.158/2021.158_alt4_print.jpg", "width": "1738", "height": "1012", "filesize": "665564"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.158/2021.158_alt4_full.tif", "width": "1738", "height": "1012", "filesize": "5300096"}}, {"date_created": "2019-11-25T15:05:39", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.158/2021.158_alt5_web.jpg", "width": "900", "height": "691", "filesize": "268634"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.158/2021.158_alt5_print.jpg", "width": "1525", "height": "1171", "filesize": "562118"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.158/2021.158_alt5_full.tif", "width": "1525", "height": "1171", "filesize": "5381320"}}], "creditline": "Gift of the Hiller-Borneman Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 93256, "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": 55247, "description": "August Hollming (Finnish, 1854\u20131913)", "extent": null, "qualifier": null, "role": "workmaster", "biography": null, "name_in_original_language": null, "birth_year": "1854", "death_year": "1913", "use_in_caption": true, "include_extent": true, "weight": 2}], "legal_status": "accessioned", "accession_date": "2021-09-13T04:00:00Z", "sortable_date": 1911, "date_added_to_oa": null, "date_text": "1911", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:20.321000"}, {"id": 524144, "accession_number": "2022.256", "share_license_status": "Copyrighted", "tombstone": "Itjorholo/ijogolo (married woman\u2019s apron), c. 1935. Africa, Southern Africa, South Africa, Ndebele-style maker. Goatskin, grass, glass beads; overall: 69.8 x 50.8 cm (27 1/2 x 20 in.). The Cleveland Museum of Art, Severance and Greta Millikin Purchase Fund, 2022.256", "current_location": "108B Southern African", "title": "Itjorholo/ijogolo (married woman\u2019s apron)", "creation_date": "c. 1935", "creation_date_earliest": 1930, "creation_date_latest": 1940, "artists_tags": [], "culture": ["Africa, Southern Africa, South Africa, Ndebele-style maker"], "technique": "Goatskin, grass, glass beads", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Textile", "measurements": "Overall: 69.8 x 50.8 cm (27 1/2 x 20 in.)", "dimensions": {"overall": {"height": 0.698, "width": 0.508}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Suzanne Priebatsch & Natalie Knight, South Africa", "citations": [], "footnotes": null, "date": "ca. 1970s\u20131980s", "sortorder": 1}, {"description": "(Knight Galleries International, Toronto, Canada (Natalie [Knight] Liknaitzky & Julian Liknaitzky), sold to Gary van Wyk & Lisa Brittan", "citations": [], "footnotes": null, "date": "2/7/2000", "sortorder": 2}, {"description": "Gary van Wyk & Lisa Brittan, West Orange, NJ, sold to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "2000\u20132022", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2022\u2013", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The designs on this <em>itjorholo</em> (beaded apron) reference architecture. An \u201cH-shape\u201d motif represents a homestead\u2019s floor plan; triangles may be interpreted as a roof; and horizontal bands suggest compound walls.", "description": "This <em>itjorholo</em> (beaded apron) represents the social status and future aspirations of a married Ndebele woman. Before a wedding, bridegrooms gift an undecorated hide apron to their fianc\u00e9e. Following the marriage, the new bride or her mother-in-law embellish it with imported glass beads. The five large lappets or \u201ccalves\u201d reference future children, while the smaller flanking lappets indicate the wearer already had children. The colorful motif suggests the paintings Ndebele women make on the exterior walls of their homestead compounds.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117247710"], "internet_archive": []}, "citations": [{"citation": "Stepan, Peter, John William Gabriel, and Elizabeth Schwaiger. <em>Africa</em>. Munich: Prestel, 2001.", "page_number": "pp. 60\u201361", "url": "(https://www.worldcat.org/title/47270611)"}], "url": "https://clevelandart.org/art/2022.256", "images": {}, "alternate_images": [], "creditline": "Severance and Greta Millikin Purchase Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 524144, "creators": [], "legal_status": "accessioned", "accession_date": "2022-12-05T05:00:00Z", "sortable_date": 1930, "date_added_to_oa": null, "date_text": "c. 1935", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:37.997000"}, {"id": 163549, "accession_number": "2004.88.a", "share_license_status": "Copyrighted", "tombstone": "Giant Toothpaste Tube, 1964. 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Guggenheim Museum (October 7, 1995-Janurary 21, 1996) | Bonn, Kunst-und Ausstellunghalle der Bundesrepublik Deutschland (February 15-May 12, 1996) | London, The Hayward Gallery (June 6-August 19, 1996)", "opening_date": "1995-06-18T00:00:00"}, {"description": "1991-1993 - \"The Pop Art Show\" London, Royal Academy of Art (September 13-December 16, 1991) | Cologne, Museum Ludwig (January 22-April 21, 1992) | Madrid, Museo Nacional Centro de Arte Reina Sof\u00eda (June 16-September 24, 1992) | Montr\u00e9al, Mus\u00e9e des beaux-arts (October 22, 1992-January 24, 1993)", "opening_date": "1991-09-13T00:00:00"}, {"description": "1971-1973 - \"Claes Oldenburg: Object into Monument\" Pasadena, Pasadena Art Museum (December 7, 1971-February 6, 1972) | Berkeley, University Art Museum (February 28-April 9, 1972) | Des Moines, Des Moines Art Center (September 18-October 29, 1972) | Chicago, The Art Institute of Chicago (January 20-February 25, 1973)", "opening_date": "1972-02-28T00:00:00"}, {"description": "1970 - \"Oldenburg\" London, The Tate Gallery (June 24-August 16, 1970)", "opening_date": "1970-06-24T00:00:00"}, {"description": "1970 - \"Claes Oldenburg\" Amsterdam, Stedelijk Museum of Modern Art (January 16-March 15, 1970)", "opening_date": "1970-01-16T00:00:00"}, {"description": "1969 - \"Claes Oldenburg\" New York, Museum of Modern Art (September 25-November 23, 1969)", "opening_date": "1969-09-25T00:00:00"}, {"description": "1966 - London, Robert Fraser Gallery, 1966", "opening_date": "1966-01-01T00:00:00"}, {"description": "1964 - \"Exhibition of Recent Work by Claes Oldenburg\" New York, Sidney Janis Gallery (April 7-May 2, 1964)", "opening_date": "1964-04-07T00:00:00"}]}, "provenance": [{"description": "The Artist; Sydney Janis Gallery, New York; Alan Power, London; Private Collection, London; Richard Lane, New York (acquired from Didier Imbert Fine Art, Paris 1989); Private Collection, USA (acquired from James Mayor Gallery, London 1992).", "citations": [], "footnotes": [], "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Oldenburg kept the color and shape of the toothpaste tube he recreated true to reality, and instead changed the context, size, and state of his subject to render his object surreal and humorous.", "description": "Oldenburg became known in the 1960s for his involvement with New York counterculture figures in producing group performances called happenings and art films. Later in the decade, he mined ubiquitous consumer culture to create sculptures of commonplace objects rendered in monumental size through unexpected materials. Elevated from a banal household thing into a work of art, these works make the most everyday subjects strange, presenting them as if we were encountering them for the first time.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60781232"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2004.88.a", "images": {}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 163549, "creators": [{"id": 9243, "description": "Claes Thure Oldenburg (American, 1929\u20132022)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1929", "death_year": "2022", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2004-12-06T00:00:00", "sortable_date": 1964, "date_added_to_oa": null, "date_text": "1964", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "2004.88", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:05:21.711000"}, {"id": 163550, "accession_number": "2004.88.b", "share_license_status": "Copyrighted", "tombstone": "Giant Toothpaste Tube (Cap), 1964. Claes Thure Oldenburg (American, 1929\u20132022). Vinyl over canvas filled with kapok; wood, metal and cast plastic; overall: 64.8 x 167.6 x 43.2 cm (25 1/2 x 66 x 17 in.). The Cleveland Museum of Art, Leonard C. 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Guggenheim Museum (October 7, 1995-Janurary 21, 1996) | Bonn, Kunst-und Ausstellunghalle der Bundesrepublik Deutschland (February 15-May 12, 1996) | London, The Hayward Gallery (June 6-August 19, 1996)", "opening_date": "1995-06-18T00:00:00"}, {"description": "1991-1993 - \"The Pop Art Show\" London, Royal Academy of Art (September 13-December 16, 1991) | Cologne, Museum Ludwig (January 22-April 21, 1992) | Madrid, Museo Nacional Centro de Arte Reina Sof\u00eda (June 16-September 24, 1992) | Montr\u00e9al, Mus\u00e9e des beaux-arts (October 22, 1992-January 24, 1993)", "opening_date": "1991-09-13T00:00:00"}, {"description": "1971-1973 - \"Claes Oldenburg: Object into Monument\" Pasadena, Pasadena Art Museum (December 7, 1971-February 6, 1972) | Berkeley, University Art Museum (February 28-April 9, 1972) | Des Moines, Des Moines Art Center (September 18-October 29, 1972) | Chicago, The Art Institute of Chicago (January 20-February 25, 1973)", "opening_date": "1972-02-28T00:00:00"}, {"description": "1970 - \"Oldenburg\" London, The Tate Gallery (June 24-August 16, 1970)", "opening_date": "1970-06-24T00:00:00"}, {"description": "1970 - \"Claes Oldenburg\" Amsterdam, Stedelijk Museum of Modern Art (January 16-March 15, 1970)", "opening_date": "1970-01-16T00:00:00"}, {"description": "1969 - \"Claes Oldenburg\" New York, Museum of Modern Art (September 25-November 23, 1969)", "opening_date": "1969-09-25T00:00:00"}, {"description": "1966 - London, Robert Fraser Gallery, 1966", "opening_date": "1966-01-01T00:00:00"}, {"description": "1964 - \"Exhibition of Recent Work by Claes Oldenburg\" New York, Sidney Janis Gallery (April 7-May 2, 1964)", "opening_date": "1964-04-07T00:00:00"}]}, "provenance": [{"description": "The Artist; Sydney Janis Gallery, New York; Alan Power, London; Private Collection, London; Richard Lane, New York (acquired from Didier Imbert Fine Art, Paris 1989); Private Collection, USA (acquired from James Mayor Gallery, London 1992).", "citations": [], "footnotes": [], "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Oldenburg kept the color and shape of the toothpaste tube he recreated true to reality, and instead changed the context, size, and state of his subject to render his object surreal and humorous.", "description": "Oldenburg became known in the 1960s for his involvement with New York counterculture figures in producing group performances called happenings and art films. Later in the decade, he mined ubiquitous consumer culture to create sculptures of commonplace objects rendered in monumental size through unexpected materials. Elevated from a banal household thing into a work of art, these works make the most everyday subjects strange, presenting them as if we were encountering them for the first time.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780916"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2004.88.b", "images": {}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 163550, "creators": [{"id": 9243, "description": "Claes Thure Oldenburg (American, 1929\u20132022)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1929", "death_year": "2022", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2004-12-06T00:00:00", "sortable_date": 1964, "date_added_to_oa": null, "date_text": "1964", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "2004.88", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:12.240000"}, {"id": 136484, "accession_number": "1960.58", "share_license_status": "Copyrighted", "tombstone": "The Surge, 1958. Conrad Marca-Relli (American, 1913\u20132000). Oil and collage on canvas; unframed: 137.1 x 180.3 cm (54 x 71 in.). The Cleveland Museum of Art, Contemporary Collection of The Cleveland Museum of Art, 1960.58", "current_location": null, "title": "The Surge", "creation_date": "1958", "creation_date_earliest": 1958, "creation_date_latest": 1958, "artists_tags": ["male"], "culture": ["America"], "technique": "oil and collage on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Unframed: 137.1 x 180.3 cm (54 x 71 in.)", "dimensions": {"unframed": {"height": 1.371, "width": 1.803}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower right:  Marca-Relli; signed on back of stretcher:  L-6-58.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 302007, "title": "Paths of Abstract Art", "description": "<i>Paths of Abstract Art</i>. The Cleveland Museum of Art, Cleveland, OH (October 5-November 13, 1960).", "opening_date": "1960-10-05T04:00:00"}, {"id": 302015, "title": "Year in Review - Nineteen Hundred Sixty", "description": "<i>Year in Review - Nineteen Hundred Sixty</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 30, 1960-January 1, 1961).", "opening_date": "1960-11-30T05:00:00"}, {"id": 300779, "title": "Juxtapositions", "description": "<i>Juxtapositions</i>. The Cleveland Museum of Art, Cleveland, OH (September 11-October 10, 1965).", "opening_date": "1965-09-11T04:00:00"}, {"id": 517582, "title": "Marca-Relli", "description": "<i>Marca-Relli</i>. Whitney Museum of American Art, New York, NY (organizer) (October 3-November 12, 1967); Rose Art Museum, Brandeis University, Waltham, MA (December 3, 1967-January 28, 1968).", "opening_date": "1967-10-03T04:00:00"}, {"id": 301294, "title": "Works from the Contemporary Collection", "description": "<i>Works from the Contemporary Collection</i>. The Cleveland Museum of Art, Cleveland, OH (July 1-October 15, 1969).", "opening_date": "1969-07-01T04:00:00"}], "legacy": [{"description": "CMA:  Works from the Contemporary Collection, July 1-mid-October, 1969", "opening_date": "1969-10-01T00:00:00"}]}, "provenance": [{"description": "(Samuel M. Kootz Gallery, Inc.)", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The artist changed his surname from Marcarelli, feeling that an added hyphen made it easier to pronounce.", "description": "At the time Conrad Marca-Relli created <em>The Surge</em>, he held a teaching position at the University of California, Berkeley. This painting, which drew inspiration from the Pacific coast, is made from cut-out shapes of fabric, some overlapping, that adhere to a backing canvas.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60465797"], "internet_archive": []}, "citations": [{"citation": "Henning, Edward. \"Exhibition Paths of Abstract Art.\" <em>The Bulletin of the Cleveland Museum of Art </em>47, no. 8 (October 1960): 199-201.", "page_number": "Mentioned and reproduced: p. 200-201, fig. 1", "url": "https://www.jstor.org/stable/25142412"}, {"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/cmapr0628"}], "url": "https://clevelandart.org/art/1960.58", "images": {}, "alternate_images": [], "creditline": "Contemporary Collection of The Cleveland Museum of Art", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 136484, "creators": [{"id": 3549, "description": "Conrad Marca-Relli (American, 1913\u20132000)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1913", "death_year": "2000", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1961-12-29T00:00:00", "sortable_date": 1958, "date_added_to_oa": null, "date_text": "1958", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:05:05.015000"}, {"id": 141211, "accession_number": "1964.449", "share_license_status": "Copyrighted", "tombstone": "The Garden at Tradate: Autumn, 1964. Gianfranco Ferroni (Italian, 1927\u20132001). Oil and pencil on canvas. The Cleveland Museum of Art, Contemporary Collection of The Cleveland Museum of Art, 1964.449", "current_location": null, "title": "The Garden at Tradate: Autumn", "creation_date": "1964", "creation_date_earliest": 1964, "creation_date_latest": 1964, "artists_tags": ["male"], "culture": ["Italy, 20th century"], "technique": "oil and pencil on canvas", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower left: Ferroni 64", "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": 301294, "title": "Works from the Contemporary Collection", "description": "<i>Works from the Contemporary Collection</i>. The Cleveland Museum of Art, Cleveland, OH (July 1-October 15, 1969).", "opening_date": "1969-07-01T04:00:00"}, {"id": 309861, "title": "Contemporary Art and Textiles Collection", "description": "<i>Contemporary Art and Textiles Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 13-August 26, 1984).", "opening_date": "1984-07-13T04:00:00"}], "legacy": [{"description": "\"La Biennale di Venezia,\" 1964, cat. no. 16", "opening_date": "1964-01-01T00:00:00"}, {"description": "\"Contemporary Art,\" Cleveland Museum of Art, Upper Special Exhibition Gallery (Nov. 3 - Dec. 12, 1982).", "opening_date": "1982-11-03T00:00:00"}, {"description": "\"Contemporary Collection,\" Cleveland Museum of Art (Aug. 17 - Nov. 6, 1983).", "opening_date": "1983-08-17T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "As a teenager, Ferroni lived in Tradate during World War II and later etched and painted its gardens.", "description": "In <em>The Garden at Tradate: Autumn</em>, Gianfranco Ferroni collages fragmented images into a surreal environment. Trees, chairs, and faces overlap and tangle on the sparse canvas. These motifs appear untethered by space and perspective, evoking a sense of dreaminess. Based on a copperplate etching, the painting retains the crisp lines of a print. In his art, Ferroni explores childhood memory and the unconscious through crafting distorted landscapes.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60469422"], "internet_archive": []}, "citations": [{"citation": "<em>XXXII Biennale internazionale d'arte Venezia 20 Giugno 18 Ottobre 1964</em>.", "page_number": "Cat 16.", "url": ""}, {"citation": "Lee, Sherman E. \u201cYear in Review.\u201d The Bulletin of the Cleveland Museum of Art 52, no. 9 (1965): 124\u201357.", "page_number": "p. 157, reproduced p. 142, no. 167.", "url": "http://www.jstor.org/stable/25152069"}], "url": "https://clevelandart.org/art/1964.449", "images": {}, "alternate_images": [], "creditline": "Contemporary Collection of The Cleveland Museum of Art", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 141211, "creators": [{"id": 3441, "description": "Gianfranco Ferroni (Italian, 1927\u20132001)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1927", "death_year": "2001", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1964-12-19T00:00:00", "sortable_date": 1964, "date_added_to_oa": null, "date_text": "1964", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:39.469000"}, {"id": 157229, "accession_number": "1994.107", "share_license_status": "CC0", "tombstone": "Vase des Binelles, 1903. S\u00e8vres Porcelain Factory (French, est. 1756), Hector Guimard (French, 1867\u20131942). Stoneware with crystalline glaze; overall: 130.2 x 39.1 x 40 cm (51 1/4 x 15 3/8 x 15 3/4 in.). The Cleveland Museum of Art, John L. Severance Fund, 1994.107", "current_location": "221 19th Century Decorative Arts", "title": "Vase des Binelles", "creation_date": "1903", "creation_date_earliest": 1903, "creation_date_latest": 1903, "artists_tags": ["gender unknown", "male"], "culture": ["France, S\u00e8vres"], "technique": "stoneware with crystalline glaze", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Ceramic", "measurements": "Overall: 130.2 x 39.1 x 40 cm (51 1/4 x 15 3/8 x 15 3/4 in.)", "dimensions": {"overall": {"height": 1.302, "width": 0.391, "depth": 0.4}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Gres 1903", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "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": "Salon de la Societe des artistes decorateurs, (the first salon of SAD), Petit Palais, Paris, 1904", "opening_date": "1904-01-01T00:00:00"}, {"description": "The Louisiana Purchase Exposition, St. Louis, Missouri, 1904", "opening_date": "1904-01-01T00:00:00"}, {"description": "Pionniers du XXe siecle, Mus\u00e9e des Art Decoratifs, 1971, no. 219", "opening_date": "1971-01-01T00:00:00"}, {"description": "L'Art de la Poterie en France de Rodin a Dufy, Mus\u00e9e national de ceramique, S\u00e8vres, 9th June-25 October 1971, no. 270 [Mus\u00e9e national Adrien-Dubouche, Limoges]", "opening_date": "1971-10-01T00:00:00"}, {"description": "Porcelaines de S\u00e8vres au XIXe siecle, Mus\u00e9e national de ceramique, S\u00e8vres, 24th May-3rd November 1975, p. 45, no. 501 [Mus\u00e9e national de ceramique, S\u00e8vres]", "opening_date": "1975-11-01T00:00:00"}, {"description": "Guimard, Mus\u00e9e d'Orsay, Paris, 13th April-26 July, 1992, no. 501 [Mus\u00e9e national Adrien-Dubouche, Limoges]", "opening_date": "1992-07-01T00:00:00"}, {"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": "Nourham Manoukian, Paris; (Galerie Moderne, Ltd., London).", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "In 1899, French architect Hector Guimard designed the Castle Henriette, built on Rue des Binelles in S\u00e8vres, a suburb of Paris, France. This stoneware vase is named for the street and bears similarities to architectural features of Castle Henriette. The vase\u2019s asymmetrical and curvilinear design showcases the trademarks of the Art Nouveau style. Five examples of the <em>Vase des Binelles</em> were made by the still-operating S\u00e8vres Manufactory, whose ceramics were celebrated for their innovative decoration and design since its establishment in the mid-1700s.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780802"], "internet_archive": ["https://archive.org/details/clevelandart-1994.107-vase-des-binelles"]}, "citations": [], "url": "https://clevelandart.org/art/1994.107", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1994.107/1994.107_web.jpg", "width": "572", "height": "893", "filesize": "265489", "filename": "1994.107_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1994.107/1994.107_print.jpg", "width": "2178", "height": "3400", "filesize": "4209882", "filename": "1994.107_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1994.107/1994.107_full.tif", "width": "3931", "height": "6136", "filesize": "72390548", "filename": "1994.107_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1994.107/1994.107_alt0_web.jpg", "width": "646", "height": "893", "filesize": "308237"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1994.107/1994.107_alt0_print.jpg", "width": "1481", "height": "2048", "filesize": "1856230"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1994.107/1994.107_alt0_full.tif", "width": "1481", "height": "2048", "filesize": "9102724"}}, {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1994.107/1994.107_alt1_web.jpg", "width": "745", "height": "893", "filesize": "265275"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1994.107/1994.107_alt1_print.jpg", "width": "2837", "height": "3400", "filesize": "3702377"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1994.107/1994.107_alt1_full.tif", "width": "3072", "height": "3682", "filesize": "33948220"}}, {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1994.107/1994.107_alt2_web.jpg", "width": "745", "height": "893", "filesize": "252135"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1994.107/1994.107_alt2_print.jpg", "width": "2836", "height": "3400", "filesize": "3833958"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1994.107/1994.107_alt2_full.tif", "width": "3644", "height": "4368", "filesize": "47757560"}}, {"date_created": "2008-09-30T20:01:02", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1994.107/1994.107_alt3_web.jpg", "width": "498", "height": "893", "filesize": "239681"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1994.107/1994.107_alt3_print.jpg", "width": "1895", "height": "3400", "filesize": "3734965"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1994.107/1994.107_alt3_full.tif", "width": "3384", "height": "6070", "filesize": "61651116"}}, {"date_created": "2008-09-30T20:03:10", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1994.107/1994.107_alt4_web.jpg", "width": "668", "height": "893", "filesize": "349229"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1994.107/1994.107_alt4_print.jpg", "width": "2545", "height": "3400", "filesize": "4650632"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1994.107/1994.107_alt4_full.tif", "width": "3743", "height": "5000", "filesize": "112321404"}}], "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": 157229, "creators": [{"id": 11883, "description": "S\u00e8vres Porcelain Factory (French, est. 1756)", "extent": null, "qualifier": null, "role": "manufacturer", "biography": "French national ceramic factory.", "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 15656, "description": "Hector Guimard (French, 1867\u20131942)", "extent": null, "qualifier": null, "role": "designed by", "biography": null, "name_in_original_language": null, "birth_year": "1867", "death_year": "1942", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1994-09-07T00:00:00", "sortable_date": 1903, "date_added_to_oa": null, "date_text": "1903", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-26 23:59:15.352000"}, {"id": 173113, "accession_number": "1937.3204", "share_license_status": "CC0", "tombstone": "Singing Man, 1928. Ernst Barlach (German, 1870\u20131938). Bronze; overall: 49.8 x 53.3 x 36.8 cm (19 5/8 x 21 x 14 1/2 in.). The Cleveland Museum of Art, Hinman B. Hurlbut Collection, 1937.3204", "current_location": "225 German Expressionism & Surrealism", "title": "Singing Man", "creation_date": "1928", "creation_date_earliest": 1928, "creation_date_latest": 1928, "artists_tags": ["male"], "culture": ["Germany, 20th century"], "technique": "bronze", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Sculpture 1800-1960", "type": "Sculpture", "measurements": "Overall: 49.8 x 53.3 x 36.8 cm (19 5/8 x 21 x 14 1/2 in.)", "dimensions": {"overall": {"height": 0.498, "width": 0.533, "depth": 0.368}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed on support under right foot: \"E. Barlach\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 312457, "title": "Sculpture of Our Time", "description": "<i>Sculpture of Our Time</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 5-December 5, 1937).", "opening_date": "1937-11-05T05:00:00"}, {"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": 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": 700357, "title": "Ernst Barlach", "description": "<i>Ernst Barlach</i>. Sheldon Memorial Art Gallery and Sculpture Garden, Lincoln, NE (organizer) (October 1, 1955-May 31, 1956).", "opening_date": "1955-10-01T04:00:00"}, {"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": 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)", "citations": [], "footnotes": [], "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": ["3204.1937"], "did_you_know": null, "description": "One of the most celebrated sculptors of the Expressionist movement in Germany, Barlach first began exploring ways to convey inner feeling through depictions of the human body around 1906. As this singing man pulls his knee toward his body, his closed eyes and open mouth suggest deep concentration. A staunch opponent of the Nazis, Barlach was declared a \u201cdegenerate artist\u201d and forbidden to teach or exhibit in Germany.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117230225"], "internet_archive": ["https://archive.org/details/clevelandart-1937.3204-singing-man"]}, "citations": [{"citation": "Milliken, William. \"New Acquisitions of Present-Day Sculpture.\" <em>The Bulletin of the Cleveland Museum of Art </em>25, no. 4 (April 1938): 63-65.", "page_number": "Mentioned: p. 64", "url": "https://www.jstor.org/stable/25137921"}, {"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. 339", "url": "https://archive.org/details/CMAHandbook1958/page/n65"}], "url": "https://clevelandart.org/art/1937.3204", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1937.3204/1937.3204_web.jpg", "width": "796", "height": "893", "filesize": "316379", "filename": "1937.3204_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1937.3204/1937.3204_print.jpg", "width": "3032", "height": "3400", "filesize": "4469215", "filename": "1937.3204_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1937.3204/1937.3204_full.tif", "width": "3745", "height": "4200", "filesize": "47216816", "filename": "1937.3204_full.tif"}}, "alternate_images": [{"date_created": "2005-10-13T15:50:13", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1937.3204/1937.3204_alt0_web.jpg", "width": "918", "height": "893", "filesize": "446568"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1937.3204/1937.3204_alt0_print.jpg", "width": "3400", "height": "3307", "filesize": "5760907"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1937.3204/1937.3204_alt0_full.tif", "width": "5000", "height": "4863", "filesize": "72968416"}}, {"date_created": "2005-10-13T15:43:20", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1937.3204/1937.3204_alt1_web.jpg", "width": "767", "height": "893", "filesize": "396562"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1937.3204/1937.3204_alt1_print.jpg", "width": "2922", "height": "3400", "filesize": "5213660"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1937.3204/1937.3204_alt1_full.tif", "width": "4297", "height": "5000", "filesize": "64480620"}}, {"date_created": "2006-02-13T21:34:07", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1937.3204/1937.3204_alt2_web.jpg", "width": "993", "height": "893", "filesize": "375541"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1937.3204/1937.3204_alt2_print.jpg", "width": "3400", "height": "3058", "filesize": "4278978"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1937.3204/1937.3204_alt2_full.tif", "width": "4482", "height": "4031", "filesize": "54230252"}}], "creditline": "Hinman B. Hurlbut Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 173113, "creators": [{"id": 19193, "description": "Ernst Barlach (German, 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": "1937-12-20T00:00:00", "sortable_date": 1928, "date_added_to_oa": null, "date_text": "1928", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-26 23:59:45.307000"}, {"id": 133465, "accession_number": "1956.113.a", "share_license_status": "Copyrighted", "tombstone": "Snail Necklace-Pin (Snail Pin), 1956. John Paul Miller (American, 1918\u20132013). Gold and enamel; pendant: 6.1 x 2.6 cm (2 3/8 x 1 in.); chain: 36.9 cm (14 1/2 in.). The Cleveland Museum of Art, Silver Jubilee Treasure Fund, 1956.113.a", "current_location": "228B Cleveland Artists", "title": "Snail Necklace-Pin (Snail Pin)", "creation_date": "1956", "creation_date_earliest": 1956, "creation_date_latest": 1956, "artists_tags": ["male", "Cleveland Institute of Art (faculty)", "Cleveland School", "May Show", "Cleveland Institute of Art (alumni)", "LGBTQ+ (after 1900)"], "culture": ["America"], "technique": "gold and enamel", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Jewelry", "measurements": "Pendant: 6.1 x 2.6 cm (2 3/8 x 1 in.); Chain: 36.9 cm (14 1/2 in.)", "dimensions": {"pendant": {"height": 0.061, "width": 0.026}, "chain": {"length": 0.369}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 702409, "title": "Work of John Paul Miller", "description": "<i>Work of John Paul Miller</i>. The Art Institute of Chicago, Chicago, IL (organizer) (March 1-April 20, 1957).", "opening_date": "1957-03-01T05:00:00"}, {"id": 516359, "title": "American Craftsmen", "description": "<i>American Craftsmen</i>. Henry Art Gallery, University of Washington, Seattle, WA (organizer) (October 9-November 13, 1966).", "opening_date": "1966-10-09T04:00:00"}, {"id": 445531, "title": "Untitled Exhibition", "description": "<i>Untitled Exhibition</i>. Cleveland Public Library, Cleveland, OH (organizer) (August 15-November 12, 1971).", "opening_date": "1971-08-15T04:00:00"}, {"id": 227895, "title": "EDUCATORS/EDUCATED: Jewelry & Metals in Ohio", "description": "<i>EDUCATORS/EDUCATED: Jewelry & Metals in Ohio</i>. Riffe Gallery, Columbus, OH (organizer) (November 18, 2004-January 23, 2005); The Butler Institute of American Art, Youngstown, OH (February 19-May 29, 2005); The Cleveland Institute of Art, Cleveland, OH (June 25-July 29, 2005).", "opening_date": "2004-11-18T00:00:00"}], "legacy": [{"description": "Riffe Gallery, Columbus (11/18/2004 - 1/23/2005), Butler Institute of American Art (2/19/2005 - 5/29/2005), and Cleveland Institute of Art (6/25/2005 - 7/29/2005):", "opening_date": "2004-11-18T00:00:00"}, {"description": "CMA 2010: \"The Jewerly of John Paul Miller\" (6/15/2010- 1/2/2011), no catalogue", "opening_date": "2010-06-15T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Artist John Paul Miller demonstrates a mastery of metalworking techniques in this snail pendant brooch. Miller often used a technique he rediscovered in the early 1950s whereby gold granulation was applied to the surface to decorate the snail\u2019s body and antennae, while multicolored enameling enlivens its shell.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80025785"], "internet_archive": []}, "citations": [{"citation": "John Paul Miller Entry Card to 1956 May Show. Cleveland Museum of Art May Show Records, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/CMAMS11119/"}, {"citation": "Miller, John Paul. John Paul Miller collection. 1850-2010, bulk 1940-2000.", "page_number": null, "url": "http://library.clevelandart.org/john-paul-miller-collection"}], "url": "https://clevelandart.org/art/1956.113.a", "images": {}, "alternate_images": [], "creditline": "Silver Jubilee Treasure Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 133465, "creators": [{"id": 56027, "description": "John Paul Miller (American, 1918\u20132013)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1918", "death_year": "2013", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1956-04-30T00:00:00", "sortable_date": 1956, "date_added_to_oa": null, "date_text": "1956", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1956.113", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-26 23:59:15.586000"}, {"id": 159832, "accession_number": "1997.144", "share_license_status": "Copyrighted", "tombstone": "Eiffel Tower, Paris, 1925. L\u00e1szl\u00f3 Moholy-Nagy (American, 1895\u20131946). Gelatin silver print; image: 28.1 x 21.1 cm (11 1/16 x 8 5/16 in.); paper: 29.2 x 21 cm (11 1/2 x 8 1/4 in.); matted: 55.9 x 45.7 cm (22 x 18 in.). The Cleveland Museum of Art, Dudley P. Allen Fund, 1997.144. \u00a9  Estate of L\u00e1szl\u00f3 Moholy-Nagy / Artists Rights Society (ARS), New York", "current_location": null, "title": "Eiffel Tower, Paris", "creation_date": "1925", "creation_date_earliest": 1925, "creation_date_latest": 1925, "artists_tags": ["male", "Jewish artists"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 28.1 x 21.1 cm (11 1/16 x 8 5/16 in.); Paper: 29.2 x 21 cm (11 1/2 x 8 1/4 in.); Matted: 55.9 x 45.7 cm (22 x 18 in.)", "dimensions": {"image": {"height": 0.281, "width": 0.211}, "paper": {"height": 0.292, "width": 0.21}, "matted": {"height": 0.559, "width": 0.457}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  Estate of L\u00e1szl\u00f3 Moholy-Nagy / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "In graphite on verso: \"eiffelturm 1925/LMN\"; \"19\" [with a circle around it]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 231458, "title": "Moholy: An Education of the Senses", "description": "<i>Moholy: An Education of the Senses</i>. Loyola University Museum of Art, Chicago, IL (organizer) (February 10-May 9, 2010).", "opening_date": "2010-02-10T00:00:00"}, {"id": 665102, "title": "American, born Hungary: Kert\u00e9sz, Capa, and the Hungarian American Photographic Legacy", "description": "<i>American, born Hungary: Kert\u00e9sz, Capa, and the Hungarian American Photographic Legacy</i>. Virginia Museum of Fine Arts, Richmond, VA (organizer) (October 5, 2024-January 26, 2025) https://vmfa.museum/exhibitions/exhibitions/american-born-hungary-hungarian-american-photographic-legacy/.", "opening_date": "2024-10-05T04:00:00"}], "legacy": [{"description": "<em>Photographs of Moholy-Nagy from the Collection of William Larson. </em>Galleries of the Claremont Colleges, Claremont, CA (April 4\u2013May 8, 1975), San Francisco Museum of Art, San Francisco, CA (July 8\u2013August 24, 1975), University Art Museum, University of New Mexico, Albuquerque, NM (September 28\u2013November 2, 1975).", "opening_date": "1975-04-04T04:00:00Z"}, {"description": "<em>L\u00e1szl\u00f3 Moholy-Nagy. </em>Mus\u00e9e Cantini, Marseille, France (July 5\u2013September 15, 1991).", "opening_date": "1991-07-05T04:00:00Z"}]}, "provenance": [{"description": "Collection of Hattula Moholy-Nagy (daughter)", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "(The Halsted Gallery, Bloomfield Hills, MI)", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "September 15, 1997", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "<br>According to L\u00e1szl\u00f3 Moholy-Nagy, photography offered an entirely new way of seeing, an \u201cunprejudiced optical view.\u201d", "description": "Moholy\u2019s <em>Eiffel Tower</em> is disorienting, framed to eliminate any horizon line or context. Smaller, lighter cameras that appeared in the 1920s encouraged odd vantage points such as bird\u2019s- and worm\u2019s-eye views. Moholy and others employed them to shock viewers into understanding the new relationship between man and space exemplified by the airplane and skyscraping structures like the Eiffel Tower.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79980068"], "internet_archive": []}, "citations": [{"citation": "Moholy-Nagy, La\u0301szlo\u0301. Photographs of Moholy-Nagy from the Collection of William Larson. [Claremont, Calif.]: Galleries of the Claremont Colleges, 1975.", "page_number": "Cat. No. 33", "url": ""}, {"citation": "Moholy-Nagy, La\u0301szlo\u0301. La\u0301szlo\u0301-Moholy Nagy: Muse\u0301e Cantini, Marseille, 5 juillet-15 septembre 1991. [Marseille]: Muse\u0301es de Marseille, 1991.", "page_number": "p. 531, repr. p. 236.", "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": "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. 309", "url": ""}, {"citation": "Bru, Sascha. <em>The European Avant-Gardes, 1905-1935: A Portable Guide.</em> Edinburgh: Edinburgh University Press, 2018.", "page_number": "Mentioned: P. x; Reproduced: P. 95, fig. 35", "url": ""}, {"citation": "Fraquelli, Simonetta , Alexandra Cox, and Caroline Schmidt. <em>Robert Delaunay and the City of Lights</em>. [Z\u00fcrich, Switzerland]: Z\u00fcrcher Kunstgesellschaft/Kunsthaus Z\u00fcrich; Heidelberg: Kehrer Verlag, [2018]", "page_number": "Reproduced and mentioned: p. 140, fig. 5", "url": null}], "url": "https://clevelandart.org/art/1997.144", "images": {}, "alternate_images": [], "creditline": "Dudley P. Allen Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 159832, "creators": [{"id": 684, "description": "L\u00e1szl\u00f3 Moholy-Nagy (American, 1895\u20131946)", "extent": null, "qualifier": null, "role": "artist", "biography": "L\u00e1szl\u00f3 Moholy-Nagy American, b. Austria-Hungary, 1895-1946 L\u00e1szl\u00f3 Moholy-Nagy was an avant-garde painter, photographer, filmmaker, writer, and stage and graphic designer known for his experimental approach. He was also an influential teacher and advocate of the \"new photography,\" the international movement that achieved prominence in Europe after World War I. Moholy-Nagy (born in B\u00e1csborsod) studied law at the University of Budapest (1914) and served in the Austro-Hungarian army during the war (1915-17). Wounded, he became interested in art during his convalescence and, although briefly resuming his law studies, decided to pursue a career in the arts. In late 1919 he moved to Vienna, then settled in Berlin, where he became associated with the dadaists and other avant-garde artists. He took part in his first exhibition in 1922 at the Berlin gallery Der Sturm, showing abstract paintings and metal sculpture. That same year he and his wife, Lucia Moholy, began investigating photograms (cameraless photographs) and over the next several years would continue to experiment, producing negative prints, photomontages, photocollages, and photographs taken from a variety of viewpoints and angles. In 1923 Walter Gropius invited Moholy-Nagy to head the metal workshop at the Bauhaus in Weimar. Moholy-Nagy also taught the school's introductory course and collaborated with his wife and Gropius to edit several volumes in the Bauhausb\u00fccher (Bauhaus Books) series. In 1925 he published his influential book Malerei, Photographie, Film (Painting, Photography, Film) and the following year completed his first film, Berliner Stilleben (Berlin Still Life). Moholy-Nagy left the Bauhaus in 1928 following the resignation of Gropius and moved to Berlin to work as a commercial artist, specializing in stage and graphic design, as well as in film. The following year he published Von Material zu Architektur (published in translation as The New Vision: From Material to Architecture, 1930) and helped organize Film und Foto, the well-known exhibition of avant-garde photography and film held in Stuttgart. He also exhibited more than 90 photographs in the show. Following his 1932 divorce and the Nazi rise to power in Germany, Moholy-Nagy immigrated to Amsterdam (1934) and then England (1935). He was invited to Chicago in 1937 to found the New Bauhaus (reorganized as the Chicago School of Design in 1939 and then renamed the Institute of Design in 1944). Moholy-Nagy directed the school until 1946, when he died of leukemia. M.M.", "name_in_original_language": null, "birth_year": "1895", "death_year": "1946", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1997-09-15T00:00:00", "sortable_date": 1925, "date_added_to_oa": null, "date_text": "1925", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_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 00:01:54.911000"}, {"id": 160193, "accession_number": "1998.112", "share_license_status": "Copyrighted", "tombstone": "Untitled, c. 1950. Louise Bourgeois (American, 1911\u20132010). Brush and black ink and gray wash, with white paint and traces of black chalk(?) and blue crayon; sheet: 55.9 x 71.2 cm (22 x 28 1/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1998.112. \u00a9 The Easton Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY", "current_location": null, "title": "Untitled", "creation_date": "c. 1950", "creation_date_earliest": 1945, "creation_date_latest": 1955, "artists_tags": ["female"], "culture": ["America"], "technique": "brush and black ink and gray wash, with white paint and traces of black chalk(?) and blue crayon", "support_materials": [{"description": "board faced with clay-coated white paper, with collage of cream wove paper\r\n", "watermarks": []}], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Sheet: 55.9 x 71.2 cm (22 x 28 1/16 in.)", "dimensions": {"sheet": {"height": 0.559, "width": 0.712}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 The Easton Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY", "inscriptions": [], "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": 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": "<em>Louise Bourgeois</em>. Museum of Modern Art, New York, NY (November 3, 1982 - February 8, 1983).", "opening_date": "1982-11-03T00:00:00"}, {"description": "<em>The Iconography of Louise Bourgeois</em>. Max Hutchinson Gallery, New York, NY (1980).", "opening_date": "1980-01-01T00:00:00"}]}, "provenance": [{"description": "Private Collection, New York, NY", "citations": [], "footnotes": [], "date": "after 1950-by 1983", "sortorder": 1}, {"description": "BP America, Inc., Cleveland, OH", "citations": [], "footnotes": null, "date": "?-1998", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "September 8, 1998", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Louise Bourgeois made many drawings throughout her career but kept them in her studio for decades, rarely exhibiting them.", "description": "Throughout most of the 20th century, Louise Bourgeois used abstract art as a means to explore her own subconscious and autobiography. This drawing dates from a period during which the artist developed a vocabulary of expressive lines\u2014typically parallel marks and closely spaced hatching\u2014to convey both compulsion and movement. It belongs to a series that Bourgeois titled \"skein\" drawings, referring to their long thin lines that suggest thread and the texture of weaving. This symbolism was personally significant, as the artist's family sold and restored tapestries and she first learned to draw while assisting in their workshop. She also compared the rolling forms in drawings such as this to the raw power of water, both within nature and in the context of spa treatments her mother received at a spa for emphysema around this time, adding further meaning to the sheet.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79981006"], "internet_archive": []}, "citations": [{"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. 270-271, 298; Reproduced: p. 271", "url": null}, {"citation": "according to New York 1982-83, 50, pl. 25", "page_number": null, "url": null}, {"citation": "Gorovoy, Jerry. <em>The Iconography of Louise Bourgeois</em>. Exh. Cat. New York: Max Hutchinson Gallery, 1980.", "page_number": "Reproduced: n.p.", "url": null}, {"citation": "Wye, Deborah. <em>Louise Bourgeois</em>. Exh. Cat. New York: Museum of Modern Art, 1982.", "page_number": "Reproduced: plate 25", "url": null}, {"citation": "Cleveland Museum of Art, \u201cCleveland Acquires Major New Sculpture, Rare Chinese Prints, Contemporary Prints, Drawings &amp; Photographs,\u201d October 30, 1998, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr4215"}, {"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. 121, no. 90", "url": null}], "url": "https://clevelandart.org/art/1998.112", "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": 160193, "creators": [{"id": 6371, "description": "Louise Bourgeois (American, 1911\u20132010)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1911", "death_year": "2010", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1998-09-08T00:00:00", "sortable_date": 1945, "date_added_to_oa": null, "date_text": "c. 1950", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_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 00:03:26.494000"}, {"id": 119742, "accession_number": "1940.576", "share_license_status": "Copyrighted", "tombstone": "Goddess, 1921\u201324. Elie Nadelman (American, born Russian Empire [now Poland], 1882\u20131946). Marble; with base: 58.1 x 23.5 x 36.2 cm (22 7/8 x 9 1/4 x 14 1/4 in.). The Cleveland Museum of Art, Bequest of James Parmelee, 1940.576", "current_location": null, "title": "Goddess", "creation_date": "1921\u201324", "creation_date_earliest": 1921, "creation_date_latest": 1924, "artists_tags": ["male", "Jewish artists"], "culture": ["America"], "technique": "marble", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Sculpture", "type": "Sculpture", "measurements": "with base: 58.1 x 23.5 x 36.2 cm (22 7/8 x 9 1/4 x 14 1/4 in.)", "dimensions": {"with base": {"height": 0.581, "width": 0.235, "depth": 0.362}}, "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": 444484, "title": "The Sculpture and Drawings of Elie Nadelman", "description": "<i>The Sculpture and Drawings of Elie Nadelman</i>. Whitney Museum of American Art, New York, NY (organizer) (September 23-November 30, 1975); Hirshhorn Museum and Sculpture Garden, Washington, D.C., DC (December 20, 1975-February 15, 1976).", "opening_date": "1975-09-24T04:00:00"}, {"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"}, {"id": 310243, "title": "The Precisionist Aesthetic in American Art", "description": "<i>The Precisionist Aesthetic in American Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 24-April 9, 1989).", "opening_date": "1989-01-24T05:00:00"}, {"id": 218354, "title": "Elie Nadelman: Sculptor of Modern Life", "description": "<i>Elie Nadelman: Sculptor of Modern Life</i>. Whitney Museum of American Art, New York, NY (organizer) (March 27-July 20, 2003).", "opening_date": "2003-03-27T00:00:00"}], "legacy": []}, "provenance": [{"description": "James Parmelee, Washington, D.C.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "During the Second World War, Elie Nadelman volunteered at the Bronx Veterans Hospital, teaching ceramics in the occupational therapy department.", "description": "Sculptor Elie Nadelman once stated, \u201cI employ no other line than the curve, which possesses freshness and force.\u201d This approach is manifest in <em>Goddess</em>, a white marble head of a woman whose composition emphasizes smooth spherical shapes.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79624855"], "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. #41, p. 42, repr.", "url": null}, {"citation": "Haskell, Barbara, and Elie Nadelman. Elie Nadelman: Sculptor of Modern Life. New York: Whitney Museum of American Art, 2003.", "page_number": "cat # (fig.) 169, p. 145.", "url": null}, {"citation": "Milliken, William. \"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. 20", "url": "https://www.jstor.org/stable/25140904"}], "url": "https://clevelandart.org/art/1940.576", "images": {}, "alternate_images": [], "creditline": "Bequest of James Parmelee", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 119742, "creators": [{"id": 7156, "description": "Elie Nadelman (American, born Russian Empire [now Poland], 1882\u20131946)", "extent": null, "qualifier": null, "role": "sculptor", "biography": null, "name_in_original_language": null, "birth_year": "1882", "death_year": "1946", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1940-10-30T00:00:00", "sortable_date": 1921, "date_added_to_oa": null, "date_text": "1921\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 00:09:06.065000"}, {"id": 124521, "accession_number": "1945.46.a", "share_license_status": "Copyrighted", "tombstone": "The Pool (recto), c. 1916\u201319. William Sommer (American, 1867\u20131949). Oil on panel; framed: 99.7 x 79.4 x 6.4 cm (39 1/4 x 31 1/4 x 2 1/2 in.); unframed: 80.7 x 60 cm (31 3/4 x 23 5/8 in.). The Cleveland Museum of Art, Silver Jubilee Treasure Fund, 1945.46.a", "current_location": null, "title": "The Pool (recto)", "creation_date": "c. 1916\u201319", "creation_date_earliest": 1916, "creation_date_latest": 1919, "artists_tags": ["May Show", "male"], "culture": ["America, Ohio, Cleveland"], "technique": "oil on panel", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Cleveland School", "type": "Painting", "measurements": "Framed: 99.7 x 79.4 x 6.4 cm (39 1/4 x 31 1/4 x 2 1/2 in.); Unframed: 80.7 x 60 cm (31 3/4 x 23 5/8 in.)", "dimensions": {"framed": {"height": 0.997, "width": 0.794, "depth": 0.064}, "unframed": {"height": 0.807, "width": 0.6}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 382037, "title": "The May Show: 27th Annual Exhibition of Works by Cleveland Artists and Craftsmen", "description": "<i>The May Show: 27th Annual Exhibition of Works by Cleveland Artists and Craftsmen</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 1-June 10, 1945).", "opening_date": "1945-05-01T04:00:00"}, {"id": 517431, "title": "Exhibition of Ohio Painters", "description": "<i>Exhibition of Ohio Painters</i>. The Butler Institute of American Art, Youngstown, OH (organizer) (April 4-30, 1967).", "opening_date": "1967-04-04T05:00:00"}, {"id": 230512, "title": "Against the Grain: Modernism in the Midwest", "description": "<i>Against the Grain: Modernism in the Midwest</i>. Massillon Museum, Massillon, OH (organizer) (May 15-September 12, 2010); Riffe Gallery, Columbus, OH (November 4, 2010-January 9, 2011); Southern Ohio Museum, Portsmouth, OH (March 5-May 29, 2011).", "opening_date": "2010-05-15T00:00:00"}], "legacy": [{"description": "Vienna, Austria, The American Embassy, 1978-  : Art in Embassies Program, Department of State.", "opening_date": "1978-01-01T00:00:00"}, {"description": "Massillon Museum (5/15/2010 - 9/12/2010), Riffe Gallery (11/4/2010 - 1/9/2011), and Southern Ohio Museum (3/5/2011 - 5/29/2011):  \"Against the Grain: Modernism in the Midwest\", ex. cat. no. 59, p. 97.", "opening_date": "2010-05-15T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": ["1496.45"], "did_you_know": "In 1945, Sommer submitted this painting to an exhibition showcasing newly created art, despite making it decades earlier.", "description": "In 1914, Sommer moved to Brandywine\u2014located halfway between Cleveland and Akron\u2014where he converted an abandoned schoolhouse into a studio that became an important meeting place for modern artists, poets, and musicians. This rural community provided inspirational subject matter for much of his subsequent work, including The Pool, which also reveals his stylistic debt to French avant-garde art. Seeking freedom from convention by immersing himself in nature, Sommer explained, \u201cI believe art should be as spontaneous as the song of a bird.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60515183"], "internet_archive": []}, "citations": [{"citation": "William Sommer Entry Card to 1945 May Show. Cleveland Museum of Art May Show Records, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/CMAMS07295/"}, {"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. 56", "url": ""}, {"citation": "Kraynak, Scott, Henry Adams, Douglas Max Utter, William G. Scheele, R. A. Washington, and Mike Hudson. <em>The Heart of Cleveland.</em> Shaker Hts, OH: Red Giant Books, 2018.", "page_number": "Reproduced: P. 21, fig. 12", "url": null}], "url": "https://clevelandart.org/art/1945.46.a", "images": {}, "alternate_images": [], "creditline": "Silver Jubilee Treasure Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 124521, "creators": [{"id": 9405, "description": "William Sommer (American, 1867\u20131949)", "extent": null, "qualifier": null, "role": "artist", "biography": "Born in Detroit to a family of German immigrants, Sommer first studied drawing at the age of 11 with Julius Gari Melchers. Pursuing a career in commercial lithography, Sommer apprenticed at Calvert Lithography in Detroit, 1881\u201388, and subsequently worked at various lithography shops in Boston, New York, and England. In 1890 he went abroad for a year of study at the Kunstakademie in Munich. In 1891 he returned to New York and spent the next 16 years working as a commercial lithographer. In 1907 he moved to Cleveland to work for the Otis Lithograph Company, where he became friendly with William Zorach. Around 1910, and under the influence of Abel Warshawsky, Sommer began to experiment with impressionist colors; subsequently he experimented with a fauvist palette. He exhibited with the Cleveland \u201csecessionists\u201d at the Rorimer-Brooks Studios in early 1911 and cofounded the Kokoon Klub that summer. Around 1914 he moved to Brandywine, a rural valley about 20 miles south of Cleveland, where he converted an abandoned schoolhouse into a studio that became an important meeting place for modern artists, poets, and musicians. In May 1918 Sommer designed stage sets and programs for a production of <em>Everyman</em> by the Cleveland Play House. He exhibited in the annual May Shows at the Cleveland Museum of Art (1922\u201350). In the 1930s and 1940s he exhibited on a regular basis in Cleveland, Chicago, and New York. During the Depression he was employed by various New Deal art programs to paint murals for Cleveland Public Hall (1933), Cleveland Public Library (1934), the post office in Geneva, Ohio (1938), and the Akron Board of Education (1941). After the death of his wife in 1945, he was struck by chronic bouts of depression and alcoholism. Sommer died in Brandywine. <br>\"Transformations in Cleveland Art\" (CMA, 1996), p. 238", "name_in_original_language": null, "birth_year": "1867", "death_year": "1949", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1945-04-30T00:00:00", "sortable_date": 1916, "date_added_to_oa": null, "date_text": "c. 1916\u201319", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1945.46", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:04:05.953000"}, {"id": 130714, "accession_number": "1953.431", "share_license_status": "Copyrighted", "tombstone": "Church Bells Ringing, Rainy Winter Night, No. 3, 1917. Charles Burchfield (American, 1893\u20131967). Graphite, smudged in places on two sheets of butt-joined wove paper, lined; sheet: 25.2 x 13.8 cm (9 15/16 x 5 7/16 in.); secondary support: 26.9 x 13.8 cm (10 9/16 x 5 7/16 in.). The Cleveland Museum of Art, Norman O. Stone and Ella A. Stone Memorial Fund, 1953.431. Reproduced with permission from the Charles E. Burchfield Foundation", "current_location": null, "title": "Church Bells Ringing, Rainy Winter Night, No. 3", "creation_date": "1917", "creation_date_earliest": 1917, "creation_date_latest": 1917, "artists_tags": ["May Show", "male", "Cleveland Institute of Art (alumni)"], "culture": ["America"], "technique": "graphite, smudged in places on two sheets of butt-joined wove paper, lined", "support_materials": [], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Sheet: 25.2 x 13.8 cm (9 15/16 x 5 7/16 in.); Secondary Support: 26.9 x 13.8 cm (10 9/16 x 5 7/16 in.)", "dimensions": {"sheet": {"height": 0.252, "width": 0.138}, "secondary support": {"height": 0.269, "width": 0.138}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "Reproduced with permission from the Charles E. Burchfield Foundation", "inscriptions": [], "exhibitions": {"current": [{"id": 311926, "title": "The Drawings of Charles E. Burchfield", "description": "<i>The Drawings of Charles E. Burchfield</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 4, 1953-January 10, 1954).", "opening_date": "1953-11-04T05:00:00"}, {"id": 301176, "title": "Charles Burchfield Retrospective Exhibition", "description": "<i>Charles Burchfield Retrospective Exhibition</i>. Whitney Museum of American Art (January 11-February 26, 1956); The Baltimore Museum of Art (March 14-April 22, 1956); Museum of Fine Arts, Boston (May 9-June 17, 1956); San Francisco Museum of Modern Art (July 11-August 19, 1956); Los Angeles County Museum of Art (September 5-October 14, 1956); The Phillips Collection (November 4-December 11, 1956); The Cleveland Museum of Art, Cleveland, OH (December 28, 1956-February 10, 1957).", "opening_date": "1956-12-28T05:00:00"}, {"id": 338564, "title": "An American Visionary: Watercolors and Drawings of Charles E. Burchfield", "description": "<i>An American Visionary: Watercolors and Drawings of Charles E. Burchfield</i>. Currier Museum of Art; Berkshire Museum; Boston Athenaeum (March 20-May 16, 1986).", "opening_date": "1986-03-20T05:00:00"}, {"id": 177916, "title": "Burchfield to Schreckengost: Cleveland Art of the Jazz Age", "description": "<i>Burchfield to Schreckengost: Cleveland Art of the Jazz Age</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 28-July 18, 2004).", "opening_date": "2004-03-28T00:00:00"}, {"id": 313096, "title": "Charles Burchfield: The Ohio Landscapes, 1915\u20131920", "description": "<i>Charles Burchfield: The Ohio Landscapes, 1915\u20131920</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 22, 2018-May 5, 2019).", "opening_date": "2018-12-22T05:00:00"}], "legacy": []}, "provenance": [{"description": "Charles Burchfield [1893-1967], Buffalo, NY, sold to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1917-1953", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1953-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Burchfield drew in layers of graphite to create forms on the church's steeple that suggest the sound of ringing bells and appearance of dripping rain.", "description": "This drawing is a study for one of Burchfield\u2019s <em>Church Bells Ringing, Rainy Winter Night</em>, painted in December 1917. The artist described the work as \u201can attempt to express a childhood emotion\u2014a rainy winter night\u2014the church bell is ringing and it terrifies me (the child)\u2014the bell ringing motive reaches out and saturates the rainy sky\u2014the roofs of the houses dripping with rain are influenced; the child attempts to be comforted by the thoughts of candle lights and Christmas trees, but the fear of the black, rainy night is overpowering.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60781291"], "internet_archive": []}, "citations": [{"citation": "Prasse, Leona E. \"An Exhibition of the Drawings of Charles E. Burchfield.\" <em>Bulletin of the Cleveland Museum of Art</em> (November 1953): 203.", "page_number": "Mentioned: p. 203", "url": null}, {"citation": "Prasse, Leona E. T<em>he Drawings of Charles E. Burchfield</em>. Exh. Cat. Cleveland: Cleveland Museum of Art,1953.", "page_number": "Mentioned: no. 32", "url": null}, {"citation": "Townsend, J. Benjamin. <em>An American Visionary: Watercolors and Drawings of Charles E. Burchfield</em>. Exh. Cat. Boston: Athen\u00e6um, 1986.", "page_number": "Mentioned: no. 50", "url": null}], "url": "https://clevelandart.org/art/1953.431", "images": {}, "alternate_images": [], "creditline": "Norman O. Stone and Ella A. Stone Memorial Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 130714, "creators": [{"id": 3989, "description": "Charles Burchfield (American, 1893\u20131967)", "extent": null, "qualifier": null, "role": "artist", "biography": "Charles Burchfield was among the most original and poetic painters of the Cleveland modernist movement. Born in Ashtabula, he moved to Salem, Ohio, following the death of his father in 1898. After graduating from high school, he attended Cleveland School of Art, studying with William Eastman, Frederick Gottwald, Henry Keller, and Frank Wilcox. In 1914 Burchfield began attending Kokoon Klub exhibitions, and in spring 1915 he went to Brandywine to meet William Sommer. Around this time Burchfild began experimenting with the brilliant colors and simplified forms of the Berlin Heights painters. He painted his first mature works in 1915, and grad ed from the Cleveland School of Art with a degree in illustration the following spring. That summer the Cleveland School of Art sponsored his first solo exhibition, and in the fall, after attending the National Academy of Design in New York for one month, he returned to Salem. In February 1917 the Cleveland School of Art mounted his second solo exhibition. Burchfield was inducted into the army that summer. After his return in 1919 he exhibited with other Cleveland modernists at the Play House, Laukhuff\u2019 s Book store, and other Cleveland venues. In 1921 he went on an extended sketching trip through eastern Ohio with Keller, Wilcox, and Paul Travis, exhibiting these recent paintings at the Cleveland School of Art and in the May Show at the Cleveland Museum of Art. Later that year he moved to Buffalo to work as a wallpaper designer, a position he retained until he resigned in 1929 to become a full-time painter. Over the next 30 years he exhibited extensively at museums and galleries across the country. Solo exhibitions of his paintings were held at New York\u2019s Museum of Modern Art (1930), Pittsburgh\u2019 s Carnegie Institute of Art (1935, 1938, 1946), and Buffalo\u2019 s Albright-Knox Art Gallery (1944, 1955, 1963, 1967). In 1953 New York\u2019s Whitney Museum of American Art organized a major exhibition that traveled to the Cleveland Museum of Art. Burchfield died in West Seneca, New York. <br>\"Transformations in Cleveland Art\" (CMA, 1996), p. 224", "name_in_original_language": null, "birth_year": "1893", "death_year": "1967", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1953-11-05T00:00:00", "sortable_date": 1917, "date_added_to_oa": null, "date_text": "1917", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:07:56.278000"}, {"id": 149589, "accession_number": "1979.17", "share_license_status": "Copyrighted", "tombstone": "Ocean Park #109, 1978. Richard Diebenkorn (American, 1922\u20131993). Oil on canvas; framed: 256.1 x 195 x 4.8 cm (100 13/16 x 76 3/4 x 1 7/8 in.); unframed: 254 x 193 cm (100 x 76 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund and gift of The Cleveland Society for Contemporary Art and an Anonymous Donor, 1979.17. \u00a9 The Richard Diebenkorn Foundation", "current_location": null, "title": "Ocean Park #109", "creation_date": "1978", "creation_date_earliest": 1978, "creation_date_latest": 1978, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "measurements": "Framed: 256.1 x 195 x 4.8 cm (100 13/16 x 76 3/4 x 1 7/8 in.); Unframed: 254 x 193 cm (100 x 76 in.)", "dimensions": {"framed": {"height": 2.561, "width": 1.95, "depth": 0.048}, "unframed": {"height": 2.54, "width": 1.93}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 The Richard Diebenkorn Foundation", "inscriptions": [{"inscription": "Initialed lower right: \"RD 78\"", "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": 231054, "title": "Richard Diebenkorn: The Ocean Park Series", "description": "<i>Richard Diebenkorn: The Ocean Park Series</i>. Modern Art Museum of Fort Worth, Fort Worth, TX (September 26, 2011-January 22, 2012); Orange County Museum of Art, Newport Beach, CA (organizer) (February 26-May 27, 2012); Corcoran Gallery of Art, Washington, DC (July 3-September 23, 2012).", "opening_date": "2011-09-25T00:00:00"}], "legacy": [{"description": "M. Knoedler &amp; Co., New York:  Richard Diebenkorn:  Mary  12-May 31, 1979.", "opening_date": "1979-05-31T00:00:00"}, {"description": "CMA:  \"Year in Review 1979,\" Bulletin LXVII (March 1980), cat. no. 54, p. 96, repr. p. 79.", "opening_date": "1980-03-01T00:00:00"}, {"description": "Modern Art Museum of Fort Worth, TX (9/26/2011 - 1/22/2012), Orange County Museum of Art, Newport Beach, CA (2/26/2012 -  5/27/2012), and The Corcoran  Gallery of Art, Washington, DC (7/3/2012 - 9/23/2012):  \"Richard Diebenkorn: The Ocean Park Series\"", "opening_date": "2011-09-26T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The <em>Ocean Park</em> series drew inspiration from Henri Matisse\u2019s <em>View of Notre Dame</em> (1914) and <em>French Window at Collioure</em> (1914), which Diebenkorn saw at a Los Angeles exhibition in 1966.", "description": "This work belongs to Diebenkorn\u2019s landmark painting series Ocean Park, named for the then derelict artist neighborhood in which Diebenkorn lived, a few blocks from the Pacific Ocean. Rather than simply painting the landscape from his studio window, Diebenkorn intensely focused on the qualities of the natural light as it shone upon the surrounding buildings, water, and trees. Each painting from this series can be seen as a meditation on the way the natural world influences and affects our daily lives.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60473750"], "internet_archive": []}, "citations": [{"citation": "Hinson, Tom E. \"Recent Paintings by Richard Diebenkorn and Jack Tworkov.\" <em>The Bulletin of the Cleveland Museum of Art</em> 67, no. 2 (1980): 31-40.", "page_number": "Reproduced: cover; Mentioned: p. 31-40", "url": "https://www.jstor.org/stable/25159661"}, {"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. 54, p. 79; Mentioned: p. 61", "url": "https://www.jstor.org/stable/25159667"}, {"citation": "Livingston, Jane, and Andrea Liguori. Richard Diebenkorn: The Catalogue Raisonne\u0301. New Haven: Yale University Press, 2016.", "page_number": "261", "url": null}], "url": "https://clevelandart.org/art/1979.17", "images": {}, "alternate_images": [], "creditline": "Mr. and Mrs. William H. Marlatt Fund and gift of The Cleveland Society for Contemporary Art and an Anonymous Donor", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 149589, "creators": [{"id": 3423, "description": "Richard Diebenkorn (American, 1922\u20131993)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1922", "death_year": "1993", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1979-05-07T00:00:00", "sortable_date": 1978, "date_added_to_oa": null, "date_text": "1978", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "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 23:59:26.186000"}, {"id": 114578, "accession_number": "1934.20", "share_license_status": "Copyrighted", "tombstone": "Kirschzweige (Cherry Branches), c. 1925\u201330. Josef Frank (Swedish, born Austria, 1885\u20131967), Haus & Garten (Austrian, est. 1925). Plain weave bleached linen, loom width, block printed; overall: 97.2 x 79.7 cm (38 1/4 x 31 3/8 in.). The Cleveland Museum of Art, The Harold T. Clark Educational Extension Fund, 1934.20", "current_location": null, "title": "Kirschzweige (Cherry Branches)", "creation_date": "c. 1925\u201330", "creation_date_earliest": 1925, "creation_date_latest": 1930, "artists_tags": ["male", "Jewish artists"], "culture": [], "technique": "Plain weave bleached linen, loom width, block printed", "support_materials": [], "department": "Textiles", "collection": "Textiles", "type": "Textile", "measurements": "Overall: 97.2 x 79.7 cm (38 1/4 x 31 3/8 in.)", "dimensions": {"overall": {"height": 0.972, "width": 0.797}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 313463, "title": "Color and Comfort: Swedish Modern Design", "description": "<i>Color and Comfort: Swedish Modern Design</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 11, 2019-February 10, 2020).", "opening_date": "2019-02-17T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The pointed leaves identify this plant as a cherry tree, giving the print its name <em>Kirschzweige </em>or Cherry Branches.", "description": "Josef Frank often used long sinuous vines in his designs, prompting one journalist to describe his textiles as \u201cfull of vitality and decorative feeling.\u201d This comment along with a photograph of <em>Kirschzweige</em>, or Cherry Branches, as window treatments appeared in the mid-century Austrian design magazine <em>Innen-Dekoration</em>. Despite its apparent popularity, few examples of this design are known to exist. This textile fragment may be the largest extant example.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80007345"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1934.20", "images": {}, "alternate_images": [], "creditline": "The Harold T. Clark Educational Extension Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 114578, "creators": [{"id": 56189, "description": "Josef Frank (Swedish, born Austria, 1885\u20131967)", "extent": null, "qualifier": null, "role": "designer", "biography": "Born to a Jewish family in Baden, Austria, Josef Frank was an architect and designer who came of age in pre-war Vienna. He graduated from the Technische Hochschule (Polytechnic) in 1910 and taught at the Kunstgewerbeschule (School of Arts and Crafts) until the mid-1920s. An associate of the Wiener Werkst\u00e4tte, Frank founded his own interior design firm Haus &amp; Garten in 1925 with Oskar Wlach (1881-1963) and Walter Sobotka (1888-1972). During this venture Frank wrote several design treatises including <em>Architektur als Symbol</em> (1931). Frank married Anna Sebenius, a Swedish woman, in 1912 and in 1933 began designing for the Stockholm-based interior design company Svenkst Tenn. Although he immigrated to Sweden and adopted Swedish citizenship in 1938, Frank spent World War II in the United States teaching at the New School for Social Research in New York. In 1946 Frank returned to Sweden, continuing work with Svenkst Tenn until his death in 1967. Frank is considered to be one of the pioneers of Swedish modern design and the \u201cScandinavian Style.\u201d", "name_in_original_language": null, "birth_year": "1885", "death_year": "1967", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 40234, "description": "Haus & Garten (Austrian, est. 1925)", "extent": null, "qualifier": null, "role": "manufacturer", "biography": "Established by Josef Frank (1885-1967), Oskar Wlach (1881-1963) and Walter Sobotka (1888-1972) in 1925, the Vienna-based interior design firm Haus &amp; Garten worked concurrent with the Wiener Werkst\u00e4tte. Frank acted as lead designer with Wlach overseeing the business. Despite his immigration to Sweden in 1933, Frank continued working with the firm until giving up his partnership in 1938. Sobotka departed from the firm earlier in 1926.", "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1934-06-21T00:00:00", "sortable_date": 1925, "date_added_to_oa": null, "date_text": "c. 1925\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": ["Kirschzweige"], "is_highlight": false, "updated_at": "2026-03-27 00:08:06.507000"}, {"id": 129335, "accession_number": "1952.180", "share_license_status": "Copyrighted", "tombstone": "Gobelin, c. 1945. Hanna Ingrid Elisabet Jobs (Swedish, 1914\u20131995), Jobs Handtryck (Swedish, est. 1944). Plain weave bleached linen, loom width, printed; overall: 129.2 x 111.1 cm (50 7/8 x 43 3/4 in.). The Cleveland Museum of Art, The Harold T. Clark Educational Extension Fund, 1952.180", "current_location": null, "title": "Gobelin", "creation_date": "c. 1945", "creation_date_earliest": 1940, "creation_date_latest": 1950, "artists_tags": ["male", "gender unknown"], "culture": ["Sweden, Vastanvik, Leksand, 20th century"], "technique": "Plain weave bleached linen, loom width, printed", "support_materials": [], "department": "Textiles", "collection": "Textiles", "type": "Textile", "measurements": "Overall: 129.2 x 111.1 cm (50 7/8 x 43 3/4 in.)", "dimensions": {"overall": {"height": 1.292, "width": 1.111}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 313463, "title": "Color and Comfort: Swedish Modern Design", "description": "<i>Color and Comfort: Swedish Modern Design</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 11, 2019-February 10, 2020).", "opening_date": "2019-02-17T05:00:00"}], "legacy": []}, "provenance": [{"description": "Purchased from Elizabeth Hanna Imports", "citations": [], "footnotes": [], "date": null, "sortorder": 1}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The title alludes to the French tapestry maker Gobelin, the Swedish word for tapestry \u201cgobel\u00e4ng\u201d as well as the designer\u2019s nickname \u201cGocken.\u201d", "description": "In the mid-1940s, Ingrid Jobs, affectionately called \u201cGocken,\u201d began experimenting with folklore motifs in her designs. Through its pastel colors and representations of apple trees, <em>Gobelin </em>looks distinctly Swedish. Symbols of Sweden\u2019s rich cultural heritage abound throughout the composition, such as the small Dala horse in the cabinet hutch and the vignette of Swedish dancers celebrating the midsummer festival.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79910078"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1952.180", "images": {}, "alternate_images": [], "creditline": "The Harold T. Clark Educational Extension Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 129335, "creators": [{"id": 56180, "description": "Hanna Ingrid Elisabet Jobs (Swedish, 1914\u20131995)", "extent": null, "qualifier": null, "role": "designer", "biography": "The youngest of eight children, Hanna Ingrid Jobs was affectionately nicknamed \u201cGocken\u201d by her family. She was born in 1914 in the Swedish-province Dalarna. In 1930 she enrolled at the Tekniska Skolen in Stockholm where she studied illustration and ceramics, graduating in 1935. After schooling, she designed for her sister\u2019s firm Jobs Ceramics and Textiles in Stockholm and later for her brother Peer\u2019s textile press Jobs Handtryck (est. 1944). Throughout the 1930s, Gocken with her sister Lisbet displayed ceramics and textiles at world fairs including in Paris (1937), New York (1939), and San Francisco (1939). Gocken also exhibited in the important exhibitions <em>Svensk form</em> (1942) and <em>N\u00e4r sk\u00f6nheten kom till byn</em> (1945) which were central to establishing the Swedish Modern Design movement.", "name_in_original_language": null, "birth_year": "1914", "death_year": "1995", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 60277, "description": "Jobs Handtryck (Swedish, est. 1944)", "extent": null, "qualifier": null, "role": "manufacturer", "biography": "Established by Peer Jobs (1913-1989) in 1944, this Dalarna-based textile press specialized in manufacturing designs by Peer\u2019s sisters Lisbet Jobs (1909-1961) and Ingrid \u201cGocken\u201d Jobs (1914-1995). The press also collaborated with Leksand\u2019s Handicrafts Association (Leksands Hemslj\u00f6dsforening). As of 2019, the press operates out of V\u00e4stanvik, Sweden.", "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1952-06-23T00:00:00", "sortable_date": 1940, "date_added_to_oa": null, "date_text": "c. 1945", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Gobel\u00e4ng (Tapestry)"], "is_highlight": false, "updated_at": "2026-03-27 00:02:35.798000"}, {"id": 131587, "accession_number": "1954.201", "share_license_status": "Copyrighted", "tombstone": "Baranquilla, c. 1943\u201345. Josef Frank (Swedish, born Austria, 1885\u20131967), Svenskt Tenn (Swedish, est. 1924). Plain weave bleached linen, loom width, printed; overall: 198.1 x 128 cm (78 x 50 3/8 in.). The Cleveland Museum of Art, The Harold T. Clark Educational Extension Fund, 1954.201", "current_location": null, "title": "Baranquilla", "creation_date": "c. 1943\u201345", "creation_date_earliest": 1943, "creation_date_latest": 1945, "artists_tags": ["male", "Jewish artists"], "culture": ["Sweden, Stockholm, Svenskt Tenn, 20th century"], "technique": "Plain weave bleached linen, loom width, printed", "support_materials": [], "department": "Textiles", "collection": "Textiles", "type": "Textile", "measurements": "Overall: 198.1 x 128 cm (78 x 50 3/8 in.)", "dimensions": {"overall": {"height": 1.981, "width": 1.28}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 313463, "title": "Color and Comfort: Swedish Modern Design", "description": "<i>Color and Comfort: Swedish Modern Design</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 11, 2019-February 10, 2020).", "opening_date": "2019-02-17T05:00:00"}], "legacy": []}, "provenance": [{"description": "purchased from Bonnier's, New York", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The sinuous vines in this pattern wind around like the Barranquilla River in Columbia, from which the pattern derives its name.", "description": "Though designed by Josef Frank for the Swedish interior design firm Svenskt Tenn, <em>Baranquilla </em>reflects the landscape and culture of South America through the use of bright colors and imaginative plants. The excellent arrangement of vines, fruit, flowers, and leaves on a black background suggests a dense rain forest at night.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80023043"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1954.201", "images": {}, "alternate_images": [], "creditline": "The Harold T. Clark Educational Extension Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 131587, "creators": [{"id": 56189, "description": "Josef Frank (Swedish, born Austria, 1885\u20131967)", "extent": null, "qualifier": null, "role": "designer", "biography": "Born to a Jewish family in Baden, Austria, Josef Frank was an architect and designer who came of age in pre-war Vienna. He graduated from the Technische Hochschule (Polytechnic) in 1910 and taught at the Kunstgewerbeschule (School of Arts and Crafts) until the mid-1920s. An associate of the Wiener Werkst\u00e4tte, Frank founded his own interior design firm Haus &amp; Garten in 1925 with Oskar Wlach (1881-1963) and Walter Sobotka (1888-1972). During this venture Frank wrote several design treatises including <em>Architektur als Symbol</em> (1931). Frank married Anna Sebenius, a Swedish woman, in 1912 and in 1933 began designing for the Stockholm-based interior design company Svenkst Tenn. Although he immigrated to Sweden and adopted Swedish citizenship in 1938, Frank spent World War II in the United States teaching at the New School for Social Research in New York. In 1946 Frank returned to Sweden, continuing work with Svenkst Tenn until his death in 1967. Frank is considered to be one of the pioneers of Swedish modern design and the \u201cScandinavian Style.\u201d", "name_in_original_language": null, "birth_year": "1885", "death_year": "1967", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 317397, "description": "Svenskt Tenn (Swedish, est. 1924)", "extent": null, "qualifier": null, "role": "manufacturer", "biography": "Founded by Estrid Ericson in 1924, the Stockhlm studio and shop Svenskt Tenn (Swedish Tin) originally specialized in pewterware. After the Stockholm Exhibition of 1930, Ericson restructured the firm as a furnishings company specializing in the functionalist design exhibited at the fair. In 1933 Ericson hired the Austrian architect and designer Josef Frank to be the firm\u2019s chief designer, allowing her to focus on the company\u2019s business matters. Svenskt Tenn is still operating in Stockholm.", "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1954-05-04T00:00:00", "sortable_date": 1943, "date_added_to_oa": null, "date_text": "c. 1943\u201345", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "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 23:59:11.283000"}, {"id": 131665, "accession_number": "1954.255", "share_license_status": "Copyrighted", "tombstone": "Bonad (Wall Hanging): copy of \u201cOm Jesu Christi p\u00e5 ena \u00e5sna (Christ on a Donkey), 1818\u201d, 1952. Hans Prins (Swedish, 1908\u20131999), Leksands Hemsl\u00f6jdsforening (Swedish, est. 1904). Plain weave linen, printed; overall: 96.5 x 155.6 cm (38 x 61 1/4 in.). The Cleveland Museum of Art, The Harold T. Clark Educational Extension Fund, 1954.255", "current_location": null, "title": "Bonad (Wall Hanging): copy of \u201cOm Jesu Christi p\u00e5 ena \u00e5sna (Christ on a Donkey), 1818\u201d", "creation_date": "1952", "creation_date_earliest": 1952, "creation_date_latest": 1952, "artists_tags": ["male", "gender unknown"], "culture": ["Sweden, Vastanvik, Leksand, 20th century"], "technique": "Plain weave linen, printed", "support_materials": [], "department": "Textiles", "collection": "Textiles", "type": "Textile", "measurements": "Overall: 96.5 x 155.6 cm (38 x 61 1/4 in.)", "dimensions": {"overall": {"height": 0.965, "width": 1.556}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 313463, "title": "Color and Comfort: Swedish Modern Design", "description": "<i>Color and Comfort: Swedish Modern Design</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 11, 2019-February 10, 2020).", "opening_date": "2019-02-17T05:00:00"}], "legacy": []}, "provenance": [{"description": "purchased from Elizabeth Hanna Imports", "citations": [], "footnotes": [], "date": null, "sortorder": 1}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Wall hangings were used to decorate modern urban homes, reminding Swedes of their rural roots.", "description": "The line of text on this wall hanging reads \u201cOf Jesus Christ riding into the city of Jerusalem on a donkey and the people spreading elderberries before (Him) upon the path.\u201d The biblical story of Jesus Christ riding a donkey into Jerusalem is presented with a Swedish twist, including the use of the typically Swedish elderberry as well as an idyllic Swedish town representing Jerusalem. The wall hanging\u2019s designer, Hans Prins, adapted a beloved wall mural by Back Erik Andersson (1778\u20131847) from a church in the Dalarna-region municipality of Leksand.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80023081"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1954.255", "images": {}, "alternate_images": [], "creditline": "The Harold T. Clark Educational Extension Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 131665, "creators": [{"id": 317401, "description": "Hans Prins (Swedish, 1908\u20131999)", "extent": null, "qualifier": null, "role": "designer", "biography": "Hans Prins was a Swedish designer and illustrator based in the Dalarna province. He worked for Leksand\u2019s Handicrafts Association (Leksands Hemsl\u00f6jdsforening) adapting the region\u2019s18th-century home and church murals into wall hangings.", "name_in_original_language": null, "birth_year": "1908", "death_year": "1999", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 60280, "description": "Leksands Hemsl\u00f6jdsforening (Swedish, est. 1904)", "extent": null, "qualifier": null, "role": "manufacturer", "biography": "This regional handicrafts association was established in the Dalarana municipality Leksand in 1904. The organization largely produced textiles and ceramics based on the region\u2019s folkloric art style.", "name_in_original_language": "Leksands Hemsl\u00f6jdsforening", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1954-05-04T00:00:00", "sortable_date": 1952, "date_added_to_oa": null, "date_text": "1952", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:56.941000"}, {"id": 438262, "accession_number": "2021.15", "share_license_status": "Copyrighted", "tombstone": "Revolutionary, 1972. Wadsworth Jarrell (American, b. 1929). Color screenprint; image: 83.9 x 67.4 cm (33 1/16 x 26 9/16 in.); sheet: 83.9 x 67.4 cm (33 1/16 x 26 9/16 in.). The Cleveland Museum of Art, Karl B. Goldfield Trust, 2021.15. \u00a9 Wadsworth Jarrell", "current_location": null, "title": "Revolutionary", "creation_date": "1972", "creation_date_earliest": 1972, "creation_date_latest": 1972, "artists_tags": ["Black American Artists", "male"], "culture": ["America"], "technique": "color screenprint", "support_materials": [], "department": "Prints", "collection": "PR - Screenprint", "type": "Print", "measurements": "Image: 83.9 x 67.4 cm (33 1/16 x 26 9/16 in.); Sheet: 83.9 x 67.4 cm (33 1/16 x 26 9/16 in.)", "dimensions": {"image": {"height": 0.839, "width": 0.674}, "sheet": {"height": 0.839, "width": 0.674}}, "state_of_the_work": null, "edition_of_the_work": "Edition of 300", "copyright": "\u00a9 Wadsworth Jarrell", "inscriptions": [{"inscription": "signed and dated, in pencil, at lower right: Wadsworth A. Jarrell / 1972", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "inscribed, in pencil, at lower left: REVOLUTIONARY", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "inscribed, in pencil, at bottom center: 52/300", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 449916, "title": "ArtLens Light-Sensitive Rotation\u2014March 2022", "description": "<i>ArtLens Light-Sensitive Rotation\u2014March 2022</i>. The Cleveland Museum of Art (organizer) (March 12-June 5, 2022).", "opening_date": "2022-03-12T05:00:00"}], "legacy": []}, "provenance": [{"description": "Wadsworth Jarrell [1929-], Cleveland, OH", "citations": [], "footnotes": [], "date": "1972-2017", "sortorder": 1}, {"description": "(Lusenhop Fine Art, Chicago, [now Cleveland], sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": [], "date": "2017-2021", "sortorder": 2}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2021-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Wadsworth Jarrell reinterpreted the photograph on which this print is based so that Angela Davis wears a fashion design by the artist Jae Jarrell, his wife, entitled <em>Revolutionary Suit</em> (1968).", "description": "Wadsworth Jarrell was a founding member of AfriCOBRA (African Commune of Bad Relevant Artists), a Chicago-based artists\u2019 collective founded in 1968 to forge a distinctly Black form of contemporary art. <em>Revolutionary</em> features the vibrant tones and rhythmic text-based forms for which he is best known. Reinterpreting a painting of the previous year, the print depicts activist Angela Davis using words and phrases from her speeches, including \u201crevolution\u201d and \u201cBlack is beautiful.\u201d Her figure dominates the composition in a way that Jarrell describes as \u201can attempt to capture the majestic charm, seriousness, and leadership of an astute drum major for freedom.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117246645"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2021.15", "images": {}, "alternate_images": [], "creditline": "Karl B. Goldfield Trust", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 438262, "creators": [{"id": 290455, "description": "Wadsworth Jarrell (American, b. 1929)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1929", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2021-03-01T00:00:00-05:00", "sortable_date": 1972, "date_added_to_oa": null, "date_text": "1972", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": "53/300", "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:55.072000"}, {"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": 140162, "accession_number": "1964.161", "share_license_status": "Copyrighted", "tombstone": "End of Autumn, No. 4, 1952. Georges Rouault (French, 1871\u20131958). Oil on canvas; framed: 103.5 x 134.6 x 11.4 cm (40 3/4 x 53 x 4 1/2 in.); unframed: 75 x 105.4 cm (29 1/2 x 41 1/2 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. Paul H. Sampliner, 1964.161. \u00a9 Artists Rights Society (ARS), New York / ADAGP, Paris", "current_location": null, "title": "End of Autumn, No. 4", "creation_date": "1952", "creation_date_earliest": 1952, "creation_date_latest": 1952, "artists_tags": ["male"], "culture": ["France, 20th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 103.5 x 134.6 x 11.4 cm (40 3/4 x 53 x 4 1/2 in.); Unframed: 75 x 105.4 cm (29 1/2 x 41 1/2 in.)", "dimensions": {"framed": {"height": 1.035, "width": 1.346, "depth": 0.114}, "unframed": {"height": 0.75, "width": 1.054}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Artists Rights Society (ARS), New York / ADAGP, Paris", "inscriptions": [{"inscription": "Signed lower right: G. Rouault", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"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": 517836, "title": "New York Collects, Paintings, Watercolors, and Sculpture from Private Collections, 1968", "description": "<i>New York Collects, Paintings, Watercolors, and Sculpture from Private Collections, 1968</i>. The Metropolitan Museum of Art, New York, NY (organizer) (July 3-September 2, 1968).", "opening_date": "1968-07-03T04:00:00"}, {"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": 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. Paul H. Sampliner [1898-1975] and Mrs. Paul H. Sampliner [1898-2000], New York, NY, by gift 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": "At the age of fourteen, Rouault worked as an apprentice to a glass painter and medieval window restorer. This early life experience is said to be the source of the heavy black lines that characterize his style.", "description": "Rouault, often associated with Expressionism and Fauvism, art movements that emphasized an emotional interpretation of subjects, stands out among avant-garde artists for placing his Christian faith at the center of his art. He painted this autumn landscape six years before his death. Figures wander in a broad landscape beneath a glowing sky, evoking associations with the biblical flight into Egypt. The jewel-like greens, blues, reds, and yellows encased in strong, dark lines reflect his early training as a stained glass window painter.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60469156"], "internet_archive": []}, "citations": [{"citation": "Venturi, Lionello. <em>Rouault, Biographical and Critical Study</em>. New York, NY: Skira, 1959.", "page_number": "Reproduced: p. 105; Mentioned: p. 106", "url": null}, {"citation": "Courthion, Pierre. <em>Georges Rouault</em>. New York, NY: H.N. Abrams, 1962.", "page_number": "Reproduced: p. 454", "url": null}, {"citation": "Henning, Edward B. <em>Fifty Years of Modern Art, 1916-1966</em>. Cleveland, OH: Cleveland Museum of Art, 1966.", "page_number": "Reproduced: no. 48", "url": null}, {"citation": "Dorival, Bernard. <em>Rouault: l'\u0153uvre peint</em>. Monte-Carlo, Monaco, France: E\u0301ditions Andre\u0301 Sauret, 1988.", "page_number": "Mentioned and Reperoduced: p. 265", "url": null}, {"citation": "Kang, Soo Yun. <em>Rouault in Perspective: Contextual and Theoretical Study of His Art</em>. Lanham, MD: International Scholars Publications, 2000.", "page_number": "Mentioned: p. 246; Reproduced: fig. 79", "url": null}], "url": "https://clevelandart.org/art/1964.161", "images": {}, "alternate_images": [], "creditline": "Gift of Mr. and Mrs. Paul H. Sampliner", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 140162, "creators": [{"id": 2136, "description": "Georges Rouault (French, 1871\u20131958)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1871", "death_year": "1958", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1964-10-31T00:00:00", "sortable_date": 1952, "date_added_to_oa": null, "date_text": "1952", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 16:32:37.106000"}, {"id": 174073, "accession_number": "1932.963", "share_license_status": "Copyrighted", "tombstone": "Still-Life Plaque, c. 1931\u201332. Viktor Schreckengost (American, 1906\u20132008), in collaboration with Cowan Pottery Studio (America, Rocky River, Ohio, 1920\u20131931). Ceramic with underglaze painting and clear glaze; diameter: 41.3 cm (16 1/4 in.). The Cleveland Museum of Art, Hinman B. Hurlbut Collection, 1932.963", "current_location": "228B Cleveland Artists", "title": "Still-Life Plaque", "creation_date": "c. 1931\u201332", "creation_date_earliest": 1931, "creation_date_latest": 1932, "artists_tags": ["male", "Cleveland Institute of Art (faculty)", "Cleveland School", "May Show", "Cleveland Institute of Art (alumni)"], "culture": ["America, Ohio, Cleveland"], "technique": "ceramic with underglaze painting and clear glaze", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Ceramic", "measurements": "Diameter: 41.3 cm (16 1/4 in.)", "dimensions": {"diameter": {"width": 0.413}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "on bottom: \"Viktor Schreckengost.\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 382023, "title": "The May Show: 14th Annual Exhibition of Works by Cleveland Artists and Craftsmen", "description": "<i>The May Show: 14th Annual Exhibition of Works by Cleveland Artists and Craftsmen</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 27-June 5, 1932).", "opening_date": "1932-04-27T04:00:00"}, {"id": 312185, "title": "Retrospective Twenty-fifth Anniversary May Show", "description": "<i>Retrospective Twenty-fifth Anniversary May Show</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 13-February 14, 1943).", "opening_date": "1943-01-13T05:00:00"}, {"id": 309667, "title": "Circa 1930", "description": "<i>Circa 1930</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 12-October 31, 1983).", "opening_date": "1983-04-12T05:00:00"}, {"id": 310252, "title": "Cleveland Art Comes of Age: 1919-1940", "description": "<i>Cleveland Art Comes of Age: 1919-1940</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 28-September 10, 1989).", "opening_date": "1989-06-28T04:00:00"}, {"id": 189020, "title": "Viktor Schreckengost and 20th-century Design", "description": "<i>Viktor Schreckengost and 20th-century Design</i>. The Cleveland Museum of Art (organizer) (November 12, 2000-February 4, 2001).", "opening_date": "2000-11-12T00:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": ["1756.1932", "963.1932"], "did_you_know": null, "description": "Viktor Schreckengost began his career around 1930 designing artistic ceramics, such as this Cubist-inspired charger for Cowan Pottery in which he depicts angular, fragmented forms from multiple perspectives. Working with innovative bright glazes, Schreckengost created bold compositions that were both affordable and sophisticated decorative artworks for the Depression-era consumer.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117230298"], "internet_archive": []}, "citations": [{"citation": "Adams, Henry, and Viktor Schreckengost. <em>Viktor Schreckengost and 20th-Century Design</em>. Cleveland, Ohio: Cleveland Museum of Art, 2000.", "page_number": "exh. cat. no. 43, p. 163, color repr. p. 47", "url": null}, {"citation": "Basset, Mark and Naumann, Victoria. <em>Cowan Pottery and the Cleveland School</em>. Atglen: Schiffer Publishing Ltd., 1997. pp. 283-6, 314-5.", "page_number": "", "url": ""}, {"citation": "Viktor Schreckengost Entry Card to 1932 May Show. Cleveland Museum of Art May Show Records, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/CMAMS02638"}], "url": "https://clevelandart.org/art/1932.963", "images": {}, "alternate_images": [], "creditline": "Hinman B. Hurlbut Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "William P. and Amanda C. Madar Gallery", "athena_id": 174073, "creators": [{"id": 18616, "description": "Viktor Schreckengost (American, 1906\u20132008)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1906", "death_year": "2008", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 681237, "description": "Cowan Pottery Studio (America, Rocky River, Ohio, 1920\u20131931)", "extent": null, "qualifier": "in collaboration with", "role": "made at", "biography": "The Cowan Pottery Studio was founded by R. Guy Cowan in Lakewood, Ohio, United States in 1912. It moved to Rocky River, Ohio in 1920, and operated until 1931, when the financial stress of the Great Depression resulted in its bankruptcy. Cowan Pottery produced both artistic and commercial work in a variety of styles influenced by the Arts and Crafts Movement, Art Deco, Chinese ceramics, and modern sculpture. <br> <br>During its two decades of operation, a number of well-known Cleveland School artists worked with Cowan at the studio: Elizabeth Anderson, Arthur Eugene Baggs, Alexander Blazys, Paul Bogatay, Edris Eckhardt, Waylande Gregory, A. Drexler Jacobson, Raoul Josset, Paul Manship, Jos\u00e9 Martin, Herman Matzen, F. Luis Mora, Elmer L. Novotny, Margaret Postgate, Stephen Rebeck, Guy L. Rixford, Viktor Schreckengost, Elsa Vick Shaw, Walter Sinz, Frank N. Wilcox, H. Edward Winter, and Thelma Frazier Winter. With the exception of Guy Cowan, himself, Waylande Gregory designed more pieces for the pottery than anyone else. Among Cowan's finest pieces were three limited edition figures relating to dance, including \"Salome\" (1928), \"The Nautch Dancer,\" (1930), and \"The Burlesque Dancer,\" (1930). For the last two, Gregory made sketches from the side of the stage of the well-known Ziegfeld Follies star, Gilda Grey, when she was performing in Cleveland.", "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1932-04-26T00:00:00", "sortable_date": 1931, "date_added_to_oa": null, "date_text": "c. 1931\u201332", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Plaque: Still Life"], "is_highlight": false, "updated_at": "2026-03-27 00:08:14.077000"}, {"id": 136592, "accession_number": "1961.154", "share_license_status": "CC0", "tombstone": "Tightrope Walker, 1923. Paul Klee (German, 1879\u20131940). Color lithograph. The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1961.154", "current_location": null, "title": "Tightrope Walker", "creation_date": "1923", "creation_date_earliest": 1923, "creation_date_latest": 1923, "artists_tags": ["male"], "culture": ["Germany, 20th century"], "technique": "color lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "dimensions": {}, "state_of_the_work": "IVc", "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": 350592, "title": "Prints and Drawings, 1916-1965", "description": "<i>Prints and Drawings, 1916-1965</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 20-July 24, 1966).", "opening_date": "1966-05-20T04:00:00"}, {"id": 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": 304514, "title": "German Expressionist Graphics", "description": "<i>German Expressionist Graphics</i>. The Cleveland Museum of Art (organizer) (May 7-October 5, 1980).", "opening_date": "1980-05-07T04:00:00"}, {"id": 310264, "title": "Cross Section: Graphic Art in Germany after the First World War", "description": "<i>Cross Section: Graphic Art in Germany after the First World War</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 10, 1989-January 7, 1990).", "opening_date": "1989-10-10T04:00:00"}, {"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": 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": "(Kennedy Gallery, New York, sold to the Print Club of Cleveland, Cleveland, OH)", "citations": [], "footnotes": [], "date": "?-1961", "sortorder": 1}, {"description": "Print Club of Cleveland, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1961", "sortorder": 2}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1961-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Paul Klee made this print during a decade spent on the faculty of the Bauhaus, an influential German art school.", "description": "This lithograph is one of Paul Klee\u2019s many depictions of tightrope walkers, a subject that he saw as reflecting the balance and tension necessary to artistic creation. Against a field of pink, the figure occupies only a small portion of the sheet, much of which is filled with an abstracted landscape of winding stairs and paths. Klee employed a variety of lithographic techniques in the print\u2014from the fine pen lines used to sketch the tightrope walker and his surroundings to the smooth gradient above and below him, making him appear as if spotlit.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80030621"], "internet_archive": ["https://archive.org/details/clevelandart-1961.154-tightrope-walker"]}, "citations": [], "catalogue_raisonne": "Kornfeld 95", "url": "https://clevelandart.org/art/1961.154", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1961.154/1961.154_web.jpg", "width": "557", "height": "893", "filesize": "448687", "filename": "1961.154_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1961.154/1961.154_print.jpg", "width": "2120", "height": "3400", "filesize": "7058469", "filename": "1961.154_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1961.154/1961.154_full.tif", "width": "3205", "height": "5139", "filesize": "49445344", "filename": "1961.154_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": 136592, "creators": [{"id": 11674, "description": "Paul Klee (German, 1879\u20131940)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1879", "death_year": "1940", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1961-08-19T00:00:00", "sortable_date": 1923, "date_added_to_oa": null, "date_text": "1923", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:02:37.877000"}, {"id": 135581, "accession_number": "1959.126", "share_license_status": "Copyrighted", "tombstone": "Pachyderm, 1951. Viktor Schreckengost (American, 1906\u20132008). Glazed ceramic; with base: 61 x 40.7 cm (24 x 16 in.). The Cleveland Museum of Art, Anonymous Gift, 1959.126", "current_location": null, "title": "Pachyderm", "creation_date": "1951", "creation_date_earliest": 1951, "creation_date_latest": 1951, "artists_tags": ["male", "Cleveland Institute of Art (faculty)", "Cleveland School", "May Show", "Cleveland Institute of Art (alumni)"], "culture": ["America, Ohio, Cleveland"], "technique": "glazed ceramic", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Cleveland School", "type": "Ceramic", "measurements": "with base: 61 x 40.7 cm (24 x 16 in.)", "dimensions": {"with base": {"height": 0.61, "width": 0.407, "length": 0.686}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 383019, "title": "The May Show: 34th Annual Exhibition of Works by Cleveland Artists and Craftsmen", "description": "<i>The May Show: 34th Annual Exhibition of Works by Cleveland Artists and Craftsmen</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 30-June 8, 1952).", "opening_date": "1952-04-30T04:00:00"}, {"id": 189020, "title": "Viktor Schreckengost and 20th-century Design", "description": "<i>Viktor Schreckengost and 20th-century Design</i>. The Cleveland Museum of Art (organizer) (November 12, 2000-February 4, 2001).", "opening_date": "2000-11-12T00:00:00"}, {"id": 182128, "title": "Animals in Art: Clay Creatures by Viktor Schreckengost", "description": "<i>Animals in Art: Clay Creatures by Viktor Schreckengost</i>. The Cleveland Metroparks Zoo, Cleveland, OH (April 29-August 13, 2006).", "opening_date": "2006-04-29T00:00:00"}], "legacy": [{"description": "CMA:  May 1952.", "opening_date": "1952-05-01T00:00:00"}, {"description": "Cleveland, Ohio: The Cleveland Museum of Art; November 12, 2000 - February 4, 2001. \"Viktor Schreckengost and 20th-Century Design\" exh. cat. no. 57, p. 164, color repr. p. 51.", "opening_date": "2000-11-12T00:00:00"}, {"description": "Cleveland Metroparks Zoo (4/29/2006 - 8/13/2006):  \"Animals in Art: Highlights from Viktor Schreckengost\" no catalogue", "opening_date": "2006-04-29T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The biological term \"pachyderm\" derives from an ancient Greek word meaning thick skinned.", "description": "Of the more than two dozen ceramic sculptures of animals that Viktor Schreckengost produced from the 1930s through the 1950s, this depiction of an elephant is the most abstracted. Animals fascinated the artist, who spent many hours sketching them at the Cleveland Zoo.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80028972"], "internet_archive": []}, "citations": [{"citation": "Viktor Schreckengost Entry Card to 1952 May Show. Cleveland Museum of Art May Show Records, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/CMAMS09658"}], "url": "https://clevelandart.org/art/1959.126", "images": {}, "alternate_images": [], "creditline": "Anonymous Gift", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 135581, "creators": [{"id": 18616, "description": "Viktor Schreckengost (American, 1906\u20132008)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1906", "death_year": "2008", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1959-04-25T00:00:00", "sortable_date": 1951, "date_added_to_oa": null, "date_text": "1951", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Elephant"], "is_highlight": false, "updated_at": "2026-03-27 00:05:42.513000"}, {"id": 136840, "accession_number": "1961.330", "share_license_status": "Copyrighted", "tombstone": "Eye, c. 1930. Emily Drayton Taylor (American, 1860\u20131952). Watercolor on ivory; diameter of frame: 2.4 cm (15/16 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. John W. Starr, 1961.330", "current_location": null, "title": "Eye", "creation_date": "c. 1930", "creation_date_earliest": 1925, "creation_date_latest": 1935, "artists_tags": ["female"], "culture": ["America"], "technique": "watercolor on ivory", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Portrait Miniature", "measurements": "Diameter of frame: 2.4 cm (15/16 in.)", "dimensions": {"diameter of frame": {"width": 0.024}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "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": 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": 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": 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"}, {"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"}, {"id": 691463, "title": "British Portrait Miniatures: Tokens of Love and Loss", "description": "<i>British Portrait Miniatures: Tokens of Love and Loss</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 18, 2025-February 15, 2026).", "opening_date": "2025-08-18T04:00:00"}], "legacy": []}, "provenance": [{"description": "Mr. and Mrs. John W. Starr, Kansas City, MO, gifted to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1951-1961", "sortorder": null}, {"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": "Eye miniatures are often called \"lover's eyes\" because they were exchanged as sentimental gifts between significant others.", "description": "Most popular around the turn of the 1800s, eye miniatures experienced a revival a century later. Emily Drayton Taylor owned a vintage eye miniature of her grandmother that inspired this work, a close copy. However, she changed the eye color from blue to brown, revealing that it portrays a different individual.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80031046"], "internet_archive": []}, "citations": [{"citation": "Pai\u0308ni, Dominique, and Guy Cogeval. <em>Hitchcock and Art: Fatal Coincidences</em>. Montreal: The Montreal Museum of Fine Arts, 2000.", "page_number": "repr. p. 212 (center)", "url": null}], "url": "https://clevelandart.org/art/1961.330", "images": {}, "alternate_images": [], "creditline": "Gift of Mr. and Mrs. John W. Starr", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 136840, "creators": [{"id": 61611, "description": "Emily Drayton Taylor (American, 1860\u20131952)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1860", "death_year": "1952", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1961-12-02T00:00:00", "sortable_date": 1925, "date_added_to_oa": null, "date_text": "c. 1930", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:13.467000"}, {"id": 78002, "accession_number": "2020.135", "share_license_status": "CC0", "tombstone": "On Morse Mountain, No. 6, Maine, 1928. John Marin (American, 1870\u20131953). Watercolor and black crayon and reductive work with the end of paint brush on thick, moderately rough-textured wove paper; image and sheet: 42.3 x 56.5 cm (16 5/8 x 22 1/4 in.). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift, 2020.135", "current_location": null, "title": "On Morse Mountain, No. 6, Maine", "creation_date": "1928", "creation_date_earliest": 1928, "creation_date_latest": 1928, "artists_tags": ["male"], "culture": ["America"], "technique": "Watercolor and black crayon and reductive work with the end of paint brush on thick, moderately rough-textured wove paper", "support_materials": [], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Image and Sheet: 42.3 x 56.5 cm (16 5/8 x 22 1/4 in.)", "dimensions": {"image and sheet": {"height": 0.423, "width": 0.565}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Recto, lower right: \"Marin '28\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Written in pencil on verso: \"On Morse Mountain/#6-28\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Written in pencil on verso: \"No 5 (scribbled out in pencil)\"", "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>Recent Watercolors: New Mexico and New York. </em>An American Place, New York, NY (1930).", "opening_date": "1930-01-01T00:00:00"}, {"description": "<em>John Marin-A Retrospective Exhibition. </em>Museum of Modern Art, New York, NY (October 21-November 22, 1936).", "opening_date": "1936-10-21T00:00:00"}, {"description": "<em>John Marin: A Retrospective. </em>Institute of Modern Art, Boston, MA (1947); Phillips Memorial Gallery, Washington, D.C. (1947); Walker Art Center, Minneapolis, MN (1947).", "opening_date": "1947-01-01T00:00:00"}, {"description": "<em>John Marin Memorial Exhibition. </em>Museum of Fine Arts, Boston, MA (1955-56); Phillips Gallery, Washington, D.C. (1955-56); San Francisco Museum of Art, San Francisco, CA (1955-56); University of California Art Galleries, Los Angeles, CA (1955-56); the Cleveland Museum of Art, Cleveland, OH (1955-56); Minneapolis Institute of Arts, Minneapolis, MN (1955-56); Georgia Museum of Art, Athens, GA (1955-56); Whitney Museum of American Art, New York, NY (1955-56).", "opening_date": "1955-01-01T00:00:00"}, {"description": "<em>John Marin: Paintings, Watercolours, Drawings, and Etchings. </em>Arts Council Gallery, London, England (1956).", "opening_date": "1956-01-01T00:00:00"}]}, "provenance": [{"description": "Estate of the Artist", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "Mr. and Mrs. John C. Marin, Jr., New York, NY", "citations": [], "footnotes": [], "date": null, "sortorder": 2}, {"description": "Marlborough Gallery, New York, NY", "citations": [], "footnotes": [], "date": null, "sortorder": 3}, {"description": "Sotheby's, New York, NY", "citations": [], "footnotes": [], "date": "May 25, 1994", "sortorder": 4}, {"description": "Spanierman Gallery, New York, NY", "citations": [], "footnotes": [], "date": null, "sortorder": 5}, {"description": "Tibor de Nagy Gallery, New York, NY", "citations": [], "footnotes": [], "date": null, "sortorder": 6}, {"description": "Mr. and Mrs. Joseph P. Keithley, Cleveland, OH", "citations": [], "footnotes": null, "date": null, "sortorder": 7}, {"description": "the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "March 2, 2020", "sortorder": 8}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "John Marin made this watercolor during one of the last summers he would spend in Maine, at a time when he called most of the watercolors he executed \"Movements in Paint.\"", "description": "One of America's most important watercolor practitioners, John Marin spent every summer in Maine from 1914 through 1928, and the state's coastline became a central focus of his work. By the late 1920s, when this work was made, he was experimenting with bold black elements in his compositions and painted frames or borders. <em>On Morse Mountain, No. 6, Maine</em> shows Marin using dry charcoal to create areas of shocking black over which he layered inky black wash. The technique has the effect of framing the image and leading the eye toward the center. With its strikingly different character from other works made in Maine in 1914 (see 2020.134, 2020.136, 2020.137, 2020.138, 2020.139), the work shows how John Marin repeatedly challenged himself as well as the medium of watercolor with improvisations in color, paint handling, perspective, and movement.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q87480826"], "internet_archive": []}, "citations": [{"citation": "Fine, Ruth. \"John Marin.\" In <em>The Keithley Collection at the Cleveland Museum of Art, </em>edited by Heather Lemonedes Brown, 152-161. Cleveland, OH: The Cleveland Museum of Art, 2022.", "page_number": "Mentioned and reproduced: p. 152-161; Mentioned: p. 265-267", "url": ""}], "url": "https://clevelandart.org/art/2020.135", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2020.135/2020.135_web.jpg", "width": "900", "height": "684", "filesize": "336641", "filename": "2020.135_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2020.135/2020.135_print.jpg", "width": "3400", "height": "2583", "filesize": "4051595", "filename": "2020.135_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2020.135/2020.135_full.tif", "width": "12067", "height": "9167", "filesize": "331885312", "filename": "2020.135_full.tif"}}, "alternate_images": [{"date_created": "2020-02-20T11:16:12", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.135/2020.135_alt0_web.jpg", "width": "900", "height": "684", "filesize": "414292"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.135/2020.135_alt0_print.jpg", "width": "3400", "height": "2583", "filesize": "5462758"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.135/2020.135_alt0_full.tif", "width": "12067", "height": "9167", "filesize": "331885292"}}], "creditline": "Nancy F. and Joseph P. Keithley Collection Gift", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 78002, "creators": [{"id": 3179, "description": "John Marin (American, 1870\u20131953)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1870", "death_year": "1953", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2020-03-02T00:00:00-05:00", "sortable_date": 1928, "date_added_to_oa": 20260210, "date_text": "1928", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:05:46.882000"}, {"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. 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/Q60778135"], "internet_archive": ["https://archive.org/details/clevelandart-1960.186-vase"]}, "citations": [], "url": "https://clevelandart.org/art/1960.186", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1960.186/1960.186_web.jpg", "width": "660", "height": "900", "filesize": "93455", "filename": "1960.186_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1960.186/1960.186_print.jpg", "width": "2494", "height": "3400", "filesize": "846815", "filename": "1960.186_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1960.186/1960.186_full.tif", "width": "2691", "height": "3668", "filesize": "29641516", "filename": "1960.186_full.tif"}}, "alternate_images": [], "creditline": "Gift of Mrs. Arthur L. Brockway", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 136303, "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": "1960-11-12T00:00:00", "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 00:07:17.805000"}, {"id": 149015, "accession_number": "1977.168", "share_license_status": "CC0", "tombstone": "Dressing Table Mirror, c. 1900\u20131902. 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": 159994, "accession_number": "1997.260", "share_license_status": "CC0", "tombstone": "Vase, c. 1905\u201310. Louis Comfort Tiffany (American, 1848\u20131933), Tiffany Studios (United States, New York, 1902\u201332). Favrile glass; overall: 19.2 x 9.5 cm (7 9/16 x 3 3/4 in.). The Cleveland Museum of Art, Gift of Henry H. Hawley, 1997.260", "current_location": "209 Tiffany", "title": "Vase", "creation_date": "c. 1905\u201310", "creation_date_earliest": 1905, "creation_date_latest": 1910, "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: 19.2 x 9.5 cm (7 9/16 x 3 3/4 in.)", "dimensions": {"overall": {"height": 0.192, "width": 0.095}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "engraved on underside: X1122", "inscription_translation": null, "inscription_remark": "X1122", "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Henry H. Hawley [1934-2019], Cleveland, OH, given 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": "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. 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/Q79980478"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1997.260", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1997.260/1997.260_web.jpg", "width": "703", "height": "893", "filesize": "244339", "filename": "1997.260_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1997.260/1997.260_print.jpg", "width": "2677", "height": "3400", "filesize": "3700151", "filename": "1997.260_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1997.260/1997.260_full.tif", "width": "3209", "height": "4076", "filesize": "39294340", "filename": "1997.260_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": 159994, "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": false, "weight": 1}, {"id": 292194, "description": "Tiffany Studios (United States, New York, 1902\u201332)", "extent": null, "qualifier": null, "role": "maker", "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": "1998-03-09T00:00:00", "sortable_date": 1905, "date_added_to_oa": null, "date_text": "c. 1905\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": ["Bottle"], "is_highlight": false, "updated_at": "2026-03-31 19:03:01.035000"}, {"id": 160047, "accession_number": "1997.304", "share_license_status": "CC0", "tombstone": "Vase, c. 1905\u201310. Louis Comfort Tiffany (American, 1848\u20131933), Tiffany Studios (United States, New York, 1902\u201332). Favrile glass; diameter: 7.8 cm (3 1/16 in.); overall: 10.2 cm (4 in.). The Cleveland Museum of Art, Bequest of Virginia Hubbell, 1997.304", "current_location": "209 Tiffany", "title": "Vase", "creation_date": "c. 1905\u201310", "creation_date_earliest": 1905, "creation_date_latest": 1910, "artists_tags": ["male", "gender unknown"], "culture": ["America"], "technique": "favrile glass", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Glass", "measurements": "Diameter: 7.8 cm (3 1/16 in.); Overall: 10.2 cm (4 in.)", "dimensions": {"diameter": {"width": 0.078}, "overall": {"height": 0.102}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "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": ["320.1996"], "did_you_know": "Benjamin Hubbell, the architect of the Cleveland Museum of Art, acquired this vase from Louis Comfort Tiffany, with whom he collaborated on various projects.", "description": "This small vase is made of Louis Comfort Tiffany's signature Favrile glass. 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/Q79980621"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1997.304", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1997.304/1997.304_web.jpg", "width": "725", "height": "893", "filesize": "289926", "filename": "1997.304_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1997.304/1997.304_print.jpg", "width": "1536", "height": "1891", "filesize": "1405329", "filename": "1997.304_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1997.304/1997.304_full.tif", "width": "1536", "height": "1891", "filesize": "8716940", "filename": "1997.304_full.tif"}}, "alternate_images": [], "creditline": "Bequest of Virginia Hubbell", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 160047, "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": false, "weight": 1}, {"id": 292194, "description": "Tiffany Studios (United States, New York, 1902\u201332)", "extent": null, "qualifier": null, "role": "maker", "biography": "American jewelry and glass manufactory, 1902-1932", "name_in_original_language": null, "use_in_caption": true, "include_extent": true, "weight": 2}], "legal_status": "accessioned", "accession_date": "1998-03-09T00:00:00", "sortable_date": 1905, "date_added_to_oa": null, "date_text": "c. 1905\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": false, "updated_at": "2026-03-31 19:03:08.204000"}, {"id": 163681, "accession_number": "2005.154", "share_license_status": "Copyrighted", "tombstone": "City Skip , 1984. Steven McCallum (American, 1951-). Acrylic on canvas; overall: 213.3 x 213.3 cm (84 x 84 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. Michael Striar, 2005.154. \u00a9 Steven McCallum", "current_location": "228A Cleveland Artists", "title": "City Skip ", "creation_date": "1984", "creation_date_earliest": 1984, "creation_date_latest": 1984, "artists_tags": ["male"], "culture": ["America"], "technique": "acrylic on canvas", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "measurements": "Overall: 213.3 x 213.3 cm (84 x 84 in.)", "dimensions": {"overall": {"height": 2.133, "width": 2.133}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Steven McCallum", "inscriptions": [{"inscription": "Signed in red on reverse: \"McCallum, 1984, 84 x 84\", Acrylic, 'City Skip'\" (signed)\r\nRed ink gallery stamps on back: \"Allan Stone Galleries, 48 East 86 Street, New York, 28 NY\"\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "After moving to New York City in 1980, McCallum served as a studio assistant to Al Held, an artist also represented in the CMA\u2019s collection.", "description": "After earning studio art degrees from Kent State University, McCallum launched his career creating large abstractions with complex layers of densely packed, razor-sharp shapes in raucous color.Evoking the energy of a metropolis, City Skip brims with beams, channels, grids, and wiry lines. The composition is further animated by accents of metallic paint.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60480294"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2005.154", "images": {}, "alternate_images": [], "creditline": "Gift of Mr. and Mrs. Michael Striar", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "David and Helen Kangesser Gallery", "athena_id": 163681, "creators": [{"id": 51887, "description": "Steven McCallum (American, 1951-)", "extent": null, "qualifier": null, "role": "artist", "biography": "A native of Alliance, Ohio, McCallum received his BFA and MFA from Kent State University during the 1970s.", "name_in_original_language": null, "birth_year": "1951", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2005-09-06T00:00:00", "sortable_date": 1984, "date_added_to_oa": null, "date_text": "1984", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "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 23:59:15.179000"}, {"id": 169326, "accession_number": "2011.198", "share_license_status": "Copyrighted", "tombstone": "Gift, 1921, recreated 1963. Man Ray (American, 1890\u20131976). Hand iron, tacks, paint, wood base; overall: 15.3 x 9 x 11.4 cm (6 x 3 9/16 x 4 1/2 in.). The Cleveland Museum of Art, Delia E. Holden Fund, 2011.198. \u00a9 2013 Man Ray Trust / Artists Rights Society (ARS), New York / ADAGP, Paris", "current_location": "225 German Expressionism & Surrealism", "title": "Gift", "creation_date": "1921, recreated 1963", "creation_date_earliest": 1921, "creation_date_latest": 1963, "artists_tags": ["male", "Jewish artists"], "culture": ["France"], "technique": "Hand iron, tacks, paint, wood base", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Sculpture", "type": "Metalwork", "measurements": "Overall: 15.3 x 9 x 11.4 cm (6 x 3 9/16 x 4 1/2 in.)", "dimensions": {"overall": {"height": 0.153, "width": 0.09, "depth": 0.114}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 2013 Man Ray Trust / Artists Rights Society (ARS), New York / ADAGP, Paris", "inscriptions": [{"inscription": "Signed: \"EA MR\" (\u00e9preuve de l'artiste Man Ray)\r\n\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Private collection, acquired directly from the artist during the early 1970s", "citations": [], "footnotes": null, "date": "1970", "sortorder": null}, {"description": "(Mayor Gallery, London, United Kingdom, 2011, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "2011", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2011-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Man Ray once said, \"I never knew what I was doing until I was done.\"", "description": "By gluing a row of tacks to the face of a hand iron, Man Ray transformed a common household item into an illogical object with menacing undertones. He first made this work in 1921, displaying it in an exhibition and intending to give it away in a raffle. However, it disappeared during the show\u2019s opening, likely stolen by the gallery owner who admired it. Decades later in his career, the artist recreated <em>Gift</em> multiple times. In 1963, he made this version, which he kept in his personal collection.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60758221"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2011.198", "images": {}, "alternate_images": [], "creditline": "Delia E. Holden Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 169326, "creators": [{"id": 618, "description": "Man Ray (American, 1890\u20131976)", "extent": null, "qualifier": null, "role": "artist", "biography": "Man Ray (Emanuel Rudnitsky) American, 1890-1976 Man Ray (born Emanuel Rudnitsky in Philadelphia) was an avant-garde painter and photographer active in the dada and surrealist movements who became known for his experiments with the photogram and solarization. He grew up in New York and in his 20s worked in the city as a commercial artist, attending night classes at the National Academy of Design and lectures at the avant-garde Ferrer Social Center. Visiting the 1913 Armory show and \"291,\" Alfred Stieglitz's gallery, he became increasingly familiar with the latest developments in modern art. In 1915 Man Ray had his first one-person show of paintings and drawings at New York's Daniel Gallery and met French artist Marcel Duchamp, with whom he became lifelong friends. He also began taking photographs that year as a way to document his paintings. Along with Duchamp and Francis Picabia, another French artist, Man Ray was a member of the New York dada group during World War I and in the years immediately following the war. In 1921 he moved to Paris, soon establishing himself as a professional portrait and fashion photographer. He also became interested in experimental photography, producing photograms (cameraless photographs that he called rayographs) and pioneering the use of solarization, a technique accidentally discovered by his darkroom assistant, Lee Miller, in 1929. Throughout the 1920s-30s Man Ray worked with surrealist painters and poets on a number of collaborative projects, providing photographs for their books and articles. He also made avant-garde films, including Le Retour \u00e0 la raison (1923), Emak Bakia (1926), L'Etoile de mer (1928), and Les Mysteres du Chateau du Des (1929). Widely recognized for its innovation, his work was shown at the first invitational exhibition of contemporary modernist photography held in Paris at the Salon de l'Escalier at the Th\u00e9atre des Champs-Elys\u00e9es (1928) and at the Film und Foto exhibition in Stuttgart (1929). In 1940 Man Ray moved to Hollywood, where he worked as a freelance photographer and painter until returning to Paris in 1951. He experimented with color photography in the late 1950s and early 1960s, but painting became his primary interest. One of his paintings is also in the collection of the Cleveland Museum of Art. Man Ray's photographs have been exhibited in more than 100 one-artist exhibitions, including a retrospective at the Los Angeles County Museum of Art (1966), a showing at the Venice Biennale (1976), and major exhibitions at the Kunstverein, Frankfurt (1979, and tour), and the Centre Georges Pompidou, Paris (1981). Awarded the Gold Medal for photography at the Venice Biennale in 1961, Man Ray's images, which emphasize chance and the irrational and which deliberately mock traditional ideas of art, continue to fascinate and inspire generations of photographers. M.M.", "name_in_original_language": null, "birth_year": "1890", "death_year": "1976", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2011-12-05T00:00:00", "sortable_date": 1921, "date_added_to_oa": null, "date_text": "1921, recreated 1963", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:31.870000"}, {"id": 296860, "accession_number": "2018.270", "share_license_status": "CC0", "tombstone": "Grape Trellis Hanging Shade, c. 1905\u201310. Tiffany Studios (United States, New York, 1902\u201332). Leaded glass, bronze; diameter: 76.2 cm (30 in.). The Cleveland Museum of Art, Bequest of Charles Maurer, 2018.270", "current_location": "209 Tiffany", "title": "Grape Trellis Hanging Shade", "creation_date": "c. 1905\u201310", "creation_date_earliest": 1905, "creation_date_latest": 1910, "artists_tags": ["gender unknown"], "culture": ["America, New York"], "technique": "Leaded glass, bronze", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Glass", "measurements": "Diameter: 76.2 cm (30 in.)", "dimensions": {"diameter": {"width": 0.762}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "TIFFANY STUDIOS/NEW YORK", "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": null, "date": "?-2018", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2018-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This pendant fixture was designed to be hung close to the ceiling to simulate a grape arbor.", "description": "In the 1870s a renewed emphasis on natural landscapes ushered in a generation of cottage gardeners who delighted in planting perennials in large quantities. Louis Comfort Tiffany was among those who championed the lush, sometimes wild-looking displays of varied floral species in the garden at his Long Island estate, Laurelton Hall. Tiffany 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 patterns for lamps and mosaics based on the colorful blooms of spring that became among the most sought after and commercially successful of Tiffany\u2019s production.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60757010"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2018.270", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2018.270/2018.270_web.jpg", "width": "900", "height": "866", "filesize": "355582", "filename": "2018.270_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2018.270/2018.270_print.jpg", "width": "3400", "height": "3270", "filesize": "2307558", "filename": "2018.270_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2018.270/2018.270_full.tif", "width": "10533", "height": "10131", "filesize": "320163300", "filename": "2018.270_full.tif"}}, "alternate_images": [{"date_created": "2022-05-09T19:57:25", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.270/2018.270_alt0_web.jpg", "width": "900", "height": "561", "filesize": "215893"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.270/2018.270_alt0_print.jpg", "width": "3400", "height": "2121", "filesize": "1251563"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.270/2018.270_alt0_full.tif", "width": "6559", "height": "4091", "filesize": "80527756"}}], "creditline": "Bequest of Charles Maurer", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Ruth and Charles Mauer Gallery", "athena_id": 296860, "creators": [{"id": 292194, "description": "Tiffany Studios (United States, New York, 1902\u201332)", "extent": null, "qualifier": null, "role": "maker", "biography": "American jewelry and glass manufactory, 1902-1932", "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": 1905, "date_added_to_oa": null, "date_text": "c. 1905\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": false, "updated_at": "2026-03-31 19:03:24.102000"}, {"id": 172833, "accession_number": "2018.292", "share_license_status": "CC0", "tombstone": "Artichoke Vase, c. 1905\u201310. 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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 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/Q60758385"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2018.292", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2018.292/2018.292_web.jpg", "width": "692", "height": "900", "filesize": "81202", "filename": "2018.292_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2018.292/2018.292_print.jpg", "width": "2613", "height": "3400", "filesize": "775262", "filename": "2018.292_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2018.292/2018.292_full.tif", "width": "6000", "height": "7806", "filesize": "140535724", "filename": "2018.292_full.tif"}}, "alternate_images": [{"date_created": "2008-09-19T17:06:23", "annotation": "", "web": {"url": 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House of Faberg\u00e9 (Russian, 1842\u20131918). Silver; handle: 7.6 cm (3 in.). The Cleveland Museum of Art, Gift of the Hiller-Borneman Collection, 2021.156.a", "current_location": "211 Faberg\u00e9", "title": "Tea Cup Holder", "creation_date": "c. 1908\u20131917", "creation_date_earliest": 1908, "creation_date_latest": 1917, "artists_tags": ["gender unknown"], "culture": ["Russian"], "technique": "silver", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Glass", "measurements": "Handle: 7.6 cm (3 in.)", "dimensions": {"handle": {"height": 0.076}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Greek letter delta (or alpha); profile of a woman (wearing a kokoshka) facing right; \"88\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "(Wartski Ltd, London, sold to J. Randolph Hiller)", "citations": [], "footnotes": null, "date": "1999", "sortorder": 1}, {"description": "Hiller-Borneman Collection, Pittsburgh, PA, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1999\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": [], "did_you_know": "In Russia, tea has been served in glasses since the eighteenth century.", "description": "This holder and its glass are likely from a larger set. It is an excellent example of Faberg\u00e9\u2019s ability to imbue objects of everyday use with exceptional artistry. The holder features elegant scroll motifs forming two horizontal bands and a handle, an ingenious take on the French ornamental style of the mid-eighteenth century.", "external_resources": {"wikidata": [], "internet_archive": ["https://archive.org/details/clevelandart-2021.156.a-tea-cup-holder"]}, "citations": [], "url": "https://clevelandart.org/art/2021.156.a", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2021.156.a/2021.156.a_web.jpg", "width": "900", "height": "772", "filesize": "174375", "filename": "2021.156.a_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2021.156.a/2021.156.a_print.jpg", "width": "3400", "height": "2915", "filesize": "1264821", "filename": "2021.156.a_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2021.156.a/2021.156.a_full.tif", "width": "5359", "height": "4594", "filesize": "73883300", "filename": "2021.156.a_full.tif"}}, "alternate_images": [{"date_created": "2019-12-06T19:46:14", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.156.a/2021.156.a_alt0_web.jpg", "width": "900", "height": "537", "filesize": "167840"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.156.a/2021.156.a_alt0_print.jpg", "width": "3400", "height": "2030", "filesize": "940136"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.156.a/2021.156.a_alt0_full.tif", "width": "5360", "height": "3200", "filesize": "51480652"}}], "creditline": "Gift of the Hiller-Borneman Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 375092, "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": 1908, "date_added_to_oa": null, "date_text": "c. 1908\u20131917", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "2021.156", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:03:25.219000"}, {"id": 375088, "accession_number": "2021.157", "share_license_status": "CC0", "tombstone": "Tea Cup and Holder, 1908. House of Faberg\u00e9 (Russian, 1842\u20131918). Silver, glass; handle: 7.6 cm (3 in.). The Cleveland Museum of Art, Gift of the Hiller-Borneman Collection, 2021.157", "current_location": "211 Faberg\u00e9", "title": "Tea Cup and Holder", "creation_date": "1908", "creation_date_earliest": 1908, "creation_date_latest": 1908, "artists_tags": ["gender unknown"], "culture": ["Russian"], "technique": "silver, glass", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Glass", "measurements": "Handle: 7.6 cm (3 in.)", "dimensions": {"handle": {"height": 0.076}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "\u0414\u043e\u0440\u043e\u0433\u043e\u043c\u0443 \u0410. \u0412. \u0412\u0435\u0440\u0436\u0431\u0438\u043b\u043e\u0432\u0438\u0447\n\u041f\u0440\u0438\u0437\u043d\u0430\u0442\u0435\u043b\u044c\u043d\u044b\u0439 \u041c\u0438\u0442\u044f \u0428\u0430\u0433\u0438\u043d\u044a\n19 I/III 08", "inscription_translation": "To dear A. V. Verzhibilovich\nGratefully, Mitya Shagin\n19 I/III 08", "inscription_remark": "Aleksandr Verzhbilovich (1850-1911) was a Russian classical cellist.\nMitya is a nickname of Dmitri. A note about the spelling of \u0428\u0430\u0433\u0438\u043d\u044a: it has the \"\u044a\" at the end, which was added at the end of most words ending in a consonant in the nominative case in the pre-1918 spelling. This usage was abolished around the Revolution, and the letter is usually left off in contemporary spelling. Therefore, the name should probably be spelled \u0428\u0430\u0433\u0438\u043d today.", "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "(Wartski Ltd, London, sold to J. Randolph Hiller)", "citations": [], "footnotes": null, "date": "1999", "sortorder": 1}, {"description": "Hiller-Borneman Collection, Pittsburgh, PA, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1999\u20132021", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The history of the palmette, a motif resembling fan-shaped palm leaves, can be traced back to ancient Egypt.", "description": "Faberg\u00e9 drew upon different historical styles and applied them to the same object type with a consistently high level of finesse. The holder for this tea glass incorporates a range of classicizing ornamental designs from the turn of the nineteenth century, such as the Greek key pattern on the horizontal bands and the intermittent palmettes.", "external_resources": {"wikidata": [], "internet_archive": ["https://archive.org/details/clevelandart-2021.157-tea-cup-and-holder"]}, "citations": [], "url": "https://clevelandart.org/art/2021.157", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2021.157/2021.157_web.jpg", "width": "786", "height": "900", "filesize": "158940", "filename": "2021.157_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2021.157/2021.157_print.jpg", "width": "2971", "height": "3400", "filesize": "1019587", "filename": "2021.157_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2021.157/2021.157_full.tif", "width": "5686", "height": "6507", "filesize": "111021396", "filename": "2021.157_full.tif"}}, "alternate_images": [], "creditline": "Gift of the Hiller-Borneman Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 375088, "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": 1908, "date_added_to_oa": null, "date_text": "1908", "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 00:00:36.293000"}, {"id": 375090, "accession_number": "2021.157.a", "share_license_status": "CC0", "tombstone": "Tea Cup Holder, 1908. House of Faberg\u00e9 (Russian, 1842\u20131918). Silver; handle: 7.6 cm (3 in.). The Cleveland Museum of Art, Gift of the Hiller-Borneman Collection, 2021.157.a", "current_location": "211 Faberg\u00e9", "title": "Tea Cup Holder", "creation_date": "1908", "creation_date_earliest": 1908, "creation_date_latest": 1908, "artists_tags": ["gender unknown"], "culture": ["Russian"], "technique": "silver", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Glass", "measurements": "Handle: 7.6 cm (3 in.)", "dimensions": {"handle": {"height": 0.076}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "\u0414\u043e\u0440\u043e\u0433\u043e\u043c\u0443 \u0410. \u0412. \u0412\u0435\u0440\u0436\u0431\u0438\u043b\u043e\u0432\u0438\u0447\n\u041f\u0440\u0438\u0437\u043d\u0430\u0442\u0435\u043b\u044c\u043d\u044b\u0439 \u041c\u0438\u0442\u044f \u0428\u0430\u0433\u0438\u043d\u044a\n19 I/III 08", "inscription_translation": "To dear A. V. Verzhibilovich\nGratefully, Mitya Shagin\n19 I/III 08", "inscription_remark": "Aleksandr Verzhbilovich (1850-1911) was a Russian classical cellist.\nMitya is a nickname of Dmitri. A note about the spelling of \u0428\u0430\u0433\u0438\u043d\u044a: it has the \"\u044a\" at the end, which was added at the end of most words ending in a consonant in the nominative case in the pre-1918 spelling. This usage was abolished around the Revolution, and the letter is usually left off in contemporary spelling. Therefore, the name should probably be spelled \u0428\u0430\u0433\u0438\u043d today.", "sortorder": null}, {"inscription": "Profile of a woman (wearing a kokoshnik) facing left; greek letter delta", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "(Wartski Ltd, London, sold to J. Randolph Hiller)", "citations": [], "footnotes": null, "date": "1999", "sortorder": 1}, {"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 history of the palmette, a motif resembling fan-shaped palm leaves, can be traced back to ancient Egypt.", "description": "Faberg\u00e9 drew upon different historical styles and applied them to the same object type with a consistently high level of finesse. This holder for a tea glass incorporates a range of classicizing ornamental designs from the turn of the nineteenth century, such as the Greek key pattern on the horizontal bands and the intermittent palmettes.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117244198"], "internet_archive": ["https://archive.org/details/clevelandart-2021.157.a-tea-cup-holder"]}, "citations": [], "url": "https://clevelandart.org/art/2021.157.a", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2021.157.a/2021.157.a_web.jpg", "width": "900", "height": "744", "filesize": "175916", "filename": "2021.157.a_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2021.157.a/2021.157.a_print.jpg", "width": "3400", "height": "2810", "filesize": "1365840", "filename": "2021.157.a_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2021.157.a/2021.157.a_full.tif", "width": "4653", "height": "3846", "filesize": "53711688", "filename": "2021.157.a_full.tif"}}, "alternate_images": [{"date_created": "2019-12-06T19:42:40", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.157.a/2021.157.a_alt0_web.jpg", "width": "900", "height": "776", "filesize": "188694"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.157.a/2021.157.a_alt0_print.jpg", "width": "3400", "height": "2932", "filesize": "1507572"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.157.a/2021.157.a_alt0_full.tif", "width": "4957", "height": "4274", "filesize": "63584288"}}], "creditline": "Gift of the Hiller-Borneman Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 375090, "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": 1908, "date_added_to_oa": null, "date_text": "1908", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "2021.157", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:16.103000"}, {"id": 375089, "accession_number": "2021.157.b", "share_license_status": "CC0", "tombstone": "Tea Cup, 1908. House of Faberg\u00e9 (Russian, 1842\u20131918). Glass; handle: 7.6 cm (3 in.). The Cleveland Museum of Art, Gift of the Hiller-Borneman Collection, 2021.157.b", "current_location": "211 Faberg\u00e9", "title": "Tea Cup", "creation_date": "1908", "creation_date_earliest": 1908, "creation_date_latest": 1908, "artists_tags": ["gender unknown"], "culture": ["Russian"], "technique": "glass", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Glass", "measurements": "Handle: 7.6 cm (3 in.)", "dimensions": {"handle": {"height": 0.076}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "(Wartski Ltd, London, sold to J. Randolph Hiller)", "citations": [], "footnotes": null, "date": "1999", "sortorder": 1}, {"description": "Hiller-Borneman Collection, Pittsburgh, PA, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1999\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": "In Russia, tea has been served in glasses since the eighteenth century.", "description": "Faberg\u00e9 drew upon different historical styles and applied them to the same object type with a consistently high level of finesse. The holder for this tea glass incorporates a range of classicizing ornamental designs from the turn of the nineteenth century, such as the Greek key pattern on the horizontal bands and the intermittent palmettes.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117244196"], "internet_archive": ["https://archive.org/details/clevelandart-2021.157.b-tea-cup"]}, "citations": [], "url": "https://clevelandart.org/art/2021.157.b", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2021.157.b/2021.157.b_web.jpg", "width": "714", "height": "900", "filesize": "123462", "filename": "2021.157.b_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2021.157.b/2021.157.b_print.jpg", "width": "2698", "height": "3400", "filesize": "650261", "filename": "2021.157.b_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2021.157.b/2021.157.b_full.tif", "width": "4455", "height": "5615", "filesize": "75068372", "filename": "2021.157.b_full.tif"}}, "alternate_images": [], "creditline": "Gift of the Hiller-Borneman Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 375089, "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. 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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": 1}], "legal_status": "accessioned", "accession_date": "2021-09-13T04:00:00Z", "sortable_date": 1908, "date_added_to_oa": null, "date_text": "1908", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "2021.157", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:40.477000"}, {"id": 375054, "accession_number": "2021.160", "share_license_status": "CC0", "tombstone": "Pendant Icon of Our Lady of Kazan, 1915. House of Faberg\u00e9 (Russian, 1842\u20131918). Silver, enamel, glass; overall: 20.3 x 15.2 cm (8 x 6 in.). The Cleveland Museum of Art, Gift of the Hiller-Borneman Collection, 2021.160", "current_location": "211 Faberg\u00e9", "title": "Pendant Icon of Our Lady of Kazan", "creation_date": "1915", "creation_date_earliest": 1915, "creation_date_latest": 1915, "artists_tags": ["gender unknown"], "culture": ["Russia"], "technique": "silver, enamel, glass", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Silver", "measurements": "Overall: 20.3 x 15.2 cm (8 x 6 in.)", "dimensions": {"overall": {"height": 0.203, "width": 0.152}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "(Wartski Ltd, London, sold to J. Randolph Hiller)", "citations": [], "footnotes": null, "date": "2017", "sortorder": 1}, {"description": "Hiller-Borneman Collection, Pittsburgh, PA, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "2017\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": "Similar to the Arts and Crafts movements, the pan-Slavic/Neo-Russian style turned to earlier handicraft traditions for inspiration.", "description": "One of the most revered icons in the Russian Orthodox church, Our Lady of Kazan represents the Virgin Mary as the patroness of the city of Kazan and the Holy Protectress of Russia. Faberg\u00e9 embellished this icon with <em>cloisonn\u00e9 </em>(partitioned) enamel in a striking palette, as well as beaded ornaments and spiral motifs in the pan-Slavic/Neo-Russian style.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117244189"], "internet_archive": ["https://archive.org/details/clevelandart-2021.160-pendant-icon-of-our"]}, "citations": [], "url": "https://clevelandart.org/art/2021.160", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2021.160/2021.160_web.jpg", "width": "830", "height": "900", "filesize": "267922", "filename": "2021.160_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2021.160/2021.160_print.jpg", "width": "3137", "height": "3400", "filesize": "2133764", "filename": "2021.160_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2021.160/2021.160_full.tif", "width": "4746", "height": "5144", "filesize": "73267928", "filename": "2021.160_full.tif"}}, "alternate_images": [{"date_created": "2019-11-22T21:33:10", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.160/2021.160_alt0_web.jpg", "width": "767", "height": "900", "filesize": "219835"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.160/2021.160_alt0_print.jpg", "width": "2896", "height": "3400", "filesize": "2000867"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.160/2021.160_alt0_full.tif", "width": "4393", "height": "5157", "filesize": "67989084"}}, {"date_created": "2019-11-22T21:14:14", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.160/2021.160_alt1_web.jpg", "width": "631", "height": "900", "filesize": "200752"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.160/2021.160_alt1_print.jpg", "width": "2385", "height": "3400", "filesize": "1660712"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.160/2021.160_alt1_full.tif", "width": "5821", "height": "8297", "filesize": "144915864"}}], "creditline": "Gift of the Hiller-Borneman Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 375054, "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. 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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": "2021-09-13T04:00:00Z", "sortable_date": 1915, "date_added_to_oa": null, "date_text": "1915", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:02:20.150000"}, {"id": 375049, "accession_number": "2022.112", "share_license_status": "CC0", "tombstone": "Dish, c. 1904\u201316. House of Faberg\u00e9 (Russian, 1842\u20131918), Hjalmar Armfelt (Finnish, 1873\u20131959). Bowenite, silver; overall: 7.6 cm (3 in.). The Cleveland Museum of Art, Gift of the Hiller-Borneman Collection, 2022.112", "current_location": "211 Faberg\u00e9", "title": "Dish", "creation_date": "c. 1904\u201316", "creation_date_earliest": 1904, "creation_date_latest": 1916, "artists_tags": ["gender unknown", "male"], "culture": [], "technique": "bowenite, silver", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Silver", "measurements": "Overall: 7.6 cm (3 in.)", "dimensions": {"overall": {"width": 0.076}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Impressed mark: 88, silver standard; initials for workmaster Karl Gustav Hjalmar Armfelt", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "(Wartski Ltd, London, sold to J. Randolph Hiller)", "citations": [], "footnotes": null, "date": "2013", "sortorder": 1}, {"description": "Hiller-Borneman Collection, Pittsburgh, PA, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "2013\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": [], "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 silver mounts, particularly in the Moscow workshop where the company's silversmiths were concentrated.", "external_resources": {"wikidata": [], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2022.112", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2022.112/2022.112_web.jpg", "width": "900", "height": "710", "filesize": "156664", "filename": "2022.112_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2022.112/2022.112_print.jpg", "width": "3400", "height": "2682", "filesize": "1106446", "filename": "2022.112_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2022.112/2022.112_full.tif", "width": "4941", "height": "3898", "filesize": "57804900", "filename": "2022.112_full.tif"}}, "alternate_images": [{"date_created": "2019-12-06T21:26:51", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.112/2022.112_alt0_web.jpg", "width": "900", "height": "708", "filesize": "155233"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.112/2022.112_alt0_print.jpg", "width": "3400", "height": "2675", "filesize": "1086876"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.112/2022.112_alt0_full.tif", "width": "4941", "height": "3887", "filesize": "57641896"}}, {"date_created": "2019-12-06T15:33:48", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.112/2022.112_alt1_web.jpg", "width": "900", "height": "822", "filesize": "160157"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.112/2022.112_alt1_print.jpg", "width": "3400", "height": "3107", "filesize": "979902"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.112/2022.112_alt1_full.tif", "width": "5063", "height": "4626", "filesize": "70289560"}}], "creditline": "Gift of the Hiller-Borneman Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 375049, "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. 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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": 1}, {"id": 8920, "description": "Hjalmar Armfelt (Finnish, 1873\u20131959)", "extent": null, "qualifier": null, "role": "workmaster", "biography": "by 1895 Armfelt was serving an apprenticeship in St. Peterburg. He returned to Finland in 1916.", "name_in_original_language": null, "birth_year": "1873", "death_year": "1959", "use_in_caption": true, "include_extent": true, "weight": 2}], "legal_status": "accessioned", "accession_date": "2022-09-12T04:00:00Z", "sortable_date": 1904, "date_added_to_oa": null, "date_text": "c. 1904\u201316", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:53.435000"}, {"id": 539829, "accession_number": "2023.58", "share_license_status": "Copyrighted", "tombstone": "Reclining Woman, c. 1977. Meera Mukherjee (Indian, 1923\u20131998). Bronze; 17 x 60 cm (6 11/16 x 23 5/8 in.). 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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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Philip Guston (American, 1913\u20131980). Oil on canvas; unframed: 106.7 x 121.9 cm (42 x 48 in.). 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The Cleveland Museum of Art, Cleveland, OH (organizer) (June 7-September 15, 1991).", "opening_date": "1991-06-07T04:00:00"}], "legacy": [{"description": "Cleveland, The Cleveland Museum of Art (1987 - 88); on loan from Agnes Gund.", "opening_date": "1987-01-01T00:00:00"}, {"description": "Cleveland, The Cleveland Museum of Art, \"Notable Acquisitions,\" CMA Bulletin 78 (June 1991), p. 107, repr.", "opening_date": "1991-06-01T00:00:00"}]}, "provenance": [{"description": "Collection of the artist", "citations": [], "footnotes": null, "date": "1969\u20131970", "sortorder": 1}, {"description": "(Consigned by the artist to Marlborough Gallery, New York, NY)", "citations": [], "footnotes": null, "date": "1970\u20131972", "sortorder": 2}, {"description": "(David McKee Gallery, New York, NY, sold to Agnes Gund)", "citations": [], "footnotes": null, "date": "after 1972\u20131987", "sortorder": 3}, {"description": "Agnes Gund, New York, NY, gifted to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1987\u20131991", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1991\u2013", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1269.87"], "did_you_know": null, "description": "Guston is known as one of the pioneers of abstract expressionism, the American 1950s art movement whose traces can be seen in the painterly quality of Tour. This painting is a prime example of the body of work Guston produced for his 1970 exhibition at Marlborough Gallery, New York, which shocked the art world with its figurative, almost cartoonlike style and hooded subjects evocative of the Ku Klux Klan. This darkly absurd series depicts the nefarious Klansmen in the midst of performing everyday activities, wryly commenting upon the ability we all possess to promote ideals either positive or gravely harmful.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60476683"], "internet_archive": []}, "citations": [{"citation": "Reichard, Stephen, and Anne Livet. <em>Art against AIDS: An Art Sale in New York City, June Through December, 1987, for the Benefit of the American Foundation for AIDS Research (AmFAR)</em>. New York, N.Y. (40 W. 57th St., Suite 406, New York 10019-4001): The Foundation, 1987. p. 167.", "page_number": "p. 167, color repr.", "url": null}, {"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. 107", "url": "https://www.jstor.org/stable/25161319"}, {"citation": "Cleveland Museum of Art. <em>Museum Masters: 2016-17 Companion Guide.</em> [Cleveland, Ohio]: Cleveland Museum of Art, 2016.", "page_number": "Mentioned: P. 25", "url": ""}], "url": "https://clevelandart.org/art/1991.28", "images": {}, "alternate_images": [], "creditline": "Seventy-fifth anniversary gift of Agnes Gund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 155996, "creators": [{"id": 3467, "description": "Philip Guston (American, 1913\u20131980)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1913", "death_year": "1980", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1991-03-27T00:00:00", "sortable_date": 1969, "date_added_to_oa": null, "date_text": "1969", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:26.220000"}, {"id": 105615, "accession_number": "1923.725", "share_license_status": "CC0", "tombstone": "Pavlova Dancing the Gavotte, 1915. 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Everett for the Dorothy Burnham Everett Memorial Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 105615, "creators": [{"id": 14717, "description": "Malvina Hoffman (American, 1887\u20131966)", "extent": null, "qualifier": null, "role": "sculptor", "biography": null, "name_in_original_language": null, "birth_year": "1887", "death_year": "1966", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1918-10-28T00:00:00", "sortable_date": 1915, "date_added_to_oa": null, "date_text": "1915", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:07:36.740000"}, {"id": 111594, "accession_number": "1930.160", "share_license_status": "CC0", "tombstone": "Intermission, 1929. Richard Beatty (American, 1899\u20131961). Lithograph; image: 19 x 23.8 cm (7 1/2 x 9 3/8 in.); sheet: 34 x 40.7 cm (13 3/8 x 16 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1930.160", "current_location": null, "title": "Intermission", "creation_date": "1929", "creation_date_earliest": 1929, "creation_date_latest": 1929, "artists_tags": ["May Show", "male"], "culture": ["America, Ohio, Cleveland"], "technique": "lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image: 19 x 23.8 cm (7 1/2 x 9 3/8 in.); Sheet: 34 x 40.7 cm (13 3/8 x 16 in.)", "dimensions": {"image": {"height": 0.19, "width": 0.238}, "sheet": {"height": 0.34, "width": 0.407}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed, lower left margin, in graphite: 6/30; lower right margin, in graphite: R.R. Beatty - '29", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 381826, "title": "The May Show: 12th Annual Exhibition of Works by Cleveland Artists and Craftsmen", "description": "<i>The May Show: 12th Annual Exhibition of Works by Cleveland Artists and Craftsmen</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 22-June 1, 1930).", "opening_date": "1930-04-22T05:00:00"}, {"id": 356476, "title": "Prints by Cleveland Artists", "description": "<i>Prints by Cleveland Artists</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 10-October 9, 1935).", "opening_date": "1935-07-10T04:00:00"}, {"id": 312185, "title": "Retrospective Twenty-fifth Anniversary May Show", "description": "<i>Retrospective Twenty-fifth Anniversary May Show</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 13-February 14, 1943).", "opening_date": "1943-01-13T05:00:00"}, {"id": 304643, "title": "The May Shows of the Past", "description": "<i>The May Shows of the Past</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 5-July 24, 1963).", "opening_date": "1963-04-05T05:00:00"}, {"id": 667699, "title": "Karamu Artists Inc.: Printmaking, Race, and Community", "description": "<i>Karamu Artists Inc.: Printmaking, Race, and Community</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 23-August 17, 2025).", "opening_date": "2025-03-23T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Theater was immensely popular in Cleveland when Richard Beatty made this print.", "description": "For his skill in lithographs such as this, Richard Beatty was hired as an instructor when Karamu formed a graphic arts program around 1933. While teaching himself lithography at night, Beatty portrayed theater and cabaret scenes using dense, expressive lines with a waxy crayon.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80003882"], "internet_archive": []}, "citations": [{"citation": "Richard Beatty Entry Card to 1930 May Show. Cleveland Museum of Art May Show Records, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/CMAMS01834"}, {"citation": "Salsbury, Britany, and Erin E. Benay. <em>Karamu Artists Inc.: Printmaking, Race, and Community</em>. Cleveland, OH: Cleveland Museum of Art, 2025.", "page_number": "Reproduced: p. 77, no. 36", "url": ""}], "url": "https://clevelandart.org/art/1930.160", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1930.160/1930.160_web.jpg", "width": "1093", "height": "893", "filesize": "807465", "filename": "1930.160_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1930.160/1930.160_print.jpg", "width": "3400", "height": "2778", "filesize": "7670384", "filename": "1930.160_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1930.160/1930.160_full.tif", "width": "4764", "height": "3893", "filesize": "55671732", "filename": "1930.160_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": 111594, "creators": [{"id": 14153, "description": "Richard Beatty (American, 1899\u20131961)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1899", "death_year": "1961", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1930-05-19T00:00:00", "sortable_date": 1929, "date_added_to_oa": null, "date_text": "1929", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:43.764000"}, {"id": 112650, "accession_number": "1931.269", "share_license_status": "CC0", "tombstone": "At the Window II, c. 1923. Karl Hofer (German, 1878\u20131955). Lithograph; image: 20.2 x 14.3 cm (7 15/16 x 5 5/8 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1931.269", "current_location": null, "title": "At the Window II", "creation_date": "c. 1923", "creation_date_earliest": 1918, "creation_date_latest": 1928, "artists_tags": ["male"], "culture": ["Germany, 20th century"], "technique": "lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image: 20.2 x 14.3 cm (7 15/16 x 5 5/8 in.)", "dimensions": {"matted": {"height": 0.489, "width": 0.362}, "image": {"height": 0.202, "width": 0.143}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed, in pencil, at lower right: Hofer; inscribed, in pencil, at lower right: 164/43", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 541503, "title": "The First International Competitive Print Exhibition", "description": "<i>The First International Competitive Print Exhibition</i>. 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The Cleveland Museum of Art, Cleveland, OH (organizer) (February 7-May 16, 2021).", "opening_date": "2021-02-06T05:00:00"}], "legacy": [{"description": "<em>International Competitive Print Exhibition</em>. Cleveland Museum of Art, Cleveland, OH (March 18 - April 21, 1931).", "opening_date": "1931-03-18T00:00:00"}]}, "provenance": [{"description": "Print Club of Cleveland, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1931", "sortorder": 1}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1931-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Just over a decade after this print was made, Karl Hofer was labeled a \"Degenerate Artist\" by the National Socialists and his works were removed from German museums.", "description": "Windows appear frequently throughout the work of Karl Hofer, who created nearly 300 prints. Dating from a period that Hofer spent in his native Germany between the First and Second World Wars, this lithograph reflects the anxiety and chaos that characterized the country during that time. Figures with masklike faces crowd the space of an interior without interacting. It remains unclear whether they block the view to the outside world that the window would otherwise provide or are instead viewed from a building\u2019s exterior. Enhanced by the jagged, sketchy lines used to render the figures, the composition conveys a sense of alienation and unease.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80005187"], "internet_archive": []}, "citations": [{"citation": "L. E. P. \"International Competitive Print Exhibition.\" <em>The Bulletin of the Cleveland Museum of Art</em> 18, no. 4 (1931): 62-64.", "page_number": "Mentioned: p. 64", "url": "https://www.jstor.org/stable/25137376"}, {"citation": "<em>Catalogue of an exhibition of the art of lithography: commemorating the sesquicentennial of its invention, 1798-1948</em>. Exh. Cat. Cleveland: Cleveland Museum of Art, 1948. Published as: At the Window.", "page_number": "Mentioned: p. 41", "url": "https://archive.org/details/Lithography/page/n48"}], "catalogue_raisonne": "Rathenau 25", "url": "https://clevelandart.org/art/1931.269", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1931.269/1931.269_web.jpg", "width": "658", "height": "893", "filesize": "470108", "filename": "1931.269_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1931.269/1931.269_print.jpg", "width": "2507", "height": "3400", "filesize": "5820912", "filename": "1931.269_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1931.269/1931.269_full.tif", "width": "4096", "height": "5556", "filesize": "68305172", "filename": "1931.269_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": 112650, "creators": [{"id": 3119, "description": "Karl Hofer (German, 1878\u20131955)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1878", "death_year": "1955", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1931-06-18T00:00:00", "sortable_date": 1918, "date_added_to_oa": null, "date_text": "c. 1923", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["At the Window"], "is_highlight": false, "updated_at": "2026-03-27 00:05:44.114000"}, {"id": 151520, "accession_number": "1983.71", "share_license_status": "Copyrighted", "tombstone": "Two-Handled Cup, c. 1922. Josef Hoffmann (Austrian, 1870\u20131956), Wiener Werkst\u00e4tte (Austria, Vienna, 1903\u201332). Brass; overall: 18.8 x 27.9 x 18.3 cm (7 3/8 x 11 x 7 3/16 in.). The Cleveland Museum of Art, Andrew R. and Martha Holden Jennings Fund, 1983.71", "current_location": null, "title": "Two-Handled Cup", "creation_date": "c. 1922", "creation_date_earliest": 1917, "creation_date_latest": 1927, "artists_tags": ["male", "gender unknown"], "culture": ["Austria, Vienna"], "technique": "brass", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Metalwork", "measurements": "Overall: 18.8 x 27.9 x 18.3 cm (7 3/8 x 11 x 7 3/16 in.)", "dimensions": {"overall": {"height": 0.188, "width": 0.279, "depth": 0.183}}, "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": 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": 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": [{"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": "The Cleveland Museum of Art; \"The Jazz Age: American Style in the 1920s.\" Sept. 30, 2017-Jan. 14, 2018.", "opening_date": "2017-09-30T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This two-handled brass cup, designed by Josef Hoffmann in Vienna, shows the influence of a young Dagobert Peche, who brought a more whimsical sensibility to the Wiener Werkst\u00e4tte when he became the design director in 1916.", "description": "Greatly influenced by German and Austrian neoclassical design from the early 1800s, Josef Hoffmann\u2019s cup mixes classical fluting with a surface showing hammer marks, which catch the light and are typical of early 20th-century handwork.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79935149"], "internet_archive": []}, "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. 70-71, no. 91", "url": "http://www.jstor.org/stable/25159848"}, {"citation": "Coffin, Sarah D., and Stephen Harrison. <em>The Jazz Age: American style in the 1920s. </em>Cleveland: Cleveland Museum of Art, 2017.", "page_number": "Reproduced: fig. 108, p. 78; Mentioned: p. 77", "url": ""}], "url": "https://clevelandart.org/art/1983.71", "images": {}, "alternate_images": [], "creditline": "Andrew R. and Martha Holden Jennings Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 151520, "creators": [{"id": 7364, "description": "Josef Hoffmann (Austrian, 1870\u20131956)", "extent": null, "qualifier": null, "role": "designer", "biography": null, "name_in_original_language": null, "birth_year": "1870", "death_year": "1956", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 25576, "description": "Wiener Werkst\u00e4tte (Austria, Vienna, 1903\u201332)", "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": "1983-05-09T00:00:00", "sortable_date": 1917, "date_added_to_oa": null, "date_text": "c. 1922", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:59.022000"}, {"id": 156306, "accession_number": "1992.139", "share_license_status": "Copyrighted", "tombstone": "Multifaceted Bowl (\ubc31\uc790 \uc81c\uae30\ud615 \ub300\ubc1c (\u767d\u78c1\u796d\u5668\u5f62\u5927\u9262)), 1992. Ik-yung Kim (Korean, b. 1935). Carved and glazed porcelain; overall: 15.4 cm (6 1/16 in.). The Cleveland Museum of Art, Seventy-fifth anniversary gift of the artist, 1992.139", "current_location": null, "title": "Multifaceted Bowl", "title_in_original_language": "\ubc31\uc790 \uc81c\uae30\ud615 \ub300\ubc1c (\u767d\u78c1\u796d\u5668\u5f62\u5927\u9262)", "creation_date": "1992", "creation_date_earliest": 1992, "creation_date_latest": 1992, "artists_tags": ["female", "Asian (from 1900 to present)"], "culture": ["Korea"], "technique": "Carved and glazed porcelain", "support_materials": [], "department": "Korean Art", "collection": "Korean Art", "type": "Ceramic", "measurements": "Overall: 15.4 cm (6 1/16 in.)", "dimensions": {"overall": {"height": 0.154}, "diameter of base": {"width": 0.243}, "diameter of mouth": {"width": 0.385}}, "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": 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": 443874, "title": "Creating Urgency: Modern and Contemporary Korean Art", "description": "<i>Creating Urgency: Modern and Contemporary Korean Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 22-October 23, 2022).", "opening_date": "2022-04-22T04:00:00"}, {"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"}, {"id": 517759, "title": "Material and Immaterial in Korean Modern and Contemporary Art", "description": "<i>Material and Immaterial in Korean Modern and Contemporary Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 28, 2023-February 25, 2024).", "opening_date": "2023-04-28T04:00:00"}], "legacy": []}, "provenance": [{"description": "Mrs. Ik-yung Kim \uae40\uc775\uc601 [b. 1935], Seoul, South Korea, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1992", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1992\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The surface of this vessel is made by using the technique called <em>myeon-chi-gi</em>, a \u201ccutting surface\u201d technique.", "description": "According to the artist, a lecture by British ceramics artist Bernard Leach (1887\u20131979) at Alfred University in New York inspired young Kim to revisit the Korean ceramic tradition. This white porcelain bowl, with its carved multifaceted surface in particular, showcases her reimagination of naturalism and minimalism, the two overarching aesthetic principles of white porcelain ritual vessels of Korea's Joseon period (1392\u20131910).", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79945447"], "internet_archive": []}, "citations": [{"citation": "Jungmann, Burglind. <em>Life in Ceramics: Five Contemporary Korean Artists</em>. Seattle: University of Washington Press, 2010.", "page_number": null, "url": null}, {"citation": "Cho, Chung Hyun. <em>From the Fire: Contemporary Korean Ceramics</em>. Montgomery: Montgomery Museum of Fine Arts, 2007.", "page_number": null, "url": null}], "url": "https://clevelandart.org/art/1992.139", "images": {}, "alternate_images": [], "creditline": "Seventy-fifth anniversary gift of the artist", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 156306, "creators": [{"id": 35202, "description": "Ik-yung Kim (Korean, b. 1935)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\uae40\uc775\uc601", "birth_year": "1935", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1992-10-19T00:00:00", "sortable_date": 1992, "date_added_to_oa": null, "date_text": "1992", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:31.348000"}, {"id": 161786, "accession_number": "2001.123", "share_license_status": "Copyrighted", "tombstone": "Differential Complex, 1910. Manierre Dawson (American, 1887\u20131969). Oil on board; framed: 54.6 x 44.5 x 5.1 cm (21 1/2 x 17 1/2 x 2 in.); unframed: 40.7 x 31.8 cm (16 x 12 1/2 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 2001.123", "current_location": null, "title": "Differential Complex", "creation_date": "1910", "creation_date_earliest": 1910, "creation_date_latest": 1910, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on board", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 54.6 x 44.5 x 5.1 cm (21 1/2 x 17 1/2 x 2 in.); Unframed: 40.7 x 31.8 cm (16 x 12 1/2 in.)", "dimensions": {"framed": {"height": 0.546, "width": 0.445, "depth": 0.051}, "unframed": {"height": 0.407, "width": 0.318}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 181802, "title": "The Persistence of Geometry: Form, Content and Culture in the Collection of the Cleveland Museum of Art", "description": "<i>The Persistence of Geometry: Form, Content and Culture in the Collection of the Cleveland Museum of Art</i>. Museum of Contemporary Art Cleveland (MOCA), Cleveland, OH (June 9-August 20, 2006).", "opening_date": "2006-06-09T00:00:00"}, {"id": 230512, "title": "Against the Grain: Modernism in the Midwest", "description": "<i>Against the Grain: Modernism in the Midwest</i>. Massillon Museum, Massillon, OH (organizer) (May 15-September 12, 2010); Riffe Gallery, Columbus, OH (November 4, 2010-January 9, 2011); Southern Ohio Museum, Portsmouth, OH (March 5-May 29, 2011).", "opening_date": "2010-05-15T00:00:00"}], "legacy": [{"description": "New York, NY, Whitney Museum of American Art, Manniere Dawson: Early Abstractionist (8 July - 11 September 1988).", "opening_date": "1988-07-08T00:00:00"}, {"description": "MOCA Cleveland (6/9/2006 - 8/20/2006):  \"The Persistence of Geometry: Form, Content and Culture in the Collection of the Cleveland Museum of Art\", no. 57, p. 118, color repr. p. 14 &amp; p. 67.", "opening_date": "2006-06-09T00:00:00"}, {"description": "Massillon Museum (5/15/2010 - 9/12/2010), Riffe Gallery (11/4/2010 - 1/9/2011), and Southern Ohio Museum (3/5/2011 - 5/29/2011):  \"Against the Grain: Modernism in the Midwest\", ex. cat. no. 1, p. 34.", "opening_date": "2010-05-15T00:00:00"}]}, "provenance": [{"description": "Dawson estate; sold February 4, 1990 to Mr. and Mrs. R. Shapiro, New York, NY; sold by Tim Foley of the Tilden Foley Gallery, New Orleans, LA; Hollis Taggart Gallery, New York, NY", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Although he remained interested in art making, Manierre Dawson spent the bulk of his career as a fruit farmer in Michigan.", "description": "Manierre Dawson's mathematical training and his early work as a civil engineer influenced his artistic interests. His early abstractions, including <em>Differential Complex,</em> are reminiscent of mathematical diagrams. He is credited to be one of the first American painters to create purely abstract work.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60478070"], "internet_archive": []}, "citations": [{"citation": "Sims, Lowery Stokes. <em>The Persistence of Geometry: Form, Content, and Culture in the Collection of the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2006.", "page_number": "Mentioned and reproduced: P. 67, no. 57", "url": ""}, {"citation": "Adams, Henry. <em>What's American about American art?: a gallery tour in the Cleveland Museum of Art. </em>Cleveland: Cleveland Museum of Art, 2008.", "page_number": "Reproduced: p. 118 - 119", "url": ""}], "url": "https://clevelandart.org/art/2001.123", "images": {}, "alternate_images": [], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 161786, "creators": [{"id": 40979, "description": "Manierre Dawson (American, 1887\u20131969)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1887", "death_year": "1969", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2001-12-03T00:00:00", "sortable_date": 1910, "date_added_to_oa": null, "date_text": "1910", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-26 23:59:24.171000"}, {"id": 86471, "accession_number": "2015.160", "share_license_status": "Copyrighted", "tombstone": "Phenomena When I Looked Away, 1960. Paul Jenkins (American, 1923\u20132012). Oil and enamel on canvas; unframed: 197.8 x 157.8 cm (77 7/8 x 62 1/8 in.). The Cleveland Museum of Art, Gift of Suzanne Jenkins, 2015.160", "current_location": null, "title": "Phenomena When I Looked Away", "creation_date": "1960", "creation_date_earliest": 1960, "creation_date_latest": 1960, "artists_tags": ["male"], "culture": ["America"], "technique": "oil and enamel on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Unframed: 197.8 x 157.8 cm (77 7/8 x 62 1/8 in.)", "dimensions": {"unframed": {"height": 1.978, "width": 1.578}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": [{"description": "\"Paul Jenkins,\" Esther-Robles Gallery, Los Angeles, January 8-27, 1962.", "opening_date": "1962-01-08T05:00:00Z"}, {"description": "\"Paul Jenkins Retrospective,\" The Museum of Fine Arts, Houston, October 12-December 12, 1971; traveled to San Francisco Museum of Modern Art, January 6-February 27, 1972.", "opening_date": "1971-10-12T00:00:00"}, {"description": "[The painting was used as a prop in A Soldier's Daughter Never Cries, directed by James Ivory, 1998.]", "opening_date": "1998-01-01T00:00:00"}, {"description": "\"Paul Jenkins, 1954-1960: The Early Years in New York and Paris,\" Emily Lowe Gallery, Hofstra Museum, Hofstra University, Hempstead, New York, September 7-Deember 17, 1999.", "opening_date": "1999-12-17T05:00:00Z"}, {"description": "\"Paul Jenkins: Paintings, 1954-1960,\" The Redfern Gallery, London, October 25-November 24, 2005.", "opening_date": "2005-10-25T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Initially interested in theater, the young Jenkins obtained a fellowship at the Cleveland Play House.", "description": "Intermingled pools of vibrant color offset against dusky fields demonstrate Jenkins\u2019s considerable command in manipulating the fluidities of oil and enamel paint in Phenomena When I Looked Away. Its title references the artist\u2019s interest in Johann Wolfgang von Goethe\u2019s studies in perception, in particular the observation that afterimages persist on the retina when one turns quickly from bright light toward darkness. In fact, Jenkins\u2019s original title for the work was Phenomena When G Looked Away, with \u201cG\u201d alluding to Goethe.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60493628"], "internet_archive": []}, "citations": [{"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. 80", "url": ""}, {"citation": "Cole, Mark. \u201cAcquisitions 2015: American Art.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 56, no. 2 (March/April 2016): 30.", "page_number": "Reproduced and Mentioned: p. 30", "url": "https://archive.org/details/CMAMM2016-02"}], "url": "https://clevelandart.org/art/2015.160", "images": {}, "alternate_images": [], "creditline": "Gift of Suzanne Jenkins", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 86471, "creators": [{"id": 40883, "description": "Paul Jenkins (American, 1923\u20132012)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1923", "death_year": "2012", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2015-12-07T00:00:00", "sortable_date": 1960, "date_added_to_oa": null, "date_text": "1960", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:24.861000"}, {"id": 124874, "accession_number": "1946.353", "share_license_status": "Copyrighted", "tombstone": "Caryatid, 1913. Gertrude Vanderbilt Whitney (American, 1876\u20131942). Bronze; overall: 48.3 x 15.6 x 14.4 cm (19 x 6 1/8 x 5 11/16 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, 1946.353", "current_location": null, "title": "Caryatid", "creation_date": "1913", "creation_date_earliest": 1913, "creation_date_latest": 1913, "artists_tags": ["female"], "culture": ["America"], "technique": "bronze", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Sculpture", "type": "Sculpture", "measurements": "Overall: 48.3 x 15.6 x 14.4 cm (19 x 6 1/8 x 5 11/16 in.)", "dimensions": {"overall": {"height": 0.483, "width": 0.156, "depth": 0.144}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed on base: Gertrude V. Whitney 1913", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"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": 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": 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": 224526, "title": "Rodin and America: Influence and Adaptation 1876-1936", "description": "<i>Rodin and America: Influence and Adaptation 1876-1936</i>. Cantor Center for Visual Arts at Stanford University (organizer) (October 5, 2011-January 1, 2012).", "opening_date": "2011-10-05T00:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The artist founded the Whitney Museum of American Art, New York, in 1930.", "description": "Traditionally a caryatid sculpture is a draped female figure used as an architectural support. However, in Gertrude Vanderbilt Whitney's example, the sculpture is a nude man. This figure carries a large stone.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79648791"], "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. #24, p. 29, repr.", "url": null}, {"citation": "Barryte, Bernard, and Roberta K. Tarbell. Rodin and America: Influence and Adaptation, 1876-1936. Stanford, CA: Iris &amp; B. Gerald Cantor Center for Visual Arts, Stanford University, 2011.", "page_number": "cat. no. 73, p. 114.", "url": null}, {"citation": "\"In Memory of Ralph King Gift of Mrs. Ralph King; Ralph T., Woods, Charles G. King; and Frances King Schafer.\" <em>The Bulletin of the Cleveland Museum of Art</em> 34, no. 2 (1947): 31-33.", "page_number": "p. 33, cat. 70", "url": "www.jstor.org/stable/25141342."}, {"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. 26", "url": "https://www.jstor.org/stable/25141340"}], "url": "https://clevelandart.org/art/1946.353", "images": {}, "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": 124874, "creators": [{"id": 19324, "description": "Gertrude Vanderbilt Whitney (American, 1876\u20131942)", "extent": null, "qualifier": null, "role": "sculptor", "biography": null, "name_in_original_language": null, "birth_year": "1876", "death_year": "1942", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1946-11-25T00:00:00", "sortable_date": 1913, "date_added_to_oa": null, "date_text": "1913", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:59.222000"}, {"id": 143466, "accession_number": "1967.4", "share_license_status": "Copyrighted", "tombstone": "Relational Painting Tondo No. 12, 1949. Fritz Glarner (American, born Switzerland, 1899\u20131972). Oil on masonite panel; framed: 46.5 x 45.5 x 6.5 cm (18 5/16 x 17 15/16 x 2 9/16 in.); diameter: 34.3 cm (13 1/2 in.). The Cleveland Museum of Art, Contemporary Collection of The Cleveland Museum of Art, 1967.4", "current_location": null, "title": "Relational Painting Tondo No. 12", "creation_date": "1949", "creation_date_earliest": 1949, "creation_date_latest": 1949, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on masonite panel", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 46.5 x 45.5 x 6.5 cm (18 5/16 x 17 15/16 x 2 9/16 in.); Diameter: 34.3 cm (13 1/2 in.)", "dimensions": {"framed": {"height": 0.465, "width": 0.455, "depth": 0.065}, "diameter": {"height": 0.343}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right: Glarner 49 \r\nWritten on back: Tondo No. 12 Paris 1949", "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": 445092, "title": "Mondrian and American Abstraction", "description": "<i>Mondrian and American Abstraction</i>. Museum of Contemporary Art, Chicago, Chicago, IL (organizer) (March 31-May 13, 1973).", "opening_date": "1973-03-31T05:00:00"}, {"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. 86, p. 121, color repr. p. 33.", "opening_date": "2006-06-09T00:00:00"}]}, "provenance": [{"description": "G. David Thompson (1899\u20131965), Pittsburgh, PA.", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "[B.C. Holland Gallery, Chicago]", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, Ohio, purchased in 1967.", "citations": [], "footnotes": null, "date": null, "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Fritz Glarner painted a large mural for the Dag Hammarskj\u00f6ld Library at the United Nations Headquarters in New York City.", "description": "During the mid-1900s, Swiss-born American artist Fritz Glarner launched a series of geometric abstractions that he called Relational Paintings. These works feature blocks and wedges of solid color with varying width. Occasionally the artist used a round format, as is the case here. He labeled these paintings tondos, an Italian term describing a circular work of art.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60469876"], "internet_archive": []}, "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": "Mentioned: p. 346, no. 135; Reproduced: p. 329", "url": "http://www.jstor.org/stable/25152183"}, {"citation": "Diller, Burgoyne, Leon Polk Smith, and Edward B. Henning. \u201cTwo New Paintings in the Neo-Plastic Tradition.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 62, no. 4 (April 1975): 106\u2013119.", "page_number": "Mentioned and reproduced: p. 106-107, fig. 2", "url": "http://www.jstor.org/stable/25152584"}, {"citation": "Neet, Jane. \u201cMondrian\u2019s \u2018Chrysanthemum.\u2019\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 74, no. 7 (September 1987): 282\u2013303.", "page_number": "Mentioned and reproduced: p. 286, fig. 6", "url": "http://www.jstor.org/stable/25159997"}, {"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. 32-33, no. 86", "url": ""}], "url": "https://clevelandart.org/art/1967.4", "images": {}, "alternate_images": [], "creditline": "Contemporary Collection of The Cleveland Museum of Art", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 143466, "creators": [{"id": 3450, "description": "Fritz Glarner (American, born Switzerland, 1899\u20131972)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1899", "death_year": "1972", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1968-01-12T00:00:00", "sortable_date": 1949, "date_added_to_oa": null, "date_text": "1949", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:25.556000"}, {"id": 149364, "accession_number": "1978.27", "share_license_status": "Copyrighted", "tombstone": "Mask (mwana pwo), c. 1930s. Africa, Central Africa, Democratic Republic of the Congo or Angola, Chokwe-style maker. Wood, reeds, plant fiber, burlap, natural fiber (possibly cotton), and colorant; overall: 21.6 cm (8 1/2 in.). The Cleveland Museum of Art, Gift of Katherine C. White, 1978.27", "current_location": null, "title": "Mask (mwana pwo)", "creation_date": "c. 1930s", "creation_date_earliest": 1930, "creation_date_latest": 1939, "artists_tags": [], "culture": ["Africa, Central Africa, Democratic Republic of the Congo or Angola, Chokwe-style maker"], "technique": "Wood, reeds, plant fiber, burlap, natural fiber (possibly cotton), and colorant", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Mask", "measurements": "Overall: 21.6 cm (8 1/2 in.)", "dimensions": {"overall": {"height": 0.216}}, "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": 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. 238, repr.", "opening_date": "1968-01-01T00:00:00"}, {"description": "CMA 1979: \"Year in Review 1978,\" CMA Bulletin LXVI (Jan., 1979), p. 42, no. 21, repr. p. 41.", "opening_date": "1979-01-01T00:00:00"}]}, "provenance": [{"description": "Katherine C. White [1929-1980], given to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1978", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1978-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": ["917.68", "159.62"], "did_you_know": "The costume this mask was worn with would have been made from the same netted fibers attached at its bottom.", "description": "Emotional well-being and stability are valued in many African cultures and these qualities are mirrored in the <em>Mwana Pwo Face Mask</em>. It embodies ideal cultural standards of feminine beauty (beauty marks, elaborate hairstyle, fertility, and good character) and represents a distinguished female ancestor among Chokwe communities of southwestern Angola and Democratic Republic of Congo. The mask would have been danced by an itinerant male performer wearing a body suit and role-playing as a woman; women do not typically wear masks in most African societies.", "external_resources": {"wikidata": [], "internet_archive": []}, "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. 238.", "page_number": "", "url": ""}, {"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": "Mentioned and reproduced: p. 41-42, no. 21", "url": "http://www.jstor.org/stable/25159613"}, {"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. 22,29, 31; reproduced: p. 56, pl. 2", "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, 29, 31; reproduced: p. 56, pl. 2", "url": "https://ingallslibrary.on.worldcat.org/oclc/1090438741"}], "url": "https://clevelandart.org/art/1978.27", "images": {}, "alternate_images": [], "creditline": "Gift of Katherine C. White", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 149364, "creators": [], "legal_status": "accessioned", "accession_date": "1978-05-08T00:00:00", "sortable_date": 1930, "date_added_to_oa": null, "date_text": "c. 1930s", "collapse_artists": false, "on_loan": false, "recently_acquired": 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 Mask (mukishi Pwo)"], "is_highlight": false, "updated_at": "2026-03-27 00:07:53.797000"}, {"id": 159906, "accession_number": "1997.196", "share_license_status": "Copyrighted", "tombstone": "Study for Red Green Blue, 1964. Ellsworth Kelly (American, 1923\u20132015). Oil on cream wove paper; sheet: 75.9 x 56.5 cm (29 7/8 x 22 1/4 in.). The Cleveland Museum of Art, Gift of Mrs. John B. Dempsey, 1997.196. \u00a9 Ellsworth Kelly", "current_location": null, "title": "Study for Red Green Blue", "creation_date": "1964", "creation_date_earliest": 1964, "creation_date_latest": 1964, "artists_tags": ["male", "LGBTQ+ (after 1900)"], "culture": ["America"], "technique": "oil on cream wove paper", "support_materials": [{"description": "cream wove paper (Arches)", "watermarks": []}], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Sheet: 75.9 x 56.5 cm (29 7/8 x 22 1/4 in.)", "dimensions": {"sheet": {"height": 0.759, "width": 0.565}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Ellsworth Kelly", "inscriptions": [{"inscription": "signed, lower right, in graphite: Kelly; verso, signed, lower right, in graphite: Kelly 1964; by artist, lower center, in graphite: Study for Red / Green Blue 1 [1 circled]; by artist, lower left, in graphite: 64.29; by artist, upper left, in graphite: 1 [circled]\r\n", "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"}, {"id": 227649, "title": "Ellsworth Kelly: Red Green Blue, Paintings and Studies, 1958-1965", "description": "<i>Ellsworth Kelly: Red Green Blue, Paintings and Studies, 1958-1965</i>. Museum of Contemporary Art, San Diego, La Jolla, CA (organizer) (January 18-April 14, 2003); Museum of Fine Arts, Houston, Houston, TX (April 26-July 27, 2003); Whitney Museum of American Art, New York, NY (August 10-November 3, 2003).", "opening_date": "2003-01-18T00:00:00"}, {"id": 202383, "title": "Less is More: Minimal Prints", "description": "<i>Less is More: Minimal Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 16-October 20, 2013).", "opening_date": "2013-06-16T00:00:00"}], "legacy": []}, "provenance": [{"description": "Ellsworth Kelly [1923-2015], Spencertown, NY", "citations": [], "footnotes": null, "date": "1964-1997", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1997-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This drawing is one of four works (including three oil sketches) made in preparation for the painting <em>Red Green Blue</em>.", "description": "This drawing relates to a painting now at the Walker Art Center in Minneapolis. In the early 1960s, Ellsworth Kelly executed several paintings exploring this color scheme, most of which feature abstract shapes. Here, he developed a composition with inverted, reversed L-shapes around a \"kernel\" of red, an idea that he first explored in a multipanel painting from 1963. Kelly completed this drawing while he worked on his larger painting, and the rapidly executed sketch allowed him to explore different colors and shapes on a smaller scale.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79980266"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art, \u201cMajor European Porcelain Crucifix, Pre-Columbian Figure, and Other Works Added to CMA Collection,\u201d December 3, 1997, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr4165"}, {"citation": "\"Drawings on Exhibition.\" <em>Drawing</em> 19, no. 4 (Summer 1998): 136-138.", "page_number": "Mentioned: p. 137", "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: pp. 278-279, p. 298; Reproduced: p. 279", "url": null}, {"citation": "Kamps, Toby, et al. <em>Ellsworth Kelly: Red Green Blue: Paintings and Studies, 1958-1965</em>. Exh. Cat. San Diego: Museum of Contemporary Art, 2003.", "page_number": "Mentioned and reproduced: p. 115, no. 51", "url": null}], "url": "https://clevelandart.org/art/1997.196", "images": {}, "alternate_images": [], "creditline": "Gift of Mrs. John B. Dempsey", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 159906, "creators": [{"id": 3488, "description": "Ellsworth Kelly (American, 1923\u20132015)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1923", "death_year": "2015", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1997-12-01T00:00:00", "sortable_date": 1964, "date_added_to_oa": null, "date_text": "1964", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:27.622000"}, {"id": 165149, "accession_number": "2007.150", "share_license_status": "Copyrighted", "tombstone": "Gypsy Palmist, 1934. Dora Maar (French, 1907\u20131997). Gelatin silver print, ferrotyped; image: 26.8 x 24 cm (10 9/16 x 9 7/16 in.); paper: 30.3 x 24 cm (11 15/16 x 9 7/16 in.). The Cleveland Museum of Art, John L. Severance Fund, 2007.150. \u00a9 2013 Artists Rights Society (ARS), New York / ADAGP, Paris", "current_location": null, "title": "Gypsy Palmist", "creation_date": "1934", "creation_date_earliest": 1934, "creation_date_latest": 1934, "artists_tags": ["female"], "culture": ["France, 20th century"], "technique": "gelatin silver print, ferrotyped", "support_materials": [], "department": "Photography", "collection": "PH - French 20th Century", "type": "Photograph", "measurements": "Image: 26.8 x 24 cm (10 9/16 x 9 7/16 in.); Paper: 30.3 x 24 cm (11 15/16 x 9 7/16 in.)", "dimensions": {"image": {"height": 0.268, "width": 0.24}, "paper": {"height": 0.303, "width": 0.24}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 2013 Artists Rights Society (ARS), New York / ADAGP, Paris", "inscriptions": [], "exhibitions": {"current": [{"id": 335822, "title": "Dora Maar: Photographer", "description": "<i>Dora Maar: Photographer</i>. Dorsky Gallery (April 25-June 28, 2004).", "opening_date": "2004-04-25T04:00:00"}, {"id": 335775, "title": "Accommodations of Desire: Surrealist Works on Paper Collected by Julien Levy", "description": "<i>Accommodations of Desire: Surrealist Works on Paper Collected by Julien Levy</i>. Palmer Museum of Art (September 14-December 5, 2004); McMullen Museum of Art, Boston College, MA (January 16-March 27, 2005); Crocker Art Museum, Sacaramento, CA (July 9-September 11, 2005); Portland Museum of Art (January 1-March 19, 2006).", "opening_date": "2004-09-14T04:00:00"}, {"id": 203169, "title": "Forbidden Games: Surrealist and Modernist Photography", "description": "<i>Forbidden Games: Surrealist and Modernist Photography</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 19, 2014-January 11, 2015).", "opening_date": "2014-10-19T00:00:00"}, {"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": "The artist's estate, Paris", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "(PIASA, Paris, Nov. 19, 1999, no. 33, sold to Michael Mattis)", "citations": [], "footnotes": null, "date": "November 19, 1999", "sortorder": 2}, {"description": "Michael Mattis [b.1960-1], New York, NY", "citations": [], "footnotes": null, "date": null, "sortorder": 3}, {"description": "David Raymond  [b.1979], New York, NY", "citations": [], "footnotes": null, "date": null, "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2007-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Dora Maar used a lightweight, handheld Rolleiflex camera, which allowed her to photograph street scenes quickly.", "description": "In 1934 Dora Maar traveled to London where she photographed street life, documenting the harsh reality of those trying to survive during the Great Depression, but also finding some lighter, surreal scenes like this one. From the street below, she captured the strangely disembodied head and hands in the palm reader\u2019s window at a skewed angle that emphasizes the uncanny sight.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60819998"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art, Tom E. Hinson, Ian Walker, and Lisa Kurzner. Forbidden Games: Surrealist and Modernist Photography : the David Raymond Collection in the Cleveland Museum of Art. 2014.", "page_number": "Reproduced: p. 112, no. 70; mentioned: pp. 223-224.", "url": null}, {"citation": "Schaffner, Ingrid, Julien Levy, and Colin Westerbeck. Accommodations of Desire: Surrealist Works on Paper Collected by Julien Levy. Pasadena, Calif: Curatorial Assistance, Inc, 2004.", "page_number": "Mentioned: pp. 123.", "url": null}, {"citation": "Maar, Dora. Dora Maar: Photographer. Long Island City, NY: Dorsky Gallery, 2004.", "page_number": null, "url": null}, {"citation": "Hinson, Tom E., \"Photo Surrealism\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 48 no. 3, March 2008", "page_number": "mentioned & reproduced: p. 8", "url": "https://archive.org/details/CMAMM2008-03/page/8/"}], "url": "https://clevelandart.org/art/2007.150", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 165149, "creators": [{"id": 11223, "description": "Dora Maar (French, 1907\u20131997)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1907", "death_year": "1997", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2007-02-26T00:00:00", "sortable_date": 1934, "date_added_to_oa": null, "date_text": "1934", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:33.827000"}, {"id": 168223, "accession_number": "2010.1", "share_license_status": "Copyrighted", "tombstone": "Rho I, 1977. Jack Whitten (American, 1939\u20132018). Acrylic on canvas; unframed: 182.8 x 213.2 cm (71 15/16 x 83 15/16 in.). The Cleveland Museum of Art, Gift of Scott C. Mueller and Margaret Fulton Mueller, 2010.1. \u00a9 Jack Whitten", "current_location": null, "title": "Rho I", "creation_date": "1977", "creation_date_earliest": 1977, "creation_date_latest": 1977, "artists_tags": ["Black American Artists", "male"], "culture": ["America"], "technique": "acrylic on canvas", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "measurements": "Unframed: 182.8 x 213.2 cm (71 15/16 x 83 15/16 in.)", "dimensions": {"unframed": {"height": 1.828, "width": 2.132}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Jack Whitten", "inscriptions": [], "exhibitions": {"current": [{"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": [{"description": "<em>Jack Whitten, </em>Alexander Grey Gallery, New York, NY (September 13 - October 20, 2007)", "opening_date": "2007-09-13T00:00:00"}]}, "provenance": [{"description": "Collection of the artist, consigned to Alexander Gray Associates, New York, NY, 2010", "citations": [], "footnotes": [], "date": "1997-2010", "sortorder": 1}, {"description": "(Alexander Gray Associates, New York, NY, sold to the Cleveland Museum of Art, 2010)", "citations": [], "footnotes": null, "date": "2010", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2010-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This is part of Whitten\u2019s \u201cGreek Alphabet\u201d series where he completely removed color from his works to see how black and white can work together\u2014both artistically and politically.", "description": "Whitten is a crucial member of a group of artists who championed \u201cprocess\u201d in the 1970s, creating artworks that openly reveal, instead of concealing, how they were created. Whitten would lay his canvas on his studio floor, apply the paint, and pull a developer (items ranging from hair picks to sheet metal) across the surface of the painting, revealing the multiple layers of paint below as well as an impression of the studio floor and any scraps that may have been left or placed beneath the canvas.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60480582"], "internet_archive": []}, "citations": [{"citation": "Ostrow, Saul. \u201cProcess, Image and Elegy.\u201d <em>Art in America</em> 96, no. 4 (April 2008): 148-155, 183.", "page_number": "Mentioned: pp. 152-153", "url": "http://search.ebscohost.com/login.aspx?direct=true&db=asu&AN=504451986&site=ehost-live"}, {"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": "Franklin, David. <em>Director\u2019s Choice: The Cleveland Museum of Art</em>. Cleveland: The Cleveland Museum of Art, in association with London: Scala Publishers Ltd., 2012.", "page_number": "Reproduced: p. 72-73; mentioned: p. 73.", "url": "https://ingallslibrary.on.worldcat.org/oclc/813979055"}, {"citation": "Franklin, David, and C. Griffith Mann. <em>Treasures from the Cleveland Museum of Art</em>. Cleveland: The Cleveland Museum of Art, in association with London: Scala Publishers Ltd., 2012.", "page_number": "Reproduced: p. 335; mentioned: p. 334.", "url": null}, {"citation": "Franklin, David. \u201cRecent Acquisitions (2005-2011) at the Cleveland Museum of Art.\u201d <em>The Burlington Magazine </em>154, no. 1312 (July 2012): 525-32.", "page_number": "Reproduced p. 532, Fig. XX.", "url": "https://ingallslibrary.on.worldcat.org/oclc/7781121424"}, {"citation": "Sparks, Amy and Rebecca Michaels, eds. <em>African American Art: The Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 2013.", "page_number": "Reproduced p. 6; mentioned: p. 26.", "url": "https://ingallslibrary.on.worldcat.org/oclc/828725641"}, {"citation": "Lee, Key Jo, and William Griswold. Perceptual Drift: Black Art and an Ethics of Looking. Cleveland, OH : Cleveland Museum of Art, 2022.", "page_number": "Mentioned and reproduced: p. 15-31, fig. 1, 5a-b.", "url": ""}], "url": "https://clevelandart.org/art/2010.1", "images": {}, "alternate_images": [], "creditline": "Gift of Scott C. Mueller and Margaret Fulton Mueller", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 168223, "creators": [{"id": 59136, "description": "Jack Whitten (American, 1939\u20132018)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1939", "death_year": "2018", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2010-03-01T00:00:00", "sortable_date": 1977, "date_added_to_oa": null, "date_text": "1977", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:03:21.790000"}, {"id": 171153, "accession_number": "2013.66", "share_license_status": "CC0", "tombstone": "The Furnace, 1924. Carl Gaertner (American, 1898\u20131952). Oil on canvas; framed: 110.5 x 110.8 cm (43 1/2 x 43 5/8 in.); unframed: 88.9 x 104.8 cm (35 x 41 1/4 in.). The Cleveland Museum of Art, Gift of The Huntington National Bank, 2013.66", "current_location": null, "title": "The Furnace", "creation_date": "1924", "creation_date_earliest": 1924, "creation_date_latest": 1924, "artists_tags": ["male", "Cleveland Institute of Art (faculty)", "Cleveland School", "May Show", "Cleveland Institute of Art (alumni)"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Cleveland School", "type": "Painting", "measurements": "Framed: 110.5 x 110.8 cm (43 1/2 x 43 5/8 in.); Unframed: 88.9 x 104.8 cm (35 x 41 1/4 in.)", "dimensions": {"framed": {"height": 1.105, "width": 1.108}, "unframed": {"height": 0.889, "width": 1.048}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower right: C.F. Gaertner", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 379495, "title": "The May Show: 6th Annual Exhibition of Works by Cleveland Artists and Craftsmen", "description": "<i>The May Show: 6th Annual Exhibition of Works by Cleveland Artists and Craftsmen</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 6-June 8, 1924).", "opening_date": "1924-05-06T04:00:00"}, {"id": 302646, "title": "A Study in Regional Taste: May Show 1919 - 1975", "description": "<i>A Study in Regional Taste: May Show 1919 - 1975</i>. The Cleveland Museum of Art, Cleveland, OH (July 13-August 21, 1977).", "opening_date": "1977-07-13T04:00:00"}, {"id": 311873, "title": "Transformations in Cleveland Art, 1796-1946", "description": "<i>Transformations in Cleveland Art, 1796-1946</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 19-July 21, 1996).", "opening_date": "1996-05-19T04:00:00"}], "legacy": []}, "provenance": [{"description": "The collection of the artist", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "Union Lennox Company, Cleveland, Ohio", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "Union Commerce Bank Corporation, Cleveland, Ohio", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "The Huntington National Bank Collection, Columbus, Ohio", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": ["19.2012"], "did_you_know": "Blast furnaces convert iron ores to molten metallic iron, an essential step in the making of steel.", "description": "One of the most widely exhibited artists working in Cleveland during the second quarter of the 1900s, Gaertner specialized in painting the city and its environs. Among his favored subjects were scenes of Cleveland\u2019s manufacturing heyday, including <em>The Furnace</em>, a composition praised at the time by a curator at the Cleveland Museum of Art for capturing \"admirably the sense of drama and power of industrial achievement.\"", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60482390"], "internet_archive": ["https://archive.org/details/clevelandart-2013.66-the-furnace"]}, "citations": [{"citation": "Adams, Henry. <em>The Golden Age of Cleveland Art: 1900 to 1945, </em>exh. cat. (Cleveland, OH: Western Reserve Historical Society, 2022), p. 72.", "page_number": "", "url": ""}, {"citation": "Hoffman, Jay, Dee Driscole, and Mary Clare Zahler. <em>A Study in Regional Taste: The May Show, 1919-1975</em>. (Cleveland, OH: Cleveland Museum of Art, 1977)", "page_number": "Reproduced p. 48", "url": ""}, {"citation": "Carl Gaertner Entry Card to 1924 May Show. Cleveland Museum of Art May Show Records, Cleveland Museum of Art Archives, exhibited as <em>The Shops.</em>", "page_number": null, "url": "https://archive.org/details/CMAMS00767"}, {"citation": "Robinson, William H., et. al. <em>Transformations in Cleveland Art, 1796-1946: Community and Diversity in Early Modern America</em>. Cleveland, Ohio: Cleveland Museum of Art, 1996.", "page_number": "Reproduced: p. 106, 110; Mentioned: p.110, fig. 110", "url": null}, {"citation": "Cole, Mark. \u201c2013 Acquisitions: American Art.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 54, no. 2 (March/April 2014): 24.", "page_number": "Reproduced and Mentioned: P. 24", "url": "https://archive.org/details/CMAMM2014-02"}, {"citation": "Kraynak, Scott, Henry Adams, Douglas Max Utter, William G. Scheele, R. A. Washington, and Mike Hudson. <em>The Heart of Cleveland.</em> Shaker Hts, OH: Red Giant Books, 2018.", "page_number": "Reproduced: P. 24, fig. 16", "url": null}, {"citation": "Johnston, April Nehring. <em>The Making of Cleveland's Artist: The Aesthetic and Cultural Politics of Boundary Crossing in the Industrial Landscape Paintings of Carl Gaertner, 1923-1952.</em> Thesis, Washington University, 2019.", "page_number": "Mentioned: P. xvi, 24, 25, 39, 56, 67; Reproduced: P. xvi, 25, fig. 1.7", "url": null}], "url": "https://clevelandart.org/art/2013.66", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2013.66/2013.66_web.jpg", "width": "1046", "height": "893", "filesize": "218306", "filename": "2013.66_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2013.66/2013.66_print.jpg", "width": "3400", "height": "2903", "filesize": "2852890", "filename": "2013.66_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2013.66/2013.66_full.tif", "width": "6553", "height": "5597", "filesize": "110055180", "filename": "2013.66_full.tif"}}, "alternate_images": [], "creditline": "Gift of The Huntington National Bank", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 171153, "creators": [{"id": 4415, "description": "Carl Gaertner (American, 1898\u20131952)", "extent": null, "qualifier": null, "role": "artist", "biography": "A specialist in American scene subject matter, Cleveland-born Carl Gaertner exhibited an early aptitude for drawing. As a high-school student he studied mechanical design, but during his senior year he decided to make painting his primary avocation. In 1920 he enrolled at the Cleveland School of Art, graduating three years later after studying with Henry Keller and Frank Wilcox. In 1925 the school hired Gaertner to teach painting. During the 1920s and 1930s he went on summer painting excursions to Provincetown, Massachusetts, with Ora Coltman and George Adomeit. One of the most widely exhibited artists working in Cleveland, Gaertner showed at the Cleveland Museum of Art (1922\u201353), the Pennsylvania Academy of Fine Arts in Philadelphia (1924\u201352), the Art Institute of Chicago (1925\u201349), the Whitney Museum of American Art in New York (1943\u201348), and the National Academy of Design (1944\u201350). The Cleveland School of Art organized solo exhibitions of his paintings (1928, 1941), as did the Philadelphia Art Alliance (1948). In 1945 he began a long association with the Macbeth Galleries in New York. In 1952, after experiencing a severe headache while teaching at the art school, he went home and died unexpectedly of a brain hemorrhage. <br><em>Transformations in Cleveland Art </em>(CMA, 1996), p. 228", "name_in_original_language": null, "birth_year": "1898", "death_year": "1952", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2013-09-03T00:00:00", "sortable_date": 1924, "date_added_to_oa": null, "date_text": "1924", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:02:19.890000"}, {"id": 149565, "accession_number": "1979.14", "share_license_status": "CC0", "tombstone": "Self-Portrait with Hat and Coat, 1915. Lovis Corinth (German, 1858\u20131925). Oil on canvas; framed: 118.1 x 97.5 x 8.3 cm (46 1/2 x 38 3/8 x 3 1/4 in.); unframed: 99.7 x 78.8 cm (39 1/4 x 31 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1979.14", "current_location": "225 German Expressionism & Surrealism", "title": "Self-Portrait with Hat and Coat", "creation_date": "1915", "creation_date_earliest": 1915, "creation_date_latest": 1915, "artists_tags": ["male"], "culture": ["Germany, 20th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 118.1 x 97.5 x 8.3 cm (46 1/2 x 38 3/8 x 3 1/4 in.); Unframed: 99.7 x 78.8 cm (39 1/4 x 31 in.)", "dimensions": {"framed": {"height": 1.181, "width": 0.975, "depth": 0.083}, "unframed": {"height": 0.997, "width": 0.788}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed top center:  LOVIS CORINTH. / 1915", "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": 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": 291282, "title": "The Garden of the Avant-Garde:  Heinrich Kirchhoff - An Unknown Collector of Jawlensky, Klee, Nolde...", "description": "<i>The Garden of the Avant-Garde:  Heinrich Kirchhoff - An Unknown Collector of Jawlensky, Klee, Nolde...</i>. Museum Wiesbaden, Wiesbaden, Germany (organizer) (October 27, 2017-February 25, 2018).", "opening_date": "2017-10-27T04:00:00"}], "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"}, {"description": "Museum Wiesbaden, Germany (10/27/2017 - 2/25/2018):  \"The Garden of the Avant-Garde:  Heinrich Kirchhoff - An Unknown Collector of Jawlensky, Klee, Nolde...\"", "opening_date": "2017-10-27T00:00:00"}]}, "provenance": [{"description": "Thomas Corinth and Mine Corinth Klopfer.", "citations": [], "footnotes": [], "date": null, "sortorder": 1}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "After suffering a near-fatal stroke in 1911, Corinth often turned to painting his own image to reveal insight into his emotions. This candid, expressive painting is one of his finest self-portraits from the last decade of his life. His powerful, spontaneous style influenced the development of modernist painting in Germany. From 1915 to 1925, he served as president of the Berlin Secession, a group formed in opposition against state-sponsored art and which organized its own independent exhibitions.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60473709"], "internet_archive": ["https://archive.org/details/clevelandart-1979.14-self-portrait-with-h"]}, "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. 52, p. 78; Mentioned: p. 61", "url": "https://www.jstor.org/stable/25159667"}, {"citation": "Benay, Erin. \"A Conversation with Karamu House Alumnus Curlee Raven Holton.\" In <em>Karamu Artists Inc.: Printmaking, Race, and Community, </em>Britany Salsbury and Erin Benay, 124-129. Cleveland, OH: Cleveland Museum of Art, 2025.", "page_number": "Mentioned and reproduced: p. 124-125, fig. 44", "url": ""}], "url": "https://clevelandart.org/art/1979.14", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1979.14/1979.14_web.jpg", "width": "708", "height": "893", "filesize": "474412", "filename": "1979.14_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1979.14/1979.14_print.jpg", "width": "2696", "height": "3400", "filesize": "7373607", "filename": "1979.14_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1979.14/1979.14_full.tif", "width": "4146", "height": "5228", "filesize": "65060684", "filename": "1979.14_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": 149565, "creators": [{"id": 3074, "description": "Lovis Corinth (German, 1858\u20131925)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1858", "death_year": "1925", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1979-05-07T00:00:00", "sortable_date": 1915, "date_added_to_oa": null, "date_text": "1915", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:07:31.203000"}, {"id": 125004, "accession_number": "1946.444", "share_license_status": "Copyrighted", "tombstone": "Festival of Flowers, Nice (F\u00eate des fleurs), 1923. Henri Matisse (French, 1869\u20131954). Oil on canvas; framed: 92.7 x 119.1 x 8.9 cm (36 1/2 x 46 7/8 x 3 1/2 in.); unframed: 65.5 x 92.7 cm (25 13/16 x 36 1/2 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1946.444. \u00a9 Succession H. Matisse / Artists Rights Society (ARS), New York", "current_location": null, "title": "Festival of Flowers, Nice (F\u00eate des fleurs)", "creation_date": "1923", "creation_date_earliest": 1923, "creation_date_latest": 1923, "artists_tags": ["male"], "culture": ["France, 20th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 92.7 x 119.1 x 8.9 cm (36 1/2 x 46 7/8 x 3 1/2 in.); Unframed: 65.5 x 92.7 cm (25 13/16 x 36 1/2 in.)", "dimensions": {"framed": {"height": 0.927, "width": 1.191, "depth": 0.089}, "unframed": {"height": 0.655, "width": 0.927}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Succession H. Matisse / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "Signed lower left: \"Henri-Matisse\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 708519, "title": "Aspects of French painting from Cezanne to Picasso", "description": "<i>Aspects of French painting from Cezanne to Picasso</i>. Los Angeles County Museum of Art, Los Angeles, CA (organizer) (January 15-March 2, 1941).", "opening_date": "1941-01-15T05:00:00"}, {"id": 708516, "title": "Works of Matisse", "description": "<i>Works of Matisse</i>. Philadelphia Museum of Art, Philadelphia, PA (organizer) (April 3-May 10, 1948).", "opening_date": "1948-04-03T05:00:00"}, {"id": 700168, "title": "American and French Modern Masters", "description": "<i>American and French Modern Masters</i>. La Napoule Art Foundation, New York, NY (organizer) (May 4-28, 1955).", "opening_date": "1955-05-04T04:00:00"}, {"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": 518592, "title": "The Logic of Modern Art", "description": "<i>The Logic of Modern Art</i>. The Nelson-Atkins Museum of Art, Kansas City, MO (organizer) (January 19-February 28, 1961).", "opening_date": "1961-01-19T05:00:00"}, {"id": 219158, "title": "M\u00e9diterran\u00e9e, de Courbet \u00e0 Matisse 1850-1925", "description": "<i>M\u00e9diterran\u00e9e, de Courbet \u00e0 Matisse 1850-1925</i>. Galeries Nationales du Grand Palais, 75008 Paris, France (September 19, 2000-February 26, 2001).", "opening_date": "2000-09-19T00:00:00"}, {"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": 218773, "title": "Henri Matisse : promenades int\u00e9rieures", "description": "<i>Henri Matisse : promenades int\u00e9rieures</i>. Mus\u00e9e Matisse, Nice, Nice, France (organizer) (June 12-October 4, 2015).", "opening_date": "2015-06-12T00:00:00"}, {"id": 543374, "title": "Matisse and the Sea", "description": "<i>Matisse and the Sea</i>. Saint Louis Art Museum, St. Louis, MO (organizer) (February 17-May 12, 2024).", "opening_date": "2024-02-17T05:00:00"}, {"id": 675373, "title": "Matisse M\u00e9diterrann\u00e9e(s)", "description": "<i>Matisse M\u00e9diterrann\u00e9e(s)</i>. Mus\u00e9e Matisse, Nice, France (organizer) (May 7-September 8, 2025) https://www.musee-matisse-nice.org/en/exposition/matisse-mediterranees/.", "opening_date": "2025-05-07T04:00:00"}], "legacy": [{"description": "Paris: Galeries nationales du Grand Palais (9/19/00-1/15/01); M\u00e9diterran\u00e9e de Courbet \u00e0 Matisse, exh. cat. no. 46, Ill. 98, p. 143, pp199-200.", "opening_date": "2000-09-19T00:00:00"}, {"description": "The Cleveland Museum of Art (06/21/2005 - 09/11/2005); \"CMA Highlights\"", "opening_date": "2005-06-21T00:00:00"}, {"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": "Mus\u00e9e Matisse, Nice, France (6/12/2015 - 10/4/2015):  \"Henri Matisse : promenades int\u00e9rieures\"", "opening_date": "2015-06-12T00:00:00"}]}, "provenance": [{"description": "Sold to Bernheim-Jeune; Marcel Kapferer, Paris (1923); (Knoedler); Ralph M. Coe, Cleveland (1928); (P. Rosenberg, New York)", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "While living in Nice after World War I, Matisse adopted a more relaxed style saturated with the warm colors of the Mediterranean. This painting depicts the view from the balcony of Matisse's room at the H\u00f4tel de la Medit\u00e9rran\u00e9e overlooking the Promenade des Anglais in Nice. Pictured on the balcony are Matisse's daughter, Marguerite, and his model, Henriette, poised to toss their flowers to the participants in the parade below.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60515317"], "internet_archive": []}, "citations": [{"citation": "Francis, Henry S. \u201c\u2018F\u00eate Des Fleurs, Nice\u2019 by Matisse.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 34, no. 4 (April 1947): 68\u201370.", "page_number": "Mentioned: p. 68-70; Reproduced: p. 62", "url": "http://www.jstor.org/stable/25141361"}, {"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. 517", "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. 199", "url": "https://archive.org/details/CMAHandbook1966/page/n223"}, {"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. 199", "url": "https://archive.org/details/CMAHandbook1969/page/n223"}, {"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. 248", "url": "https://archive.org/details/CMAHandbook1978/page/n268"}, {"citation": "Landau, Ellen G. \u201c\u2018Space and Pictorial Life\u2019 Hans Hofmann\u2019s \u2018Smaragd Red and Germinating Yellow.\u2019\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 72, no. 5 (September 1985): 310\u2013322.", "page_number": "Mentioned and reproduced: p. 314, fig. 9", "url": "http://www.jstor.org/stable/25159910"}, {"citation": "Kelly, Simon. <em>Matisse and the Sea</em>. Saint Louis, Mo.: Saint Louis Art Museum; Munich, Germany: Hirmer, 2024.", "page_number": "Mentioned and reproduced: p. 104-105", "url": ""}, {"citation": "Jeudy, Aymeric. <em>Matisse Mediterranee(s). </em>Paris: In Fine-Editions d\u2019Art, 2025.", "page_number": "Mentioned and reproduced: p. 84-85", "url": ""}, {"citation": "Muse\u0301e d\u2019Art Moderne de Paris. <em>Matisse et Marguerite: Le Regard d\u2019Un Pe\u0300re.</em> Edited by Isabelle Monod-Fontaine, He\u0301le\u0300ne de Talhoue\u0308t, and Charlotte Barat-Mabille. Paris: Paris-Muse\u0301es, 2025.", "page_number": "Reproduced: p. 164, no. 97", "url": ""}], "url": "https://clevelandart.org/art/1946.444", "images": {}, "alternate_images": [], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 125004, "creators": [{"id": 2130, "description": "Henri Matisse (French, 1869\u20131954)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1869", "death_year": "1954", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1946-12-03T00:00:00", "sortable_date": 1923, "date_added_to_oa": null, "date_text": "1923", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Carnival at Nice"], "is_highlight": false, "updated_at": "2026-03-26 23:59:13.187000"}, {"id": 156568, "accession_number": "1992.275", "share_license_status": "Copyrighted", "tombstone": "Utopia, 1945. Ren\u00e9 Magritte (Belgian, 1898\u20131967). Watercolor and gouache; sheet: 32.1 x 41.8 cm (12 5/8 x 16 7/16 in.). The Cleveland Museum of Art, Bequest of Lockwood Thompson, 1992.275. \u00a9  C. Herscovici / Artists Rights Society (ARS), New York", "current_location": null, "title": "Utopia", "creation_date": "1945", "creation_date_earliest": 1945, "creation_date_latest": 1945, "artists_tags": ["male"], "culture": ["Belgium, 20th century"], "technique": "watercolor and gouache", "support_materials": [{"description": "beige(1) wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - Belgian", "type": "Drawing", "measurements": "Sheet: 32.1 x 41.8 cm (12 5/8 x 16 7/16 in.)", "dimensions": {"sheet": {"height": 0.321, "width": 0.418}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  C. Herscovici / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "signed lower left, in black ink: Magritte; verso, center right, in graphite: L'Utopie; center right, in black ink: La Peri [crossed out in graphite] / Magritte 1945; upper right, stamped in purple ink: Galerie / Lou Cosyn / 21 rue de la Madeleine, brux. [set inside an oval border]\r\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304405, "title": "Surrealism in Perspective", "description": "<i>Surrealism in Perspective</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 3, 1979-January 6, 1980).", "opening_date": "1979-10-03T04:00:00"}, {"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": 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": "(Galerie Lou Cosyn, Brussels, sold to Lockwood Thompson)", "citations": [], "footnotes": null, "date": "1945", "sortorder": 1}, {"description": "Lockwood Thompson [1901-1992], Cleveland, OH, bequest to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1945-1992", "sortorder": 2}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1992-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Ren\u00e9 Magritte made an almost identical painting around the same time that he completed this drawing.", "description": "Ren\u00e9 Magritte was among the leading figures of the Surrealist movement, whose work emphasized dreams, the subconscious, and a break from reason and logic during the early 20th century. Magritte, in particular, often situated realistic imagery within ridiculous or unusual situations in order to question perception. Here, a rose grows on a rocky island amid a vast sea, set against a blue sky filled with large white clouds. By situating the flower within a barren and inhospitable setting, Magritte invites the viewer to question its purpose and survival. Created as World War II came to an end, the enigmatic image could symbolize a new beginning, although Magritte avoided assigning it a specific meaning.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79946082"], "internet_archive": []}, "citations": [{"citation": "exhibited with this title in 1993 CMA exhibition", "page_number": null, "url": null}, {"citation": "Lawrence, Michael G. <em>Surrealism in Perspective</em>. Exh. Cat. Cleveland: Cleveland Museum of Art, 1979.", "page_number": "Mentioned: p. 33", "url": null}, {"citation": "Sylvester, David, ed. <em>Ren\u00e9 Magritte: Catalogue Raisonn\u00e9, Volume IV: Gouaches, Temperas, Watercolours and Papiers Coll\u00e9s 1918-1967.</em> London: Menil Foundation, 1992.", "page_number": "Mentioned and reproduced: p. 60, no. 1191", "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. 73, no. 243", "url": "http://www.jstor.org/stable/25161388"}, {"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. 266-267, 298; Reproduced: p. 267", "url": null}, {"citation": "Clarke, Victoria. <em>Flower: Exploring the World in Bloom.</em> London; New York : Phaidon Press Limited, 2020.", "page_number": "Mentioned and Reproduced:  P. 196", "url": ""}], "catalogue_raisonne": "Sylvester 1191", "url": "https://clevelandart.org/art/1992.275", "images": {}, "alternate_images": [], "creditline": "Bequest of Lockwood Thompson", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 156568, "creators": [{"id": 3173, "description": "Ren\u00e9 Magritte (Belgian, 1898\u20131967)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1898", "death_year": "1967", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1992-12-07T00:00:00", "sortable_date": 1945, "date_added_to_oa": null, "date_text": "1945", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": ["La p\u00e9ri"], "is_highlight": true, "updated_at": "2026-03-27 00:05:10.779000"}, {"id": 97515, "accession_number": "1917.1079", "share_license_status": "CC0", "tombstone": "Dancer and Gazelles, 1916. Paul Manship (American, 1885\u20131966). Bronze; overall: 82 x 82.6 cm (32 5/16 x 32 1/2 in.). The Cleveland Museum of Art, Gift of the John Huntington Art and Polytechnic Trust, 1917.1079", "current_location": null, "title": "Dancer and Gazelles", "creation_date": "1916", "creation_date_earliest": 1916, "creation_date_latest": 1916, "artists_tags": ["male"], "culture": ["America"], "technique": "bronze", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Sculpture", "type": "Sculpture", "measurements": "Overall: 82 x 82.6 cm (32 5/16 x 32 1/2 in.)", "dimensions": {"overall": {"height": 0.82, "width": 0.826}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed on base: PAUL MANSHIP \u00a9 1916.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 616927, "title": "Bronzes by Paul Manship lent by the artist and Mrs. W. N. Gates", "description": "<i>Bronzes by Paul Manship lent by the artist and Mrs. W. N. Gates</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 1-December 1, 1916).", "opening_date": "1916-11-01T00:00:00"}, {"id": 312457, "title": "Sculpture of Our Time", "description": "<i>Sculpture of Our Time</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 5-December 5, 1937).", "opening_date": "1937-11-05T05:00:00"}, {"id": 311907, "title": "Introduction to Sculpture", "description": "<i>Introduction to Sculpture</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 5-March 2, 1952).", "opening_date": "1952-02-05T05:00:00"}, {"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": [{"description": "purchased from the artist.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": ["121.1917"], "did_you_know": "Initially interested in painting, Manship opted to pursue sculpture after discovering he had color vision deficiency.", "description": "One of Manship\u2019s most popular compositions, this work established his reputation as an important up-and-coming sculptor. Here, his mastery of elegant silhouette is manifest through the gracefully posed dancer and her sleek animal companions. Stylized decorative patterning embellishes the dancer\u2019s hair and swaying skirt.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79482128"], "internet_archive": ["https://archive.org/details/clevelandart-1917.1079-dancer-and-gazelles"]}, "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. #45, p. 45, repr.", "url": null}, {"citation": "\"Accessions.\" <em>The Bulletin of the Cleveland Museum of Art</em> 4, no. 2 (1917): 26-37.", "page_number": "Mentioned: p. 27", "url": "http://www.jstor.org/stable/25136070"}, {"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. 154", "url": "www.jstor.org/stable/25136326"}], "url": "https://clevelandart.org/art/1917.1079", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1917.1079/1917.1079_web.jpg", "width": "900", "height": "770", "filesize": "142886", "filename": "1917.1079_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1917.1079/1917.1079_print.jpg", "width": "3400", "height": "2908", "filesize": "1437695", "filename": "1917.1079_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1917.1079/1917.1079_full.tif", "width": "6945", "height": "5941", "filesize": "123810496", "filename": "1917.1079_full.tif"}}, "alternate_images": [{"date_created": "2015-06-08T09:43:48", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.1079/1917.1079_alt0_web.jpg", 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false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:05:34.995000"}, {"id": 108889, "accession_number": "1926.559", "share_license_status": "Copyrighted", "tombstone": "Ananas (Pineapples), 1923. Charles Martin (French, 1848\u20131934), Bianchini-F\u00e9rier (French, Lyon, est. 1888). Patterned weave, Jacquard loom; silk; overall: 248.3 x 129.9 cm (97 3/4 x 51 1/8 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1926.559", "current_location": null, "title": "Ananas (Pineapples)", "creation_date": "1923", "creation_date_earliest": 1923, "creation_date_latest": 1923, "artists_tags": ["male", "gender unknown"], "culture": ["France"], "technique": "patterned weave, Jacquard loom; silk", "support_materials": [], "department": "Textiles", "collection": "Textiles", "type": "Textile", "measurements": "Overall: 248.3 x 129.9 cm (97 3/4 x 51 1/8 in.)", "dimensions": {"overall": {"height": 2.483, "width": 1.299}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 445409, "title": "Art Deco", "description": "<i>Art Deco</i>. Western Reserve Historical Society, Cleveland, OH (organizer) (June 6-August 1, 1971).", "opening_date": "1971-06-06T04:00:00"}, {"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": [{"description": "International Exposition of Modern Decorative and Industrial Art, Paris, 1925.", "opening_date": "1925-01-01T00:00:00"}, {"description": "Art Deco. Western Reserve Historical Society, Cleveland, OH (June 6-August 1, 1971).", "opening_date": "1971-06-06T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": ["752.1926"], "did_you_know": "Brightly colored silk fabrics were most often used as upholstery or in a more lavish display, as wall coverings.", "description": "Stylized pineapples in subtle shades of pink blend the familiar with the abstracted in this design displayed at the 1925 world's fair in Paris, then in the associated traveling exhibition that toured American museums the following year.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80000842"], "internet_archive": []}, "citations": [{"citation": "American Association of Museums. A Selected Collection of Objects from the International Exposition of Modern Decorative and Industrial Art at Paris 1925. [Washington, D.C.]: [American Association of Museums?], 1925.", "page_number": "p. 2, no. 10", "url": null}, {"citation": "Lubell, Cecil. Textile Collections of the World. London: Studio Vista, 1976. Vol. III", "page_number": "p. 9", "url": null}, {"citation": "Coffin, Sarah, Stephen Harrison, and Emily Marshall Orr. The jazz age: American style in the 1920s. 2017.", "page_number": "p. 168, 170, 353", "url": null}], "url": "https://clevelandart.org/art/1926.559", "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": 108889, "creators": [{"id": 24788, "description": "Charles Martin (French, 1848\u20131934)", "extent": null, "qualifier": null, "role": "designed by", "biography": null, "name_in_original_language": null, "birth_year": "1848", "death_year": "1934", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 292643, "description": "Bianchini-F\u00e9rier (French, Lyon, est. 1888)", "extent": null, "qualifier": null, "role": "manufacturer", "biography": "French textile manufactory, active from 1888.", "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1926-06-04T00:00:00", "sortable_date": 1923, "date_added_to_oa": null, "date_text": "1923", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:00.674000"}, {"id": 115125, "accession_number": "1935.279", "share_license_status": "CC0", "tombstone": "Self-Portrait, 1921. George Bellows (American, 1882\u20131925). Lithograph; sheet: 29.7 x 22.6 cm (11 11/16 x 8 7/8 in.). The Cleveland Museum of Art, Gift of Leonard C. Hanna Jr., 1935.279", "current_location": null, "title": "Self-Portrait", "creation_date": "1921", "creation_date_earliest": 1921, "creation_date_latest": 1921, "artists_tags": ["male"], "culture": ["America"], "technique": "lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Sheet: 29.7 x 22.6 cm (11 11/16 x 8 7/8 in.)", "dimensions": {"platemark": {"height": 0.267, "width": 0.195}, "sheet": {"height": 0.297, "width": 0.226}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 354980, "title": "The George Wesley Bellows Memorial Exhibition", "description": "<i>The George Wesley Bellows Memorial Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 16-March 22, 1926).", "opening_date": "1926-02-16T05:00:00"}, {"id": 309574, "title": "George Bellows Prints: Centennial Exhibition", "description": "<i>George Bellows Prints: Centennial Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 7-October 31, 1982).", "opening_date": "1982-09-07T04:00:00"}, {"id": 200468, "title": "Stag at Sharkey\u2019s: George Bellows and the Art of Sports", "description": "<i>Stag at Sharkey\u2019s: George Bellows and the Art of Sports</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 14-September 18, 2016).", "opening_date": "2016-05-14T00:00:00"}], "legacy": [{"description": "Cleveland Museum of Art (05/14/2016-09/18/2016); Stag at Sharkey\u2019s: George Bellows and the Art of Sports.", "opening_date": "2016-05-14T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": ["341.1926"], "did_you_know": "George Bellows attended the Ohio State University and the year that this self-portrait was made marked the school's only loss in football to another team from the state of Ohio.", "description": "Bellows\u2019s <em>Self-Portrait </em>wittily presents himself in the very act of creating it. Reflected in a scallop-framed mirror, the artist intently studies his likeness while recording it on the thick lithographic stone that would be prepared and inked to make this print. He sports the bow tie often worn during this period of his career, and a cigarette dangles from his free hand. Bellows frequently attempted to break his smoking habit, writing on one occasion to a friend, \u201c. . . all winter I have been making evasive gestures at cigarettes usually with the left hand and lighting them with the right.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80008181"], "internet_archive": []}, "citations": [{"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 190", "url": "https://archive.org/details/CMAHandbook1966/page/n214"}, {"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. 190", "url": "https://archive.org/details/CMAHandbook1969/page/n214"}, {"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"}], "catalogue_raisonne": "Mason 114", "url": "https://clevelandart.org/art/1935.279", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1935.279/1935.279_web.jpg", "width": "660", "height": "893", "filesize": "504024", "filename": "1935.279_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1935.279/1935.279_print.jpg", "width": "2511", "height": "3400", "filesize": "7497298", "filename": "1935.279_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1935.279/1935.279_full.tif", "width": "3762", "height": "5094", "filesize": "57523592", "filename": "1935.279_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": 115125, "creators": [{"id": 3005, "description": "George Bellows (American, 1882\u20131925)", "extent": null, "qualifier": null, "role": "artist", "biography": "An accomplished athlete, George Bellows (1882\u20131925) was an especially appropriate artist to address the subject of sports. Born and raised in Columbus, Ohio, he played baseball and basketball as a youth, developing sufficient ability to letter in both at Ohio State University. According to some accounts, scouts for the Cincinnati Reds took notice of his shortstop talents. However, Bellows\u2019s first love, art, ultimately intervened, and after his junior year he relocated to New York to study painting. In a remarkably short period he became the leading artist of his generation, a reputation fueled through boxing subjects such as <em>Stag at Sharkey\u2019s.</em> In his later years he developed recreational passions for tennis and billiards, which he routinely played with friends. Bellows\u2019s life was cut short at the age of 42, due to complications after his appendix ruptured.", "name_in_original_language": null, "birth_year": "1882", "death_year": "1925", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1935-12-19T00:00:00", "sortable_date": 1921, "date_added_to_oa": null, "date_text": "1921", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Self-Portrait (George Bellows Drawing on a Stone in His Study)"], "is_highlight": false, "updated_at": "2026-03-26 23:59:18.737000"}, {"id": 93309, "accession_number": "1949.1775", "share_license_status": "Copyrighted", "tombstone": "Festus Yayple and his Oxen, 1946. George Ault (American, 1891\u20131948). Oil on canvas; framed: 76.2 x 105.4 x 6.4 cm (30 x 41 1/2 x 2 1/2 in.); unframed: 61.6 x 91.4 cm (24 1/4 x 36 in.). The Cleveland Museum of Art, Hinman B. Hurlbut Collection, 1949.1775", "current_location": null, "title": "Festus Yayple and his Oxen", "creation_date": "1946", "creation_date_earliest": 1946, "creation_date_latest": 1946, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 76.2 x 105.4 x 6.4 cm (30 x 41 1/2 x 2 1/2 in.); Unframed: 61.6 x 91.4 cm (24 1/4 x 36 in.)", "dimensions": {"framed": {"height": 0.762, "width": 1.054, "depth": 0.064}, "unframed": {"height": 0.616, "width": 0.914}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Written lower left: \"G. C. Ault '46\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 338899, "title": "New Accessions, USA, 1950", "description": "<i>New Accessions, USA, 1950</i>. Colorado Springs Fine Arts Center (July 2-September 4, 1950).", "opening_date": "1950-07-02T04:00:00"}, {"id": 211490, "title": "To Make a World: George Ault and 1940s America", "description": "<i>To Make a World: George Ault and 1940s America</i>. Smithsonian American Art Museum (organizer) (March 11-September 5, 2011); The Nelson-Atkins Museum of Art, Kansas City, MO (October 15, 2011-January 8, 2012); Georgia Museum of Art, Athens, GA (February 18-April 16, 2012).", "opening_date": "2011-03-11T00:00:00"}], "legacy": [{"description": "\"Painting in the United States, 1946,\" Carnegie Institute, Pittsburgh, October 10--December 8, 1946.", "opening_date": "1946-12-08T00:00:00"}, {"description": "Smithsonian American Art Museium (3/11/2011 - 9/5/2011), Nelson-Atkins Museum of Art (10/15/2011 - 1/8/2012), and Georgia Museum of Art (2/18/2012 - 4/16/2012):  \"To Make a World: George Ault and 1940s America\", ex. cat. no. 67, p. 112, det. p. 134.", "opening_date": "2011-03-11T00:00:00"}]}, "provenance": [{"description": "Mrs. George C. Ault, Woodstock, New York.", "citations": [], "footnotes": [], "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1726.1949", "1775.1949"], "did_you_know": "The museum purchased this painting directly from Ault's widow just eight months after the artist died.", "description": "Cleveland-born George Ault spent his final years in rural Woodstock, New York, where he befriended local laborers such as ox-trader Festus Yayple. As typical of the artist\u2019s work, this canvas infuses an aura of loneliness and beauty into the everyday world. The austere calm of the painting's composition contrasts with Ault's personal life. During this time he lived in poverty, with failing eyesight, alcoholism, and ill health.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q116695620", "https://www.wikidata.org/wiki/Q60502149"], "internet_archive": []}, "citations": [{"citation": "Harnsberger, R. Scott. <em>Ten Precisionist Artists: Annotated Bibliographies</em>. Westport, CT: Greenwood Press, 1992.", "page_number": "Reproduced: p. 45, no. 172", "url": null}, {"citation": "Nemerov, Alexander. <em>To Make a World: George Ault and 1940s America</em>. Washington, D.C.: Smithsonian American Art Museum; New Haven, CT: Yale University Press, 2011.", "page_number": "Reproduced: p. 112, cat. 67", "url": null}, {"citation": "Hemingway, Andrew. <em>The Mysticism of Money: Precisionist Painting and Machine Age America</em>. Pittsburgh: Periscope, 2013.", "page_number": "Mentioned: p. 181; Reproduced: p. 180", "url": null}], "url": "https://clevelandart.org/art/1949.1775", "images": {}, "alternate_images": [], "creditline": "Hinman B. Hurlbut Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 93309, "creators": [{"id": 4909, "description": "George Ault (American, 1891\u20131948)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1891", "death_year": "1948", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1949-08-03T00:00:00", "sortable_date": 1946, "date_added_to_oa": null, "date_text": "1946", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:07:24.469000"}, {"id": 130713, "accession_number": "1953.430", "share_license_status": "Copyrighted", "tombstone": "Church Bells Ringing, Rainy Winter Night, No. 2, 1917. Charles Burchfield (American, 1893\u20131967). Graphite on two sheets of butt-joined wove paper; 32.1 x 18.6 cm (12 5/8 x 7 5/16 in.). The Cleveland Museum of Art, Norman O. Stone and Ella A. Stone Memorial Fund, 1953.430. Reproduced with permission from the Charles E. Burchfield Foundation", "current_location": null, "title": "Church Bells Ringing, Rainy Winter Night, No. 2", "creation_date": "1917", "creation_date_earliest": 1917, "creation_date_latest": 1917, "artists_tags": ["May Show", "male", "Cleveland Institute of Art (alumni)"], "culture": ["America"], "technique": "graphite on two sheets of butt-joined wove paper", "support_materials": [], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "32.1 x 18.6 cm (12 5/8 x 7 5/16 in.)", "dimensions": {"No Extent Specified": {"height": 0.321, "width": 0.186}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "Reproduced with permission from the Charles E. Burchfield Foundation", "inscriptions": [], "exhibitions": {"current": [{"id": 311926, "title": "The Drawings of Charles E. Burchfield", "description": "<i>The Drawings of Charles E. Burchfield</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 4, 1953-January 10, 1954).", "opening_date": "1953-11-04T05:00:00"}, {"id": 301176, "title": "Charles Burchfield Retrospective Exhibition", "description": "<i>Charles Burchfield Retrospective Exhibition</i>. Whitney Museum of American Art (January 11-February 26, 1956); The Baltimore Museum of Art (March 14-April 22, 1956); Museum of Fine Arts, Boston (May 9-June 17, 1956); San Francisco Museum of Modern Art (July 11-August 19, 1956); Los Angeles County Museum of Art (September 5-October 14, 1956); The Phillips Collection (November 4-December 11, 1956); The Cleveland Museum of Art, Cleveland, OH (December 28, 1956-February 10, 1957).", "opening_date": "1956-12-28T05:00:00"}, {"id": 338564, "title": "An American Visionary: Watercolors and Drawings of Charles E. Burchfield", "description": "<i>An American Visionary: Watercolors and Drawings of Charles E. Burchfield</i>. Currier Museum of Art; Berkshire Museum; Boston Athenaeum (March 20-May 16, 1986).", "opening_date": "1986-03-20T05:00:00"}, {"id": 313096, "title": "Charles Burchfield: The Ohio Landscapes, 1915\u20131920", "description": "<i>Charles Burchfield: The Ohio Landscapes, 1915\u20131920</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 22, 2018-May 5, 2019).", "opening_date": "2018-12-22T05:00:00"}], "legacy": []}, "provenance": [{"description": "Charles Burchfield [1893-1967], Buffalo, NY, sold to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1917-1953", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1953-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Rather than working on a single sheet, Burchfield joined two pieces of paper to make this drawing.", "description": "This drawing is the second study for Charles Burchfield's <em>Church Bells Ringing, Rainy Winter Night</em>, which he considered the most important drawing of his \"golden year.\" Here, the artist sketched the composition in graphite, attempting to record the spire of Salem\u2019s Baptist church (since destroyed by fire) rising up between two houses. Burchfield hoped to express his powerful childhood fear of the bell\u2019s ominous ring\u2014which he described as \u201ca dull roar . . . dying slowly &amp; with a growl.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60781241"], "internet_archive": []}, "citations": [{"citation": "Townsend, J. Benjamin. <em>An American Visionary: Watercolors and Drawings of Charles E. Burchfield</em>. Exh. Cat. Boston: Athen\u00e6um, 1986.", "page_number": "Mentioned: no. 49", "url": null}, {"citation": "Prasse, Leona E. T<em>he Drawings of Charles E. Burchfield</em>. Exh. Cat. Cleveland: Cleveland Museum of Art,1953.", "page_number": "Mentioned: no. 31", "url": null}, {"citation": "Kraynak, Scott, Henry Adams, Douglas Max Utter, William G. Scheele, R. A. Washington, and Mike Hudson. <em>The Heart of Cleveland.</em> Shaker Hts, OH: Red Giant Books, 2018.", "page_number": "Reproduced: P. 18, fig. 7", "url": null}], "url": "https://clevelandart.org/art/1953.430", "images": {}, "alternate_images": [], "creditline": "Norman O. Stone and Ella A. Stone Memorial Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 130713, "creators": [{"id": 3989, "description": "Charles Burchfield (American, 1893\u20131967)", "extent": null, "qualifier": null, "role": "artist", "biography": "Charles Burchfield was among the most original and poetic painters of the Cleveland modernist movement. Born in Ashtabula, he moved to Salem, Ohio, following the death of his father in 1898. After graduating from high school, he attended Cleveland School of Art, studying with William Eastman, Frederick Gottwald, Henry Keller, and Frank Wilcox. In 1914 Burchfield began attending Kokoon Klub exhibitions, and in spring 1915 he went to Brandywine to meet William Sommer. Around this time Burchfild began experimenting with the brilliant colors and simplified forms of the Berlin Heights painters. He painted his first mature works in 1915, and grad ed from the Cleveland School of Art with a degree in illustration the following spring. That summer the Cleveland School of Art sponsored his first solo exhibition, and in the fall, after attending the National Academy of Design in New York for one month, he returned to Salem. In February 1917 the Cleveland School of Art mounted his second solo exhibition. Burchfield was inducted into the army that summer. After his return in 1919 he exhibited with other Cleveland modernists at the Play House, Laukhuff\u2019 s Book store, and other Cleveland venues. In 1921 he went on an extended sketching trip through eastern Ohio with Keller, Wilcox, and Paul Travis, exhibiting these recent paintings at the Cleveland School of Art and in the May Show at the Cleveland Museum of Art. Later that year he moved to Buffalo to work as a wallpaper designer, a position he retained until he resigned in 1929 to become a full-time painter. Over the next 30 years he exhibited extensively at museums and galleries across the country. Solo exhibitions of his paintings were held at New York\u2019s Museum of Modern Art (1930), Pittsburgh\u2019 s Carnegie Institute of Art (1935, 1938, 1946), and Buffalo\u2019 s Albright-Knox Art Gallery (1944, 1955, 1963, 1967). In 1953 New York\u2019s Whitney Museum of American Art organized a major exhibition that traveled to the Cleveland Museum of Art. Burchfield died in West Seneca, New York. <br>\"Transformations in Cleveland Art\" (CMA, 1996), p. 224", "name_in_original_language": null, "birth_year": "1893", "death_year": "1967", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1953-11-05T00:00:00", "sortable_date": 1917, "date_added_to_oa": null, "date_text": "1917", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:54.515000"}, {"id": 152025, "accession_number": "1984.73", "share_license_status": "Copyrighted", "tombstone": "Mixteca Series #12, early 1980s. Evelyn Svec Ward (American, 1921\u20131989). Amate paper, ixtle fiber, thread, and blue acrylic paint on undyed, unbleached plain weave linen; overall: 35.9 x 28.3 x 3.2 cm (14 1/8 x 11 1/8 x 1 1/4 in.). The Cleveland Museum of Art, Wishing Well Fund, 1984.73", "current_location": null, "title": "Mixteca Series #12", "creation_date": "early 1980s", "creation_date_earliest": 1980, "creation_date_latest": 1984, "artists_tags": ["May Show", "female"], "culture": ["America"], "technique": "Amate paper, ixtle fiber, thread, and blue acrylic paint on undyed, unbleached plain weave linen", "support_materials": [], "department": "Textiles", "collection": "T - Contemporary Fiber Art", "type": "Textile", "measurements": "Overall: 35.9 x 28.3 x 3.2 cm (14 1/8 x 11 1/8 x 1 1/4 in.)", "dimensions": {"overall": {"height": 0.359, "width": 0.283, "depth": 0.032}}, "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": 310318, "title": "Evelyn Svec Ward Retrospective", "description": "<i>Evelyn Svec Ward Retrospective</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 28, 1990-February 3, 1991); Battalle Fine Arts Center, Westerville, OH (April 1-May 5, 1991).", "opening_date": "1990-12-28T05:00:00"}, {"id": 311444, "title": "Object Lessons: Cleveland Creates an Art Museum", "description": "<i>Object Lessons: Cleveland Creates an Art Museum</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 7-September 8, 1991).", "opening_date": "1991-06-07T04:00:00"}], "legacy": [{"description": "Focus: Fiber. The Cleveland Museum of Art, Cleveland, OH (June 19-August 5, 1984).", "opening_date": "1984-06-19T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Ixtle is a stiff plant fiber harvested from species of the agave and Yucca cactus.", "description": "According to the artist, her Mixteca Series collages are the result of her strong desire to convey the breadth of the state of Oaxaca, Mexico, including of the Mixteca region within the state of Oaxaca.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60757425"], "internet_archive": []}, "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. 199; Mentioned: p. 205, no. 137", "url": "http://www.jstor.org/stable/25159897"}, {"citation": "Ward, Evelyn Svec, and William E. Ward. Evelyn Svec Ward: Retrospective. Westerville, Ohio: Otterbein College, 1990.", "page_number": "p. 60", "url": null}, {"citation": "Grove, Jeffrey, \"From Neoclassical to The NEO Show\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 45 no. 01, January 2005", "page_number": "Mentioned & reproduced: p. 8-9", "url": "https://archive.org/details/CMAMM2005-01/page/8"}], "url": "https://clevelandart.org/art/1984.73", "images": {}, "alternate_images": [], "creditline": "Wishing Well Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 152025, "creators": [{"id": 9264, "description": "Evelyn Svec Ward (American, 1921\u20131989)", "extent": null, "qualifier": null, "role": "artist", "biography": "Biographical information exists in the Cleveland Museum of Art Archives.", "name_in_original_language": null, "birth_year": "1921", "death_year": "1989", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1984-09-24T00:00:00", "sortable_date": 1980, "date_added_to_oa": null, "date_text": "early 1980s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:29.330000"}, {"id": 156888, "accession_number": "1992.97", "share_license_status": "Copyrighted", "tombstone": "Lesbian Couple at Le Monocle, 1932. Brassa\u00ef (French, 1899\u20131984). Gelatin silver print; image: 37.9 x 28 cm (14 15/16 x 11 in.); matted: 55.9 x 45.7 cm (22 x 18 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. Anselm Talalay in honor of Evan Turner, 1992.97. \u00a9 The Brassa\u00ef Estate - RMN ", "current_location": null, "title": "Lesbian Couple at Le Monocle", "creation_date": "1932", "creation_date_earliest": 1932, "creation_date_latest": 1932, "artists_tags": ["male"], "culture": ["France"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - French 20th Century", "type": "Photograph", "measurements": "Image: 37.9 x 28 cm (14 15/16 x 11 in.); Matted: 55.9 x 45.7 cm (22 x 18 in.)", "dimensions": {"image": {"height": 0.379, "width": 0.28}, "matted": {"height": 0.559, "width": 0.457}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 The Brassa\u00ef Estate - RMN ", "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": 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": 221211, "title": "Brassa\u00ef: The Eye of Paris", "description": "<i>Brassa\u00ef: The Eye of Paris</i>. Museum of Fine Arts, Houston, Houston, TX (organizer) (December 6, 1998-February 28, 1999); J. Paul Getty Museum, Los Angeles, CA (April 14-July 4, 1999); National Gallery of Art, Landover, MD (October 17, 1999-January 16, 2000).", "opening_date": "1998-12-06T00:00:00"}, {"id": 230613, "title": "Twilight Visions: Surrealism, Photography, and Paris", "description": "<i>Twilight Visions: Surrealism, Photography, and Paris</i>. Telfair Museum of Art, Savannah, GA (June 9-October 10, 2010).", "opening_date": "2008-10-10T00:00:00"}], "legacy": []}, "provenance": [{"description": "Anselm Talalay [1912-1994] and Marjorie Freedman Talalay [1921-2008], Cleveland, OH", "citations": [], "footnotes": [], "date": "?-1992", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "May 18, 1992", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Gyula Hal\u00e1sz photographed under the pseudonym Brassa\u00ef, or person from Brass\u00f3, his birthplace in Hungary (now Bra\u0219ov, Romania).<strong><br></strong>", "description": "Brassa\u00ef's best-known photographs of the 1930s describe the nocturnal atmosphere of Paris, recording the misty streets and smoke-filled caf\u00e9s frequented by artists, poets, writers, and other colorful characters. Although working with a cumbersome magnesium flash, Brassa\u00ef was so sensitive to his surroundings that his subjects remained entirely at ease before the camera. This photograph, taken at a bar owned by Lulu de Montparnasse on the rue Edgar Quinet, captures a relaxed couple enjoying a late evening. Brassa\u00ef was one of the first to exploit the full pictorial possibilities of night photography, creating a new aesthetic based on the curious and harsh effects of gas and electric lights.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60781125"], "internet_archive": []}, "citations": [{"citation": "Turner, Evan H. \u201cThe Year in Review for 1992.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 80, no. 2 (February 1993): 38\u201379.", "page_number": "Mentioned: p. 68", "url": "http://www.jstor.org/stable/25161388"}, {"citation": "\"1992 Annual Report.\" <em>The Bulletin of the Cleveland Museum of Art</em> 80, no. 6 (July 1993): 215-295.", "page_number": "Reproduced: p. 246", "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. 108", "url": ""}], "url": "https://clevelandart.org/art/1992.97", "images": {}, "alternate_images": [], "creditline": "Gift of Mr. and Mrs. Anselm Talalay in honor of Evan Turner", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 156888, "creators": [{"id": 46, "description": "Brassa\u00ef (French, 1899\u20131984)", "extent": null, "qualifier": null, "role": "artist", "biography": "Brassa\u00ef (Gyula Hal\u00e1sz) French, born Austria-Hungary, 1899-1984 A photographer, painter, sculptor, and writer, Brassa\u00ef became known during the 1930s for his photographs of Parisian nightlife. Initially interested in painting, he studied at the Academy of Fine Arts, Budapest (1918-19), and the Academische Hochschule, Berlin-Charlottenburg (1921-22). He adopted the name Brassa\u00ef (after his hometown, Brasso) following his move in 1924 to Paris, where he worked as a painter and journalist for Hungarian and German newspapers. Around 1929-30 Brassa\u00ef began to take photographs, receiving advice from Hungarian photographer Andr\u00e9 Kert\u00e9sz. His special interest was the city at night; during his walks after dark he photographed Paris dance halls, cafes, bars, and bordellos, as well as the vagrants and thugs who roamed the dimly lit streets. In 1933 Brassa\u00ef's nocturnal views of Paris were published as Paris de Nuit (Paris by Night). The book was a great success and helped to launch his photographic career. Brassa\u00ef began to receive assignments from such journals as Verve, Labyrinthe, and Minotaure, a new review of art and literature which commissioned him to photograph artists and their studios. He also became associated with Harper's Bazaar and over the next three decades completed many assignments for the magazine. Among the artists and writers he came to know during this period were Pablo Picasso, Salvador Dali, Alberto Giacometto, Andr\u00e9 Breton, Tristan Tzara, and Man Ray. During the German occupation of Paris in the 1940s, no longer able to wander freely through the streets, Brassa\u00ef turned to drawing; he also began to photograph Picasso's sculpture in his Paris studio. After the war, Brassa\u00ef continued his photographic series Graffiti and designed the photographic backdrops for several plays and ballets; he also published Histoire de Marie (1949), a surrealist poem with a preface by Henry Miller. In the mid-1950s he won a prize at the Cannes film festival for his movie Tant qui'il y aura des b\u00eates and in 1964 published a critically acclaimed book, Conversations avec Picasso. Throughout his career Brassa\u00ef exhibited his pictures widely, including a one-person exhibition of his photographs of graffiti at the Museum of Modern Art, New York, in the mid-1950s, followed by a retrospective of his work there in 1968. M.M.", "name_in_original_language": null, "birth_year": "1899", "death_year": "1984", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1992-05-18T00:00:00", "sortable_date": 1932, "date_added_to_oa": null, "date_text": "1932", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:04:33.036000"}, {"id": 159457, "accession_number": "1996.233", "share_license_status": "Copyrighted", "tombstone": "Large Head, 1993. Lucian Freud (British, 1922\u20132011), published by Matthew Marks Gallery. Etching with scraping and burnishing; sheet: 79.3 x 63.4 cm (31 1/4 x 24 15/16 in.); platemark: 69.5 x 54.5 cm (27 3/8 x 21 7/16 in.). The Cleveland Museum of Art, John L. Severance Fund, 1996.233", "current_location": null, "title": "Large Head", "creation_date": "1993", "creation_date_earliest": 1993, "creation_date_latest": 1993, "artists_tags": ["male", "Jewish artists"], "culture": ["England, 20th century"], "technique": "etching with scraping and burnishing", "support_materials": [], "department": "Prints", "collection": "PR - Etching", "type": "Print", "measurements": "Sheet: 79.3 x 63.4 cm (31 1/4 x 24 15/16 in.); Platemark: 69.5 x 54.5 cm (27 3/8 x 21 7/16 in.)", "dimensions": {"sheet": {"height": 0.793, "width": 0.634}, "platemark": {"height": 0.695, "width": 0.545}}, "state_of_the_work": "ii/ii", "edition_of_the_work": "40 plus 12 artist's proofs", "copyright": null, "inscriptions": [{"inscription": "lower left, in graphite: 33/40; signed, lower right, in graphite: LF", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 190040, "title": "Contemporary Prints: Recent Acquisitions", "description": "<i>Contemporary Prints: Recent Acquisitions</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 19-July 21, 1997).", "opening_date": "1997-04-19T00:00:00"}, {"id": 203895, "title": "Fresh Prints: The Nineties to Now", "description": "<i>Fresh Prints: The Nineties to Now</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 22-July 26, 2015).", "opening_date": "2015-03-22T00:00:00"}], "legacy": [{"description": "Cleveland, Ohio:  The Cleveland Museum of Art; 4/19/97 - 7/21/97.  \"Contemporary Prints:  Recent Acquisitions.\"", "opening_date": "1997-04-19T00:00:00"}, {"description": "The Cleveland Museum of Art (3/22/2015 - 7/26/2015); \"Fresh Prints: The Nineties to Now\"", "opening_date": "2015-03-22T00:00:00"}]}, "provenance": [{"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1996-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The artist of this work, Lucien Freud, was the grandson of Sigmund Freud, the founder of psychoanalysis.", "description": "The British artist Lucien Freud was known for portraiture, aiming to produce images that were \"of the people not like them. Not having a look of the sitter, [but rather] being them.\" This image depicts performance artist Leigh Bowery, known for his elaborate costumes and makeup. Bowery became one of Freud's favorite subjects after they met in 1988 and he sat for numerous painted and printed portraits.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60781227"], "internet_archive": []}, "citations": [{"citation": "\"PRINTS &amp; PHOTOGRAPHS PUBLISHED.\" <em>The Print Collector's Newsletter</em> 24, no. 5 (1993): 185-88.", "page_number": "Reproduced: p.186", "url": "http://www.jstor.org/stable/24555519"}, {"citation": "Cleveland Museum of Art. <em>Annual Report 1996</em>. Cleveland, Ohio: The Museum, 1997.", "page_number": "Mentioned: p. 51; Reproduced: p. 40", "url": null}, {"citation": "Glaubinger, Jane. \u201cFresh Prints: Take a look at the museum\u2019s contemporary print acquisitions over the past 25 years.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 55, no. 2 (March/April 2015): 4-5.", "page_number": "Reproduced and Mentioned: p. 5", "url": "https://archive.org/details/CMAMM2015-02"}], "catalogue_raisonne": "Hartley 47; Hartley and Blanchebarbe 19", "url": "https://clevelandart.org/art/1996.233", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 159457, "creators": [{"id": 1444, "description": "Lucian Freud (British, 1922\u20132011)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1922", "death_year": "2011", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 68627, "description": "Matthew Marks Gallery", "extent": "published by", "qualifier": null, "role": "publisher", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": true, "weight": 2}, {"id": 319838, "description": "Studio Prints", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "use_in_caption": false, "include_extent": false, "weight": 3}], "legal_status": "accessioned", "accession_date": "1996-06-03T00:00:00", "sortable_date": 1993, "date_added_to_oa": null, "date_text": "1993", "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": "33/40", "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:02:34.249000"}, {"id": 162170, "accession_number": "2001.92", "share_license_status": "Copyrighted", "tombstone": "Dunes, Oceano, 1936. Edward Weston (American, 1886\u20131958). Gelatin silver print; image: 19.1 x 24.1 cm (7 1/2 x 9 1/2 in.); mounted: 33.4 x 40.6 cm (13 1/8 x 16 in.); matted: 45.7 x 55.9 cm (18 x 22 in.). The Cleveland Museum of Art, Severance and Greta Millikin Purchase Fund, 2001.92. \u00a9  Center for Creative Photography, Arizona Board of Regents / Artists Rights Society (ARS), New York", "current_location": null, "title": "Dunes, Oceano", "creation_date": "1936", "creation_date_earliest": 1936, "creation_date_latest": 1936, "artists_tags": ["male"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 19.1 x 24.1 cm (7 1/2 x 9 1/2 in.); Mounted: 33.4 x 40.6 cm (13 1/8 x 16 in.); Matted: 45.7 x 55.9 cm (18 x 22 in.)", "dimensions": {"image": {"height": 0.191, "width": 0.241}, "mounted": {"height": 0.334, "width": 0.406}, "matted": {"height": 0.457, "width": 0.559}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  Center for Creative Photography, Arizona Board of Regents / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "written in pencil on Recto: \"EW 1936\" / on verso: \"37 SO/ Dunes-Oceano CAL,. 1936 / NY-EW-504-JV\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "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": 194095, "title": "Icons of American Photography: A Century of Photographs from the Cleveland Museum of Art", "description": "<i>Icons of American Photography: A Century of Photographs from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 24-September 16, 2007); Frick Art and Historical Center, Pittsburgh, PA (October 3, 2009-January 3, 2010).", "opening_date": "2007-06-24T00:00:00"}, {"id": 299125, "title": "From Riches to Rags: American Photography in the Depression", "description": "<i>From Riches to Rags: American Photography in the Depression</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 13-December 31, 2017).", "opening_date": "2017-08-13T04:00:00"}, {"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": "Edward Weston\u2019s views of the dunes near Oceano, California, were a definitive break from earlier, more narrative depictions of Western landscapes.", "description": "Weston's images hover between representation, abstraction, and metaphor. His sharply focused view of this natural phenomenon becomes a rhythmic design of darks and lights, gentle curves, and crisp edges. The hills of sand echo the waves of the sea, visible at the top of the picture, and engulf the viewer in their sensuous undulations.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79985926"], "internet_archive": []}, "citations": [{"citation": "Sims, Lowery Stokes. <em>The persistence of geometry: form, content, and culture in the collection of the Cleveland Museum of Art. </em>Cleveland: Cleveland Museum of Art, 2006.", "page_number": "no. 76, p. 120, repr. p. 91", "url": null}, {"citation": "Cleveland Museum of Art, \u201cAccession List,\u201d December 26, 2001, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr4424"}, {"citation": "Tannenbaum, Barbara. \u201cFrom Riches to Rags: Depression-era photography ranges from documentary evidence of deprivation to modernist depictions of abundance.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 57, no. 4 (July/August 2017): 10-11.", "page_number": "Reproduced and Mentioned: P. 11", "url": "https://archive.org/details/CMAMM2017-04/page/n5/mode/2up"}], "url": "https://clevelandart.org/art/2001.92", "images": {}, "alternate_images": [], "creditline": "Severance and Greta Millikin Purchase Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 162170, "creators": [{"id": 1082, "description": "Edward Weston (American, 1886\u20131958)", "extent": null, "qualifier": null, "role": "artist", "biography": "Edward Weston American, 1886-1958 Edward Weston was one of the most influential proponents of straight photography in America. Born in Highland Park, Illinois, he made his first photographs in 1902 with a Kodak camera given to him by his father. Four years later he settled in California, supporting himself as a portrait photographer. After attending the Illinois College of Photography, he opened a studio in Tropico (now Glendale), California, in 1911. Initially, Weston made photographs in the soft-focus pictorial style. In the early 1920s, however, his work began to become more sharply focused, with a greater emphasis on form and composition. Among the earliest examples of this new approach are his 1922 photographs of the Armco steel mill in Middletown, Ohio. Over the next few years he continued to experiment with this new style, working in Mexico and then San Francisco. A master of lighting and composition, Weston began a series of closeup studies of shells and vegetables in 1927, creating the clearly focused, detailed images for which he became famous. In 1932 Weston joined Ansel Adams, Willard Van Dyke, Imogen Cunningham, and others in founding Group f/64, which advocated straight, unmanipulated photography. Five years later he received the first fellowship awarded to a photographer by the John Simon Guggenheim Memorial Foundation. The fellowship was renewed in 1938 and allowed Weston to travel and photograph throughout California and the western United States. Working slowly and methodically with large-format cameras, Weston continued to produce sharply focused contact prints until 1948, when Parkinson's disease forced him to give up photography. In subsequent years Weston's sons, Brett and Cole, worked under his supervision to make prints from his negatives. M.M.", "name_in_original_language": null, "birth_year": "1886", "death_year": "1958", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2001-09-05T00:00:00", "sortable_date": 1936, "date_added_to_oa": null, "date_text": "1936", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-26 23:59:55.475000"}, {"id": 162877, "accession_number": "2003.361", "share_license_status": "Copyrighted", "tombstone": "Terminal Tower, 1928. Margaret Bourke-White (American, 1904\u20131971). Gelatin silver print; overall: 49.4 x 37.2 cm (19 7/16 x 14 5/8 in.); matted: 76.2 x 61 cm (30 x 24 in.). The Cleveland Museum of Art, Gift of Huntington Bank, 2003.361. \u00a9  Estate of Margaret Bourke-White / Licensed by VAGA at Artists Rights Society (ARS), NY", "current_location": null, "title": "Terminal Tower", "creation_date": "1928", "creation_date_earliest": 1928, "creation_date_latest": 1928, "artists_tags": ["May Show", "female"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Overall: 49.4 x 37.2 cm (19 7/16 x 14 5/8 in.); Matted: 76.2 x 61 cm (30 x 24 in.)", "dimensions": {"overall": {"height": 0.494, "width": 0.372}, "matted": {"height": 0.762, "width": 0.61}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  Estate of Margaret Bourke-White / Licensed by VAGA at Artists Rights Society (ARS), NY", "inscriptions": [], "exhibitions": {"current": [{"id": 177916, "title": "Burchfield to Schreckengost: Cleveland Art of the Jazz Age", "description": "<i>Burchfield to Schreckengost: Cleveland Art of the Jazz Age</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 28-July 18, 2004).", "opening_date": "2004-03-28T00:00:00"}, {"id": 194095, "title": "Icons of American Photography: A Century of Photographs from the Cleveland Museum of Art", "description": "<i>Icons of American Photography: A Century of Photographs from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 24-September 16, 2007); Frick Art and Historical Center, Pittsburgh, PA (October 3, 2009-January 3, 2010).", "opening_date": "2007-06-24T00:00:00"}], "legacy": [{"description": "Cleveland, Ohio:  The Cleveland Museum of Art; March 28 - July 18, 2004. \"Burchfield to Schreckengost: Cleveland Art of the Jazz Age\", no exhibition catalogue.", "opening_date": "2004-03-28T00:00:00"}, {"description": "The Cleveland Museum of Art (6/24/07 - 9/16/07) and the Frick Art and Historical Center, Pittburgh, PA (10/3/2009 - 1/3/2010); \"Icons of American Photography: A Century of Photographs from the Cleveland Museum of Art\", no exhibition catalogue.", "opening_date": "2007-06-24T00:00:00"}]}, "provenance": [{"description": "Huntington National Bank, Cleveland, OH", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "March 1, 2004", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This is the largest known print of Margaret Bourke-White\u2019s iconic photograph of Cleveland.", "description": "Bourke-White made numerous photographs of the newly completed Terminal Tower, at that time the second tallest building in America. Here she places it at the apex of a visual pyramid, as if ascending from a smoky pit, flanked by the Detroit-Superior Bridge and smokestacks in the Flats. The tower symbolizes Cleveland\u2019s industrial power and meteoric rise from a small settlement to a modern, progressive city.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79988052"], "internet_archive": []}, "citations": [{"citation": "Robinson, William H., Kathleen McKeever, \"And All That Jazz\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 44 no. 05, May 2004", "page_number": "Mentioned & reproduced: p. 7", "url": "https://archive.org/details/CMAMM2004-05/page/n5"}, {"citation": "Hinson, Tom. \"Iconic Images.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>47, no. 6 (July/August 2007): 3-6.", "page_number": "Reproduced: p. 3; Mentioned: p. 5", "url": "https://archive.org/details/CMAMM2007-06/page/2/mode/2up"}, {"citation": "Cleveland Museum of Art. <em>The CMA Companion: A Guide to the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2014.", "page_number": "Mentioned and reproduced: P. 310-311; Reproduced: P. 302-303", "url": ""}], "url": "https://clevelandart.org/art/2003.361", "images": {}, "alternate_images": [], "creditline": "Gift of Huntington Bank", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 162877, "creators": [{"id": 262, "description": "Margaret Bourke-White (American, 1904\u20131971)", "extent": null, "qualifier": null, "role": "artist", "biography": "Margaret Bourke-White American, 1904-1971 Margaret Bourke-White was a preeminent photojournalist who gained fame for her striking images published in Fortune and Life magazines in the 1930s-50s. In 1922, while at Columbia University Teachers College in her native New York City, Bourke-White studied photography with Clarence White. She attended several other colleges before graduating from Cornell University (1927), then moved to Cleveland. The city's industrial landscape was influential in the development of Bourke-White's photographic style. One of her images from this period, Romance of Steel, was a first-place winner in the Cleveland Museum of Art's 1928 May Show, a regional juried exhibition. The following year Bourke-White moved back to New York to work for Henry Luce's new business magazine, Fortune. In 1934 she was sent by the magazine to cover the drought in the Midwest, an assignment she credited with awakening her social conscience. Three years later she collaborated with writer Erskine Caldwell on You Have Seen Their Faces, an acclaimed study of the plight of rural Southerners during the Great Depression. Bourke-White's long association with Life began in 1936 when she joined the magazine as one of its first staff photographers. When it premiered on November 23, 1936, her photographs of Fort Peck Dam in Montana were featured on the cover and in the lead story. During her career, Bourke-White covered many major world events: the Great Depression, World War II, the partitioning of India, and the Korean War. She continued to photograph throughout the 1950s, publishing her images in magazines and in a number of books, including Eyes on Russia (1931), North of the Danube, with Erskine Caldwell (1939), Say, Is This the U.S.A.?, with Erskine Caldwell (1941), Shooting the Russian War (1942), Dear Fatherland, Rest Quietly (1946), Halfway to Freedom: A Report on the New India (1949), and Portrait of Myself (her autobiography, 1963). M.M.", "name_in_original_language": null, "birth_year": "1904", "death_year": "1971", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2004-03-01T00:00:00", "sortable_date": 1928, "date_added_to_oa": null, "date_text": "1928", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": true, "updated_at": "2026-03-27 00:00:37.341000"}, {"id": 165570, "accession_number": "2007.30", "share_license_status": "Copyrighted", "tombstone": "The Swing, Paris Fair, 1933. Ilse Bing (American, 1899\u20131998). Gelatin silver print; image: 28.3 x 22.3 cm (11 1/8 x 8 3/4 in.); mounted: 41.9 x 34.9 cm (16 1/2 x 13 3/4 in.). The Cleveland Museum of Art, John L. Severance Fund, 2007.30. \u00a9 Estate of Ilse Bing", "current_location": null, "title": "The Swing, Paris Fair", "creation_date": "1933", "creation_date_earliest": 1933, "creation_date_latest": 1933, "artists_tags": ["female", "Jewish artists"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 28.3 x 22.3 cm (11 1/8 x 8 3/4 in.); Mounted: 41.9 x 34.9 cm (16 1/2 x 13 3/4 in.)", "dimensions": {"image": {"height": 0.283, "width": 0.223}, "mounted": {"height": 0.419, "width": 0.349}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of Ilse Bing", "inscriptions": [{"inscription": "Inscribed in fine opaque material on surface of print: \"Ilse Bing/1933\"\r\nWritten in pencil on verso: \"Ilse/Bing/Paris\"\r\nWritten in pencil on mount: \"Paris Faire\"\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Black stamp on recto of mount: \"ILSE BING/PARIS\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 335775, "title": "Accommodations of Desire: Surrealist Works on Paper Collected by Julien Levy", "description": "<i>Accommodations of Desire: Surrealist Works on Paper Collected by Julien Levy</i>. Palmer Museum of Art (September 14-December 5, 2004); McMullen Museum of Art, Boston College, MA (January 16-March 27, 2005); Crocker Art Museum, Sacaramento, CA (July 9-September 11, 2005); Portland Museum of Art (January 1-March 19, 2006).", "opening_date": "2004-09-14T04:00:00"}, {"id": 203169, "title": "Forbidden Games: Surrealist and Modernist Photography", "description": "<i>Forbidden Games: Surrealist and Modernist Photography</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 19, 2014-January 11, 2015).", "opening_date": "2014-10-19T00:00:00"}, {"id": 370361, "title": "Ilse Bing: Queen of the Leica", "description": "<i>Ilse Bing: Queen of the Leica</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 6-October 11, 2020).", "opening_date": "2020-03-06T05:00:00"}], "legacy": []}, "provenance": [{"description": "Estate of the photographer, New York, NY", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "(Edwynn Houk Gallery, New York, NY)", "citations": [], "footnotes": [], "date": null, "sortorder": 2}, {"description": "Paul Hertzmann, California", "citations": [], "footnotes": [], "date": "1999", "sortorder": 3}, {"description": "David Raymond [b.1979], New York, NY", "citations": [], "footnotes": [], "date": "2007", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": null, "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "A couple enjoys one of the rides at a popular, historical Parisian street festival known as the Gingerbread Fair. Like Bing\u2019s cancan photographs, the real subjects here are the sensations of motion and excitement.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79994758"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art, Tom E. Hinson, Ian Walker, and Lisa Kurzner. Forbidden Games: Surrealist and Modernist Photography : the David Raymond Collection in the Cleveland Museum of Art. 2014.", "page_number": "cat. no. 119, p. 167", "url": null}, {"citation": "Schaffner, Ingrid, Julien Levy, and Colin Westerbeck. Accommodations of Desire: Surrealist Works on Paper Collected by Julien Levy. Pasadena, Calif: Curatorial Assistance, Inc, 2004.", "page_number": "p. 83", "url": null}], "url": "https://clevelandart.org/art/2007.30", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 165570, "creators": [{"id": 235, "description": "Ilse Bing (American, 1899\u20131998)", "extent": null, "qualifier": null, "role": "artist", "biography": "Ilse Bing (American, b. Germany, 1899-1998). Ilse Bing became interested in photography while pursuing a doctoral degree in art history at Frankfurt University. Around 1927-28 she began taking photographs to illustrate her dissertation and in 1930 decided to move to Paris to look for freelance assignments. Using the new 35mm Leica camera, she worked as a fashion, portrait, and architectural photographer, as well as a photojournalist. During her years in Paris she took part in numerous exhibitions, including the Museum of Modern Art's Photography 1839-1937 show in New York. In 1941 Bing and her husband immigrated to the United States, settling in New York City. In New York she began to work on a different scale, using the larger-format Rolleiflex camera as well as electronic flash. By 1957 she was working exclusively in color. Two years later Bing gave up photography to concentrate on painting and poetry.", "name_in_original_language": null, "birth_year": "1899", "death_year": "1998", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2007-02-26T00:00:00", "sortable_date": 1933, "date_added_to_oa": null, "date_text": "1933", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Balancoire, Amusement Park Ride"], "is_highlight": false, "updated_at": "2026-03-26 23:59:37.124000"}, {"id": 112237, "accession_number": "1930.667", "share_license_status": "Copyrighted", "tombstone": "Corner Shadows, 1929. Martin Lewis (American, 1881\u20131962). Drypoint; platemark: 21.1 x 22.4 cm (8 5/16 x 8 13/16 in.); sheet: 27.9 x 31.1 cm (11 x 12 1/4 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1930.667", "current_location": null, "title": "Corner Shadows", "creation_date": "1929", "creation_date_earliest": 1929, "creation_date_latest": 1929, "artists_tags": ["male"], "culture": ["America"], "technique": "drypoint", "support_materials": [], "department": "Prints", "collection": "PR - Drypoint", "type": "Print", "measurements": "Platemark: 21.1 x 22.4 cm (8 5/16 x 8 13/16 in.); Sheet: 27.9 x 31.1 cm (11 x 12 1/4 in.)", "dimensions": {"platemark": {"height": 0.211, "width": 0.224}, "sheet": {"height": 0.279, "width": 0.311}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "In graphite, lower right, recto: \"Martin Lewis\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 344811, "title": "Print Club Publications: Past Fifteen Years", "description": "<i>Print Club Publications: Past Fifteen Years</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 9-March 20, 1938).", "opening_date": "1938-02-09T05:00:00"}, {"id": 301677, "title": "Presentation Prints of the Print Club of Cleveland: 40th Anniversary Exhibition of the Print Club of Cleveland", "description": "<i>Presentation Prints of the Print Club of Cleveland: 40th Anniversary Exhibition of the Print Club of Cleveland</i>. The Cleveland Museum of Art, Cleveland, OH (October 13-December 2, 1959).", "opening_date": "1959-10-13T04:00:00"}, {"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": 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": 311649, "title": "The Print Club of Cleveland: Publication Prints 1924-1994", "description": "<i>The Print Club of Cleveland: Publication Prints 1924-1994</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 9-June 26, 1994).", "opening_date": "1994-03-09T05:00:00"}, {"id": 381923, "title": "Ashcan School Prints and the American City, 1900\u20131940", "description": "<i>Ashcan School Prints and the American City, 1900\u20131940</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 18-December 26, 2021).", "opening_date": "2021-07-17T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": ["2163.1930"], "did_you_know": "This print was commissioned by the Print Club of Cleveland in 1929.", "description": "Martin Lewis\u2019s works avoid specific narratives or storylines and instead present commonplace activities on city streets. In this work, Lewis demonstrated his love of movement and its interaction with light, as the gossamer skirts of the women on the sidewalk capture the light from the corner store across the street. His interest in night scenes would be taken up by his friend Edward Hopper (whom he taught to etch), whose night scene is on view nearby.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80004795"], "internet_archive": []}, "citations": [], "catalogue_raisonne": "McCarron 83", "url": "https://clevelandart.org/art/1930.667", "images": {}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 112237, "creators": [{"id": 4056, "description": "Martin Lewis (American, 1881\u20131962)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1881", "death_year": "1962", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1930-12-09T00:00:00", "sortable_date": 1929, "date_added_to_oa": null, "date_text": "1929", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-26 23:59:44.340000"}, {"id": 113313, "accession_number": "1932.323", "share_license_status": "Copyrighted", "tombstone": "The Ardent Bowlers, 1932. Peggy Bacon (American, 1895\u20131987). Etching; platemark: 15 x 35.3 cm (5 7/8 x 13 7/8 in.); sheet: 25.5 x 45.3 cm (10 1/16 x 17 13/16 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1932.323", "current_location": null, "title": "The Ardent Bowlers", "creation_date": "1932", "creation_date_earliest": 1932, "creation_date_latest": 1932, "artists_tags": ["female"], "culture": ["America"], "technique": "etching", "support_materials": [], "department": "Prints", "collection": "PR - Etching", "type": "Print", "measurements": "Platemark: 15 x 35.3 cm (5 7/8 x 13 7/8 in.); Sheet: 25.5 x 45.3 cm (10 1/16 x 17 13/16 in.)", "dimensions": {"platemark": {"height": 0.15, "width": 0.353}, "sheet": {"height": 0.255, "width": 0.453}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "In graphite, recto: \"The Ardent Bowlers. 1932  Peggy Bacon\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "In graphite on recto: \"Peggy Bacon, 218 East 12th St./New York City\"", "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": 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": 442825, "title": "The Graphic Art of Emil Ganso", "description": "<i>The Graphic Art of Emil Ganso</i>. University of Iowa Museum of Art, Iowa City, IA (organizer) (December 7, 1979-January 20, 1980).", "opening_date": "1979-12-07T05:00:00"}, {"id": 309576, "title": "A Golden Age of American Printmaking", "description": "<i>A Golden Age of American Printmaking</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 12-April 11, 1982).", "opening_date": "1982-01-12T05:00:00"}, {"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": 381923, "title": "Ashcan School Prints and the American City, 1900\u20131940", "description": "<i>Ashcan School Prints and the American City, 1900\u20131940</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 18-December 26, 2021).", "opening_date": "2021-07-17T04:00:00"}], "legacy": []}, "provenance": [{"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1932\u2013", "sortorder": 1}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In early 20th-century America, bowling was one of the few sporting pastimes in which both men and women could participate.", "description": "By the 1910s, there were hundreds of public bowling alleys in New York City, usually in the basements of saloons. In this image, Peggy Bacon focused on the mix of genders and imbibing of alcohol associated with the sport. The work features 17 of Bacon\u2019s friends, all artists, partaking in their regular Wednesday night recreation. Reginald Marsh is shown at the far left, and Bacon included a self-portrait at the lower center (with her back to the viewer). Having studied under both George Bellows and John Sloan at the Art Students League, Bacon was one of a growing number of women who sought independence and professional success in America\u2019s cities.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80005858"], "internet_archive": []}, "citations": [], "catalogue_raisonne": "Flint 108", "url": "https://clevelandart.org/art/1932.323", "images": {}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 113313, "creators": [{"id": 14127, "description": "Peggy Bacon (American, 1895\u20131987)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1895", "death_year": "1987", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1932-10-20T00:00:00", "sortable_date": 1932, "date_added_to_oa": null, "date_text": "1932", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:05:05.153000"}, {"id": 127524, "accession_number": "1950.203", "share_license_status": "Copyrighted", "tombstone": "Small Worlds: Small Worlds II, 1922. Vassily Kandinsky (Russian, 1866\u20131944). Color lithograph. The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1950.203. \u00a9  Artists Rights Society (ARS), New York", "current_location": null, "title": "Small Worlds II", "series": "Small Worlds", "creation_date": "1922", "creation_date_earliest": 1922, "creation_date_latest": 1922, "artists_tags": ["male"], "culture": ["Russia"], "technique": "color lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  Artists Rights Society (ARS), New York", "inscriptions": [], "exhibitions": {"current": [{"id": 301187, "title": "Contemporary Art Exhibit", "description": "<i>Contemporary Art Exhibit</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 11-December 31, 1958).", "opening_date": "1958-11-11T05:00:00"}, {"id": 304733, "title": "Space and Modern Art", "description": "<i>Space and Modern Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 9-September 25, 1966).", "opening_date": "1966-06-09T04:00:00"}, {"id": 301359, "title": "The Print Club of Cleveland, 1919 - 1969: Fifty Years in Review", "description": "<i>The Print Club of Cleveland, 1919 - 1969: Fifty Years in Review</i>. The Cleveland Museum of Art, Cleveland, OH (January 14-March 31, 1970).", "opening_date": "1970-01-14T05:00:00"}, {"id": 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": 310264, "title": "Cross Section: Graphic Art in Germany after the First World War", "description": "<i>Cross Section: Graphic Art in Germany after the First World War</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 10, 1989-January 7, 1990).", "opening_date": "1989-10-10T04:00:00"}, {"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 Gallery, Baltimore, sold to the Print Club of Cleveland, Cleveland, OH)", "citations": [], "footnotes": null, "date": "after 1922-1950", "sortorder": 1}, {"description": "Print Club of Cleveland, 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": "Vassily Kandinsky trained and worked as a lawyer before beginning his artistic career at age 30.", "description": "The title of this print suggests both its cosmic imagery and Vassily Kandinsky\u2019s exploration of various printmaking techniques\u2014each offering their own world of experimentation\u2014throughout the portfolio <em>Small Worlds.</em> The project consisted of etchings, woodcuts, and lithographs that each emphasized the unique qualities of the process used to make them. The bright, flat tones of this color lithograph relate to Kandinsky\u2019s work at the Bauhaus, an experimental art school in Germany where he taught color theory beginning in 1922.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79907551"], "internet_archive": []}, "citations": [], "catalogue_raisonne": "Roethel 165", "url": "https://clevelandart.org/art/1950.203", "images": {}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 127524, "creators": [{"id": 13205, "description": "Vassily Kandinsky (Russian, 1866\u20131944)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1866", "death_year": "1944", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1950-06-29T00:00:00", "sortable_date": 1922, "date_added_to_oa": null, "date_text": "1922", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Abstraction", "Small Worlds II (Kleine Welten II), from Small Worlds (Kleine Welten)"], "is_highlight": false, "updated_at": "2026-03-27 00:07:47.194000"}, {"id": 146431, "accession_number": "1972.1195.a", "share_license_status": "Copyrighted", "tombstone": "Perpetual Vine Cup, 1965. Kenneth F. Bates (American, Cleveland, 1904\u20131994). Transparent enamel (Plique-\u00e0-jour); copper; overall: 7.7 x 10 cm (3 1/16 x 3 15/16 in.). The Cleveland Museum of Art, Bequest of Marie Odenkirk Clark, 1972.1195.a", "current_location": null, "title": "Perpetual Vine Cup", "creation_date": "1965", "creation_date_earliest": 1965, "creation_date_latest": 1965, "artists_tags": ["May Show", "male", "Cleveland Institute of Art (faculty)"], "culture": ["America, Ohio, Cleveland"], "technique": "Transparent enamel (Plique-\u00e0-jour); copper", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Enamel", "measurements": "Overall: 7.7 x 10 cm (3 1/16 x 3 15/16 in.)", "dimensions": {"overall": {"height": 0.077, "width": 0.1}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 304720, "title": "The May Show: 46th Annual Exhibition of Works by Artists and Craftsmen of The Western Reserve", "description": "<i>The May Show: 46th Annual Exhibition of Works by Artists and Craftsmen of The Western Reserve</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 6-June 14, 1964).", "opening_date": "1964-05-06T04:00:00"}, {"id": 230057, "title": "Painting with Fire: Masters of Enameling in America, 1930-1980", "description": "<i>Painting with Fire: Masters of Enameling in America, 1930-1980</i>. Long Beach Museum of Art (organizer) (January 12-August 19, 2007).", "opening_date": "2005-11-14T00:00:00"}, {"id": 198152, "title": "In Honor of The Cleveland Arts Prize", "description": "<i>In Honor of The Cleveland Arts Prize</i>. The Cleveland Museum of Art (organizer) (June 13, 2010-March 13, 2011).", "opening_date": "2010-06-13T00:00:00"}], "legacy": [{"description": "May Show, 1964, Jury Mention.", "opening_date": "1964-01-01T00:00:00"}, {"description": "Long Beach Museum of Art, CA (1/12/2007 - 8/19/2007):  \"Painting with Fire: Masters of Enameling in America, 1930-1980\"", "opening_date": "2007-01-12T00:00:00"}, {"description": "The Cleveland Museum of Art (06/13/2010 - 11/4/2010): \"In Honor of the Cleveland Arts Prize\"", "opening_date": "2010-06-13T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": ["72.1195"], "did_you_know": "There is no backing to the enamel cloisonn\u00e9 in <em>Perpetual Vine</em>, rendering it both translucent and dangerously fragile.", "description": "Kenneth Bates spent a lifetime devoted to the art of enameling. He taught several generations of students at the Cleveland Institute of Art, who subsequently became renowned enamelists, and created a spectacular body of work that won him international accolades. This small, luxurious cup typifies the skill and technical prowess of Bates's talent. Featuring the cloisonn\u00e9 enamel technique known as plique-\u00e0-jour, in which the enamel is applied in cells with no backing, the cup seemingly exists with no structure, held aloft only by the tiny silver arms of its stand. The translucent enamel lets the light permeate as a stained glass window would in a church. The effect is ethereal and impressionistic, and in this way, recalls the work of the masters of this art from the early 1900s, Ren\u00e9 Lalique and Fernand Thesmar.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79924917"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1972.1195.a", "images": {}, "alternate_images": [], "creditline": "Bequest of Marie Odenkirk Clark", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 146431, "creators": [{"id": 8589, "description": "Kenneth F. Bates (American, Cleveland, 1904\u20131994)", "extent": null, "qualifier": null, "role": "artist", "biography": "Kenneth F. Bates was a long-time member of the faculty of the Cleveland Institute of Art, who specialized in enamel work and was nationally recognized for his achievements in the field. Born to Francis and Winnette Litchfield Bates in North Scituate, MA, Kenneth pursued his art education at the Massachussetts School of Art and earned his bachelor's degree there. He came to Cleveland in 1926, and one year later joined the faculty of the Cleveland School of Art (later Cleveland Institute of Art). During his forty-three years at the CIA, he taught advanced courses in enameling and became professor emeritus in 1971. In 1927 Bates submitted his first enamel work to the May Show of the Cleveland Museum of Art, where it received first prize. Bates continued to submit entries to the annual May Show for the next 62 years, garnering a long list of prizes. In 1946 he was awarded first prize in the national enameling competition. His works have been displayed in many museums and were featured in one-man shows in Brooklyn and Chicago. In 1987 the National Society of Enamelists honored him with the title \"Dean of American Enamelists.\" Bates authored three books: <em>Enameling: Principles and Practice</em>, 1951; <em>The Enamelist</em>, 1967; and <em>Basic Design</em>, 1970.", "name_in_original_language": null, "birth_year": "1904", "death_year": "1994", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1972-12-05T00:00:00", "sortable_date": 1965, "date_added_to_oa": null, "date_text": "1965", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1972.1195", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:21.314000"}, {"id": 146432, "accession_number": "1972.1195.b", "share_license_status": "Copyrighted", "tombstone": "Stand for Perpetual Vine Cup, 1965. Kenneth F. Bates (American, Cleveland, 1904\u20131994). Silver. The Cleveland Museum of Art, Bequest of Marie Odenkirk Clark, 1972.1195.b", "current_location": null, "title": "Stand for Perpetual Vine Cup", "creation_date": "1965", "creation_date_earliest": 1965, "creation_date_latest": 1965, "artists_tags": ["May Show", "male", "Cleveland Institute of Art (faculty)"], "culture": ["America, Ohio, Cleveland"], "technique": "silver", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Enamel", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 304720, "title": "The May Show: 46th Annual Exhibition of Works by Artists and Craftsmen of The Western Reserve", "description": "<i>The May Show: 46th Annual Exhibition of Works by Artists and Craftsmen of The Western Reserve</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 6-June 14, 1964).", "opening_date": "1964-05-06T04:00:00"}, {"id": 230057, "title": "Painting with Fire: Masters of Enameling in America, 1930-1980", "description": "<i>Painting with Fire: Masters of Enameling in America, 1930-1980</i>. Long Beach Museum of Art (organizer) (January 12-August 19, 2007).", "opening_date": "2005-11-14T00:00:00"}, {"id": 198152, "title": "In Honor of The Cleveland Arts Prize", "description": "<i>In Honor of The Cleveland Arts Prize</i>. The Cleveland Museum of Art (organizer) (June 13, 2010-March 13, 2011).", "opening_date": "2010-06-13T00:00:00"}], "legacy": [{"description": "May Show, 1964, Jury Mention", "opening_date": "1964-01-01T00:00:00"}, {"description": "Long Beach Museum of Art, CA (1/12/2007 - 8/19/2007):  \"Painting with Fire: Masters of Enameling in America, 1930-1980\"", "opening_date": "2007-01-12T00:00:00"}, {"description": "The Cleveland Museum of Art (06/13/2010 - 11/4/2010): \"In Honor of the Cleveland Arts Prize\"", "opening_date": "2010-06-13T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": ["72.1195a"], "did_you_know": "This stand is hand wrought from silver.", "description": "Kenneth Bates spent a lifetime devoted to the art of enameling. He taught several generations of students at the Cleveland Institute of Art, who subsequently became renowned enamelists, and created a spectacular body of work that won him international accolades. This small, luxurious cup typifies the skill and technical prowess of Bates's talent. Featuring the cloisonn\u00e9 enamel technique known as plique-\u00e0-jour, in which the enamel is applied in cells with no backing, the cup seemingly exists with no structure, held aloft only by the tiny silver arms of its stand. The translucent enamel lets the light permeate as a stained glass window would in a church. The effect is ethereal and impressionistic, and in this way, recalls the work of the masters of this art from the early 1900s, Ren\u00e9 Lalique and Fernand Thesmar.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79924919"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1972.1195.b", "images": {}, "alternate_images": [], "creditline": "Bequest of Marie Odenkirk Clark", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 146432, "creators": [{"id": 8589, "description": "Kenneth F. Bates (American, Cleveland, 1904\u20131994)", "extent": null, "qualifier": null, "role": "artist", "biography": "Kenneth F. Bates was a long-time member of the faculty of the Cleveland Institute of Art, who specialized in enamel work and was nationally recognized for his achievements in the field. Born to Francis and Winnette Litchfield Bates in North Scituate, MA, Kenneth pursued his art education at the Massachussetts School of Art and earned his bachelor's degree there. He came to Cleveland in 1926, and one year later joined the faculty of the Cleveland School of Art (later Cleveland Institute of Art). During his forty-three years at the CIA, he taught advanced courses in enameling and became professor emeritus in 1971. In 1927 Bates submitted his first enamel work to the May Show of the Cleveland Museum of Art, where it received first prize. Bates continued to submit entries to the annual May Show for the next 62 years, garnering a long list of prizes. In 1946 he was awarded first prize in the national enameling competition. His works have been displayed in many museums and were featured in one-man shows in Brooklyn and Chicago. In 1987 the National Society of Enamelists honored him with the title \"Dean of American Enamelists.\" Bates authored three books: <em>Enameling: Principles and Practice</em>, 1951; <em>The Enamelist</em>, 1967; and <em>Basic Design</em>, 1970.", "name_in_original_language": null, "birth_year": "1904", "death_year": "1994", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1972-12-05T00:00:00", "sortable_date": 1965, "date_added_to_oa": null, "date_text": "1965", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1972.1195", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-26 23:59:51.867000"}, {"id": 149389, "accession_number": "1978.46", "share_license_status": "Copyrighted", "tombstone": "West 79th Street, II, 1977. Hugh M. Kepets (American, b. 1946). Acrylic on canvas; unframed: 61 x 182.9 cm (24 x 72 in.). The Cleveland Museum of Art, Norman O. Stone and Ella A. Stone Memorial Fund, 1978.46. \u00a9 Hugh Kepets/Licensed by VAGA, New York, NY", "current_location": null, "title": "West 79th Street, II", "creation_date": "1977", "creation_date_earliest": 1977, "creation_date_latest": 1977, "artists_tags": ["May Show", "male", "Jewish artists"], "culture": ["America"], "technique": "acrylic on canvas", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "measurements": "Unframed: 61 x 182.9 cm (24 x 72 in.)", "dimensions": {"unframed": {"height": 0.61, "width": 1.829}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Hugh Kepets/Licensed by VAGA, New York, NY", "inscriptions": [{"inscription": "Signed on stretcher: \u00a9 Hugh Kepets 1977", "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": 442569, "title": "Cleveland Arts Prize Exhibition", "description": "<i>Cleveland Arts Prize Exhibition</i>. The Women's City Club of Cleveland, Cleveland, OH (organizer) (April 19-May 30, 1979).", "opening_date": "1979-04-19T05:00:00"}, {"id": 423351, "title": "The Spirit of Cleveland: The Visual Arts Recipients of the Cleveland Arts Prize, 1961-1995", "description": "<i>The Spirit of Cleveland: The Visual Arts Recipients of the Cleveland Arts Prize, 1961-1995</i>. The Cleveland Institute of Art (organizer) (September 19-October 22, 1995); Canton Museum of Art (November 24, 1995-January 6, 1996); ArtSpace Lima (January 19-March 2, 1996); Riffe Gallery (May 9-July 27, 1996); Beck Center for the Arts (September 15-October 30, 1996).", "opening_date": "1995-09-01T04:00:00"}], "legacy": [{"description": "\"Cleveland Arts Prize Exhibition,\" The Women's City Club of Cleveland, 1979.", "opening_date": "1979-01-01T00:00:00"}, {"description": "\"The Cleveland Museum of Art Collects Cleveland Art,\" Frank J. Lausche State Office Building, Cleveland, Ohio (Sept. 18 - 28, 1980).", "opening_date": "1980-09-18T00:00:00"}, {"description": "\"Contemporary Art,\" Cleveland Museum of Art (Nov. 3 - Dec. 12, 1982).", "opening_date": "1982-11-03T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": ["566.78"], "did_you_know": "New York City served as both muse and backdrop for the artist's experimentations in space and abstraction.", "description": "In <em>West 79th St, II,</em> Hugh M. Kepets presents a closely cropped view of a building\u2019s facade. He combines a series of geometric shapes to create the architectural structure, using light and shadow to achieve a three-dimensional effect on an otherwise flat surface. Though native to Cleveland, Kepets has lived and worked in New York City since 1973. It is there that he began his intense investigation into minute, cropped details.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60473496"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1978.46", "images": {}, "alternate_images": [], "creditline": "Norman O. Stone and Ella A. Stone Memorial Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 149389, "creators": [{"id": 3494, "description": "Hugh M. Kepets (American, b. 1946)", "extent": null, "qualifier": null, "role": "artist", "biography": "Biographical information exists in the Cleveland Museum of Art Archives.", "name_in_original_language": null, "birth_year": "1946", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1978-08-10T00:00:00", "sortable_date": 1977, "date_added_to_oa": null, "date_text": "1977", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-26 23:59:09.190000"}, {"id": 86491, "accession_number": "2015.161", "share_license_status": "CC0", "tombstone": "The Bread Line, 1926. Max Kalish (American, born Russian Empire [now Lithuania], 1891\u20131945). Bronze; overall: 37.2 x 50.2 x 23.5 cm (14 5/8 x 19 3/4 x 9 1/4 in.). The Cleveland Museum of Art, Gift of Lulie and Gordon Gund, 2015.161", "current_location": null, "title": "The Bread Line", "creation_date": "1926", "creation_date_earliest": 1926, "creation_date_latest": 1926, "artists_tags": ["May Show", "Cleveland Institute of Art (alumni)", "Jewish artists", "male"], "culture": ["America"], "technique": "bronze", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Sculpture", "type": "Sculpture", "measurements": "Overall: 37.2 x 50.2 x 23.5 cm (14 5/8 x 19 3/4 x 9 1/4 in.)", "dimensions": {"overall": {"height": 0.372, "width": 0.502, "depth": 0.235}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": [{"description": "Paris, 1926 [unconfirmed].", "opening_date": "1926-01-01T00:00:00"}, {"description": "Koerner &amp; Wood Galleries, Cleveland, March 1\u201315, 1926.", "opening_date": "1926-03-01T05:00:00Z"}, {"description": "Detroit, 1926 [unconfirmed].", "opening_date": "1926-01-01T00:00:00"}, {"description": "Chicago, 1926 [unconfirmed].", "opening_date": "1926-01-01T00:00:00"}, {"description": "Pittsburgh, 1926 [unconfirmed].", "opening_date": "1926-01-01T00:00:00"}, {"description": "Grand Central Art Galleries, New York, 1933.", "opening_date": "1933-01-01T00:00:00"}]}, "provenance": [{"description": "Dr. Edward Peterka [1879\u20131953], Cleveland, OH", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "George Gund II [1888\u20131966], Beachwood, OH, to Gordon Gund", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "Gordon Gund [b. 1939], Princeton, NJ, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?\u20132015", "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 is buried in Mayfield Cemetery, Cleveland.", "description": "Sculptor Max Kalish described his motivation behind creating <em>The Bread Line</em>: \"My interest in making this group came to me gradually through years of concern with the question of unemployment and poverty.\" The sculpture's six figures were modeled separately, then arranged together to make the final composition.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79473095"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2015.161", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2015.161/2015.161_web.jpg", "width": "900", "height": "781", "filesize": "182338", "filename": "2015.161_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2015.161/2015.161_print.jpg", "width": "3400", "height": "2950", "filesize": "1878925", "filename": "2015.161_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2015.161/2015.161_full.tif", "width": "6865", "height": "5956", "filesize": "122695908", "filename": "2015.161_full.tif"}}, "alternate_images": [{"date_created": "2015-11-12T15:24:20", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2015.161/2015.161_alt0_web.jpg", "width": "900", "height": "714", "filesize": "180883"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2015.161/2015.161_alt0_print.jpg", "width": "3400", "height": "2698", "filesize": "1767028"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2015.161/2015.161_alt0_full.tif", "width": "6979", "height": "5538", "filesize": "115981156"}}, {"date_created": "2015-11-13T14:34:34", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2015.161/2015.161_alt1_web.jpg", "width": "900", "height": "713", "filesize": "179053"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2015.161/2015.161_alt1_print.jpg", "width": "3400", "height": "2694", "filesize": "1793889"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2015.161/2015.161_alt1_full.tif", "width": "6779", "height": "5372", "filesize": "109282640"}}, {"date_created": "2015-11-13T15:27:12", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2015.161/2015.161_alt2_web.jpg", "width": "900", "height": "806", "filesize": "195042"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2015.161/2015.161_alt2_print.jpg", "width": "3400", "height": "3046", "filesize": "2049938"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2015.161/2015.161_alt2_full.tif", "width": "6697", "height": "6000", "filesize": "120578524"}}], "creditline": "Gift of Lulie and Gordon Gund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 86491, "creators": [{"id": 19266, "description": "Max Kalish (American, born Russian Empire [now Lithuania], 1891\u20131945)", "extent": null, "qualifier": null, "role": "artist", "biography": "Born in Valozin, Lithuania, Max Kalish immigrated with his family to Cleveland in 1898. Shortly after their arrival they changed the family name from Kalichik to Kalish. At the age of 15 he won a scholarship from the Cleveland School of Art and studied sculpture under Herman Matzen. In 1910 Kalish enrolled in the National Academy of Design in New York. After returning to Cleveland in early 1912, he briefly shared a studio with William Zorach. Kalish traveled to Europe in 1912\u201313, studying at the \u00c9cole des Beaux-Arts and the Acad\u00e9mie Colarossi in Paris, and exhibiting in the Paris Salon (1913). He worked as a sculptor for the Panama-Specific Exposition in San Francisco, 1913\u201314, returning to Cleveland the following year. His first solo exhibition was at Korner &amp; Wood Galleries in Cleveland (1916). He served in the army during World War I. In 1921 he began creating bronze sculptures devoted to the theme of labor and completed the last in 1938. In 1923 Cleveland school children collected small change to fund the casting of Kalish\u2019s large-scale monument to Abraham Lincoln, which was installed in front of the School Administration Building. During the 1920s his sculptures appeared in solo shows in Cleveland and New York. He participated in the annual May Shows at the Cleveland Museum of Art (1924\u201330) as well as the annuals of the Pennsylvania Academy of Fine Arts in Philadelphia and the Art Institute of Chicago. In the late 1920s he began a series of marble figures that were exhibited at the Grand Central Art Galleries in New York. By 1933 he had moved to New York, where he established a private school for teaching sculpture techniques. Kalish died in New York. <br>\"Transformations in Cleveland Art\" (CMA, 1996), p. 231", "name_in_original_language": null, "birth_year": "1891", "death_year": "1945", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2015-12-07T00:00:00", "sortable_date": 1926, "date_added_to_oa": null, "date_text": "1926", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 16:32:28.788000"}, {"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": 110923, "accession_number": "1929.438", "share_license_status": "Copyrighted", "tombstone": "Figure of The Water (Das Wasser) from the Female Heads (Frauenkopf) Series, c. 1924\u201325. Bimini Werkst\u00e4tten (Austrian, Vienna, 1923\u20131955), Dina Kuhn (Austrian, 1891\u20131963). Earthenware; overall: 36.9 x 19.7 x 18.5 cm (14 1/2 x 7 3/4 x 7 5/16 in.). The Cleveland Museum of Art, Dudley P. Allen Fund, 1929.438", "current_location": null, "title": "Figure of The Water (Das Wasser) from the Female Heads (Frauenkopf) Series", "creation_date": "c. 1924\u201325", "creation_date_earliest": 1924, "creation_date_latest": 1925, "artists_tags": ["female", "gender unknown"], "culture": ["Austria, Vienna"], "technique": "earthenware", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Ceramic", "measurements": "Overall: 36.9 x 19.7 x 18.5 cm (14 1/2 x 7 3/4 x 7 5/16 in.)", "dimensions": {"overall": {"height": 0.369, "width": 0.197, "depth": 0.185}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed lower left:  D.K.", "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": 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": 300831, "title": "John Marin Memorial Exhibition", "description": "<i>John Marin Memorial Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (November 17, 1955-January 1, 1956); San Francisco Museum of Modern Art, San Francisco, CA (March 1-October 13, 1956); The Phillips Collection (March 1-October 13, 1956); Minneapolis Institute of Art, Minneapolis, MN (March 1-October 13, 1956); Fowler Museum at UCLA, Los Angeles, CA (March 1-October 13, 1956); Museum of Fine Arts, Boston, Boston, MA (March 1-October 13, 1956).", "opening_date": "1955-11-17T05:00:00"}, {"id": 309667, "title": "Circa 1930", "description": "<i>Circa 1930</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 12-October 31, 1983).", "opening_date": "1983-04-12T05:00:00"}, {"id": 200463, "title": "The Jazz Age: American Style in the 1920s", "description": "<i>The Jazz Age: American Style in the 1920s</i>. Cooper Hewitt, Smithsonian Design Museum, New York, NY (April 7-August 20, 2017); The Cleveland Museum of Art, Cleveland, OH (organizer) (September 30, 2017-January 14, 2018).", "opening_date": "2017-04-07T00:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This figure was likely purchased from an exhibition of works that had been displayed at the 1925 world's fair in Paris.", "description": "Conceived as part of a series of allegorical female heads, <em>The Water (Das Wasser) </em>connects ideas of spirituality, feminism, and humanism in an age when female artists and designers were being taken seriously in the commercial artistic community as never before. This figure by Viennese ceramist Dina Kuhn, one of only four known of the same subject, was modeled shortly after Kuhn took up her position as head of ceramic design at the Bimini workshop in Vienna, known for its glass production. The figure was displayed at the 1925 world's fair in Paris and subsequently toured the United States in an exhibition of curated works from that fair. Such strong depictions of women had a profound impact on young sculptors and designers working in clay in America, among them Viktor Schreckengost, whose early style closely followed that of Kuhn and the artistic community in Vienna.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80003098"], "internet_archive": []}, "citations": [{"citation": "Coffin, Sarah D., and Stephen Harrison. <em>The Jazz Age: American style in the 1920s. </em>Cleveland: Cleveland Museum of Art, 2017.", "page_number": "Reproduced: fig. 317, p. 260; Mentioned: p. 258", "url": ""}], "url": "https://clevelandart.org/art/1929.438", "images": {}, "alternate_images": [], "creditline": "Dudley P. Allen Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 110923, "creators": [{"id": 8806, "description": "Bimini Werkst\u00e4tten (Austrian, Vienna, 1923\u20131955)", "extent": null, "qualifier": null, "role": "maker", "biography": null, "name_in_original_language": null, "death_year": "1955", "use_in_caption": true, "include_extent": false, "weight": 0}, {"id": 8809, "description": "Dina Kuhn (Austrian, 1891\u20131963)", "extent": null, "qualifier": null, "role": "designer", "biography": "Dina Kuhn was born on April 26, 1891 in Vienna. She began an eight-year course at the arts and crafts school in Vienna in 1912. Her teachers included the architect and designer Josef Hoffmann, the painter and designer Franz \u010ci\u017eek, the painter and graphic artist Kolomon Moser, the architect Oskar Strnad, and the ceramist Michael Powolny. During her apprenticeship, Dina Kuhn designed ceramics for the Wiener Werkst\u00e4tte, which she joined in 1917. By 1922 she had created about 100 designs for ceramic figures, wallpapers and fabric samples for the community.  In 1923 she founded her own ceramic studio, the art ceramic workshop Dina Kuhn, together with her brother and Emanuel Iskra. She designed ceramic chimney cladding, tiles, stoves, lamps, and vases and worked closely with the stove factory Iska. Dina Kuhn also designed ceramic objects for the Friedrich Goldscheider factory, the Augarten porcelain factory and for the Bimini glass factory founded in 1923 in the mid-1920s.\r In 1925 she was awarded a silver medal for her designs at the Exposition Internationale des arts d\u00e9coratifs et industriels moderne in Paris. In 1926, the Bimini company decided to expand its production to handicraft ceramics. They set up a ceramic studio in Neu Titschein near Ostrau, whose artistic direction was taken over by Dina Kuhn until 1937. The repression by the Nazis against Jewish entrepreneurs, forced the owners of Bimini, August and Josef Berger and Fritz Lampl, to emigrate. Dina Kuhn left Neu Titschein and in 1937 made first contacts with the ceramics manufacturer Waechtersbach, where she worked as a decorator and modeler after 1938. In August 1940, she moved permanently to Schlierbach. Some designs from the Viennese creative period were later carried out by in W\u00e4chtersbach.\r After the Second World War, Kuhn retired from working life. She died on May 28,1963, in Schlierbach.", "name_in_original_language": null, "birth_year": "1891", "death_year": "1963", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1929-05-16T00:00:00", "sortable_date": 1924, "date_added_to_oa": null, "date_text": "c. 1924\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": "2026-03-26 23:59:55.643000"}, {"id": 117762, "accession_number": "1938.383", "share_license_status": "Copyrighted", "tombstone": "Rhythm Vase, 1929. Niels Tove Edward Hald (Swedish, 1883\u20131980), Orrefors Glasshouse (Swedish, est. 1898). Glass; overall: 23.2 cm (9 1/8 in.). The Cleveland Museum of Art, Dudley P. Allen Fund, 1938.383", "current_location": null, "title": "Rhythm Vase", "creation_date": "1929", "creation_date_earliest": 1929, "creation_date_latest": 1929, "artists_tags": ["male", "gender unknown"], "culture": ["Sweden"], "technique": "glass", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Glass", "measurements": "Overall: 23.2 cm (9 1/8 in.)", "dimensions": {"overall": {"height": 0.232}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "scratched on bottom:  Orrefors-Hal-176, Th.L.n.1929.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 312433, "title": "Modern Glass and Textiles", "description": "<i>Modern Glass and Textiles</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 11-December 18, 1938).", "opening_date": "1938-11-11T05:00:00"}, {"id": 445409, "title": "Art Deco", "description": "<i>Art Deco</i>. Western Reserve Historical Society, Cleveland, OH (organizer) (June 6-August 1, 1971).", "opening_date": "1971-06-06T04:00:00"}, {"id": 443995, "title": "Arts and Crafts in Detroit 1906 - 1976: The Movement, The Society, The School", "description": "<i>Arts and Crafts in Detroit 1906 - 1976: The Movement, The Society, The School</i>. The Detroit Institute of Arts, Detroit, MI (organizer) (November 26, 1976-January 16, 1977).", "opening_date": "1976-11-26T05:00:00"}, {"id": 309667, "title": "Circa 1930", "description": "<i>Circa 1930</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 12-October 31, 1983).", "opening_date": "1983-04-12T05:00:00"}, {"id": 200463, "title": "The Jazz Age: American Style in the 1920s", "description": "<i>The Jazz Age: American Style in the 1920s</i>. Cooper Hewitt, Smithsonian Design Museum, New York, NY (April 7-August 20, 2017); The Cleveland Museum of Art, Cleveland, OH (organizer) (September 30, 2017-January 14, 2018).", "opening_date": "2017-04-07T00:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": ["2662.1938"], "did_you_know": "Niels Edward Hald considered this vase engraving to be one of his greatest artistic achievements in glass design.", "description": "Also called <em>Bollspelande flickor</em>, or Ball-Playing Girls, this vase\u2019s flattened figural motif was inspired by Matisse\u2019s <em>Dance</em>. That Edward Hald was a former student of Matisse strengthens this association. <em>Rhythm</em> was one of Hald\u2019s last designs in a decorative, expressionist style before producing vase engravings with more defined narratives.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80012457"], "internet_archive": []}, "citations": [{"citation": "Coffin, Sarah, Stephen Harrison, and Emily Marshall Orr. <em>The Jazz Age: American Style in the 1920s</em>. Cleveland, OH: The Cleveland Museum of Art, 2017.", "page_number": "Reproduced: p. 168, cat. 184; mentioned: p. 349", "url": null}], "url": "https://clevelandart.org/art/1938.383", "images": {}, "alternate_images": [], "creditline": "Dudley P. Allen Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 117762, "creators": [{"id": 7141, "description": "Niels Tove Edward Hald (Swedish, 1883\u20131980)", "extent": null, "qualifier": null, "role": "designed by", "biography": "Having studied at Dresden\u2019s Technische Akademie (Polytechnic), Copenhagen\u2019s Artists\u2019 Studio School and later in Paris under Henri Matisse (1869-1954), Edward Hald was trained in painting, ceramics, and glass production. Beginning in 1917, Hald worked for the Swedish ceramics and porcelain manufacturer R\u00f6rstrand (est. 1726) and Orrefors Glasshouse (est. 1898). Halds engraved designs of modernist figures and in Graal glass garnered him much praise throughout the 1920s and 1930s, when he was considered a fine example of \u201cSwedish Grace\u201d stylings. He won a Grand Prix award at the 1925 \u201cExposition Internationale des Arts D\u00e9coratifs et Industriels Modernes\u201d in Paris.", "name_in_original_language": null, "birth_year": "1883", "death_year": "1980", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 7297, "description": "Orrefors Glasshouse (Swedish, est. 1898)", "extent": null, "qualifier": null, "role": "manufacturer", "biography": "Established in 1898 in the Swedish region, Sm\u00e5land, Orrefors became the most prominent producer of Swedish modern art glass in the 20th century. At the height of Orrefors\u2019s popularity in the 1930s through 1960s, the firm\u2019s designers boasted prestigious awards from many world\u2019s fairs. The firm is associated with the development of the Graal and Ariel glass techniques, both considered distinctly Swedish styles of art glass. Since 1997, the firm has operated under the Danish design manufacturer, Royal Scandinavia. The Sm\u00e5land-based manufacturer closed in 2013.", "name_in_original_language": "Orrefors Glasbruk", "birth_year": "1898", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1938-11-30T00:00:00", "sortable_date": 1929, "date_added_to_oa": null, "date_text": "1929", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-26 23:59:33.254000"}, {"id": 129377, "accession_number": "1952.214", "share_license_status": "Copyrighted", "tombstone": "Some Well Known Fables: No. 5\u2013The Dog and the Crocodile, 1950. Antonio Frasconi (American, 1919\u20132013). Woodcut; image: 40.7 x 29 cm (16 x 11 7/16 in.); sheet: 53.3 x 36.8 cm (21 x 14 1/2 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1952.214. \u00a9  Estate of Antonio Frasconi / Licensed by VAGA at Artists Rights Society (ARS), NY", "current_location": null, "title": "No. 5\u2013The Dog and the Crocodile", "series": "Some Well Known Fables", "creation_date": "1950", "creation_date_earliest": 1950, "creation_date_latest": 1950, "artists_tags": ["male"], "culture": ["America"], "technique": "woodcut", "support_materials": [], "department": "Prints", "collection": "PR - Woodcut", "type": "Print", "measurements": "Image: 40.7 x 29 cm (16 x 11 7/16 in.); Sheet: 53.3 x 36.8 cm (21 x 14 1/2 in.)", "dimensions": {"image": {"height": 0.407, "width": 0.29}, "sheet": {"height": 0.533, "width": 0.368}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  Estate of Antonio Frasconi / Licensed by VAGA at Artists Rights Society (ARS), NY", "inscriptions": [{"inscription": "Marked in pencil on bottom left beneath image: \"the dog and the crocodile\" ed 10", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Signed in pencil on bottom right beneath image: Frasconi 50", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 311913, "title": "Antonio Frasconi", "description": "<i>Antonio Frasconi</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 13, 1952-January 4, 1953).", "opening_date": "1952-11-13T05:00:00"}, {"id": 300847, "title": "New Approaches to Print Making", "description": "<i>New Approaches to Print Making</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 30, 1955-February 1, 1956).", "opening_date": "1955-11-30T05:00:00"}, {"id": 301677, "title": "Presentation Prints of the Print Club of Cleveland: 40th Anniversary Exhibition of the Print Club of Cleveland", "description": "<i>Presentation Prints of the Print Club of Cleveland: 40th Anniversary Exhibition of the Print Club of Cleveland</i>. The Cleveland Museum of Art, Cleveland, OH (October 13-December 2, 1959).", "opening_date": "1959-10-13T04:00:00"}, {"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": 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": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This portfolio was likely the source of his book <em>12 Fables of Aesop</em> (1954) published by the Museum of Modern Art, New York.", "description": "Antonio Frasconi portrays a fable by ancient Roman author Phaedrus about the value of caution when enemies pose as friends: a dog avoids being eaten by a crocodile while drinking from the river in which the creature lives. The preparatory drawings show how Frasconi began by considering the animals, their personalities, and their relationship, while accommodating the rectangular composition of the woodblock on which he would carve his design. In the finished print, Frasconi used the texture of the wood grain to suggest the water\u2019s ripples.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79910165"], "internet_archive": []}, "citations": [{"citation": "Prasse, Leona E. \u201cA Woodcut by Antonio Frasconi: Publication of the Print Club of Cleveland.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 39, no. 9 (1952): 226\u201331.", "page_number": "226, 231", "url": "http://www.jstor.org/stable/25141834"}], "catalogue_raisonne": "CMA, 1952, 170", "url": "https://clevelandart.org/art/1952.214", "images": {}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 129377, "creators": [{"id": 14639, "description": "Antonio Frasconi (American, 1919\u20132013)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1919", "death_year": "2013", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1952-06-23T00:00:00", "sortable_date": 1950, "date_added_to_oa": null, "date_text": "1950", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:10.657000"}, {"id": 136649, "accession_number": "1961.195", "share_license_status": "Copyrighted", "tombstone": "White Loops and Red Spiral on Black Stabile, 1959. Alexander Calder (American, 1898\u20131976). Painted steel and aluminum; overall: 77.5 cm (30 1/2 in.). The Cleveland Museum of Art, Gift of The Halle Bros. Co., 1961.195. \u00a9 Estate of Alexander Calder / Artists Rights Society (ARS), New York", "current_location": null, "title": "White Loops and Red Spiral on Black Stabile", "creation_date": "1959", "creation_date_earliest": 1959, "creation_date_latest": 1959, "artists_tags": ["male"], "culture": ["America"], "technique": "painted steel and aluminum", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Sculpture", "type": "Sculpture", "measurements": "Overall: 77.5 cm (30 1/2 in.)", "dimensions": {"overall": {"height": 0.775}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of Alexander Calder / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "initialled and dated on one of white shapes:  CA 59", "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": 301294, "title": "Works from the Contemporary Collection", "description": "<i>Works from the Contemporary Collection</i>. The Cleveland Museum of Art, Cleveland, OH (July 1-October 15, 1969).", "opening_date": "1969-07-01T04:00:00"}, {"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": 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": [{"description": "CMA:  Works from the Contemporary Collection, July 1-mid-October, 1969", "opening_date": "1969-10-01T00:00:00"}]}, "provenance": [{"description": "[Perls Galleries, New York, NY]", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "[Seventeen Magazine, New York, NY]", "citations": [], "footnotes": null, "date": "1961", "sortorder": 2}, {"description": "The Halle Brothers Company, Cleveland, OH", "citations": [], "footnotes": null, "date": "1961", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1961", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Extremely prolific, Alexander Calder created more than 16,000 artworks during his life.", "description": "Alexander Calder\u2019s training as a mechanical engineer reinforced his lifelong interest in moving objects and inspired him to invent the mobile, a new type of sculpture that ranks among the most innovative discoveries in modern art. Calder's mobiles are often suspended from the ceiling, but here the mobile hangs on top of a black support structure. Both the spiral and irregular loops of the mobile are recurring forms in Calder's sculptural work.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780896"], "internet_archive": []}, "citations": [{"citation": "Calder, Alexander, Robert M\u00fcller, Reg Butler, and William D. Wixom. \u201cThree Contemporary Sculptures.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 49, no. 3 (March 1962): 60\u201363.", "page_number": "Mentioned and Reproduced: p. 60-61, fig. 1", "url": "http://www.jstor.org/stable/25142500"}], "url": "https://clevelandart.org/art/1961.195", "images": {}, "alternate_images": [], "creditline": "Gift of The Halle Bros. Co.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 136649, "creators": [{"id": 3846, "description": "Alexander Calder (American, 1898\u20131976)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1898", "death_year": "1976", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1961-08-19T00:00:00", "sortable_date": 1959, "date_added_to_oa": null, "date_text": "1959", "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": "2026-04-07 11:06:55.354000"}, {"id": 146931, "accession_number": "1972.332", "share_license_status": "Copyrighted", "tombstone": "Pair of Twin Figures (\u00c8re \u00ccbej\u00ec), c. 1940s. Fakeye School (Nigerian). Wood, organic material, probably bluing, glass beads, and natural fiber; each: 28 cm (11 in.). The Cleveland Museum of Art, Gift of Katherine C. White, 1972.332", "current_location": null, "title": "Pair of Twin Figures (\u00c8re \u00ccbej\u00ec)", "creation_date": "c. 1940s", "creation_date_earliest": 1940, "creation_date_latest": 1949, "artists_tags": ["gender unknown"], "culture": ["Africa, West Africa, Nigeria, Yor\u00f9b\u00e1 peoples"], "technique": "Wood, organic material, probably bluing, glass beads, and natural fiber", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "measurements": "Each: 28 cm (11 in.)", "dimensions": {"each": {"height": 0.28}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 301752, "title": "Year in Review: 1972", "description": "<i>Year in Review: 1972</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 27-March 18, 1973).", "opening_date": "1973-02-27T05:00:00"}, {"id": 302145, "title": "Traditions and Revisions: Themes from the History of Sculpture", "description": "<i>Traditions and Revisions: Themes from the History of Sculpture</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 24-November 16, 1975).", "opening_date": "1975-09-24T04:00:00"}], "legacy": [{"description": "CMA 1968: \"African Tribal Images: The Katherine White Reswick Collection,\" cat. no. 126, repr.", "opening_date": "1968-01-01T00:00:00"}, {"description": "CMA 1973: \"Year in Review 1972,\" CMA Bulletin LX (March, 1973), p. 107, no. 42.", "opening_date": "1973-03-01T00:00:00"}, {"description": "CMA 1975: \"Traditions and Revisions,\" cat. no. 44.", "opening_date": "1975-01-01T00:00:00"}]}, "provenance": [{"description": "Ross Widen", "citations": [], "footnotes": null, "date": "1966    ", "sortorder": null}, {"description": "Ross Widen, Cleveland (1966); Katherine White Reswick", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Members of the Fakeye family continue to carve into the twenty-first century.", "description": "Among the Yoruba, who have the world's highest instance of multiple births, twins are regarded as sacred children. Should one die, the parents may commission a memorial figure. They then care for the figure (decorate, clothe, wash, and feed it), symbolically honoring and entertaining the spirit of the departed twin so it does not call its partner to join it in the otherworld. The indigo and washing blue in the hair and the red camwood cosmetic rubbed on the bodies of these figures are signs of the devotions of their former owners.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79925711"], "internet_archive": []}, "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. 126.", "page_number": "", "url": ""}], "url": "https://clevelandart.org/art/1972.332", "images": {}, "alternate_images": [], "creditline": "Gift of Katherine C. White", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 146931, "creators": [{"id": 10060, "description": "Fakeye School (Nigerian)", "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": "1973-02-12T00:00:00", "sortable_date": 1940, "date_added_to_oa": null, "date_text": "c. 1940s", "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": ["Memorial Figure of a Departed Twin (ere ibeji)"], "is_highlight": false, "updated_at": "2026-03-27 00:05:40.298000"}, {"id": 148328, "accession_number": "1975.52", "share_license_status": "Copyrighted", "tombstone": "Night in the Park, 1921. Edward Hopper (American, 1882\u20131967). Etching. The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1975.52. \u00a9  Heirs of Josephine N. Hopper / Licensed by Artists Rights Society (ARS), NY", "current_location": null, "title": "Night in the Park", "creation_date": "1921", "creation_date_earliest": 1921, "creation_date_latest": 1921, "artists_tags": ["male"], "culture": ["America"], "technique": "etching", "support_materials": [], "department": "Prints", "collection": "PR - Etching", "type": "Print", "dimensions": {"platemark": {"height": 0.174, "width": 0.21}, "sheet": {"height": 0.346, "width": 0.384}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  Heirs of Josephine N. Hopper / Licensed by Artists Rights Society (ARS), NY", "inscriptions": [{"inscription": "Purple stamp in lower right, recto", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "In graphite, lower right, recto: \"Edward Hopper\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "In graphite, lower left, recto: \"Night in the Park '30\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304408, "title": "Gifts of the Print Club of Cleveland, 1969 - 1979", "description": "<i>Gifts of the Print Club of Cleveland, 1969 - 1979</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 4, 1979-January 27, 1980).", "opening_date": "1979-09-04T04:00:00"}, {"id": 309576, "title": "A Golden Age of American Printmaking", "description": "<i>A Golden Age of American Printmaking</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 12-April 11, 1982).", "opening_date": "1982-01-12T05:00:00"}, {"id": 309877, "title": "Nocturnal Impressions", "description": "<i>Nocturnal Impressions</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 20-May 12, 1985).", "opening_date": "1985-02-20T05:00:00"}, {"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": 381923, "title": "Ashcan School Prints and the American City, 1900\u20131940", "description": "<i>Ashcan School Prints and the American City, 1900\u20131940</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 18-December 26, 2021).", "opening_date": "2021-07-17T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "To achieve the sharp contrasts in this image, Hopper not only deeply etched the copperplate but also selectively wiped the ink, leaving some sections, such as the upper border, slightly murky while wiping clean the area around the man.", "description": "While George Bellows cast the park at night as a place for lovers, Edward Hopper\u2019s park is a respite for a solitary man reading a newspaper under lamplight. Hopper used an oblique view into space in this nocturnal setting, taking advantage of the strong contrasts of light and shadow created with deeply etched lines. The composition could suggest the kind of scene one might see in a film, but a specific narrative is elusive. Instead, Hopper may have intended to evoke a feeling, sense, or memory that could differ for each viewer.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79928628"], "internet_archive": []}, "citations": [{"citation": "Lee, Sherman E. \u201cThe Year in Review for 1975.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 63, no. 2 (February 1976): 31\u201371.", "page_number": "Reproduced: p. 49; mentioned: p. 68, no. 87", "url": "http://www.jstor.org/stable/25152624"}], "catalogue_raisonne": "Levin pl. 80", "url": "https://clevelandart.org/art/1975.52", "images": {}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 148328, "creators": [{"id": 6568, "description": "Edward Hopper (American, 1882\u20131967)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1882", "death_year": "1967", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1975-06-10T00:00:00", "sortable_date": 1921, "date_added_to_oa": null, "date_text": "1921", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:03:30.878000"}, {"id": 151336, "accession_number": "1983.185", "share_license_status": "CC0", "tombstone": "Woman with Red Hair and Green Eyes (The Sin), 1901. Edvard Munch (Norwegian, 1863\u20131944). Color lithograph; sheet: 77.7 x 49.2 cm (30 9/16 x 19 3/8 in.); image: 69.8 x 40.2 cm (27 1/2 x 15 13/16 in.). The Cleveland Museum of Art, Andrew R. and Martha Holden Jennings Fund, 1983.185", "current_location": null, "title": "Woman with Red Hair and Green Eyes (The Sin)", "creation_date": "1901", "creation_date_earliest": 1901, "creation_date_latest": 1901, "artists_tags": ["male"], "culture": ["Norway"], "technique": "color lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Sheet: 77.7 x 49.2 cm (30 9/16 x 19 3/8 in.); Image: 69.8 x 40.2 cm (27 1/2 x 15 13/16 in.)", "dimensions": {"sheet": {"height": 0.777, "width": 0.492}, "image": {"height": 0.698, "width": 0.402}}, "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": 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": 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": 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"}], "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": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Edvard Munch often used red hair in his paintings, drawings, and prints as a symbol of sexuality.", "description": "The fatal women and embracing couples in Picasso\u2019s art of the early 1900s exhibit striking affinities with the same themes in the prints of Norwegian symbolist Edvard Munch. Munch\u2019s paintings and prints were widely circulated in Paris, shown at exhibitions, and available through dealers and fellow artists. Long hair as a key symbol of the fatal woman\u2019s sexual allure is a recurrent theme in Munch\u2019s art, as evident in this lithograph of 1900.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79934683"], "internet_archive": ["https://archive.org/details/clevelandart-1983.185-woman-with-red-hair"]}, "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: p. 74, no. 179; Reproduced: p. 54", "url": "http://www.jstor.org/stable/25159848"}], "catalogue_raisonne": "Schiefler 142", "url": "https://clevelandart.org/art/1983.185", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1983.185/1983.185_web.jpg", "width": "531", "height": "900", "filesize": "224093", "filename": "1983.185_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1983.185/1983.185_print.jpg", "width": "2006", "height": "3400", "filesize": "2917731", "filename": "1983.185_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1983.185/1983.185_full.tif", "width": "4201", "height": "7119", "filesize": "89752160", "filename": "1983.185_full.tif"}}, "alternate_images": [{"date_created": "2006-05-18T15:59:50", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1983.185/1983.185_alt0_web.jpg", "width": "560", "height": "893", "filesize": "371196"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1983.185/1983.185_alt0_print.jpg", "width": "2133", "height": "3400", "filesize": "4856999"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1983.185/1983.185_alt0_full.tif", "width": "3514", "height": "5602", "filesize": "59087136"}}], "creditline": "Andrew R. and Martha Holden Jennings Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 151336, "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": "1983-11-28T00:00:00", "sortable_date": 1901, "date_added_to_oa": null, "date_text": "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": [], "is_highlight": false, "updated_at": "2026-03-27 00:02:09.225000"}, {"id": 151361, "accession_number": "1983.202", "share_license_status": "Copyrighted", "tombstone": "Church, Rancho de Taos, New Mexico, 1931. Paul Strand (American, 1890\u20131976). Gelatin silver print; image: 9.2 x 11.9 cm (3 5/8 x 4 11/16 in.); matted: 30.6 x 35.6 cm (12 1/16 x 14 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1983.202. \u00a9 Aperture Foundation, Inc., Paul Strand Archive", "current_location": null, "title": "Church, Rancho de Taos, New Mexico", "creation_date": "1931", "creation_date_earliest": 1931, "creation_date_latest": 1931, "artists_tags": ["male", "Jewish artists"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 9.2 x 11.9 cm (3 5/8 x 4 11/16 in.); Matted: 30.6 x 35.6 cm (12 1/16 x 14 in.)", "dimensions": {"image": {"height": 0.092, "width": 0.119}, "matted": {"height": 0.306, "width": 0.356}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Aperture Foundation, Inc., Paul Strand Archive", "inscriptions": [{"inscription": "Written in pencil on verso: \"SW-Arch-467 TI\"", "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": 310243, "title": "The Precisionist Aesthetic in American Art", "description": "<i>The Precisionist Aesthetic in American Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 24-April 9, 1989).", "opening_date": "1989-01-24T05:00:00"}, {"id": 311876, "title": "Legacy of Light: Seven Masters in Depth", "description": "<i>Legacy of Light: Seven Masters in Depth</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 20-February 2, 1996).", "opening_date": "1996-11-20T05:00:00"}, {"id": 194095, "title": "Icons of American Photography: A Century of Photographs from the Cleveland Museum of Art", "description": "<i>Icons of American Photography: A Century of Photographs from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 24-September 16, 2007).", "opening_date": "2007-06-24T00:00:00"}, {"id": 299125, "title": "From Riches to Rags: American Photography in the Depression", "description": "<i>From Riches to Rags: American Photography in the Depression</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 13-December 31, 2017).", "opening_date": "2017-08-13T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Built with mud, straw, and sun-baked adobe bricks in the early 1800s, this church is still an active place of worship today.", "description": "The 18th-century adobe church of San Francisco de Assisi in Rancho de Taos, New Mexico, was an icon of pure form for modernist artists from Georgia O\u2019Keeffe and Ansel Adams to Paul Strand, who spent summers in Taos from 1930 to 1932. Ansel Adams also chose this view of the back with its sculptural buttresses, stating that \u201cit is the rear elevation that defines this building as one of the great architectural monuments of America.\u201d Strand's picture of this notable church  explores the relationship between the three- and two-dimensional worlds. While remaining representational, it emphasizes the building\u2019s abstract qualities.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60781205"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art, Tom E Hinson. <em>Catalogue of Photography</em>. Cleveland, OH: Cleveland Museum of Art, 1996.", "page_number": "Reproduced: P. 336", "url": ""}], "url": "https://clevelandart.org/art/1983.202", "images": {}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 151361, "creators": [{"id": 967, "description": "Paul Strand (American, 1890\u20131976)", "extent": null, "qualifier": null, "role": "artist", "biography": "Paul Strand American, 1890-1976\r\n\r\nPaul Strand (born in New York City) was an influential advocate of the straight approach in creative photography. While a student at the Ethical Culture School in New York, Strand studied photography with Lewis Hine (1907-8). In 1908 he joined the Camera Club of New York and three years later traveled through Europe, making softly focused, manipulated photographs in the popular pictorial style. In the fall of 1911 Strand established himself as a freelance commercial photographer in New York and two years later began visiting the exhibitions of modern art at Alfred Stieglitz's Photo-Secession galleries.\r\n\tBetween 1914-17, stimulated by his contact with Stieglitz and avant-garde American and European art, Strand abandoned pictorialism for images that expressed an interest in formal concerns and the dynamism of contemporary urban life. He experimented with abstraction and movement and candid portraiture of people on the street. Excited by Strand's innovative work, Stieglitz exhibited his pictures at \"291\" in 1916 and featured them in the final two issues of Camera Work (October 1916; June 1917). In 1917 Strand expressed his belief in a pure photographic aesthetic, stressing the objectivity of the medium and its ability to produce \"a range of almost infinite tonal values which lie beyond the skill of the human hand.\"\r\n\tThe following year Strand served as an x-ray technician in the Army Medical Corps. After his year of service, he returned to New York and in 1920 collaborated with painter/photographer Charles Sheeler on the avant-garde film Manhatta (originally titled New York the Magnificent). Throughout the 1920s Strand made his living as a filmmaker, only occasionally making photographs. He pursued both film and creative photography in the 1930s and early 1940s; by 1945, however, when his images were featured in a one-person exhibition at the Museum of Modern Art, New York, still photography had once more become his primary focus. After visiting France in 1950 he decided to settle there, and over the following two decades traveled and photographed in Europe and Africa.\r\n\tStrand's work has been widely exhibited. Retrospectives have been mounted by the Museum of Modern Art, New York (1945), the Philadelphia Museum of Art (1971, and tour), and the Metropolitan Museum of Art, New York (1973), and numerous traveling exhibitions have been organized, including Paul Strand: An American Vision by the National Gallery of Art, Washington, D.C. (1990). He was named an Honorary Member of the American Society of Magazine Photographers (1963) and a Fellow of the American Academy of Arts and Sciences (1973). M.M.", "name_in_original_language": null, "birth_year": "1890", "death_year": "1976", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1983-12-05T00:00:00", "sortable_date": 1931, "date_added_to_oa": null, "date_text": "1931", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-26 23:59:54.327000"}, {"id": 153949, "accession_number": "1988.11", "share_license_status": "Copyrighted", "tombstone": "Self-Portrait, 1912. William Orpen (Irish, 1878\u20131931). Oil and collage on wood; framed: 79.1 x 69 x 6 cm (31 1/8 x 27 3/16 x 2 3/8 in.); unframed: 61 x 49.6 cm (24 x 19 1/2 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1988.11", "current_location": null, "title": "Self-Portrait", "creation_date": "1912", "creation_date_earliest": 1912, "creation_date_latest": 1912, "artists_tags": ["male"], "culture": ["Ireland, 20th century"], "technique": "oil and collage on wood", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 79.1 x 69 x 6 cm (31 1/8 x 27 3/16 x 2 3/8 in.); Unframed: 61 x 49.6 cm (24 x 19 1/2 in.)", "dimensions": {"framed": {"height": 0.791, "width": 0.69, "depth": 0.06}, "unframed": {"height": 0.61, "width": 0.496}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower left (on check): \"1st Oct. 12 / William Orpen\"", "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": 227307, "title": "William Orpen: Politics, Sex and Death", "description": "<i>William Orpen: Politics, Sex and Death</i>. Imperial War Museum, London (organizer) (January 27-April 12, 2005); National Gallery of Ireland, Dublin 2, Ireland (May 25-August 28, 2005).", "opening_date": "2005-01-27T00:00:00"}, {"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"}], "legacy": [{"description": "Imperial War Museum, London (1/27/2005 - 4/12/2005) and the National Gallery of Ireland, Dublin (5/2005 - 8/2005): \"William Orpen: Politics, Sex and Death,\" ex. cat. no. 31, p.91.", "opening_date": "2005-01-27T00:00:00"}, {"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": "Oliver St. John Gogarty, Dublin; (Chapman Bros.); (Peter Nahum, London)", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Orpen was a popular, commercially successful painter of portraits for the well-to-do in Edwardian society; Winston Churchill was among those whose portraits he painted. However, many of Orpen's most striking paintings are self-portraits.", "description": "This unusual self-portrait by William Orpen, a modernist active in both Ireland and England, depicts the artist looking at himself in a mirror. Orpen portrays himself holding a rag, as if prepared to wipe out the image. Actual ferry tickets, \u201cengaged seat\u201d notices, a personal check, and a page from Orpen\u2019s diary (referring to a trip to Dublin in June 1912) are glued to the surface of the picture. These \u201cintruders\u201d from real life are cleverly arranged to create the illusion of objects pasted or stuck to the mirror.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60476215"], "internet_archive": []}, "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. 44; Mentioned: p. 70, no. 92", "url": "http://www.jstor.org/stable/25160061"}], "url": "https://clevelandart.org/art/1988.11", "images": {}, "alternate_images": [], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 153949, "creators": [{"id": 1334, "description": "William Orpen (Irish, 1878\u20131931)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1878", "death_year": "1931", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1988-02-18T00:00:00", "sortable_date": 1912, "date_added_to_oa": null, "date_text": "1912", "collapse_artists": false, "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 00:00:05.736000"}, {"id": 154995, "accession_number": "1989.55", "share_license_status": "Copyrighted", "tombstone": "Untitled, 1966. Ralph Eugene Meatyard (American, 1925\u20131972). Gelatin silver print; image: 18.8 x 18.7 cm (7 3/8 x 7 3/8 in.); matted: 45.7 x 35.6 cm (18 x 14 in.). The Cleveland Museum of Art, John L. Severance Fund, 1989.55", "current_location": null, "title": "Untitled", "creation_date": "1966", "creation_date_earliest": 1966, "creation_date_latest": 1966, "artists_tags": ["male"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1951-Present", "type": "Photograph", "measurements": "Image: 18.8 x 18.7 cm (7 3/8 x 7 3/8 in.); Matted: 45.7 x 35.6 cm (18 x 14 in.)", "dimensions": {"image": {"height": 0.188, "width": 0.187}, "matted": {"height": 0.457, "width": 0.356}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Written in blue ink on verso: \"Madelyn O. Meatyard\"; in pencil on verso: \"133 A-66\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 310333, "title": "The Year in Review for 1989", "description": "<i>The Year in Review for 1989</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 6-April 15, 1990).", "opening_date": "1990-02-06T05:00:00"}, {"id": 311875, "title": "Legacy of Light: Master Photographs from the Cleveland Museum of Art", "description": "<i>Legacy of Light: Master Photographs from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 24, 1996-February 2, 1997).", "opening_date": "1996-11-24T05:00:00"}, {"id": 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": "CMA, Feb. 6 - April 15, 1990: \"Year in Review 1989,\" CMA Bulletin, 77 (Feb. 1990), p. 68, no. 47.", "opening_date": "1990-02-06T00:00:00"}, {"description": "CMA, November 20,1996 - February 2, 1997: \"Legacy of Light: Master Photographs from the Cleveland Museum of Art.\"", "opening_date": "1997-02-02T00:00:00"}]}, "provenance": [{"description": "Estate of the Artist", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Ralph Eugene Meatyard spent many weekends with family and friends exploring and photographing in abandoned, dilapidated old mansions.", "description": "A licensed optician, Ralph Eugene Meatyard took up photography in 1954. A mystical sensibility permeates nearly all his work, but is especially pronounced in his pictures of blurred people, their forms distorted by the use of a slow shutter speed. In this example, they wander through an empty, decrepit house like ghosts or figures in a dream.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79942859"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art, Tom E Hinson. <em>Catalogue of Photography</em>. Cleveland, OH: Cleveland Museum of Art, 1996.", "page_number": "Reproduced: P. 233", "url": ""}], "url": "https://clevelandart.org/art/1989.55", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 154995, "creators": [{"id": 653, "description": "Ralph Eugene Meatyard (American, 1925\u20131972)", "extent": null, "qualifier": null, "role": "artist", "biography": "Ralph Eugene Meatyard American, 1925-1972\r\n\r\nIn 1950 Gene Meatyard purchased a camera from his employer, an optical firm in Lexington, Kentucky, in order to photograph his newborn son. From that time until his premature death from cancer, Meatyard declared himself a \"dedicated amateur,\" creating a body of work that reflected his fascination with the camera as both a tool of scientific vision and a means for metaphoric discovery. His square-format, black-and-white images ranged from dynamic environmental abstractions to surreal theatrical tableaux, often featuring his children and their friends obscured by Halloween masks and arranged in bizarre, sometimes frightening poses. His most well-known series was published as The Family Album of Lucybelle Crater (1974), in which the children and Meatyard's wife, Madelyn, masqueraded as a fictitious family of grotesques.\r\n\tThemes of faith, family, and home pervade Meatyard's visions, reflecting his interest in Zen philosophy, poetry, and art history and theory. Included in his circle of friends were poet and painter Guy Davenport, Christian theologian and monk Thomas Merton, poet and essayist Wendell Barry, poet Denise Levertov, poet and publisher Jonathan Williams, and literary historian Hugh Kenner.\r\n\tBorn in Normal, Illinois, and educated at Williams College (1943-44) and Wesleyan University (1950), Meatyard was largely self-taught as a photographer, although he did study for brief periods in the mid-1950s with Van Deren Coke, Minor White, and Henry Holmes Smith. In 1961 he received the New Talent U.S.A. award. Exhibited widely throughout the 1960s and early 1970s, his work was the subject of several posthumous retrospective exhibitions. Major publications include Ralph Eugene Meatyard (1970); The Unforeseen Wilderness (1971), a collaboration with Wendell Barry; and Ralph Eugene Meatyard: An American Visionary (1991), organized by the Akron Art Museum. A.W.", "name_in_original_language": null, "birth_year": "1925", "death_year": "1972", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1989-06-29T00:00:00", "sortable_date": 1966, "date_added_to_oa": null, "date_text": "1966", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:03:39.265000"}, {"id": 159205, "accession_number": "1995.39", "share_license_status": "Copyrighted", "tombstone": "Dream Jar, 1994. Shin Sangho  (Korean, b. 1947). Stoneware with carved, stamped designs, and inlaid slip under celadon glaze; outer diameter: 32.6 cm (12 13/16 in.); overall: 35.5 cm (14 in.). The Cleveland Museum of Art, Gift of the Artist, 1995.39", "current_location": null, "title": "Dream Jar", "creation_date": "1994", "creation_date_earliest": 1994, "creation_date_latest": 1994, "artists_tags": ["male", "Asian (from 1900 to present)"], "culture": ["Korea"], "technique": "stoneware with carved, stamped designs, and inlaid slip under celadon glaze", "support_materials": [], "department": "Korean Art", "collection": "Korean Art", "type": "Ceramic", "measurements": "Outer diameter: 32.6 cm (12 13/16 in.); Overall: 35.5 cm (14 in.)", "dimensions": {"outer diameter": {"width": 0.326}, "overall": {"height": 0.355}, "diameter of base": {"width": 0.297}, "No Extent Specified": {}, "diameter of mouth": {"width": 0.201}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "box signed and dated 1994.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "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": 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": 443874, "title": "Creating Urgency: Modern and Contemporary Korean Art", "description": "<i>Creating Urgency: Modern and Contemporary Korean Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 22-October 23, 2022).", "opening_date": "2022-04-22T04:00:00"}, {"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"}, {"id": 517759, "title": "Material and Immaterial in Korean Modern and Contemporary Art", "description": "<i>Material and Immaterial in Korean Modern and Contemporary Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 28, 2023-February 25, 2024).", "opening_date": "2023-04-28T04:00:00"}], "legacy": []}, "provenance": [{"description": "Shin Sangho \uc2e0\uc0c1\ud638 [b. 1947], given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1994", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1994\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The creator of this jar was inspired by a traditional Korean ceramic type called <em>buncheong</em> in terms of using white slip.", "description": "As part of the artist\u2019s <em>Dream</em> series, this contemporary Korean ceramic work expresses how the long, rich tradition of Korean ceramics serves as a new source of artistic inspiration for contemporary artists. Shin implemented the inlay as well as the stamping technique to draw expressive patterns, similar to those on the 15th-century <em>Wine Cask with Stamped Floral Decoration, </em><a href=\"https://www.clevelandart.org/art/1921.650\">CMA 1921.650</a>. Shin interpreted unassuming and naturalistic aesthetics of Korean ceramic tradition in his own exploration of gestural abstraction.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79978468"], "internet_archive": []}, "citations": [{"citation": "\"Permanent Collection Installations.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>vol. 63, no. 1 (2023): 18-19.", "page_number": "Reproduced: P. 18.", "url": ""}], "url": "https://clevelandart.org/art/1995.39", "images": {}, "alternate_images": [], "creditline": "Gift of the Artist", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 159205, "creators": [{"id": 35188, "description": "Shin Sangho  (Korean, b. 1947)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\uc2e0\uc0c1\ud638", "birth_year": "1947", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1995-06-07T00:00:00", "sortable_date": 1994, "date_added_to_oa": null, "date_text": "1994", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:59.113000"}, {"id": 167826, "accession_number": "2009.437", "share_license_status": "Copyrighted", "tombstone": "Mirrors & Eyes, 1994. John L. Moore (American, b. 1939). Oil on canvas; unframed: 203.2 x 172.7 cm (80 x 68 in.). The Cleveland Museum of Art, Gift of Jane Farver, 2009.437. \u00a9 John L. Moore ", "current_location": null, "title": "Mirrors & Eyes", "creation_date": "1994", "creation_date_earliest": 1994, "creation_date_latest": 1994, "artists_tags": ["Black American Artists", "male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "measurements": "Unframed: 203.2 x 172.7 cm (80 x 68 in.)", "dimensions": {"unframed": {"height": 2.032, "width": 1.727}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 John L. Moore ", "inscriptions": [], "exhibitions": {"current": [{"id": 219059, "title": "From Then to Now: Masterworks of Contemporary African American Art", "description": "<i>From Then to Now: Masterworks of Contemporary African American Art</i>. Museum of Contemporary Art Cleveland (MOCA), Cleveland, OH (organizer) (January 29-May 9, 2010).", "opening_date": "2010-01-29T00:00:00"}, {"id": 198152, "title": "In Honor of The Cleveland Arts Prize", "description": "<i>In Honor of The Cleveland Arts Prize</i>. The Cleveland Museum of Art (organizer) (June 13, 2010-March 13, 2011).", "opening_date": "2010-06-13T00:00:00"}, {"id": 443702, "title": "Currents and Constellations: Black Art in Focus", "description": "<i>Currents and Constellations: Black Art in Focus</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 20-June 26, 2022).", "opening_date": "2022-02-20T05:00:00"}], "legacy": [{"description": "MOCA Cleveland, OH (1/29/2010 - 5/9/2010):  \"From Then to Now: Masterworks of Contemporary African American Art\"", "opening_date": "2010-01-29T00:00:00"}, {"description": "The Cleveland Museum of Art (06/13/2010 - 11/4/2010): \"In Honor of the Cleveland Arts Prize\"", "opening_date": "2010-06-13T00:00:00"}]}, "provenance": [{"description": "Artist's studio", "citations": [], "footnotes": null, "date": "1994\u20132009", "sortorder": 1}, {"description": "Gift of Jane Farver [1947\u20132015]", "citations": [], "footnotes": null, "date": "2009", "sortorder": 2}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2009\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Ovoid mirrors are a hallmark of the artist's style and appear in much of his work.", "description": "Moore blends recognizable images with abstraction to address memory and history. Here, the painting\u2019s turbulent surface suggests water, in which three oval mirrors--hauntingly without reflections--and four eyeballs appear to float. This imagery seemingly refers to loss of identity and life during the Middle Passage, whereby kidnapped Africans were shipped across the Atlantic to the Americas to be enslaved.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60480553"], "internet_archive": []}, "citations": [{"citation": "Lee, Key Jo. \u201cFour Curators, Four Favorites.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>62, no. 2 (2022): 30.", "page_number": "Reproduced and Mentioned: P. 30.", "url": ""}], "url": "https://clevelandart.org/art/2009.437", "images": {}, "alternate_images": [], "creditline": "Gift of Jane Farver", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 167826, "creators": [{"id": 22218, "description": "John L. Moore (American, b. 1939)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1939", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2010-03-01T00:00:00", "sortable_date": 1994, "date_added_to_oa": null, "date_text": "1994", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:01.197000"}, {"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": 123293, "accession_number": "1943.538", "share_license_status": "Copyrighted", "tombstone": "Loot, c. 1915. Jos\u00e9 Clemente Orozco (Mexican, 1883\u20131949). Graphite, pen and black ink, and black and gray wash; sheet: 34.9 x 19 cm (13 3/4 x 7 1/2 in.). The Cleveland Museum of Art, Gift of Mrs. Malcolm L. McBride, 1943.538. \u00a9 Jos\u00e9 Clemente Orozco / Artists Rights Society (ARS), New York / SOMAAP, Mexico ", "current_location": null, "title": "Loot", "creation_date": "c. 1915", "creation_date_earliest": 1910, "creation_date_latest": 1920, "artists_tags": ["male"], "culture": ["Mexico, 20th century"], "technique": "graphite, pen and black ink, and black and gray wash", "support_materials": [], "department": "Drawings", "collection": "DR - Mexican", "type": "Drawing", "measurements": "Sheet: 34.9 x 19 cm (13 3/4 x 7 1/2 in.)", "dimensions": {"sheet": {"height": 0.349, "width": 0.19}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Jos\u00e9 Clemente Orozco / Artists Rights Society (ARS), New York / SOMAAP, Mexico ", "inscriptions": [{"inscription": "signed in pencil, lower right: J.C. Orozco", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"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": 373919, "title": "A Graphic Revolution: Prints and Drawings in Latin America", "description": "<i>A Graphic Revolution: Prints and Drawings in Latin America</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 14-August 2, 2020).", "opening_date": "2020-03-08T05:00:00"}], "legacy": [{"description": "<em>Exhibition of Lithographs, Mural Studies, Photographs of Frescoes, Paintings, Drawings by Jose Clemente Orozco</em>. Civic Auditorium, La Porte, Indiana (April 6 - April 29, 1934).", "opening_date": "1934-04-06T00:00:00"}]}, "provenance": [{"description": "Mrs. Malcolm McBride, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "?-1943", "sortorder": 1}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1943-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Orozco later created prints from some of the drawings in the series to which this sheet belongs, but retitled them with more marketable <em>Mexico in Revolution.</em>", "description": "This drawing belongs to <em>Horrors of the Revolution,</em> a series in which Jos\u00e9 Clemente Orozco depicted violence during Mexico\u2019s ongoing political conflict. Taking a disillusioned view toward the uprising\u2014by then in its fifth year\u2014the artist wrote that he did not \u201ctrust revolutions or glorify them\u201d after witnessing events such as the one portrayed in this work. A caravan of figures, drawn in a caricatural style with exaggerated features, carry bundles of goods presumably taken from someone less fortunate.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79900308"], "internet_archive": []}, "citations": [{"citation": "Reed, Alma. <em>Jos\u00e9 Clemente Orozco</em>. New York: Delphic Studios, 1932.", "page_number": "Mentioned and reproduced: n.p.", "url": null}, {"citation": "<em>Exhibition of Lithographs, Mural Studies, Photographs of Frescoes, Paintings, Drawings by Jose Clemente Orozco</em>. Exh. Cat. La Porte, IN: Civic Auditorium, 1934.", "page_number": "Mentioned: no. 39", "url": null}, {"citation": "Fern\u00e1ndez, Justino. <em>Jose Clemente Orozco: Forma e Idea</em>. Mexico: Libreria de Porrua Hnos. y Cia, 1942.", "page_number": "Mentioned: p. 170", "url": null}, {"citation": "Francis, Henry S. \"'The Wounded Soldier' by Orozco.\" <em>Bulletin of the Cleveland Museum of Art</em> 42, no. 4 (April 1955): 61-63.", "page_number": "Mentioned: p. 63", "url": null}, {"citation": "Boyd, Bentley. \u201cExhibitions in 2020.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>60, no. 1 (January/February 2020): 15-17.", "page_number": "Reproduced: P. 17.", "url": ""}], "url": "https://clevelandart.org/art/1943.538", "images": {}, "alternate_images": [], "creditline": "Gift of Mrs. Malcolm L. McBride", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 123293, "creators": [{"id": 3234, "description": "Jos\u00e9 Clemente Orozco (Mexican, 1883\u20131949)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1883", "death_year": "1949", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1943-12-29T00:00:00", "sortable_date": 1910, "date_added_to_oa": null, "date_text": "c. 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": "2026-03-27 00:06:43.785000"}, {"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": 116589, "accession_number": "1937.182", "share_license_status": "Copyrighted", "tombstone": "Hellbrunn, c. 1925\u201330. Josef Frank (Swedish, born Austria, 1885\u20131967), Haus & Garten (Austrian, est. 1925). Linen: bleached, plain weave, block printed, loom width; overall: 57.2 x 123.2 cm (22 1/2 x 48 1/2 in.). The Cleveland Museum of Art, Educational Purchase Fund, 1937.182", "current_location": null, "title": "Hellbrunn", "creation_date": "c. 1925\u201330", "creation_date_earliest": 1925, "creation_date_latest": 1930, "artists_tags": ["male", "Jewish artists"], "culture": [], "technique": "linen: bleached, plain weave, block printed, loom width", "support_materials": [], "department": "Textiles", "collection": "Textiles", "type": "Textile", "measurements": "Overall: 57.2 x 123.2 cm (22 1/2 x 48 1/2 in.)", "dimensions": {"overall": {"height": 0.572, "width": 1.232}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Likely purchased by Mrs. Ruth F. Ruggles in Vienna, Austria from \"Haus & Garten\"", "citations": [], "footnotes": [], "date": "1937", "sortorder": 1}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "These flowerbeds suggest the presence of a \u201cclear spring\u201d or Hellbrunn in old German.", "description": "The designer Josef Frank rotated his woodblock designs in half turns, resulting in a mirrored effect as though the colorful flowerbeds were reflecting onto a body of water. Named for the Hellbrunn palace in Austria, built in the 1600s, the design likely refers to the palace\u2019s renowned therapeutic springs.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80010865"], "internet_archive": []}, "citations": [{"citation": "See \"December, 1937.\"  Education Department Annual Report, 1937, CMA Archives.", "page_number": null, "url": null}], "url": "https://clevelandart.org/art/1937.182", "images": {}, "alternate_images": [], "creditline": "Educational Purchase Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 116589, "creators": [{"id": 56189, "description": "Josef Frank (Swedish, born Austria, 1885\u20131967)", "extent": null, "qualifier": null, "role": "designer", "biography": "Born to a Jewish family in Baden, Austria, Josef Frank was an architect and designer who came of age in pre-war Vienna. He graduated from the Technische Hochschule (Polytechnic) in 1910 and taught at the Kunstgewerbeschule (School of Arts and Crafts) until the mid-1920s. An associate of the Wiener Werkst\u00e4tte, Frank founded his own interior design firm Haus &amp; Garten in 1925 with Oskar Wlach (1881-1963) and Walter Sobotka (1888-1972). During this venture Frank wrote several design treatises including <em>Architektur als Symbol</em> (1931). Frank married Anna Sebenius, a Swedish woman, in 1912 and in 1933 began designing for the Stockholm-based interior design company Svenkst Tenn. Although he immigrated to Sweden and adopted Swedish citizenship in 1938, Frank spent World War II in the United States teaching at the New School for Social Research in New York. In 1946 Frank returned to Sweden, continuing work with Svenkst Tenn until his death in 1967. Frank is considered to be one of the pioneers of Swedish modern design and the \u201cScandinavian Style.\u201d", "name_in_original_language": null, "birth_year": "1885", "death_year": "1967", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 40234, "description": "Haus & Garten (Austrian, est. 1925)", "extent": null, "qualifier": null, "role": "manufacturer", "biography": "Established by Josef Frank (1885-1967), Oskar Wlach (1881-1963) and Walter Sobotka (1888-1972) in 1925, the Vienna-based interior design firm Haus &amp; Garten worked concurrent with the Wiener Werkst\u00e4tte. Frank acted as lead designer with Wlach overseeing the business. Despite his immigration to Sweden in 1933, Frank continued working with the firm until giving up his partnership in 1938. Sobotka departed from the firm earlier in 1926.", "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1937-12-20T00:00:00", "sortable_date": 1925, "date_added_to_oa": null, "date_text": "c. 1925\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 00:07:06.354000"}, {"id": 118593, "accession_number": "1939.62", "share_license_status": "CC0", "tombstone": "Herakles the Archer, 1908\u20139. Emile Antoine Bourdelle (French, 1861\u20131929). Bronze; overall: 59.5 x 58.9 x 26.7 cm (23 7/16 x 23 3/16 x 10 1/2 in.). The Cleveland Museum of Art, Gift of Mrs. Ralph King, 1939.62", "current_location": "218 European Sculpture", "title": "Herakles the Archer", "creation_date": "1908\u20139", "creation_date_earliest": 1908, "creation_date_latest": 1909, "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: 59.5 x 58.9 x 26.7 cm (23 7/16 x 23 3/16 x 10 1/2 in.)", "dimensions": {"overall": {"height": 0.595, "width": 0.589, "depth": 0.267}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "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": 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": 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": 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": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The model who posed for this sculpture was Major Paul Gustave Andr\u00e9 Doyen-Parigot, an accomplished sportsman and military commander, who was later killed during World War I in the Battle of Verdun.", "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80013533"], "internet_archive": ["https://archive.org/details/clevelandart-1939.62-herakles-the-archer"]}, "citations": [{"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/1939.62", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1939.62/1939.62_web.jpg", "width": "900", "height": "836", "filesize": "124885", "filename": "1939.62_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1939.62/1939.62_print.jpg", "width": "3400", "height": "3159", "filesize": "1469576", "filename": "1939.62_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1939.62/1939.62_full.tif", "width": "11252", "height": "10453", "filesize": "352880004", "filename": "1939.62_full.tif"}}, "alternate_images": [{"date_created": "2013-10-28T08:52:05", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1939.62/1939.62_alt0_web.jpg", "width": "900", "height": "841", "filesize": "130031"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1939.62/1939.62_alt0_print.jpg", "width": "3400", "height": "3178", "filesize": "1427893"}, "full": {"url": 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Schneider Gallery", "athena_id": 118593, "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": "1939-02-08T00:00:00", "sortable_date": 1908, "date_added_to_oa": null, "date_text": "1908\u20139", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": "The figure and the rocky base are separate elements, joined mechanically with four screws at the archer\u2019s foot and knee, visible from the underside. The base was likely cast in two parts, as evidenced by a seam also visible on the underside. The object had accumulated dust and grime that was adhered to an aged wax coating. The surface was cleaned with odorless mineral spirits, and areas of nonoriginal white paint along the bottom edges were removed using acetone. Selected areas of the bronze surface were inpainted with PVA colors to integrate the overall tone of the patina. The final step was to re-wax the sculpture with a microcrystalline polish. Waxing metals is a procedure commonly used to create a protective barrier from moisture and oxygen which causes rust and corrosion. After waxing, the surface was gently buffed with a soft cloth. Fun fact: This bronze sculpture was cast in the same foundry (Alexis Rudier) as <a href=\"http://www.jstor.com/stable/3179801\">The Thinker</a> displayed in front of the museum. 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The Cleveland Museum of Art, Gift of Mr. and Mrs. Samuel Dorsky, 1984.191. \u00a9 Richard Hunt", "current_location": "229B Contemporary", "title": "Firebird", "creation_date": "1975", "creation_date_earliest": 1975, "creation_date_latest": 1975, "artists_tags": ["Black American Artists", "male"], "culture": ["America"], "technique": "welded corten steel", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Sculpture", "type": "Sculpture", "measurements": "Overall: 243.8 cm (96 in.)", "dimensions": {"overall": {"height": 2.438}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Richard Hunt", "inscriptions": [], "exhibitions": {"current": [{"id": 309849, "title": "Year in Review for 1984", "description": "<i>Year in Review for 1984</i>. 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The Cleveland Museum of Art (organizer).", "opening_date": "2021-04-12T04:00:00"}], "legacy": [{"description": "CMA 1985: \"Year in Review 1984,\" CMA Bulletin 72 (April, 1985), p. 202, no. 54.", "opening_date": "1985-04-01T00:00:00"}, {"description": "MOCA Cleveland, OH (1/29/2010 - 5/9/2010): \"From Then to Now: Masterworks of Contemporary African American Art\"", "opening_date": "2010-01-29T00:00:00"}]}, "provenance": [{"description": "Mr. and Mrs. Samuel Dorsky, New York, NY, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1984", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1984-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Firebird exemplifies Hunt\u2019s intent to \"develop the kind of forms nature might create if only heat and steel were available to her.\" The title <em>Firebird</em> evokes the phoenix, the bird rising out of the ashes, mythologized across civilizations, including Ovid\u2019s <em>Metamorphoses</em>. Informed by 20th-century abstract art, however, Hunt derives his subject matter not only from myth but from universal experience, the \"observation of the form and spatial contents of organic and machine structures, [and] the implications of image and emotion.\"", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79935764"], "internet_archive": []}, "citations": [{"citation": "Cole, Mark, Amy Sparks, and Rebecca Michaels.<em> African American Art: The Cleveland Museum of Art</em>. 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Louis Rorimer (American, 1872\u20131939), and Rokesley Shop (American). Silver, moonstones, ebony; overall: 9.3 x 15.9 x 15.3 cm (3 11/16 x 6 1/4 x 6 in.). The Cleveland Museum of Art, Gift in memory of Louis Rorimer from his daughter, Louise Rorimer Dushkin and his granddaughter, Edie Soeiro, 1991.314.5", "current_location": "228B Cleveland Artists", "title": "Waste Bowl", "creation_date": "c. 1910", "creation_date_earliest": 1905, "creation_date_latest": 1915, "artists_tags": ["male", "Cleveland Institute of Art (faculty)", "Jewish artists", "May Show", "female"], "culture": ["America, Ohio, Cleveland"], "technique": "silver, moonstones, ebony", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Silver", "measurements": "Overall: 9.3 x 15.9 x 15.3 cm (3 11/16 x 6 1/4 x 6 in.)", "dimensions": {"overall": {"height": 0.093, "width": 0.159, "depth": 0.153}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 221961, "title": "Bringing Modernism Home:  Ohio Decorative Arts, 1890-1960", "description": "<i>Bringing Modernism Home:  Ohio Decorative Arts, 1890-1960</i>. 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Robinson and David Steinberg, Transformations in Cleveland Art 1796-1946 Community and Diversity in Early Modern America (The Cleveland Museum of Art/Ohio Univesity Press), p. 167, fig.178, p. 249.", "opening_date": "1946-01-01T00:00:00"}, {"description": "Columbus Museum of Art (1/28/2005 - 4/17/2005):  \"Bringing Modernism Home, Ohio Decorative Arts, 1890-1960\", ex. cat. no. 10, p. 35.", "opening_date": "2005-01-28T00:00:00"}, {"description": "Decorative Arts Center of Ohio, Lancaster, OH (2/7/2015 - 5/17/2015):  \"A Tradition of Progress: Ohio Decorative Arts 1860-1945\"", "opening_date": "2015-02-07T00:00:00"}]}, "provenance": [{"description": "Mrs. Louise Rorimer Dushkin, New York.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "This tea and coffee service was designed for production by the Rokesley Shop, a collaborative group working at Louis Rorimer\u2019s studio. 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Cleveland, Ohio: Cleveland Museum of Art, 1994.", "page_number": "Mentioned and reproduced: P. 133", "url": ""}], "url": "https://clevelandart.org/art/1991.314.5", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1991.314.5/1991.314.5_web.jpg", "width": "900", "height": "588", "filesize": "81268", "filename": "1991.314.5_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1991.314.5/1991.314.5_print.jpg", "width": "3400", "height": "2222", "filesize": "633221", "filename": "1991.314.5_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1991.314.5/1991.314.5_full.tif", "width": "4582", "height": "2994", "filesize": "41181724", "filename": "1991.314.5_full.tif"}}, "alternate_images": [{"date_created": "2007-12-05T16:58:07", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.314.5/1991.314.5_alt0_web.jpg", "width": "900", "height": "580", "filesize": "76250"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.314.5/1991.314.5_alt0_print.jpg", "width": "3400", "height": "2192", "filesize": "570140"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.314.5/1991.314.5_alt0_full.tif", "width": "4738", "height": "3054", "filesize": "43434436"}}], "creditline": "Gift in memory of Louis Rorimer from his daughter, Louise Rorimer Dushkin and his granddaughter, Edie Soeiro", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 156075, "creators": [{"id": 7373, "description": "Louis Rorimer (American, 1872\u20131939)", "extent": null, "qualifier": null, "role": "designed by", "biography": "Louis Rorimer was born Louis Rohrheimer in Cleveland to a German immigrant family. In the mid-1880s he studied at Cleveland\u2019s Manual Training School with sculptor Herman Matzen. Around the age of 16 Rorimer began taking classes at the Cleveland School of Art and later studied in Munich at the Kunstgewerbeschule, 1890\u201393, and in Paris at the \u00c9cole des Arts D\u00e9coratifs and the Acad\u00e9mie Julian, 1893\u201395. He returned to Cleveland in 1895, opening a design studio for handmade furniture and interior design the following year. From 1898 until his retirement in 1936, he taught decorative art and design at the Cleveland School of Art, where his students included Horace Potter, Max Kalish, Abel Warshawsky, Grace Kelly, and Charles Burchfield. Rorimer merged his studio with another interior design company in 1910 to form the Rorimer-Brooks Studios, a commercial workshop and gallery. He encouraged progressive artists to meet and display their works at his gallery, which from 1910 to 1912 mounted early exhibitions by Warshawsky, William Zorach, and the Cleveland \u201dsecessionists\u201d. In 1913 Rorimer was promoted to head of the design department at the Cleveland School of Art, and his work appeared in May Shows at the Cleveland Museum of Art (1919\u201328).<br><em>Transformations in Cleveland Art.</em> (CMA, 1996), p. 235", "name_in_original_language": null, "birth_year": "1872", "death_year": "1939", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 7376, "description": "Rokesley Shop (American)", "extent": null, "qualifier": "and", "role": "made at", "biography": "Rokesley Shop (Mary Blakeslee [1875-1964], Carolyn Hadlow [1878-1953], Ruth Smedley [1882-1920]).", "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1992-02-24T05:00:00Z", "sortable_date": 1905, "date_added_to_oa": null, "date_text": "c. 1910", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1991.314", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:05:07.865000"}, {"id": 156538, "accession_number": "1992.248", "share_license_status": "Copyrighted", "tombstone": "Landform Red, 1978. Lia Cook (American, 1942-). Warp-faced rep weaving; shaped polyurethane weft and rayon thread, mounted by artist on Plexiglas box; overall: 32.1 x 27 x 3.5 cm (12 5/8 x 10 5/8 x 1 3/8 in.). The Cleveland Museum of Art, Gift of Mildred Constantine, 1992.248", "current_location": "224A Contemporary Corridor", "title": "Landform Red", "creation_date": "1978", "creation_date_earliest": 1978, "creation_date_latest": 1978, "artists_tags": ["female"], "culture": ["America"], "technique": "warp-faced rep weaving; shaped polyurethane weft and rayon thread, mounted by artist on Plexiglas box", "support_materials": [], "department": "Textiles", "collection": "T - Contemporary Fiber Art", "type": "Textile", "measurements": "Overall: 32.1 x 27 x 3.5 cm (12 5/8 x 10 5/8 x 1 3/8 in.)", "dimensions": {"overall": {"height": 0.321, "width": 0.27, "depth": 0.035}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 311494, "title": "Small Works in Fiber: The Collection of Mildred Constantine", "description": "<i>Small Works in Fiber: The Collection of Mildred Constantine</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 27-March 28, 1993).", "opening_date": "1993-01-27T05:00:00"}, {"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": 615862, "title": "Contemporary Textile Rotation - October 2025", "description": "<i>Contemporary Textile Rotation - October 2025</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 10, 2025-April 28, 2026).", "opening_date": "2025-10-10T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "The rippled red and silver surface of this fiber sculpture conjures a hilly landscape, as the title implies. The artist explains: \u201c[My artworks] derive from my interest in the interaction of surface and structure. . . . I am interested in presenting textiles as an art form without denying their textile origins. The results have a dual reference: they are textiles and yet they refer to something nontextile.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79946014"], "internet_archive": []}, "citations": [{"citation": "Constantine, Mildred, and Jack Lenor Larsen. <em>The Art Fabric : Mainstream</em>. New York: Van Nostrand Reinhold, 1981.", "page_number": "p. 28, 100-101, 114, 167, 208, 260", "url": ""}, {"citation": "Cleveland Museum of Art. Small Works in Fiber: The Mildred Constantine Collection. Cleveland, Ohio: Cleveland Museum of Art, 1993.", "page_number": "p. 15, 42", "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. 76", "url": "http://www.jstor.org/stable/25161388"}, {"citation": "Scarborough, Jessica. \"From a Gallery Owner's Perspective: An Interview with Louise Allrich.\" <em>Fiberarts</em>, Summer 1994. Loveland, CO: Interweave Press LLC.", "page_number": "p. 42-45", "url": null}, {"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. 122, color repr. p. 90", "url": null}], "url": "https://clevelandart.org/art/1992.248", "images": {}, "alternate_images": [], "creditline": "Gift of Mildred Constantine", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 156538, "creators": [{"id": 32710, "description": "Lia Cook (American, 1942-)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1942", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1992-12-07T00:00:00", "sortable_date": 1978, "date_added_to_oa": null, "date_text": "1978", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:04:01.216000"}, {"id": 130711, "accession_number": "1953.428", "share_license_status": "Copyrighted", "tombstone": "Winter Night, 1917. Charles Burchfield (American, 1893\u20131967). Black ink, black crayon, and graphite on two sheets of butt-joined paper, lined; sheet: 27.7 x 24.8 cm (10 7/8 x 9 3/4 in.). The Cleveland Museum of Art, Norman O. Stone and Ella A. Stone Memorial Fund, 1953.428. Reproduced with permission from the Charles E. Burchfield Foundation", "current_location": null, "title": "Winter Night", "creation_date": "1917", "creation_date_earliest": 1917, "creation_date_latest": 1917, "artists_tags": ["May Show", "male", "Cleveland Institute of Art (alumni)"], "culture": ["America"], "technique": "black ink, black crayon, and graphite on two sheets of butt-joined paper, lined", "support_materials": [], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Sheet: 27.7 x 24.8 cm (10 7/8 x 9 3/4 in.)", "dimensions": {"sheet": {"height": 0.277, "width": 0.248}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "Reproduced with permission from the Charles E. Burchfield Foundation", "inscriptions": [], "exhibitions": {"current": [{"id": 311926, "title": "The Drawings of Charles E. Burchfield", "description": "<i>The Drawings of Charles E. Burchfield</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 4, 1953-January 10, 1954).", "opening_date": "1953-11-04T05:00:00"}, {"id": 301176, "title": "Charles Burchfield Retrospective Exhibition", "description": "<i>Charles Burchfield Retrospective Exhibition</i>. Whitney Museum of American Art (January 11-February 26, 1956); The Baltimore Museum of Art (March 14-April 22, 1956); Museum of Fine Arts, Boston (May 9-June 17, 1956); San Francisco Museum of Modern Art (July 11-August 19, 1956); Los Angeles County Museum of Art (September 5-October 14, 1956); The Phillips Collection (November 4-December 11, 1956); The Cleveland Museum of Art, Cleveland, OH (December 28, 1956-February 10, 1957).", "opening_date": "1956-12-28T05:00:00"}, {"id": 177916, "title": "Burchfield to Schreckengost: Cleveland Art of the Jazz Age", "description": "<i>Burchfield to Schreckengost: Cleveland Art of the Jazz Age</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 28-July 18, 2004).", "opening_date": "2004-03-28T00:00:00"}, {"id": 313096, "title": "Charles Burchfield: The Ohio Landscapes, 1915\u20131920", "description": "<i>Charles Burchfield: The Ohio Landscapes, 1915\u20131920</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 22, 2018-May 5, 2019).", "opening_date": "2018-12-22T05:00:00"}], "legacy": []}, "provenance": [{"description": "Charles Burchfield [1893-1967], Buffalo, NY, sold to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1917-1953", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1953-", "sortorder": 2}], "find_spot": null, "related_works": [{"id": 127227, "description": "Church Bells Ringing, Rainy Winter Night, December 1917. Charles Burchfield (American, 1893\u20131967). Watercolor and gouache over graphite on wove paper; sheet: 77.2 x 50 cm (30 3/8 x 19 11/16 in.); secondary support: 77.5 x 50 cm (30 1/2 x 19 11/16 in.). The Cleveland Museum of Art, Gift of Mrs. Louise M. Dunn in memory of Henry G. Keller, 1949.544", "relationship": null}], "former_accession_numbers": [], "did_you_know": "The two children who stare out of the window of the left house are replaced in the final watercolor by a Christmas tree, which symbolized Burchfield's favorite holiday.", "description": "In this drawing, Burchfield focused on the two houses seen in his 1917 watercolor, <em>Church Bells Ringing,</em> minimizing the church steeple that dominates the final composition. He also further developed the work\u2019s symbolism, describing the scene as \u201cAn imaginary composition\u2014two houses in the foreground; one on the left to represent human evil and misery; that on the right: happiness and innocence. In the background a building to signify . . . materialism, and a church steeple to denote religion or idealism.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780760"], "internet_archive": []}, "citations": [{"citation": "Prasse, Leona E. T<em>he Drawings of Charles E. Burchfield</em>. Exh. Cat. Cleveland: Cleveland Museum of Art,1953.", "page_number": "Mentioned: no. 59", "url": null}, {"citation": "Prasse, Leona E. \"An Exhibition of the Drawings of Charles E. Burchfield.\" <em>Bulletin of the Cleveland Museum of Art</em> (November 1953): 203.", "page_number": "Mentioned: p. 203", "url": null}], "url": "https://clevelandart.org/art/1953.428", "images": {}, "alternate_images": [], "creditline": "Norman O. Stone and Ella A. Stone Memorial Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 130711, "creators": [{"id": 3989, "description": "Charles Burchfield (American, 1893\u20131967)", "extent": null, "qualifier": null, "role": "artist", "biography": "Charles Burchfield was among the most original and poetic painters of the Cleveland modernist movement. Born in Ashtabula, he moved to Salem, Ohio, following the death of his father in 1898. After graduating from high school, he attended Cleveland School of Art, studying with William Eastman, Frederick Gottwald, Henry Keller, and Frank Wilcox. In 1914 Burchfield began attending Kokoon Klub exhibitions, and in spring 1915 he went to Brandywine to meet William Sommer. Around this time Burchfild began experimenting with the brilliant colors and simplified forms of the Berlin Heights painters. He painted his first mature works in 1915, and grad ed from the Cleveland School of Art with a degree in illustration the following spring. That summer the Cleveland School of Art sponsored his first solo exhibition, and in the fall, after attending the National Academy of Design in New York for one month, he returned to Salem. In February 1917 the Cleveland School of Art mounted his second solo exhibition. Burchfield was inducted into the army that summer. After his return in 1919 he exhibited with other Cleveland modernists at the Play House, Laukhuff\u2019 s Book store, and other Cleveland venues. In 1921 he went on an extended sketching trip through eastern Ohio with Keller, Wilcox, and Paul Travis, exhibiting these recent paintings at the Cleveland School of Art and in the May Show at the Cleveland Museum of Art. Later that year he moved to Buffalo to work as a wallpaper designer, a position he retained until he resigned in 1929 to become a full-time painter. Over the next 30 years he exhibited extensively at museums and galleries across the country. Solo exhibitions of his paintings were held at New York\u2019s Museum of Modern Art (1930), Pittsburgh\u2019 s Carnegie Institute of Art (1935, 1938, 1946), and Buffalo\u2019 s Albright-Knox Art Gallery (1944, 1955, 1963, 1967). In 1953 New York\u2019s Whitney Museum of American Art organized a major exhibition that traveled to the Cleveland Museum of Art. Burchfield died in West Seneca, New York. <br>\"Transformations in Cleveland Art\" (CMA, 1996), p. 224", "name_in_original_language": null, "birth_year": "1893", "death_year": "1967", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1953-11-05T00:00:00", "sortable_date": 1917, "date_added_to_oa": null, "date_text": "1917", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:16.323000"}, {"id": 147486, "accession_number": "1973.219", "share_license_status": "Copyrighted", "tombstone": "Heddle Pulley (bird), c. 1935. Africa, West Africa, C\u00f4te d\u2019Ivoire, Baule-style carver. Wood and metal; overall: 21.6 cm (8 1/2 in.). The Cleveland Museum of Art, Gift of Katherine C. White, 1973.219", "current_location": null, "title": "Heddle Pulley (bird)", "creation_date": "c. 1935", "creation_date_earliest": 1930, "creation_date_latest": 1940, "artists_tags": [], "culture": ["Africa, West Africa, C\u00f4te d\u2019Ivoire, Baule-style carver"], "technique": "Wood and metal", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Implements", "measurements": "Overall: 21.6 cm (8 1/2 in.)", "dimensions": {"overall": {"height": 0.216}}, "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"}, {"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 1968: \"African Tribal Images: The Katherine White Reswick Collection,\" cat. no. 76, repr.", "opening_date": "1968-01-01T00:00:00"}, {"description": "CMA 1974: \"Year in Review 1973,\" CMA Bulletin LXI Feb., 1974), p. 73, no. 15, repr. p. 70.", "opening_date": "1974-02-01T00:00:00"}]}, "provenance": [{"description": "Katherine C. White [1929-1980], Gates Mills, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1973", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1973-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": ["906.68"], "did_you_know": "There are eleven species of hornbills in C\u00f4te d'Ivoire, where this bird-topped pulley was carved.", "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 pully depicts a slender-beaked hornbill reaching toward its belly and may allude to fertility. Besides inspiring weavers, these publicly visible miniature sculptures reportedly acted as \u201cadvertisements\u201d for carvers in parts of West Africa.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79926641"], "internet_archive": []}, "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. 76.", "page_number": "", "url": ""}, {"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. 70; Mentioned: p. 73, no. 15", "url": "http://www.jstor.org/stable/25152513"}], "url": "https://clevelandart.org/art/1973.219", "images": {}, "alternate_images": [], "creditline": "Gift of Katherine C. White", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 147486, "creators": [], "legal_status": "accessioned", "accession_date": "1973-12-28T00:00:00", "sortable_date": 1930, "date_added_to_oa": null, "date_text": "c. 1935", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Loom Pulley in the Form of a Bird's Head", "Heddle Pulley"], "is_highlight": false, "updated_at": "2026-03-27 00:04:47.827000"}, {"id": 149576, "accession_number": "1979.15", "share_license_status": "Copyrighted", "tombstone": "Portrait of Ib, 1977\u201378. Lucian Freud (British, 1922\u20132011). Oil on canvas; framed: 63 x 53 x 7 cm (24 13/16 x 20 7/8 x 2 3/4 in.); unframed: 50.7 x 40.6 cm (19 15/16 x 16 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1979.15", "current_location": null, "title": "Portrait of Ib", "creation_date": "1977\u201378", "creation_date_earliest": 1977, "creation_date_latest": 1978, "artists_tags": ["male", "Jewish artists"], "culture": ["England, 20th century"], "technique": "oil on canvas", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "measurements": "Framed: 63 x 53 x 7 cm (24 13/16 x 20 7/8 x 2 3/4 in.); Unframed: 50.7 x 40.6 cm (19 15/16 x 16 in.)", "dimensions": {"framed": {"height": 0.63, "width": 0.53, "depth": 0.07}, "unframed": {"height": 0.507, "width": 0.406}}, "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": 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": "\"British Figurative Painting Today,\" Yale Center for British Art, New Haven, Conn. (Oct. 14, 1981 - Jan. 3, 1982), Santa Barbara Museum of Art, Calif. (Jan. 29 - Mar. 28, 1982).", "opening_date": "1982-01-29T00:00:00"}, {"description": "\"Lucien Freud,\" Anthony d'Offay, Ltd., London (Oct. 12 - Nov. 5, 1982).", "opening_date": "1982-10-12T00:00:00"}]}, "provenance": [{"description": "[James H. Kirkman, London; through Anthony d'Offay, London/Davis & Long, NY]", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Freud was the grandson of famed psychoanalyst Sigmund Freud.", "description": "One of the greatest realist painters of the 20th century, Lucian Freud combines traditional rendering of the nude figure with modern expressiveness of paint on canvas. Though the artist has always focused on intimate portraits of family and friends, they are rendered with meticulous and sometimes unforgiving detail. This painting depicts Freud\u2019s daughter Isobel as a teenager. For Freud, \"the paint is the person,\" evidenced here in his liberal use of rich impasto.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60473738"], "internet_archive": []}, "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. 56, p. 80; Mentioned: p. 61", "url": "https://www.jstor.org/stable/25159667"}, {"citation": "Lampert, Catherine, Lucian Freud, Toby Treves, Katie Barkes, Olivia Patteson-Knight, Jacob Simon, Sebastian Smee, Colin Wiggins, and Modern Art Press. <em>Lucian Freud : Catalogue Raisonne\u0301 of the Oil Paintings</em>. London: Modern Art Press, 2025.", "page_number": "Mentioned and reproduced: pp. 168-169, no. 246", "url": ""}], "url": "https://clevelandart.org/art/1979.15", "images": {}, "alternate_images": [], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 149576, "creators": [{"id": 1444, "description": "Lucian Freud (British, 1922\u20132011)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1922", "death_year": "2011", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1979-05-07T00:00:00", "sortable_date": 1977, "date_added_to_oa": null, "date_text": "1977\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 00:02:10.980000"}, {"id": 157669, "accession_number": "1995.171", "share_license_status": "Copyrighted", "tombstone": "Curved Plane/Figure VII (Study), 1995. Robert Mangold (American, 1937-). Acrylic and graphite on three canvases on stretchers joined to form a lunette; framed: 117.5 x 83.2 x 5.8 cm (46 1/4 x 32 3/4 x 2 5/16 in.); unframed: 124.5 x 248.9 cm (49 x 98 in.). The Cleveland Museum of Art, Gift of the Cleveland Society for Contemporary Art on the occasion of its 35th anniversary, 1995.171. \u00a9 Robert Mangold / Artists Rights Society (ARS), New York", "current_location": null, "title": "Curved Plane/Figure VII (Study)", "creation_date": "1995", "creation_date_earliest": 1995, "creation_date_latest": 1995, "artists_tags": ["male"], "culture": ["America"], "technique": "acrylic and graphite on three canvases on stretchers joined to form a lunette", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "measurements": "Framed: 117.5 x 83.2 x 5.8 cm (46 1/4 x 32 3/4 x 2 5/16 in.); Unframed: 124.5 x 248.9 cm (49 x 98 in.)", "dimensions": {"framed": {"height": 1.175, "width": 0.832, "depth": 0.058}, "unframed": {"height": 1.245, "width": 2.489}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Robert Mangold / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "signed in black marker on verso of each canvas:  Panel a:  R.M. 1995 panel A; Panel b:  R. Mangold Curved Plane/Figure VII (study) panel B;  Panel c:  R.M. 1995 panel C.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 228079, "title": "Robert Mangold:  Paintings, 1990-2002", "description": "<i>Robert Mangold:  Paintings, 1990-2002</i>. Aspen Art Museum, Aspen, CO (organizer) (February 14-April 13, 2003).", "opening_date": "2003-02-14T00:00:00"}, {"id": 393229, "title": "Contemporary Installation", "description": "<i>Contemporary Installation</i>. The Cleveland Museum of Art (organizer).", "opening_date": "2021-04-12T04:00:00"}], "legacy": [{"description": "Aspen Art Museum (2/14/2003-4/13/2003):  \"Robert Mangold:  Paintings, 1990-2002\"", "opening_date": "2003-02-14T00:00:00"}, {"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. 139, p. 124, color repr. p. 47.", "opening_date": "2006-06-09T00:00:00"}]}, "provenance": [{"description": "(Pace Wildenstein Gallery, New York).", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Robert Mangold prefers to create artwork in series, each representing a process of experimentation with a specific idea, such as form, shape, or color.", "description": "Form, color, and drawing are central to the abstract paintings of Robert Mangold. In this half-scale study for one of eleven paintings in his <em>Curved Plane/ Figure Series</em> from 1994\u201395, Mangold joined three canvas panels to form a large, harmonious semicircular composition. He unified the painted surface by blending the smooth red-orange pigment of the left panel with the gray of the right to create the color of the central section. On this background, Mangold used black pencil to draw two ovals, one standing upright, while the other leans to the right. As the title suggests, the subject of the painting is the contrast between the flat, painted surfaces and the illusion of depth suggested by the drawn shapes.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60477102"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art, \u201cThe Cleveland Museum of Art Acquires Major Works,\u201d December 20, 1995, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr4002"}, {"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. 46-47, no. 139", "url": ""}], "url": "https://clevelandart.org/art/1995.171", "images": {}, "alternate_images": [], "creditline": "Gift of the Cleveland Society for Contemporary Art on the occasion of its 35th anniversary", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 157669, "creators": [{"id": 3543, "description": "Robert Mangold (American, 1937-)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1937", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1995-12-04T00:00:00", "sortable_date": 1995, "date_added_to_oa": null, "date_text": "1995", "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 00:05:39.165000"}, {"id": 671039, "accession_number": "2024.29", "share_license_status": "Copyrighted", "tombstone": "Free Vertical-Horizontal Rhythms, 1919. Sophie Taeuber-Arp (Swiss, 1889\u20131943). Gouache on paper; frame: 37.6 x 28.6 x 3.8 cm (14 13/16 x 11 1/4 x 1 1/2 in.); sheet: 30.3 x 21.5 cm (11 15/16 x 8 7/16 in.). The Cleveland Museum of Art, Severance and Greta Millikin Purchase Fund, 2024.29. \u00a9 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn", "current_location": null, "title": "Free Vertical-Horizontal Rhythms", "creation_date": "1919", "creation_date_earliest": 1919, "creation_date_latest": 1919, "artists_tags": ["female"], "culture": ["Switzerland"], "technique": "gouache on paper", "support_materials": [], "department": "Drawings", "collection": "DR - Swiss", "type": "Drawing", "measurements": "Frame: 37.6 x 28.6 x 3.8 cm (14 13/16 x 11 1/4 x 1 1/2 in.); Sheet: 30.3 x 21.5 cm (11 15/16 x 8 7/16 in.)", "dimensions": {"sheet": {"height": 0.303, "width": 0.215}, "frame": {"height": 0.376, "width": 0.286, "depth": 0.038}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn", "inscriptions": [{"inscription": "stamped, on verso: Nr. 1919/4 [Oeuvre Sophie Taeuber-Arp stamp]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": [{"description": "<em>Dada: Dokumente einer Bewegung. </em>Kunstverein f\u00fcr die Rheinlande und Westfalen, D\u00fcsseldorf (September 5 \u2013 October 19, 1958). <em>The Non-Objective World, 1914-1924. </em>Annely Juda Fine Art, London (June \u2013 September, 1978). <em>Masters of Early Constructive Abstract Art. </em>Denise Ren\u00e9 Inc., New York (October 1971). <em>Dreissiger Jahre Schweiz: Konstruktive Kunst, 1915-45. </em>Kunstmusuem Winterthur (September 13 \u2013 November 8, 1981). <em>Sophie Taeuber \u2013 Hans Arp: K\u00fcnstlerpaare - K\u00fcnstlerfreunde: Dialogues d\u2019artistes - r\u00e9sonances</em>. Kunstmuseum Bern (September 2 \u2013 November 6, 1988). <em>Sophie Taeuber-Arp, 1889-1943. </em>Arp Museum Bahnhof Rolandseck (February 10 \u2013 April 12, 1993); Kunsthalle T\u00fcbingen (October 3 \u2013 November 21, 1993); St\u00e4dtische Galerie im Lenbachhaus, Munich (January \u2013 March 1994); Staatliches Museum Schwerin (March 27 \u2013 June 12, 1994). <em>Karo Dame: Konstruktive, Konkrete und Radikale Kunst von Frauen von 1914 bis heute. </em>Aargauer Kunsthaus (May 28 \u2013 July 30, 1995). <em>Farbe und Form: Sophie Taeuber-Arp im Dialog mit Hans Arp</em>. Kulturforum ALTANA, Frankfurt am Main (June 18 \u2013 July 28, 2002); Stiftung Schleswig-Holsteinische Landesmuseen (August 4 \u2013 September 29, 2002). <em>Hans Arp, Sophie Taeuber-Arp: Exploracions m\u00fatues. </em>Fundaci\u00f3 Sa Nostra, Palma de Mallorca (February 20 \u2013 April 16, 2003). <em>Sons &amp; Lumi\u00e8res: Une histoire du son dans l\u2019art du XXe si\u00e8cle</em>. Centre Pompidou, Paris (September 22 \u2013 January 3, 2004). <em>Sophie Taeuber-Arp: Living Abstraction. </em>Museum of Modern Art, New York (November 1, 2020 \u2013 February 15, 2021); Tate Modern, London (July 13 \u2013 October 17, 2021).", "opening_date": null}]}, "provenance": [{"description": "Estate of the artist, by descent to Marguerite Arp", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "Estate of Marguerite Arp [1902-1994]", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "(Annely Juda Fine Art, London)", "citations": [], "footnotes": null, "date": "by 1971-before 1978", "sortorder": 3}, {"description": "(Galerie Denise Ren\u00e9, Paris/New York)", "citations": [], "footnotes": null, "date": "by 1978-before 1986", "sortorder": 4}, {"description": "(sale, Christie\u2019s, New York, November 20, 1986, no. 131)", "citations": [], "footnotes": null, "date": "1986", "sortorder": 5}, {"description": "Johannes Wasmuth [1936-1997], Rolandseck, Germany", "citations": [], "footnotes": null, "date": null, "sortorder": 6}, {"description": "Wasmuth estate, Rolandseck, Germany", "citations": [], "footnotes": null, "date": null, "sortorder": 7}, {"description": "Stiftung Arp e.V., Berlin/Rolandswerth", "citations": [], "footnotes": null, "date": null, "sortorder": 8}, {"description": "(Hauser & Wirth, New York, sold to the Cleveland Museum of Art on behalf of Stiftung Arp e.V.)", "citations": [], "footnotes": null, "date": "2023-2024", "sortorder": 9}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2024-", "sortorder": 10}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Sophie Taeuber-Arp was married to another artist, Jean Arp, with whom she occasionally collaborated.", "description": "<em>Free Vertical-Horizontal Rhythms</em> belongs to a series in which Sophie Taeuber-Arp aimed to capture dynamic elements in a fundamentally two-dimensional medium. It presents square and rectangular fields of color fit into a slightly undulating grid, suggesting motion. Among the most influential women to work within abstraction during the early 20th century, Taeuber-Arp worked between media to create such compositions, exploring embroidery, painting, sculpture, and even theater design.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q127274662"], "internet_archive": []}, "citations": [{"citation": "Schmidt, Georg. <em>Sophie Taeuber-Arp. </em>Basel: Holbein Verlag, 1948.", "page_number": "Mentioned: p. 128, no. 1919/4.", "url": ""}, {"citation": "<em>Dada: Dokumente einer Bewegung. </em>Exh. Cat. D\u00fcsseldorf: Kunstverein f\u00fcr die Rheinlande und Westfalen, 1958.", "page_number": "Mentioned: p. [17], no. 103.", "url": ""}, {"citation": "Staber, Margit. <em>Masters of Early Constructive Abstract Art. </em>Exh. Cat. New York: Denise Ren\u00e9, 1971.", "page_number": "Mentioned: [n.p.]", "url": ""}, {"citation": "<em>The Non-Objective World, 1914-1924. </em>Exh. Cat. London: Annely Juda Fine Art, 1978.", "page_number": "Mentioned: no. 155.", "url": ""}, {"citation": "Koella, Rudolf. <em>Konstruktive Kunst 1915-45: Dreissiger Jahre Schweiz. </em>Exh. Cat. Winterthur: Kunstmusuem Winterthur, 1981.", "page_number": "Mentioned: no. 213 [n.p.].", "url": ""}, {"citation": "<em>Impressionist and Modern Drawings and Watercolors</em>. New York: Christie\u2019s, 1986.", "page_number": "Mentioned and reproduced: p. 44, no. 131.", "url": ""}, {"citation": "Kuthy, Sandor, ed. <em>Sophie Taeuber \u2013 Hans Arp: K\u00fcnstlerpaare - K\u00fcnstlerfreunde: Dialogues d\u2019artistes - r\u00e9sonances</em>. Exh. Cat. Bern: Kunstmuseum Bern, 1988.", "page_number": "Mentioned and reproduced: p. 112, no. 35.", "url": ""}, {"citation": "Gohr, Siegfried, ed. <em>Sophie Taeuber-Arp, 1889-1943. </em>Exh. Cat. Rolandseck: Arp Museum Bahnhof, 1993.", "page_number": "Mentioned: p. 172; Reproduced: p. 80.", "url": ""}, {"citation": "Mahn, Gabriele. \u201cSophie Taeuber-Arp.\u201d In <em>Karo Dame: Konstruktive, Konkrete und Radikale Kunst von Frauen von 1914 bis heute</em>, edited by Beat Wismer. Exh. Cat. Aarau: Aargauer Kunsthaus, 1995.", "page_number": "Mentioned and reproduced: p. 165.", "url": ""}, {"citation": "V\u00f6gele, Christoph. <em>Variations: Sophie Taeuber-Arp, Arbeiten auf Papier / Works on Paper</em>. Exh. Cat. Solothurn: Kunstmuseum Solothurn, 2002.", "page_number": "Mentioned and reproduced: p. 12.", "url": ""}, {"citation": "Padberg, Martina. <em>Farbe und Form: Sophie Taeuber-Arp im Dialog mit Hans Arp</em>. Exh. Cat. Frankfurt am Main: Kulturforum ALTANA, 2002.", "page_number": "Mentioned: p. 135, no. 16.", "url": ""}, {"citation": "Lulinska, Agnieszka, Brigitte Lucke, Walburga Krupp. <em>Hans Arp, Sophie Taeuber-Arp: Exploracions m\u00fatues. </em>Exh. Cat. Palma de Mallorca: Fundaci\u00f3 Sa Nostra, 2003.", "page_number": "Mentioned: p. 178, no. 56; reproduced: p. 56.", "url": ""}, {"citation": "Duplaix, Sophie and Marcella Lista, eds. Sons &amp; <em>Lumi\u00e8res: Une histoire du son dans l\u2019art du XXe si\u00e8cle</em>. Exh. Cat. Paris: Centre Pompidou, 2004.", "page_number": "Mentioned: p. 371; reproduced: p. 154.", "url": ""}, {"citation": "Hemus, Ruth. <em>Dada\u2019s Women</em>. New Haven, CT: Yale University Press, 2009.", "page_number": "Mentioned and reproduced: p. 75-76.", "url": ""}, {"citation": "Ego, Renaud and Claude Weil-Seigeot. <em>Atelier Jean Arp et Sophie Taeuber</em>. Clamart: Fondation Arp, 2012.", "page_number": "Mentioned: 277; reproduced: p. 91.", "url": ""}, {"citation": "Umland, Anne and Walbura Krupp, eds. <em>Sophie Taeuber-Arp: Living Abstraction</em>. Exh. Cat. New York: Museum of Modern Art, 2021.", "page_number": "Mentioned: p. 61, 317, no. 34; reproduced: p. 61.", "url": ""}, {"citation": "<em>Sophie Taeuber-Arp: Online Oeuvre Catalogue</em> (https://sophietaeuberarp.org), Sophie Taeuber-Arp Research Project (STARP), accessed on May 14, 2024.", "page_number": "Mentioned and reproduced: no. 98.", "url": ""}], "catalogue_raisonne": "Schmidt 1919/4", "url": "https://clevelandart.org/art/2024.29", "images": {}, "alternate_images": [], "creditline": "Severance and Greta Millikin Purchase Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 671039, "creators": [{"id": 671036, "description": "Sophie Taeuber-Arp (Swiss, 1889\u20131943)", "extent": null, "qualifier": null, "role": "artist", "biography": "Swiss painter, printmaker, and designer, 1889-1943", "name_in_original_language": null, "birth_year": "1889", "death_year": "1943", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2024-06-03T04:00:00Z", "sortable_date": 1919, "date_added_to_oa": null, "date_text": "1919", "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 00:00:59.500000"}, {"id": 162319, "accession_number": "2002.51", "share_license_status": "Copyrighted", "tombstone": "Grand Canyon, 1911. Alvin Langdon Coburn (British, 1882\u20131966). Platinum print; image: 41 x 31.4 cm (16 1/8 x 12 3/8 in.); mounted: 42.1 x 32.1 cm (16 9/16 x 12 5/8 in.); matted: 71.1 x 55.9 cm (28 x 22 in.). The Cleveland Museum of Art, John L. Severance Fund, 2002.51", "current_location": null, "title": "Grand Canyon", "creation_date": "1911", "creation_date_earliest": 1911, "creation_date_latest": 1911, "artists_tags": ["male"], "culture": ["America and England, 20th century"], "technique": "platinum print", "support_materials": [], "department": "Photography", "collection": "PH - British 20th Century", "type": "Photograph", "measurements": "Image: 41 x 31.4 cm (16 1/8 x 12 3/8 in.); Mounted: 42.1 x 32.1 cm (16 9/16 x 12 5/8 in.); Matted: 71.1 x 55.9 cm (28 x 22 in.)", "dimensions": {"image": {"height": 0.41, "width": 0.314}, "mounted": {"height": 0.421, "width": 0.321}, "matted": {"height": 0.711, "width": 0.559}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "written in pencil on verso: \"Acc 67: /57:29 (COPY A) C658\"; (?) 29 copy A \"23.74\"", "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": 194095, "title": "Icons of American Photography: A Century of Photographs from the Cleveland Museum of Art", "description": "<i>Icons of American Photography: A Century of Photographs from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 24-September 16, 2007); Frick Art and Historical Center, Pittsburgh, PA (October 3, 2009-January 3, 2010).", "opening_date": "2007-06-24T00:00:00"}, {"id": 202729, "title": "Shadows and Dreams: Pictorialist Photography in America", "description": "<i>Shadows and Dreams: Pictorialist Photography in America</i>. The Cleveland Museum of Art (organizer) (September 5, 2015-January 17, 2016).", "opening_date": "2015-09-05T00:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Alvin Langdon Coburn's innovative spirit, breadth of subject matter, and technical mastery of complex printing processes established him as one of the most important photographers active in the early 20th century. In September 1911, he took the first of two journeys to the Grand Canyon, which for him was \"one of the most impressive natural wonders of the world.\" In this composition, Coburn eliminated the horizon line and created a flattened, abstracted view by pointing his camera straight down and by using a long lens that foreshortened the depicted space. He skillfully captured the exact moment when clouds silhouetted the foreground rock formation while the distant canyon remained sun bleached, thus establishing a brilliant contrast of overlapping forms. The print, with its gradation of tones, remains one of the most poetic and artistic renderings of this natural monument in the history of photography.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79986341"], "internet_archive": []}, "citations": [{"citation": "Tannenbaum, Barbara and Rager, Andrea Wolk. \u201cShadows and Dreams: American Pictorialists elevated photography to a fine art.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 55, no. 5 (September/October 2015): 8-9.", "page_number": "Reproduced: p. 9", "url": "https://archive.org/details/CMAMM2015-05"}], "url": "https://clevelandart.org/art/2002.51", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 162319, "creators": [{"id": 319, "description": "Alvin Langdon Coburn (British, 1882\u20131966)", "extent": null, "qualifier": null, "role": "artist", "biography": "Alvin Langdon Coburn British and American, b. United States, 1882-1966\r\n\r\nBorn in Boston and later naturalized a British citizen, Alvin Langdon Coburn received his first camera at age eight. Ten years later, encouraged by his cousin -- the idiosyncratic, yet highly talented photographer F. Holland Day-Coburn showed his work in a major London exhibition. In 1902-3 he was a founding member of the Photo-Secession and the Linked Ring, two of the most important photographic organizations of their time. His work in the medium continued at a high level for the next quarter century.\r\n\tCoburn was influenced not only by Day, but also by painter James Abbott McNeill Whistler, the impressionists, and Japanese woodblock prints, championed by his teacher Arthur Wesley Dow and Boston scholar Ernest Fenellosa. His artistic background allowed him to accept modernism as well. Although a founding member of the Pictorial Photographers of America in 1916 with Gertrude K\u00e4sebier and Clarence H. White, the following year Coburn made some of the first abstract photographs as a part of the vorticist movement, through which he became associated with Wyndham Lewis and Ezra Pound.\r\n\tCoburn produced a wide range of work, both in subject and style. Technically proficient, he excelled at the gravure process, producing large editions of original prints for portfolios and books. Among his collaborators were Henry James and H. G. Wells. Although Coburn abandoned photography from the mid-1920s to the mid-1950s, his work continued to be influential, and he took up the medium again near the end of his life. T.W.F.\r\n\r\nNote: Coburn emigrated to the United Kingdom in 1912 and became a naturalized British citizen in 1932. Coburn was a founding member of the Photo Secession, New York City, in 1902, and of the Pictorial Photographers of America in 1916. Coburn was associated with the Linked Ring in 1903, and the Royal Photographic Society in the United Kingdom. American photographer, became a naturalized British citizen. -Barbara Tannenbaum", "name_in_original_language": null, "birth_year": "1882", "death_year": "1966", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2002-06-03T00:00:00", "sortable_date": 1911, "date_added_to_oa": null, "date_text": "1911", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:05:59.550000"}, {"id": 118123, "accession_number": "1939.240", "share_license_status": "Copyrighted", "tombstone": "Ol' Peckerwood, 1939. Elmer William Brown (American, 1909\u20131971). Linocut; image: 18.4 x 25 cm (7 1/4 x 9 13/16 in.); sheet: 21.8 x 33 cm (8 9/16 x 13 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1939.240", "current_location": null, "title": "Ol' Peckerwood", "creation_date": "1939", "creation_date_earliest": 1939, "creation_date_latest": 1939, "artists_tags": ["Black American Artists", "May Show", "male"], "culture": ["America, Ohio, Cleveland"], "technique": "linocut", "support_materials": [], "department": "Prints", "collection": "PR - Linocut", "type": "Print", "measurements": "Image: 18.4 x 25 cm (7 1/4 x 9 13/16 in.); Sheet: 21.8 x 33 cm (8 9/16 x 13 in.)", "dimensions": {"image": {"height": 0.184, "width": 0.25}, "sheet": {"height": 0.218, "width": 0.33}}, "state_of_the_work": null, "edition_of_the_work": "40", "copyright": null, "inscriptions": [{"inscription": "signed, lower right, in block: EWB; inscribed, lower left margin, in graphite: Ol' Peckerwood 1/40; lower right margin, in graphite: E.W. Brown '39; watermark: RIVES", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 382030, "title": "The May Show: 21st Annual Exhibition of Works by Cleveland Artists and Craftsmen", "description": "<i>The May Show: 21st Annual Exhibition of Works by Cleveland Artists and Craftsmen</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 3-June 11, 1939).", "opening_date": "1939-05-03T04:00:00"}, {"id": 667699, "title": "Karamu Artists Inc.: Printmaking, Race, and Community", "description": "<i>Karamu Artists Inc.: Printmaking, Race, and Community</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 23-August 17, 2025).", "opening_date": "2025-03-23T04:00:00"}], "legacy": [{"description": "The Cleveland Museum of Art (1/26/2014 - 5/18/2014); \"Our Stories: African American Prints and Drawings\"", "opening_date": "2014-01-26T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Although he worked in a wide variety of media, Elmer William Brown is best known for the murals that he created for public spaces as part of the Works Progress Administration during the 1940s.", "description": "This composition centers on the White overseer of a chain gang composed of incarcerated Black men. To create the print, Elmer W. Brown drew on his own experiences in the Missouri state-prison system after having been caught riding a freight train illegally. While the men labor in the background, Ol\u2019 Peckerwood\u2014an insulting nickname for the lead guard\u2014stands imposingly in the foreground, his hand poised near his weapon, as shadows from the clouds above darken his form.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80012868"], "internet_archive": []}, "citations": [{"citation": "Elmer William Brown Entry Card to 1939 May Show. Cleveland Museum of Art May Show Records, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/CMAMS04968"}, {"citation": "Kraynak, Scott, Henry Adams, Douglas Max Utter, William G. Scheele, R. A. Washington, and Mike Hudson. <em>The Heart of Cleveland.</em> Shaker Hts, OH: Red Giant Books, 2018.", "page_number": "Reproduced: P. 29, fig. 28", "url": null}, {"citation": "Benay, Erin. \"Peripheral Prints: Karamu House and the Rise of African American Art in the Midwest.\" <em>Panorama: Journal of the Association of Historians of American Art </em>10, no. 1 (Spring 2024).", "page_number": "Mentioned and reproduced: fig. 6", "url": "https://journalpanorama.org/article/peripheral-prints/"}, {"citation": "Francis, Jacqueline. \"Modernism(s): Karamu Artists Inc and Modernist Art.\" In <em>Karamu Artists Inc.: Printmaking, Race, and Community, </em>Britany Salsbury and Erin Benay, 80-91. Cleveland, OH: Cleveland Museum of Art, 2025.", "page_number": "Mentioned and reproduced: p. 84-85, no. 41", "url": ""}], "catalogue_raisonne": "Salsbury, Benay, and Kruse 8", "url": "https://clevelandart.org/art/1939.240", "images": {}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 118123, "creators": [{"id": 7838, "description": "Elmer William Brown (American, 1909\u20131971)", "extent": null, "qualifier": null, "role": "artist", "biography": "Painter and printmaker Elmer Brown was a leading Karamu artist of the 1930s and 1940s. Born in Pittsburgh, Brown moved to Columbus, Ohio, at an early age. After a series of family disruptions, the teenaged Brown became a vagrant. During his wanderings, he began to draw thing, with a piece of coal, a pencil stub, or chalk, on sidewalks, walls, or freight car doors. In 1924 he was put on a chain gang for illegally riding freight trains, an experience that gave him a \u201csudden and harsh maturing\u201d. After moving to Cleveland in 1929, he associated with the art and theater departments of Karamu House, working as an actor and stage designer. He attended the Huntington Polytechnic Institute in Cleveland, 1933\u201334, on a Gilpin Players scholarship supplied by Karamu. Brown exhibited in the annual May Shows at the Cleveland Museum of Art (1934\u201343). In 1936 he joined the Cleveland theater project of the Works Progress Administration, working in scenic design. He later worked in the departments of graphic arts and sculpture-ceramics of the WPA. In the late 1930s and early 1940s, under the auspices of the WPA Ohio Art Project, Brown painted three murals for Valleyview Homes in Cleveland, a federal housing project. He exhibited with other Karamu House artists in New York City and Philadelphia (1942). Also that year he received two major commissions: one from the Men\u2019 s City Club of Cleveland to paint a mural on the subject \u201cfreedom of expression\u201d and the other from the U.S. Army to create patriotic illustrations to be displayed in segregated accommodations for African-American soldiers serving in World War II. In the late 1940s he taught at the Cooper School of Art, a commercial art school under private operation in Cleveland. In 1953 the American Greetings Corporation hired Brown as the first African-American illustrator on the staff, and he worked there until his death. <br><em>Transformations in Cleveland Art</em> (CMA, 1996), p. 224", "name_in_original_language": null, "birth_year": "1909", "death_year": "1971", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1939-05-29T00:00:00", "sortable_date": 1939, "date_added_to_oa": null, "date_text": "1939", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:12.387000"}, {"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": 156062, "accession_number": "1991.310", "share_license_status": "Copyrighted", "tombstone": "Four People, 1953\u201354. Alex Katz (American, b. 1927). Oil on Masonite; unframed: 60.9 x 60.9 cm (24 x 24 in.). The Cleveland Museum of Art, Seventy-fifth anniversary gift of the artist, 1991.310. \u00a9  Alex Katz / Licensed by VAGA at Artists Rights Society (ARS), NY", "current_location": null, "title": "Four People", "creation_date": "1953\u201354", "creation_date_earliest": 1953, "creation_date_latest": 1954, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on Masonite", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Unframed: 60.9 x 60.9 cm (24 x 24 in.)", "dimensions": {"unframed": {"height": 0.609, "width": 0.609}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  Alex Katz / Licensed by VAGA at Artists Rights Society (ARS), NY", "inscriptions": [{"inscription": "Signed lower right: Alex Katz", "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": 227413, "title": "Brand-New & Terrific: Alex Katz in the 1950s", "description": "<i>Brand-New & Terrific: Alex Katz in the 1950s</i>. Colby College Museum of Art, Waterville, ME (July 11-October 18, 2015); The Cleveland Museum of Art, Cleveland, OH (April 30-August 6, 2017).", "opening_date": "2015-07-11T04:00:00"}], "legacy": [{"description": "Colby Collge Museum of Art, Waterville, ME (7/11/2015 - 10/18/2015):  \"Brand-New &amp; Terrific: Alex Katz in the 1950s\"", "opening_date": "2015-07-11T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The artist routinely wears gloves while painting to keep his hands clean.", "description": "Alex Katz's early paintings, including <em>Four People</em>, were based on amateur snapshots he collected from family and friends.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60476737"], "internet_archive": []}, "citations": [{"citation": "Tuite, Diana, Katy Siegel, Richard Shiff, and Eva Di\u0301az. <em>Brand-New &amp; Terrific: Alex Katz in the 1950s</em>. Munich, Germany: DelMonico Books, 2015.", "page_number": "Reproduced: P. 88", "url": null}, {"citation": "Strean, Heidi. \u201cExhibitions 2017.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>57, no. 1 (January/February 2017): 10-11.", "page_number": "Reproduced: P. 10; Mentioned: P. 11", "url": "https://archive.org/details/CMAMM2017-01/page/n5/mode/2up"}, {"citation": "Cole, Mark. \u201cBrand-New &amp; Terrific: The innovative early works of Alex Katz remain fresh and vital.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 57, no. 3 (May/June 2017): Cover, 5-7.", "page_number": "Reproduced: P. 6; Mentioned: P. 7", "url": "https://archive.org/details/CMAMM2017-03/page/n1/mode/2up"}, {"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. 66", "url": "http://www.jstor.org/stable/25161388"}], "url": "https://clevelandart.org/art/1991.310", "images": {}, "alternate_images": [], "creditline": "Seventy-fifth anniversary gift of the artist", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 156062, "creators": [{"id": 28709, "description": "Alex Katz (American, b. 1927)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1927", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1992-02-24T00:00:00", "sortable_date": 1953, "date_added_to_oa": null, "date_text": "1953\u201354", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:12.957000"}, {"id": 168766, "accession_number": "2010.463", "share_license_status": "Copyrighted", "tombstone": "Baby Stroller, 1962. Yayoi Kusama (Japanese, 1929-). Presumably found baby stroller, paint, canvas, cotton, and steel; overall: 89.5 x 102 x 74 cm (35 1/4 x 40 3/16 x 29 1/8 in.). The Cleveland Museum of Art, Gift of Henry H. Hawley in memory of Berenice H. Kent, 2010.463", "current_location": null, "title": "Baby Stroller", "creation_date": "1962", "creation_date_earliest": 1962, "creation_date_latest": 1962, "artists_tags": ["female"], "culture": ["Japan"], "technique": "presumably found baby stroller, paint, canvas, cotton, and steel", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Sculpture", "type": "Mixed Media", "measurements": "Overall: 89.5 x 102 x 74 cm (35 1/4 x 40 3/16 x 29 1/8 in.)", "dimensions": {"overall": {"height": 0.895, "width": 1.02, "depth": 0.74}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 294253, "title": "Yayoi Kusama: Infinity Mirrors", "description": "<i>Yayoi Kusama: Infinity Mirrors</i>. The Cleveland Museum of Art, Cleveland, OH (July 7-September 30, 2018).", "opening_date": "2018-07-07T04:00:00"}, {"id": 393229, "title": "Contemporary Installation", "description": "<i>Contemporary Installation</i>. The Cleveland Museum of Art (organizer).", "opening_date": "2021-04-12T04:00:00"}], "legacy": [{"description": "<em>Yayoi Kusama, </em>Akron Art Museum (July 9 - October 2, 1994)", "opening_date": "1994-07-09T00:00:00"}]}, "provenance": [{"description": "Collection of Joe Butler III, Youngstown, OH; Bernice Kent, Cleveland, OH; donated for auction to the Cleveland Ballet; purchased at auction by Henry H. Hawley, Cleveland, OH; gift to the CMA in 2011 from Henry H. Hawley in memory of Bernice Kent.", "citations": [], "footnotes": null, "date": null, "sortorder": 1}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The silver phalluses covering the baby stroller is a motif found throughout Kusama\u2019s work.", "description": "During the 1960s, Yayoi Kusama transformed everyday objects by covering them with hand-sewn and stuffed phallic protrusions. This process, which she called \"obliteration,\" relates to the artist's interest throughout her career in the repetition of organic forms. In this work, Kusama creates a tension between the baby stroller, designed to carry children, and the sexual imagery that it totes instead.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80075167"], "internet_archive": []}, "citations": [{"citation": "Kusama, Yayoi, and Lynn Zelevansky. <em>Love Forever: Yayoi Kusama, 1958-1968</em>. Los Angeles: Los Angeles County Museum of Art, 1998.", "page_number": "Reproduced p. 139, fig. 56", "url": null}, {"citation": "Hoptman, Laura J., Yayoi Kusama, Akira Tatehata, and Udo Kultermann. <em>Yayoi Kusama</em>. London: Phaidon, 2000.", "page_number": "Reproduced p. 49", "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. 114", "url": ""}, {"citation": "Kusama, Yayoi, Akira Tatehata, Laura J. Hoptman, Udo Kultermann, and Catherine Taft. <em>Yayoi Kusama</em>. Second Edition. London: Phadion Press, 2017.", "page_number": "Reproduced p. 46", "url": null}], "url": "https://clevelandart.org/art/2010.463", "images": {}, "alternate_images": [], "creditline": "Gift of Henry H. Hawley in memory of Berenice H. Kent", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 168766, "creators": [{"id": 37174, "description": "Yayoi Kusama (Japanese, 1929-)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1929", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2011-03-07T00:00:00", "sortable_date": 1962, "date_added_to_oa": null, "date_text": "1962", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:07:49.539000"}, {"id": 538291, "accession_number": "2023.17", "share_license_status": "Copyrighted", "tombstone": "Lidded Sake Jar (\u9752\u78c1\u9152\u4f1a\u58fa), 1989. Kawase Shinobu (Japanese, b. 1950). Porcelain with blue-green glaze; 16.5 x 21.6 cm (6 1/2 x 8 1/2 in.). The Cleveland Museum of Art, Dudley P. Allen Fund, 2023.17. \u00a9 Kawase Shinobu", "current_location": null, "title": "Lidded Sake Jar", "title_in_original_language": "\u9752\u78c1\u9152\u4f1a\u58fa", "creation_date": "1989", "creation_date_earliest": 1989, "creation_date_latest": 1989, "artists_tags": ["male", "Asian (from 1900 to present)"], "culture": ["Japan, Sh\u014dwa period (1926\u201389)"], "technique": "Porcelain with blue-green glaze", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Ceramic", "measurements": "16.5 x 21.6 cm (6 1/2 x 8 1/2 in.)", "dimensions": {"No Extent Specified": {"height": 0.165, "width": 0.216}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Kawase Shinobu", "inscriptions": [{"inscription": "Box title: \u9752\u78c1\u9152\u4f1a\u58fa", "inscription_translation": "Celadon Wine Vessel  (\"Seiij shukai tsubo\")", "inscription_remark": "On the back of the box cover", "sortorder": null}, {"inscription": "Box signature:   \u5fcd", "inscription_translation": "Shinobu", "inscription_remark": "On the back of the box cover", "sortorder": null}, {"inscription": "Box seal: \u5fcd", "inscription_translation": "Shinobu", "inscription_remark": "On the back of the box cover", "sortorder": null}], "exhibitions": {"current": [{"id": 666805, "title": "Contemporary Calligraphy and Clay", "description": "<i>Contemporary Calligraphy and Clay</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 7, 2024-June 15, 2025).", "opening_date": "2024-06-07T04:00:00"}], "legacy": [{"description": "<em>Japanese Ceramics Today: Masterworks from the Kikuchi Collection.</em> Smithsonian Institution, Washington, DC (February 11-April 3, 1983); Victoria and Albert Museum, London, England (May 18-July 17, 1983).", "opening_date": "1983-02-11T05:00:00Z"}, {"description": "<em>10 X 10 Past And Present: Japanese Masters Of Ceramics</em>. Joan B. Mirviss Ltd., Japanese Art at the Winter Show, Park Avenue Armory, New York, NY (January 20\u201329, 2023).", "opening_date": "2023-01-20T05:00:00Z"}]}, "provenance": [{"description": "(Joan B. Mirviss Ltd., Japanese Art, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "?\u20132023", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2023\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Kawase Shinobu receives a stipend from the Japanese government to help him preserve the techniques he practices for future generations.", "description": "Kawase Shinobu comes from a family of potters with more than a century of tradition in engaging with Chinese prototypes. The jar\u2019s name in Japanese, <em>shukaiko</em>, literally \u201csake gathering jar,\u201d references the shape of containers that first arrived by sea from China carrying rice wine. The jar has a ribbed surface with a lavender-tinted blue-green glaze. 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Tokyo: Kikuchi bijutsu zaidan, 2011.", "page_number": "", "url": ""}, {"citation": "K<em>awase Shinobu: Sakuto\u0304 50nen no aida </em>[\u5ddd\u702c\u5fcd : \u4f5c\u967650\u5e74\u306e\u9593 = Kawase Shinobu: fifty years of celadon making]. Tokyo:  Mus\u00e9e Tomo, 2018.", "page_number": "", "url": ""}], "url": "https://clevelandart.org/art/2023.17", "images": {}, "alternate_images": [], "creditline": "Dudley P. Allen Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 538291, "creators": [{"id": 34987, "description": "Kawase Shinobu (Japanese, b. 1950)", "extent": null, "qualifier": null, "role": "artist", "biography": "Many think of Kawase as Japan's outstanding celadon artist. In the course of his phenomenally precocious career, this eldest son has outshone both his distinguished father, Kawase Chikushun II, and his well-known uncle, Kawase Mitsuyuki, both of whom have had much longer careers and more varied oeuvres. 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Reacting against industrial mass production, Rorimer emphasized inventive design in finely crafted objects.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60761229"], "internet_archive": []}, "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": "Johnston, Phillip M. <em>Catalogue of American Silver: The Cleveland Museum of Art</em>. Cleveland, Ohio: Cleveland Museum of Art, 1994.", "page_number": "Mentioned and reproduced: P. 133", "url": ""}, {"citation": "Robinson, William H., et. al. <em>Transformations in Cleveland Art, 1796-1946: Community and Diversity in Early Modern America</em>. Cleveland, Ohio: Cleveland Museum of Art, 1996.", "page_number": "Reproduced and Mentioned: p. 167", "url": null}, {"citation": "Adams, Henry, and Lawrence Waldman. <em>Painting in Pure Color: Modern Art in Cleveland Before the Armory Show (1908-1913)</em>. Cleveland: Cleveland Artists Foundation, 2013.", "page_number": "Reproduced: p. 31", "url": null}], "url": "https://clevelandart.org/art/1991.314", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1991.314/1991.314_web.jpg", "width": "900", "height": "521", "filesize": "92137", "filename": "1991.314_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1991.314/1991.314_print.jpg", "width": "3400", "height": "1967", "filesize": "578314", "filename": "1991.314_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1991.314/1991.314_full.tif", "width": "6668", "height": "3858", "filesize": "77211156", "filename": "1991.314_full.tif"}}, "alternate_images": [], "creditline": "Gift in memory of Louis Rorimer from his daughter, Louise Rorimer Dushkin and his granddaughter, Edie Soeiro", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 156066, "creators": [{"id": 7373, "description": "Louis Rorimer (American, 1872\u20131939)", "extent": null, "qualifier": null, "role": "designed by", "biography": "Louis Rorimer was born Louis Rohrheimer in Cleveland to a German immigrant family. In the mid-1880s he studied at Cleveland\u2019s Manual Training School with sculptor Herman Matzen. Around the age of 16 Rorimer began taking classes at the Cleveland School of Art and later studied in Munich at the Kunstgewerbeschule, 1890\u201393, and in Paris at the \u00c9cole des Arts D\u00e9coratifs and the Acad\u00e9mie Julian, 1893\u201395. He returned to Cleveland in 1895, opening a design studio for handmade furniture and interior design the following year. From 1898 until his retirement in 1936, he taught decorative art and design at the Cleveland School of Art, where his students included Horace Potter, Max Kalish, Abel Warshawsky, Grace Kelly, and Charles Burchfield. Rorimer merged his studio with another interior design company in 1910 to form the Rorimer-Brooks Studios, a commercial workshop and gallery. He encouraged progressive artists to meet and display their works at his gallery, which from 1910 to 1912 mounted early exhibitions by Warshawsky, William Zorach, and the Cleveland \u201dsecessionists\u201d. In 1913 Rorimer was promoted to head of the design department at the Cleveland School of Art, and his work appeared in May Shows at the Cleveland Museum of Art (1919\u201328).<br><em>Transformations in Cleveland Art.</em> (CMA, 1996), p. 235", "name_in_original_language": null, "birth_year": "1872", "death_year": "1939", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 7376, "description": "Rokesley Shop (American)", "extent": null, "qualifier": "and", "role": "made at", "biography": "Rokesley Shop (Mary Blakeslee [1875-1964], Carolyn Hadlow [1878-1953], Ruth Smedley [1882-1920]).", "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1992-02-24T05:00:00Z", "sortable_date": 1905, "date_added_to_oa": null, "date_text": "c. 1910", "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 00:04:57.350000"}, {"id": 108391, "accession_number": "1926.123", "share_license_status": "Copyrighted", "tombstone": "Hell Hole, 1917. John Sloan (American, 1871\u20131951). Etching and aquatint; platemark: 20.1 x 24.9 cm (7 15/16 x 9 13/16 in.); sheet: 27.5 x 33.7 cm (10 13/16 x 13 1/4 in.). The Cleveland Museum of Art, Gift of Ralph King, 1926.123. \u00a9  Delaware Art Museum / Artists Rights Society (ARS), New York", "current_location": null, "title": "Hell Hole", "creation_date": "1917", "creation_date_earliest": 1917, "creation_date_latest": 1917, "artists_tags": ["male"], "culture": ["America"], "technique": "etching and aquatint", "support_materials": [], "department": "Prints", "collection": "PR - Etching", "type": "Print", "measurements": "Platemark: 20.1 x 24.9 cm (7 15/16 x 9 13/16 in.); Sheet: 27.5 x 33.7 cm (10 13/16 x 13 1/4 in.)", "dimensions": {"platemark": {"height": 0.201, "width": 0.249}, "sheet": {"height": 0.275, "width": 0.337}}, "state_of_the_work": "II/II", "edition_of_the_work": null, "copyright": "\u00a9  Delaware Art Museum / Artists Rights Society (ARS), New York", "inscriptions": [], "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": 309576, "title": "A Golden Age of American Printmaking", "description": "<i>A Golden Age of American Printmaking</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 12-April 11, 1982).", "opening_date": "1982-01-12T05:00:00"}, {"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": 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": 381923, "title": "Ashcan School Prints and the American City, 1900\u20131940", "description": "<i>Ashcan School Prints and the American City, 1900\u20131940</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 18-December 26, 2021).", "opening_date": "2021-07-17T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The Golden Swan, or Hell Hole bar, depicted here, was the inspiration for the saloon in the Eugene O\u2019Neill\u2019s play <em>The Iceman Cometh</em>,written in 1939.", "description": "The Golden Swan bar, nicknamed the Hell Hole, was a gathering place for the Ashcan artists, writers, and intellectuals in Manhattan\u2019s Greenwich Village. John Sloan\u2019s etching shows the back room of the establishment, which allowed female patrons and was patrolled by the bouncers known as Lefty Louis and John Bull, seen at the doorway. The cheerful clientele enjoy alcohol, intimate conversation, and heavy flirtation. Sloan depicted the playwright Eugene O\u2019Neill at the upper right, whose plays include characters on the fringes of society. Sloan\u2019s use of aquatint, a printmaking technique that creates tone in the image, adds to the smoky atmosphere of the late-night scene.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80056649"], "internet_archive": []}, "citations": [], "catalogue_raisonne": "Morse 186", "url": "https://clevelandart.org/art/1926.123", "images": {}, "alternate_images": [], "creditline": "Gift of Ralph King", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 108391, "creators": [{"id": 3285, "description": "John Sloan (American, 1871\u20131951)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1871", "death_year": "1951", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1926-06-04T00:00:00", "sortable_date": 1917, "date_added_to_oa": null, "date_text": "1917", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:48.677000"}, {"id": 134696, "accession_number": "1957.213", "share_license_status": "Copyrighted", "tombstone": "Rainy Night, c. 1910. John Sloan (American, 1871\u20131951). Monotype; platemark: 15 x 10.9 cm (5 7/8 x 4 5/16 in.); sheet: 21.5 x 14.6 cm (8 7/16 x 5 3/4 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland in tribute to Mr. and Mrs. Lewis B. Williams, 1957.213. \u00a9  Delaware Art Museum / Artists Rights Society (ARS), New York", "current_location": null, "title": "Rainy Night", "creation_date": "c. 1910", "creation_date_earliest": 1905, "creation_date_latest": 1915, "artists_tags": ["male"], "culture": ["America"], "technique": "monotype", "support_materials": [], "department": "Prints", "collection": "PR - Monotype", "type": "Print", "measurements": "Platemark: 15 x 10.9 cm (5 7/8 x 4 5/16 in.); Sheet: 21.5 x 14.6 cm (8 7/16 x 5 3/4 in.)", "dimensions": {"platemark": {"height": 0.15, "width": 0.109}, "sheet": {"height": 0.215, "width": 0.146}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  Delaware Art Museum / Artists Rights Society (ARS), New York", "inscriptions": [], "exhibitions": {"current": [{"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": 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": 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": 381923, "title": "Ashcan School Prints and the American City, 1900\u20131940", "description": "<i>Ashcan School Prints and the American City, 1900\u20131940</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 18-December 26, 2021).", "opening_date": "2021-07-17T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This image is a monotype, which is a unique image made from a printing plate.", "description": "For John Sloan, the city streets of New York City were like a continuous performance, full of impromptu sights and sounds. Here, he captured the sensory experience of a slick sidewalk on a rainy night as two women walk arm and arm with brownstones to their left. Sloan\u2019s diary records the night that this work may have been made, in April 1907, when, as he wrote, his teacher and friend Robert Henri \u201ccame to dinner in the evening and we had a little monotype fun with the etching press.\u201d Sloan\u2019s manipulation of the burgundy ink conveys a translucent, reflective effect.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80027262"], "internet_archive": []}, "citations": [], "catalogue_raisonne": "not in Morse", "url": "https://clevelandart.org/art/1957.213", "images": {}, "alternate_images": [], "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": 134696, "creators": [{"id": 3285, "description": "John Sloan (American, 1871\u20131951)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1871", "death_year": "1951", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1957-07-29T00:00:00", "sortable_date": 1905, "date_added_to_oa": null, "date_text": "c. 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": "2026-03-26 23:59:02.390000"}, {"id": 140107, "accession_number": "1964.115", "share_license_status": "Copyrighted", "tombstone": "Sixth Avenue and Thirtieth Street, 1908. John Sloan (American, 1871\u20131951). Lithograph; platemark: 35.3 x 27.8 cm (13 7/8 x 10 15/16 in.); sheet: 44.6 x 37.6 cm (17 9/16 x 14 13/16 in.). The Cleveland Museum of Art, Mr. and Mrs. Charles G. Prasse Collection, 1964.115. \u00a9  Delaware Art Museum / Artists Rights Society (ARS), New York", "current_location": null, "title": "Sixth Avenue and Thirtieth Street", "creation_date": "1908", "creation_date_earliest": 1908, "creation_date_latest": 1908, "artists_tags": ["male"], "culture": ["America"], "technique": "Lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Platemark: 35.3 x 27.8 cm (13 7/8 x 10 15/16 in.); Sheet: 44.6 x 37.6 cm (17 9/16 x 14 13/16 in.)", "dimensions": {"platemark": {"height": 0.353, "width": 0.278}, "sheet": {"height": 0.446, "width": 0.376}}, "state_of_the_work": "only state", "edition_of_the_work": null, "copyright": "\u00a9  Delaware Art Museum / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "In graphite, lower right, recto: \"John Sloan (signed)\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "In graphite, lower left, recto: \"Sixth Avenue & 27th Street\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "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": 309576, "title": "A Golden Age of American Printmaking", "description": "<i>A Golden Age of American Printmaking</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 12-April 11, 1982).", "opening_date": "1982-01-12T05:00:00"}, {"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": 310260, "title": "American Cities: The Artist's View", "description": "<i>American Cities: The Artist's View</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 17, 1989-January 7, 1990).", "opening_date": "1989-10-17T04:00:00"}, {"id": 381923, "title": "Ashcan School Prints and the American City, 1900\u20131940", "description": "<i>Ashcan School Prints and the American City, 1900\u20131940</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 18-December 26, 2021).", "opening_date": "2021-07-17T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In another state (version) of this lithograph, Sloan changed the woman\u2019s feet to protrude at a different angle.", "description": "The area around Sixth Avenue and Thirtieth Street, or the Tenderloin neighborhood of Manhattan, was the impoverished red-light and entertainment district of the city. In this image, John Sloan emphasized the contrast between a brightly dressed and feathered woman, heading out for the day, and the children on the street amid the general squalor of the area. The location and the children\u2019s stares suggest that the lady may be an employee of one of the many brothels in the neighborhood.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80037795"], "internet_archive": []}, "citations": [], "catalogue_raisonne": "Morse 142", "url": "https://clevelandart.org/art/1964.115", "images": {}, "alternate_images": [], "creditline": "Mr. and Mrs. Charles G. Prasse Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 140107, "creators": [{"id": 3285, "description": "John Sloan (American, 1871\u20131951)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1871", "death_year": "1951", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1964-05-06T00:00:00", "sortable_date": 1908, "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": [], "is_highlight": false, "updated_at": "2026-03-27 00:02:16.650000"}, {"id": 171284, "accession_number": "2014.11.a", "share_license_status": "Copyrighted", "tombstone": "Untitled, 1976. Robert Morris (American, 1931\u20132018). White felt, metal grommets; \"front\" piece of felt: one of two pieces of felt, one piece of string; overall: 144.8 x 289.6 cm (57 x 114 in.). The Cleveland Museum of Art, John L. Severance Fund, 2014.11.a. \u00a9  The Estate of Robert Morris / Artists Rights Society (ARS), New York", "current_location": null, "title": "Untitled", "creation_date": "1976", "creation_date_earliest": 1976, "creation_date_latest": 1976, "artists_tags": ["male"], "culture": ["America"], "technique": "white felt, metal grommets; \"front\" piece of felt: one of two pieces of felt, one piece of string", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Mixed Media", "measurements": "Overall: 144.8 x 289.6 cm (57 x 114 in.)", "dimensions": {"overall": {"height": 1.448, "width": 2.896}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  The Estate of Robert Morris / Artists Rights Society (ARS), New York", "inscriptions": [], "exhibitions": {"current": [{"id": 393229, "title": "Contemporary Installation", "description": "<i>Contemporary Installation</i>. The Cleveland Museum of Art (organizer).", "opening_date": "2021-04-12T04:00:00"}], "legacy": [{"description": "Black and White Felts. Castelli Gallery, New York City, NY (October 9 \u2013 30, 1976).", "opening_date": "1976-01-01T00:00:00"}, {"description": "Wall Sculptures. Castelli Gallery, New York City, NY (January 15 \u2013 February 23, 2008).", "opening_date": "2008-02-23T00:00:00"}, {"description": "Hanging Soft and Standing Hard. Spr\u00fcth Magers, London (May 3 \u2013 June 15, 2013).", "opening_date": "2013-06-15T00:00:00"}, {"description": "Contemporary Gallery 229 Rotation: October 28, 2014 -", "opening_date": "2014-10-28T00:00:00"}]}, "provenance": [{"description": "The artist's collection", "citations": [], "footnotes": null, "date": "1976\u20132014", "sortorder": 1}, {"description": "(Spr\u00fcth Magers, Berlin, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "2014", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2014\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In April 1968, Robert Morris published an article entitled \"Anti-Form\" in the prestigious international contemporary art magazine <em>Artforum</em>, coining the term and encouraging other artists to embrace the element of chance in their installations.", "description": "In this sculpture Robert Morris uses a large piece of industrial felt material, curling and affixing two corners to create a neat geometric form from the soft, heavy material. <em>Untitled </em>is part of a larger series of sculptures the artist created in the spirit of the \u201canti-form\u201d\u2014works that depart from the rigid, hard edges of Minimalist sculpture. Morris noted that \u201cFelt has anatomical associations, it relates to the body\u2014it\u2019s skinlike.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80081426"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2014.11.a", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 171284, "creators": [{"id": 42748, "description": "Robert Morris (American, 1931\u20132018)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1931", "death_year": "2018", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2014-06-02T00:00:00", "sortable_date": 1976, "date_added_to_oa": null, "date_text": "1976", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "2014.11", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-26 23:59:43.865000"}, {"id": 171285, "accession_number": "2014.11.b", "share_license_status": "Copyrighted", "tombstone": "Untitled, 1976. Robert Morris (American, 1931\u20132018). White felt, metal grommets; \"back\" piece of felt: one of two pieces of felt, one piece of string; overall: 144.8 x 289.6 cm (57 x 114 in.). The Cleveland Museum of Art, John L. Severance Fund, 2014.11.b. \u00a9  The Estate of Robert Morris / Artists Rights Society (ARS), New York", "current_location": null, "title": "Untitled", "creation_date": "1976", "creation_date_earliest": 1976, "creation_date_latest": 1976, "artists_tags": ["male"], "culture": ["America"], "technique": "white felt, metal grommets; \"back\" piece of felt: one of two pieces of felt, one piece of string", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Mixed Media", "measurements": "Overall: 144.8 x 289.6 cm (57 x 114 in.)", "dimensions": {"overall": {"height": 1.448, "width": 2.896}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  The Estate of Robert Morris / Artists Rights Society (ARS), New York", "inscriptions": [], "exhibitions": {"current": [{"id": 393229, "title": "Contemporary Installation", "description": "<i>Contemporary Installation</i>. The Cleveland Museum of Art (organizer).", "opening_date": "2021-04-12T04:00:00"}], "legacy": [{"description": "Black and White Felts. Castelli Gallery, New York City, NY (October 9 \u2013 30, 1976).", "opening_date": "1976-01-01T00:00:00"}, {"description": "Wall Sculptures. Castelli Gallery, New York City, NY (January 15 \u2013 February 23, 2008).", "opening_date": "2008-02-23T00:00:00"}, {"description": "Hanging Soft and Standing Hard. Spr\u00fcth Magers, London (May 3 \u2013 June 15, 2013).", "opening_date": "2013-06-15T00:00:00"}, {"description": "Contemporary Gallery 229 Rotation: October 28, 2014 -", "opening_date": "2014-10-28T00:00:00"}]}, "provenance": [{"description": "The artist's collection", "citations": [], "footnotes": null, "date": "1976\u20132014", "sortorder": 1}, {"description": "(Spr\u00fcth Magers, Berlin, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "2014", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2014\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In April 1968, Robert Morris published an article entitled \"Anti-Form\" in the prestigious international contemporary art magazine <em>Artforum</em>, coining the term and encouraging other artists to embrace the element of chance in their installations.", "description": "In this sculpture Robert Morris uses a large piece of industrial felt material, curling and affixing two corners to create a neat geometric form from the soft, heavy material. <em>Untitled </em>is part of a larger series of sculptures the artist created in the spirit of the \u201canti-form\u201d\u2014works that depart from the rigid, hard edges of Minimalist sculpture. Morris noted that \u201cFelt has anatomical associations, it relates to the body\u2014it\u2019s skinlike.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80081428"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2014.11.b", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 171285, "creators": [{"id": 42748, "description": "Robert Morris (American, 1931\u20132018)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1931", "death_year": "2018", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2014-06-02T00:00:00", "sortable_date": 1976, "date_added_to_oa": null, "date_text": "1976", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "2014.11", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:05:00.917000"}, {"id": 98001, "accession_number": "1917.630", "share_license_status": "CC0", "tombstone": "Dawn, 1912. Chester Beach (American, 1881\u20131956). Marble; overall: 55.3 cm (21 3/4 in.); without base: 35.6 cm (14 in.). The Cleveland Museum of Art, Anonymous Gift, 1917.630", "current_location": null, "title": "Dawn", "creation_date": "1912", "creation_date_earliest": 1912, "creation_date_latest": 1912, "artists_tags": ["male"], "culture": ["America"], "technique": "marble", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Sculpture", "type": "Sculpture", "measurements": "Overall: 55.3 cm (21 3/4 in.); without base: 35.6 cm (14 in.)", "dimensions": {"overall": {"height": 0.553}, "without base": {"height": 0.356}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed on side: CB (monogram) Roma 1912", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 312457, "title": "Sculpture of Our Time", "description": "<i>Sculpture of Our Time</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 5-December 5, 1937).", "opening_date": "1937-11-05T05:00:00"}, {"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"}, {"id": 224526, "title": "Rodin and America: Influence and Adaptation 1876-1936", "description": "<i>Rodin and America: Influence and Adaptation 1876-1936</i>. Cantor Center for Visual Arts at Stanford University (organizer) (October 5, 2011-January 1, 2012).", "opening_date": "2011-10-05T00:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Chester Beach traded two of his sculptures to a farmer in Brewster, NY, obtaining land where he built his studio and a summer home.", "description": "Created while Chester Beach was living in Rome, <em>Dawn</em> features a nude man on horseback against a background of human forms emerging from a cloud of rolling mist. Although carved in the round from a block of marble, the sculpture has one primary view.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79482946"], "internet_archive": ["https://archive.org/details/clevelandart-1917.630-dawn"]}, "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. #30, p. 34, repr.", "url": null}, {"citation": "Barryte, Bernard, and Roberta K. Tarbell. Rodin and America: Influence and Adaptation, 1876-1936. Stanford, CA: Iris &amp; B. Gerald Cantor Center for Visual Arts, Stanford University, 2011.", "page_number": "cat. no. 89, p. 128-129.", "url": null}, {"citation": "\"Accessions.\" <em>The Bulletin of the Cleveland Museum of Art</em> 4, no. 4 (1917): 64-67.", "page_number": "Mentioned: p. 64", "url": "http://www.jstor.org/stable/25136092"}], "url": "https://clevelandart.org/art/1917.630", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1917.630/1917.630_web.jpg", "width": "668", "height": "893", "filesize": "272452", "filename": "1917.630_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1917.630/1917.630_print.jpg", "width": "2545", "height": "3400", "filesize": "4381316", "filename": "1917.630_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1917.630/1917.630_full.tif", "width": "4992", "height": "6668", "filesize": "99886904", "filename": "1917.630_full.tif"}}, "alternate_images": [{"date_created": "2010-12-07T13:18:13", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.630/1917.630_alt0_web.jpg", "width": "668", "height": "893", "filesize": "274778"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.630/1917.630_alt0_print.jpg", "width": "2545", "height": "3400", "filesize": "4437637"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.630/1917.630_alt0_full.tif", "width": "4992", "height": "6668", "filesize": "99886820"}}, {"date_created": "2010-12-07T13:26:40", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.630/1917.630_alt1_web.jpg", "width": "616", "height": "893", "filesize": "265368"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.630/1917.630_alt1_print.jpg", "width": "2345", "height": "3400", "filesize": "4317931"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.630/1917.630_alt1_full.tif", "width": "3829", "height": "5550", "filesize": "63779588"}}, {"date_created": "2010-12-07T13:38:41", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.630/1917.630_alt2_web.jpg", "width": "684", "height": "893", "filesize": "334846"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.630/1917.630_alt2_print.jpg", "width": "2604", "height": "3400", "filesize": "5381659"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.630/1917.630_alt2_full.tif", "width": "4254", "height": "5554", "filesize": "70907460"}}, {"date_created": "2010-12-07T13:47:31", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.630/1917.630_alt3_web.jpg", "width": "580", "height": "893", "filesize": "251909"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.630/1917.630_alt3_print.jpg", "width": "2208", "height": "3400", "filesize": "4104640"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.630/1917.630_alt3_full.tif", "width": "3719", "height": "5725", "filesize": "63900360"}}], "creditline": "Anonymous Gift", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 98001, "creators": [{"id": 17226, "description": "Chester Beach (American, 1881\u20131956)", "extent": null, "qualifier": null, "role": "sculptor", "biography": null, "name_in_original_language": null, "birth_year": "1881", "death_year": "1956", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1917-04-27T00:00:00", "sortable_date": 1912, "date_added_to_oa": null, "date_text": "1912", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:07:18.053000"}, {"id": 117618, "accession_number": "1938.272", "share_license_status": "Copyrighted", "tombstone": "Karamu House, No. 1, 1938. Richard Beatty (American, 1899\u20131961). Lithograph; image: 22.5 x 28.7 cm (8 7/8 x 11 5/16 in.); sheet: 33 x 45.7 cm (13 x 18 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1938.272", "current_location": null, "title": "Karamu House, No. 1", "creation_date": "1938", "creation_date_earliest": 1938, "creation_date_latest": 1938, "artists_tags": ["May Show", "male"], "culture": ["America, Ohio, Cleveland"], "technique": "lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image: 22.5 x 28.7 cm (8 7/8 x 11 5/16 in.); Sheet: 33 x 45.7 cm (13 x 18 in.)", "dimensions": {"image": {"height": 0.225, "width": 0.287}, "sheet": {"height": 0.33, "width": 0.457}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed, lower left margin, in graphite: 12/35; lower right margin, in graphite: R.R. Beatty - '38", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 382029, "title": "The May Show: 20th Annual Exhibition of Works by Cleveland Artists and Craftsmen", "description": "<i>The May Show: 20th Annual Exhibition of Works by Cleveland Artists and Craftsmen</i>. The Cleveland Museum of Art (organizer) (May 4-June 12, 1938).", "opening_date": "1938-05-04T04:00:00"}, {"id": 345621, "title": "May Show Prints: Purchases for 1936-1938", "description": "<i>May Show Prints: Purchases for 1936-1938</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 9-December 4, 1938).", "opening_date": "1938-11-09T05:00:00"}, {"id": 667699, "title": "Karamu Artists Inc.: Printmaking, Race, and Community", "description": "<i>Karamu Artists Inc.: Printmaking, Race, and Community</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 23-August 17, 2025).", "opening_date": "2025-03-23T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Artist William E. Smith is visible in the background of this print wearing a white three-piece suit.", "description": "Here, Karamu printmaking instructor Richard Beatty offered a view of the studio art program that was established in 1928. This image shows men, women, and children engaged in art making. Although more than 100 community art centers were founded throughout the United States in the Works Progress Administration era (1935\u201343), during which they received federal funding, Karamu\u2019s program was distinctive in its nonhierarchical structure. Rather than being given formal instruction, adults and children learned by working alongside a practicing artist, such as William E. Smith.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80012233"], "internet_archive": []}, "citations": [{"citation": "", "page_number": "", "url": ""}, {"citation": "Richard Beatty Entry Card to 1938 May Show. Cleveland Museum of Art May Show Records, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/CMAMS04607/"}, {"citation": "Salsbury, Britany, and Erin E. Benay. <em>Karamu Artists Inc.: Printmaking, Race, and Community</em>. Cleveland, OH: Cleveland Museum of Art, 2025.", "page_number": "Reproduced: p. 118, no. 54", "url": ""}], "url": "https://clevelandart.org/art/1938.272", "images": {}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 117618, "creators": [{"id": 14153, "description": "Richard Beatty (American, 1899\u20131961)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1899", "death_year": "1961", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1938-06-03T00:00:00", "sortable_date": 1938, "date_added_to_oa": null, "date_text": "1938", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Playhouse Settlement, No. 1 - Drawing"], "is_highlight": false, "updated_at": "2026-03-27 00:06:25.888000"}, {"id": 119964, "accession_number": "1940.76", "share_license_status": "Copyrighted", "tombstone": "Sharecropper, 1940. William E. Smith (American, 1913\u20131997). Linocut; image: 20.4 x 15.4 cm (8 1/16 x 6 1/16 in.); sheet: 28.6 x 23.8 cm (11 1/4 x 9 3/8 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1940.76. \u00a9 William E. Smith", "current_location": null, "title": "Sharecropper", "creation_date": "1940", "creation_date_earliest": 1940, "creation_date_latest": 1940, "artists_tags": ["Black American Artists", "May Show", "male"], "culture": ["America, Ohio, Cleveland"], "technique": "linocut", "support_materials": [], "department": "Prints", "collection": "PR - Linocut", "type": "Print", "measurements": "Image: 20.4 x 15.4 cm (8 1/16 x 6 1/16 in.); Sheet: 28.6 x 23.8 cm (11 1/4 x 9 3/8 in.)", "dimensions": {"image": {"height": 0.204, "width": 0.154}, "sheet": {"height": 0.286, "width": 0.238}}, "state_of_the_work": null, "edition_of_the_work": "10", "copyright": "\u00a9 William E. Smith", "inscriptions": [{"inscription": "inscribed, lower left margin, in graphite: \"SHARE CROPPER\"; lower right margin, in graphite: William E. Smith 1940", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 382031, "title": "The May Show: 22nd Annual Exhibition of Works by Cleveland Artists and Craftsmen", "description": "<i>The May Show: 22nd Annual Exhibition of Works by Cleveland Artists and Craftsmen</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 1-June 9, 1940).", "opening_date": "1940-05-01T04:00:00"}, {"id": 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": 667699, "title": "Karamu Artists Inc.: Printmaking, Race, and Community", "description": "<i>Karamu Artists Inc.: Printmaking, Race, and Community</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 23-August 17, 2025).", "opening_date": "2025-03-23T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The artist wrote that he made this image hoping to \u201cwaken the people to the waste of the sharecropper system.\u201d", "description": "This print by William E. Smith was one of the first by any Black American artist to enter the CMA\u2019s collection. It was purchased from the museum\u2019s May Show, an annual exhibition highlighting regional contemporary art. Karamu Artists Inc. used this juried display to establish a reputation locally that they were then able to leverage into further opportunities. The praise that their prints received was widely noted at a time when Black artists were otherwise unrepresented in museums; as a critic for Cleveland\u2019s historically Black newspaper, the <em>Call and Post</em>, noted, \u201cA feeling of deep racial pride was mine as I noticed the names of [members of Karamu Artists Inc. in the galleries].\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80015307"], "internet_archive": []}, "citations": [{"citation": "William E. Smith Entry Card to 1940 May Show. Cleveland Museum of Art May Show Records, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/CMAMS05649/"}, {"citation": "Robinson, William H., et. al. <em>Transformations in Cleveland Art, 1796-1946: Community and Diversity in Early Modern America</em>. Cleveland, Ohio: Cleveland Museum of Art, 1996.", "page_number": "Mentioned and Reproduced: p. 190-191, fig.196; Mentioned: p. 250, no. 182", "url": ""}, {"citation": "Salsbury, Britany, and Erin E. Benay. <em>Karamu Artists Inc.: Printmaking, Race, and Community</em>. Cleveland, OH: Cleveland Museum of Art, 2025.", "page_number": "Reproduced: p. 48, no. 18", "url": ""}], "catalogue_raisonne": "Teller 18; Salsbury, Benay, and Kruse 110", "url": "https://clevelandart.org/art/1940.76", "images": {}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 119964, "creators": [{"id": 7978, "description": "William E. Smith (American, 1913\u20131997)", "extent": null, "qualifier": null, "role": "artist", "biography": "A highly skilled printmaker, William Elijah Smith specialized in genre scenes of working-class African-American life in Cleveland. Born in Chattanooga, Smith moved to Cleveland at the age of 13 and became involved with Karamu House, learning print making and stage design. He studied art at the Huntington Polytechnic Institute, 1933\u201334. During this time he began teaching at Karamu House and continued to do so until 1940. In 1941 he won the art competition for presenting one of his prints to the Library of Congress for its permanent collection. Smith exhibited at the Connecticut Academy of Fine Arts in Hartford (1935), in the annual May Shows at the Cleveland Museum of Art (1936\u2013 49), at the Associated American Artists Galleries of New York (1942), and at Atlanta University (1942). During World War II, he served as a photographer in the army\u2019s educational department. After the war, he returned to Cleveland and established a commercial silkscreening studio. In 1946 the Lyman Brothers\u2019 Gallery in Indianapolis mounted his first solo exhibition. From 1946 to 1948 he studied painting and printmaking at the Cleveland School of Art and the Cooper School of Art. In the late 1940s Smith moved to Los Angeles, where he associated with Curtis Tann, a former colleague from Karamu House. With Tann, Smith cofounded the Eleven Associated Artists Gallery, the first Los Angeles gallery devoted specifically to African art. In 1952 Smith was hired to work as a blueprint draftsman at Lockheed Aircraft, beginning a long association with the corporation. In 1960 he cofounded Art West Associated, an African-American artists\u2019 advocacy organization in Los Angeles. In 1970 he published illustrations of subjects from African-American history for Cleveland\u2019s New Day Press. Smith\u2019 s works were displayed ins numerous group exhibitions in the Los Angeles area (1960s\u201380s).<br><em>Transformations in Cleveland Art.</em> (CMA, 1996), p. 238", "name_in_original_language": null, "birth_year": "1913", "death_year": "1997", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1940-04-29T00:00:00", "sortable_date": 1940, "date_added_to_oa": null, "date_text": "1940", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:38.080000"}, {"id": 125200, "accession_number": "1947.170", "share_license_status": "Copyrighted", "tombstone": "Carnival Figure, 1930. Giacomo Cappellin (Italian, 1887\u20131968). Glass; overall: 24.2 x 13.4 x 11.5 cm (9 1/2 x 5 1/4 x 4 1/2 in.). The Cleveland Museum of Art, The Mary Spedding Milliken Memorial Collection, Gift of William Mathewson Milliken, 1947.170", "current_location": null, "title": "Carnival Figure", "creation_date": "1930", "creation_date_earliest": 1930, "creation_date_latest": 1930, "artists_tags": ["male"], "culture": ["Italy, Venice"], "technique": "glass", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Glass", "measurements": "Overall: 24.2 x 13.4 x 11.5 cm (9 1/2 x 5 1/4 x 4 1/2 in.)", "dimensions": {"overall": {"height": 0.242, "width": 0.134, "depth": 0.115}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 301171, "title": "Venetian Decorative Arts", "description": "<i>Venetian Decorative Arts</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 2, 1956-January 9, 1957).", "opening_date": "1956-11-02T04:00:00"}, {"id": 309667, "title": "Circa 1930", "description": "<i>Circa 1930</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 12-October 31, 1983).", "opening_date": "1983-04-12T05:00:00"}, {"id": 200463, "title": "The Jazz Age: American Style in the 1920s", "description": "<i>The Jazz Age: American Style in the 1920s</i>. Cooper Hewitt, Smithsonian Design Museum, New York, NY (April 7-August 20, 2017); The Cleveland Museum of Art, Cleveland, OH (organizer) (September 30, 2017-January 14, 2018).", "opening_date": "2017-04-07T00:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": ["2735.1938", "2218.1941"], "did_you_know": "Flecks of pure gold leaf provide the sparkle in this figure's voluminous costume.", "description": "A former antiques dealer, Giacomo Cappellin joined forces with master Venetian glassblower Paolo Venini to form a glass company in Murano in 1921. Using historic techniques, Cappellin produced whimsical figures based on the carnival in Venice.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79903535"], "internet_archive": []}, "citations": [{"citation": null, "page_number": null, "url": null}, {"citation": "Coffin, Sarah D., and Stephen Harrison. <em>The Jazz Age: American style in the 1920s. </em>Cleveland: Cleveland Museum of Art, 2017.", "page_number": "Reproduced: fig. 101, p. 71; Mentioned: p. 70", "url": ""}, {"citation": "Barovier, Marino and Carla Sonego. <em>The M.V.M. Cappellin Glassworks and the Young Carlo Scarpa: 1925-1931</em>. Milan: Skira editore S.p.A.; New York : ARTBOOK / D.A.P., 2018.", "page_number": "Reproduced: p. 461", "url": null}], "url": "https://clevelandart.org/art/1947.170", "images": {}, "alternate_images": [], "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": 125200, "creators": [{"id": 16397, "description": "Giacomo Cappellin (Italian, 1887\u20131968)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1887", "death_year": "1968", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1947-07-18T00:00:00", "sortable_date": 1930, "date_added_to_oa": null, "date_text": "1930", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:02:46.441000"}, {"id": 130883, "accession_number": "1953.580", "share_license_status": "Copyrighted", "tombstone": "Beech Tree, 1919. Charles Burchfield (American, 1893\u20131967). Indelible pencil with touches of purple crayon on wove paper, lined; sheet: 35.3 x 27.7 cm (13 7/8 x 10 7/8 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1953.580. Reproduced with permission from the Charles E. Burchfield Foundation", "current_location": null, "title": "Beech Tree", "creation_date": "1919", "creation_date_earliest": 1919, "creation_date_latest": 1919, "artists_tags": ["May Show", "male", "Cleveland Institute of Art (alumni)"], "culture": ["America"], "technique": "Indelible pencil with touches of purple crayon on wove paper, lined", "support_materials": [], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Sheet: 35.3 x 27.7 cm (13 7/8 x 10 7/8 in.)", "dimensions": {"sheet": {"height": 0.353, "width": 0.277}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "Reproduced with permission from the Charles E. Burchfield Foundation", "inscriptions": [], "exhibitions": {"current": [{"id": 311926, "title": "The Drawings of Charles E. Burchfield", "description": "<i>The Drawings of Charles E. Burchfield</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 4, 1953-January 10, 1954).", "opening_date": "1953-11-04T05:00:00"}, {"id": 338569, "title": "The Nature of Charles Burchfield: A Memorial Exhibition, 1893\u20131967, Paints, Drawings, Prints", "description": "<i>The Nature of Charles Burchfield: A Memorial Exhibition, 1893\u20131967, Paints, Drawings, Prints</i>. Munson Museum of Art, Utica, NY (organizer) (April 3-June 14, 1970).", "opening_date": "1970-04-03T05:00:00"}, {"id": 313096, "title": "Charles Burchfield: The Ohio Landscapes, 1915\u20131920", "description": "<i>Charles Burchfield: The Ohio Landscapes, 1915\u20131920</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 22, 2018-May 5, 2019).", "opening_date": "2018-12-22T05:00:00"}], "legacy": []}, "provenance": [{"description": "Charles Burchfield [1893-1967], Buffalo, NY, sold to the Print Club of Cleveland as a gift for the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1919-1953", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1953-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Burchfield considered his indelible pencil drawings private works; they were shown to the public for the first time in the CMA's 1953 exhibition <em>The Drawings of Charles E. Burchfield</em>.", "description": "Burchfield returned to his job as a clerk in the cost department at a metal fabricating plant after he was released from the armed forces in 1919. Although he continued to work primarily in watercolor in his free time, he also experimented briefly with indelible pencil\u2014a tool containing purple dye in addition to graphite, typically used for copying documents. Burchfield likely used the pencil at work, but enjoyed the effects he could achieve while drawing with it. In works such as this sketch of a massive tree, he drew on a wet sheet of paper, allowing the pencil\u2019s dye to faintly bleed in a way that evoked watercolor.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60781228"], "internet_archive": []}, "citations": [{"citation": "Prasse, Leona E. T<em>he Drawings of Charles E. Burchfield</em>. Exh. Cat. Cleveland: Cleveland Museum of Art,1953.", "page_number": "Mentioned: p. 8, no. 46; Reproduced: plate VII", "url": null}, {"citation": "Trovato, Joseph S. <em>The Nature of Charles Burchfield: A Memorial Exhibition, 1893\u20131967, Paints, Drawings, Prints</em>. Exh. Cat. Utica, NY: Museum of Art, Munson-Williams-Proctor Institute, 1970.", "page_number": "Mentioned: no. 318", "url": null}, {"citation": "Prasse, Leona E. \"An Exhibition of the Drawings of Charles E. Burchfield.\" <em>The Bulletin of the Cleveland Museum of Art</em> 40, no. 9 (1953)", "page_number": "p. 203-07", "url": "www.jstor.org/stable/25141912"}], "url": "https://clevelandart.org/art/1953.580", "images": {}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 130883, "creators": [{"id": 3989, "description": "Charles Burchfield (American, 1893\u20131967)", "extent": null, "qualifier": null, "role": "artist", "biography": "Charles Burchfield was among the most original and poetic painters of the Cleveland modernist movement. Born in Ashtabula, he moved to Salem, Ohio, following the death of his father in 1898. After graduating from high school, he attended Cleveland School of Art, studying with William Eastman, Frederick Gottwald, Henry Keller, and Frank Wilcox. In 1914 Burchfield began attending Kokoon Klub exhibitions, and in spring 1915 he went to Brandywine to meet William Sommer. Around this time Burchfild began experimenting with the brilliant colors and simplified forms of the Berlin Heights painters. He painted his first mature works in 1915, and grad ed from the Cleveland School of Art with a degree in illustration the following spring. That summer the Cleveland School of Art sponsored his first solo exhibition, and in the fall, after attending the National Academy of Design in New York for one month, he returned to Salem. In February 1917 the Cleveland School of Art mounted his second solo exhibition. Burchfield was inducted into the army that summer. After his return in 1919 he exhibited with other Cleveland modernists at the Play House, Laukhuff\u2019 s Book store, and other Cleveland venues. In 1921 he went on an extended sketching trip through eastern Ohio with Keller, Wilcox, and Paul Travis, exhibiting these recent paintings at the Cleveland School of Art and in the May Show at the Cleveland Museum of Art. Later that year he moved to Buffalo to work as a wallpaper designer, a position he retained until he resigned in 1929 to become a full-time painter. Over the next 30 years he exhibited extensively at museums and galleries across the country. Solo exhibitions of his paintings were held at New York\u2019s Museum of Modern Art (1930), Pittsburgh\u2019 s Carnegie Institute of Art (1935, 1938, 1946), and Buffalo\u2019 s Albright-Knox Art Gallery (1944, 1955, 1963, 1967). In 1953 New York\u2019s Whitney Museum of American Art organized a major exhibition that traveled to the Cleveland Museum of Art. Burchfield died in West Seneca, New York. <br>\"Transformations in Cleveland Art\" (CMA, 1996), p. 224", "name_in_original_language": null, "birth_year": "1893", "death_year": "1967", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1953-12-15T00:00:00", "sortable_date": 1919, "date_added_to_oa": null, "date_text": "1919", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:11.072000"}, {"id": 132089, "accession_number": "1954.651", "share_license_status": "CC0", "tombstone": "And Now They Never Meet in Grove or Green, 1908. Arthur Rackham (British, 1867\u20131939). Pen and black ink and watercolor with scraping and minute touches of white gouache on artist's illustration board; sheet: 38.6 x 27 cm (15 3/16 x 10 5/8 in.). The Cleveland Museum of Art, Gift of Mrs. Don Hunter, 1954.651", "current_location": null, "title": "And Now They Never Meet in Grove or Green", "creation_date": "1908", "creation_date_earliest": 1908, "creation_date_latest": 1908, "artists_tags": ["male"], "culture": ["England, 20th century"], "technique": "pen and black ink and watercolor with scraping and minute touches of white gouache on artist's illustration board", "support_materials": [{"description": "artist\u2019s illustration board", "watermarks": []}], "department": "Drawings", "collection": "DR - British", "type": "Drawing", "measurements": "Sheet: 38.6 x 27 cm (15 3/16 x 10 5/8 in.)", "dimensions": {"sheet": {"height": 0.386, "width": 0.27}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed and dated, in pen and black ink, at lower right: Arthur Rackham 08", "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": 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": []}, "provenance": [{"description": "Mrs. Don Hunter, Albany, GA, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "?-1954", "sortorder": null}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1954-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Arthur Rackham was one of the first book illustrators to take advantage of color halftone printing, augmenting his ink drawings with subtle washes of transparent hues.", "description": "This drawing is one of 40 made by Arthur Rackham to illustrate William Shakespeare's comedy <em>A Midsummer Night's Dream</em>. It depicts the confrontation between Oberon and Titania, king and queen of the fairies, that takes place in the woods outside of Athens in act 2, scene 1. The artist painted a stormy sky looming over the magical couple to echo the story's mood. Rackham worked during a golden age of book illustration in England, around the turn of the 20th century, and the images he produced for literary works influenced future productions of Shakespeare's work.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80023780"], "internet_archive": ["https://archive.org/details/clevelandart-1954.651-and-now-they-never-m"]}, "citations": [{"citation": "Shakespeare, William. <em>A Midsummer Night's Dream: With Illustrations by Arthur Rackham, R.W.S. </em>London: William Heinemann, 1908.", "page_number": null, "url": null}, {"citation": "Shakespeare, William. <em>A Midsummer Night's Dream</em>. Mineola, NY: Dover, 2003.", "page_number": "Reproduced: p. 32", "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. 136-37, 147, no. 47; Reproduced: p. 137", "url": null}], "url": "https://clevelandart.org/art/1954.651", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1954.651/1954.651_web.jpg", "width": "630", "height": "893", "filesize": "151868", "filename": "1954.651_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1954.651/1954.651_print.jpg", "width": "2400", "height": "3400", "filesize": "2159639", "filename": "1954.651_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1954.651/1954.651_full.tif", "width": "4459", "height": "6316", "filesize": "84533084", "filename": "1954.651_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1954.651/1954.651_alt0_web.jpg", "width": "637", "height": "893", "filesize": "467020"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1954.651/1954.651_alt0_print.jpg", "width": "1462", "height": "2048", "filesize": "2438874"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1954.651/1954.651_alt0_full.tif", "width": "1462", "height": "2048", "filesize": "8985988"}}], "creditline": "Gift of Mrs. Don Hunter", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 132089, "creators": [{"id": 1340, "description": "Arthur Rackham (British, 1867\u20131939)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1867", "death_year": "1939", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1954-12-04T00:00:00", "sortable_date": 1908, "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": ["Titania and Oberon"], "is_highlight": false, "updated_at": "2026-03-27 00:10:24.022000"}, {"id": 155924, "accession_number": "1991.214", "share_license_status": "Copyrighted", "tombstone": "Plate Roll Prop, 1969. Richard Serra (American, 1938\u20132024). Lead; roll: 147.3 x 9 cm (58 x 3 9/16 in.); flat plate: 116.8 x 121.9 x 1.9 cm (46 x 48 x 3/4 in.). The Cleveland Museum of Art, Seventy-fifth anniversary gift of Agnes Gund, 1991.214. \u00a9 Richard Serra / Artists Rights Society (ARS), New York", "current_location": null, "title": "Plate Roll Prop", "creation_date": "1969", "creation_date_earliest": 1969, "creation_date_latest": 1969, "artists_tags": ["male", "Jewish artists"], "culture": ["America"], "technique": "lead", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Sculpture", "type": "Sculpture", "measurements": "Roll: 147.3 x 9 cm (58 x 3 9/16 in.); Flat plate: 116.8 x 121.9 x 1.9 cm (46 x 48 x 3/4 in.)", "dimensions": {"roll": {"width": 1.473, "depth": 0.09}, "flat plate": {"height": 1.168, "width": 1.219, "depth": 0.019}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Richard Serra / Artists Rights Society (ARS), New York", "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>Nine Young Artists: Theodoron Awards. </em>Solomon R. Guggenheim Museum, New York, NY, 1969.", "opening_date": "1969-01-01T00:00:00"}, {"description": "<em>Group Show: Richard Serra, Joel Shapiro, Neil Jenny and Bruce Nauman</em>. Blum Helman Gallery, New York, NY, 1978.", "opening_date": "1978-01-01T00:00:00"}]}, "provenance": [{"description": "Collection of the artist", "citations": [], "footnotes": [], "date": "1969-?", "sortorder": 1}, {"description": "(Blum Helman Gallery, New York, NY, 1978)", "citations": [], "footnotes": [], "date": "1978", "sortorder": 2}, {"description": "Agnes Gund, New York, NY, given to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "?\u20131991", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1991\u2013", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": ["723.1983"], "did_you_know": "By rolling, bending, and flattening, Serra is interested in exploring the physical properties of mass, weight, and volume, and converts industrial materials into sculpture.", "description": "A lead plate, bent at a 45-degree angle, leans against the wall and supports the weight of a tightly rolled tube. Serra preferred lead for its suggestion of heavy industry, its softness, and its lack of sheen. The downward pull of gravity and the simple logic of the engineering keep the metal in place and emphasize the weight and density of Serra\u2019s chosen material. Seventy-fifth anniversary gift of Agnes Gund 1991.214", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79944568"], "internet_archive": []}, "citations": [{"citation": null, "page_number": null, "url": null}, {"citation": "Krauss, Rosalind E., Richard Serra, Laura Rosenstock, and Douglas Crimp. <em>Richard Serra: Sculpture</em>. New York: Museum of Modern Art, 1986.", "page_number": "Reproduced: p. 71", "url": "https://ingallslibrary.on.worldcat.org/oclc/13516127"}, {"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": "Reproduced: p. 51; mentioned: p. 67, no. 59.", "url": "http://www.jstor.org/stable/25161388"}], "url": "https://clevelandart.org/art/1991.214", "images": {}, "alternate_images": [], "creditline": "Seventy-fifth anniversary gift of Agnes Gund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 155924, "creators": [{"id": 3953, "description": "Richard Serra (American, 1938\u20132024)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1938", "death_year": "2024", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1991-12-16T00:00:00", "sortable_date": 1969, "date_added_to_oa": null, "date_text": "1969", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "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 23:59:22.061000"}, {"id": 157015, "accession_number": "1993.164", "share_license_status": "Copyrighted", "tombstone": "Oblation, 1990. Francesco Clemente (Italian, b. 1952). Oil and tempera on linen; framed: 201.3 x 274.5 x 4.8 cm (79 1/4 x 108 1/16 x 1 7/8 in.); unframed: 200.7 x 274.3 cm (79 x 108 in.). The Cleveland Museum of Art, Dorothea Wright Hamilton Fund, 1993.164. \u00a9 Francesco Clemente, Courtesy: Mary Boone Gallery, New York", "current_location": null, "title": "Oblation", "creation_date": "1990", "creation_date_earliest": 1990, "creation_date_latest": 1990, "artists_tags": ["male"], "culture": ["Italy, 20th century"], "technique": "oil and tempera on linen", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "measurements": "Framed: 201.3 x 274.5 x 4.8 cm (79 1/4 x 108 1/16 x 1 7/8 in.); Unframed: 200.7 x 274.3 cm (79 x 108 in.)", "dimensions": {"framed": {"height": 2.013, "width": 2.745, "depth": 0.048}, "unframed": {"height": 2.007, "width": 2.743}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Francesco Clemente, Courtesy: Mary Boone Gallery, New York", "inscriptions": [], "exhibitions": {"current": [{"id": 399556, "title": "Francesco Clemente Retrospective: Two Horizons", "description": "<i>Francesco Clemente Retrospective: Two Horizons</i>. Sezon Museum of Art, Japan (organizer) (August 12-October 16, 1994).", "opening_date": "1994-08-12T04:00:00"}, {"id": 222111, "title": "Francesco Clemente:  A Retrospective", "description": "<i>Francesco Clemente:  A Retrospective</i>. Solomon R. Guggenheim Museum, New York, NY (organizer) (October 7, 1999-January 9, 2000); Museo Guggenheim Bilbao, 48001 Bilbao, Spain (February 14-June 4, 2000).", "opening_date": "1999-10-07T00:00:00"}], "legacy": [{"description": "Tokyo, Japan, Sezon Museum of Art, August 12 - October 16, 1994: \"Francesco Clemente Retrospective: Two Horizons,\" cat. no 69, pp. 138-139, repr. color.", "opening_date": "1994-08-12T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Clemente created over 200 paintings for film director Alfonso Cuar\u00f3n\u2019s <em>Great Expectations</em> (1998).", "description": "Hinduism is the predominant religion in India, where Francesco Clemente has spent considerable time over the past two decades. In Oblation, which means a religious offering, he combines the simplified forms and large scale of contemporary western painting with elements of Hindu culture. The figure in the complicated pose at the top of the painting is practicing yoga, the physical and mental discipline that leads to the union of body and soul. The animals below symbolize some of the creative spiritual forces in Indian mythology. The elephant suggests wisdom and longevity; the cow may signifiy motherhood and purity; the horse often represents military power; and Varuna, the Hindu god of water, rides a crocodile. The mystical combination suggests the sacred harmony that results when humans show respect for animals.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60476992"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art, \u201cArt Museum Acquires Two Exceptional Works,\u201d December 20, 1993, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr3848"}, {"citation": "\"1993 Annual Report.\" <em>The Bulletin of the Cleveland Museum of Art</em> 81, no. 6 (1994): 143-218.", "page_number": "Reproduced: p. 162", "url": "https://www.jstor.org/stable/25161457"}, {"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"}], "url": "https://clevelandart.org/art/1993.164", "images": {}, "alternate_images": [], "creditline": "Dorothea Wright Hamilton Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 157015, "creators": [{"id": 3408, "description": "Francesco Clemente (Italian, b. 1952)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1952", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1993-12-06T00:00:00", "sortable_date": 1990, "date_added_to_oa": null, "date_text": "1990", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:36.205000"}, {"id": 157674, "accession_number": "1995.173", "share_license_status": "Copyrighted", "tombstone": "Queen, 1960. Dorothy Dehner (American, 1901\u20131994). Bronze; overall: 101.6 x 20.3 x 19.7 cm (40 x 8 x 7 3/4 in.). The Cleveland Museum of Art, Gift of the Dorothy Dehner Foundation for the Visual Arts, 1995.173", "current_location": null, "title": "Queen", "creation_date": "1960", "creation_date_earliest": 1960, "creation_date_latest": 1960, "artists_tags": ["female"], "culture": ["America"], "technique": "bronze", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Sculpture", "type": "Sculpture", "measurements": "Overall: 101.6 x 20.3 x 19.7 cm (40 x 8 x 7 3/4 in.)", "dimensions": {"overall": {"height": 1.016, "width": 0.203, "depth": 0.197}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": [{"description": "<em>Dorothy Dehner: Drawings, Prints, Sculpture,</em> Cleveland Museum of Art (July 11\u2013November 5, 1995).", "opening_date": "1995-01-01T00:00:00"}, {"description": "<em>Dorothy Dehner: Sixty Years of Art. </em>Katonah Museum of Art, Katonah, NY (June 13\u2013September 5, 1993; The Hyde Collection, Glens Falls, NY, October 16\u2013November 28, 1993; Corcoran Gallery of Art, Washington, DC, December 18, 1993\u2013March 7, 1994).", "opening_date": null}, {"description": "<em>Dorothy Dehner: A Retrospective of Sculpture, Drawings, and Paintings. </em>Baruch College Gallery (March 15\u2013April 16, 1991).", "opening_date": null}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": ["661.1995"], "did_you_know": "Dorothy Dehner was born in Cleveland.", "description": "A solid piece of cast bronze, Dorothy Dehner\u2019s <em>Queen</em> has a columnlike composition. Each of its sides has a unique arrangement of forms. Although abstract, the sculpture possesses a powerful bearing befitting its title.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79974762"], "internet_archive": []}, "citations": [{"citation": "Joan M. Marter, <em>Dorothy Dehner : Sixty Years of Art, </em>exh. cat.<em> </em>Katonah, N.Y.: Katonah Museum of Art, 1993.", "page_number": "Reproduced p. 41.", "url": ""}, {"citation": "Joan Marter and Sandra Kraskin, <em>Dorothy Dehner: A Retrospective of Sculpture, Drawings, and Paintings, </em>exh. cat. New York: Baruch College Gallery, New York, NY, 1991.", "page_number": "Cat. no. 38.", "url": ""}, {"citation": "", "page_number": "", "url": ""}], "url": "https://clevelandart.org/art/1995.173", "images": {}, "alternate_images": [], "creditline": "Gift of the Dorothy Dehner Foundation for the Visual Arts", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 157674, "creators": [{"id": 3980, "description": "Dorothy Dehner (American, 1901\u20131994)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1901", "death_year": "1994", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1995-12-04T00:00:00", "sortable_date": 1960, "date_added_to_oa": null, "date_text": "1960", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:04:52.290000"}, {"id": 126216, "accession_number": "1948.437", "share_license_status": "Copyrighted", "tombstone": "Merry-Go-Round, 1930. Reginald Marsh (American, born France, 1898\u20131954). Etching; platemark: 17.5 x 24.8 cm (6 7/8 x 9 3/4 in.); sheet: 21.4 x 29.4 cm (8 7/16 x 11 9/16 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1948.437. \u00a9 Estate of Reginald Marsh / Art Students League, New York / Artists Rights Society (ARS), New   \r\n    York", "current_location": null, "title": "Merry-Go-Round", "creation_date": "1930", "creation_date_earliest": 1930, "creation_date_latest": 1930, "artists_tags": ["male"], "culture": ["America"], "technique": "etching", "support_materials": [], "department": "Prints", "collection": "PR - Etching", "type": "Print", "measurements": "Platemark: 17.5 x 24.8 cm (6 7/8 x 9 3/4 in.); Sheet: 21.4 x 29.4 cm (8 7/16 x 11 9/16 in.)", "dimensions": {"platemark": {"height": 0.175, "width": 0.248}, "sheet": {"height": 0.214, "width": 0.294}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of Reginald Marsh / Art Students League, New York / Artists Rights Society (ARS), New   \r\n    York", "inscriptions": [], "exhibitions": {"current": [{"id": 301677, "title": "Presentation Prints of the Print Club of Cleveland: 40th Anniversary Exhibition of the Print Club of Cleveland", "description": "<i>Presentation Prints of the Print Club of Cleveland: 40th Anniversary Exhibition of the Print Club of Cleveland</i>. The Cleveland Museum of Art, Cleveland, OH (October 13-December 2, 1959).", "opening_date": "1959-10-13T04:00:00"}, {"id": 309576, "title": "A Golden Age of American Printmaking", "description": "<i>A Golden Age of American Printmaking</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 12-April 11, 1982).", "opening_date": "1982-01-12T05:00:00"}, {"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": 381923, "title": "Ashcan School Prints and the American City, 1900\u20131940", "description": "<i>Ashcan School Prints and the American City, 1900\u20131940</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 18-December 26, 2021).", "opening_date": "2021-07-17T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The merry-go-round at Coney Island opened in 1906 and still runs today; it was a signature attraction at the Luna Park amusement park.", "description": "Reginald Marsh was an obsessive chronicler of city life who worked a generation after the Ashcan School artists but was interested in the same urban subjects. Drawn to the popular entertainments and nightspots of the era, Marsh captured here the squeeze of patrons as they spin on a merry-go-round. His emphasis on the dramatic tilt of the ride creates an oblique viewing angle, thrusting us into near-physical contact with the riders as we notice the additional thrill of the woman\u2019s fluttering skirt as she whirls by.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79905468"], "internet_archive": []}, "citations": [{"citation": "\u201cAshcan School Prints and the American City, 1900-1940.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>61, no. 1 (Winter 2021): 46.", "page_number": "Reproduced and Mentioned: P. 46.", "url": ""}], "catalogue_raisonne": "Sasowsky 99", "url": "https://clevelandart.org/art/1948.437", "images": {}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 126216, "creators": [{"id": 31614, "description": "Reginald Marsh (American, born France, 1898\u20131954)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1898", "death_year": "1954", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1948-12-30T00:00:00", "sortable_date": 1930, "date_added_to_oa": null, "date_text": "1930", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:36.959000"}, {"id": 129903, "accession_number": "1952.33", "share_license_status": "Copyrighted", "tombstone": "Manhattan I (Stone 2), 1951. Lyonel Feininger (American, 1871\u20131956). Lithograph. The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1952.33. \u00a9 Artists Rights Society (ARS), New York", "current_location": null, "title": "Manhattan I (Stone 2)", "creation_date": "1951", "creation_date_earliest": 1951, "creation_date_latest": 1951, "artists_tags": ["male"], "culture": ["America"], "technique": "lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "Signed in pencil on bottom right: Lyonel Feininger", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 311902, "title": "Work of Lyonel Feininger", "description": "<i>Work of Lyonel Feininger</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 2-December 30, 1951).", "opening_date": "1951-11-02T04:00:00"}, {"id": 301687, "title": "Lyonel Feininger 1871-1956: Prints and Drawings from the Museum Collection", "description": "<i>Lyonel Feininger 1871-1956: Prints and Drawings from the Museum Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 16-March 20, 1960).", "opening_date": "1959-11-05T05:00:00"}, {"id": 301420, "title": "Prints by Lyonel Feininger", "description": "<i>Prints by Lyonel Feininger</i>. The Cleveland Museum of Art, Cleveland, OH (November 22, 1971-January 10, 1972).", "opening_date": "1971-11-22T05:00:00"}, {"id": 318307, "title": "A Lasting Impression: Gifts of the Print Club of Cleveland", "description": "<i>A Lasting Impression: Gifts of the Print Club of Cleveland</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 5-September 22, 2019).", "opening_date": "2019-05-05T04:00:00"}], "legacy": []}, "provenance": [{"description": "Print Club of Cleveland, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "?-1952", "sortorder": 1}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1952-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This print is one of a series of works, including paintings, prints, and drawings, in which Lyonel Feininger depicted Manhattan.", "description": "Lyonel Feininger spent much of his life in Europe, where he discovered the Cubism of Pablo Picasso and Georges Braque. The flattened, interlocking geometric planes of these artists\u2019 work (examples of which are on view nearby) deeply influenced the hundreds of prints he made in the following decades. Facing growing persecution from the Nazis, Feininger fled Germany and returned to New York, his birthplace, in 1937. There, he made numerous abstract cityscapes punctuated by skyscrapers. Feininger contrasted fine lines with gradated areas of tone to enhance the impact of the massive central building.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79911501"], "internet_archive": []}, "citations": [{"citation": "Print Club of Cleveland, Lyonel Feininger, Frederick S. Wight, and Leona E. Prasse.ne<u>The Work of Lyol Feininger: Catalogue of an Exhibition.</u> 1951.", "page_number": "Mentioned: p.26, cat. 243", "url": "https://archive.org/details/LyonelFeininger"}], "catalogue_raisonne": "Prasse, L 16", "url": "https://clevelandart.org/art/1952.33", "images": {}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 129903, "creators": [{"id": 3140, "description": "Lyonel Feininger (American, 1871\u20131956)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1871", "death_year": "1956", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1952-02-13T00:00:00", "sortable_date": 1951, "date_added_to_oa": null, "date_text": "1951", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:05:53.435000"}, {"id": 142830, "accession_number": "1966.511", "share_license_status": "CC0", "tombstone": "Covered Pot, 1914. Firm of Peter Carl Faberg\u00e9 (Russian, 1846\u20131920). Copper with brass handles; overall: 12.7 x 13.4 cm (5 x 5 1/4 in.). The Cleveland Museum of Art, The India Early Minshall Collection, 1966.511", "current_location": null, "title": "Covered Pot", "creation_date": "1914", "creation_date_earliest": 1914, "creation_date_latest": 1914, "artists_tags": ["male"], "culture": ["Russia, St. Petersburg"], "technique": "copper with brass handles", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Metalwork", "measurements": "Overall: 12.7 x 13.4 cm (5 x 5 1/4 in.)", "dimensions": {"overall": {"height": 0.127, "width": 0.134}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Inscribed:  Double-headed eagle; C.FABERGE (in Cyrillic); War (in Cyrillic), 1914r.", "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": 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": 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": []}, "provenance": [{"description": "India E. Minshall, Cleveland, Ohio.", "citations": [], "footnotes": [], "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This copper soup pot was sent to the front lines filled with provisions during the First World War.", "description": "As Russia entered the First World War, austerity and economy settled into the fabric of life even among wealthy aristocrats and nobility. Not only were precious materials such as gold, silver, and gemstones hard to procure, but such luxury seemed out of place when so many men were dying at the front. Faberg\u00e9 contributed to the war effort by making shells, casings, and other munitions out of brass and copper. He also made cookware, such as this small soup pot, to be sent to the front lines with provisions tucked inside. However, these simple forms only looked affordable. They were still a luxury only the wealthiest families could afford to send to their sons.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80043051"], "internet_archive": ["https://archive.org/details/clevelandart-1966.511-covered-pot"]}, "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. 126; mentioned: p. 125, cat. 60", "url": "https://archive.org/details/FabergeEarlyMinshallCMA/page/n135"}], "url": "https://clevelandart.org/art/1966.511", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1966.511/1966.511_web.jpg", "width": "900", "height": "718", "filesize": "139603", "filename": "1966.511_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1966.511/1966.511_print.jpg", "width": "3400", "height": "2714", "filesize": "770120", "filename": "1966.511_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1966.511/1966.511_full.tif", "width": "6416", "height": "5121", "filesize": "98593436", "filename": "1966.511_full.tif"}}, "alternate_images": [{"date_created": "2008-09-11T19:14:59", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.511/1966.511_alt0_web.jpg", "width": "900", "height": "695", "filesize": "93524"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.511/1966.511_alt0_print.jpg", "width": "3400", "height": "2627", "filesize": "1073062"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.511/1966.511_alt0_full.tif", "width": "5236", "height": "4046", "filesize": "63578472"}}, {"date_created": "2019-08-06T16:22:46", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.511/1966.511_alt1_web.jpg", "width": "900", "height": "761", "filesize": "142573"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.511/1966.511_alt1_print.jpg", "width": "3400", "height": "2873", "filesize": "797851"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.511/1966.511_alt1_full.tif", "width": "6044", "height": "5107", "filesize": "92624316"}}], "creditline": "The India Early Minshall Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 142830, "creators": [{"id": 5366, "description": "Peter Carl Faberg\u00e9 (Russian, 1846\u20131920)", "extent": null, "qualifier": "firm of", "role": "artist", "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}], "legal_status": "accessioned", "accession_date": "1966-11-05T00:00:00", "sortable_date": 1914, "date_added_to_oa": null, "date_text": "1914", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "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 00:04:34.180000"}, {"id": 143636, "accession_number": "1967.94", "share_license_status": "Copyrighted", "tombstone": "Studious Sketcher, 1944\u201345. Milton Avery (American, 1885\u20131965). Oil on canvas; framed: 107 x 86.7 x 6.4 cm (42 1/8 x 34 1/8 x 2 1/2 in.); unframed: 91.4 x 71.1 cm (36 x 28 in.). The Cleveland Museum of Art, Contemporary Collection of The Cleveland Museum of Art, 1967.94. \u00a9 Milton Avery Trust / Artists Rights Society (ARS), New York", "current_location": null, "title": "Studious Sketcher", "creation_date": "1944\u201345", "creation_date_earliest": 1944, "creation_date_latest": 1945, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 107 x 86.7 x 6.4 cm (42 1/8 x 34 1/8 x 2 1/2 in.); Unframed: 91.4 x 71.1 cm (36 x 28 in.)", "dimensions": {"framed": {"height": 1.07, "width": 0.867, "depth": 0.064}, "unframed": {"height": 0.914, "width": 0.711}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Milton Avery Trust / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "Signed middle right: \"Milton Avery 1945\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Incised lower left, \"Milton Avery 1944\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301294, "title": "Works from the Contemporary Collection", "description": "<i>Works from the Contemporary Collection</i>. The Cleveland Museum of Art, Cleveland, OH (July 1-October 15, 1969).", "opening_date": "1969-07-01T04:00:00"}, {"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": 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": "CMA:  Works from the Contemporary Collection, July 1-mid-October, 1969", "opening_date": "1969-10-01T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Avery inscribed this painting at lower left and middle right with two different dates, indicating that he worked on it for several months.", "description": "Avery developed a distinctive style that uses abstracted shapes of color and witty design to describe the visual world. In <em>Studious Sketcher</em>, a seated artist concentrates her attention on a board propped against the back of a chair, upon which she presumably draws. The chair\u2019s crisscross pattern is visually repeated in the single cross strap near the toe of the woman\u2019s sandal.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60469879"], "internet_archive": []}, "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": "Mentioned: p. 345-346, no. 133; Reproduced: p. 328", "url": "http://www.jstor.org/stable/25152183"}], "url": "https://clevelandart.org/art/1967.94", "images": {}, "alternate_images": [], "creditline": "Contemporary Collection of The Cleveland Museum of Art", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 143636, "creators": [{"id": 3366, "description": "Milton Avery (American, 1885\u20131965)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1885", "death_year": "1965", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1968-01-12T00:00:00", "sortable_date": 1944, "date_added_to_oa": null, "date_text": "1944\u201345", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:02:23.112000"}, {"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": 144644, "accession_number": "1969.272", "share_license_status": "Copyrighted", "tombstone": "Cathedral Series: Cathedral #3, 1969. Roy Lichtenstein (American, 1923\u20131997), printed and published by Gemini G.E.L.. Lithograph; sheet: 123.2 x 82.5 cm (48 1/2 x 32 1/2 in.); image: 106.2 x 68.6 cm (41 13/16 x 27 in.). The Cleveland Museum of Art, Fiftieth anniversary gift of The Print Club of Cleveland, 1969.272. \u00a9 Estate of Roy Lichtenstein", "current_location": null, "title": "Cathedral #3", "series": "Cathedral Series", "creation_date": "1969", "creation_date_earliest": 1969, "creation_date_latest": 1969, "artists_tags": ["May Show", "male", "Jewish artists", "gender unknown"], "culture": ["America"], "technique": "lithograph", "support_materials": [{"description": "Special Arjomari paper", "watermarks": []}], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Sheet: 123.2 x 82.5 cm (48 1/2 x 32 1/2 in.); Image: 106.2 x 68.6 cm (41 13/16 x 27 in.)", "dimensions": {"sheet": {"height": 1.232, "width": 0.825}, "image": {"height": 1.062, "width": 0.686}}, "state_of_the_work": null, "edition_of_the_work": "75; plus 10 AP, 1 RTP, 1 PPII, 3 GEL, 1 C", "copyright": "\u00a9 Estate of Roy Lichtenstein", "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": 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": 304408, "title": "Gifts of the Print Club of Cleveland, 1969 - 1979", "description": "<i>Gifts of the Print Club of Cleveland, 1969 - 1979</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 4, 1979-January 27, 1980).", "opening_date": "1979-09-04T04:00:00"}, {"id": 318307, "title": "A Lasting Impression: Gifts of the Print Club of Cleveland", "description": "<i>A Lasting Impression: Gifts of the Print Club of Cleveland</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 5-September 22, 2019).", "opening_date": "2019-05-05T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Roy Lichtenstein referred to the series of prints to which this work belongs as \"manufactured Monets.\"", "description": "For this print, Roy Lichtenstein used lithography to reinterpret a painting from Impressionist artist Claude Monet\u2019s series on the French city of Rouen\u2019s massive cathedral. Lichtenstein playfully translated Monet\u2019s attempts to capture natural light by enlarging the regularly patterned dots characteristic of cheap commercial printmaking to mimic the French artist\u2019s bright dabs of oil paint.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79922090"], "internet_archive": []}, "citations": [{"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.\u201d <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": "Corlett, 77", "url": "https://clevelandart.org/art/1969.272", "images": {}, "alternate_images": [], "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": 144644, "creators": [{"id": 10482, "description": "Roy Lichtenstein (American, 1923\u20131997)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1923", "death_year": "1997", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 39129, "description": "Gemini G.E.L.", "extent": "printed and published by", "qualifier": null, "role": "printer and publisher", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": true, "weight": 2}], "legal_status": "accessioned", "accession_date": "1969-12-13T00:00:00", "sortable_date": 1969, "date_added_to_oa": null, "date_text": "1969", "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 00:01:07.500000"}, {"id": 147853, "accession_number": "1974.211", "share_license_status": "Copyrighted", "tombstone": "Female Figure (akua'ba), 1925\u201350. Africa, West Africa, Ghana, Akan-style artist. Wood, glass beads, and natural fiber; overall: 35 cm (13 3/4 in.). The Cleveland Museum of Art, Gift of Katherine C. White, 1974.211", "current_location": null, "title": "Female Figure (akua'ba)", "creation_date": "1925\u201350", "creation_date_earliest": 1925, "creation_date_latest": 1950, "artists_tags": [], "culture": ["Africa, West Africa, Ghana, Akan-style artist"], "technique": "Wood, glass beads, and natural fiber", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "measurements": "Overall: 35 cm (13 3/4 in.)", "dimensions": {"overall": {"height": 0.35}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"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 1968: \"African Tribal Images: The Katherine White Reswick Collection,\" cat. no. 101, repr.", "opening_date": "1968-01-01T00:00:00"}, {"description": "CMA 1975: \"Year in Review 1974,\" CMA Bulletin LXII (March, 1973), p. 97, no. 21.", "opening_date": "1973-03-01T00:00:00"}, {"description": "CMA 1987: \"Images of the Mind,\" July 7-August 23, 1987, not repr.", "opening_date": "1987-07-07T00:00:00"}]}, "provenance": [{"description": "Katherine C. White", "citations": [], "footnotes": ["<div><!--block-->This work appeared in the 1968 exhibition <em>African Tribal Images: The Katherine White Reswick Collection</em> as cat. no. 101</div>"], "date": "at least 1968\u20131974", "sortorder": 1}, {"description": "The Cleveland Museum of Art by gift", "citations": [], "footnotes": null, "date": "1975\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": ["739.68"], "did_you_know": "The large, high forehead and the rolled flesh of the neck reflect Akan standards of beauty and health.", "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/Q79927452"], "internet_archive": []}, "citations": [{"citation": "Fagg, William. <em>African Tribal Images; the Katherine White Reswick Collection</em>. Cleveland: Cleveland Museum of Art, 1968. No. 101.", "page_number": "No. 101.", "url": ""}], "url": "https://clevelandart.org/art/1974.211", "images": {}, "alternate_images": [], "creditline": "Gift of Katherine C. White", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 147853, "creators": [], "legal_status": "accessioned", "accession_date": "1975-02-07T00:00:00", "sortable_date": 1925, "date_added_to_oa": null, "date_text": "1925\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": ["Doll (akua'ba)"], "is_highlight": false, "updated_at": "2026-03-27 00:04:05.628000"}, {"id": 161643, "accession_number": "2000.21", "share_license_status": "Copyrighted", "tombstone": "Crown of Thorns (Songs on the Death of Children), 1994. Guillermo Kuitca (Argentinian, b. 1961). Acrylic and oil on canvas; overall: 240 x 189.8 cm (94 1/2 x 74 3/4 in.). The Cleveland Museum of Art, Gift of the Contemporary Art Society on the occasion of its 40th anniversary, 2000.21. \u00a9 Guillermo Kuitca, Courtesy Sperone Westwater, New York", "current_location": null, "title": "Crown of Thorns (Songs on the Death of Children)", "creation_date": "1994", "creation_date_earliest": 1994, "creation_date_latest": 1994, "artists_tags": ["male", "Latine and Hispanic Artists", "Jewish artists"], "culture": ["Argentina"], "technique": "Acrylic and oil on canvas", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "measurements": "Overall: 240 x 189.8 cm (94 1/2 x 74 3/4 in.)", "dimensions": {"overall": {"height": 2.4, "width": 1.898}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Guillermo Kuitca, Courtesy Sperone Westwater, New York", "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": 231386, "title": "Everything: Guillermo Kuitca, Paintings and Works on Paper, 1980-2008", "description": "<i>Everything: Guillermo Kuitca, Paintings and Works on Paper, 1980-2008</i>. Miami Art Museum, Miami, FL (organizer) (October 9, 2009-January 17, 2010); Buffalo AKG Art Museum, Buffalo, NY (February 19-May 30, 2010); Walker Art Center, Minneapolis, MN (June 26-September 19, 2010); Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC (October 21, 2010-January 9, 2011).", "opening_date": "2009-10-09T00:00:00"}], "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. 137, p. 124, repr. p. 127.", "opening_date": "2006-06-09T00:00:00"}, {"description": "Miami Art Museum, FL (10/9/2009 - 1/17/2010), Albright-Knox Art Gallery, Buffalo, NY (2/19/2010 - 5/30/2010),  Walker Art Center, Minneapolis, MN (6/26/2010 - 9/19/2010) and the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC (10/21/2010 - 1/9/2011):  \"Everything: Guillermo Kuitca, Paintings and Works on Paper, 1980-2008\"", "opening_date": "2009-10-09T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Kuitca opened his first solo exhibition at age 13 at La Galer\u00eda Lirolay in Buenos Aires, Argentina.", "description": "Argentinian artist Guillermo Kuitca uses familiar symbolism that he removes from its context and abstracts to discourage literal interpretation. Here, a twisted pattern of white, spiky lines evokes a child\u2019s scribble, resembling an arbitrary internal circuit with many possible readings. Kuitca uses references to religious symbols like the Christian Crown of Thorns throughout his work, in this case reimagining the circular \u201ccrown\u201d as a chaotic tangle of vines. He says, \u201cI like the idea of playing with a kind of religious chaos. As if religion were to be seen as the greatest state of confusion of the human race.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60477989"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art, \u201cCMA Acquires Major Contemporary Latin American Painting as Gift of Contemporary Art Society,\u201d December 12, 2000, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr4360"}], "url": "https://clevelandart.org/art/2000.21", "images": {}, "alternate_images": [], "creditline": "Gift of the Contemporary Art Society on the occasion of its 40th anniversary", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 161643, "creators": [{"id": 38551, "description": "Guillermo Kuitca (Argentinian, b. 1961)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1961", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2000-06-05T00:00:00", "sortable_date": 1994, "date_added_to_oa": null, "date_text": "1994", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "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 23:59:47.994000"}, {"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>. 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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": 543865, "accession_number": "2023.126", "share_license_status": "Copyrighted", "tombstone": "The Gift, 1990\u201394. Emma Amos (American, 1937\u20132020). 48 watercolor portraits; overall: 274.3 x 640.1 cm (108 x 252 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 2023.126. \u00a9 Emma Amos; Courtesy of RYAN LEE Gallery, New York", "current_location": null, "title": "The Gift", "creation_date": "1990\u201394", "creation_date_earliest": 1990, "creation_date_latest": 1994, "artists_tags": ["Black American Artists", "female"], "culture": ["America"], "technique": "48 watercolor portraits", "support_materials": [], "department": "Contemporary Art", "collection": "Paintings", "type": "Painting", "measurements": "Overall: 274.3 x 640.1 cm (108 x 252 in.)", "dimensions": {"overall": {"height": 2.743, "width": 6.401}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Emma Amos; Courtesy of RYAN LEE Gallery, New York", "inscriptions": [], "exhibitions": {"current": [], "legacy": [{"description": "<em>Emma Amos: Paintings and Prints: 1982\u20131992</em>. 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Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 543865, "creators": [{"id": 312810, "description": "Emma Amos (American, 1937\u20132020)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1937", "death_year": "2020", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2023-09-11T04:00:00Z", "sortable_date": 1990, "date_added_to_oa": null, "date_text": "1990\u201394", "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": "2026-04-03 13:35:10.533000"}, {"id": 543882, "accession_number": "2023.126.1", "share_license_status": "Copyrighted", "tombstone": "The Gift: India Amos, 1990\u201394. 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The women pictured belong to different generations and are from a range of racial and ethnic backgrounds. Amos created the work as a gift for her daughter India, on the occasion of India\u2019s twentieth birthday.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q122922285"], "internet_archive": []}, "citations": [{"citation": "Amos, Emma, Thalia Gouma-Peterson, and Kathleen McManus Zurko. <em>Emma Amos: Paintings and Prints 1982-92: an Exhibition</em>. Wooster, Ohio: College of Wooster Art Museum, 1993.", "page_number": null, "url": null}], "url": "https://clevelandart.org/art/2023.126.1", "images": {}, "alternate_images": [], "creditline": "Purchase from the J. H. 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Emma Amos (American, 1937\u20132020). Watercolor; sheet: 67 x 51 cm (26 3/8 x 20 1/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 2023.126.9. \u00a9 Emma Amos; Courtesy of RYAN LEE Gallery, New York", "current_location": null, "title": "Carol Sun", "series": "The Gift", "creation_date": "1990\u201394", "creation_date_earliest": 1990, "creation_date_latest": 1994, "artists_tags": ["Black American Artists", "female"], "culture": ["America"], "technique": "watercolor", "support_materials": [], "department": "Contemporary Art", "collection": "Paintings", "type": "Painting", "measurements": "Sheet: 67 x 51 cm (26 3/8 x 20 1/16 in.)", "dimensions": {"sheet": {"height": 0.67, "width": 0.51}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Emma Amos; Courtesy of RYAN LEE Gallery, New York", "inscriptions": [], "exhibitions": {"current": [], "legacy": [{"description": "<em>Emma Amos: Paintings and Prints: 1982\u20131992</em>. The College of Wooster Art Museum, Wooster, Ohio (August 25\u2013October 24, 1993); Wayne Center for the Arts, Wooster, Ohio (September 1\u2013September 30, 1993); Southern Ohio Museum and Cultural Center, Portsmouth, Ohio (October 1\u2013November 16, 1994); the Studio Museum in Harlem, New York, New York (January 15\u2013March 12, 1995)", "opening_date": "1993-08-25T04:00:00Z"}, {"description": "<em>Emma Amos: Changing the Subject. Paintings and Prints 1992-1994</em>. Art in General, New York, NY (March 12\u2013April 30, 1994); The Montclair Art Museum, Montclair, NJ (December 18, 1994\u2013March 5, 1995).", "opening_date": "1994-03-12T05:00:00Z"}, {"description": "<em>Real: Figurative Narratives in Contemporary African-American Art.</em> The Bass Museum of Art, Miami, FL (1997).", "opening_date": "1997-01-01T05:00:00Z"}, {"description": "<em>Emma Amos: Memory</em>. Flomenhaft Gallery, New York, NY (January 31\u2013March 9, 2013).", "opening_date": "2013-01-31T05:00:00Z"}]}, "provenance": [{"description": "Collection of the artist", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "Emma Amos [1937\u20132020], New York, NY, given to daughter, India Amos", "citations": [], "footnotes": null, "date": "after 1990", "sortorder": 2}, {"description": "(Mary Ryan Gallery, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "2023", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2023\u2013", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Emma Amos includes a self-portrait and a portrait of her daughter India in this work.", "description": "<em>The Gift</em> comprises forty-eight individual watercolor portraits of women artists, writers, and curators in Emma Amos\u2019s community in New York in the early 1990s. The women pictured belong to different generations and are from a range of racial and ethnic backgrounds. Amos created the work as a gift for her daughter India, on the occasion of India\u2019s twentieth birthday.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q122922298"], "internet_archive": []}, "citations": [{"citation": "Amos, Emma, Thalia Gouma-Peterson, and Kathleen McManus Zurko. <em>Emma Amos: Paintings and Prints 1982-92: an Exhibition</em>. Wooster, Ohio: College of Wooster Art Museum, 1993.", "page_number": null, "url": null}], "url": "https://clevelandart.org/art/2023.126.9", "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": 615427, "creators": [{"id": 312810, "description": "Emma Amos (American, 1937\u20132020)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1937", "death_year": "2020", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2023-09-11T04:00:00Z", "sortable_date": 1990, "date_added_to_oa": null, "date_text": "1990\u201394", "collapse_artists": false, "on_loan": false, "recently_acquired": true, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "2023.126", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-04-03 13:35:10.598000"}, {"id": 159275, "accession_number": "1995.70", "share_license_status": "Copyrighted", "tombstone": "G.O.P. Convention, Cleveland, 1936. Thomas Hart Benton (American, 1889\u20131975). Pen and brush and black ink and black crayon, with graphite; image: 35.6 x 51.5 cm (14 x 20 1/4 in.); sheet: 37.4 x 53.2 cm (14 3/4 x 20 15/16 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1995.70. Art \u00a9 T.H. Benton and R.P. Benton Testamentary Trusts/UMB Bank Trustee/Licensed by VAGA, New York, NY", "current_location": null, "title": "G.O.P. Convention, Cleveland", "creation_date": "1936", "creation_date_earliest": 1936, "creation_date_latest": 1936, "artists_tags": ["male"], "culture": ["America"], "technique": "pen and brush and black ink and black crayon, with graphite", "support_materials": [{"description": "creme(2) wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Image: 35.6 x 51.5 cm (14 x 20 1/4 in.); Sheet: 37.4 x 53.2 cm (14 3/4 x 20 15/16 in.)", "dimensions": {"sheet": {"height": 0.374, "width": 0.532}, "image": {"height": 0.356, "width": 0.515}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "Art \u00a9 T.H. Benton and R.P. Benton Testamentary Trusts/UMB Bank Trustee/Licensed by VAGA, New York, NY", "inscriptions": [{"inscription": "signed, lower right, in black ink: Benton", "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 York, NY", "citations": [], "footnotes": null, "date": "by early 1950s-before 1995", "sortorder": 1}, {"description": "(Jordan-Volpe Gallery, Inc., New York, NY)", "citations": [], "footnotes": null, "date": "?-1995", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "December 4, 1995", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Thomas Hart Benton was a lifelong Democrat, which may have informed the focus on drama and disorder throughout his drawings of the Republican National Convention.", "description": "Thomas Hart Benton traveled to Cleveland during the summer of 1936 to attend the Republican National Convention and record its events through sketches. This drawing shows delegates engaged in a variety of activities, included whispered deal making and a scuffle that attracts the attention of a policeman. Benton used areas of crosshatching, parallel lines, and subtle shading to create a sense of drama, reducing the crowd of onlookers to a regular pattern of circular marks. The series of drawings was likely intended for reproduction in magazines, such as <em>Life</em>, although only one was ultimately published, in the journal <em>Common Sense</em>. Benton's dynamic and easily legible style lent itself to such illustrations and characterized the many depictions of American life that he made around this period.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79978640"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art, \u201cThe Cleveland Museum of Art Acquires Major Works,\u201d December 20, 1995, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr4002"}, {"citation": "\"Museum Acquisitions.\" <em>Drawing</em> 17, nos. 4-6 (November 1995 - March 1996): 105.", "page_number": "Mentioned and reproduced: p. 105", "url": null}, {"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. 7", "url": "https://archive.org/details/CMAMM1996-10/page/6"}, {"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. 258-258, pp. 297-298; Reproduced: p. 259", "url": null}, {"citation": "Mazow, Leo G. <em>Thomas Hart Benton and the American Sound</em>. University Park, PA: Pennsylvania State University Press, 2012.", "page_number": "Mentioned: pp. 65-67; Reproduced: p. 66", "url": null}, {"citation": "\"Exhibitions.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 56, no. 4 (July/August 2016): 4.", "page_number": "Reproduced: Back cover", "url": "https://archive.org/details/CMAMM2016-04"}], "url": "https://clevelandart.org/art/1995.70", "images": {}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 159275, "creators": [{"id": 1204, "description": "Thomas Hart Benton (American, 1889\u20131975)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1889", "death_year": "1975", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1995-12-04T00:00:00", "sortable_date": 1936, "date_added_to_oa": null, "date_text": "1936", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": true, "updated_at": "2026-03-27 00:08:48.438000"}, {"id": 165263, "accession_number": "2007.197", "share_license_status": "Copyrighted", "tombstone": "Three Perils Mountain (\u4e09\u5371\u5c71\u5716), 1941. Zhang Daqian (Chinese, 1899\u20131983). Hanging scroll; ink and light color on paper; painting: 96.5 x 33 cm (38 x 13 in.); overall with knobs: 212 x 59 cm (83 7/16 x 23 1/4 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 2007.197", "current_location": null, "title": "Three Perils Mountain", "title_in_original_language": "\u4e09\u5371\u5c71\u5716", "creation_date": "1941", "creation_date_earliest": 1941, "creation_date_latest": 1941, "artists_tags": ["male", "Asian (from 1900 to present)"], "culture": ["China"], "technique": "hanging scroll; ink and light color on paper", "support_materials": [], "department": "Chinese Art", "collection": "ASIAN - Hanging scroll", "type": "Painting", "measurements": "Painting: 96.5 x 33 cm (38 x 13 in.); Overall with knobs: 212 x 59 cm (83 7/16 x 23 1/4 in.)", "dimensions": {"painting": {"height": 0.965, "width": 0.33}, "overall": {"height": 2.12, "width": 0.514}, "overall with knobs": {"height": 2.12, "width": 0.59}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": null, "inscription_translation": "In his \"Commentary to [the Classic of History],\" Kong Anguo [2nd century BC] [writes], \"Sanwei [Three Perils] is a mountain on the western marches; [the Emperor] Shun 'drove the Sanmiao [tribes] into Three Perils [district].'\" It is the [place to which the] \"Yugong\" [chapter of the \"Classic of History\" refers]: \"The Three Perils [district] was made habitable.\" In the \"Treatise [on Geography\" in the] History of the Sui Dynasty, there is a Three Perils Mountain under the entry for Dunhuang county. Nowadays, it is commonly called Shengyu Mountain, and is located thirty li southeast of the town [of Dunhuang]. It has three peaks which stick up vertically and seem to be in imminent peril of falling; thus the name. The sixth lunar month of the xinsi year; escaping the summer heat [I have come to] the Mogao Caves, where I face the Three Perils every day and night, so I've painted this. Yuan.", "inscription_remark": "Zhang Daqian's inscription shows that he studied the history of the Mogao Caves and the Dunhuang area. The importance of the Three Perils Mountain in ancient history compelled him to paint its vivid form.", "sortorder": 1}, {"inscription": "Inscribed and signed, with two seals of the artist", "inscription_translation": "[\u5370] \u5f35\u7230\u79c1\u5370", "inscription_remark": null, "sortorder": 2}], "exhibitions": {"current": [], "legacy": [{"description": "<em>Challenging the Past: The Paintings of Chang Dai-chien. </em>Arthur M. Sackler Gallery, Washington, DC (November 24, 1991-April 5, 1992); The Asia Society, New York, NY (April 29-July 19, 1992); Saint Louis Art Museum, St. Louis, MO (August 28-October 25, 1992).", "opening_date": "1992-04-29T00:00:00"}, {"description": "<em>An Exhibition of Chinese Paintings by Chang Dai-Chien</em>. Frank Caro Gallery, New York, NY (May 19-June 30, 1984).", "opening_date": "1984-05-19T00:00:00"}]}, "provenance": [{"description": "Wang Fangyu \u738b\u65b9\u5b87 [1913\u20131997] and Sum Wai \u6c88\u6167 [1918\u20131996], Short Hills, NJ", "citations": [], "footnotes": ["<div><!--block-->Zhang Daqian and Wang Fangyu were such close friends that Zhang was one of eight guests present at the wedding of Wang Fangyu and Sum Wai.&nbsp;</div>"], "date": "by 1991\u2013?", "sortorder": 1}, {"description": "(Sotheby's New York, May 31, 1994, lot 168)", "citations": [], "footnotes": null, "date": "May 31, 1994", "sortorder": 2}, {"description": "Chunfang Tang Collection \u6df3\u98a8\u5802\u85cf", "citations": [], "footnotes": null, "date": "?\u20132007", "sortorder": 3}, {"description": "(Christie's, Hong Kong, November 26, 2007, lot 1220, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "November 26, 2007", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2007\u2013", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "On the far shore, three scholars and their attendant approach a Buddhist stupa relic mound.", "description": "In 1941, Zhang Daqian went to northwestern China to expand his understanding of Chinese art history by studying the rich tradition of religious wall painting. He surveyed the Buddhist cave paintings at Dunhuang and made more than 200 high-quality facsimiles in less than three years.<br><br>As a break from the facsimile work in the dark caves, Zhang lifted his eyes to the Three Perils Mountain (\u4e09\u5371\u5c71) in the distance.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60480394"], "internet_archive": []}, "citations": [{"citation": "Nagin, Carl. <em>An Exhibition of Chinese Paintings by Chang Dai-Chien, 1899-1983: May 19-June 30, 1984</em>. New York, NY: Frank Caro Gallery, 1984.", "page_number": "Reproduced: pl. 12", "url": null}, {"citation": "Fu, Shen C. Y. and Jan Stuart. <em>Challenging the Past: The Paintings of Chang Dai-Chien</em>. Washington, D.C.: Arthur M. Sackler Gallery, Smithsonian Institution, 1991.", "page_number": "Reproduced: pp. 136-137", "url": null}, {"citation": "Sotheby's New York. <em>Chinese Paintings: Sale 6570</em>. May 31, 1994.", "page_number": "Reproduced: lot 168", "url": null}, {"citation": "Christie's Hong Kong. <em>Fine Chinese modern paintings</em>. November 26, 2007. Lot 1220", "page_number": "Mentioned: pp. 220\u2013221, 229", "url": null}, {"citation": "\u201cArt of Asia Acquired by North American Museums, 2006-2008.\u201d <em>Archives of Asian Art</em>, vol. 59, 2009, pp. 135\u2013180.", "page_number": "Reproduced: fig. 8, p. 143", "url": "https://www.jstor.org/stable/40863704"}, {"citation": "Chung, Anita. \"Re-emergence: New Chinese Galleries and Art Acquisitions of The Cleveland Museum of Art.\" <em>Orientations</em> vol 44 no. 8 (November/December 2013): 64\u201375.", "page_number": "Reproduced: p. 70, fig. 6", "url": null}], "url": "https://clevelandart.org/art/2007.197", "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": 165263, "creators": [{"id": 56836, "description": "Zhang Daqian (Chinese, 1899\u20131983)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\u5f35\u5927\u5343", "birth_year": "1899", "death_year": "1983", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2007-12-03T00:00:00", "sortable_date": 1941, "date_added_to_oa": null, "date_text": "1941", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:42.913000"}, {"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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Whitney Museum of American Art (January 11-February 26, 1956); The Baltimore Museum of Art (March 14-April 22, 1956); Museum of Fine Arts, Boston (May 9-June 17, 1956); San Francisco Museum of Modern Art (July 11-August 19, 1956); Los Angeles County Museum of Art (September 5-October 14, 1956); The Phillips Collection (November 4-December 11, 1956); The Cleveland Museum of Art, Cleveland, OH (December 28, 1956-February 10, 1957).", "opening_date": "1956-12-28T05:00:00"}, {"id": 518673, "title": "Charles Burchfield Retrospective, 9th Annual Exhibition", "description": "<i>Charles Burchfield Retrospective, 9th Annual Exhibition</i>. Ogunquit Museum of American Art, Ogunquit, ME (organizer) (June 26-September 9, 1961).", "opening_date": "1961-06-26T04:00:00"}, {"id": 520756, "title": "The Bird in Art", "description": "<i>The Bird in Art</i>. University of Arizona Museum of Art, Tucson, AZ (organizer) (November 7, 1964-January 3, 1965); Arkansas Arts Center, Little Rock, AR (January 16-February 14, 1965).", "opening_date": "1964-11-07T05:00:00"}, {"id": 517431, "title": "Exhibition of Ohio Painters", "description": "<i>Exhibition of Ohio Painters</i>. The Butler Institute of American Art, Youngstown, OH (organizer) (April 4-30, 1967).", "opening_date": "1967-04-04T05:00:00"}, {"id": 517630, "title": "Charles Burchfield Retrospective", "description": "<i>Charles Burchfield Retrospective</i>. American Academy and Institute of Arts and Letters, New York, NY (organizer) (March 1-April 21, 1968).", "opening_date": "1968-03-01T05:00:00"}, {"id": 338569, "title": "The Nature of Charles Burchfield: A Memorial Exhibition, 1893\u20131967, Paints, Drawings, Prints", "description": "<i>The Nature of Charles Burchfield: A Memorial Exhibition, 1893\u20131967, Paints, Drawings, Prints</i>. Munson Museum of Art, Utica, NY (organizer) (April 3-June 14, 1970).", "opening_date": "1970-04-03T05:00:00"}, {"id": 442222, "title": "A Distant Harmony: Comparisons in the Painting of Canada and the United States of America", "description": "<i>A Distant Harmony: Comparisons in the Painting of Canada and the United States of America</i>. Winnipeg Art Gallery, Winnipeg, Canada (organizer) (October 8-November 28, 1982); Art Gallery of Hamilton, Hamilton, Canada (February 17-March 27, 1983).", "opening_date": "1982-10-08T04:00:00"}, {"id": 310252, "title": "Cleveland Art Comes of Age: 1919-1940", "description": "<i>Cleveland Art Comes of Age: 1919-1940</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 28-September 10, 1989).", "opening_date": "1989-06-28T04:00:00"}, {"id": 177916, "title": "Burchfield to Schreckengost: Cleveland Art of the Jazz Age", "description": "<i>Burchfield to Schreckengost: Cleveland Art of the Jazz Age</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 28-July 18, 2004).", "opening_date": "2004-03-28T00:00:00"}, {"id": 439250, "title": "Charles E. Burchfield: A Lifetime of Themes", "description": "<i>Charles E. Burchfield: A Lifetime of Themes</i>. Burchfield Penney Art Center, Buffalo, NY (organizer) (December 10, 2021-May 1, 2022) https://burchfieldpenney.org/exhibitions/exhibition:11-13-2020-02-28-2021-charles-e-burchfield-a-lifetime-of-themes/.", "opening_date": "2021-12-10T05:00:00"}], "legacy": [{"description": "Cleveland, Ohio: The Cleveland Museum of Art; March 28 - July 18, 2004. \"Burchfield to Schreckengost: Cleveland Art of the Jazz Age\", no exhibition catalogue.", "opening_date": "2004-03-28T00:00:00"}, {"description": "<em>An Exhibition of Water Colors and Oils by Charles Burchfield. </em>Pittsburgh, PA: Carnegie Institute; March 8-April 5, 1938.", "opening_date": "1938-03-08T05:00:00Z"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": ["904.1928"], "did_you_know": null, "description": "This painting seems to confirm Burchfield\u2019s belief that \u201cyou cannot experience a landscape until you have known all its discomforts.\u201d As he wrote in his journal: The March wind is Master\u2026it sweeps along blending all these dissimilar things into one grand harmonious whole\u2014I stand by the road listening to the March wind singing in the telephone &amp; telegraph wires. It is wonderful to stand &amp; listen\u2014 I become spellbound\u2026. a harsh caw from a crow\u2026and always the roar of the March wind, and the wild barbarous music of the wire and wood harp. Birds, particularly black crows, appear repeatedly in Burchfield\u2019s art. They seem to symbolize his own dark broodings, especially when paired with trees. However, birds may not have been entirely negative elements to Burchfield, as they have the ability to fly away, achieving escape and release.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80002070"], "internet_archive": []}, "citations": [{"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. 14, no. 17", "url": ""}, {"citation": "Francis, Henry. \"Museum Water Colors and the Thirteenth Exhibition of Water Colors and Pastels.\" <em>The Bulletin of the Cleveland Museum of Art </em>24, no. 3 (March 1937): 39-41", "page_number": "Mentioned: p. 40", "url": "https://www.jstor.org/stable/25137832"}], "url": "https://clevelandart.org/art/1928.220", "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": 109589, "creators": [{"id": 3989, "description": "Charles Burchfield (American, 1893\u20131967)", "extent": null, "qualifier": null, "role": "artist", "biography": "Charles Burchfield was among the most original and poetic painters of the Cleveland modernist movement. Born in Ashtabula, he moved to Salem, Ohio, following the death of his father in 1898. After graduating from high school, he attended Cleveland School of Art, studying with William Eastman, Frederick Gottwald, Henry Keller, and Frank Wilcox. In 1914 Burchfield began attending Kokoon Klub exhibitions, and in spring 1915 he went to Brandywine to meet William Sommer. Around this time Burchfild began experimenting with the brilliant colors and simplified forms of the Berlin Heights painters. He painted his first mature works in 1915, and grad ed from the Cleveland School of Art with a degree in illustration the following spring. That summer the Cleveland School of Art sponsored his first solo exhibition, and in the fall, after attending the National Academy of Design in New York for one month, he returned to Salem. In February 1917 the Cleveland School of Art mounted his second solo exhibition. Burchfield was inducted into the army that summer. After his return in 1919 he exhibited with other Cleveland modernists at the Play House, Laukhuff\u2019 s Book store, and other Cleveland venues. In 1921 he went on an extended sketching trip through eastern Ohio with Keller, Wilcox, and Paul Travis, exhibiting these recent paintings at the Cleveland School of Art and in the May Show at the Cleveland Museum of Art. Later that year he moved to Buffalo to work as a wallpaper designer, a position he retained until he resigned in 1929 to become a full-time painter. Over the next 30 years he exhibited extensively at museums and galleries across the country. Solo exhibitions of his paintings were held at New York\u2019s Museum of Modern Art (1930), Pittsburgh\u2019 s Carnegie Institute of Art (1935, 1938, 1946), and Buffalo\u2019 s Albright-Knox Art Gallery (1944, 1955, 1963, 1967). In 1953 New York\u2019s Whitney Museum of American Art organized a major exhibition that traveled to the Cleveland Museum of Art. Burchfield died in West Seneca, New York. <br>\"Transformations in Cleveland Art\" (CMA, 1996), p. 224", "name_in_original_language": null, "birth_year": "1893", "death_year": "1967", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1928-03-03T00:00:00", "sortable_date": 1926, "date_added_to_oa": null, "date_text": "1926", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:05:11.343000"}, {"id": 144708, "accession_number": "1969.49", "share_license_status": "Copyrighted", "tombstone": "Untitled, 1969. Larry Poons (American, 1937-). Acrylic on canvas; unframed: 342.9 x 228.6 cm (135 x 90 in.). The Cleveland Museum of Art, Gift of Agnes Gund, 1969.49. \u00a9  Larry Poons / Licensed by VAGA at Artists Rights Society (ARS), NY", "current_location": null, "title": "Untitled", "creation_date": "1969", "creation_date_earliest": 1969, "creation_date_latest": 1969, "artists_tags": ["male"], "culture": ["America"], "technique": "acrylic on canvas", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "measurements": "Unframed: 342.9 x 228.6 cm (135 x 90 in.)", "dimensions": {"unframed": {"height": 3.429, "width": 2.286}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  Larry Poons / Licensed by VAGA at Artists Rights Society (ARS), NY", "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": 444872, "title": "The Great Decade of American Abstraction: Modernist Art 1960 - 1970", "description": "<i>The Great Decade of American Abstraction: Modernist Art 1960 - 1970</i>. Museum of Fine Arts, Houston, Houston, TX (organizer) (January 14-March 10, 1974).", "opening_date": "1974-01-14T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Leo Castelli Gallery, New York).", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "Agnes Gund, New York, NY, gifted to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1969", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1969\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Poons was a member of The Druds, a noise music band that also featured artists Jasper Johns and Andy Warhol.", "description": "Originally trained as a musician, Larry Poons brings a pulsing rhythm to his paintings. In this work, dynamic painterly gestures variously seep into and hover above a bold field of yellow. The abstract image is composed to keep the viewer\u2019s eye in constant motion.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60470617"], "internet_archive": []}, "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. 204", "url": "https://archive.org/details/CMAHandbook1969/page/n228"}, {"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. 5", "url": "https://archive.org/details/20thCenturyArtCMA/page/n5"}, {"citation": "Henning, Edward B. \u201cA Group of Twentieth-Century Works of Art Recently Acquired.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 57, no. 4 (April 1970): 107\u2013126.", "page_number": "Mentioned and reproduced: p. 120-121, fig. 17", "url": "http://www.jstor.org/stable/25152324"}, {"citation": "Henning, Edward B. \u201cReconstruction: A Painting by Jasper Johns.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 60, no. 8 (October 1973): 235\u2013241.", "page_number": "Mentioned and reproduced: p. 239-240, fig. 15", "url": "http://www.jstor.org/stable/25152491"}, {"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. 254", "url": "https://archive.org/details/CMAHandbook1978/page/n274"}], "url": "https://clevelandart.org/art/1969.49", "images": {}, "alternate_images": [], "creditline": "Gift of Agnes Gund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 144708, "creators": [{"id": 3594, "description": "Larry Poons (American, 1937-)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1937", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1969-12-13T00:00:00", "sortable_date": 1969, "date_added_to_oa": null, "date_text": "1969", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:05:37.901000"}, {"id": 85885, "accession_number": "2020.121", "share_license_status": "Copyrighted", "tombstone": "Landscape at Le Lavandou, 1952. Nicolas de Sta\u00ebl (French, 1914\u20131955). Oil on canvas; unframed: 37.8 x 81 cm (14 7/8 x 31 7/8 in.). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift, 2020.121", "current_location": null, "title": "Landscape at Le Lavandou", "creation_date": "1952", "creation_date_earliest": 1952, "creation_date_latest": 1952, "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: 37.8 x 81 cm (14 7/8 x 31 7/8 in.)", "dimensions": {"unframed": {"height": 0.378, "width": 0.81}, "framed": {"height": 0.54, "width": 0.972, "depth": 0.063}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Artist\u2019s signature: Sta\u00ebl", "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>Nicolas de Sta\u00ebl (1914-1955): Peintures et Dessins</em>, Galerie Motte, Geneva, Switzerland, (July-August 1967)", "opening_date": "1967-07-01T00:00:00"}]}, "provenance": [{"description": "Alexandre Farra, Paris, France", "citations": [], "footnotes": ["<div><!--block-->\u201cNicolas de Sta\u00ebl (1914\u20131955): Peintures et Dessins,\u201d Galerie Motte, Geneva, July-August 1967, cat. no. 24, notes the painting was previously in the Collection Farra, Paris.&nbsp;</div>"], "date": "before 1967", "sortorder": 1}, {"description": "(Galerie Brame, Paris, France, sold to Rachel Lambert (Mrs. Paul) Mellon [1911\u20132014])", "citations": [], "footnotes": ["<div><!--block-->According to Germain Viatte, Andre\u0301 Chastel, and Anne de Stae\u0308l, <em>Nicolas de Stae\u0308l: Catalogue Raisonne\u0301 de l'Oeuvre Peint</em> (Neucha\u0302tel: Ides et Calendes, 1997), p. 378, cat. no. 498, ill.&nbsp;</div>"], "date": "1969", "sortorder": 2}, {"description": "Rachel Lambert (Mrs. Paul) Mellon [1911\u20132014]", "citations": [], "footnotes": ["<div><!--block-->According to Germain Viatte, Andre\u0301 Chastel, and Anne de Stae\u0308l, <em>Nicolas de Stae\u0308l: Catalogue Raisonne\u0301 de l'Oeuvre Peint</em> (Neucha\u0302tel: Ides et Calendes, 1997), p. 378, cat. no. 498, ill.&nbsp;</div>"], "date": "1969\u20132014", "sortorder": 3}, {"description": "(Sotheby's, New York, NY, Property from the Collection of Mrs. Paul Mellon, November 10, 2014, lot 10, sold to Nancy F. and Joseph P. Keithley)", "citations": [], "footnotes": null, "date": "November 10, 2014", "sortorder": 4}, {"description": "Nancy F. and Joseph P. Keithley, Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "2014\u20132020", "sortorder": 5}, {"description": "The Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "2020\u2013", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The favorite artist of French New Wave filmmaker Jean-Luc Godard, De Sta\u00ebl is cited as an influence on the use of primary colors in the 1965 film <em>Pierrot Le Fou</em>.", "description": "Nicolas de Sta\u00ebl painted <em>Landscape at Le Lavandou </em>at a major turning point in his artistic development. After years of painting abstract compositions in the studio, he surprised his contemporaries when he began working outdoors in 1952. Seeking greater contact with nature, he spent his last years working largely along the Mediterranean coast. His attempt at reconciling abstraction and figuration, not valuing one over the other, was regarded as a breakthrough toward a more lyrical, French form of abstraction in the tradition of Paul Cezanne, Georges Braque, and Henri Matisse. The long, horizontal composition in this painting is divided into zones of blue and red that evoke associations with land and sea.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q87480972"], "internet_archive": []}, "citations": [{"citation": "Sta\u00ebl, Nicolas de, Fran\u00e7oise de Sta\u00ebl, Gustave de Sta\u00ebl, Murielle Zuchelli, Jean-Marie Clarke, Marie du Bouchet, Eliza Rathbone, Germain Viatte, Andr\u00e9 Chastel, Roger van Gindertael, and Anne de Sta\u00ebl. <em>Nicolas de Sta\u00ebl Catalogue Raisonn\u00e9 of the Paintings</em>. Lausanne: Editions Ides et Calendes, 2021. Reproduced: p. 332, no. 498.", "page_number": "", "url": ""}, {"citation": "Stae\u0308l, Nicolas de, Andre\u0301 Chastel, Germain Viatte, Jacques Dubourg, and Franc\u0327oise de Stae\u0308l. <em>Nicolas De Stae\u0308l</em>. Paris, France: le Temps 1968.", "page_number": "Reproduced: p. 183, cat. no. 362", "url": null}, {"citation": "Viatte, Germain, Andre\u0301 Chastel, and Anne de Stae\u0308l. <em>Nicolas de Stae\u0308l: catalogue raisonne\u0301 de l'\u0153uvre peint</em>. Neucha\u0302tel, Switzerland: Ides et Calendes, 1997.", "page_number": "Reproduced: p. 378, no. 498", "url": null}, {"citation": "<em>Nicolas de Stae\u0308l, 1914-1955: Peintures et Dessins: Juillet-Aou\u0302t 1967.</em> Gene\u0300ve: Galerie Motte, 1967.", "page_number": "Mentioned and reproduced: P. 16, no. 24", "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. 148-149; Mentioned: p. 272", "url": ""}], "url": "https://clevelandart.org/art/2020.121", "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": 85885, "creators": [{"id": 16315, "description": "Nicolas de Sta\u00ebl (French, 1914\u20131955)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1914", "death_year": "1955", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2020-03-02T00:00:00-05:00", "sortable_date": 1952, "date_added_to_oa": null, "date_text": "1952", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:07:39.472000"}, {"id": 86544, "accession_number": "2020.243", "share_license_status": "Copyrighted", "tombstone": "Flying Ponies (Euclid Beach Park), 1932. Carl Gaertner (American, 1898\u20131952). Oil on canvas; unframed: 113 x 169.5 cm (44 1/2 x 66 3/4 in.). The Cleveland Museum of Art, Gift of Carol and Michael Sherwin, 2020.243. \u00a9 Carl Gaertner", "current_location": null, "title": "Flying Ponies (Euclid Beach Park)", "creation_date": "1932", "creation_date_earliest": 1932, "creation_date_latest": 1932, "artists_tags": ["male", "Cleveland Institute of Art (faculty)", "Cleveland School", "May Show", "Cleveland Institute of Art (alumni)"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Unframed: 113 x 169.5 cm (44 1/2 x 66 3/4 in.)", "dimensions": {"unframed": {"height": 1.13, "width": 1.695}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Carl Gaertner", "inscriptions": [], "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"}], "legacy": [{"description": "<em>Carl Gaertner: A Story of Earth and Steel,</em> Beck Center for the Arts, Lakewood, OH, April 8-July 2, 2000), traveled to the Butler Institute of American Art--Salem, Salem, OH, July 22-September 9, 2000.", "opening_date": null}]}, "provenance": [{"description": "The artist", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "Adelle Potter Gaertner, the artist's widow, Willoughby, OH", "citations": [], "footnotes": null, "date": "1952", "sortorder": 2}, {"description": "Carole and Michael Sherwin, Waite Hill, OH", "citations": [], "footnotes": null, "date": null, "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2020\u2013", "sortorder": 4}], "find_spot": null, "related_works": [{"id": 86416, "description": "Study for \"Flying Ponies (Euclid Beach Park)\", ca. 1932. Carl Gaertner (American, 1898\u20131952). Black crayon on wove paper; sheet: 15.3 x 22.8 cm (6 x 9 in.). The Cleveland Museum of Art, Gift of Carol and Mike Sherwin, 2015.519. \u00a9 Carl Gaertner", "relationship": null}], "former_accession_numbers": [], "did_you_know": "The arched entrance gate to Euclid Beach Park still stands and is a designated Cleveland landmark.", "description": "Among Gaertner\u2019s most admired canvases, <em>Flying Ponies (Euclid Beach Park)</em> presents a nocturnal view of a beloved carousel that was installed at a now defunct amusement park on the shores of Lake Erie. This ride\u2014featuring suspended horses swirling over a dramatically tilted platform\u2014provides the central focus. Its illumination helps bathe the surrounding darkness, revealing visitors engaged in various activities.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q5463490"], "internet_archive": []}, "citations": [{"citation": "Shearer, Christine Fowler, et al., <em>Carl Gaertner : A Story of Earth and Steel.</em> Cleveland, Ohio: Cleveland Artists Foundation, 2000.", "page_number": "Mentioned: p. 40; reproduced: p. 16.", "url": ""}, {"citation": "Yannopoulos, Charles, \"Dark Reality,\" <em>Cleveland Scene, </em>April 20, 2000.", "page_number": "Mentioned: p. 47.", "url": ""}, {"citation": "Cole, Mark, \"Flying Ponies,\" <em>Cleveland Art </em>56 (November/December 2016).", "page_number": "Mentioned and reproduced: p. 16.", "url": ""}, {"citation": "Robinson, William H., et. al. <em>Transformations in Cleveland Art, 1796-1946: Community and Diversity in Early Modern America</em>. Cleveland, Ohio: Cleveland Museum of Art, 1996.", "page_number": "Reproduced: p.111; Mentioned: p.110", "url": null}, {"citation": "Johnston, April Nehring. <em>The Making of Cleveland's Artist: The Aesthetic and Cultural Politics of Boundary Crossing in the Industrial Landscape Paintings of Carl Gaertner, 1923-1952.</em> Thesis, Washington University, 2019.", "page_number": "Mentioned: p. 87-89; reproduced: p. 87, fig. 4.5", "url": null}], "url": "https://clevelandart.org/art/2020.243", "images": {}, "alternate_images": [], "creditline": "Gift of Carol and Michael Sherwin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 86544, "creators": [{"id": 4415, "description": "Carl Gaertner (American, 1898\u20131952)", "extent": null, "qualifier": null, "role": "artist", "biography": "A specialist in American scene subject matter, Cleveland-born Carl Gaertner exhibited an early aptitude for drawing. As a high-school student he studied mechanical design, but during his senior year he decided to make painting his primary avocation. In 1920 he enrolled at the Cleveland School of Art, graduating three years later after studying with Henry Keller and Frank Wilcox. In 1925 the school hired Gaertner to teach painting. During the 1920s and 1930s he went on summer painting excursions to Provincetown, Massachusetts, with Ora Coltman and George Adomeit. One of the most widely exhibited artists working in Cleveland, Gaertner showed at the Cleveland Museum of Art (1922\u201353), the Pennsylvania Academy of Fine Arts in Philadelphia (1924\u201352), the Art Institute of Chicago (1925\u201349), the Whitney Museum of American Art in New York (1943\u201348), and the National Academy of Design (1944\u201350). The Cleveland School of Art organized solo exhibitions of his paintings (1928, 1941), as did the Philadelphia Art Alliance (1948). In 1945 he began a long association with the Macbeth Galleries in New York. In 1952, after experiencing a severe headache while teaching at the art school, he went home and died unexpectedly of a brain hemorrhage. <br><em>Transformations in Cleveland Art </em>(CMA, 1996), p. 228", "name_in_original_language": null, "birth_year": "1898", "death_year": "1952", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2020-09-14T00:00:00-04:00", "sortable_date": 1932, "date_added_to_oa": null, "date_text": "1932", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:39.605000"}, {"id": 110914, "accession_number": "1929.430", "share_license_status": "CC0", "tombstone": "Porgy, 1929. Richard Beatty (American, 1899\u20131961). Lithograph; image: 25 x 18.5 cm (9 13/16 x 7 5/16 in.); sheet: 48.2 x 31.5 cm (19 x 12 3/8 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1929.430", "current_location": null, "title": "Porgy", "creation_date": "1929", "creation_date_earliest": 1929, "creation_date_latest": 1929, "artists_tags": ["May Show", "male"], "culture": ["America, Ohio, Cleveland"], "technique": "lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image: 25 x 18.5 cm (9 13/16 x 7 5/16 in.); Sheet: 48.2 x 31.5 cm (19 x 12 3/8 in.)", "dimensions": {"image": {"height": 0.25, "width": 0.185}, "sheet": {"height": 0.482, "width": 0.315}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed, lower left margin, in graphite: 1/25; lower right margin, in graphite: Richard R. Beatty - '29", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 381597, "title": "The May Show: 11th Annual Exhibition of Works by Cleveland Artists and Craftsmen", "description": "<i>The May Show: 11th Annual Exhibition of Works by Cleveland Artists and Craftsmen</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 23-June 2, 1929).", "opening_date": "1929-04-23T05:00:00"}, {"id": 356476, "title": "Prints by Cleveland Artists", "description": "<i>Prints by Cleveland Artists</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 10-October 9, 1935).", "opening_date": "1935-07-10T04:00:00"}, {"id": 667699, "title": "Karamu Artists Inc.: Printmaking, Race, and Community", "description": "<i>Karamu Artists Inc.: Printmaking, Race, and Community</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 23-August 17, 2025).", "opening_date": "2025-03-23T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "After opening on Broadway to popular acclaim in 1927, <em>Porgy </em>toured the United States and Europe for the next two years.", "description": "For his skill in lithographs such as this, Richard Beatty was hired as an instructor when Karamu formed a graphic arts program around 1933. While teaching himself lithography at night, Beatty portrayed theater and cabaret scenes using dense, expressive lines from a waxy crayon. He described <em>Porgy</em> (1927) as his favorite print and was inspired after seeing a play by the same name at the Ohio Theatre. Elongated and slumping figures convey the narrative\u2019s emotional climax, about a man\u2019s attempts to rescue his love from her violent partner. The performance featured an entirely Black cast\u2014unusual for the time\u2014and opened to great acclaim in Cleveland in 1929.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80003070"], "internet_archive": []}, "citations": [{"citation": "Richard Beatty Entry Card to 1929 May Show. Cleveland Museum of Art May Show Records, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/CMAMS01628/"}, {"citation": "Salsbury, Britany, and Erin E. Benay. <em>Karamu Artists Inc.: Printmaking, Race, and Community</em>. Cleveland, OH: Cleveland Museum of Art, 2025.", "page_number": "Reproduced: p. 76, no. 35", "url": ""}], "url": "https://clevelandart.org/art/1929.430", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1929.430/1929.430_web.jpg", "width": "671", "height": "893", "filesize": "471038", "filename": "1929.430_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1929.430/1929.430_print.jpg", "width": "2556", "height": "3400", "filesize": "6522179", "filename": "1929.430_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1929.430/1929.430_full.tif", "width": "3759", "height": "5000", "filesize": "56416716", "filename": "1929.430_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": 110914, "creators": [{"id": 14153, "description": "Richard Beatty (American, 1899\u20131961)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1899", "death_year": "1961", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1929-05-16T00:00:00", "sortable_date": 1929, "date_added_to_oa": null, "date_text": "1929", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:47.822000"}, {"id": 113310, "accession_number": "1932.320", "share_license_status": "CC0", "tombstone": "Working Woman with Blue Shawl, 1903. K\u00e4the Kollwitz (German, 1867\u20131945). Color lithograph. The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1932.320", "current_location": null, "title": "Working Woman with Blue Shawl", "creation_date": "1903", "creation_date_earliest": 1903, "creation_date_latest": 1903, "artists_tags": ["female"], "culture": ["Germany, 20th century"], "technique": "color lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "dimensions": {}, "state_of_the_work": "III/III", "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": 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": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "K\u00e4the Kollwitz's husband was a doctor who treated the working poor in Berlin, giving her firsthand experience with their struggles.", "description": "K\u00e4the Kollwitz favored printmaking because she saw it as a democratic medium, affordable and capable of reaching all social classes. In prints such as this portrait of a female worker, she depicted Berlin\u2019s most disenfranchised inhabitants. The sitter\u2019s direct gaze and exhausted pose suggest not only her difficult living and working conditions but also her dignity.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80005853"], "internet_archive": ["https://archive.org/details/clevelandart-1932.320-working-woman-with-b"]}, "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. 46", "url": "https://archive.org/details/Lithography/page/n53"}, {"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.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>59, no. 2 (March/April 2019): 34-35.", "page_number": "Reproduced: P. 34; Mentioned: P. 35", "url": "https://archive.org/details/CMAMM2019-02/page/n17/mode/2up"}], "catalogue_raisonne": "Klipstein 68", "url": "https://clevelandart.org/art/1932.320", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1932.320/1932.320_web.jpg", "width": "648", "height": "893", "filesize": "403836", "filename": "1932.320_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1932.320/1932.320_print.jpg", "width": "2468", "height": "3400", "filesize": "6766343", "filename": "1932.320_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1932.320/1932.320_full.tif", "width": "3920", "height": "5400", "filesize": "63536572", "filename": "1932.320_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": 113310, "creators": [{"id": 29141, "description": "K\u00e4the Kollwitz (German, 1867\u20131945)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1867", "death_year": "1945", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1932-10-20T00:00:00", "sortable_date": 1903, "date_added_to_oa": null, "date_text": "1903", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:19.741000"}, {"id": 114537, "accession_number": "1934.165", "share_license_status": "Copyrighted", "tombstone": "The Fruits of Labor, 1932. Diego Rivera (Mexican, 1886\u20131957), printed by George C. Miller (American, 1894\u20131966), published by Weyhe Gallery. Lithograph; image: 42.1 x 29.9 cm (16 9/16 x 11 3/4 in.); sheet: 54.6 x 38.5 cm (21 1/2 x 15 3/16 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1934.165. \u00a9 Banco de M\u00e9xico Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society (ARS), New York", "current_location": null, "title": "The Fruits of Labor", "creation_date": "1932", "creation_date_earliest": 1932, "creation_date_latest": 1932, "artists_tags": ["male", "Latine and Hispanic Artists", "Jewish artists"], "culture": ["Mexico, 20th century"], "technique": "lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image: 42.1 x 29.9 cm (16 9/16 x 11 3/4 in.); Sheet: 54.6 x 38.5 cm (21 1/2 x 15 3/16 in.)", "dimensions": {"image": {"height": 0.421, "width": 0.299}, "sheet": {"height": 0.546, "width": 0.385}}, "state_of_the_work": "I/I", "edition_of_the_work": "edition of 100", "copyright": "\u00a9 Banco de M\u00e9xico Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "signed and inscribed at lower right, in pencil: 84/100 Diego Rivera; at lower right, in pencil: 1932; initialed and dated on stone at lower center: DR 32", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "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": 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": 373919, "title": "A Graphic Revolution: Prints and Drawings in Latin America", "description": "<i>A Graphic Revolution: Prints and Drawings in Latin America</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 14-August 2, 2020).", "opening_date": "2020-03-08T05:00:00"}], "legacy": []}, "provenance": [{"description": "(Weyhe Gallery, New York, sold to the Print Club of Cleveland, Cleveland, OH)", "citations": [], "footnotes": null, "date": "1932-1934", "sortorder": 1}, {"description": "The Print Club of Cleveland, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1934", "sortorder": 2}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1934-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Diego Rivera produced only 13 prints during his long career, encouraged by his dealer Carl Zigrosser of Weyhe Gallery.", "description": "Diego Rivera is best known for large-scale public murals, often on the history and future of Mexico. This print presents details of a painting from a 1920s commission at the Secretariat of Public Education, a government building in Mexico City. Lithography\u2014a technique that Rivera favored for its \u201cdirectness of contact\u201d\u2014allowed him to share his site-specific murals with an even broader public.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80007281"], "internet_archive": []}, "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: Fruits of the Tree of Life.", "page_number": "Mentioned: p. 59; Reproduced: Plate LVI", "url": "https://archive.org/details/Lithography/page/n135"}, {"citation": "Salsbury, Britany. \"A Graphic Revolution: Through prints and drawings, Latin American artists helped spur social change.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>60, no. 2 (March/April 2020): 34-35.", "page_number": "Reproduced and Mentioned: P. 35.", "url": ""}], "catalogue_raisonne": "Williams 6", "url": "https://clevelandart.org/art/1934.165", "images": {}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 114537, "creators": [{"id": 13165, "description": "Diego Rivera (Mexican, 1886\u20131957)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1886", "death_year": "1957", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 370463, "description": "George C. Miller (American, 1894\u20131966)", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "birth_year": "1894", "death_year": "1966", "use_in_caption": true, "include_extent": true, "weight": 2}, {"id": 370474, "description": "Weyhe Gallery", "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": "1934-06-21T00:00:00", "sortable_date": 1932, "date_added_to_oa": null, "date_text": "1932", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": "84", "alternate_titles": ["Fruits of the Tree of Life"], "is_highlight": false, "updated_at": "2026-03-27 00:09:55.847000"}, {"id": 117264, "accession_number": "1937.83", "share_license_status": "Copyrighted", "tombstone": "Mother and Baby, c. 1937. William E. Smith (American, 1913\u20131997). Linocut; image: 20.5 x 17.2 cm (8 1/16 x 6 3/4 in.); sheet: 27.1 x 25.5 cm (10 11/16 x 10 1/16 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1937.83. \u00a9 William E. Smith", "current_location": null, "title": "Mother and Baby", "creation_date": "c. 1937", "creation_date_earliest": 1935, "creation_date_latest": 1937, "artists_tags": ["Black American Artists", "May Show", "male"], "culture": ["America, Ohio, Cleveland"], "technique": "linocut", "support_materials": [], "department": "Prints", "collection": "PR - Linocut", "type": "Print", "measurements": "Image: 20.5 x 17.2 cm (8 1/16 x 6 3/4 in.); Sheet: 27.1 x 25.5 cm (10 11/16 x 10 1/16 in.)", "dimensions": {"image": {"height": 0.205, "width": 0.172}, "sheet": {"height": 0.271, "width": 0.255}}, "state_of_the_work": null, "edition_of_the_work": "50", "copyright": "\u00a9 William E. Smith", "inscriptions": [{"inscription": "inscribed, lower left margin, in black: 2/50; lower center margin in black: \"MOTHER and Baby\"; lower right margin, in black: William E. Smith", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 382028, "title": "The May Show: 19th Annual Exhibition of Works by Cleveland Artists and Craftsmen", "description": "<i>The May Show: 19th Annual Exhibition of Works by Cleveland Artists and Craftsmen</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 5-June 19, 1937).", "opening_date": "1937-05-05T04:00:00"}, {"id": 345621, "title": "May Show Prints: Purchases for 1936-1938", "description": "<i>May Show Prints: Purchases for 1936-1938</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 9-December 4, 1938).", "opening_date": "1938-11-09T05:00:00"}, {"id": 667699, "title": "Karamu Artists Inc.: Printmaking, Race, and Community", "description": "<i>Karamu Artists Inc.: Printmaking, Race, and Community</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 23-August 17, 2025).", "opening_date": "2025-03-23T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "William E. Smith frequently depicted the tender bond between parent and child.", "description": "This print by William E. Smith was the first by any Black American artist to enter the CMA\u2019s collection. It was purchased from the museum\u2019s May Show, an annual exhibition highlighting regional contemporary art. Karamu Artists Inc. used this juried display to establish a reputation locally that they were then able to leverage into further opportunities. The praise that their prints received was widely noted at a time when Black artists were otherwise unrepresented in museums; as a critic for Cleveland\u2019s historically Black newspaper, the <em>Call and Post</em>, noted, \u201cA feeling of deep racial pride was mine as I noticed the names of [members of Karamu Artists Inc. in the galleries].\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80011733"], "internet_archive": []}, "citations": [{"citation": "William E. Smith Entry Card to 1937 May Show. Cleveland Museum of Art May Show Records, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/CMAMS04525/"}, {"citation": "Salsbury, Britany. \"Karamu Artists Inc. and Printmaking in the WPA Era.\" In <em>Karamu Artists Inc.: Printmaking, Race, and Community, </em>Britany Salsbury and Erin Benay, 16-55. Cleveland, OH: Cleveland Museum of Art, 2025.", "page_number": "Mentioned and reproduced: p. 24-26, no. 5", "url": ""}], "catalogue_raisonne": "Teller 3; Salsbury, Benay, and Kruse 82", "url": "https://clevelandart.org/art/1937.83", "images": {}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 117264, "creators": [{"id": 7978, "description": "William E. Smith (American, 1913\u20131997)", "extent": null, "qualifier": null, "role": "artist", "biography": "A highly skilled printmaker, William Elijah Smith specialized in genre scenes of working-class African-American life in Cleveland. Born in Chattanooga, Smith moved to Cleveland at the age of 13 and became involved with Karamu House, learning print making and stage design. He studied art at the Huntington Polytechnic Institute, 1933\u201334. During this time he began teaching at Karamu House and continued to do so until 1940. In 1941 he won the art competition for presenting one of his prints to the Library of Congress for its permanent collection. Smith exhibited at the Connecticut Academy of Fine Arts in Hartford (1935), in the annual May Shows at the Cleveland Museum of Art (1936\u2013 49), at the Associated American Artists Galleries of New York (1942), and at Atlanta University (1942). During World War II, he served as a photographer in the army\u2019s educational department. After the war, he returned to Cleveland and established a commercial silkscreening studio. In 1946 the Lyman Brothers\u2019 Gallery in Indianapolis mounted his first solo exhibition. From 1946 to 1948 he studied painting and printmaking at the Cleveland School of Art and the Cooper School of Art. In the late 1940s Smith moved to Los Angeles, where he associated with Curtis Tann, a former colleague from Karamu House. With Tann, Smith cofounded the Eleven Associated Artists Gallery, the first Los Angeles gallery devoted specifically to African art. In 1952 Smith was hired to work as a blueprint draftsman at Lockheed Aircraft, beginning a long association with the corporation. In 1960 he cofounded Art West Associated, an African-American artists\u2019 advocacy organization in Los Angeles. In 1970 he published illustrations of subjects from African-American history for Cleveland\u2019s New Day Press. Smith\u2019 s works were displayed ins numerous group exhibitions in the Los Angeles area (1960s\u201380s).<br><em>Transformations in Cleveland Art.</em> (CMA, 1996), p. 238", "name_in_original_language": null, "birth_year": "1913", "death_year": "1997", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1937-05-19T00:00:00", "sortable_date": 1935, "date_added_to_oa": null, "date_text": "c. 1937", "collapse_artists": false, "on_loan": false, "recently_acquired": 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 00:02:23.691000"}, {"id": 117831, "accession_number": "1938.44", "share_license_status": "Copyrighted", "tombstone": "Granite Sheds in Landscape, 1930. Luigi Lucioni (American, born Italy, 1900\u20131988). Oil on board; unframed: 45.9 x 38.4 cm (18 1/16 x 15 1/8 in.). The Cleveland Museum of Art, Bequest of Mrs. Henry A. Everett for the Dorothy Burnham Everett Memorial Collection, 1938.44", "current_location": null, "title": "Granite Sheds in Landscape", "creation_date": "1930", "creation_date_earliest": 1930, "creation_date_latest": 1930, "artists_tags": ["male", "LGBTQ+ (after 1900)"], "culture": ["America"], "technique": "oil on board", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Unframed: 45.9 x 38.4 cm (18 1/16 x 15 1/8 in.)", "dimensions": {"unframed": {"height": 0.459, "width": 0.384}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower right:  L. Lucioni 30.", "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": 310243, "title": "The Precisionist Aesthetic in American Art", "description": "<i>The Precisionist Aesthetic in American Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 24-April 9, 1989).", "opening_date": "1989-01-24T05:00:00"}], "legacy": [{"description": "Cleveland, The Cleveland Museum of Art, The Precisionist Aesthetic in American Art (24 January-9 April, 1989)", "opening_date": "1989-01-24T00:00:00"}]}, "provenance": [{"description": "Mrs. Henry A. Everett.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The Vermont Granite Museum is located in the city of Barre.", "description": "Luigi Lucioni painted <em>Granite Sheds in Landscape</em> while visiting a cousin who lived in Barre, Vermont. The city and its environs are renowned for granite quarries, among the largest in the world. At the time, granite extracted from quarries was transported to processing facilities, nicknamed sheds, where it was transformed from raw material into finished products.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60514235"], "internet_archive": []}, "citations": [{"citation": "Embury, Stuart P., Luigi Lucioni, and D. Wigmore. <em>The Art and Life of Luigi Lucioni : A Contribution towards a Catalogue Raisonn\u00e9</em>. [Place of publication not identified]: Stuart P. Embury, M.D., 2006.", "page_number": "Mentioned, p. 110; reproduced, p. 136.", "url": ""}, {"citation": "Kirchhoff, Katie Wood. \"Contemporary Conversations.\" In L<em>uigi Lucioni: Modern Light. </em>Katie Wood Kirchoff, ed., 39-64. New York, NY: Rizzoli Electa, 2022.", "page_number": "Reproduced: P. 43; Mentioned: P. 45", "url": ""}], "url": "https://clevelandart.org/art/1938.44", "images": {}, "alternate_images": [], "creditline": "Bequest of Mrs. Henry A. Everett for the Dorothy Burnham Everett Memorial Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 117831, "creators": [{"id": 3170, "description": "Luigi Lucioni (American, born Italy, 1900\u20131988)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1900", "death_year": "1988", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1938-06-03T00:00:00", "sortable_date": 1930, "date_added_to_oa": null, "date_text": "1930", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:43.038000"}, {"id": 124260, "accession_number": "1945.253", "share_license_status": "Copyrighted", "tombstone": "Study for the Mural \u201cAboriginal Races\u201d (for the National Preparatory School, Mexico City), 1926. Jos\u00e9 Clemente Orozco (Mexican, 1883\u20131949). Graphite; sheet: 32.2 x 31.8 cm (12 11/16 x 12 1/2 in.). The Cleveland Museum of Art, Gift of Mrs. Malcolm L. McBride, 1945.253. \u00a9 Jos\u00e9 Clemente Orozco / Artists Rights Society (ARS), New York / SOMAAP, Mexico ", "current_location": null, "title": "Study for the Mural \u201cAboriginal Races\u201d (for the National Preparatory School, Mexico City)", "creation_date": "1926", "creation_date_earliest": 1926, "creation_date_latest": 1926, "artists_tags": ["male"], "culture": ["Mexico, 20th century"], "technique": "graphite", "support_materials": [], "department": "Drawings", "collection": "DR - Mexican", "type": "Drawing", "measurements": "Sheet: 32.2 x 31.8 cm (12 11/16 x 12 1/2 in.)", "dimensions": {"sheet": {"height": 0.322, "width": 0.318}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Jos\u00e9 Clemente Orozco / Artists Rights Society (ARS), New York / SOMAAP, Mexico ", "inscriptions": [{"inscription": "signed in pencil, at lower left: J.C. Orozco", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 373919, "title": "A Graphic Revolution: Prints and Drawings in Latin America", "description": "<i>A Graphic Revolution: Prints and Drawings in Latin America</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 14-August 2, 2020).", "opening_date": "2020-03-08T05:00:00"}], "legacy": [{"description": "<em>Jos\u00e9 Clemente Orozco Memorial Exhibition</em>. Cleveland Museum of Art, Cleveland, OH (November 11 - December 13, 1953).", "opening_date": "1953-11-11T00:00:00"}, {"description": "Fogg Art Museum, Cambridge, MA: Orozco Memorial Exhibition circulated from December 1, 1952-December, 1953.", "opening_date": "1952-12-01T05:00:00Z"}]}, "provenance": [{"description": "Mrs. Malcom McBride, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "?-1945", "sortorder": 1}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1945-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The National Preparatory School murals were Jos\u00e9 Clemente Orozco's first major commission, shared with the artists Diego Rivera and David Alfaro Siqueiros.", "description": "Jos\u00e9 Clemente Orozco created this drawing as a study for his first mural, which Mexico\u2019s minister of education commissioned as a series for the National Preparatory School, a prestigious secondary school in Mexico City. Over the course of two phases of work, between 1922 and 1926, Orozco covered the building\u2019s stairways and corridors with allegorical and political subjects from Mexican history. This drawing is one of several in which the artist worked out a composition depicting the country\u2019s earliest inhabitants.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79901975"], "internet_archive": []}, "citations": [{"citation": "<em>J.C. Orozco Memorial Exhibition</em>. Exh. Cat. Boston: Institute of Contemporary Art, 1953.", "page_number": "Mentioned: no. 144", "url": null}, {"citation": "Francis, Henry S. \"'The Wounded Soldier' by Orozco.\" <em>Bulletin of the Cleveland Museum of Art</em> 42, no. 4 (April 1955): 61-63.", "page_number": "Mentioned: p. 63", "url": "https://www.jstor.org/stable/25142031"}], "url": "https://clevelandart.org/art/1945.253", "images": {}, "alternate_images": [], "creditline": "Gift of Mrs. Malcolm L. McBride", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 124260, "creators": [{"id": 3234, "description": "Jos\u00e9 Clemente Orozco (Mexican, 1883\u20131949)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1883", "death_year": "1949", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1945-12-06T00:00:00", "sortable_date": 1926, "date_added_to_oa": null, "date_text": "1926", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Study for the mural \"Ancient Races,\" National Preparatory School, Mexico City"], "is_highlight": false, "updated_at": "2026-03-27 00:02:29.414000"}, {"id": 147026, "accession_number": "1972.53", "share_license_status": "Copyrighted", "tombstone": "Two Nude Women (A series of progressive proofs), 1945\u201346. Pablo Picasso (Spanish, 1881\u20131973), Mourlot. Lithographs; image: 26 x 34.9 cm (10 1/4 x 13 3/4 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1972.53. \u00a9 Estate of  Pablo Picasso / Artists Rights Society (ARS), New York", "current_location": null, "title": "Two Nude Women (A series of progressive proofs)", "creation_date": "1945\u201346", "creation_date_earliest": 1945, "creation_date_latest": 1946, "artists_tags": ["male", "Latine and Hispanic Artists", "gender unknown"], "culture": ["Spain, 20th century"], "technique": "lithographs", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image: 26 x 34.9 cm (10 1/4 x 13 3/4 in.)", "dimensions": {"image": {"height": 0.26, "width": 0.349}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of  Pablo Picasso / Artists Rights Society (ARS), New York", "inscriptions": [], "exhibitions": {"current": [{"id": 301752, "title": "Year in Review: 1972", "description": "<i>Year in Review: 1972</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 27-March 18, 1973).", "opening_date": "1973-02-27T05:00:00"}, {"id": 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": 317581, "title": "Picasso and Paper", "description": "<i>Picasso and Paper</i>. The Cleveland Museum of Art, Cleveland, OH (co-organizer) (December 8, 2024-March 23, 2025).", "opening_date": "2024-12-08T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The two figures in this print are thought to represent the painter Fran\u00e7oise Gilot and the photographer Dora Maar, both of whom were romantically involved with Picasso around this time.", "description": "Picasso printed each of these nine lithographs from the same stone. This technique involves chemically sealing a drawing to the surface of a printing stone so that ink adheres to the design and the stone can be run through a printing press. Picasso edited and reprinted his stone as he transformed the image. The artist ultimately created 21 states, or variations, highlighting his fascination with what he described as the \u201cmetamorphosis\u201d possible through printmaking. He experimented with realistic and abstract versions of the composition, which features women sitting and sleeping, while also adding and removing marginal images as he worked.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79925982"], "internet_archive": []}, "citations": [{"citation": "Lee, Sherman E. \"The Year in Review for 1972.\" <em>The Bulletin of the Cleveland Museum of Art </em>60, no. 3 (March 1973): 63-115.", "page_number": "P. 112, #213-221. Reproduced: #217, p. 90.", "url": "https://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. 241", "url": "https://archive.org/details/CMAHandbook1978/page/n261"}], "catalogue_raisonne": "Bloch 390; Mourlot 16", "url": "https://clevelandart.org/art/1972.53", "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": 147026, "creators": [{"id": 2160, "description": "Pablo Picasso (Spanish, 1881\u20131973)", "extent": null, "qualifier": null, "role": "artist", "biography": "Pablo Ruiz Picasso (1881-1973), the most prolific and influential artist of the 20th century, shifted the emphasis of art from its traditional concern with beauty toward radical innovation. The son of an art teacher, Picasso demonstrated remarkable talents as a child and entered the royal art academy in Madrid at age sixteen. Less than a year later, he abandoned his studies and soon joined several avant-garde artist and anarchist groups in Barcelona and Paris. After passing through a succession of stylistic periods, most notably the Blue (1901-1904) and Rose (1904-1906) Periods, he collaborated with Georges Braque (1882-1963) in 1908 to invent Cubism, a revolutionary method of restructuring pictorial space. Picasso remained active until his death in 1973. Although his art still appears radical, many of his works are over one hundred years old. Cubism, perhaps the most important development in 20th-century art, was invented around 1908 by Pablo Picasso (1881-1973) and Georges Braque (1882-1963). The most revolutionary aspect of the style was not its obvious emphasis on geometric form; rather, it was the introduction of a radically new approach to configuring pictorial space. Since the Renaissance, artists had used various methods to create the illusion of distant space receding behind the canvas surface. The Cubists rejected that idea and collapsed space by compressing foreground, middle ground, and background into a continuous web of overlapping, intersecting planes. During the 1910s, other painters and sculptors embraced or adapted Cubism to their own ends. This revolutionary approach inspired a host of related movements and continues to influence the visual language of artists, architects, and designers throughout the world.", "name_in_original_language": null, "birth_year": "1881", "death_year": "1973", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 62587, "description": "Mourlot", "extent": "printed and published by", "qualifier": null, "role": "printer and publisher", "biography": null, "name_in_original_language": null, "birth_year": "1852", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1972-06-12T00:00:00", "sortable_date": 1945, "date_added_to_oa": null, "date_text": "1945\u201346", "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": "2026-04-03 13:35:09.066000"}, {"id": 147390, "accession_number": "1973.137.4", "share_license_status": "Copyrighted", "tombstone": "Dream and Lie of Franco II: January 9, 1937, 1937. Pablo Picasso (Spanish, 1881\u20131973), Roger Lacouri\u00e8re (French, 1892\u20131966). Etching, sugar-lift aquatint, and chine coll\u00e9 on wove paper; image: 30.5 x 41.5 cm (12 x 16 5/16 in.); plate: 31.6 x 42.1 cm (12 7/16 x 16 9/16 in.); sheet: 38 x 57 cm (14 15/16 x 22 7/16 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1973.137.4. \u00a9 2006 Estate of Pablo Picasso/Artists Rights Society (ARS), New York", "current_location": null, "title": "Dream and Lie of Franco II: January 9, 1937", "creation_date": "1937", "creation_date_earliest": 1937, "creation_date_latest": 1937, "artists_tags": ["male", "Latine and Hispanic Artists"], "culture": ["Spain, 20th century"], "technique": "etching, sugar-lift aquatint, and chine coll\u00e9 on wove paper", "support_materials": [], "department": "Prints", "collection": "PR - Etching", "type": "Print", "measurements": "Image: 30.5 x 41.5 cm (12 x 16 5/16 in.); Plate: 31.6 x 42.1 cm (12 7/16 x 16 9/16 in.); Sheet: 38 x 57 cm (14 15/16 x 22 7/16 in.)", "dimensions": {"image": {"height": 0.305, "width": 0.415}, "plate": {"height": 0.316, "width": 0.421}, "sheet": {"height": 0.38, "width": 0.57}}, "state_of_the_work": "VBd (Baer)", "edition_of_the_work": "142/150", "copyright": "\u00a9 2006 Estate of Pablo Picasso/Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "Signed, lower right margin, in graphite: Picasso", "inscription_translation": null, "inscription_remark": null, "sortorder": 1}, {"inscription": "Inscribed, upper center, in plate, reversed: 8 janvier 1937; lower left, in plate, reversed: 9 janvier 1937 - 7 juin 37; lower left margin, in graphite: 142/150", "inscription_translation": null, "inscription_remark": null, "sortorder": 2}], "exhibitions": {"current": [{"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).", "opening_date": "2006-10-15T00:00:00"}, {"id": 317581, "title": "Picasso and Paper", "description": "<i>Picasso and Paper</i>. The Cleveland Museum of Art, Cleveland, OH (co-organizer) (December 8, 2024-March 23, 2025).", "opening_date": "2024-12-08T05:00:00"}], "legacy": [{"description": "Cleveland Museum of Art (10/15/2006 - 06/03/2007); The Metropolitan Museum of Art (03/04/2007 - 06/03/2007); \"Barcelona &amp; Modernity: Picasso, Gaud\u00ed. Mir\u00f3, Dal\u00ed\"- EXHIBITED AT CMA VENUE ONLY", "opening_date": "2006-10-15T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": ["1973.140"], "did_you_know": "Depicting the violence and chaos of the Spanish Civil War (1936\u201339), this print was one of Picasso's first overtly political works.", "description": "Picasso began working on the plate for this etching on January 9 but left it unfinished. He completed the last four frames on June 7 using imagery related to his painting <em>Guernica</em>, including a weeping woman and a mother running from a burning building with a dead child in her arms.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79926392"], "internet_archive": []}, "citations": [{"citation": "Lee, Sherman E. \"The Year in Review for 1973.\" <em>The Bulletin of the Cleveland Museum of Art </em>61, no. 2 (February 1974): 31-78.", "page_number": "P. 76, #109.", "url": "https://www.jstor.org/stable/25152513"}, {"citation": "Robinson, William H., Jordi Falga\u0300s, Carmen Belen Lord, and Josefina Alix Trueba.<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. 458-460, fig. 2, no. 9:29", "url": ""}], "catalogue_raisonne": "Baer III.108.616 (Baer addendum p. 38); Bloch 298; Goeppert 28", "url": "https://clevelandart.org/art/1973.137.4", "images": {}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 147390, "creators": [{"id": 2160, "description": "Pablo Picasso (Spanish, 1881\u20131973)", "extent": null, "qualifier": null, "role": "artist", "biography": "Pablo Ruiz Picasso (1881-1973), the most prolific and influential artist of the 20th century, shifted the emphasis of art from its traditional concern with beauty toward radical innovation. The son of an art teacher, Picasso demonstrated remarkable talents as a child and entered the royal art academy in Madrid at age sixteen. Less than a year later, he abandoned his studies and soon joined several avant-garde artist and anarchist groups in Barcelona and Paris. After passing through a succession of stylistic periods, most notably the Blue (1901-1904) and Rose (1904-1906) Periods, he collaborated with Georges Braque (1882-1963) in 1908 to invent Cubism, a revolutionary method of restructuring pictorial space. Picasso remained active until his death in 1973. Although his art still appears radical, many of his works are over one hundred years old. Cubism, perhaps the most important development in 20th-century art, was invented around 1908 by Pablo Picasso (1881-1973) and Georges Braque (1882-1963). The most revolutionary aspect of the style was not its obvious emphasis on geometric form; rather, it was the introduction of a radically new approach to configuring pictorial space. Since the Renaissance, artists had used various methods to create the illusion of distant space receding behind the canvas surface. The Cubists rejected that idea and collapsed space by compressing foreground, middle ground, and background into a continuous web of overlapping, intersecting planes. During the 1910s, other painters and sculptors embraced or adapted Cubism to their own ends. This revolutionary approach inspired a host of related movements and continues to influence the visual language of artists, architects, and designers throughout the world.", "name_in_original_language": null, "birth_year": "1881", "death_year": "1973", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 687476, "description": "Roger Lacouri\u00e8re (French, 1892\u20131966)", "extent": "printed by", "qualifier": null, "role": "printer", "biography": "Intaglio printer and publisher", "name_in_original_language": null, "birth_year": "1892", "death_year": "1966", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1973-08-06T00:00:00", "sortable_date": 1937, "date_added_to_oa": null, "date_text": "1937", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1973.137", "is_nazi_era_provenance": false, "impression": "142", "alternate_titles": [], "is_highlight": false, "updated_at": "2026-04-02 20:06:23.066000"}, {"id": 147391, "accession_number": "1973.137.5", "share_license_status": "Copyrighted", "tombstone": "Dream and Lie of Franco I:  (January 8, 1937), 1937. Pablo Picasso (Spanish, 1881\u20131973), Roger Lacouri\u00e8re (French, 1892\u20131966). Etching, sugar-lift aquatint, and chine coll\u00e9 on wove paper; image: 31 x 41.8 cm (12 3/16 x 16 7/16 in.); plate: 31.5 x 42.2 cm (12 3/8 x 16 5/8 in.); sheet: 37.8 x 57 cm (14 7/8 x 22 7/16 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1973.137.5. \u00a9 2006 Estate of Pablo Picasso/Artists Rights Society (ARS), New York", "current_location": null, "title": "Dream and Lie of Franco I:  (January 8, 1937)", "creation_date": "1937", "creation_date_earliest": 1937, "creation_date_latest": 1937, "artists_tags": ["male", "Latine and Hispanic Artists"], "culture": ["Spain, 20th century"], "technique": "etching, sugar-lift aquatint, and chine coll\u00e9 on wove paper", "support_materials": [], "department": "Prints", "collection": "PR - Etching", "type": "Print", "measurements": "Image: 31 x 41.8 cm (12 3/16 x 16 7/16 in.); Plate: 31.5 x 42.2 cm (12 3/8 x 16 5/8 in.); Sheet: 37.8 x 57 cm (14 7/8 x 22 7/16 in.)", "dimensions": {"image": {"height": 0.31, "width": 0.418}, "plate": {"height": 0.315, "width": 0.422}, "sheet": {"height": 0.378, "width": 0.57}}, "state_of_the_work": "IIBd (Baer)", "edition_of_the_work": "142/150", "copyright": "\u00a9 2006 Estate of Pablo Picasso/Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "Signed, lower right margin, in graphite: Picasso", "inscription_translation": null, "inscription_remark": null, "sortorder": 1}, {"inscription": "Inscribed, upper center, in plate, reversed: 8 janvier 1937; lower left margin, in graphite: 142/150", "inscription_translation": null, "inscription_remark": null, "sortorder": 2}], "exhibitions": {"current": [{"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).", "opening_date": "2006-10-15T00:00:00"}, {"id": 317581, "title": "Picasso and Paper", "description": "<i>Picasso and Paper</i>. The Cleveland Museum of Art, Cleveland, OH (co-organizer) (December 8, 2024-March 23, 2025).", "opening_date": "2024-12-08T05:00:00"}], "legacy": [{"description": "Cleveland Museum of Art (10/15/2006 - 06/03/2007); The Metropolitan Museum of Art (03/04/2007 - 06/03/2007); \"Barcelona &amp; Modernity: Picasso, Gaud\u00ed. Mir\u00f3, Dal\u00ed\", fig. 1 (cat. 9:28), p. 459, repr. 459- EXHIBITED AT CMA VENUE ONLY.", "opening_date": "2006-10-15T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": ["1973.141"], "did_you_know": "General Francisco Franco is recognizable by his distinctive mustache.", "description": "This two-page, viciously satirical response to the Spanish civil war is among the most politically motivated works in Picasso\u2019s career. The prints were sold in a limited edition of 1,000 copies at the Spanish Pavilion of the Paris Universal Exposition to raise money for the Spanish refugee relief campaign. Since the printing process reversed the images, the frames should be read from the upper right to the lower left. Here Picasso portrayed General Francisco Franco as a deformed monster, crusading in a ship, smashing art, disguising himself as a woman, praying, killing, and creating overall havoc and mayhem.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79926395"], "internet_archive": []}, "citations": [{"citation": "Lee, Sherman E. \"The Year in Review for 1973.\" <em>The Bulletin of the Cleveland Museum of Art </em>61, no. 2 (February 1974): 31-78.", "page_number": "P. 76, #108.", "url": "https://www.jstor.org/stable/25152513"}, {"citation": "Robinson, William H., Jordi Falga\u0300s, Carmen Belen Lord, and Josefina Alix Trueba.<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. 458-460, fig. 1, no. 9:28", "url": ""}], "catalogue_raisonne": "Baer III.106. 615 (Baer addendum p. 38); Bloch 297; Goeppert 28", "url": "https://clevelandart.org/art/1973.137.5", "images": {}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 147391, "creators": [{"id": 2160, "description": "Pablo Picasso (Spanish, 1881\u20131973)", "extent": null, "qualifier": null, "role": "artist", "biography": "Pablo Ruiz Picasso (1881-1973), the most prolific and influential artist of the 20th century, shifted the emphasis of art from its traditional concern with beauty toward radical innovation. The son of an art teacher, Picasso demonstrated remarkable talents as a child and entered the royal art academy in Madrid at age sixteen. Less than a year later, he abandoned his studies and soon joined several avant-garde artist and anarchist groups in Barcelona and Paris. After passing through a succession of stylistic periods, most notably the Blue (1901-1904) and Rose (1904-1906) Periods, he collaborated with Georges Braque (1882-1963) in 1908 to invent Cubism, a revolutionary method of restructuring pictorial space. Picasso remained active until his death in 1973. Although his art still appears radical, many of his works are over one hundred years old. Cubism, perhaps the most important development in 20th-century art, was invented around 1908 by Pablo Picasso (1881-1973) and Georges Braque (1882-1963). The most revolutionary aspect of the style was not its obvious emphasis on geometric form; rather, it was the introduction of a radically new approach to configuring pictorial space. Since the Renaissance, artists had used various methods to create the illusion of distant space receding behind the canvas surface. The Cubists rejected that idea and collapsed space by compressing foreground, middle ground, and background into a continuous web of overlapping, intersecting planes. During the 1910s, other painters and sculptors embraced or adapted Cubism to their own ends. This revolutionary approach inspired a host of related movements and continues to influence the visual language of artists, architects, and designers throughout the world.", "name_in_original_language": null, "birth_year": "1881", "death_year": "1973", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 687476, "description": "Roger Lacouri\u00e8re (French, 1892\u20131966)", "extent": "printed by", "qualifier": null, "role": "printer", "biography": "Intaglio printer and publisher", "name_in_original_language": null, "birth_year": "1892", "death_year": "1966", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1973-08-06T00:00:00", "sortable_date": 1937, "date_added_to_oa": null, "date_text": "1937", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1973.137", "is_nazi_era_provenance": false, "impression": "142", "alternate_titles": [], "is_highlight": false, "updated_at": "2026-04-02 20:06:24.154000"}, {"id": 148162, "accession_number": "1975.160", "share_license_status": "Copyrighted", "tombstone": "Mask, c. 1920s. Africa, West Africa, Nigeria, Ibibio-style maker. Wood, pigment, plant fiber, and metal; overall: 49.5 cm (19 1/2 in.). The Cleveland Museum of Art, Gift of Katherine C. White, 1975.160", "current_location": null, "title": "Mask", "creation_date": "c. 1920s", "creation_date_earliest": 1920, "creation_date_latest": 1929, "artists_tags": [], "culture": ["Africa, West Africa, Nigeria, Ibibio-style maker"], "technique": "Wood, pigment, plant fiber, and metal", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Mask", "measurements": "Overall: 49.5 cm (19 1/2 in.)", "dimensions": {"overall": {"height": 0.495}}, "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. 159, repr.", "opening_date": "1968-01-01T00:00:00"}, {"description": "CMA 1976: \"Year in Review 1975,\" CMA Bulletin LXIII (Feb., 1976), p. 66, no. 31, repr.p. 64.", "opening_date": "1976-02-01T00:00:00"}, {"description": "CMA 1986:  Possessors of Power;  African Masks and Sculpture, January 28-March 23, 1986; also at The Beachwood Museum, April 2-30, 1986.", "opening_date": "1930-04-02T00:00:00"}]}, "provenance": [{"description": "Katherine C. White", "citations": [], "footnotes": ["<div><!--block-->This work was included in&nbsp;<em>African Tribal Images: The Katherine White Reswick Collection</em>&nbsp;in 1968. Katherine Coryton White was also known as Katherine White Reswick and Katherine Merkel.</div>"], "date": "at least 1968\u20131975", "sortorder": 1}, {"description": "The Cleveland Museum of Art by Gift", "citations": [], "footnotes": null, "date": "1975\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": ["945.68"], "did_you_know": "Joints on this mask's jaw allow it to open and close.", "description": "Ibibio viewers understood that this Ekpo mask with a serene face depicts a beautiful, beneficent soul. This one probably honored a young Ibibio maiden who graduated from the \"fattening house,\" an initiation school where she was fed rich foods to strengthen and beautify her. The bead suspended around the neck of the surmounting head is an insignia of graduation. The double-braided coiffure may have been inspired by Victorian fashions observed by the sculptor in magazines or worn by English missionary women.", "external_resources": {"wikidata": [], "internet_archive": []}, "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. 159.", "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. 31", "url": "http://www.jstor.org/stable/25152624"}], "url": "https://clevelandart.org/art/1975.160", "images": {}, "alternate_images": [], "creditline": "Gift of Katherine C. White", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 148162, "creators": [], "legal_status": "accessioned", "accession_date": "1976-01-08T00:00:00", "sortable_date": 1920, "date_added_to_oa": null, "date_text": "c. 1920s", "collapse_artists": false, "on_loan": false, "recently_acquired": 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 (mfon Ekpo)"], "is_highlight": false, "updated_at": "2026-03-27 00:09:57.350000"}, {"id": 149677, "accession_number": "1979.66", "share_license_status": "Copyrighted", "tombstone": "1931 Coupe, 1931. Reginald Marsh (American, born France, 1898\u20131954). Watercolor over graphite; sheet: 35.4 x 50.7 cm (13 15/16 x 19 15/16 in.). The Cleveland Museum of Art, Bequest of Felicia Meyer Marsh, 1979.66. \u00a9 Estate of Reginald Marsh / Art Students League, New York / Artists Rights Society (ARS), New   \r\n    York", "current_location": null, "title": "1931 Coupe", "creation_date": "1931", "creation_date_earliest": 1931, "creation_date_latest": 1931, "artists_tags": ["male"], "culture": ["America"], "technique": "Watercolor over graphite", "support_materials": [{"description": "white wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Sheet: 35.4 x 50.7 cm (13 15/16 x 19 15/16 in.)", "dimensions": {"sheet": {"height": 0.354, "width": 0.507}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of Reginald Marsh / Art Students League, New York / Artists Rights Society (ARS), New   \r\n    York", "inscriptions": [{"inscription": "signed, lower right in black ink: Reginald Marsh 1931; estate stamp in red ink, lower right: F. Marsh Collection / cat# wc 31-17 [inventory number is written in graphite]; verso, lower right, in graphite: wc 31-17\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": 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": 313809, "title": "Life is a Highway: American Car Culture", "description": "<i>Life is a Highway: American Car Culture</i>. The Toledo Museum of Art, Toledo, OH (organizer) (June 15-September 15, 2019).", "opening_date": "2019-06-15T04:00:00"}], "legacy": []}, "provenance": [{"description": "Estate of the artist [1898-1954], New York, NY", "citations": [], "footnotes": [], "date": "1931-1954", "sortorder": null}, {"description": "Felicia Meyer Marsh [1912-1978] (artist's wife, through Norman Sasowsky), given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1954-1978", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1979-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Marsh had a long-standing interest in transportation, seen throughout even his childhood drawings.", "description": "Although he was best known for depictions of New York City, Reginald Marsh also had a lasting interest in transportation and industry, including trains, bridges, and factories. In many of these works, he focused on the dominating physical presence of machines. This drawing depicts a luxury car\u2014a custom-bodied Model G close-coupled sports coupe made by the elite auto maker duPont. Fewer than 600 of the cars were made. Marsh worked in watercolor but used a drier brush to paint the car's tires so that the white of the paper shows through in tiny spots and contrasts with the smoothly painted metal elements. Made at the height of the Great Depression, a time during which many specialized auto manufacturers went out of business, the artist may have intended to suggest the demise of such extravagances.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79931254"], "internet_archive": []}, "citations": [{"citation": "Turner, Evan H. \"The Year in Review for 1979.\" <em>Bulletin of the Cleveland Museum of Art</em> 67, no. 3 (March 1980): 58-97.", "page_number": "Mentioned: p. 97, no 74", "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. 256-257, p. 297; Reproduced: p. 257", "url": null}], "url": "https://clevelandart.org/art/1979.66", "images": {}, "alternate_images": [], "creditline": "Bequest of Felicia Meyer Marsh", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 149677, "creators": [{"id": 31614, "description": "Reginald Marsh (American, born France, 1898\u20131954)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1898", "death_year": "1954", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1979-08-17T00:00:00", "sortable_date": 1931, "date_added_to_oa": null, "date_text": "1931", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:30.969000"}, {"id": 150507, "accession_number": "1981.63", "share_license_status": "CC0", "tombstone": "Andr\u00e9 B\u00e9nac, 1936. \u00c9douard Vuillard (French, 1868\u20131940). Oil on fabric; unframed: 124 x 96.8 cm (48 13/16 x 38 1/8 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. Paul Kaminsky, 1981.63", "current_location": null, "title": "Andr\u00e9 B\u00e9nac", "creation_date": "1936", "creation_date_earliest": 1936, "creation_date_latest": 1936, "artists_tags": ["male"], "culture": ["France, 20th century"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 124 x 96.8 cm (48 13/16 x 38 1/8 in.)", "dimensions": {"unframed": {"height": 1.24, "width": 0.968}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right: E. Vuillard 1936\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": 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": "Albi, Mus\u00e9e Toulouse-Lautrec. Exposition \u00c9douard Vuillard (1868-1940): Peintures, Aquarelles, Dessins (1960), no. 88, Portrait de Monsieur B\u00e9nac, 1936, collection particuli\u00e8re, Paris.", "opening_date": "1960-01-01T00:00:00"}]}, "provenance": [{"description": "Andr\u00e9 B\u00e9nac, until his death in October 1937. His widow, Mme B\u00e9nac, until 1945. Their daughter, Mme Caudrelier-B\u00e9nac, and her husband. Louis Caudrelier-B\u00e9nac, their eldest son. London sale, Sotheby's, 7 April 1976 (70, repr.), Homme assis \u00e0 son bureau, for \u00a32,200 to William Pall, U.S. Gary Katz, Cleveland. Through Mitchell Shaheen (Brett Mitchell Coll., Inc., Lyndhurst, Ohio), on loan to the cma in 1977 as promised gift. Bought by Mr. and Mrs. Paul Kaminsky, North Royalton, Ohio, 1980. Given to the CMA in 1981.", "citations": [], "footnotes": [], "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In the final two decades of his life, Vuillard focused primarily on painting portraits of notable figures in finance, politics, art, and literature.", "description": "Vuillard belonged to the artistic movement called The Nabis, the Hebrew term for prophet. The Nabis banded together in the late 19th century to create a new artistic language based upon the expressive potential of decorative color and stylized forms. Vuillard's success as part of this group encouraged wealthy patrons to seek his services, but for more realistically rendered portraits. The present piece was requested by the Compagnie Parisienne de Distribution d'\u00c9l\u00e9ctricit\u00e9, the Paris company for which the sitter, Andr\u00e9 B\u00e9nac, was president. The commission was made to commemorate B\u00e9nac receiving the Grand Croix, the highest award of the Legion of Honor. Vuillard made two versions of the portrait-this one meant for B\u00e9nac and another one, now in Zurich, Switzerland, (see photo), to remain the property of the company. In each case, the sitter appears in his living room/office, and he holds an identical pose, showing the same warm, friendly smile. However, in the museum's portrait, Vuillard omitted a significant portion of the surrounding room and altered the format from horizontal to vertical. The viewer can focus more easily upon the man represented because the diagonal of the table has been cut closer to the sitter and no longer leads the eye away toward the window. Photo of: Vuillard. Andr\u00e9 B\u00e9nac, 1935-36; distemper on canvas; 51 in. x 61 1/2 in. Fondation Rau pour le Tiers-Monde, Zurich.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60474812"], "internet_archive": ["https://archive.org/details/clevelandart-1981.63-andre-benac"]}, "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": "Mentioned: p. 80, no. 52", "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. 634-636, Vol. II, no. 222", "url": ""}], "url": "https://clevelandart.org/art/1981.63", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1981.63/1981.63_web.jpg", "width": "696", "height": "893", "filesize": "438272", "filename": "1981.63_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1981.63/1981.63_print.jpg", "width": "2649", "height": "3400", "filesize": "6922477", "filename": "1981.63_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1981.63/1981.63_full.tif", "width": "4224", "height": "5421", "filesize": "68728692", "filename": "1981.63_full.tif"}}, "alternate_images": [], "creditline": "Gift of Mr. and Mrs. Paul Kaminsky", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 150507, "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": "1981-12-08T00:00:00", "sortable_date": 1936, "date_added_to_oa": null, "date_text": "1936", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:02:55.856000"}, {"id": 150694, "accession_number": "1982.125", "share_license_status": "CC0", "tombstone": "Sylvia Gosse, c. 1913. Harold Gilman (British, 1876\u20131919). Oil on canvas; framed: 79.7 x 69.5 x 6.7 cm (31 3/8 x 27 3/8 x 2 5/8 in.); unframed: 61 x 51 cm (24 x 20 1/16 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1982.125", "current_location": null, "title": "Sylvia Gosse", "creation_date": "c. 1913", "creation_date_earliest": 1908, "creation_date_latest": 1918, "artists_tags": ["male"], "culture": ["England, 20th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 79.7 x 69.5 x 6.7 cm (31 3/8 x 27 3/8 x 2 5/8 in.); Unframed: 61 x 51 cm (24 x 20 1/16 in.)", "dimensions": {"framed": {"height": 0.797, "width": 0.695, "depth": 0.067}, "unframed": {"height": 0.61, "width": 0.51}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower right:  H. Gilman", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 309644, "title": "The Year in Review for 1982", "description": "<i>The Year in Review for 1982</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 5-February 6, 1983).", "opening_date": "1983-01-05T05:00:00"}, {"id": 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": "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": "Eustace Calland.  (London sale 1962).  (Anthony d'Offay, London).", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Gilman discovered his passion for art after a major fall led to a hip injury that left the young artist-to-be confined to his bed where he began to sketch.", "description": "Sylvia Gosse, the sitter for this painting by British artist Harold Gilman, was also an artist, specializing in etching. She was also known for being somewhat introverted. Does she seem to reveal any of her personality in this portrait?", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60474847"], "internet_archive": ["https://archive.org/details/clevelandart-1982.125-sylvia-gosse"]}, "citations": [{"citation": "Lee, Sherman E. \u201cYear in Review for 1982.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 70, no. 1 (January 1983): 3\u201355.", "page_number": "Reproduced: p. 21; Mentioned: p. 51, no. 26", "url": "http://www.jstor.org/stable/25159799"}, {"citation": "Henderson, P. L. <em>Reframing Women Printmakers.</em> London: Supernova Books, 2025.", "page_number": "Mentioned and reproduced: p. 150", "url": ""}], "url": "https://clevelandart.org/art/1982.125", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1982.125/1982.125_web.jpg", "width": "757", "height": "893", "filesize": "619089", "filename": "1982.125_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1982.125/1982.125_print.jpg", "width": "2882", "height": "3400", "filesize": "7017723", "filename": "1982.125_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1982.125/1982.125_full.tif", "width": "4238", "height": "5000", "filesize": "63592068", "filename": "1982.125_full.tif"}}, "alternate_images": [{"date_created": "2007-10-16T14:24:17", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1982.125/1982.125_alt0_web.jpg", "width": "739", "height": "893", "filesize": "631948"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1982.125/1982.125_alt0_print.jpg", "width": "2815", "height": "3400", "filesize": "9254363"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1982.125/1982.125_alt0_full.tif", "width": "4570", "height": "5520", "filesize": "75714908"}}], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 150694, "creators": [{"id": 3083, "description": "Harold Gilman (British, 1876\u20131919)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1876", "death_year": "1919", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1982-08-20T00:00:00", "sortable_date": 1908, "date_added_to_oa": null, "date_text": "c. 1913", "collapse_artists": false, "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": "2026-03-31 11:08:35.832000"}, {"id": 152024, "accession_number": "1984.72", "share_license_status": "Copyrighted", "tombstone": "Forty Five Divided by Nine, 1984. Dorothy Ceruti (American, 1932-). Linen and gold fil\u00e9: dyed, wrapped, and twined construction, formed acrylic sheeting; overall: 21 x 31.2 x 31.2 cm (8 1/4 x 12 5/16 x 12 5/16 in.). The Cleveland Museum of Art, Wishing Well Fund, 1984.72", "current_location": null, "title": "Forty Five Divided by Nine", "creation_date": "1984", "creation_date_earliest": 1984, "creation_date_latest": 1984, "artists_tags": ["May Show", "female"], "culture": ["America"], "technique": "linen and gold fil\u00e9: dyed, wrapped, and twined construction, formed acrylic sheeting", "support_materials": [], "department": "Textiles", "collection": "T - Contemporary Fiber Art", "type": "Textile", "measurements": "Overall: 21 x 31.2 x 31.2 cm (8 1/4 x 12 5/16 x 12 5/16 in.)", "dimensions": {"overall": {"height": 0.21, "width": 0.312, "depth": 0.312}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 309845, "title": "Focus Fiber 1984", "description": "<i>Focus Fiber 1984</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 20-August 5, 1984).", "opening_date": "1984-06-20T04:00:00"}, {"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": 536086, "title": "Contemporary Art Rotation - Spring 2023", "description": "<i>Contemporary Art Rotation - Spring 2023</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 7-September 24, 2023).", "opening_date": "2023-04-07T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "An artist based in Cleveland Heights, Ohio, Ceruti studied as an undergraduate at Kent State University, and then went on to study textiles and weaving at the Cleveland Institute of Art.", "description": "An artist with an expansive interest in sculptural forms, Dorothy Ceruti often experiments with combinations of materials to create a desired effect. For <em>Forty Five Divided By Nine</em>, Ceruti says she was inspired by the bundles of bound sticks she often saw lining streets in her neighborhood in Cleveland Heights, Ohio. Here, each bundle of linen is tightly and neatly bound in the center with dyed thread in a gradation from orange to purple, and delicately finished with gold metal thread. Ceruti constructed an acrylic box armature so that these bundles of wrapped fibers appear to be suspended in space.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79936139"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art. <em>The year in review for 1984</em>. The Bulletin of the Cleveland Museum of Art. Cleveland, Ohio: Cleveland Museum of Art, 1914. 72:2, April 1985", "page_number": "p. 163-239; listing p. 205", "url": ""}, {"citation": "Sandstrom, Karen. \"Fiber artist's sculptures are solved problems.\" <em>Plain Dealer</em>, July 11, 1993.", "page_number": "p. 2H", "url": ""}], "url": "https://clevelandart.org/art/1984.72", "images": {}, "alternate_images": [], "creditline": "Wishing Well Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 152024, "creators": [{"id": 32664, "description": "Dorothy Ceruti (American, 1932-)", "extent": null, "qualifier": null, "role": "artist", "biography": "Biographical information exists in the Cleveland Museum of Art Archives.", "name_in_original_language": null, "birth_year": "1932", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1984-09-24T00:00:00", "sortable_date": 1984, "date_added_to_oa": null, "date_text": "1984", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:07:47.420000"}, {"id": 153677, "accession_number": "1987.196", "share_license_status": "Copyrighted", "tombstone": "Clochettes (Bells) and Mauves Covered Jar, 1931. Henri Rapin (French, 1873\u20131939), Agnes Moreau-Jouin (French, active 1922\u201336), S\u00e8vres Porcelain Factory (French, est. 1756). Porcelain; diameter: 37.8 cm (14 7/8 in.); overall: 45.1 cm (17 3/4 in.). The Cleveland Museum of Art, John L. Severance Fund, 1987.196", "current_location": null, "title": "Clochettes (Bells) and Mauves Covered Jar", "creation_date": "1931", "creation_date_earliest": 1931, "creation_date_latest": 1931, "artists_tags": ["female", "male", "gender unknown"], "culture": ["France, S\u00e8vres"], "technique": "porcelain", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Ceramic", "measurements": "Diameter: 37.8 cm (14 7/8 in.); Overall: 45.1 cm (17 3/4 in.)", "dimensions": {"diameter": {"width": 0.378}, "overall": {"height": 0.451}}, "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": 200463, "title": "The Jazz Age: American Style in the 1920s", "description": "<i>The Jazz Age: American Style in the 1920s</i>. Cooper Hewitt, Smithsonian Design Museum, New York, NY (April 7-August 20, 2017); The Cleveland Museum of Art, Cleveland, OH (organizer) (September 30, 2017-January 14, 2018).", "opening_date": "2017-04-07T00:00:00"}], "legacy": [{"description": "Cooper Hewitt, Smithsonian Design Museum, New York, NY (4/7/2017 - 8/20/2017) and The Cleveland Museum of Art, OH (9/30/2017 - 1/14/2018): \"The Jazz Age: American Style in the 1920s\"", "opening_date": "2017-04-07T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Despite its removable cover and form in the shape of a storage jar, this work was designed to be purely decorative and not functional at all.", "description": "In addition to a variety of useful wares for the table, the S\u00e8vres factory continued to produce artistic works for its many wealthy clients using abstracted patterns and a colorful palette.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79939750"], "internet_archive": ["https://archive.org/details/clevelandart-1987.196-clochettes-bells-and"]}, "citations": [{"citation": "Hawley, Henry. \u201cA S\u00e8vres Covered Jar in the Art Deco Style.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 75, no. 4 (April 1988): 112\u2013115.", "page_number": "Mentioned and reproduced: p. 112-115", "url": "http://www.jstor.org/stable/25160025"}, {"citation": "Coffin, Sarah D., and Stephen Harrison. <em>The Jazz Age: American style in the 1920s. </em>Cleveland: Cleveland Museum of Art, 2017.", "page_number": "Reproduced: fig. 83, p. 55", "url": ""}], "url": "https://clevelandart.org/art/1987.196", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 153677, "creators": [{"id": 19741, "description": "Henri Rapin (French, 1873\u20131939)", "extent": null, "qualifier": null, "role": "designer", "biography": "active S\u00e8vres 1922-1936.", "name_in_original_language": null, "birth_year": "1873", "death_year": "1939", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 19744, "description": "Agnes Moreau-Jouin (French, active 1922\u201336)", "extent": null, "qualifier": null, "role": "decorator", "biography": "active S\u00e8vres 1922-1936.", "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": "maker", "biography": "French national ceramic factory.", "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 3}], "legal_status": "accessioned", "accession_date": "1987-12-16T00:00:00", "sortable_date": 1931, "date_added_to_oa": null, "date_text": "1931", "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 00:03:37.393000"}, {"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": 162870, "accession_number": "2003.355", "share_license_status": "Copyrighted", "tombstone": "Gray Scramble (Single), VIII, 1968. Frank Stella (American, 1936\u20132024). Synthetic polymer paint on canvas; framed: 175.2 x 175.2 x 7.5 cm (69 x 69 x 2 15/16 in.); unframed: 175.2 x 175.2 cm (69 x 69 in.). The Cleveland Museum of Art, Gift of David and Helen Kangesser, 2003.355. \u00a9 Frank Stella / Artists Rights Society (ARS), New York", "current_location": null, "title": "Gray Scramble (Single), VIII", "creation_date": "1968", "creation_date_earliest": 1968, "creation_date_latest": 1968, "artists_tags": ["male"], "culture": ["America"], "technique": "synthetic polymer paint on canvas", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "measurements": "Framed: 175.2 x 175.2 x 7.5 cm (69 x 69 x 2 15/16 in.); Unframed: 175.2 x 175.2 cm (69 x 69 in.)", "dimensions": {"framed": {"height": 1.752, "width": 1.752, "depth": 0.075}, "unframed": {"height": 1.752, "width": 1.752}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Frank Stella / Artists Rights Society (ARS), New York", "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": 393229, "title": "Contemporary Installation", "description": "<i>Contemporary Installation</i>. The Cleveland Museum of Art (organizer).", "opening_date": "2021-04-12T04:00:00"}], "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. 108, p. 122, color repr. p. 5 &amp; p. 76.", "opening_date": "2006-06-09T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "\"Scramble\" refers to the alternating, sometimes disorienting organization of the colored squares that darken in hue toward the center.", "description": "Stella\u2019s early paintings represent his reaction against the seemingly loose, gestural brushstroke associated with Abstract Expressionism. In <em>Gray Scramble (Single), VIII</em>, Stella combines bands of sequential values and of differing colors. In contrast to the depth created by the alternating light and dark bands of color, the uniformity of the paint surface emphasizes the two-dimensionality of the canvas. Using commercial paint and a house-painter\u2019s brush, Stella carefully crafted his works to create an immediate visual impression of simplicity and monumentality. The strict geometry and crisp edges of the painted bands illustrate Stella\u2019s desire for precision, whereas the resulting symmetry contributes to an \u201call-over\u201d quality reminiscent of Jackson Pollock\u2019s drip paintings.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60479686"], "internet_archive": []}, "citations": [{"citation": "Sims, Lowery Stokes, Cleveland Museum of Art, and Museum of Contemporary Art Cleveland. <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. 5, 76, no. 108; mentioned: p.122", "url": "https://ingallslibrary.on.worldcat.org/oclc/71296451"}, {"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. 118", "url": ""}], "url": "https://clevelandart.org/art/2003.355", "images": {}, "alternate_images": [], "creditline": "Gift of David and Helen Kangesser", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 162870, "creators": [{"id": 9589, "description": "Frank Stella (American, 1936\u20132024)", "extent": null, "qualifier": null, "role": "artist", "biography": "Frank Stella was born in Malden, Massachusetts in 1936 and studied at Princeton University. Stella's auspicious start in New York, only a year after his graduation from Princeton, was an exhibit of the Black Paintings of 1959-60. Viewed as a precursor to Minimalism, these pivotal works led to his inclusion in Sixteen Americans at the Museum of Modern Art and the notice of its director, Alfred Barr, who purchased a painting, The Marriage of Squalor and Reason. With their emphasis on control and rationalism, the Black Paintings opened genuinely new paths for abstraction and exerted a profound influence on the art of the 1960s. A major shift from this work began to develop in 1966 with his Irregular Polygons, canvases in the shapes of irregular geometric forms and characterized by large unbroken areas of color. As this new vocabulary developed into a more open and color-oriented pictorial language, the works underwent a metamorphosis in size, expressing an affinity with architecture in their monumentality. Stella also introduced curves into his works, marking the beginning of the Protractor series. Harran II evinces the great vaulting compositions and lyrically decorative patterns that are the leitmotif of the series, which is based on the semicircular drafting instrument used for measuring and constructing angles. In the 1970s, Stella's work moved toward three-dimensional paintings on shaped canvases and later toward wall constructions with multiple components, ever projecting further from their supports. Stella's second retrospective at MOMA in 1987 concluded with a series of daring reliefs based on Melville's Moby Dick. These works further blurred any boundary between paintings and sculpture. In 1983-84 Stella gave the Charles Eliot Norton lectures at Harvard University. These lectures, later published under the title Working Space, marked a critical juncture for the artist. A spirited defense of abstraction, they could well sum up Stella's approach to painting and have acted as a manifesto for his work since. Since the 1980s, the artist has completed a number of large-scale works for public spaces, confirming Stella's abiding interest in architecture. A vast commission during the early 90s, involving the Princess of Wales Theater in Toronto, has led to a series of architectural proposals and commissions over the past eight years, including his Bandshell for the City of Miami.", "name_in_original_language": null, "birth_year": "1936", "death_year": "2024", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2004-03-01T00:00:00", "sortable_date": 1968, "date_added_to_oa": null, "date_text": "1968", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:57.923000"}, {"id": 455057, "accession_number": "2022.44", "share_license_status": "Copyrighted", "tombstone": "White Sake (\u767d\u9152\u56f3), c. 1934. Tateishi Harumi (Japanese, 1908\u20131994). Hanging scroll; ink, color and gold on paper; painting: 174.9 x 101.6 cm (68 7/8 x 40 in.); mounted: 248 x 121 cm (97 5/8 x 47 5/8 in.). The Cleveland Museum of Art, John L. Severance Fund, 2022.44", "current_location": null, "title": "White Sake", "title_in_original_language": "\u767d\u9152\u56f3", "creation_date": "c. 1934", "creation_date_earliest": 1933, "creation_date_latest": 1934, "artists_tags": ["male", "Asian (from 1900 to present)"], "culture": ["Japan, Sh\u014dwa period (1926\u201389)"], "technique": "Hanging scroll; ink, color and gold on paper", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Painting", "measurements": "Painting: 174.9 x 101.6 cm (68 7/8 x 40 in.); Mounted: 248 x 121 cm (97 5/8 x 47 5/8 in.)", "dimensions": {"painting": {"height": 1.749, "width": 1.016}, "mounted": {"height": 2.48, "width": 1.21}, "mounted with knobs": {"height": 2.48, "width": 1.3}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "\u843d\u6b3e\u3000\u6625\u7f8e", "inscription_translation": "Sealed: Harumi", "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"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>Nihongakai [Japan Painting Association]</em> <em>exhibition</em>. Tokyo, Japan (1937).", "opening_date": "1937-01-01T00:00:00"}, {"description": "<em>Tateishi Harumi ten - nihonsaigo no bijingaka </em>[Tateishi Harumi - The last artist for paintings of Japanese beauties]. Saga Prefectural Art Museum and Sogo Museum, Chiba, Japan (March 24- April 21, 1999)", "opening_date": "1999-03-24T00:00:00"}]}, "provenance": [{"description": "Hosokawa Rikizo [1889\u20131945], Japan", "citations": [], "footnotes": ["<div><!--block-->Hosokawa Rikiz\u014d (1889\u20131945) was the founder of Meguro Gajoen, a fine dining and event space in Tokyo that opened in 1931 during the rebuilding of Tokyo in the aftermath of the Great Tokyo Earthquake of 1923.</div>"], "date": null, "sortorder": 1}, {"description": "Meguro Gajoen Museum of Art, Tokyo, Japan", "citations": [], "footnotes": null, "date": "?\u20132003", "sortorder": 2}, {"description": "(Kagedo Japanese Art, Seattle, WA)", "citations": [], "footnotes": null, "date": "2003\u2013?", "sortorder": 3}, {"description": "(Christie\u2019s, New York, NY, March 22, 2022 sale, lot 40, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "March 22, 2022", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2022\u2013", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The sitter for this portrait is likely one of two sisters who posed for a number of Tateishi Harumi\u2019s paintings.", "description": "A girl sits before a tray of colorful rice crackers and holds a cup of white sake, a sweet, low-alcohol fermented rice beverage. Both treats are served on Girls\u2019 Day, celebrated on March 3. The ambience of the traditional occasion is disrupted by her dress. In the early 1900s, European-style dresses displaced the kimono to some extent as everyday attire. The artist also blended the European painting technique of a light source casting shadows, which had only recently been widely introduced, with traditional Japanese painting materials\u2014ink and mineral pigments.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117247208"], "internet_archive": []}, "citations": [{"citation": "<em>Tateishi Harumi ten: Nihon saigo no bijingaka</em> [\u7acb\u77f3\u6625\u7f8e\u5c55 : \u65e5\u672c\u306e\u6700\u5f8c\u306e\u7f8e\u4eba\u753b\u5bb6 = Tateishi Harumi - The last artist for paintings of Japanese beauties]. To\u0304kyo\u0304: Bijutsu no Tosho Miyoshi Kikaku, 1999.", "page_number": "cat. no. 7", "url": ""}, {"citation": "\"Permanent Collection Installations: Modern Japan.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>63, no. 2 (2023): 20\u201321.", "page_number": "Reproduced: p. 21", "url": "https://archive.org/details/CMAMM2023-02/page/20/mode/2up"}], "url": "https://clevelandart.org/art/2022.44", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 455057, "creators": [{"id": 455056, "description": "Tateishi Harumi (Japanese, 1908\u20131994)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\u7acb\u77f3\u6625\u7f8e", "birth_year": "1908", "death_year": "1994", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2022-06-06T04:00:00Z", "sortable_date": 1933, "date_added_to_oa": null, "date_text": "c. 1934", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:07:36.750000"}, {"id": 313169, "accession_number": "2024.50", "share_license_status": "Copyrighted", "tombstone": "Sulphur Stream in Woods, 1917. Charles Burchfield (American, 1893\u20131967). Watercolor, gouache, cont\u00e9 crayon, and pencil on paper; sheet: 50.8 x 45.7 cm (20 x 18 in.). The Cleveland Museum of Art, Bequest of the Thomas H. Horner and Virginia Jackson Horner Trust, 2024.50, Thomas H. and Virginia Horner Collection", "current_location": null, "title": "Sulphur Stream in Woods", "creation_date": "1917", "creation_date_earliest": 1917, "creation_date_latest": 1917, "artists_tags": ["May Show", "male", "Cleveland Institute of Art (alumni)"], "culture": ["America"], "technique": "watercolor, gouache, cont\u00e9 crayon, and pencil on paper", "support_materials": [], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Sheet: 50.8 x 45.7 cm (20 x 18 in.)", "dimensions": {"sheet": {"height": 0.508, "width": 0.457}, "mount": {"height": 0.51, "width": 0.463}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 313096, "title": "Charles Burchfield: The Ohio Landscapes, 1915\u20131920", "description": "<i>Charles Burchfield: The Ohio Landscapes, 1915\u20131920</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 22, 2018-May 5, 2019).", "opening_date": "2018-12-22T05:00:00"}], "legacy": [{"description": "<em>Charles Burchfield. </em>Whitney Museum of American Art, New York (January 11-February 26,1956); Baltimore Museum of Art (March 14-April 22, 1956); Museum of Fine Arts, Boston (May 9-June 17, 1956); San Francisco Museum of Art (July 11 - August 19, 1956); Los Angeles County Museum (September 5-October 14, 1956); Phillips Gallery, Washington, DC (November 4 - December 11, 1956); Cleveland Museum of Art (January 3-February 10, 1957)", "opening_date": "1956-01-11T05:00:00Z"}, {"description": "<em>Suddenly I Awoke: The Dream Journals of Charles E. Burchfield. </em>Burchfield Penney Art Center at Buffalo State University, Buffalo, NY (April 13\u2013July 29, 2018).", "opening_date": "2018-04-13T04:00:00Z"}]}, "provenance": [{"description": "Tom Horner, Hudson, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1975\u20132024", "sortorder": 1}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2024-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Charles Burchfield kept journals in which he explained his artworks and the deeply personal symbolism within them.", "description": "Charles Burchfield was fascinated by the bright yellow tones of the sulfurous water\u2014colored by sediment\u2014common in mining areas around Salem. He described the stream seen here as \u201ca twisting ribbon of bright orange, coming out from a twisting rail-fence at my feet . . . I looked at it a long time, wishing . . . I could make an attempt of painting [it].\u201d In the drawing, the stream divides areas of barren yellow at left and lush green at right, suggesting the environmental impact of mining on the eastern Ohio landscape, which continues today as fracking expands in the area.", "external_resources": {"wikidata": [], "internet_archive": []}, "citations": [{"citation": "<em>Charles Burchfield. </em>Exh. Cat. New York: Whitney Museum of American Art, 1956.", "page_number": "Mentioned: p. 16, no.23", "url": ""}, {"citation": "Trovato, Joseph S. <em>Charles Burchfield: Catalogue of Paintings in Public and Private Collections.</em> Utica, New York: Museum of Art, Munson-Williams-Proctor Institute, 1970.", "page_number": "Mentioned: p. 66, no. 359", "url": ""}], "catalogue_raisonne": "Trovato 359", "url": "https://clevelandart.org/art/2024.50", "images": {}, "alternate_images": [], "creditline": "Bequest of the Thomas H. Horner and Virginia Jackson Horner Trust", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 313169, "creators": [{"id": 3989, "description": "Charles Burchfield (American, 1893\u20131967)", "extent": "execution", "qualifier": null, "role": "artist", "biography": "Charles Burchfield was among the most original and poetic painters of the Cleveland modernist movement. Born in Ashtabula, he moved to Salem, Ohio, following the death of his father in 1898. After graduating from high school, he attended Cleveland School of Art, studying with William Eastman, Frederick Gottwald, Henry Keller, and Frank Wilcox. In 1914 Burchfield began attending Kokoon Klub exhibitions, and in spring 1915 he went to Brandywine to meet William Sommer. Around this time Burchfild began experimenting with the brilliant colors and simplified forms of the Berlin Heights painters. He painted his first mature works in 1915, and grad ed from the Cleveland School of Art with a degree in illustration the following spring. That summer the Cleveland School of Art sponsored his first solo exhibition, and in the fall, after attending the National Academy of Design in New York for one month, he returned to Salem. In February 1917 the Cleveland School of Art mounted his second solo exhibition. Burchfield was inducted into the army that summer. After his return in 1919 he exhibited with other Cleveland modernists at the Play House, Laukhuff\u2019 s Book store, and other Cleveland venues. In 1921 he went on an extended sketching trip through eastern Ohio with Keller, Wilcox, and Paul Travis, exhibiting these recent paintings at the Cleveland School of Art and in the May Show at the Cleveland Museum of Art. Later that year he moved to Buffalo to work as a wallpaper designer, a position he retained until he resigned in 1929 to become a full-time painter. Over the next 30 years he exhibited extensively at museums and galleries across the country. Solo exhibitions of his paintings were held at New York\u2019s Museum of Modern Art (1930), Pittsburgh\u2019 s Carnegie Institute of Art (1935, 1938, 1946), and Buffalo\u2019 s Albright-Knox Art Gallery (1944, 1955, 1963, 1967). In 1953 New York\u2019s Whitney Museum of American Art organized a major exhibition that traveled to the Cleveland Museum of Art. Burchfield died in West Seneca, New York. <br>\"Transformations in Cleveland Art\" (CMA, 1996), p. 224", "name_in_original_language": null, "birth_year": "1893", "death_year": "1967", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2024-06-03T04:00:00Z", "sortable_date": 1917, "date_added_to_oa": null, "date_text": "1917", "collapse_artists": false, "on_loan": false, "recently_acquired": true, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:04:55.256000"}, {"id": 109976, "accession_number": "1928.583", "share_license_status": "Copyrighted", "tombstone": "Americana Prints: Rhapsody (No. 700), 1927. John Held, Jr. (American, 1889\u20131958), Stehli Silks Corporation  (United States; Pennsylvania, Lancaster; and New York, New York, 1840\u2013c. 1955). Silk crepe; plain weave, roller printed; overall: 47.6 x 53.3 cm (18 3/4 x 21 in.). The Cleveland Museum of Art, Gift of the Stehli Silks Corporation, 1928.583", "current_location": "234 Textile Gallery", "title": "Rhapsody (No. 700)", "series": "Americana Prints", "creation_date": "1927", "creation_date_earliest": 1927, "creation_date_latest": 1927, "artists_tags": ["male", "gender unknown"], "culture": ["America, New York"], "technique": "Silk crepe; plain weave, roller printed", "support_materials": [], "department": "Textiles", "collection": "Textiles", "type": "Textile", "measurements": "Overall: 47.6 x 53.3 cm (18 3/4 x 21 in.)", "dimensions": {"overall": {"height": 0.476, "width": 0.533}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 301474, "title": "An Approach to Museum Objects", "description": "<i>An Approach to Museum Objects</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 3-June 30, 1958).", "opening_date": "1958-03-04T05:00:00"}, {"id": 688299, "title": "American Printed Silks, 1927\u20131947", "description": "<i>American Printed Silks, 1927\u20131947</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 9, 2025-November 8, 2026).", "opening_date": "2025-11-09T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "This silk fabric design, created by popular advertising illustrator and artist John Held in 1927, was part of Stehli Silk Corporation\u2019s Americana Prints, series III. According to Stehli\u2019s promotional material at the time, it was George Gershwin\u2019s 1924 composition <em>Rhapsody in Blue</em> that inspired Held\u2019s textile design, also called <em>Rhapsody</em>. The Americana Prints sought to capture American culture in the 1920s, telling stories about contemporary American life during the Jazz Age, a time in which American music and dance styles gained worldwide popularity. <em>Rhapsody</em> was produced in several difference colors, in addition to the blue version seen here.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80002261"], "internet_archive": []}, "citations": [{"citation": "Duncan, Alastair. <em>American Art Deco</em>. New York: Abrams, 1986.", "page_number": "p. 144", "url": ""}, {"citation": "Mendes, Valerie D. <em>Novelty Fabrics</em>. New York: H.N. Abrams, 1988.", "page_number": "plate 6", "url": ""}, {"citation": "McKnight, Lola S. <em>The Americana Prints: A Collection of Artist-Designed Textiles</em>. Thesis submitted to the Division of Graduate Studies, SUNY, Fashion Institute of Technology, New York. December 1993.", "page_number": "p. 175", "url": ""}, {"citation": "Boardman, Michelle, and Allentown Art Museum. <em>All That Jazz : Printed Fashion Silks of the \u201920s and \u201930s</em>. Allentown, Pa.: Allentown Art Museum, 1998.", "page_number": "cover, p. 26", "url": ""}, {"citation": "\"Exhibitions Through February 2026: American Printed Silks, 1927-1947.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 65, no. 4 (2025): 11.", "page_number": "Reproduced: p. 11, 14 and Mentioned: p. 11", "url": "https://archive.org/details/CMAMM-2025-04"}], "url": "https://clevelandart.org/art/1928.583", "images": {}, "alternate_images": [], "creditline": "Gift of the Stehli Silks Corporation", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Arlene M. and Arthur S. Holden Textile Gallery", "athena_id": 109976, "creators": [{"id": 56734, "description": "John Held, Jr. (American, 1889\u20131958)", "extent": null, "qualifier": null, "role": "designed by", "biography": "John Held, Jr. was an editorial and advertising illustrator, as well as a print maker, who saw his work achieve its greatest popularity during the Jazz Age of the 1920s. Largely self-taught, he never graduated from high school nor did he attend art school. In 1912, at the age of 23, he left Salt Lake City for New York where he worked for an advertising company and as a magazine illustrator. By 1919, he was producing cover art for Vanity Fair, as well as cartoons for Harper\u2019s Bazaar, The New Yorker, and Life magazine. He designed book covers for F. Scott Fitzgerald, and costumes and stage sets for Broadway productions. Held was the subject of a one-man retrospective exhibition organized by the Smithsonian Institution that traveled throughout the United States and Canada between January 1969 and January 1972.", "name_in_original_language": null, "birth_year": "1889", "death_year": "1958", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 47400, "description": "Stehli Silks Corporation  (United States; Pennsylvania, Lancaster; and New York, New York, 1840\u2013c. 1955)", "extent": null, "qualifier": null, "role": "manufacturer", "biography": "Founded in 1837 in Obfelden, Switzerland, by the Stehli family, the original cotton mill transitioned to weaving silk in 1840. By the 1890s, half of the silk produced by Stehli was being shipped to the United States; at that point moving production closer to the customer base made economic sense. Stehli opened their first US mill in Lancaster, Pennsylvania, in 1898 and at the same time established an office in New York City, becoming one of the first American silk manufacturers. By the mid-1920s, Stehli operated five mills in three states\u2014Pennsylvania, Virginia, and North Carolina. In those two decades, Stehli\u2019s business increased fourteen fold. A significant product line was their three Americana Prints series of 1925-1927, under art director and artist Kneeland \u201cRuzzie\u201d Green. In a deliberate attempt to shift the silk industry away from traditional French design, the three series focused on imagery of contemporary American life. Fifteen well-known artists were commissioned to design 86 silk patterns.", "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1928-10-18T00:00:00", "sortable_date": 1927, "date_added_to_oa": null, "date_text": "1927", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:05:46.898000"}, {"id": 103073, "accession_number": "1921.1724", "share_license_status": "CC0", "tombstone": "American Red Cross War Council Medal, 1920. Daniel Chester French (American, 1850\u20131931), Medallic Art Company (American). Bronze; diameter: 7 cm (2 3/4 in.). 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Then 4 more were struck in silver and 205 in bronze, the group from which this medal comes.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79504786"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1921.1724", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1921.1724/1921.1724_web.jpg", "width": "900", "height": "391", "filesize": "159096", "filename": "1921.1724_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1921.1724/1921.1724_print.jpg", "width": "3400", "height": "1478", "filesize": "1132127", "filename": "1921.1724_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1921.1724/1921.1724_full.tif", "width": "8384", "height": "3644", "filesize": "91681388", "filename": "1921.1724_full.tif"}}, "alternate_images": [{"date_created": "2014-05-15T09:20:58", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1921.1724/1921.1724_alt0_web.jpg", "width": "900", "height": "779", "filesize": "143281"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1921.1724/1921.1724_alt0_print.jpg", "width": "3400", "height": "2944", "filesize": "1887634"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1921.1724/1921.1724_alt0_full.tif", "width": "4228", "height": "3661", "filesize": "46464420"}}], "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": 103073, "creators": [{"id": 17017, "description": "Daniel Chester French (American, 1850\u20131931)", "extent": null, "qualifier": null, "role": "sculptor", "biography": null, "name_in_original_language": null, "birth_year": "1850", "death_year": "1931", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 17380, "description": "Medallic Art Company (American)", "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": "1921-02-17T00:00:00", "sortable_date": 1920, "date_added_to_oa": null, "date_text": "1920", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "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 00:07:08.062000"}, {"id": 103074, "accession_number": "1921.1724.a", "share_license_status": "CC0", "tombstone": "American Red Cross War Council Medal (obverse), 1920. 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Daniel Chester French (American, 1850\u20131931), Medallic Art Company (American). Bronze; diameter: 7 cm (2 3/4 in.). The Cleveland Museum of Art, Gift of the John Huntington Art and Polytechnic Trust, 1921.1724.b", "current_location": null, "title": "American Red Cross War Council Medal (reverse)", "creation_date": "1920", "creation_date_earliest": 1920, "creation_date_latest": 1920, "artists_tags": ["male", "gender unknown"], "culture": ["America"], "technique": "bronze", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Metalwork", "measurements": "Diameter: 7 cm (2 3/4 in.)", "dimensions": {"diameter": {"width": 0.07}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Reverse: raised letters THE AMERICAN RED CROSS/TO COMMEMORATE THE VISION AND/ACHIEVEMENT OF THE WAR COUNCIL/1917-1919; signed below the cross, impressed WHL/DCF [Rev. William H. 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Then 4 more were struck in silver and 205 in bronze, the group from which this medal comes.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79504799"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1921.1724.b", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1921.1724.b/1921.1724.b_web.jpg", "width": "900", "height": "833", "filesize": "151811", "filename": "1921.1724.b_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1921.1724.b/1921.1724.b_print.jpg", "width": "3400", "height": "3147", "filesize": "2036033", "filename": "1921.1724.b_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1921.1724.b/1921.1724.b_full.tif", "width": "4229", "height": "3914", "filesize": "49685308", "filename": "1921.1724.b_full.tif"}}, "alternate_images": [], "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": 103075, "creators": [{"id": 17017, "description": "Daniel Chester French (American, 1850\u20131931)", "extent": null, "qualifier": null, "role": "sculptor", "biography": null, "name_in_original_language": null, "birth_year": "1850", "death_year": "1931", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 17380, "description": "Medallic Art Company (American)", "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": "1921-02-17T00:00:00", "sortable_date": 1920, "date_added_to_oa": null, "date_text": "1920", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1921.1724", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:12.410000"}, {"id": 115467, "accession_number": "1936.24", "share_license_status": "Copyrighted", "tombstone": "Shore Leave, 1935. Paul Cadmus (American, 1904\u20131999). Etching; platemark: 26.4 x 29.2 cm (10 3/8 x 11 1/2 in.); sheet: 32.4 x 39.9 cm (12 3/4 x 15 11/16 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1936.24. \u00a9 Estate of Paul Cadmus/ VAGA, NY", "current_location": null, "title": "Shore Leave", "creation_date": "1935", "creation_date_earliest": 1935, "creation_date_latest": 1935, "artists_tags": ["male", "LGBTQ+ (after 1900)"], "culture": ["America"], "technique": "etching", "support_materials": [], "department": "Prints", "collection": "PR - Etching", "type": "Print", "measurements": "Platemark: 26.4 x 29.2 cm (10 3/8 x 11 1/2 in.); Sheet: 32.4 x 39.9 cm (12 3/4 x 15 11/16 in.)", "dimensions": {"platemark": {"height": 0.264, "width": 0.292}, "sheet": {"height": 0.324, "width": 0.399}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of Paul Cadmus/ VAGA, NY", "inscriptions": [], "exhibitions": {"current": [{"id": 356682, "title": "Recent Accessions of Prints and Drawings", "description": "<i>Recent Accessions of Prints and Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 6-31, 1937).", "opening_date": "1937-10-06T05:00:00"}, {"id": 309576, "title": "A Golden Age of American Printmaking", "description": "<i>A Golden Age of American Printmaking</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 12-April 11, 1982).", "opening_date": "1982-01-12T05:00:00"}, {"id": 311454, "title": "Images of War", "description": "<i>Images of War</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 5, 1991-January 12, 1992).", "opening_date": "1991-11-05T05:00:00"}, {"id": 381923, "title": "Ashcan School Prints and the American City, 1900\u20131940", "description": "<i>Ashcan School Prints and the American City, 1900\u20131940</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 18-December 26, 2021).", "opening_date": "2021-07-17T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "A painting related to this print made by Cadmus in 1934 was removed from an exhibition after causing an uproar among U.S. military officials who deemed it indecent.", "description": "This representation of sailors on shore leave with their dates in a city park is anything but innocent. Like urban crowd scenes made by his teacher, Reginald Marsh, Paul Cadmus\u2019s pyramidal composition and voluptuous body types refer to late Renaissance paintings. But the protagonists\u2019 exaggerated bosoms and buttocks, outrageously tight clothes, and uncontained movements also indicate their unbound sexuality. The image includes an oblique reference to homosexuality, signaled by the subtle exchange in the background between a soldier and a well-dressed civilian man. Cadmus\u2019s mixture of satire and idealization enabled him to depict homoeroticism at a time when it was otherwise invisible within American art.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80008813"], "internet_archive": []}, "citations": [], "catalogue_raisonne": "Davenport 40", "url": "https://clevelandart.org/art/1936.24", "images": {}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 115467, "creators": [{"id": 23381, "description": "Paul Cadmus (American, 1904\u20131999)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1904", "death_year": "1999", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1936-02-14T00:00:00", "sortable_date": 1935, "date_added_to_oa": null, "date_text": "1935", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:32.895000"}, {"id": 115925, "accession_number": "1936.630", "share_license_status": "CC0", "tombstone": "Business Men's Class, 1916. George Bellows (American, 1882\u20131925). Lithograph; sheet: 54.1 x 70 cm (21 5/16 x 27 9/16 in.). The Cleveland Museum of Art, Gift of Leonard C. Hanna Jr., 1936.630", "current_location": null, "title": "Business Men's Class", "creation_date": "1916", "creation_date_earliest": 1916, "creation_date_latest": 1916, "artists_tags": ["male"], "culture": ["America"], "technique": "lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Sheet: 54.1 x 70 cm (21 5/16 x 27 9/16 in.)", "dimensions": {"platemark": {"height": 0.293, "width": 0.438}, "sheet": {"height": 0.541, "width": 0.7}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "In graphite, center, recto: \"Business Men's Class\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "In graphite, lower left, recto: \"No 28\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "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": 200468, "title": "Stag at Sharkey\u2019s: George Bellows and the Art of Sports", "description": "<i>Stag at Sharkey\u2019s: George Bellows and the Art of Sports</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 14-September 18, 2016).", "opening_date": "2016-05-14T00:00:00"}, {"id": 381923, "title": "Ashcan School Prints and the American City, 1900\u20131940", "description": "<i>Ashcan School Prints and the American City, 1900\u20131940</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 18-December 26, 2021).", "opening_date": "2021-07-17T04:00:00"}], "legacy": [{"description": "The Cleveland Museum of Art, OH (05/14/2016-09/18/2016): \u201cStag at Sharkey\u2019s: George Bellows and the Art of Sports\u201d", "opening_date": "2016-05-14T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": ["1683.1926"], "did_you_know": "The painter George Bellows resided at the West Side YMCA, where this scene takes place, which had 300 beds for men relocating to New York City.", "description": "This scene takes place at the West Side YMCA, where George Bellows lived when he arrived in New York City from Columbus, Ohio, in 1904. Worry about the potentially debilitating impact of sedentary office jobs inspired new forms of exercise, such as calisthenics. Here, we see the artist\u2019s satirical eye, as men of various body types and abilities attempt to mimic the graceful movements of the instructor.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80010174"], "internet_archive": []}, "citations": [], "catalogue_raisonne": "Mason 20", "url": "https://clevelandart.org/art/1936.630", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1936.630/1936.630_web.jpg", "width": "1263", "height": "879", "filesize": "387074", "filename": "1936.630_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1936.630/1936.630_print.jpg", "width": "3400", "height": "2366", "filesize": "2829550", "filename": "1936.630_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1936.630/1936.630_full.tif", "width": "7554", "height": "5257", "filesize": "119157004", "filename": "1936.630_full.tif"}}, "alternate_images": [{"date_created": "2013-04-09T15:57:18", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1936.630/1936.630_alt0_web.jpg", "width": "1259", "height": "893", "filesize": "349887"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1936.630/1936.630_alt0_print.jpg", "width": "3400", "height": "2411", "filesize": "2635478"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1936.630/1936.630_alt0_full.tif", "width": "3939", "height": "2794", "filesize": "33052320"}}, {"date_created": "2012-09-25T13:00:27", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1936.630/1936.630_alt1_web.jpg", "width": "1160", "height": "893", "filesize": "147144"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1936.630/1936.630_alt1_print.jpg", "width": "3400", "height": "2617", "filesize": "1394786"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1936.630/1936.630_alt1_full.tif", "width": "7372", "height": "5676", "filesize": "125553312"}}], "creditline": "Gift of Leonard C. Hanna Jr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 115925, "creators": [{"id": 3005, "description": "George Bellows (American, 1882\u20131925)", "extent": null, "qualifier": null, "role": "artist", "biography": "An accomplished athlete, George Bellows (1882\u20131925) was an especially appropriate artist to address the subject of sports. Born and raised in Columbus, Ohio, he played baseball and basketball as a youth, developing sufficient ability to letter in both at Ohio State University. According to some accounts, scouts for the Cincinnati Reds took notice of his shortstop talents. However, Bellows\u2019s first love, art, ultimately intervened, and after his junior year he relocated to New York to study painting. In a remarkably short period he became the leading artist of his generation, a reputation fueled through boxing subjects such as <em>Stag at Sharkey\u2019s.</em> In his later years he developed recreational passions for tennis and billiards, which he routinely played with friends. Bellows\u2019s life was cut short at the age of 42, due to complications after his appendix ruptured.", "name_in_original_language": null, "birth_year": "1882", "death_year": "1925", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1936-11-09T00:00:00", "sortable_date": 1916, "date_added_to_oa": null, "date_text": "1916", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:57.274000"}, {"id": 116949, "accession_number": "1937.502", "share_license_status": "CC0", "tombstone": "In the Subway, 1921. George Bellows (American, 1882\u20131925). Lithograph; platemark: 21.4 x 17.8 cm (8 7/16 x 7 in.); sheet: 24.7 x 20.4 cm (9 3/4 x 8 1/16 in.). The Cleveland Museum of Art, Gift of Leonard C. Hanna Jr., 1937.502", "current_location": null, "title": "In the Subway", "creation_date": "1921", "creation_date_earliest": 1921, "creation_date_latest": 1921, "artists_tags": ["male"], "culture": ["America"], "technique": "lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Platemark: 21.4 x 17.8 cm (8 7/16 x 7 in.); Sheet: 24.7 x 20.4 cm (9 3/4 x 8 1/16 in.)", "dimensions": {"platemark": {"height": 0.214, "width": 0.178}, "sheet": {"height": 0.247, "width": 0.204}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 354980, "title": "The George Wesley Bellows Memorial Exhibition", "description": "<i>The George Wesley Bellows Memorial Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 16-March 22, 1926).", "opening_date": "1926-02-16T05:00:00"}, {"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": 309574, "title": "George Bellows Prints: Centennial Exhibition", "description": "<i>George Bellows Prints: Centennial Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 7-October 31, 1982).", "opening_date": "1982-09-07T04:00:00"}, {"id": 381923, "title": "Ashcan School Prints and the American City, 1900\u20131940", "description": "<i>Ashcan School Prints and the American City, 1900\u20131940</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 18-December 26, 2021).", "opening_date": "2021-07-17T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": ["392.1926"], "did_you_know": "The somewhat old-fashioned clothing of this couple by 1920s New York standards suggests that they may be recent immigrants to the city from Europe.", "description": "Public transportation offered one of the various forms of entertainment to be had in the city: people watching. Here, George Bellows captured an amorous couple in a jolly mood who smile across the aisle at other travelers on a night out. The first subway line in New York City, from City Hall in lower Manhattan to Harlem, opened in 1904. By 1920, there were three lines covering the city\u2019s outer boroughs and both sides of Manhattan. For five cents each, couples could go almost anywhere in the city for a night out on the town.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80011252"], "internet_archive": []}, "citations": [], "catalogue_raisonne": "Mason 88", "url": "https://clevelandart.org/art/1937.502", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1937.502/1937.502_web.jpg", "width": "724", "height": "893", "filesize": "521842", "filename": "1937.502_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1937.502/1937.502_print.jpg", "width": "2755", "height": "3400", "filesize": "6944927", "filename": "1937.502_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1937.502/1937.502_full.tif", "width": "3486", "height": "4302", "filesize": "45022544", "filename": "1937.502_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": 116949, "creators": [{"id": 3005, "description": "George Bellows (American, 1882\u20131925)", "extent": null, "qualifier": null, "role": "artist", "biography": "An accomplished athlete, George Bellows (1882\u20131925) was an especially appropriate artist to address the subject of sports. Born and raised in Columbus, Ohio, he played baseball and basketball as a youth, developing sufficient ability to letter in both at Ohio State University. According to some accounts, scouts for the Cincinnati Reds took notice of his shortstop talents. However, Bellows\u2019s first love, art, ultimately intervened, and after his junior year he relocated to New York to study painting. In a remarkably short period he became the leading artist of his generation, a reputation fueled through boxing subjects such as <em>Stag at Sharkey\u2019s.</em> In his later years he developed recreational passions for tennis and billiards, which he routinely played with friends. Bellows\u2019s life was cut short at the age of 42, due to complications after his appendix ruptured.", "name_in_original_language": null, "birth_year": "1882", "death_year": "1925", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1937-12-20T00:00:00", "sortable_date": 1921, "date_added_to_oa": null, "date_text": "1921", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:21.891000"}, {"id": 135688, "accession_number": "1959.225", "share_license_status": "Copyrighted", "tombstone": "Fox, 1911. Georges Braque (French, 1882\u20131963), published by Daniel-Henry Kahnweiler (German, 1884\u20131979). Etching. The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1959.225. \u00a9 Artists Right Society (ARS), New York / ADAGP, Paris", "current_location": null, "title": "Fox", "creation_date": "1911", "creation_date_earliest": 1911, "creation_date_latest": 1911, "artists_tags": ["male"], "culture": ["France, 20th century"], "technique": "etching", "support_materials": [], "department": "Prints", "collection": "PR - Etching", "type": "Print", "dimensions": {"platemark": {"height": 0.548, "width": 0.381}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Artists Right Society (ARS), New York / ADAGP, Paris", "inscriptions": [], "exhibitions": {"current": [{"id": 304733, "title": "Space and Modern Art", "description": "<i>Space and Modern Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 9-September 25, 1966).", "opening_date": "1966-06-09T04:00:00"}, {"id": 301359, "title": "The Print Club of Cleveland, 1919 - 1969: Fifty Years in Review", "description": "<i>The Print Club of Cleveland, 1919 - 1969: Fifty Years in Review</i>. The Cleveland Museum of Art, Cleveland, OH (January 14-March 31, 1970).", "opening_date": "1970-01-14T05:00:00"}, {"id": 311461, "title": "Generous Donors: A Tribute to The Print Club of Cleveland", "description": "<i>Generous Donors: A Tribute to The Print Club of Cleveland</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 2-August 4, 1991).", "opening_date": "1991-04-02T05:00:00"}, {"id": 318307, "title": "A Lasting Impression: Gifts of the Print Club of Cleveland", "description": "<i>A Lasting Impression: Gifts of the Print Club of Cleveland</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 5-September 22, 2019).", "opening_date": "2019-05-05T04:00:00"}], "legacy": []}, "provenance": [{"description": "(R. M. Light and Co., Boston, MA, sold to the Print Club of Cleveland, Cleveland, OH)", "citations": [], "footnotes": [], "date": "after 1911-1959", "sortorder": 1}, {"description": "Print Club of Cleveland, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1959", "sortorder": 2}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1959-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This print was published by Georges Braque's dealer as a means of promoting the artist's avant-garde style.", "description": "Georges Braque worked closely with Pablo Picasso to develop Cubism around the time this print was made. Their work became virtually indistinguishable from each other as they reduced identifiable subject matter to geometric abstraction. Here, Braque presented a still-life featuring a playing card and a bottle of gin. Although Picasso worked extensively in printmaking, Braque made fewer than ten Cubist prints.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80029186"], "internet_archive": []}, "citations": [], "catalogue_raisonne": "Vallier 6", "url": "https://clevelandart.org/art/1959.225", "images": {}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 135688, "creators": [{"id": 3029, "description": "Georges Braque (French, 1882\u20131963)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1882", "death_year": "1963", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 380409, "description": "Daniel-Henry Kahnweiler (German, 1884\u20131979)", "extent": "published by", "qualifier": null, "role": "publisher", "biography": null, "name_in_original_language": null, "birth_year": "1884", "death_year": "1979", "use_in_caption": true, "include_extent": true, "weight": 2}], "legal_status": "accessioned", "accession_date": "1959-08-22T00:00:00", "sortable_date": 1911, "date_added_to_oa": null, "date_text": "1911", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:05:55.159000"}, {"id": 135764, "accession_number": "1959.298", "share_license_status": "Copyrighted", "tombstone": "Night Shadows, 1921. Edward Hopper (American, 1882\u20131967). Etching. The Cleveland Museum of Art, Gift of Mrs. Malcolm L. McBride, 1959.298. \u00a9  Heirs of Josephine N. Hopper / Licensed by Artists Rights Society (ARS), NY", "current_location": null, "title": "Night Shadows", "creation_date": "1921", "creation_date_earliest": 1916, "creation_date_latest": 1926, "artists_tags": ["male"], "culture": ["America"], "technique": "etching", "support_materials": [], "department": "Prints", "collection": "PR - Etching", "type": "Print", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  Heirs of Josephine N. Hopper / Licensed by Artists Rights Society (ARS), NY", "inscriptions": [], "exhibitions": {"current": [{"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": 309877, "title": "Nocturnal Impressions", "description": "<i>Nocturnal Impressions</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 20-May 12, 1985).", "opening_date": "1985-02-20T05:00:00"}, {"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": 381923, "title": "Ashcan School Prints and the American City, 1900\u20131940", "description": "<i>Ashcan School Prints and the American City, 1900\u20131940</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 18-December 26, 2021).", "opening_date": "2021-07-17T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The unsettling atmosphere of this print created with extreme angles and long shadows is akin to film noir cinema of the same era.", "description": "Edward Hopper\u2019s experiential approach to an urban nighttime scene stands in contrast to the straightforward anecdotes found in works by his Ashcan School predecessors. Like the setting of a detective film, a city street corner in this image is seen from above, as if from an elevated train platform. An unseen streetlight in the lower left corner casts a long diagonal shadow that ends in a doorway, while a single figure strides under the light of the lamp. Hopper involves the viewer on a sensory level, inviting recall of the sound of hollow footsteps on an empty street.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80029300"], "internet_archive": []}, "citations": [], "catalogue_raisonne": "Levin pl. 82", "url": "https://clevelandart.org/art/1959.298", "images": {}, "alternate_images": [], "creditline": "Gift of Mrs. Malcolm L. McBride", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 135764, "creators": [{"id": 6568, "description": "Edward Hopper (American, 1882\u20131967)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1882", "death_year": "1967", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1959-12-19T00:00:00", "sortable_date": 1916, "date_added_to_oa": null, "date_text": "1921", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:02:34.565000"}, {"id": 136215, "accession_number": "1960.115", "share_license_status": "Copyrighted", "tombstone": "Water Form, 1947. William Baziotes (American, 1912\u20131963). Oil on canvas; framed: 54 x 63.6 x 5.2 cm (21 1/4 x 25 1/16 x 2 1/16 in.); unframed: 50.8 x 60.6 cm (20 x 23 7/8 in.). The Cleveland Museum of Art, Contemporary Collection of The Cleveland Museum of Art, 1960.115. \u00a9 Estate of William Baziotes", "current_location": null, "title": "Water Form", "creation_date": "1947", "creation_date_earliest": 1947, "creation_date_latest": 1947, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 54 x 63.6 x 5.2 cm (21 1/4 x 25 1/16 x 2 1/16 in.); Unframed: 50.8 x 60.6 cm (20 x 23 7/8 in.)", "dimensions": {"framed": {"height": 0.54, "width": 0.636, "depth": 0.052}, "unframed": {"height": 0.508, "width": 0.606}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of William Baziotes", "inscriptions": [{"inscription": "Signed lower left: Baziotes\r\nWritten on back of canvas in black paint: Water Form/Wm. Baziotes 1947", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "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": 211675, "title": "William Baziotes: Metamorphosis", "description": "<i>William Baziotes: Metamorphosis</i>. Peggy Guggenheim Collection,The Solomon R. Guggenheim Foundation, Venice, Italy (organizer) (September 3, 2004-January 9, 2005).", "opening_date": "2004-09-03T00:00:00"}], "legacy": [{"description": "\"Baziotes: New Paintings,\" Koontz Gallery, New York, April 7--26, 1947, no. 3.", "opening_date": "1947-01-01T00:00:00"}, {"description": "Peggy Guggenheim Collection, Venice: Palazzo Venier (9/3/2004 - 1/9/2005):  \"William Baziotes: Metamorphosis\", ex. cat. no. 24, p.83.", "opening_date": "2004-09-03T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Before developing a strong interest in making art, William Baziotes considered becoming a professional boxer.", "description": "William Baziotes's <em>Water Form</em> appears to encapsulate his artistic statement: \"My work is like the Caribbean Sea<strong>\u2014</strong>beautiful, serene, and exotic on the surface. And all the time below are the sharks.\"", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60465248"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1960.115", "images": {}, "alternate_images": [], "creditline": "Contemporary Collection of The Cleveland Museum of Art", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 136215, "creators": [{"id": 3385, "description": "William Baziotes (American, 1912\u20131963)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1912", "death_year": "1963", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1960-12-29T00:00:00", "sortable_date": 1947, "date_added_to_oa": null, "date_text": "1947", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:07:59.630000"}, {"id": 142230, "accession_number": "1965.80", "share_license_status": "Copyrighted", "tombstone": "Split Level, 1958. Michael Goldberg (American, 1924\u20132007). Oil on canvas; unframed: 203.2 x 177.7 cm (80 x 69 15/16 in.). The Cleveland Museum of Art, Gift of B. C. Holland, 1965.80", "current_location": null, "title": "Split Level", "creation_date": "1958", "creation_date_earliest": 1958, "creation_date_latest": 1958, "artists_tags": ["male", "Jewish artists"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Unframed: 203.2 x 177.7 cm (80 x 69 15/16 in.)", "dimensions": {"unframed": {"height": 2.032, "width": 1.777}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Dated on back: 1958\r\nSigned and titled on back of canvas", "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": 301294, "title": "Works from the Contemporary Collection", "description": "<i>Works from the Contemporary Collection</i>. The Cleveland Museum of Art, Cleveland, OH (July 1-October 15, 1969).", "opening_date": "1969-07-01T04:00:00"}, {"id": 445730, "title": "Opening - Fine Arts Center", "description": "<i>Opening - Fine Arts Center</i>. Royce Hall for the Fine and Performing Arts, Painesville, OH (organizer) (May 15-June 14, 1970).", "opening_date": "1970-05-15T04:00:00"}], "legacy": [{"description": "CMA:  Works from the Contemporary Collection, July 1-mid-October, 1969", "opening_date": "1969-10-01T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "An Army paratrooper during the Second World War, Goldberg was wounded three times and earned a Purple Heart.", "description": "<em>Split Level</em> belongs to the <em>House</em> series of paintings Goldberg created during 1957\u201360, in which densely robust brushwork coalesces into and around a dark rectangular form. Despite its architectural inspiration, the painting is fundamentally a record of the artist\u2019s instinctive feelings rather than a specific image.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60469522"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1965.80", "images": {}, "alternate_images": [], "creditline": "Gift of B. C. Holland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 142230, "creators": [{"id": 3453, "description": "Michael Goldberg (American, 1924\u20132007)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1924", "death_year": "2007", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1965-05-15T00:00:00", "sortable_date": 1958, "date_added_to_oa": null, "date_text": "1958", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "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 23:59:59.945000"}, {"id": 145055, "accession_number": "1970.24", "share_license_status": "Copyrighted", "tombstone": "Ten from Leo Castelli: Silkscreen, 1967. Lee Bontecou (American, 1931\u20132022), Leo Castelli. Screenprint. The Cleveland Museum of Art, Gift of Harvey and Penelope D. Buchanan in honor of the fiftieth anniversary of The Print Club of Cleveland, 1970.24. \u00a9 Lee Bontecou", "current_location": null, "title": "Silkscreen", "series": "Ten from Leo Castelli", "creation_date": "1967", "creation_date_earliest": 1967, "creation_date_latest": 1967, "artists_tags": ["female", "gender unknown"], "culture": ["America"], "technique": "screenprint", "support_materials": [{"description": "fabric", "watermarks": []}], "department": "Prints", "collection": "PR - Screenprint", "type": "Print", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Lee Bontecou", "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": 302349, "title": "Materials and Techniques of 20th-Century Artists", "description": "<i>Materials and Techniques of 20th-Century Artists</i>. The Cleveland Museum of Art, Cleveland, OH (November 17, 1976-January 2, 1977).", "opening_date": "1976-11-17T05:00:00"}, {"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"}, {"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": "Harvey and Penelope D. Buchanan, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "after 1967-1970", "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": "Lee Bontecou's work is deeply informed by her parents' experiences working during World War II.", "description": "In the decades following World War II, Lee Bontecou became known for large abstract relief sculptures made from welded metal. She used the soot that resulted from that process to make drawings with the same rich, velvety tone seen in this print. Like Bontecou\u2019s sculpture, the image focuses on a central void. The artist used screenprint to create the flattened black that dominates the print. Unusually, however, she printed on a piece of fabric rather than paper, giving the image a soft, vaguely organic feel.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79922864"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1970.24", "images": {}, "alternate_images": [], "creditline": "Gift of Harvey and Penelope D. Buchanan in honor of the fiftieth anniversary of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 145055, "creators": [{"id": 3831, "description": "Lee Bontecou (American, 1931\u20132022)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1931", "death_year": "2022", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 11678, "description": "Leo Castelli", "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": "1970-03-09T00:00:00", "sortable_date": 1967, "date_added_to_oa": null, "date_text": "1967", "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 00:00:52.952000"}, {"id": 168574, "accession_number": "2010.3", "share_license_status": "Copyrighted", "tombstone": "Jonah, 1937. Viktor Schreckengost (American, 1906\u20132008). Glazed earthenware; overall: 29.1 x 18.8 cm (11 7/16 x 7 3/8 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 2010.3", "current_location": null, "title": "Jonah", "creation_date": "1937", "creation_date_earliest": 1937, "creation_date_latest": 1937, "artists_tags": ["male", "Cleveland Institute of Art (faculty)", "Cleveland School", "May Show", "Cleveland Institute of Art (alumni)"], "culture": ["America, Ohio, Cleveland"], "technique": "glazed earthenware", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Cleveland School", "type": "Ceramic", "measurements": "Overall: 29.1 x 18.8 cm (11 7/16 x 7 3/8 in.)", "dimensions": {"overall": {"height": 0.291, "width": 0.188, "length": 0.28}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "handwritten in blue ink on a white paper label with red border: \"#588/ \"Jonah\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 189020, "title": "Viktor Schreckengost and 20th-century Design", "description": "<i>Viktor Schreckengost and 20th-century Design</i>. The Cleveland Museum of Art (organizer) (November 12, 2000-February 4, 2001).", "opening_date": "2000-11-12T00:00:00"}], "legacy": [{"description": "Cleveland, The Cleveland Museum of Art, Viktor Schreckengost and 20th-Century Design, November 12, 2000-February 4, 2001, no. 102.", "opening_date": "2000-11-12T00:00:00"}, {"description": "Kirtland, OH: Historic Kirtland Visitor's Center, Religious Artworks of Viktor Schreckengost, January 10-February 29, 2004", "opening_date": "2004-01-10T00:00:00"}, {"description": "Bonaventure, NY, Regina A. Quick Center for the Arts, St. Bonaventure University, Spires and Spirits: The Art of Viktor Schreckengost, May 2-August 6, 2006, no cat.", "opening_date": "2006-05-02T00:00:00"}]}, "provenance": [{"description": "\"Jonah\" was created by Viktor Schreckengost in 1937, and remained in his possession until his death in 2008, when it became part of his estate.  Throughout his life, Schreckengost was reluctant to part with works such as Jonah, which he regarded among his finest achievements.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Viktor Schreckengost lived to be 101 years old.", "description": "Cleveland was the leading center for producing figurative ceramic sculpture during the 1930s and '40s, and Viktor Schreckengost was among its most notable proponents. In this example, the artist drew inspiration from the Old Testament, depicting Jonah in prayer as he reclines precariously on the back of a mischievously grinning whale. Schreckengost perceived the humorous character in many of his sculptures of the period as an antidote to the grim conditions of the Great Depression.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80074646"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2010.3", "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": 168574, "creators": [{"id": 18616, "description": "Viktor Schreckengost (American, 1906\u20132008)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1906", "death_year": "2008", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2010-03-01T00:00:00", "sortable_date": 1937, "date_added_to_oa": null, "date_text": "1937", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:54.007000"}, {"id": 119940, "accession_number": "1940.738", "share_license_status": "CC0", "tombstone": "L\u2019Illustration: The Queen of Sheba, 1911. Edmund Dulac (British, 1882\u20131953). Pen and brown ink, watercolor, and gouache, with graphite and color wax crayon, on artist\u2019s drawing board; sheet: 31.6 x 25.4 cm (12 7/16 x 10 in.). The Cleveland Museum of Art, Bequest of James Parmelee, 1940.738", "current_location": null, "title": "The Queen of Sheba", "series": "L\u2019Illustration", "creation_date": "1911", "creation_date_earliest": 1911, "creation_date_latest": 1911, "artists_tags": ["male"], "culture": ["England, 20th century"], "technique": "Pen and brown ink, watercolor, and gouache, with graphite and color wax crayon, on artist\u2019s drawing board", "support_materials": [{"description": "artist's drawing board", "watermarks": []}], "department": "Drawings", "collection": "DR - British", "type": "Drawing", "measurements": "Sheet: 31.6 x 25.4 cm (12 7/16 x 10 in.)", "dimensions": {"sheet": {"height": 0.316, "width": 0.254}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed and dated, in black ink, at lower left: Edmund / Dulac 11", "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": 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": "James Parmelee [1855-1931], Washington, DC, by descent to Alice Maury Parmelee, Washington, DC", "citations": [], "footnotes": null, "date": "?-1931", "sortorder": 1}, {"description": "Alice Maury Parmelee [1862-1940], Washington, DC, bequeathed to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1931-1940", "sortorder": 2}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1940-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Edmund Dulac was such a devoted Anglophile that as a student his contemporaries referred to him as \"l'Anglais\" (English).", "description": "A celebrated artist of the golden age of British book illustration, the French-born Edmund Dulac was inspired by Persian miniatures and manuscript illustration. This watercolor was one of a series of four scenes painted to accompany a poem by Andr\u00e9 Dumas, <em>Figures of the Orient</em>. Dulac depicted legendary enchantresses of the East: Circe, Salome, Scheherazade, and here, the Queen of Sheba. Aloft a camel, the dark-haired beauty languorously surveys the arid landscape as she and her entourage approach the Holy Land. Vibrant silks spill out of the queen\u2019s gold and lapis howdah, a veritable mosaic of texture and pattern.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80015256"], "internet_archive": ["https://archive.org/details/clevelandart-1940.738-the-queen-of-sheba"]}, "citations": [{"citation": "<em>L'Illustration</em> (1911).", "page_number": "Reproduced", "url": null}, {"citation": "White, Colin. <em>Edmund Dulac</em>. New York: Charles Scribner's Sons, 1976.", "page_number": "Mentioned: pp. 49-50", "url": null}, {"citation": "Hughey, Ann Conolly. <em>Edmund Dulac: His Book Illustrations, A Bibliography</em>. Potomac, MD: Buttonwood Press, 1995.", "page_number": "Mentioned: no. 28", "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. 138-41, 145, no. 48a; Reproduced: p. 139", "url": null}], "url": "https://clevelandart.org/art/1940.738", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1940.738/1940.738_web.jpg", "width": "718", "height": "893", "filesize": "151887", "filename": "1940.738_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1940.738/1940.738_print.jpg", "width": "2735", "height": "3400", "filesize": "2323645", "filename": "1940.738_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1940.738/1940.738_full.tif", "width": "4829", "height": "6002", "filesize": "86979188", "filename": "1940.738_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1940.738/1940.738_alt0_web.jpg", "width": "712", "height": "893", "filesize": "552149"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1940.738/1940.738_alt0_print.jpg", "width": "1536", "height": "1927", "filesize": "2503426"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1940.738/1940.738_alt0_full.tif", "width": "1536", "height": "1927", "filesize": "8882884"}}, {"date_created": "2010-06-08T15:25:05", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1940.738/1940.738_alt1_web.jpg", "width": "720", "height": "893", "filesize": "545940"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1940.738/1940.738_alt1_print.jpg", "width": "2743", "height": "3400", "filesize": "8018704"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1940.738/1940.738_alt1_full.tif", "width": "4778", "height": "5922", "filesize": "84928214"}}], "creditline": "Bequest of James Parmelee", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 119940, "creators": [{"id": 1438, "description": "Edmund Dulac (British, 1882\u20131953)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1882", "death_year": "1953", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1940-10-30T00:00:00", "sortable_date": 1911, "date_added_to_oa": null, "date_text": "1911", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:38.350000"}, {"id": 134245, "accession_number": "1956.726", "share_license_status": "Copyrighted", "tombstone": "The Guiding Book: Don Quixote . . . in His Blind and Rash Endeavors, 1919. Edmund Dulac (British, 1882\u20131953), published by Hodder and Stoughton (London, 1923-). Gouache with watercolor over graphite on Whatman drawing board; image: 25.7 x 25.6 cm (10 1/8 x 10 1/16 in.); sheet: 36.1 x 32 cm (14 3/16 x 12 5/8 in.). The Cleveland Museum of Art, The Fanny Tewksbury King Collection, 1956.726", "current_location": null, "title": "Don Quixote . . . in His Blind and Rash Endeavors", "series": "The Guiding Book", "creation_date": "1919", "creation_date_earliest": 1919, "creation_date_latest": 1919, "artists_tags": ["male"], "culture": ["England, 20th century"], "technique": "gouache with watercolor over graphite on Whatman drawing board", "support_materials": [], "department": "Drawings", "collection": "DR - British", "type": "Drawing", "measurements": "Image: 25.7 x 25.6 cm (10 1/8 x 10 1/16 in.); Sheet: 36.1 x 32 cm (14 3/16 x 12 5/8 in.)", "dimensions": {"sheet": {"height": 0.361, "width": 0.32}, "image": {"height": 0.257, "width": 0.256}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed and dated, in black ink, at upper right: Edmund Dulac 19", "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": 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": "Fanny Tewksbury King [1867-1949], Cleveland, OH, bequeathed to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "?-1956", "sortorder": 1}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1956-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This drawing was originally reproduced in a charity publication sold to promote the Guide Association, where it accompanied an essay entitled \"Patriotism.\"", "description": "This drawing illustrates a passage from Miguel de Cervantes\u2019s <em>Don Quixote de la Mancha </em>in which Don Quixote and Sancho Panza encounter a duke and duchess at the edge of a forest. Edmund Dulac remained close to the text, painting the richly attired duchess on a white mount, a hawk perched on her left hand. The duke and duchess smile mischievously at the chaos created by Don Quixote and Sancho, who tumble from their horses in a vain attempt to impress the aristocratic couple.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80026760"], "internet_archive": []}, "citations": [{"citation": "Cammaerts, \u00c9mile. \"Patriotism.\" In <em>The Guiding Book</em>, ed. Ann Kindersley. London: Hodder and Stoughton, 1923.", "page_number": "Mentioned: pp. 92-95; Reproduced: p. 93", "url": null}, {"citation": "Hughey, Ann Conolly. <em>Edmund Dulac: His Book Illustrations, A Bibliography</em>. Potomac, MD: Buttonwood Press, 1995.", "page_number": "Mentioned: no. 60", "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. 138-41, 145, no. 148b; Reproduced: p. 141", "url": null}, {"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: p. 10; Mentioned: p. 10-11", "url": "https://archive.org/details/CMAMM-2024-01/page/10/mode/2up"}], "url": "https://clevelandart.org/art/1956.726", "images": {}, "alternate_images": [], "creditline": "The Fanny Tewksbury King Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 134245, "creators": [{"id": 1438, "description": "Edmund Dulac (British, 1882\u20131953)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1882", "death_year": "1953", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 540001, "description": "Hodder and Stoughton (London, 1923-)", "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": "1956-12-11T00:00:00", "sortable_date": 1919, "date_added_to_oa": null, "date_text": "1919", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Don Quixote and Sancho Meeting the Lady Hawking"], "is_highlight": false, "updated_at": "2026-03-27 00:07:49.435000"}, {"id": 156541, "accession_number": "1992.250", "share_license_status": "Copyrighted", "tombstone": "Ephemera Bundle, 1975. Sheila Hicks (American, b. 1934). Silk: wrapping; overall: 33.7 x 27 x 11.5 cm (13 1/4 x 10 5/8 x 4 1/2 in.). The Cleveland Museum of Art, Gift of Mildred Constantine, 1992.250", "current_location": null, "title": "Ephemera Bundle", "creation_date": "1975", "creation_date_earliest": 1975, "creation_date_latest": 1975, "artists_tags": ["female"], "culture": ["America"], "technique": "Silk: wrapping", "support_materials": [], "department": "Textiles", "collection": "T - Contemporary Fiber Art", "type": "Textile", "measurements": "Overall: 33.7 x 27 x 11.5 cm (13 1/4 x 10 5/8 x 4 1/2 in.)", "dimensions": {"overall": {"height": 0.337, "width": 0.27, "depth": 0.115}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 311494, "title": "Small Works in Fiber: The Collection of Mildred Constantine", "description": "<i>Small Works in Fiber: The Collection of Mildred Constantine</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 27-March 28, 1993).", "opening_date": "1993-01-27T05:00:00"}, {"id": 540129, "title": "Contemporary Art Rotation - Spring 2024", "description": "<i>Contemporary Art Rotation - Spring 2024</i>. The Cleveland Museum of Art (organizer) (April 12-October 20, 2024).", "opening_date": "2024-04-12T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Sheila Hicks studied textile traditions in South America, Mexico, Morocco, and India throughout her six-decade career, and combines Indigenous techniques with modernist ideals to create her fiber works.", "description": "<em>Ephemera Bundle</em> is part of a larger series by the pioneering fiber artist Sheila Hicks. To make these works Hicks wraps bundles of undyed and brightly dyed linen thread at random intervals to form dynamic bundles suspended in space. Like an object found in nature, this sculpture combines both structure and spontaneity. Hicks has studied textile traditions in South America, Mexico, Morocco, and India throughout her six-decade career, and combines techniques of Indigenous cultures with modernist ideals to create her fiber works.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79946020"], "internet_archive": []}, "citations": [{"citation": "Constantine, Mildred, and Jack Lenor Larsen. <em>Beyond Craft; The Art Fabric.</em> New York: Van Nostrand Reinhold, 1972.", "page_number": "", "url": ""}, {"citation": "Constantine, Mildred, and Jack Lenor Larsen. <em>The Art Fabric: Mainstream</em>. 1981.", "page_number": "", "url": ""}, {"citation": "Cleveland Museum of Art. Small Works in Fiber: The Mildred Constantine Collection. Cleveland, Ohio: Cleveland Museum of Art, 1993.", "page_number": "p. 27, 29", "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. 76, no. 360", "url": "http://www.jstor.org/stable/25161388"}], "url": "https://clevelandart.org/art/1992.250", "images": {}, "alternate_images": [], "creditline": "Gift of Mildred Constantine", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 156541, "creators": [{"id": 60820, "description": "Sheila Hicks (American, b. 1934)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1934", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1992-12-07T00:00:00", "sortable_date": 1975, "date_added_to_oa": null, "date_text": "1975", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:03:19.075000"}, {"id": 160627, "accession_number": "1998.4", "share_license_status": "Copyrighted", "tombstone": "Untitled B, 1997. Magdalene Odundo (British, born Nairobi, Kenya, 1950). Terracotta; overall: 45.3 x 27.4 x 28.1 cm (17 13/16 x 10 13/16 x 11 1/16 in.). The Cleveland Museum of Art, John L. Severance Fund, 1998.4", "current_location": null, "title": "Untitled B", "creation_date": "1997", "creation_date_earliest": 1997, "creation_date_latest": 1997, "artists_tags": ["female"], "culture": ["England, born in Kenya, 20th century"], "technique": "terracotta", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Vessels", "measurements": "Overall: 45.3 x 27.4 x 28.1 cm (17 13/16 x 10 13/16 x 11 1/16 in.)", "dimensions": {"overall": {"height": 0.453, "width": 0.274, "depth": 0.281}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Incised in bottom of pot: ODUNDO/1997", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 663599, "title": "From the Earth through Her Hands: African Ceramics", "description": "<i>From the Earth through Her Hands: African Ceramics</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 21, 2024-September 21, 2025).", "opening_date": "2024-09-21T04:00:00"}], "legacy": [{"description": "Michael Hue-Williams Fine Art, London, December 26, 1997-January 24, 1998.", "opening_date": "1997-12-26T00:00:00"}]}, "provenance": [{"description": "Anthony Slayter-Ralph, Santa Barbara, CA", "citations": [], "footnotes": null, "date": "?\u20131998", "sortorder": null}, {"description": "The Cleveland Museum of Art by purchase", "citations": [], "footnotes": null, "date": "1998\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This vessel was the Cleveland Museum of Art's first acquisition of contemporary art by an African artist.", "description": "Dame Odundo\u2019s vessels represent the height of technical skill and visual inventiveness. Trained in Kenya, India, and England\u2014where she first began working in clay\u2014her influences span millennia and continents. These sources include ancient sculptors working in Greece\u2019s Cyclades islands; artists liken Maria Mart\u00ednez from San Ildefonso Pueblo, New Mexico; European modernists like Jean Arp and Henry Moore; and Gwari potters like Ladi Kwali. Kwali was Odundo\u2019s primary instructor in Nigeria in 1974. Besides Kwali\u2019s modernist works, she also adapted the shapes of historical Nupe vessels (left). This vessel\u2019s sheen comes from its glaze and from the artist using tools to burnish (polish) its surface.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79982138"], "internet_archive": []}, "citations": [{"citation": "Cooper, Emanuel. Magdalene Odundo (Aldershot ; Burlington, VT : Lund Humphries, 2004), p. 82, 119, cat. 115.", "page_number": "", "url": ""}, {"citation": "Petridis, Constantine. South of the Sahara: Selected Works of African Art. Cleveland, OH: Cleveland Museum of Art; distributed by the University of Washington Press, 2003: 20, fig. 7.", "page_number": "", "url": ""}, {"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/cmapr4109"}, {"citation": "Petridis, Constantijn. <em>South of the Sahara: selected works of African art. </em>Cleveland: Cleveland Museum of Art, 2003.", "page_number": "Reproduced: fig. 7, p. 20", "url": ""}], "url": "https://clevelandart.org/art/1998.4", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 160627, "creators": [{"id": 23223, "description": "Magdalene Odundo (British, born Nairobi, Kenya, 1950)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1950", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1998-03-09T00:00:00", "sortable_date": 1997, "date_added_to_oa": null, "date_text": "1997", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "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 23:59:12.782000"}, {"id": 380099, "accession_number": "2020.194", "share_license_status": "Copyrighted", "tombstone": "Bowl with Fishes Motif (\u9b5a\u6587\u9262), 1959. Ishiguro Munemaro (Japanese, 1893\u20131968). Glazed stoneware; 7.1 x 31 cm (2 13/16 x 12 3/16 in.). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift, 2020.194", "current_location": null, "title": "Bowl with Fishes Motif", "title_in_original_language": "\u9b5a\u6587\u9262", "creation_date": "1959", "creation_date_earliest": 1959, "creation_date_latest": 1959, "artists_tags": ["male", "Asian (from 1900 to present)"], "culture": ["Japan, Sh\u014dwa period (1926\u201389)"], "technique": "glazed stoneware", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Ceramic", "measurements": "7.1 x 31 cm (2 13/16 x 12 3/16 in.)", "dimensions": {"No Extent Specified": {"height": 0.071, "width": 0.31}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Box cover inscription: \u9dd3\u9d23\u6591\u9b5a\u6587\u9262\u3000\u6829\u5eb5\u3000\u91cd\u8981\u7121\u5f62\u6587\u5316\u8ca1\u5de5\u82b8\u5bb6  \u77f3\u9ed2\u5b97\u9ebf  \u9244\u91c9\u9676\u82b8\u5b97\u98a8\u5929\u76ee\u540d\u4eba\u3000\u516b\u702c\u7aaf", "inscription_translation": "Box cover inscription: Shakohan (or Zheguban, \"partridge-feather\" mottles in glaze)  Bowl with Fishes Motif, Kuan (style name), Intangible Important Cultural Property (Living National Treasure) Designee Craftsman Ishiguro Munemaro, person famous [for his] Song-dynasty style iron-oxide Tenmoku glaze, Yase Kiln", "inscription_remark": null, "sortorder": 1}, {"inscription": "Box inscription (observe): \u9dd3\u9d23\u6591\u9b5a\u6587 \u9262\u3000\u6829\u3000\u6829\uff08\u5370\uff09", "inscription_translation": "Box inscription (obverse): Shakohan (or Zheguban, \"partridge-feather\" mottles in glaze)  Bowl with Fishes Motif, signed: Ku (of style name Kuan), sealed: Ku (of style name Kuan)", "inscription_remark": null, "sortorder": 2}, {"inscription": "Impressed seal on base: \u6829", "inscription_translation": "Impressed seal on base: Ku (of style name Kuan)", "inscription_remark": null, "sortorder": 3}], "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": "\u77f3\u9ed2\u5b97\u9ebf\u5c55\uff0d\u9676\u82b8\u306e\u5fc3\u3068\u308f\u3056(<em>Ishiguro Munemaro ten:</em> <em>to\u0304gei no kokoro to waza</em> [Ishiguro Munemaro Exhibition: The Creative Spirit of his Ceramic Art]). National Museum of Modern Art, Tokyo (organizer). National Museum of Modern Art, Tokyo (March 25\u2013June 7, 1981); Aichi Prefectural Ceramic Museum, Seto (June 20\u2013August 23, 1981); Ishikawa Prefectural Art Museum, Kanazawa (September 5\u2013October 25, 1981).", "opening_date": "1981-06-07T00:00:00"}]}, "provenance": [{"description": "(Joan B. Mirviss Ltd., New York, NY, sold to Mr. and Mrs. Joseph P. Keithley)", "citations": [], "footnotes": [], "date": "?\u20132013", "sortorder": 1}, {"description": "Nancy F. and Joseph P. Keithley, Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "2013\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": "In 1955, Ishiguro was designated a Living National Treasure for his mastering of <em>tetsugusuri,</em> or iron-glazed ceramics.", "description": "Painted with four swimming fish, this bowl was created by one of the most influential Japanese potters of the 1900s. It was made a few years after Ishiguro Munemaro was designated as a Living National Treasure. Each fish faces a different direction, creating a sense of movement and play.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q87481595"], "internet_archive": []}, "citations": [{"citation": "National Museum of Modern Art, Tokyo, ed. \u77f3\u9ed2\u5b97\u9ebf\u5c55\uff0d\u9676\u82b8\u306e\u5fc3\u3068\u308f\u3056(<em>Ishiguro Munemaro ten:</em> <em>to\u0304gei no kokoro to waza</em> [Ishiguro Munemaro Exhibition: The Creative Spirit of his Ceramic Art]). Tokyo: National Museum of Modern Art, Tokyo, 1981.", "page_number": "p. 5, cat. no. 17", "url": ""}, {"citation": "Inui Yoshiaki (\u4e7e\u7531\u660e), ed. \u3084\u304d\u3082\u306e\u306e\u7f8e\u73fe\u4ee3\u65e5\u672c\u9676\u82b8\u5168\u96c6(<em>Yakimono no bi: gendai Nihon to\u0304gei zenshu\u0304</em> [The Beauty of Ceramics: Compendium of Contemporary Japanese Ceramic Arts:]), vol. 5, \u77f3\u9ed2\u5b97\u9ebf (Ishiguro Munemaro). Tokyo: Shu\u0304eisha, 1982.", "page_number": "cat. no. 72", "url": ""}, {"citation": "Rousmaniere, Nicole Coolidge. \"Japanese Ceramics.\" In <em>The Keithley Collection at the Cleveland Museum of Art, </em>edited by Heather Lemonedes Brown, 230\u2013251. Cleveland, OH: The Cleveland Museum of Art, 2022.", "page_number": "Mentioned and Reproduced: pp. 236\u2013237; Mentioned: p. 265", "url": ""}, {"citation": "\"Supporter Story: Marc and Elizabeth Wilson.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>63, no. 3 (2023): 30\u201331.", "page_number": "Reproduced: p. 30", "url": "https://archive.org/details/CMAMM2023-03/page/30/mode/2up"}], "url": "https://clevelandart.org/art/2020.194", "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": 380099, "creators": [{"id": 380098, "description": "Ishiguro Munemaro (Japanese, 1893\u20131968)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\u77f3\u9ed2\u5b97\u78e8", "birth_year": "1893", "death_year": "1968", "use_in_caption": true, "include_extent": false, "weight": 0}], "legal_status": "accessioned", "accession_date": "2020-03-02T00:00:00-05:00", "sortable_date": 1959, "date_added_to_oa": null, "date_text": "1959", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:04:57.957000"}, {"id": 403015, "accession_number": "2020.263", "share_license_status": "Copyrighted", "tombstone": "Anima, Silueta de Cohetes (Firework Piece), 1976. Ana Mendieta (American, b. Cuba, 1948\u20131985). Super-8mm film transferred to high-definition digital media, color, silent, 2:23 minutes. The Cleveland Museum of Art, Dorothea Wright Hamilton Fund, 2020.263. \u00a9 The Estate of Ana Mendieta Collection, LLC. Courtesy Galerie Lelong & Co. / Licensed by Artists Rights Society (ARS), New York", "current_location": null, "title": "Anima, Silueta de Cohetes (Firework Piece)", "creation_date": "1976", "creation_date_earliest": 1976, "creation_date_latest": 1976, "artists_tags": ["female", "Latine and Hispanic Artists"], "culture": ["America"], "technique": "Super-8mm film transferred to high-definition digital media, color, silent, 2:23 minutes", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Installation Media", "type": "Time-based Media", "dimensions": {"No Extent Specified": {}}, "state_of_the_work": null, "edition_of_the_work": "Edition 5 of 6 with 3 APs", "copyright": "\u00a9 The Estate of Ana Mendieta Collection, LLC. Courtesy Galerie Lelong & Co. / Licensed by Artists Rights Society (ARS), New York", "inscriptions": [], "exhibitions": {"current": [{"id": 393229, "title": "Contemporary Installation", "description": "<i>Contemporary Installation</i>. The Cleveland Museum of Art (organizer).", "opening_date": "2021-04-12T04:00:00"}, {"id": 534857, "title": "Ana Mendieta: Anima, Silueta de Cohetes (Firework Piece)", "description": "<i>Ana Mendieta: Anima, Silueta de Cohetes (Firework Piece)</i>. The Cleveland Museum of Art (organizer) (December 6, 2022-April 9, 2023).", "opening_date": "2022-12-06T05:00:00"}], "legacy": []}, "provenance": [{"description": "(Galerie Lelong & Co., New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "2020", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2020-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Mendieta created nearly 80 films in her <em>Silueta</em> series between 1973 and 1985, making her one of the most prolific artists to take up the medium at this time.", "description": "In this work, Ana Mendieta creates a monumental female figure from lit fireworks, and she films the burning silhouette until it extinguishes. Combining elements of performance, installation art, video, and photography, this \"earth body\" work, as the artist describes it, is part of Mendieta's <em>Silueta</em> series. The <em>Siluetas</em> were groundbreaking contributions to the Land Art movement, largely dominated by male artists. As the film opens, the dark night is broken by a series of small explosions that form the silhouette and burn out slowly. The imagery is a metaphor for the passage of time and self-transformation, deeply personal themes for the artist.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117246434"], "internet_archive": []}, "citations": [{"citation": "Camnitzer, Luis. \"Ana Mendieta.\" <em>Third Text</em>, 3, no. 7 (1989): 47-52.", "page_number": "", "url": ""}, {"citation": "Rauch, Heidi and Federico Suro. \"Ana Mendieta's Primal Scream.\" <em>Am\u00e9ricas</em> 44, no. 5 (Sept-Oct 1992): 44-48.", "page_number": "", "url": ""}, {"citation": "Best, Susan. \"The serial spaces of Ana Mendieta.\" <em>Art History</em> 30, no.1 (2007): 57-82.", "page_number": "", "url": ""}, {"citation": "Lukkas, Lynn, Howard Oransky, and Ana Mendieta. <em>Covered in Time and History: The Films of Ana Mendieta</em>. Minneapolis, MN: Katherine E. Nash Gallery at the University of Minnesota, in association with University of California Press, 2015.", "page_number": "", "url": ""}], "url": "https://clevelandart.org/art/2020.263", "images": {}, "alternate_images": [], "creditline": "Dorothea Wright Hamilton Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 403015, "creators": [{"id": 361194, "description": "Ana Mendieta (American, b. Cuba, 1948\u20131985)", "extent": null, "qualifier": null, "role": null, "biography": null, "name_in_original_language": null, "birth_year": "1948", "death_year": "1985", "use_in_caption": true, "include_extent": false, "weight": 0}], "legal_status": "accessioned", "accession_date": "2020-12-07T00:00:00-05:00", "sortable_date": 1976, "date_added_to_oa": null, "date_text": "1976", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "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 00:05:20.321000"}, {"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": "2026-04-07 22:03:36.465000"}, {"id": 96994, "accession_number": "1916.64", "share_license_status": "Copyrighted", "tombstone": "Rubbing of Imperial Procession with Emperor, taken from Northern Wei dynasty (386\u2013534) Central Binyang Cave, Longmen, Henan Province (\u79ae\u4f5b\u62d3\u7247\uff0c\u51fa\u81ea\u5317\u9b4f\uff08386-534\uff09\u9f8d\u9580\u8cd3\u967d\u4e2d\u6d1e\uff0c\u6cb3\u5357\u7701), 1910\u201316. China, Qing dynasty (1644-1911) or Republican period (1912-49). Rubbing, ink on paper; overall: 205.6 x 388.4 cm (80 15/16 x 152 15/16 in.). The Cleveland Museum of Art, Gift of Yamanaka & Company, 1916.64", "current_location": null, "title": "Rubbing of Imperial Procession with Emperor, taken from Northern Wei dynasty (386\u2013534) Central Binyang Cave, Longmen, Henan Province", "title_in_original_language": "\u79ae\u4f5b\u62d3\u7247\uff0c\u51fa\u81ea\u5317\u9b4f\uff08386-534\uff09\u9f8d\u9580\u8cd3\u967d\u4e2d\u6d1e\uff0c\u6cb3\u5357\u7701", "creation_date": "1910\u201316", "creation_date_earliest": 1910, "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: 205.6 x 388.4 cm (80 15/16 x 152 15/16 in.)", "dimensions": {"overall": {"height": 2.056, "width": 3.884}}, "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 (1919).", "opening_date": "1919-01-01T05:00:00Z"}, {"description": "<em>Chinese Art Gallery XIII</em>. The Cleveland Museum of Art, Cleveland, OH (1920).", "opening_date": "1920-01-01T05:00:00Z"}]}, "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": "A rubbing is taken directly from a carved stone\u2019s surface, so the resulting image has the same orientation as the original carving.", "description": "This rubbing was taken from stone reliefs commissioned by the Northern Wei emperor Xuanwu (reigned 500\u2013515) in honor of his deceased parents.<br> <br>Here the lead figure, surrounded by attendants who hold parasols and offerings, is about to place an incense stick into a censer held by an attendant in the lower right corner. The main figures in both this and its companion rubbing presumably depict the emperor\u2019s deceased parents as lead figures. The entire procession can be understood as making offerings to the main Buddha image in the cave, as an act of gaining merit.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79480957"], "internet_archive": []}, "citations": [{"citation": "Coleman, Fletcher. \"Encountering Chinese sculpture in America: the early pedagogy and exhibition of monumental ink rubbings from Longmen\" <em>Orientations </em>51, no. 1 (January/February 2020): 92-102.", "page_number": "Reproduction: p.93, fig. 1; p.94, fig.2; p.101 fig. 10; Mention; p. 92; p. 102", "url": null}], "url": "https://clevelandart.org/art/1916.64", "images": {}, "alternate_images": [], "creditline": "Gift of Yamanaka & Company", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 96994, "creators": [], "legal_status": "accessioned", "accession_date": "1916-03-09T00:00:00", "sortable_date": 1910, "date_added_to_oa": null, "date_text": "1910\u201316", "collapse_artists": false, "on_loan": false, "recently_acquired": 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"], "is_highlight": false, "updated_at": "2026-03-27 00:08:29.703000"}, {"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": 105625, "accession_number": "1923.733", "share_license_status": "Copyrighted", "tombstone": "Reaching Jaguar, modeled c. 1905\u20136, cast before 1923. Anna Hyatt Huntington (American, 1876\u20131973). Bronze; overall: 16.3 x 11.8 cm (6 7/16 x 4 5/8 in.). The Cleveland Museum of Art, Gift of Mrs. Henry A. Everett for the Dorothy Burnham Everett Memorial Collection, 1923.733", "current_location": null, "title": "Reaching Jaguar", "creation_date": "modeled c. 1905\u20136, cast before 1923", "creation_date_earliest": 1905, "creation_date_latest": 1906, "artists_tags": ["female"], "culture": ["America"], "technique": "bronze", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Sculpture", "type": "Sculpture", "measurements": "Overall: 16.3 x 11.8 cm (6 7/16 x 4 5/8 in.)", "dimensions": {"overall": {"height": 0.163, "width": 0.118}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed on base: Anna V. Hyatt  ", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Stamped on base: GORHAM CO FOUNDERS Q38", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 312457, "title": "Sculpture of Our Time", "description": "<i>Sculpture of Our Time</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 5-December 5, 1937).", "opening_date": "1937-11-05T05:00:00"}, {"id": 443995, "title": "Arts and Crafts in Detroit 1906 - 1976: The Movement, The Society, The School", "description": "<i>Arts and Crafts in Detroit 1906 - 1976: The Movement, The Society, The School</i>. The Detroit Institute of Arts, Detroit, MI (organizer) (November 26, 1976-January 16, 1977).", "opening_date": "1976-11-26T05:00:00"}, {"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": [{"description": "Mrs. Henry A. Everett", "citations": [], "footnotes": [], "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": ["3220.1919"], "did_you_know": "Anna Hyatt Huntington worked as a sculptor for 84 years.", "description": "A Paraguayan jaguar named Se\u00f1or Lopez, housed at the New York Zoological Park (now the Bronx Zoo), fascinated Anna Hyatt Huntington, who spent hours studying and sketching him. She also created small clay models on the spot, later modifying them in her studio and having them cast in bronze. <em>Reaching Jaguar</em> was one of her most popular compositions, with more than 250 casts produced.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79891467"], "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. #22, p. 27, repr.", "url": null}], "url": "https://clevelandart.org/art/1923.733", "images": {}, "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": 105625, "creators": [{"id": 17739, "description": "Anna Hyatt Huntington (American, 1876\u20131973)", "extent": null, "qualifier": null, "role": "sculptor", "biography": null, "name_in_original_language": null, "birth_year": "1876", "death_year": "1973", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1923-09-24T00:00:00", "sortable_date": 1905, "date_added_to_oa": null, "date_text": "modeled c. 1905\u20136, cast before 1923", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Leopard"], "is_highlight": false, "updated_at": "2026-03-27 00:01:00.053000"}, {"id": 120747, "accession_number": "1941.480", "share_license_status": "Copyrighted", "tombstone": "Queer Fish, 1936. Mabel Dwight (American, 1876\u20131955). Lithograph; platemark: 27 x 33 cm (10 5/8 x 13 in.); sheet: 32.8 x 45.5 cm (12 15/16 x 17 15/16 in.). The Cleveland Museum of Art, Mr. and Mrs. Lewis B. Williams Collection, 1941.480", "current_location": null, "title": "Queer Fish", "creation_date": "1936", "creation_date_earliest": 1936, "creation_date_latest": 1936, "artists_tags": ["female"], "culture": ["America"], "technique": "lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Platemark: 27 x 33 cm (10 5/8 x 13 in.); Sheet: 32.8 x 45.5 cm (12 15/16 x 17 15/16 in.)", "dimensions": {"platemark": {"height": 0.27, "width": 0.33}, "sheet": {"height": 0.328, "width": 0.455}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "In graphite, lower right: \"Mabel Dwight 1936\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Stamped in black ink on verso: \"American Artists Group, 106 Seventh Ave, New York/Queer Fish by Mabel Dwight/MD \u00a9 1936\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 309576, "title": "A Golden Age of American Printmaking", "description": "<i>A Golden Age of American Printmaking</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 12-April 11, 1982).", "opening_date": "1982-01-12T05:00:00"}, {"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": 381923, "title": "Ashcan School Prints and the American City, 1900\u20131940", "description": "<i>Ashcan School Prints and the American City, 1900\u20131940</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 18-December 26, 2021).", "opening_date": "2021-07-17T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Founded in 1896, the New York Aquarium, where this scene takes place, was located in the Battery of lower Manhattan until it was relocated to Coney Island in 1941.", "description": "Mabel Dwight often visited the Battery neighborhood\u2019s aquarium in Manhattan, which had opened in 1896 and was where, as she wrote in her unpublished autobiography, she observed the \u201cexpressions of aloof wonder\u201d of the people staring through the glass to the \u201csmall world\u201d beyond. She wrote humorously about the scene depicted in the print, describing how, during one visit, she observed a man and a grouper fish trying to outstare one another until \u201cboth swam away.\"", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80016300"], "internet_archive": []}, "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. 33", "url": "https://archive.org/details/Lithography/page/n40"}], "catalogue_raisonne": "Robinson and Pirog 80", "url": "https://clevelandart.org/art/1941.480", "images": {}, "alternate_images": [], "creditline": "Mr. and Mrs. Lewis B. Williams Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 120747, "creators": [{"id": 23656, "description": "Mabel Dwight (American, 1876\u20131955)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1876", "death_year": "1955", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1941-12-05T00:00:00", "sortable_date": 1936, "date_added_to_oa": null, "date_text": "1936", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-26 23:59:34.484000"}, {"id": 132090, "accession_number": "1954.652", "share_license_status": "CC0", "tombstone": "The Green Dragon, 1910. Arthur Rackham (British, 1867\u20131939). Pen and black ink and watercolor on paper; sheet: 28 x 19 cm (11 x 7 1/2 in.). The Cleveland Museum of Art, Gift of Mrs. Don Hunter, 1954.652", "current_location": null, "title": "The Green Dragon", "creation_date": "1910", "creation_date_earliest": 1910, "creation_date_latest": 1910, "artists_tags": ["male"], "culture": ["England, 20th century"], "technique": "pen and black ink and watercolor on paper", "support_materials": [], "department": "Drawings", "collection": "DR - British", "type": "Drawing", "measurements": "Sheet: 28 x 19 cm (11 x 7 1/2 in.)", "dimensions": {"sheet": {"height": 0.28, "width": 0.19}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"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": 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": 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": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The design for the dragon in this illustration derives from one of the black and white vignettes placed over the chapter titles in the 1909 edition of <em>Undine </em>illustrated by Rackham.", "description": "One of the best-known book illustrators of his time, Arthur Rackham worked at the turn of the 20th century in the period now sometimes described as the genre's golden age. His style combined intricate line work with delicate coloring to create scenes that were timeless, mysterious, and sometimes dark. This combination was particularly well suited for fantasy subjects like fairytales, Nordic and Germanic legends, and the dragon in this illustration, first published in his <em>Book of Pictures</em> of 1913. The beast's sinuous body echoes the lines describing the trees' gnarly trunks, roots, and branches, and the ripples of the water in the stream, highlighting its unity with the nature that surrounds it. Rackham evokes a world both similar and different to our own, where nature is both magical and dangerous.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80023781"], "internet_archive": ["https://archive.org/details/clevelandart-1954.652-the-green-dragon"]}, "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. 58, fig. 7, Mentioned: p. 60-62.", "url": ""}], "url": "https://clevelandart.org/art/1954.652", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1954.652/1954.652_web.jpg", "width": "611", "height": "893", "filesize": "521429", "filename": "1954.652_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1954.652/1954.652_print.jpg", "width": "2327", "height": "3400", "filesize": "3425399", "filename": "1954.652_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1954.652/1954.652_full.tif", "width": "4376", "height": "6395", "filesize": "83985564", "filename": "1954.652_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1954.652/1954.652_alt0_web.jpg", "width": "634", "height": "893", "filesize": "490935"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1954.652/1954.652_alt0_print.jpg", "width": "1453", "height": "2048", "filesize": "2376103"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1954.652/1954.652_alt0_full.tif", "width": "1453", "height": "2048", "filesize": "8930692"}}], "creditline": "Gift of Mrs. Don Hunter", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 132090, "creators": [{"id": 1340, "description": "Arthur Rackham (British, 1867\u20131939)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1867", "death_year": "1939", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1954-12-04T00:00:00", "sortable_date": 1910, "date_added_to_oa": null, "date_text": "1910", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:23.794000"}, {"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": 142808, "accession_number": "1966.50.b", "share_license_status": "Copyrighted", "tombstone": "Amalie, Ida, and Set Designs (Studies for Goll's \"Methusalem\") (verso), 1922. George Grosz (German, 1893\u20131959). Graphite; sheet: 52.7 x 38 cm (20 3/4 x 14 15/16 in.). The Cleveland Museum of Art, Contemporary Collection of The Cleveland Museum of Art, 1966.50.b. \u00a9  Estate of George Grosz / Licensed by VAGA at Artists Rights Society (ARS), NY", "current_location": null, "title": "Amalie, Ida, and Set Designs (Studies for Goll's \"Methusalem\") (verso)", "creation_date": "1922", "creation_date_earliest": 1922, "creation_date_latest": 1922, "artists_tags": ["male"], "culture": ["Germany, Berlin, 20th century"], "technique": "graphite", "support_materials": [{"description": "cream wove paper (now discolored to light brown", "watermarks": []}], "department": "Drawings", "collection": "DR - German", "type": "Drawing", "measurements": "Sheet: 52.7 x 38 cm (20 3/4 x 14 15/16 in.)", "dimensions": {"sheet": {"height": 0.527, "width": 0.38}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  Estate of George Grosz / Licensed by VAGA at Artists Rights Society (ARS), NY", "inscriptions": [{"inscription": "verso, lower left, in graphite: No 22 [sideways]; lower left, in graphite: 1498a [upside down, circled]; upper left, in blue crayon: 33 [underlined]; by artist, center right, in graphite: blau; by artist, lower right, in graphite: rot; by artist, lower right, in graphite: gr; lower right, in graphite: 470 [sideways]; lower right, in graphite: mha; by artist, upper right, in graphite: [illegible] / No [\"o\" underlined twice] 7 Student / zu Methusalem / von Iwan Goll [sideways]; upper right, in graphite: [illegible] / 40.4126 [sideways]\r\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 443875, "title": "Tendencies of the Twenties", "description": "<i>Tendencies of the Twenties</i>. Staatliche Museen Preussischer Kulturbesitz, Berlin 19, Germany (August 14, 1977-October 16, 1978); St\u00e4del Museum, Franfurt am Main, Germany (November 10, 1977-January 8, 1978).", "opening_date": "1977-08-14T04:00:00"}, {"id": 443370, "title": "Dada Revisited", "description": "<i>Dada Revisited</i>. Akron Art Museum, Akron, OH (organizer) (June 30-September 15, 1978).", "opening_date": "1978-06-30T04:00:00"}], "legacy": [{"description": "cma 1966; Berlin/Frankfurt 1977-78, 3/51, 3/261, fig. 3/663; London 1978, 94, fig. 4.34; Akron 1978; Boston/Fort Worth 1980-81 [12, 26]; Cleveland 1981, 29, no. 14 (repr.); Madison 1985-86, [3] (repr.), insert; cma 1989-90.", "opening_date": "1951-03-01T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "George Grosz's interest in mechanization extended to his drawing practice: he used drafting tools, like a straight-edge and compass, to execute works such as this one.", "description": "<em>Student</em> belongs to a series of drawings George Grosz made for Iwan Goll\u2019s 1921 play <em>Methusalem: The Eternal Bourgeois.</em> This satirical drama pitted a radical student against Methusalem, a bourgeois capitalist. Grosz\u2019s drawing shows the student\u2019s costume; the actor would have spoken from behind a full-size, mask-like shield made from various machine parts and other commonplace objects. The hinged metal head reveals the inner workings of a corrupt or incompetent mind. In Grosz\u2019s characterization, neither the radical student nor the bourgeois capitalist was more righteous than the other. Grosz was an outlier to Expressionism, rejecting the idea of the artist as mystical prophet in favor of the artist as an ordinary worker, an idea inspired by the socialist rhetoric of the day.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80042975"], "internet_archive": []}, "citations": [{"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. 246-47, 297; Reproduced: P. 248, cat. no. 104", "url": ""}], "url": "https://clevelandart.org/art/1966.50.b", "images": {}, "alternate_images": [], "creditline": "Contemporary Collection of The Cleveland Museum of Art", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 142808, "creators": [{"id": 12615, "description": "George Grosz (German, 1893\u20131959)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1893", "death_year": "1959", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1967-01-30T00:00:00", "sortable_date": 1922, "date_added_to_oa": null, "date_text": "1922", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1966.50", "is_nazi_era_provenance": true, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:26.540000"}, {"id": 146023, "accession_number": "1971.220", "share_license_status": "CC0", "tombstone": "Field with Young Trees in the Foreground, c. 1907. Piet Mondrian (Dutch, 1872\u20131944). Oil on paper laid on board; framed: 82.5 x 97 x 5.8 cm (32 1/2 x 38 3/16 x 2 5/16 in.); unframed: 65.7 x 72 cm (25 7/8 x 28 3/8 in.). The Cleveland Museum of Art, Gift of Frank Stella, 1971.220", "current_location": null, "title": "Field with Young Trees in the Foreground", "creation_date": "c. 1907", "creation_date_earliest": 1902, "creation_date_latest": 1912, "artists_tags": ["male"], "culture": ["Netherlands"], "technique": "oil on paper laid on board", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 82.5 x 97 x 5.8 cm (32 1/2 x 38 3/16 x 2 5/16 in.); Unframed: 65.7 x 72 cm (25 7/8 x 28 3/8 in.)", "dimensions": {"framed": {"height": 0.825, "width": 0.97, "depth": 0.058}, "unframed": {"height": 0.657, "width": 0.72}}, "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"}, {"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); The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008).", "opening_date": "2006-05-27T00:00:00"}, {"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": "Frank Stella [1936-  ] New York, NY by gift to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "-1971", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1971-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Mondrian was a prolific writer drawn to spiritual studies and he believed that art and philosophy were deeply interconnected.", "description": "This painting depicts a field around the hamlet of Oele in the eastern Netherlands, where Mondrian lived during the summer of 1907. The evocative mood created by the trees silhouetted against a twilight sky suggests that Mondrian\u2019s search for spirituality was present before he began painting completely abstract or non-objective compositions in 1916. Guided by readings in metaphysics and philosophy, Mondrian sought to achieve a higher spiritual reality in his paintings, which eventually led him to eliminate all representational elements in favor of a style of pure geometric abstraction.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60471881"], "internet_archive": ["https://archive.org/details/clevelandart-1971.220-field-with-young-tre"]}, "citations": [{"citation": "Neet, Jane. \u201cMondrian\u2019s \u2018Chrysanthemum.\u2019\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 74, no. 7 (September 1987): 282\u2013303. <br>Published as: <em>Bos Oele</em>", "page_number": "Mentioned and reproduced: p. 284-285, fig. 3", "url": "http://www.jstor.org/stable/25159997"}], "url": "https://clevelandart.org/art/1971.220", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1971.220/1971.220_web.jpg", "width": "1098", "height": "893", "filesize": "716860", "filename": "1971.220_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1971.220/1971.220_print.jpg", "width": "3400", "height": "2764", "filesize": "1916417", "filename": "1971.220_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1971.220/1971.220_full.tif", "width": "4611", "height": "3749", "filesize": "51887524", "filename": "1971.220_full.tif"}}, "alternate_images": [], "creditline": "Gift of Frank Stella", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 146023, "creators": [{"id": 3204, "description": "Piet Mondrian (Dutch, 1872\u20131944)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1872", "death_year": "1944", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1971-12-11T00:00:00", "sortable_date": 1902, "date_added_to_oa": null, "date_text": "c. 1907", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["A Forest"], "is_highlight": false, "updated_at": "2026-03-27 00:08:21.587000"}, {"id": 146932, "accession_number": "1972.332.1", "share_license_status": "Copyrighted", "tombstone": "Twin Figure (\u00c8re \u00ccbej\u00ec), c. 1940s. Fakeye School (Nigerian). Wood, organic material, probably bluing, glass beads, and natural fiber; overall: 28 cm (11 in.). The Cleveland Museum of Art, Gift of Katherine C. White, 1972.332.1", "current_location": null, "title": "Twin Figure (\u00c8re \u00ccbej\u00ec)", "creation_date": "c. 1940s", "creation_date_earliest": 1940, "creation_date_latest": 1949, "artists_tags": ["gender unknown"], "culture": ["Africa, West Africa, Nigeria, Yor\u00f9b\u00e1 peoples"], "technique": "Wood, organic material, probably bluing, glass beads, and natural fiber", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "measurements": "Overall: 28 cm (11 in.)", "dimensions": {"overall": {"height": 0.28}}, "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. 126, repr.", "opening_date": "1968-01-01T00:00:00"}, {"description": "CMA 1973: \"Year in Review 1972,\" CMA Bulletin LX (March, 1973), p. 107, no. 42.", "opening_date": "1973-03-01T00:00:00"}, {"description": "CMA 1975: \"Traditions and Revisions,\" cat. no. 44.", "opening_date": "1975-01-01T00:00:00"}]}, "provenance": [{"description": "Ross Widen", "citations": [], "footnotes": null, "date": "1966    ", "sortorder": null}, {"description": "Ross Widen, Cleveland (1966); Katherine White Reswick", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": ["686.68", "72.332"], "did_you_know": "Members of the Fakeye family continue to carve into the 21st century.", "description": "Among the Yoruba, who have the world's highest instance of multiple births, twins are regarded as sacred children. Should one die, the parents may commission a memorial figure. They then care for the figure (decorate, clothe, wash, and feed it), symbolically honoring and entertaining the spirit of the departed twin so it does not call its partner to join it in the otherworld. The indigo and washing blue in the hair and the red camwood cosmetic rubbed on the bodies of these figures are signs of the devotions of their former owners.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79925714"], "internet_archive": []}, "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. 126.", "page_number": "", "url": ""}], "url": "https://clevelandart.org/art/1972.332.1", "images": {}, "alternate_images": [], "creditline": "Gift of Katherine C. White", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 146932, "creators": [{"id": 10060, "description": "Fakeye School (Nigerian)", "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": "1973-02-12T00:00:00", "sortable_date": 1940, "date_added_to_oa": null, "date_text": "c. 1940s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1972.332", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Memorial Figure of a Departed Twin (ere ibeji)"], "is_highlight": false, "updated_at": "2026-03-27 00:05:08.336000"}, {"id": 146933, "accession_number": "1972.332.2", "share_license_status": "Copyrighted", "tombstone": "Twin Figure (\u00c8re \u00ccbej\u00ec), c. 1940s. Fakeye School (Nigerian). Wood, organic material, probably bluing, glass beads, and natural fiber; overall: 28 cm (11 in.). The Cleveland Museum of Art, Gift of Katherine C. White, 1972.332.2", "current_location": null, "title": "Twin Figure (\u00c8re \u00ccbej\u00ec)", "creation_date": "c. 1940s", "creation_date_earliest": 1940, "creation_date_latest": 1949, "artists_tags": ["gender unknown"], "culture": ["Africa, West Africa, Nigeria, Yor\u00f9b\u00e1 peoples"], "technique": "Wood, organic material, probably bluing, glass beads, and natural fiber", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "measurements": "Overall: 28 cm (11 in.)", "dimensions": {"overall": {"height": 0.28}}, "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. 127, repr.", "opening_date": "1968-01-01T00:00:00"}, {"description": "CMA 1973: \"Year in Review 1972,\" CMA Bulletin LX (March, 1973), p. 107, no. 42", "opening_date": "1973-03-01T00:00:00"}, {"description": "CMA 1975: \"Traditions and Revisions,\" cat. no. 44.", "opening_date": "1975-01-01T00:00:00"}]}, "provenance": [{"description": "Ross Widen, Cleveland", "citations": [], "footnotes": null, "date": "1966    ", "sortorder": null}, {"description": "Ross Widen, Cleveland (1966); Katherine White Reswick", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": ["687.68", "72.333"], "did_you_know": "Members of the Fakeye family continue to carve into the twenty-first century.", "description": "Among the Yoruba, who have the world's highest instance of multiple births, twins are regarded as sacred children. Should one die, the parents may commission a memorial figure. They then care for the figure (decorate, clothe, wash, and feed it), symbolically honoring and entertaining the spirit of the departed twin so it does not call its partner to join it in the otherworld. The indigo and washing blue in the hair and the red camwood cosmetic rubbed on the bodies of these figures are signs of the devotions of their former owners.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79925718"], "internet_archive": []}, "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. 127.", "page_number": "", "url": ""}], "url": "https://clevelandart.org/art/1972.332.2", "images": {}, "alternate_images": [], "creditline": "Gift of Katherine C. White", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 146933, "creators": [{"id": 10060, "description": "Fakeye School (Nigerian)", "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": "1973-02-12T00:00:00", "sortable_date": 1940, "date_added_to_oa": null, "date_text": "c. 1940s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1972.332", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Memorial Figure of a Departed Twin (ere ibeji)"], "is_highlight": false, "updated_at": "2026-03-27 00:00:16.474000"}, {"id": 146934, "accession_number": "1972.334", "share_license_status": "Copyrighted", "tombstone": "Pair of Twin Figures (\u00c8re \u00ccbej\u00ec), c. 1930s. Africa, West Africa, Nigeria, Yor\u00f9b\u00e1-style maker. Wood, organic material, probably bluing, glass beads, and natural fiber; each: 27.3 cm (10 3/4 in.). The Cleveland Museum of Art, Gift of Katherine C. White, 1972.334", "current_location": null, "title": "Pair of Twin Figures (\u00c8re \u00ccbej\u00ec)", "creation_date": "c. 1930s", "creation_date_earliest": 1930, "creation_date_latest": 1939, "artists_tags": [], "culture": ["Africa, West Africa, Nigeria, Yor\u00f9b\u00e1-style maker"], "technique": "Wood, organic material, probably bluing, glass beads, and natural fiber", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "measurements": "Each: 27.3 cm (10 3/4 in.)", "dimensions": {"each": {"height": 0.273}}, "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. 129, repr.", "opening_date": "1968-01-01T00:00:00"}, {"description": "CMA 1973: \"Year in Review 1972,\" CMA Bulletin LX (March, 1973), p. 107, no. 41.", "opening_date": "1973-03-01T00:00:00"}]}, "provenance": [{"description": "Ross Widen, Cleveland", "citations": [], "footnotes": null, "date": "?\u20131966", "sortorder": null}, {"description": "Katherine White Reswick (Katherine C. White)", "citations": [], "footnotes": null, "date": "1966\u20131973", "sortorder": null}, {"description": "The Cleveland Museum of Art by gift", "citations": [], "footnotes": null, "date": "1973\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The blue color of these figures' hair is a mix of the natural material indigo and laundry blue, a powdered substance used to brighten laundry.", "description": "Yor\u00f9b\u00e1 people, who have the world's highest number of multiple births, regard twins as sacred children. Should one die, the parents may commission a memorial figure. They then care for the figure (decorate, clothe, wash, and feed it), symbolically honoring and entertaining the spirit of the departed twin so it does not call its partner to join it in the otherworld. The indigo and washing blue in the hair and the red camwood cosmetic rubbed on the bodies of these figures are signs of the devotions of their former owners.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79925721"], "internet_archive": []}, "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. 129.", "page_number": "", "url": ""}], "url": "https://clevelandart.org/art/1972.334", "images": {}, "alternate_images": [], "creditline": "Gift of Katherine C. White", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 146934, "creators": [], "legal_status": "accessioned", "accession_date": "1973-02-12T00:00:00", "sortable_date": 1930, "date_added_to_oa": null, "date_text": "c. 1930s", "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": ["Memorial Figure of a Departed Twin (ere ibeji)"], "is_highlight": false, "updated_at": "2026-03-27 00:05:14.448000"}, {"id": 146940, "accession_number": "1972.339", "share_license_status": "CC0", "tombstone": "Shrine Figure for S\u00e0ng\u00f3, c. 1910. Africa, West Africa, Nigeria, Yor\u00f9b\u00e1-style maker. Wood, probably bluing, and organic material; overall: 38.7 cm (15 1/4 in.). The Cleveland Museum of Art, Gift of Katherine C. White, 1972.339", "current_location": null, "title": "Shrine Figure for S\u00e0ng\u00f3", "creation_date": "c. 1910", "creation_date_earliest": 1905, "creation_date_latest": 1915, "artists_tags": [], "culture": ["Africa, West Africa, Nigeria, Yor\u00f9b\u00e1-style maker"], "technique": "Wood, probably bluing, and organic material", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "measurements": "Overall: 38.7 cm (15 1/4 in.)", "dimensions": {"overall": {"height": 0.387}}, "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. 119, repr.", "opening_date": "1968-01-01T00:00:00"}, {"description": "CMA 1973: \"Year in Review 1972,\" CMA Bulletin LX (March, 1973), p. 106, no. 23.", "opening_date": "1973-03-01T00:00:00"}]}, "provenance": [{"description": "Ross Widen [Gallery], Cleveland", "citations": [], "footnotes": null, "date": "?-1967", "sortorder": null}, {"description": "Katherine White Reswick (Katherine C. White)", "citations": [], "footnotes": null, "date": "1967\u20131973", "sortorder": null}, {"description": "The Cleveland Museum of Art by gift", "citations": [], "footnotes": null, "date": "1973\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": ["841.68"], "did_you_know": "The bright blue color on this sculpture is bluing, a powdered product used to brighten laundry.", "description": "S\u00e0ng\u00f3 is a king turned god in the Yor\u00f9b\u00e2 cosmology. One of the many \u00f2r\u00ec\u1e63\u00e0\u2014a god or divine spirit\u2014that Yor\u00f9b\u00e1 people can become devotees of and appeal to, S\u00e0ng\u00f3 is often associated with lightning and thunder. The shape atop the female figure's head is the double-axe symbol of S\u00e0ng\u00f3. She wears a triangle-shaped amulet, waist beads, and bracelets, all signifying that she is a priestess. Standing on a base, rather than a handle, this figure was likely placed in a shrine dedicated to S\u00e0ng\u00f3.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79925737"], "internet_archive": []}, "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. 119.", "page_number": "", "url": ""}], "url": "https://clevelandart.org/art/1972.339", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1972.339/1972.339_web.jpg", "width": "566", "height": "893", "filesize": "269906", "filename": "1972.339_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1972.339/1972.339_print.jpg", "width": "2155", "height": "3400", "filesize": "3879601", "filename": "1972.339_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1972.339/1972.339_full.tif", "width": "3796", "height": "5990", "filesize": "68246048", "filename": "1972.339_full.tif"}}, "alternate_images": [{"date_created": "2009-08-05T13:35:29", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.339/1972.339_alt0_web.jpg", "width": "511", "height": "893", "filesize": "223960"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.339/1972.339_alt0_print.jpg", "width": "1944", "height": "3400", "filesize": "3334504"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.339/1972.339_alt0_full.tif", "width": "3438", "height": "6014", "filesize": "62059956"}}, {"date_created": "2009-08-05T13:41:38", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.339/1972.339_alt1_web.jpg", "width": "522", "height": "893", "filesize": "226929"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.339/1972.339_alt1_print.jpg", "width": "1986", "height": "3400", "filesize": "3398657"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.339/1972.339_alt1_full.tif", "width": "3555", "height": "6085", "filesize": "64928068"}}, {"date_created": "2009-08-05T13:48:00", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.339/1972.339_alt2_web.jpg", "width": "515", "height": "893", "filesize": "248727"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.339/1972.339_alt2_print.jpg", "width": "1961", "height": "3400", "filesize": "3620741"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.339/1972.339_alt2_full.tif", "width": "3514", "height": "6093", "filesize": "64264216"}}], "creditline": "Gift of Katherine C. White", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 146940, "creators": [], "legal_status": "accessioned", "accession_date": "1973-02-12T00:00:00", "sortable_date": 1905, "date_added_to_oa": null, "date_text": "c. 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": ["Shrine Figure"], "is_highlight": false, "updated_at": "2026-03-27 00:04:40.872000"}, {"id": 147488, "accession_number": "1973.220", "share_license_status": "Copyrighted", "tombstone": "Pair of Ritual Staffs (\u1eb9dan O\u0300gbo\u0301ni), 1900s. Africa, West Africa, Nigeria, Yor\u00f9b\u00e1-style maker. Copper alloy and iron; overall: 8.9 cm (3 1/2 in.). The Cleveland Museum of Art, Gift of Katherine C. White, 1973.220", "current_location": null, "title": "Pair of Ritual Staffs (\u1eb9dan O\u0300gbo\u0301ni)", "creation_date": "1900s", "creation_date_earliest": 1925, "creation_date_latest": 1950, "artists_tags": [], "culture": ["Africa, West Africa, Nigeria, Yor\u00f9b\u00e1-style maker"], "technique": "Copper alloy and iron", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "measurements": "Overall: 8.9 cm (3 1/2 in.)", "dimensions": {"overall": {"height": 0.089}}, "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": "CMA 1968: \"African Tribal Images: The Katherine White Reswick Collection,\" cat. no. 139, repr.", "opening_date": "1968-01-01T00:00:00"}, {"description": "CMA 1974: \"Year in Review 1973,\" CMA Bulletin LXI (Feb., 1974), p. 73, no. 17.", "opening_date": "1974-02-01T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": ["746.68"], "did_you_know": "Imagine how this would look when its owner wore it; the chain would go around the back of their neck and the figures would rest on their chest.", "description": "The chain connecting these two figures allows them to be worn in public by a member of the O\u0300gbo\u0301ni or \u00d2\u1e63\u00f9gb\u00f3 association as authority emblems. The male on the right gives the association\u2019s typical salute by clasping his left fist on the right one, while the female on the left holds her breasts as a sign of welcome and generosity. The use of copper alloy and iron expresses O\u0300gbo\u0301ni/\u00d2\u1e63\u00f9gb\u00f3's concerns with longevity and durability. Long iron spikes would have originally protruded from each figure's base.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79926645"], "internet_archive": []}, "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. 139.", "page_number": "", "url": ""}], "url": "https://clevelandart.org/art/1973.220", "images": {}, "alternate_images": [], "creditline": "Gift of Katherine C. White", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 147488, "creators": [], "legal_status": "accessioned", "accession_date": "1973-12-28T00:00:00", "sortable_date": 1925, "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": ["Joined Human Figures"], "is_highlight": false, "updated_at": "2026-03-26 23:59:26.066000"}, {"id": 148744, "accession_number": "1976.185", "share_license_status": "Copyrighted", "tombstone": "Box, c. 1920. Central Africa, Democratic Republic of the Congo, unknown carver, Kuba style. Wood and tukula; overall: 10.8 cm (4 1/4 in.). The Cleveland Museum of Art, Gift of Katherine C. White, 1976.185", "current_location": null, "title": "Box", "creation_date": "c. 1920", "creation_date_earliest": 1915, "creation_date_latest": 1925, "artists_tags": [], "culture": ["Central Africa, Democratic Republic of the Congo, unknown carver, Kuba style"], "technique": "Wood and tukula", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Vessels", "measurements": "Overall: 10.8 cm (4 1/4 in.)", "dimensions": {"overall": {"height": 0.108}}, "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": [{"description": "CMA 1968: \"African Tribal Images: The Katherine White Reswick Collection,\" cat. no. 253, repr.", "opening_date": "1968-01-01T00:00:00"}, {"description": "CMA 1977: \"Year in Review 1976,\" CMA Bulletin LXIV (Feb., 1977), p. 73, no. 16.", "opening_date": "1977-02-01T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": ["793.68"], "did_you_know": "Look inside this box to see traces of <em>tukula</em>, a red cosmetic.", "description": "Over the centuries the Kuba developed a distinctive and elaborate decorative style to embellish a wide variety of personal and household objects. Each design, derived from weaving patterns, has its own name---for example the interlace is called imbol. This box held tukula, a fragrant red camwood powder that was mixed with palm oil and used as a cosmetic. The carved pattern around the sides is called bisha masongo, the \"back of the wild boar.\"", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79929194"], "internet_archive": []}, "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. 253.", "page_number": "", "url": ""}], "url": "https://clevelandart.org/art/1976.185", "images": {}, "alternate_images": [], "creditline": "Gift of Katherine C. White", "image_credit": null, "sketchfab_id": "68ff6708b2ec40e59c54eb3ccfe0a1d3", "sketchfab_url": "https://sketchfab.com/models/68ff6708b2ec40e59c54eb3ccfe0a1d3", "gallery_donor_text": null, "athena_id": 148744, "creators": [], "legal_status": "accessioned", "accession_date": "1977-02-23T00:00:00", "sortable_date": 1915, "date_added_to_oa": null, "date_text": "c. 1920", "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": ["Cosmetic Box (ngedi mu ntey)"], "is_highlight": false, "updated_at": "2026-04-07 22:02:26.874000"}, {"id": 150371, "accession_number": "1981.167", "share_license_status": "Copyrighted", "tombstone": "Leaves from My Book of Days with Envelope, 1980. Lenore Tawney (American, 1907\u20132007). Pen and black ink and watercolor and collage; envelope: pen and black ink. The Cleveland Museum of Art, Gift of Katharine Kuh, 1981.167. \u00a9 Lenore G. Tawney Foundation", "current_location": null, "title": "Leaves from My Book of Days with Envelope", "creation_date": "1980", "creation_date_earliest": 1980, "creation_date_latest": 1980, "artists_tags": ["female"], "culture": ["America"], "technique": "pen and black ink and watercolor and collage; envelope: pen and black ink", "support_materials": [], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Lenore G. Tawney Foundation", "inscriptions": [{"inscription": "Signed and dated: \"Lenore Tawney 1980\"", "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": 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": 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": "Lenore Tawney (the artist) [1907-1997]", "citations": [], "footnotes": null, "date": "1980", "sortorder": 1}, {"description": "Katharine Kuh [1904-1994]", "citations": [], "footnotes": null, "date": "1980-82", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "March 8, 1982", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Lenore Tawney was a pioneering fiber artist known for large-scale public installations, but her postcard collages were personal missives to close friends on an intimate scale.", "description": "This is one of 44 postcard collages in the CMA\u2019s collection that the textile artist Lenore Tawney sent through the mail to her friend, the art dealer, curator, and critic Katherine Kuh between 1969 and 1981. Using natural objects and ephemera that she compiled over a lifetime, Tawney\u2019s collages display the artist\u2019s personal visual vocabulary and poetic response to materials. Recurring images\u2014such as eggs, feathers, birds, baby animals, crosses, and circles\u2014engage with universal themes such as vulnerability, resilience, infinity, and spirituality. The \"book of days\" likely refers to one of many volumes Tawney kept with collections of leaves, feathers, and other natural objects.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79932701"], "internet_archive": []}, "citations": [{"citation": "Lee, Sherman E. \"The Year in Review for 1981.\" <em>The Bulletin of the Cleveland Museum of Art</em> 69, no. 2 (1982)", "page_number": "p. 82, no. 116", "url": "http://www.jstor.org/stable/25159758"}], "url": "https://clevelandart.org/art/1981.167", "images": {}, "alternate_images": [], "creditline": "Gift of Katharine Kuh", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 150371, "creators": [{"id": 32648, "description": "Lenore Tawney (American, 1907\u20132007)", "extent": null, "qualifier": null, "role": "artist", "biography": "Tawney was born Leonora Agnes Gallagher in Lorain, Ohio, in 1907. She studied drawing, sculpture, and weaving with well-known artists at the University of Illinois in Champaign-Urbana (1943-45), the Institute of Design in Chicago (1946-48), and at the Penland School of Crafts in North Carolina where she became a weaver (1954). Throughout her prolific career, Tawney has had numerous one-person exhibitions and participated in many group exhibitions, including the renowned landmark international Fiberworks at the Cleveland Museum of Art in 1977. Her work is represented in many major museums, including four pieces in the Cleveland Museum of Art, and she has received numerous awards, including the American Craft Council's Gold Medal in 1987. Tawney's \"flag\" is one of the highlights of the museum's contemporary fiber art collection, which includes about 100 works.", "name_in_original_language": null, "birth_year": "1907", "death_year": "2007", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1982-03-08T00:00:00", "sortable_date": 1980, "date_added_to_oa": null, "date_text": "1980", "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 23:59:10.718000"}, {"id": 150375, "accession_number": "1981.169", "share_license_status": "Copyrighted", "tombstone": "Ca\u00f1on de Chelly, 1980. Lenore Tawney (American, 1907\u20132007). Pen and black ink and watercolor and collage; image: 8.9 x 14 cm (3 1/2 x 5 1/2 in.); sheet: 8.9 x 14 cm (3 1/2 x 5 1/2 in.). The Cleveland Museum of Art, Gift of Katharine Kuh, 1981.169. \u00a9 Lenore G. Tawney Foundation", "current_location": null, "title": "Ca\u00f1on de Chelly", "creation_date": "1980", "creation_date_earliest": 1980, "creation_date_latest": 1980, "artists_tags": ["female"], "culture": ["America"], "technique": "pen and black ink and watercolor and collage", "support_materials": [{"description": "postcard", "watermarks": []}], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Image: 8.9 x 14 cm (3 1/2 x 5 1/2 in.); Sheet: 8.9 x 14 cm (3 1/2 x 5 1/2 in.)", "dimensions": {"image": {"height": 0.089, "width": 0.14}, "sheet": {"height": 0.089, "width": 0.14}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Lenore G. Tawney Foundation", "inscriptions": [{"inscription": "Signed and dated: \"Lenore Tawney 1980\"", "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": 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": 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": "Lenore Tawney (the artist) [1907-1997]", "citations": [], "footnotes": null, "date": "1980", "sortorder": 1}, {"description": "Katharine Kuh [1904-1994]", "citations": [], "footnotes": null, "date": "1980-82", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "March 8, 1982", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Lenore Tawney was a pioneering fiber artist known for large-scale public installations, but her postcard collages were personal missives to close friends on an intimate scale.", "description": "This is one of 44 postcard collages in the CMA\u2019s collection that the textile artist Lenore Tawney sent through the mail to her friend, the art dealer, curator, and critic Katherine Kuh between 1969 and 1981. Using natural objects and ephemera that she compiled over a lifetime, Tawney\u2019s collages display the artist\u2019s personal visual vocabulary and poetic response to materials. Recurring images\u2014such as eggs, feathers, birds, baby animals, crosses, and circles\u2014engage with universal themes such as vulnerability, resilience, infinity, and spirituality. The abstract landscape on this postcard is hand-painted.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79932713"], "internet_archive": []}, "citations": [{"citation": "Lee, Sherman E. \"The Year in Review for 1981.\" <em>The Bulletin of the Cleveland Museum of Art</em> 69, no. 2 (1982)", "page_number": "p. 82, no. 116", "url": "http://www.jstor.org/stable/25159758"}], "url": "https://clevelandart.org/art/1981.169", "images": {}, "alternate_images": [], "creditline": "Gift of Katharine Kuh", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 150375, "creators": [{"id": 32648, "description": "Lenore Tawney (American, 1907\u20132007)", "extent": null, "qualifier": null, "role": "artist", "biography": "Tawney was born Leonora Agnes Gallagher in Lorain, Ohio, in 1907. She studied drawing, sculpture, and weaving with well-known artists at the University of Illinois in Champaign-Urbana (1943-45), the Institute of Design in Chicago (1946-48), and at the Penland School of Crafts in North Carolina where she became a weaver (1954). Throughout her prolific career, Tawney has had numerous one-person exhibitions and participated in many group exhibitions, including the renowned landmark international Fiberworks at the Cleveland Museum of Art in 1977. Her work is represented in many major museums, including four pieces in the Cleveland Museum of Art, and she has received numerous awards, including the American Craft Council's Gold Medal in 1987. Tawney's \"flag\" is one of the highlights of the museum's contemporary fiber art collection, which includes about 100 works.", "name_in_original_language": null, "birth_year": "1907", "death_year": "2007", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1982-03-08T00:00:00", "sortable_date": 1980, "date_added_to_oa": null, "date_text": "1980", "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 00:03:14.843000"}, {"id": 150377, "accession_number": "1981.170", "share_license_status": "Copyrighted", "tombstone": "Giraffe, 1979. Lenore Tawney (American, 1907\u20132007). Pen and black and blue ink and collage; image: 14.8 x 10.4 cm (5 13/16 x 4 1/8 in.); sheet: 14.8 x 10.4 cm (5 13/16 x 4 1/8 in.). The Cleveland Museum of Art, Gift of Katharine Kuh, 1981.170. \u00a9 Lenore G. Tawney Foundation", "current_location": null, "title": "Giraffe", "creation_date": "1979", "creation_date_earliest": 1979, "creation_date_latest": 1979, "artists_tags": ["female"], "culture": ["America"], "technique": "pen and black and blue ink and collage", "support_materials": [{"description": "postcard", "watermarks": []}], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Image: 14.8 x 10.4 cm (5 13/16 x 4 1/8 in.); Sheet: 14.8 x 10.4 cm (5 13/16 x 4 1/8 in.)", "dimensions": {"image": {"height": 0.148, "width": 0.104}, "sheet": {"height": 0.148, "width": 0.104}, "overall": {"height": 0.122, "width": 0.164}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Lenore G. Tawney Foundation", "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": 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": 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": "Lenore Tawney (the artist) [1907-1997]", "citations": [], "footnotes": null, "date": "1979", "sortorder": 1}, {"description": "Katharine Kuh [1904-1994]", "citations": [], "footnotes": null, "date": "1979-82", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "March 8, 1982", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Lenore Tawney was a pioneering fiber artist known for large-scale public installations, but her postcard collages were personal missives to close friends on an intimate scale.", "description": "This is one of 44 postcard collages in the CMA\u2019s collection that the textile artist Lenore Tawney sent through the mail to her friend, the art dealer, curator, and critic Katherine Kuh between 1969 and 1981. Using natural objects and ephemera that she compiled over a lifetime, Tawney\u2019s collages display the artist\u2019s personal visual vocabulary and poetic response to materials. Recurring images\u2014such as eggs, feathers, birds, baby animals, crosses, and circles\u2014engage with universal themes such as vulnerability, resilience, infinity, and spirituality. Baby animals such as the giraffe on this postcard often refer to vulnerability or rebirth.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79932717"], "internet_archive": []}, "citations": [{"citation": "Lee, Sherman E. \"The Year in Review for 1981.\" <em>The Bulletin of the Cleveland Museum of Art</em> 69, no. 2 (1982)", "page_number": "p. 82, no. 166, repr. p. 65", "url": "http://www.jstor.org/stable/25159758"}], "url": "https://clevelandart.org/art/1981.170", "images": {}, "alternate_images": [], "creditline": "Gift of Katharine Kuh", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 150377, "creators": [{"id": 32648, "description": "Lenore Tawney (American, 1907\u20132007)", "extent": null, "qualifier": null, "role": "artist", "biography": "Tawney was born Leonora Agnes Gallagher in Lorain, Ohio, in 1907. She studied drawing, sculpture, and weaving with well-known artists at the University of Illinois in Champaign-Urbana (1943-45), the Institute of Design in Chicago (1946-48), and at the Penland School of Crafts in North Carolina where she became a weaver (1954). Throughout her prolific career, Tawney has had numerous one-person exhibitions and participated in many group exhibitions, including the renowned landmark international Fiberworks at the Cleveland Museum of Art in 1977. Her work is represented in many major museums, including four pieces in the Cleveland Museum of Art, and she has received numerous awards, including the American Craft Council's Gold Medal in 1987. Tawney's \"flag\" is one of the highlights of the museum's contemporary fiber art collection, which includes about 100 works.", "name_in_original_language": null, "birth_year": "1907", "death_year": "2007", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1982-03-08T00:00:00", "sortable_date": 1979, "date_added_to_oa": null, "date_text": "1979", "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 00:02:21.767000"}, {"id": 150378, "accession_number": "1981.171", "share_license_status": "Copyrighted", "tombstone": "Granatapfel, 1974. Lenore Tawney (American, 1907\u20132007). Pen and black and gold ink and watercolor and collage; image: 14.8 x 10.4 cm (5 13/16 x 4 1/8 in.); sheet: 14.8 x 10.4 cm (5 13/16 x 4 1/8 in.). The Cleveland Museum of Art, Gift of Katharine Kuh, 1981.171. \u00a9 Lenore G. Tawney Foundation", "current_location": null, "title": "Granatapfel", "creation_date": "1974", "creation_date_earliest": 1974, "creation_date_latest": 1974, "artists_tags": ["female"], "culture": ["America"], "technique": "pen and black and gold ink and watercolor and collage", "support_materials": [{"description": "postcard", "watermarks": []}], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Image: 14.8 x 10.4 cm (5 13/16 x 4 1/8 in.); Sheet: 14.8 x 10.4 cm (5 13/16 x 4 1/8 in.)", "dimensions": {"image": {"height": 0.148, "width": 0.104}, "sheet": {"height": 0.148, "width": 0.104}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Lenore G. Tawney Foundation", "inscriptions": [{"inscription": "Signed and dated: \"Lenore Tawney 1974\"", "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": 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": 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": "Lenore Tawney (the artist) [1907-1997]", "citations": [], "footnotes": null, "date": "1974", "sortorder": 1}, {"description": "Katharine Kuh [1904-1994]", "citations": [], "footnotes": null, "date": "1974-82", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "March 8, 1982", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Lenore Tawney was a pioneering fiber artist known for large-scale public installations, but her postcard collages were personal missives to close friends on an intimate scale.", "description": "This is one of 44 postcard collages in the CMA\u2019s collection that the textile artist Lenore Tawney sent through the mail to her friend, the art dealer, curator, and critic Katherine Kuh between 1969 and 1981. Using natural objects and ephemera that she compiled over a lifetime, Tawney\u2019s collages display the artist\u2019s personal visual vocabulary and poetic response to materials. Recurring images\u2014such as eggs, feathers, birds, baby animals, crosses, and circles\u2014engage with universal themes such as vulnerability, resilience, infinity, and spirituality. Owls and other birds appear frequently in Tawney's imagery and may refer to evil, wisdom, or protection.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79932720"], "internet_archive": []}, "citations": [{"citation": "Lee, Sherman E. \"The Year in Review for 1981.\" <em>The Bulletin of the Cleveland Museum of Art</em> 69, no. 2 (1982)", "page_number": "p. 82, no. 116", "url": "http://www.jstor.org/stable/25159758"}], "url": "https://clevelandart.org/art/1981.171", "images": {}, "alternate_images": [], "creditline": "Gift of Katharine Kuh", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 150378, "creators": [{"id": 32648, "description": "Lenore Tawney (American, 1907\u20132007)", "extent": null, "qualifier": null, "role": "artist", "biography": "Tawney was born Leonora Agnes Gallagher in Lorain, Ohio, in 1907. 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The Cleveland Museum of Art, Gift of Mr. and Mrs. Louis Stumberg, 1985.220.5. \u00a9 Colette Urbajtel/ Archivo Manuel \u00c1lvarez Bravo, S.C", "current_location": null, "title": "Two Women, a Large Blind, and Shadows", "series": "Photographs by Manuel Alvarez Bravo", "creation_date": "1977", "creation_date_earliest": 1977, "creation_date_latest": 1977, "artists_tags": ["male", "Latine and Hispanic Artists"], "culture": ["Mexico, 20th century"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - Mexican", "type": "Portfolio", "measurements": "Image: 18.4 x 24.2 cm (7 1/4 x 9 1/2 in.); Paper: 20.2 x 25.5 cm (7 15/16 x 10 1/16 in.); Matted: 35.6 x 45.7 cm (14 x 18 in.)", "dimensions": {"image": {"height": 0.184, "width": 0.242}, "paper": {"height": 0.202, "width": 0.255}, "matted": {"height": 0.356, "width": 0.457}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Colette Urbajtel/ Archivo Manuel \u00c1lvarez Bravo, S.C", "inscriptions": [{"inscription": "Written in pencil on verso: \"M. Alvarez Bravo [signed],/Mexico./ 13/100\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "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": 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": "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. 114, p. 122.", "opening_date": "2006-06-09T00:00:00"}]}, "provenance": [{"description": "Mr. and Mrs. Louis Stumberg", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "August 6, 1986", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1985.224"], "did_you_know": "Manuel Alvarez Bravo encouraged viewers to discover their own meanings in his pictures.", "description": "Mexico\u2019s greatest photographer, his career spanning nearly eighty years, Alvarez Bravo was set apart by his unique eye for seamlessly combining artistic influences from inside and outside Mexico into art that transcends culture, time, and place. He was particularly gifted at transforming scenes from daily life\u2014like this vignette depicting two women walking\u2014from an ordinary act into a slightly ominous scene through the juxtaposition of large, ambiguous shadow patterns.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79936895"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art, Tom E Hinson. <em>Catalogue of Photography</em>. Cleveland, OH: Cleveland Museum of Art, 1996.", "page_number": "Reproduced: P. 84", "url": ""}], "url": "https://clevelandart.org/art/1985.220.5", "images": {}, "alternate_images": [], "creditline": "Gift of Mr. and Mrs. Louis Stumberg", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 152388, "creators": [{"id": 192, "description": "Manuel \u00c1lvarez Bravo (Mexican, 1902\u20132002)", "extent": null, "qualifier": null, "role": "artist", "biography": "Manuel Alvarez Bravo Mexican, 1902-2002\r\n\r\nBorn in Mexico City, Manuel Alvarez Bravo has achieved international fame as one of Mexico's most talented photographers. In 1918 he studied painting and music at the Academia Nacional de Bellas Artes. After taking up the camera in 1924, Alvarez Bravo was encouraged by photographers Hugo Brehme and Edward Weston to pursue a career in the medium. Over the next several years he worked as a government employee, a photography instructor, and a photographer for the magazine Mexican Folkways. In 1931 he became a freelancer specializing in the reproduction of paintings and other works of art. A variety of jobs followed, including that of photographer and cameraman at the Sindicato de Trabajadores de la Producci\u00f3n Cinematogr\u00e1fica de M\u00e9xico (1943-59). He also served as cofounder, director, and chief photographer for El Fondo Editorial de la Pl\u00e1stica Mexicana, a publisher of fine art books (1959-80).\r\n\tAlvarez Bravo has been awarded the National Arts Prize of Mexico (1975), named an honorary member of the Mexican Academy of Arts (1980), made an Officier des Arts et Lettres in France (1981), and received the Hasselblad Prize (1984). He has had numerous individual exhibitions at venues throughout the world, including the Palacio Nacional de Bellas Artes, Mexico City (1934, 1968, 1972), the Art Institute of Chicago (1943, 1974), the Museum of Photographic Arts, San Diego (1990), and the J. Paul Getty Museum, Malibu (1992).\r\n\tAlvarez Bravo's personal work is deeply rooted in Mexican culture, as were the paintings of his friend Diego Rivera and the other Mexican muralists. Like them, he has focused on his country and its people to create straightforward, evocative images. Alvarez Bravo lives in Mexico City. M.M.", "name_in_original_language": null, "birth_year": "1902", "death_year": "2002", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 67343, "description": "Acorn Editions Limited", "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": "1986-08-06T00:00:00", "sortable_date": 1977, "date_added_to_oa": null, "date_text": "1977", "collapse_artists": true, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1985.220", "is_nazi_era_provenance": false, "impression": "13", "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:46.894000"}, {"id": 159459, "accession_number": "1996.235", "share_license_status": "Copyrighted", "tombstone": "Portraits of My People: #319, 1990. Willie Robert Middlebrook (American, 1957\u20132012). Gelatin silver print, photographic painting; image: 51 x 61 cm (20 1/16 x 24 in.); matted: 76.2 x 81.3 cm (30 x 32 in.). The Cleveland Museum of Art, John L. Severance Fund, 1996.235. \u00a9 Willie R. Middlebrook", "current_location": null, "title": "#319", "series": "Portraits of My People", "creation_date": "1990", "creation_date_earliest": 1990, "creation_date_latest": 1990, "artists_tags": ["Black American Artists", "male"], "culture": ["America"], "technique": "gelatin silver print, photographic painting", "support_materials": [], "department": "Photography", "collection": "PH - American 1951-Present", "type": "Photograph", "measurements": "Image: 51 x 61 cm (20 1/16 x 24 in.); Matted: 76.2 x 81.3 cm (30 x 32 in.)", "dimensions": {"image": {"height": 0.51, "width": 0.61}, "matted": {"height": 0.762, "width": 0.813}}, "state_of_the_work": null, "edition_of_the_work": "unique print", "copyright": "\u00a9 Willie R. Middlebrook", "inscriptions": [{"inscription": "Written in black felt pen on verso: \"\u00a9 Willie R Middlebrook [signed] 31992/319\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 197898, "title": "Portraiture: American Photography 1960 to the Present", "description": "<i>Portraiture: American Photography 1960 to the Present</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 1-September 13, 2009).", "opening_date": "2009-06-01T00:00:00"}, {"id": 317308, "title": "Beyond Truth: Photography after the Shutter", "description": "<i>Beyond Truth: Photography after the Shutter</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 10-May 26, 2019).", "opening_date": "2019-02-10T05:00:00"}], "legacy": [{"description": "<em>Willie Robert Middlebrook Photographs: Portraits of My People. </em>The Cleveland Museum of Art (January 19-March 29, 1996).", "opening_date": "1996-01-19T00:00:00"}]}, "provenance": [{"description": "(Schneider Gallery, Inc., Chicago, IL)", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "June 3, 1996", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Digital and analog photographs are usually multiples, but this one is a unique print\u2014truly one of a kind.", "description": "For his series <em>Portraits of My People,</em> Willie Robert Middlebrook shot traditional, posed portraits of friends and family, then transformed them in the darkroom into charged, one-of-a-kind compositions that suggest a struggle between realistic representation, emotional expression, and abstraction. Middlebrook enlarged each image onto photographic paper, but instead of submerging it in developer, he incorporated painting techniques by brushing, spraying, rubbing, and dripping the chemicals onto the sheet. Who does Middlebrook depict? \u201cMy drive . . . ,\u201d he said, \u201ccomes from parents endowing strong feelings about the ideals and integrity of being black. . . . Thus the majority of what I do has and always will center around my people.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79979062"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art, Tom E Hinson. <em>Catalogue of Photography</em>. Cleveland, OH: Cleveland Museum of Art, 1996.", "page_number": "Reproduced: P. 245", "url": ""}], "url": "https://clevelandart.org/art/1996.235", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 159459, "creators": [{"id": 665, "description": "Willie Robert Middlebrook (American, 1957\u20132012)", "extent": null, "qualifier": null, "role": "artist", "biography": "Willie Robert Middlebrook American, 1957- The images of Willie Middlebrook's African-American community explore, question, and communicate his social and aesthetic concerns. Middlebrook learned photography in the early 1970s, completing courses at the Communicative Arts Academy in his native Compton, California (1975), and receiving a degree from Compton Community College (A.A., 1978). Since that time he has lectured, curated, and exhibited throughout the United States, completed a number of public commissions, and taught in the Los Angeles area. Middlebrook draws inspiration from his family and roots, which he credits for his drive and ideals. Using a complex developing technique to create dense, multitoned, painterly images, he conveys the notion of an eroding cultural identity in his large-scale portraits of friends and family begun in the mid-1980s. In 1996 the Cleveland Museum of Art held a one-person exhibition of the series, Willie Robert Middlebrook Photographs: Portraits of My People. Middlebrook has received fellowships from the National Endowment for the Arts (1982, 1993) and commendations from the city of Los Angeles (1987, 1989, 1991), and in 1988 was named \"Hometown Hero\" by the city of Compton. He was also awarded an artist-in-residency from Light Work, Syracuse (1992). A.W.", "name_in_original_language": null, "birth_year": "1957", "death_year": "2012", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1996-06-03T00:00:00", "sortable_date": 1990, "date_added_to_oa": null, "date_text": "1990", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "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 23:59:46.235000"}, {"id": 159512, "accession_number": "1996.277", "share_license_status": "Copyrighted", "tombstone": "Mr. X, c. 1937\u201338. Dox Thrash (American, 1892\u20131965). Carborundum print; platemark: 16.6 x 13.2 cm (6 9/16 x 5 3/16 in.); sheet: 24 x 21.9 cm (9 7/16 x 8 5/8 in.). The Cleveland Museum of Art, John L. Severance Fund, 1996.277", "current_location": null, "title": "Mr. X", "creation_date": "c. 1937\u201338", "creation_date_earliest": 1932, "creation_date_latest": 1943, "artists_tags": ["Black American Artists", "male"], "culture": ["America"], "technique": "carborundum print", "support_materials": [], "department": "Prints", "collection": "PR - Carborundum", "type": "Print", "measurements": "Platemark: 16.6 x 13.2 cm (6 9/16 x 5 3/16 in.); Sheet: 24 x 21.9 cm (9 7/16 x 8 5/8 in.)", "dimensions": {"sheet": {"height": 0.24, "width": 0.219}, "platemark": {"height": 0.166, "width": 0.132}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 223580, "title": "The Great Migration:  The Evolution of African American Art, 1790-1945", "description": "<i>The Great Migration:  The Evolution of African American Art, 1790-1945</i>. Taft Museum of Art, Cincinnati, OH (organizer) (June 16-October 22, 2000).", "opening_date": "2000-06-16T00:00:00"}, {"id": 443702, "title": "Currents and Constellations: Black Art in Focus", "description": "<i>Currents and Constellations: Black Art in Focus</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 20-June 26, 2022).", "opening_date": "2022-02-20T05:00:00"}], "legacy": [{"description": "<em>Our Stories: African American Prints and Drawings</em>. Cleveland Museum of Art, Cleveland, OH (January 26 - May 18, 2014).", "opening_date": "2014-01-26T00:00:00"}]}, "provenance": [{"description": "(Dolan/Maxwell, Inc., Philadelphia, PA)", "citations": [], "footnotes": null, "date": "?-1996", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "September 16, 1996", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Dox Thrash used this print to debut his new carborundum printmaking technique to the public in a 1938 exhibition at the Philadelphia Museum of Art.", "description": "The first African American artist to work at Philadelphia's Fine Print Workshop, Dox Thrash is known for inventing carborundum printmaking, the technique used here. A coarsely grained industrial product was burnished to create grays and highlights alongside rich, dark tones. This print, a self-portrait, was the first that Thrash made using his new and experimental technique. The artist looks slightly upward, boldly and directly, from within a stark field of black.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79979201"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art. <em>Currents &amp; Constellations: Black Art in Focus</em>. Cleveland: Cleveland Museum of Art, 2022.", "page_number": "Mentioned and reproduced: p. 3", "url": ""}], "url": "https://clevelandart.org/art/1996.277", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 159512, "creators": [{"id": 7984, "description": "Dox Thrash (American, 1892\u20131965)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1893", "death_year": "1965", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1996-09-16T00:00:00", "sortable_date": 1932, "date_added_to_oa": null, "date_text": "c. 1937\u201338", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:07:45.417000"}, {"id": 160876, "accession_number": "1999.165", "share_license_status": "Copyrighted", "tombstone": "Study for the Ford Foundation Installation, 1967. Sheila Hicks (American, b. 1934). Linen ground with inset linen thread; overall: 45.7 x 38.1 x 2.5 cm (18 x 15 x 1 in.). The Cleveland Museum of Art, Gift of Mildred Constantine, 1999.165", "current_location": null, "title": "Study for the Ford Foundation Installation", "creation_date": "1967", "creation_date_earliest": 1967, "creation_date_latest": 1967, "artists_tags": ["female"], "culture": ["America"], "technique": "linen ground with inset linen thread", "support_materials": [], "department": "Textiles", "collection": "T - Contemporary Fiber Art", "type": "Textile", "measurements": "Overall: 45.7 x 38.1 x 2.5 cm (18 x 15 x 1 in.)", "dimensions": {"overall": {"height": 0.457, "width": 0.381, "depth": 0.025}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 214194, "title": "Sheila Hicks: Material Voices", "description": "<i>Sheila Hicks: Material Voices</i>. Joslyn Art Museum, Omaha, NE (organizer) (June 5-September 4, 2016).", "opening_date": "2016-06-05T00:00:00"}, {"id": 540129, "title": "Contemporary Art Rotation - Spring 2024", "description": "<i>Contemporary Art Rotation - Spring 2024</i>. The Cleveland Museum of Art (organizer) (April 12-October 20, 2024).", "opening_date": "2024-04-12T04:00:00"}], "legacy": [{"description": "Joslyn Art Museum, Omaha, NE (6/5/2016 - 9/4/2016):  \"Sheila Hicks: Material Voices\"", "opening_date": "2016-06-05T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Sheila Hicks studied textile traditions in South America, Mexico, Morocco, and India throughout her six-decade career, and combines Indigenous techniques with modernist ideals to create her fiber works.", "description": "In 1967, fiber artist Sheila Hicks created a monumental tapestry for the Ford Foundation\u2019s New York City headquarters. It consisted of a grid of repeated patterns over a large surface area, similar to the one shown on the <em>Study</em> here. The fiber works on display in this case are part of a large gift of nearly 50 works given by the Mildred Constantine (1913\u20132008), an American curator formerly at the Museum of Modern Art, which convey the breadth and originality of the contemporary fiber works movement.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79982810"], "internet_archive": []}, "citations": [{"citation": "Campbell, Karin, Ted Kooser, Jason Farago, Monique Le\u0301vi-Strauss, and Sheila Hicks. <em>Sheila Hicks: Material Voices. </em>Omaha, Nebraska : Joslyn Art Museum, 2016.", "page_number": "Mentioned: p. 33, 101; reproduced: p. 34.", "url": null}], "url": "https://clevelandart.org/art/1999.165", "images": {}, "alternate_images": [], "creditline": "Gift of Mildred Constantine", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 160876, "creators": [{"id": 60820, "description": "Sheila Hicks (American, b. 1934)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1934", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1999-06-07T00:00:00", "sortable_date": 1967, "date_added_to_oa": null, "date_text": "1967", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:12.183000"}, {"id": 165172, "accession_number": "2007.168", "share_license_status": "Copyrighted", "tombstone": "Garden Scene with Umbrella\r\n\r\n, c. 1965. Joseph O'Sickey (American, 1918\u20132013). Oil on canvas; framed: 103.5 x 82.2 x 3.5 cm (40 3/4 x 32 3/8 x 1 3/8 in.); overall: 101.5 x 80.6 cm (39 15/16 x 31 3/4 in.). The Cleveland Museum of Art, Bequest of Shuree Abrams, 2007.168", "current_location": null, "title": "Garden Scene with Umbrella\r\n\r\n", "creation_date": "c. 1965", "creation_date_earliest": 1960, "creation_date_latest": 1970, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Cleveland School", "type": "Painting", "measurements": "Framed: 103.5 x 82.2 x 3.5 cm (40 3/4 x 32 3/8 x 1 3/8 in.); Overall: 101.5 x 80.6 cm (39 15/16 x 31 3/4 in.)", "dimensions": {"framed": {"height": 1.035, "width": 0.822, "depth": 0.035}, "overall": {"height": 1.015, "width": 0.806}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Written in blue paint on lower right: \"O'Sickey (signed)\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 198152, "title": "In Honor of The Cleveland Arts Prize", "description": "<i>In Honor of The Cleveland Arts Prize</i>. The Cleveland Museum of Art (organizer) (June 13, 2010-March 13, 2011).", "opening_date": "2010-06-13T00:00:00"}, {"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": "The Cleveland Museum of Art (06/13/2010 - 11/4/2010): \"In Honor of the Cleveland Arts Prize\"", "opening_date": "2010-06-13T00:00:00"}]}, "provenance": [{"description": "From the artist to Shuree Abrams.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "As a child, O\u2019Sickey attended Saturday classes in illustration here at the Cleveland Museum of Art.", "description": "A former professor at Kent State University, O'Sickey maintained a prolific career spanning more than seven decades. Among his most recognizable works are the garden and landscape subjects that helped solidify his artistic reputation during the mid-1960s. Full of radiant color often applied with mosaic-like dabs of pigment, these compositions are further enlivened by patches of bare canvas.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60480391"], "internet_archive": []}, "citations": [{"citation": "Shearer, Christine Fowler and Steven Litt. <em>Joseph O'Sickey: Unifying Art, Life and Love</em>. Canton, Ohio: Canton Museum of Art,  2013.", "page_number": "Reproduced: p. 36", "url": null}], "url": "https://clevelandart.org/art/2007.168", "images": {}, "alternate_images": [], "creditline": "Bequest of Shuree Abrams", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 165172, "creators": [{"id": 3579, "description": "Joseph O'Sickey (American, 1918\u20132013)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1918", "death_year": "2013", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2007-06-04T00:00:00", "sortable_date": 1960, "date_added_to_oa": null, "date_text": "c. 1965", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Untitled"], "is_highlight": false, "updated_at": "2026-03-27 00:08:39.101000"}, {"id": 284821, "accession_number": "2016.48", "share_license_status": "Copyrighted", "tombstone": "Display Cloth (tapis): Koumi Diosseni Kandian (Koumi Dioss\u00e9, The Long-Necked), 1987. Nakunte Diarra (Malian, c. 1941\u20132020). Cotton and dye; overall: 155.6 x 170.8 cm (61 1/4 x 67 1/4 in.). The Cleveland Museum of Art, Gift of Barbara G. Hoffman and Michael R. Short, 2016.48", "current_location": null, "title": "Display Cloth (tapis): Koumi Diosseni Kandian (Koumi Dioss\u00e9, The Long-Necked)", "creation_date": "1987", "creation_date_earliest": 1987, "creation_date_latest": 1987, "artists_tags": ["female"], "culture": [], "technique": "Cotton and dye", "support_materials": [], "department": "Textiles", "collection": "Textiles", "type": "Textile", "measurements": "Overall: 155.6 x 170.8 cm (61 1/4 x 67 1/4 in.)", "dimensions": {"overall": {"height": 1.556, "width": 1.708}}, "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": 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"}, {"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": "Barbara G. Hoffman and Michael R. Short, Cleveland Heights, OH, gifted to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1987-2016", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2016-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This<em> b\u00f2g\u00f2lanfini</em> contains many named patterns in addition to its primary motif, including <em>Turusina</em> (Mt. Sinai), <em>file kolo ni </em>(broken calabash), and <em>mari</em> (crocodile).", "description": "Considered the greatest <em>b\u00f2g\u00f2lanfiniw</em> artist, Nakunte Diarra innovated on the cloth painting and dyeing skills she learned from Sojo Coulibaly, her aunt. Covered with symbols that have proverbial and historical meaning, b\u00f2g\u00f2lanfiniw was believed to have had protective powers. Diarra intended this work as a wall hanging, a nontraditional format she promoted to preserve this textile heritage. The central pattern, <em>Koumi Diosseni Kandian</em> (center, running horizontally and vertically), has a historical meaning. Translated as \u201cKoumi Dioss\u00e9, The Long-Necked,\u201d it references the Bamana anti-colonial hero Koumi Dioss\u00e9 (1840\u20131915, also known as Dioss\u00e9 Djan or Dioss\u00e9 Traor\u00e9), who died fighting the French in the former B\u00e9l\u00e9dogou region. The design\u2019s two diamonds joined by parallel lines evoke his actual long neck.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79860219"], "internet_archive": []}, "citations": [{"citation": "Aherne, Tavy D. Nakunte Diarra, Bo\u0300go\u0300lanfini Artist of the Beledougou. Bloomington [Ind.]: Indiana University Art Museum, 1992.", "page_number": "p. 27, no. 6", "url": null}], "url": "https://clevelandart.org/art/2016.48", "images": {}, "alternate_images": [], "creditline": "Gift of Barbara G. Hoffman and Michael R. Short", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 284821, "creators": [{"id": 284823, "description": "Nakunte Diarra (Malian, c. 1941\u20132020)", "extent": null, "qualifier": null, "role": "artist", "biography": "Based in Kolokani, in the Beledougou region of Mali, Bamana artist Nakunte Diarra has been making bogolanfiniw (mud-dyed cloth) since the 1950s. She employs techniques that she learned from her grandmother and today is widely recognized as Mali\u2019s greatest living bogolan artist.", "name_in_original_language": null, "birth_year": "1941", "death_year": "2020", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2016-06-09T00:00:00-04:00", "sortable_date": 1987, "date_added_to_oa": null, "date_text": "1987", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Display Cloth (tapis)"], "is_highlight": false, "updated_at": "2026-03-27 00:08:08.994000"}, {"id": 306668, "accession_number": "2017.126", "share_license_status": "Copyrighted", "tombstone": "Forest Fire, Jan. 5, 1984, 1984. Donald Sultan (American, 1951-). Latex, plaster, and tar on vinyl tile over masonite; overall: 243.8 x 243.8 cm (96 x 96 in.). 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Modern Art Museum of Fort Worth, Fort Worth, TX (organizer) (February 19-April 23, 2017); Smithsonian American Art Museum, Washington, DC (May 26-September 4, 2017); North Carolina Museum of Art, Raleigh, NC (September 23-December 31, 2017); Sheldon Museum of Art, Lincoln, NE (January 24-May 13, 2018).", "opening_date": "2017-02-19T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": ["285.1993"], "did_you_know": "Sultan\u2019s father worked in a tire retreading shop which motivated the artist to use industrial materials.", "description": "This multi-panel work, showing a raging forest fire, belongs to Donald Sultan\u2019s Disaster Painting series. Sultan layers tar, vinyl, latex and plaster to create ominous landscapes of industrial and environmental destruction. Dripping tar forms skeletal trees and muddies the gray sky. Orange latex licks at dead branches, engulfs trees in flames, and peels from the linoleum surface. Drawing on source imagery from newspapers, the Disaster Painting series speaks to, in the artist\u2019s words, the \u201cimpermanence of all things.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60482969"], "internet_archive": []}, "citations": [{"citation": "Catlin, Roger. \u201cThis Artist\u2019s Worldview Drips with Unending Pessimism,\u201d <em>Smithsonian Magazine</em>, June 5, 2017.", "page_number": "", "url": "https://www.smithsonianmag.com/smithsonian-institution/this-artists-worldview-drips-unending-pessimism-180963566/"}, {"citation": "Guida, Isabella. \u201cThe Surrealism of Witness,\u201d <em>ArtsEditor</em>, August 28, 2017.", "page_number": "", "url": "http://artseditor.com/site/the-surrealism-of-witness/"}, {"citation": "Hearst, Alison, Charles Wylie, Max Blagg, and Donald Sultan. Donald Sultan: The Disaster Paintings, 2016.", "page_number": "Mentioned p. 19, reproduced pl. 5, p. 40.", "url": ""}, {"citation": "Sultan, Donald. 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Donald Sultan (American, 1951-). Latex, plaster, and tar on vinyl tile over masonite; panel: 122.2 x 122.2 cm (48 1/8 x 48 1/8 in.). The Cleveland Museum of Art, Gift of Agnes Gund, 2017.126.a. \u00a9 Donald Sultan/Artists Rights Society (ARS), New York", "current_location": null, "title": "Forest Fire, Jan. 5, 1984", "creation_date": "1984", "creation_date_earliest": 1979, "creation_date_latest": 1989, "artists_tags": ["male"], "culture": ["America"], "technique": "latex, plaster, and tar on vinyl tile over masonite", "support_materials": [], "department": "Contemporary Art", "collection": "Paintings", "type": "Painting", "measurements": "Panel: 122.2 x 122.2 cm (48 1/8 x 48 1/8 in.)", "dimensions": {"panel": {"height": 1.222, "width": 1.222}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Donald Sultan/Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "On reverse: #1, accompanied by small diagram of a square divided into four sections; the lower left section is \"x\"'d in to show position of this portion of \"Forest Fire\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 295657, "title": "Donald Sultan: The Disaster Paintings", "description": "<i>Donald Sultan: The Disaster Paintings</i>. Modern Art Museum of Fort Worth, Fort Worth, TX (organizer) (February 19-April 23, 2017); Smithsonian American Art Museum, Washington, DC (May 26-September 4, 2017); North Carolina Museum of Art, Raleigh, NC (September 23-December 31, 2017); Sheldon Museum of Art, Lincoln, NE (January 24-May 13, 2018).", "opening_date": "2017-02-19T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": ["285.1993.a"], "did_you_know": "Sultan\u2019s father worked in a tire retreading shop which motivated the artist to use industrial materials.", "description": "This multipanel work, showing a raging forest fire, belongs to Donald Sultan\u2019s <em>Disaster Painting</em> series. Sultan layers tar, vinyl, latex, and plaster to create ominous landscapes of industrial and environmental destruction. Dripping tar forms skeletal trees and muddies the gray sky. Orange latex licks at dead branches, engulfs trees in flames, and peels from the linoleum surface. Drawing on source imagery from newspapers, the <em>Disaster Painting</em> series speaks to, in the artist\u2019s words, the \u201cimpermanence of all things.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60482553"], "internet_archive": []}, "citations": [{"citation": "Catlin, Roger. \u201cThis Artist\u2019s Worldview Drips with Unending Pessimism,\u201d <em>Smithsonian Magazine</em>, June 5, 2017.", "page_number": "", "url": "https://www.smithsonianmag.com/smithsonian-institution/this-artists-worldview-drips-unending-pessimism-180963566/"}, {"citation": "Guida, Isabella. \u201cThe Surrealism of Witness,\u201d <em>ArtsEditor</em>, August 28, 2017.", "page_number": "", "url": "http://artseditor.com/site/the-surrealism-of-witness/"}, {"citation": "Hearst, Alison, Charles Wylie, Max Blagg, and Donald Sultan. 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Donald Sultan (American, 1951-). Latex, plaster, and tar on vinyl tile over masonite; panel: 122 x 122 cm (48 1/16 x 48 1/16 in.). 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Orange latex licks at dead branches, engulfs trees in flames, and peels from the linoleum surface. Drawing on source imagery from newspapers, the <em>Disaster Painting</em> series speaks to, in the artist\u2019s words, the \u201cimpermanence of all things.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60482564"], "internet_archive": []}, "citations": [{"citation": "Catlin, Roger. \u201cThis Artist\u2019s Worldview Drips with Unending Pessimism,\u201d <em>Smithsonian Magazine</em>, June 5, 2017.", "page_number": "", "url": "https://www.smithsonianmag.com/smithsonian-institution/this-artists-worldview-drips-unending-pessimism-180963566/"}, {"citation": "Guida, Isabella. \u201cThe Surrealism of Witness,\u201d <em>ArtsEditor</em>, August 28, 2017.", "page_number": "", "url": "http://artseditor.com/site/the-surrealism-of-witness/"}, {"citation": "Hearst, Alison, Charles Wylie, Max Blagg, and Donald Sultan. Donald Sultan: The Disaster Paintings, 2016.", "page_number": "Mentioned p. 19, reproduced pl. 5, p. 40.", "url": null}, {"citation": "Sultan, Donald. Donald Sultan: 8 February-3 March, 1984, Blum Helman, New York, New York. New York: Blum Helman Gallery, 1984.", "page_number": "9", "url": null}, {"citation": "Sergeant, Philippe, and Donald Sultan. Donald Sultan, Appoggiaturas. New York: Portmanteau Press, 1992.", "page_number": null, "url": null}, {"citation": "Ratcliff, Carter, and John B. Ravenal. Donald Sultan: The Theater of the Object. New York: Vendome Press, 2008.", "page_number": "55", "url": null}, {"citation": "Truong, Alain R. \u201cThe Cleveland Museum of Art Announces New Acquisitions,\u201d <em>Alain Truong</em>, September 27, 2017.", "page_number": "", "url": "https://www.alaintruong.com/archives/2017/09/27/35716436.html"}, {"citation": "Lancelin, Herv\u00e9. \u201cDonald Sultan: The Alchemist of Tar,\u201d <em>ArtCritic</em>, January 8, 2025.", "page_number": "", "url": "https://www.artcritic.com/en/donald-sultan-the-alchemist-of-tar/"}], "url": "https://clevelandart.org/art/2017.126.c", "images": {}, "alternate_images": [], "creditline": "Gift of Agnes Gund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 173006, "creators": [{"id": 10413, "description": "Donald Sultan (American, 1951-)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1951", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2017-09-11T00:00:00-04:00", "sortable_date": 1984, "date_added_to_oa": null, "date_text": "1984", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "2017.126", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:05.367000"}, {"id": 173007, "accession_number": "2017.126.d", "share_license_status": "Copyrighted", "tombstone": "Forest Fire, Jan. 5, 1984, 1984. Donald Sultan (American, 1951-). Latex, plaster, and tar on vinyl tile over masonite; panel: 122 x 122 cm (48 1/16 x 48 1/16 in.). The Cleveland Museum of Art, Gift of Agnes Gund, 2017.126.d. \u00a9 Donald Sultan/Artists Rights Society (ARS), New York", "current_location": null, "title": "Forest Fire, Jan. 5, 1984", "creation_date": "1984", "creation_date_earliest": 1984, "creation_date_latest": 1984, "artists_tags": ["male"], "culture": ["America"], "technique": "latex, plaster, and tar on vinyl tile over masonite", "support_materials": [], "department": "Contemporary Art", "collection": "Paintings", "type": "Painting", "measurements": "Panel: 122 x 122 cm (48 1/16 x 48 1/16 in.)", "dimensions": {"panel": {"height": 1.22, "width": 1.22}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Donald Sultan/Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "On reverse: #4, accompanied by small diagram of a square divided into four sections; the lower right section is \"x\"'d in to show position of this portion of \"Forest Fire.\"  This part of \"Forest Fire\" also includes a polaroid photo of the work on the reverse", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 295657, "title": "Donald Sultan: The Disaster Paintings", "description": "<i>Donald Sultan: The Disaster Paintings</i>. Modern Art Museum of Fort Worth, Fort Worth, TX (organizer) (February 19-April 23, 2017); Smithsonian American Art Museum, Washington, DC (May 26-September 4, 2017); North Carolina Museum of Art, Raleigh, NC (September 23-December 31, 2017); Sheldon Museum of Art, Lincoln, NE (January 24-May 13, 2018).", "opening_date": "2017-02-19T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": ["285.1993.d"], "did_you_know": "Sultan\u2019s father worked in a tire retreading shop which motivated the artist to use industrial materials.", "description": "This multipanel work, showing a raging forest fire, belongs to Donald Sultan\u2019s <em>Disaster Painting</em> series. Sultan layers tar, vinyl, latex, and plaster to create ominous landscapes of industrial and environmental destruction. Dripping tar forms skeletal trees and muddies the gray sky. Orange latex licks at dead branches, engulfs trees in flames, and peels from the linoleum surface. Drawing on source imagery from newspapers, the <em>Disaster Painting</em> series speaks to, in the artist\u2019s words, the \u201cimpermanence of all things.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60482567"], "internet_archive": []}, "citations": [{"citation": "Catlin, Roger. \u201cThis Artist\u2019s Worldview Drips with Unending Pessimism,\u201d <em>Smithsonian Magazine</em>, June 5, 2017.", "page_number": "", "url": "https://www.smithsonianmag.com/smithsonian-institution/this-artists-worldview-drips-unending-pessimism-180963566/"}, {"citation": "Guida, Isabella. \u201cThe Surrealism of Witness,\u201d <em>ArtsEditor</em>, August 28, 2017.", "page_number": "", "url": "http://artseditor.com/site/the-surrealism-of-witness/"}, {"citation": "Hearst, Alison, Charles Wylie, Max Blagg, and Donald Sultan. Donald Sultan: The Disaster Paintings, 2016.", "page_number": "Mentioned p. 19, reproduced pl. 5, p. 40.", "url": ""}, {"citation": "Sultan, Donald. Donald Sultan: 8 February-3 March, 1984, Blum Helman, New York, New York. New York: Blum Helman Gallery, 1984.", "page_number": "9", "url": ""}, {"citation": "Sergeant, Philippe, and Donald Sultan. Donald Sultan, Appoggiaturas. New York: Portmanteau Press, 1992.", "page_number": "", "url": ""}, {"citation": "Ratcliff, Carter, and John B. Ravenal. Donald Sultan: The Theater of the Object. New York: Vendome Press, 2008.", "page_number": "55", "url": ""}, {"citation": "Truong, Alain R. \u201cThe Cleveland Museum of Art Announces New Acquisitions,\u201d <em>Alain Truong</em>, September 27, 2017.", "page_number": "", "url": "https://www.alaintruong.com/archives/2017/09/27/35716436.html"}, {"citation": "Lancelin, Herv\u00e9. \u201cDonald Sultan: The Alchemist of Tar,\u201d <em>ArtCritic</em>, January 8, 2025.", "page_number": "", "url": "https://www.artcritic.com/en/donald-sultan-the-alchemist-of-tar/"}], "url": "https://clevelandart.org/art/2017.126.d", "images": {}, "alternate_images": [], "creditline": "Gift of Agnes Gund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 173007, "creators": [{"id": 10413, "description": "Donald Sultan (American, 1951-)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1951", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2017-09-11T00:00:00-04:00", "sortable_date": 1984, "date_added_to_oa": null, "date_text": "1984", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "2017.126", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:10.087000"}, {"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": 156073, "accession_number": "1991.314.3", "share_license_status": "CC0", "tombstone": "Creamer, c. 1910. Louis Rorimer (American, 1872\u20131939), and Rokesley Shop (American). Silver, moonstones, ebony; overall: 8.9 x 19.1 x 12.4 cm (3 1/2 x 7 1/2 x 4 7/8 in.). The Cleveland Museum of Art, Gift in memory of Louis Rorimer from his daughter, Louise Rorimer Dushkin and his granddaughter, Edie Soeiro, 1991.314.3", "current_location": "228B Cleveland Artists", "title": "Creamer", "creation_date": "c. 1910", "creation_date_earliest": 1905, "creation_date_latest": 1915, "artists_tags": ["male", "Cleveland Institute of Art (faculty)", "Jewish artists", "May Show", "female"], "culture": ["America, Ohio, Cleveland"], "technique": "silver, moonstones, ebony", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Silver", "measurements": "Overall: 8.9 x 19.1 x 12.4 cm (3 1/2 x 7 1/2 x 4 7/8 in.)", "dimensions": {"overall": {"height": 0.089, "width": 0.191, "depth": 0.124}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 221961, "title": "Bringing Modernism Home:  Ohio Decorative Arts, 1890-1960", "description": "<i>Bringing Modernism Home:  Ohio Decorative Arts, 1890-1960</i>. Columbus Museum of Art, Columbus, OH (organizer) (January 28-April 17, 2005).", "opening_date": "2005-01-28T00:00:00"}], "legacy": [{"description": "William H. Robinson and David Steinberg, Transformations in Cleveland Art 1796-1946 Community and Diversity in Early Modern America (The Cleveland Museum of Art/Ohio Univesity Press), p. 167, fig.178, p. 249.", "opening_date": "1946-01-01T00:00:00"}, {"description": "Columbus Museum of Art (1/28/2005 - 4/17/2005):  \"Bringing Modernism Home, Ohio Decorative Arts, 1890-1960\", ex. cat. no. 10, p. 35.", "opening_date": "2005-01-28T00:00:00"}]}, "provenance": [{"description": "Mrs. Louise Rorimer Dushkin, New York.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "This tea and coffee service was designed for production by the Rokesley Shop, a collaborative group working at Louis Rorimer\u2019s studio. Reacting against industrial mass production, Rorimer emphasized inventive design in finely crafted objects.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60760249"], "internet_archive": []}, "citations": [{"citation": "Johnston, Phillip M. <em>Catalogue of American Silver: The Cleveland Museum of Art</em>. Cleveland, Ohio: Cleveland Museum of Art, 1994.", "page_number": "Mentioned and reproduced: P. 133", "url": ""}], "url": "https://clevelandart.org/art/1991.314.3", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1991.314.3/1991.314.3_web.jpg", "width": "900", "height": "559", "filesize": "73533", "filename": "1991.314.3_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1991.314.3/1991.314.3_print.jpg", "width": "3400", "height": "2113", "filesize": "538070", "filename": "1991.314.3_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1991.314.3/1991.314.3_full.tif", "width": "4798", "height": "2982", "filesize": "42948880", "filename": "1991.314.3_full.tif"}}, "alternate_images": [{"date_created": "2007-12-05T15:49:20", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.314.3/1991.314.3_alt0_web.jpg", "width": "900", "height": "616", "filesize": "73322"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.314.3/1991.314.3_alt0_print.jpg", "width": "3400", "height": "2326", "filesize": "527166"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.314.3/1991.314.3_alt0_full.tif", "width": "4762", "height": "3258", "filesize": "46569604"}}], "creditline": "Gift in memory of Louis Rorimer from his daughter, Louise Rorimer Dushkin and his granddaughter, Edie Soeiro", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 156073, "creators": [{"id": 7373, "description": "Louis Rorimer (American, 1872\u20131939)", "extent": null, "qualifier": null, "role": "designed by", "biography": "Louis Rorimer was born Louis Rohrheimer in Cleveland to a German immigrant family. In the mid-1880s he studied at Cleveland\u2019s Manual Training School with sculptor Herman Matzen. Around the age of 16 Rorimer began taking classes at the Cleveland School of Art and later studied in Munich at the Kunstgewerbeschule, 1890\u201393, and in Paris at the \u00c9cole des Arts D\u00e9coratifs and the Acad\u00e9mie Julian, 1893\u201395. He returned to Cleveland in 1895, opening a design studio for handmade furniture and interior design the following year. From 1898 until his retirement in 1936, he taught decorative art and design at the Cleveland School of Art, where his students included Horace Potter, Max Kalish, Abel Warshawsky, Grace Kelly, and Charles Burchfield. Rorimer merged his studio with another interior design company in 1910 to form the Rorimer-Brooks Studios, a commercial workshop and gallery. He encouraged progressive artists to meet and display their works at his gallery, which from 1910 to 1912 mounted early exhibitions by Warshawsky, William Zorach, and the Cleveland \u201dsecessionists\u201d. In 1913 Rorimer was promoted to head of the design department at the Cleveland School of Art, and his work appeared in May Shows at the Cleveland Museum of Art (1919\u201328).<br><em>Transformations in Cleveland Art.</em> (CMA, 1996), p. 235", "name_in_original_language": null, "birth_year": "1872", "death_year": "1939", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 7376, "description": "Rokesley Shop (American)", "extent": null, "qualifier": "and", "role": "made at", "biography": "Rokesley Shop (Mary Blakeslee [1875-1964], Carolyn Hadlow [1878-1953], Ruth Smedley [1882-1920]).", "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1992-02-24T05:00:00Z", "sortable_date": 1905, "date_added_to_oa": null, "date_text": "c. 1910", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1991.314", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:18.115000"}, {"id": 156076, "accession_number": "1991.314.6", "share_license_status": "CC0", "tombstone": "Tongs, c. 1910. Louis Rorimer (American, 1872\u20131939), and Rokesley Shop (American). Silver, moonstones, ebony; overall: 14.5 x 1.9 x 4.5 cm (5 11/16 x 3/4 x 1 3/4 in.). The Cleveland Museum of Art, Gift in memory of Louis Rorimer from his daughter, Louise Rorimer Dushkin and his granddaughter, Edie Soeiro, 1991.314.6", "current_location": "228B Cleveland Artists", "title": "Tongs", "creation_date": "c. 1910", "creation_date_earliest": 1905, "creation_date_latest": 1915, "artists_tags": ["male", "Cleveland Institute of Art (faculty)", "Jewish artists", "May Show", "female"], "culture": ["America, Ohio, Cleveland"], "technique": "silver, moonstones, ebony", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Silver", "measurements": "Overall: 14.5 x 1.9 x 4.5 cm (5 11/16 x 3/4 x 1 3/4 in.)", "dimensions": {"overall": {"height": 0.145, "width": 0.019, "depth": 0.045}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 221961, "title": "Bringing Modernism Home:  Ohio Decorative Arts, 1890-1960", "description": "<i>Bringing Modernism Home:  Ohio Decorative Arts, 1890-1960</i>. Columbus Museum of Art, Columbus, OH (organizer) (January 28-April 17, 2005).", "opening_date": "2005-01-28T00:00:00"}], "legacy": [{"description": "William H. Robinson and David Steinberg, Transformations in Cleveland Art 1796-1946 Community and Diversity in Early Modern America (The Cleveland Museum of Art/Ohio Univesity Press), p. 167, fig.178, p. 249.", "opening_date": "1946-01-01T00:00:00"}, {"description": "Columbus Museum of Art (1/28/2005 - 4/17/2005):  \"Bringing Modernism Home, Ohio Decorative Arts, 1890-1960\", ex. cat. no. 10, p. 35.", "opening_date": "2005-01-28T00:00:00"}]}, "provenance": [{"description": "Mrs. Louise Rorimer Dushkin, New York.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "This tea and coffee service was designed for production by the Rokesley Shop, a collaborative group working at Louis Rorimer\u2019s studio. Reacting against industrial mass production, Rorimer emphasized inventive design in finely crafted objects.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60755303"], "internet_archive": []}, "citations": [{"citation": "Johnston, Phillip M. <em>Catalogue of American Silver: The Cleveland Museum of Art</em>. Cleveland, Ohio: Cleveland Museum of Art, 1994.", "page_number": "Mentioned and reproduced: P. 133", "url": ""}], "url": "https://clevelandart.org/art/1991.314.6", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1991.314.6/1991.314.6_web.jpg", "width": "900", "height": "505", "filesize": "51436", "filename": "1991.314.6_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1991.314.6/1991.314.6_print.jpg", "width": "3400", "height": "1908", "filesize": "331216", "filename": "1991.314.6_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1991.314.6/1991.314.6_full.tif", "width": "5644", "height": "3168", "filesize": "53666848", "filename": "1991.314.6_full.tif"}}, "alternate_images": [{"date_created": "2007-12-05T18:43:33", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.314.6/1991.314.6_alt0_web.jpg", "width": "900", "height": "458", "filesize": "48968"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.314.6/1991.314.6_alt0_print.jpg", "width": "3400", "height": "1729", "filesize": "285039"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.314.6/1991.314.6_alt0_full.tif", "width": "5368", "height": "2730", "filesize": "43988744"}}], "creditline": "Gift in memory of Louis Rorimer from his daughter, Louise Rorimer Dushkin and his granddaughter, Edie Soeiro", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 156076, "creators": [{"id": 7373, "description": "Louis Rorimer (American, 1872\u20131939)", "extent": null, "qualifier": null, "role": "designed by", "biography": "Louis Rorimer was born Louis Rohrheimer in Cleveland to a German immigrant family. In the mid-1880s he studied at Cleveland\u2019s Manual Training School with sculptor Herman Matzen. Around the age of 16 Rorimer began taking classes at the Cleveland School of Art and later studied in Munich at the Kunstgewerbeschule, 1890\u201393, and in Paris at the \u00c9cole des Arts D\u00e9coratifs and the Acad\u00e9mie Julian, 1893\u201395. He returned to Cleveland in 1895, opening a design studio for handmade furniture and interior design the following year. From 1898 until his retirement in 1936, he taught decorative art and design at the Cleveland School of Art, where his students included Horace Potter, Max Kalish, Abel Warshawsky, Grace Kelly, and Charles Burchfield. Rorimer merged his studio with another interior design company in 1910 to form the Rorimer-Brooks Studios, a commercial workshop and gallery. He encouraged progressive artists to meet and display their works at his gallery, which from 1910 to 1912 mounted early exhibitions by Warshawsky, William Zorach, and the Cleveland \u201dsecessionists\u201d. In 1913 Rorimer was promoted to head of the design department at the Cleveland School of Art, and his work appeared in May Shows at the Cleveland Museum of Art (1919\u201328).<br><em>Transformations in Cleveland Art.</em> (CMA, 1996), p. 235", "name_in_original_language": null, "birth_year": "1872", "death_year": "1939", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 7376, "description": "Rokesley Shop (American)", "extent": null, "qualifier": "and", "role": "made at", "biography": "Rokesley Shop (Mary Blakeslee [1875-1964], Carolyn Hadlow [1878-1953], Ruth Smedley [1882-1920]).", "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1992-02-24T05:00:00Z", "sortable_date": 1905, "date_added_to_oa": null, "date_text": "c. 1910", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1991.314", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:08.369000"}, {"id": 157059, "accession_number": "1993.198", "share_license_status": "Copyrighted", "tombstone": "Groovin', 1992. Malcolm Brown (American, 1931\u20132020). Acrylic and oil pastel on board; image: 122 x 91.5 cm (48 1/16 x 36 in.); framed: 160.7 x 129.5 cm (63 1/4 x 51 in.). The Cleveland Museum of Art, Gift of Mary Pellegrini, 1993.198. \u00a9 Malcolm Brown", "current_location": null, "title": "Groovin'", "creation_date": "1992", "creation_date_earliest": 1992, "creation_date_latest": 1992, "artists_tags": ["Black American Artists", "May Show", "male", "Cleveland Institute of Art (faculty)"], "culture": ["America"], "technique": "acrylic and oil pastel on board", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "measurements": "Image: 122 x 91.5 cm (48 1/16 x 36 in.); Framed: 160.7 x 129.5 cm (63 1/4 x 51 in.)", "dimensions": {"image": {"height": 1.22, "width": 0.915}, "framed": {"height": 1.607, "width": 1.295}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Malcolm Brown", "inscriptions": [{"inscription": "Signed lower right: Malcolm Brown", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 311737, "title": "The May Show: 72nd Annual Exhibition of Works by Artists and Craftsmen of the Western Reserve", "description": "<i>The May Show: 72nd Annual Exhibition of Works by Artists and Craftsmen of the Western Reserve</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 9-September 5, 1993).", "opening_date": "1993-06-09T04:00:00"}], "legacy": [{"description": "\"May Show 1993,\" CMA (June 9 - Sept. 5, 1993).", "opening_date": "1993-06-09T00:00:00"}]}, "provenance": [{"description": "Purchased by Mary Pellegrini, Cleveland Heights, OH, from the 1993 May Show", "citations": [], "footnotes": [], "date": "1993", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1993-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": ["305.93"], "did_you_know": "In 1980, Malcolm Brown and his wife Ernestine opened the Malcolm Brown Gallery in Shaker Heights, Ohio, one of the first Black-owned fine art galleries in the US.", "description": "Part of a recent series of paintings depicting musical performances, <em>Groovin'</em> by Malcolm Brown uses improvisatory drawing and explosive color to express the speed, rhythm, and energy of jazz. \"Art,\" Brown has written, \"is the window through which I share my artistic vision and emotion. . . . My aim is to capture the flavor of time and space with spontaneous color nuances.\"", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60477004"], "internet_archive": []}, "citations": [{"citation": "Malcolm M. Brown Entry Card to 1993 May Show. Cleveland Museum of Art May Show Records, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/CMAMS18260/page/n1/"}, {"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. 162", "url": "http://www.jstor.org/stable/25161457"}, {"citation": "\"New on View: Toby's Gallery for Contemporary Art.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>61, no. 1 (Winter 2021): Back cover.", "page_number": "Reproduced and Mentioned: Back cover.", "url": ""}], "url": "https://clevelandart.org/art/1993.198", "images": {}, "alternate_images": [], "creditline": "Gift of Mary Pellegrini", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 157059, "creators": [{"id": 3402, "description": "Malcolm Brown (American, 1931\u20132020)", "extent": null, "qualifier": null, "role": "artist", "biography": "Biographical information exists in the Cleveland Museum of Art Archives.", "name_in_original_language": null, "birth_year": "1931", "death_year": "2020", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1993-12-06T00:00:00", "sortable_date": 1992, "date_added_to_oa": null, "date_text": "1992", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:02:54.809000"}, {"id": 157419, "accession_number": "1994.274", "share_license_status": "Copyrighted", "tombstone": "Anna, c. 1940. Charles L. Sall\u00e9e (American, 1911\u20132006). Etching and aquatint; plate: 24.5 x 19.8 cm (9 5/8 x 7 13/16 in.); sheet: 30.5 x 25.5 cm (12 x 10 1/16 in.). The Cleveland Museum of Art, Gift of John Puskas, 1994.274. \u00a9 The Estate of Charles L. Sall\u00e9e", "current_location": null, "title": "Anna", "creation_date": "c. 1940", "creation_date_earliest": 1935, "creation_date_latest": 1945, "artists_tags": ["Black American Artists", "May Show", "male", "Cleveland Institute of Art (alumni)"], "culture": ["America"], "technique": "etching and aquatint", "support_materials": [], "department": "Prints", "collection": "PR - Etching", "type": "Print", "measurements": "Plate: 24.5 x 19.8 cm (9 5/8 x 7 13/16 in.); Sheet: 30.5 x 25.5 cm (12 x 10 1/16 in.)", "dimensions": {"plate": {"height": 0.245, "width": 0.198}, "sheet": {"height": 0.305, "width": 0.255}}, "state_of_the_work": null, "edition_of_the_work": "possibly 25 to 50", "copyright": "\u00a9 The Estate of Charles L. Sall\u00e9e", "inscriptions": [{"inscription": "inscribed, lower left margin, in graphite: ANNA; lower center margin, in graphite [later hand?]: WPA; lower right margin, in graphite: C. Sall\u00e9e", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 667699, "title": "Karamu Artists Inc.: Printmaking, Race, and Community", "description": "<i>Karamu Artists Inc.: Printmaking, Race, and Community</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 23-August 17, 2025).", "opening_date": "2025-03-23T04:00:00"}], "legacy": [{"description": "The Cleveland Museum of Art (1/26/2014 - 5/18/2014); \"Our Stories: African American Prints and Drawings\"", "opening_date": "2014-01-26T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Charles Sall\u00e9e also made a print of Anna drawing in a class at Karamu House.", "description": "Here, Charles Sall\u00e9e depicted a fellow artist from Karamu\u2019s studio art program. He described knowing her from classes and admiring her \u201ccurious, inquiring quality.\u201d Sall\u00e9e noted that this print was made through the WPA, or Works Progress Administration, a federally funded program that supported artists during the financial strife of the Great Depression. Sall\u00e9e frequented Cleveland\u2019s WPA graphic arts workshop, where he experimented with aquatint, the technique used for grainy areas of tone in the background and in Anna\u2019s skin and hair. This process was popular at the workshop, with some participants even inventing their own variations.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79973678"], "internet_archive": []}, "citations": [{"citation": "Glaubinger, Jane. \"A Salute to Sallee.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 46, no. 6 (March 2006): 8-10.", "page_number": "Reproduced: p. 8", "url": "https://archive.org/details/CMAMM2006-06/page/8/mode/2up"}, {"citation": "Benay, Erin. \"Peripheral Prints: Karamu House and the Rise of African American Art in the Midwest.\" <em>Panorama: Journal of the Association of Historians of American Art </em>10, no. 1 (Spring 2024).", "page_number": "Mentioned and reproduced: fig. 4", "url": "https://journalpanorama.org/article/peripheral-prints/"}, {"citation": "Salsbury, Britany, and Erin E. Benay. <em>Karamu Artists Inc.: Printmaking, Race, and Community</em>. Cleveland, OH: Cleveland Museum of Art, 2025.", "page_number": "Reproduced: p. 94, no. 45", "url": ""}], "catalogue_raisonne": "Salsbury, Benay, and Kruse 70 (as Martha)", "url": "https://clevelandart.org/art/1994.274", "images": {}, "alternate_images": [], "creditline": "Gift of John Puskas", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 157419, "creators": [{"id": 7975, "description": "Charles L. Sall\u00e9e (American, 1911\u20132006)", "extent": null, "qualifier": null, "role": "artist", "biography": "Charles Sall\u00e9e was born in Oberlin, Ohio, but later moved to Sandusky, where his father established a construction contracting company. Sall\u00e9e learned the building trade from his father but decided to pursue a career in art. In 1931 he moved to Cleveland and attended art classes at Karamu House, then known as the Playhouse Settlement. He studied lithography and etching techniques at the Huntington Poly technic Institute, 1932\u201333. He attended the Cleveland School of Art, 1933\u201338, studying with Carl Gaertner, Viktor Schreckengost, Rolf Stoll, and Paul Travis. In 1939 he earned a B.S. in education from Western Reserve College and began teaching art in the Cleveland school system. In 1936 he joined the local chapter of the American Artists\u2019 Congress. Sall\u00e9e worked on several Works Progress Administration projects, 1936 creating prints, then painting murals. His WPA commissions included work for Sunny Acres Hospital, the Outhwaite Homes, and Cleveland Municipal Airport, as well as the Fort Hays Homes in Columbus, Ohio. He exhibited in the May Shows at the Cleveland Museum of Art (1935\u201346), and in group exhibitions at Howard University (1937) and the Library of Congress in Washington, D.C. (1940), the Tanner Art Galleries of Chicago (1940), the Associated American Art Galleries of New York (1941), and Atlanta University (1942). The North Canton Library in Canton, Ohio, organized his first solo exhibition in 1940. He was drafted into the Army Corps of Engineers during World War II and worked as a cartographer and camouflage designer. After the war, he began a career in interior design. For the next four decades, Sall\u00e9e worked for various interior design firms in Cleveland, designing corporate offices, nightclubs, hotels, and restaurants for such clients as Cleveland Trust, Stouffer Hotel, and the Cleveland Browns. <br><em>Transformations in Cleveland Art.</em> (CMA, 1996), p. 236", "name_in_original_language": null, "birth_year": "1911", "death_year": "2006", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1994-12-06T00:00:00", "sortable_date": 1935, "date_added_to_oa": null, "date_text": "c. 1940", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Martha"], "is_highlight": false, "updated_at": "2026-03-27 00:02:16.681000"}, {"id": 159281, "accession_number": "1995.74", "share_license_status": "Copyrighted", "tombstone": "Abstract Painting (750-1), 1991. Gerhard Richter (German, 1932-). Oil on canvas; framed: 260 x 200 x 3.5 cm (102 3/8 x 78 3/4 x 1 3/8 in.); unframed: 260 x 200 cm (102 3/8 x 78 3/4 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1995.74. \u00a9 Gerhard Richter", "current_location": null, "title": "Abstract Painting (750-1)", "creation_date": "1991", "creation_date_earliest": 1991, "creation_date_latest": 1991, "artists_tags": ["male"], "culture": ["Germany, 20th century"], "technique": "oil on canvas", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "measurements": "Framed: 260 x 200 x 3.5 cm (102 3/8 x 78 3/4 x 1 3/8 in.); Unframed: 260 x 200 cm (102 3/8 x 78 3/4 in.)", "dimensions": {"framed": {"height": 2.6, "width": 2.0, "depth": 0.035}, "unframed": {"height": 2.6, "width": 2.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Gerhard Richter", "inscriptions": [], "exhibitions": {"current": [], "legacy": [{"description": "The Cleveland Museum of Art (06/01/2007); \"CMA @ Akron\"", "opening_date": "2007-06-01T00:00:00"}, {"description": "<em>Gerhard Richter: Painting in the Nineties</em>. Anthony d\u2019Offay Gallery, London (June 1-August 4, 1995)", "opening_date": "1995-06-01T00:00:00"}]}, "provenance": [{"description": "The Cleveland Museum of Art, Cleveland, OH, purchased from the artist", "citations": [], "footnotes": [], "date": "1995 -", "sortorder": 1}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The stunning overlapping colors and textures are created by covering each thin layer of paint with a sheet of plastic that was pulled away from the canvas.", "description": "Among the most recognized and influential artists working today, Gerhard Richter is difficult to classify because he simultaneously paints in a staggering variety of styles, veering freely from realism to abstraction. Abstractions such as this one have constituted a large part of his production since the mid 1970s. <em>Abstract Painting (750-1)</em> is from a series that Richter created between 1988 and 1991. Beginning with a ground of bright colors, such as red, yellow, blue, or green, he applied additional coats of pigment. He covered each thin layer of paint with a sheet of plastic that was pulled away to create a blend of overlapping colors, textures, and shapes. Richter applied the paint quickly, but the process was time consuming, allowing the artist the opportunity to evaluate and change each work as it evolved. Although this dense composition has no recognizable imagery, it conveys a sense of movement not unlike the experience of looking out of a car window at the landscape streaking past.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60477246"], "internet_archive": []}, "citations": [{"citation": "Richter, Gerhard, and Peter Gidal. <em>Gerhard Richter: Painting in the Nineties</em>. London: Anthony d'Offay Gallery, 1995.", "page_number": "Referenced: pp. 38-39", "url": null}, {"citation": "Cleveland Museum of Art, \u201cThe Cleveland Museum of Art Acquires Major Works,\u201d December 20, 1995, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr4002"}, {"citation": "Liebert, Emily. \u201cA Bright New Welcome: The corridor in the museum's main entrance will be flooded with light and color by Spencer Finch's <em>Color Test 210 (9 Permutations)</em>.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 58. no. 2 (March/April 2018): 30-31.", "page_number": "Reproduced: P. 31; Mentioned: P. 30", "url": "https://archive.org/details/CMAMM2018-02/page/n15/mode/2up"}], "url": "https://clevelandart.org/art/1995.74", "images": {}, "alternate_images": [], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 159281, "creators": [{"id": 3615, "description": "Gerhard Richter (German, 1932-)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1932", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1995-12-04T00:00:00", "sortable_date": 1991, "date_added_to_oa": null, "date_text": "1991", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:05:26.137000"}, {"id": 159363, "accession_number": "1996.193", "share_license_status": "Copyrighted", "tombstone": "Untitled, 1990. Hiroyuki Shindo (Japanese, 1941-). Indigo-dyed cotton; overall: 17 x 17 x 17 cm (6 11/16 x 6 11/16 x 6 11/16 in.). The Cleveland Museum of Art, Gift of Mildred Constantine, 1996.193", "current_location": null, "title": "Untitled", "creation_date": "1990", "creation_date_earliest": 1990, "creation_date_latest": 1990, "artists_tags": ["male", "Asian (from 1900 to present)"], "culture": ["Japan"], "technique": "Indigo-dyed cotton", "support_materials": [], "department": "Textiles", "collection": "T - Contemporary Fiber Art", "type": "Textile", "measurements": "Overall: 17 x 17 x 17 cm (6 11/16 x 6 11/16 x 6 11/16 in.)", "dimensions": {"overall": {"height": 0.17, "width": 0.17, "depth": 0.17}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 311494, "title": "Small Works in Fiber: The Collection of Mildred Constantine", "description": "<i>Small Works in Fiber: The Collection of Mildred Constantine</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 27-March 28, 1993).", "opening_date": "1993-01-27T05:00:00"}, {"id": 536086, "title": "Contemporary Art Rotation - Spring 2023", "description": "<i>Contemporary Art Rotation - Spring 2023</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 7-September 24, 2023).", "opening_date": "2023-04-07T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [{"id": 159379, "description": "Untitled, 1990. Hiroyuki Shindo (Japanese, 1941-). Indigo-dyed cotton; overall: 17.2 x 17.2 x 17.2 cm (6 3/4 x 6 3/4 x 6 3/4 in.). The Cleveland Museum of Art, Gift of Mildred Constantine, 1996.204", "relationship": null}, {"id": 85807, "description": "Untitled, 1990. Hiroyuki Shindo (Japanese, 1941-). Cotton: indigo-dyed; diameter: 19.1 cm (7 1/2 in.). The Cleveland Museum of Art, Bequest of Camille and Alex Cook, 2022.80", "relationship": null}], "former_accession_numbers": ["30.1993"], "did_you_know": "The artist often exhibits these balls in groups, directly on the floor.", "description": "The method of indigo dyeing is a centuries-old Japanese tradition, and the artist Hiroyuki Shindo is internationally known for his artwork that utilizes this ancient technique in contemporary forms. He uses a natural dye process that begins with harvesting the plants. In the case of the thread balls, he uses a resist dying technique on different size balls that results in an array of organic designs and levels of saturation. By showing the thread balls in groups, it displays the individualism of each handmade iteration.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79978826"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art. Small Works in Fiber: The Mildred Constantine Collection. Cleveland, Ohio: Cleveland Museum of Art, 1993.", "page_number": "p. 31, 64", "url": null}, {"citation": "Hicks, Sheila, Rhonda Brown, and Thomas Grotta. <em>Sheila Hicks Joined by Seven Artists from Japan: Masakazu Kobayashi, Naomi Kobayashi, Chiaki Maki, Toshio Sekiji, Hiroyuki Shindo, Chiyoko Tanaka, and Jun Tomita.</em> Wilton, CT: Brown/Grotta Gallery, 1995.", "page_number": "", "url": ""}, {"citation": "Balfour-Paul, Jenny. <em>Indigo</em>. London: British Museum Press, 1998.", "page_number": "", "url": ""}], "url": "https://clevelandart.org/art/1996.193", "images": {}, "alternate_images": [], "creditline": "Gift of Mildred Constantine", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 159363, "creators": [{"id": 9249, "description": "Hiroyuki Shindo (Japanese, 1941-)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1941", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1996-06-03T00:00:00", "sortable_date": 1990, "date_added_to_oa": null, "date_text": "1990", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:11.304000"}, {"id": 159379, "accession_number": "1996.204", "share_license_status": "Copyrighted", "tombstone": "Untitled, 1990. Hiroyuki Shindo (Japanese, 1941-). Indigo-dyed cotton; overall: 17.2 x 17.2 x 17.2 cm (6 3/4 x 6 3/4 x 6 3/4 in.). The Cleveland Museum of Art, Gift of Mildred Constantine, 1996.204", "current_location": null, "title": "Untitled", "creation_date": "1990", "creation_date_earliest": 1990, "creation_date_latest": 1990, "artists_tags": ["male", "Asian (from 1900 to present)"], "culture": ["Japan"], "technique": "Indigo-dyed cotton", "support_materials": [], "department": "Textiles", "collection": "T - Contemporary Fiber Art", "type": "Textile", "measurements": "Overall: 17.2 x 17.2 x 17.2 cm (6 3/4 x 6 3/4 x 6 3/4 in.)", "dimensions": {"overall": {"height": 0.172, "width": 0.172, "depth": 0.172}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 311494, "title": "Small Works in Fiber: The Collection of Mildred Constantine", "description": "<i>Small Works in Fiber: The Collection of Mildred Constantine</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 27-March 28, 1993).", "opening_date": "1993-01-27T05:00:00"}, {"id": 536086, "title": "Contemporary Art Rotation - Spring 2023", "description": "<i>Contemporary Art Rotation - Spring 2023</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 7-September 24, 2023).", "opening_date": "2023-04-07T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [{"id": 85807, "description": "Untitled, 1990. Hiroyuki Shindo (Japanese, 1941-). Cotton: indigo-dyed; diameter: 19.1 cm (7 1/2 in.). The Cleveland Museum of Art, Bequest of Camille and Alex Cook, 2022.80", "relationship": null}, {"id": 159363, "description": "Untitled, 1990. Hiroyuki Shindo (Japanese, 1941-). Indigo-dyed cotton; overall: 17 x 17 x 17 cm (6 11/16 x 6 11/16 x 6 11/16 in.). The Cleveland Museum of Art, Gift of Mildred Constantine, 1996.193", "relationship": null}], "former_accession_numbers": ["41.1993"], "did_you_know": "The artist often exhibits these balls in groups, directly on the floor.", "description": "The method of indigo dyeing is a centuries-old Japanese tradition, and the artist Hiroyuki Shindo is internationally known for his artwork that utilizes this ancient technique in contemporary forms. He uses a natural dye process that begins with the harvesting the plants. In the case of the thread balls, he uses a resist dying technique on different size balls that results in an array of organic designs and levels of saturation. By showing the thread balls in groups, it displays the individualism of each handmade iteration.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79978860"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art. <em>Small Works in Fiber: The Mildred Constantine Collection</em>. Cleveland, Ohio: Cleveland Museum of Art, 1993.", "page_number": "p. 65", "url": null}, {"citation": "Hicks, Sheila, Rhonda Brown, and Thomas Grotta. <em>Sheila Hicks Joined by Seven Artists from Japan: Masakazu Kobayashi, Naomi Kobayashi, Chiaki Maki, Toshio Sekiji, Hiroyuki Shindo, Chiyoko Tanaka, and Jun Tomita.</em> Wilton, CT: Brown/Grotta Gallery, 1995.", "page_number": "", "url": ""}, {"citation": "Balfour-Paul, Jenny. <em>Indigo</em>. London: British Museum Press, 1998.", "page_number": "", "url": ""}], "url": "https://clevelandart.org/art/1996.204", "images": {}, "alternate_images": [], "creditline": "Gift of Mildred Constantine", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 159379, "creators": [{"id": 9249, "description": "Hiroyuki Shindo (Japanese, 1941-)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1941", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1996-06-03T00:00:00", "sortable_date": 1990, "date_added_to_oa": null, "date_text": "1990", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:53.409000"}, {"id": 372090, "accession_number": "2019.239", "share_license_status": "Copyrighted", "tombstone": "Mountain Place (from series of Repetitions) (\u6709\u5c71\u7684\u5730\u65b9), 1987. Xu Bing (Chinese, b. 1955). Woodcut print with ink on paper; image: 52.8 x 73.2 cm (20 13/16 x 28 13/16 in.); sheet: 66.7 x 85.2 cm (26 1/4 x 33 9/16 in.). The Cleveland Museum of Art, Gift of Joe and Nancy Keithley, 2019.239. \u00a9 Xu Bing", "current_location": null, "title": "Mountain Place (from series of Repetitions)", "title_in_original_language": "\u6709\u5c71\u7684\u5730\u65b9", "creation_date": "1987", "creation_date_earliest": 1987, "creation_date_latest": 1987, "artists_tags": ["male", "Asian (from 1900 to present)"], "culture": ["China"], "technique": "woodcut print with ink on paper", "support_materials": [], "department": "Prints", "collection": "PR - Woodcut", "type": "Print", "measurements": "Image: 52.8 x 73.2 cm (20 13/16 x 28 13/16 in.); Sheet: 66.7 x 85.2 cm (26 1/4 x 33 9/16 in.)", "dimensions": {"image": {"height": 0.528, "width": 0.732}, "sheet": {"height": 0.667, "width": 0.852}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Xu Bing", "inscriptions": [{"inscription": "Signed by the artist: \u5f90\u51b0 and Xu Bing", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Artist's seal: \u51b0", "inscription_translation": "Bing", "inscription_remark": null, "sortorder": null}, {"inscription": "Lower margin, in graphite: 30/100 \u6709\u5c71\u7684\u5730\u65b9; seal; \u5f90\u51b0 Xu Bing 1988", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 367949, "title": "Spotlight on a New Generation: Contemporary Chinese Artists", "description": "<i>Spotlight on a New Generation: Contemporary Chinese Artists</i>. The Cleveland Museum of Art (organizer) (February 6-November 1, 2020).", "opening_date": "2020-02-06T05:00:00"}, {"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": "(Booklyn, Inc., Brooklyn, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "?\u20132019", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2019\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "While living in the mountains during the Cultural Revolution, Xu was in demand as the village portraitist and calligrapher for weddings and funerals.", "description": "Xu created five <em>Series of Repetitions</em> to explore the process of printmaking. He printed images of the series in different stages, each time carving away a little bit more of the block\u2019s surface. The first print is the darkest; the final one is the lightest with the image being entirely effaced. This print represents a stage in the process when the image was most legible. Some prints show Chinese characters, indications for his later works featuring writing and language called \u201clandscripts\u201d\u2014images made with script. <br><br>As a child, Xu had access to a world of books: his mother worked in the library and his father in the history department at Peking University. Toward the end of the Cultural Revolution in 1974, Xu was sent to a rural village north of Beijing for \u201cre-education.\u201d The Cultural Revolution taught him the power of words and text, while the interruption of his formal schooling gave him time to practice writing and teach himself woodcut techniques.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q84279874"], "internet_archive": []}, "citations": [{"citation": "Vainker, S. J., Bing Xu, Judith Goldman, and Peter D. McDonald. <em>Landscape/Landscript: Nature As Language in the Art of Xu Bing</em>. Oxford: Ashmolean Museum of Art and Archaeology, 2013.", "page_number": "Mentioned: cat. no. 70, pp. 100, 108", "url": null}, {"citation": "von Spee, Clarissa. \u201cAcquisitions 2019.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>60, no. 2 (March/April 2020): 8\u201311.", "page_number": "Reproduced: p. 10; Mentioned: p. 11", "url": "https://archive.org/details/CMAMM2020-02/page/n5/mode/2up"}, {"citation": "Von Spee, Clarissa. \"Chinese Ceramics and Works on Paper.\" In <em>The Keithley Collection at the Cleveland Museum of Art, </em>edited by Heather Lemonedes Brown, 194-229. Cleveland, OH: The Cleveland Museum of Art, 2022.", "page_number": "Mentioned and reproduced: p. 224-227; Mentioned: p. 275", "url": ""}], "url": "https://clevelandart.org/art/2019.239", "images": {}, "alternate_images": [], "creditline": "Gift of Joe and Nancy Keithley", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 372090, "creators": [{"id": 59247, "description": "Xu Bing (Chinese, b. 1955)", "extent": null, "qualifier": null, "role": "artist", "biography": "Xu Bing is one of China\u2019s most outstanding conceptual contemporary artists. He is internationally recognized for using Chinese characters, the written word or character and language to challenge assumptions about human society and communication. He grew up in Beijing, was initially trained in printmaking, and received his MFA from the Central Academy of Fine Art in Beijing in 1987. His multi-disciplinary artwork has been displayed at prestigious venues and is held in numerous collections worldwide. Xu moved to the US in 1990 where he lived for 18 years; today he lives and works in New York and Beijing.", "name_in_original_language": "\u5f90\u51b0", "birth_year": "1955", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2019-12-02T00:00:00-05:00", "sortable_date": 1987, "date_added_to_oa": null, "date_text": "1987", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:03:19.991000"}, {"id": 372091, "accession_number": "2019.240", "share_license_status": "Copyrighted", "tombstone": "Family Plots (from series of Repetitions) (\u5e84\u7a3c\u5730), 1988. Xu Bing (Chinese, b. 1955). Woodcut print with ink on paper; image: 52.8 x 73.2 cm (20 13/16 x 28 13/16 in.); sheet: 66.7 x 85.2 cm (26 1/4 x 33 9/16 in.). The Cleveland Museum of Art, Gift of Joe and Nancy Keithley, 2019.240. \u00a9 Xu Bing", "current_location": null, "title": "Family Plots (from series of Repetitions)", "title_in_original_language": "\u5e84\u7a3c\u5730", "creation_date": "1988", "creation_date_earliest": 1988, "creation_date_latest": 1988, "artists_tags": ["male", "Asian (from 1900 to present)"], "culture": ["China"], "technique": "woodcut print with ink on paper", "support_materials": [], "department": "Prints", "collection": "PR - Woodcut", "type": "Print", "measurements": "Image: 52.8 x 73.2 cm (20 13/16 x 28 13/16 in.); Sheet: 66.7 x 85.2 cm (26 1/4 x 33 9/16 in.)", "dimensions": {"image": {"height": 0.528, "width": 0.732}, "sheet": {"height": 0.667, "width": 0.852}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Xu Bing", "inscriptions": [{"inscription": "Signed by the artist: \u5f90\u51b0 and Xu Bing", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "One seal: \u51b0", "inscription_translation": "Bing", "inscription_remark": null, "sortorder": null}, {"inscription": "Lower margin, in graphite: 30/100 \u5e84\u7a3c\u5730; seal; \u5f90\u51b0 Xu Bing 1988", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 367949, "title": "Spotlight on a New Generation: Contemporary Chinese Artists", "description": "<i>Spotlight on a New Generation: Contemporary Chinese Artists</i>. The Cleveland Museum of Art (organizer) (February 6-November 1, 2020).", "opening_date": "2020-02-06T05:00:00"}, {"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": "(Booklyn, Inc., Brooklyn, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "?\u20132019", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2019\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Xu was born during a rare ice storm, so he was named Bing \u51b0, meaning \"ice.\"", "description": "<em>Series of Repetitions</em>, a suite of ten woodcuts, was part of Xu Bing\u2019s master\u2019s thesis project in 1987. He printed images in different stages, each time carving away a little more of the block\u2019s surface. The first print is the darkest; the final one is the lightest, with the image being entirely effaced. <em>Family Plots</em> refers to the landownership arrangement under Mao Zedong that allowed families who worked on state-owned communes to have individual plots of land. The characters in the corners of each plot designate old family names, such as Zhao, Qian, Sun, and Li. These references to script and text laid the groundwork for the artist\u2019s later \u201clandscripts\u201d\u2014landscapes composed of Chinese characters or script-style components.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q84279898"], "internet_archive": []}, "citations": [{"citation": "Vainker, S. J., Bing Xu, Judith Goldman, and Peter D. McDonald. <em>Landscape/Landscript: Nature As Language in the Art of Xu Bing</em>. Oxford: Ashmolean Museum of Art and Archaeology, 2013.", "page_number": "Mentioned: cat. no. 69, pp. 100, 108", "url": null}, {"citation": "Von Spee, Clarissa. \u201cAcquisitions 2019.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>60, no. 2 (March/April 2020): 8-11.", "page_number": "Reproduced and Mentioned: P. 11", "url": "https://archive.org/details/CMAMM2020-02/page/n5/mode/2up"}, {"citation": "Von Spee, Clarissa. \"Chinese Ceramics and Works on Paper.\" In <em>The Keithley Collection at the Cleveland Museum of Art, </em>edited by Heather Lemonedes Brown, 194-229. Cleveland, OH: The Cleveland Museum of Art, 2022.", "page_number": "Mentioned and reproduced: p. 224-227; Mentioned: p. 275", "url": ""}], "url": "https://clevelandart.org/art/2019.240", "images": {}, "alternate_images": [], "creditline": "Gift of Joe and Nancy Keithley", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 372091, "creators": [{"id": 59247, "description": "Xu Bing (Chinese, b. 1955)", "extent": null, "qualifier": null, "role": "artist", "biography": "Xu Bing is one of China\u2019s most outstanding conceptual contemporary artists. He is internationally recognized for using Chinese characters, the written word or character and language to challenge assumptions about human society and communication. He grew up in Beijing, was initially trained in printmaking, and received his MFA from the Central Academy of Fine Art in Beijing in 1987. His multi-disciplinary artwork has been displayed at prestigious venues and is held in numerous collections worldwide. Xu moved to the US in 1990 where he lived for 18 years; today he lives and works in New York and Beijing.", "name_in_original_language": "\u5f90\u51b0", "birth_year": "1955", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2019-12-02T00:00:00-05:00", "sortable_date": 1988, "date_added_to_oa": null, "date_text": "1988", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:49.243000"}, {"id": 74898, "accession_number": "2020.101", "share_license_status": "Copyrighted", "tombstone": "Deer in the Undergrowth, c. 1908. Pierre Bonnard (French, 1867\u20131947). Oil on canvas; unframed: 76 x 105 cm (29 15/16 x 41 5/16 in.). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift, 2020.101. \u00a9 Artists Rights Society (ARS), New York", "current_location": null, "title": "Deer in the Undergrowth", "creation_date": "c. 1908", "creation_date_earliest": 1903, "creation_date_latest": 1913, "artists_tags": ["Nabis", "male"], "culture": ["France, 20th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 76 x 105 cm (29 15/16 x 41 5/16 in.)", "dimensions": {"unframed": {"height": 0.76, "width": 1.05}, "framed": {"height": 0.991, "width": 1.286, "depth": 0.086}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "signed 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>Exhibition of Paintings by Pierre Bonnard and Edouard Vuillard</em>. Royal Scottish Academy, Edinburgh, Scotland (August 17-September 18, 1948).", "opening_date": "1948-08-17T00:00:00"}]}, "provenance": [{"description": "Estate of the artist", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "Gustave Fayet [1865-1925] Igny, France", "citations": [], "footnotes": [], "date": null, "sortorder": 2}, {"description": "(Wildenstein & Co., London, United Kingdom)", "citations": [], "footnotes": ["<div><!--block-->According Jean Dauberville and Henry Dauberville, <em>Bonnard, Catalogue Raisonne\u0301 de l\u2019\u0152uvre Peint</em> (Paris: J. et H. Bernheim, 1966), vol. VI, p. 277, cat. no. 1937, ill.&nbsp;</div>"], "date": null, "sortorder": 3}, {"description": "Lady Glenconner, London, United Kingdom", "citations": [], "footnotes": ["<div><!--block-->\u201cExhibition of Paintings by Pierre Bonnard and Edouard Vuillard,\u201d Royal Scottish Academy, Edinburgh, August 17\u2013September 18, 1948, cat. no. 45, noted the painting was loaned by Lady Glenconner.</div>"], "date": "by 1948", "sortorder": 4}, {"description": "(Sotheby's London, United Kingdom, December 2, 1986, lot 97, sold to Galerie Rosenbach)", "citations": [], "footnotes": null, "date": "1986", "sortorder": 5}, {"description": "(Galerie Rosenbach, Hanover, Germany, sold to Dr. Hahnloser)", "citations": [], "footnotes": ["<div><!--block-->According to documentation in the curatorial file. <strong><em>**Is the 2020.101_WR.pdf from Paul Hanhloser? If so, that connection can be added to the final provenance.</em></strong></div>"], "date": null, "sortorder": 6}, {"description": "Dr. Paul Hahnloser, Fribourg, Switzerland", "citations": [], "footnotes": null, "date": null, "sortorder": 7}, {"description": "Nancy F. and Joseph P. Keithley, Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?\u20132020", "sortorder": 8}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2020\u2013", "sortorder": 9}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In the words of Bonnard, \"Represent nature when it is beautiful. Everything has its moments of beauty. Beauty is the satisfaction of sight.\"", "description": "Bonnard\u2019s love for vibrant colors is evident in this autumnal landscape. The leaves done in strokes of scarlet, orange, and gold blend together as if the tree branches were aflame. The warmth is complemented by cool greens and blues in the forest undergrowth. The artist, who often painted from memory, included two small deer that emphasize the height of the trees.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q87480809"], "internet_archive": []}, "citations": [{"citation": "James, Philip, and Clive Bell. <em>Exhibition of Paintings by Pierre Bonnard and Edouard Vuillard.</em> Edinburgh, Scotland: Royal Scottish Academy, 1948.", "page_number": "Mentioned: P. 12, no. 45", "url": null}, {"citation": "Dauberville, Jean, and Henry Dauberville. <em>Bonnard, catalogue raisonne\u0301 de l'\u0153uvre peint</em>. Paris, France: J. et H. Bernheim, 1974.", "page_number": "Reproduced: Vol. IV, P. 277, no. 1937", "url": null}, {"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. 110-111; Mentioned: p. 254-257", "url": ""}], "url": "https://clevelandart.org/art/2020.101", "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": 74898, "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": 1903, "date_added_to_oa": null, "date_text": "c. 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": [], "is_highlight": false, "updated_at": "2026-03-27 00:04:21.002000"}, {"id": 284731, "accession_number": "2020.198", "share_license_status": "Copyrighted", "tombstone": "Water Jar (\u6c34\u6307), 1960. Okabe Mineo (Japanese, 1919\u20131990). Glazed stoneware (Oribe style); 16.6 x 16.1 x 16.8 cm (6 9/16 x 6 5/16 x 6 5/8 in.). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift, 2020.198. \u00a9 Okabe Mineo", "current_location": null, "title": "Water Jar", "title_in_original_language": "\u6c34\u6307", "creation_date": "1960", "creation_date_earliest": 1960, "creation_date_latest": 1960, "artists_tags": ["male", "Asian (from 1900 to present)"], "culture": ["Japan, Sh\u014dwa period (1926\u201389)"], "technique": "glazed stoneware (Oribe style)", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Ceramic", "measurements": "16.6 x 16.1 x 16.8 cm (6 9/16 x 6 5/16 x 6 5/8 in.)", "dimensions": {"No Extent Specified": {"height": 0.166, "width": 0.161, "depth": 0.168}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Okabe Mineo", "inscriptions": [{"inscription": "Artist's mark incised in the shape of long cross", "inscription_translation": null, "inscription_remark": "The mark was incised in the wet clay during manufacture.", "sortorder": null}, {"inscription": "Box lid inscription: \u7e54\u90e8 \u6c34\u6307\u3000\u5dba\u7537\u3000\u5dba\u7537\uff08\u5370\uff09", "inscription_translation": "Oribe Water Jar; signed: Mineo; sealed: Mineo", "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": 450266, "title": "To the River's South in Japanese Painting", "description": "<i>To the River's South in Japanese Painting</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 15, 2023-June 2, 2024).", "opening_date": "2023-12-15T05:00:00"}], "legacy": []}, "provenance": [{"description": "(Joan B. Mirviss Ltd., New York, NY, sold to Nancy F. and Joseph P. Keithley)", "citations": [], "footnotes": [], "date": "?\u20132016", "sortorder": 1}, {"description": "Nancy F. and Joseph P. Keithley, Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "2016\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": "Born in Seto, Aichi prefecture, Okabe was the son of influential potter Kat\u014d Tokur\u014d (1897\u20131985).", "description": "This water jar was made to hold the water used in tea gatherings. Okabe Mineo took his inspiration for the lidded vessel from the aesthetics of tea master Furuta Oribe (1544\u20131615), who initiated the color schemes and sometimes flamboyant designs that characterize the so-called Oribe style.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q87481188"], "internet_archive": []}, "citations": [{"citation": "Nihon \u0100to Sent\u0101 (\u65e5\u672c\u30a2\u30fc\u30c8\u30bb\u30f3\u30bf\u30fc) ed., \u9676\u6101\uff0d\u5ca1\u90e8\u5dba\u7537\u4f5c\u54c1\u96c6 [<em>To\u0304shu\u0304: Okabe Mineo sakuhinshu\u0304</em> = Ceramic Melancholy: Collected Works of Okabe Mineo]. Tokyo: Sho\u0304gakkan, 2007.", "page_number": "Mentioned and Reproduced: p. 52, pl. 61", "url": ""}, {"citation": "Maske, Andrew L. <em>A Palette for Genius: Japanese Water Jars for the Tea Ceremony: Presented at Joan B. Mirviss Ltd., New York, Collaboration with Shibuya Kuradatoen Co., Ltd., March 10-April 15, 2016</em>. New York: Joan B. Mirviss Ltd., 2016.", "page_number": "Reproduced: front cover, back cover (detail), p. 9", "url": ""}, {"citation": "Rousmaniere, Nicole Coolidge. \"Japanese Ceramics.\" In <em>The Keithley Collection at the Cleveland Museum of Art, </em>edited by Heather Lemonedes Brown, 230\u2013251. Cleveland, OH: The Cleveland Museum of Art, 2022.", "page_number": "Mentioned and Reproduced: pp. 238\u2013239; Mentioned: p. 269", "url": ""}], "url": "https://clevelandart.org/art/2020.198", "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": 284731, "creators": [{"id": 64357, "description": "Okabe Mineo (Japanese, 1919\u20131990)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\u5ca1\u90e8 \u5dba\u7537", "birth_year": "1919", "death_year": "1990", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2020-03-02T00:00:00-05:00", "sortable_date": 1960, "date_added_to_oa": null, "date_text": "1960", "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 00:01:16.850000"}, {"id": 398997, "accession_number": "2020.198.a", "share_license_status": "Copyrighted", "tombstone": "Water Jar (\u6c34\u6307), 1960. Okabe Mineo (Japanese, 1919\u20131990). Glazed stoneware (Oribe style). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift, 2020.198.a. \u00a9 Okabe Mineo", "current_location": null, "title": "Water Jar", "title_in_original_language": "\u6c34\u6307", "creation_date": "1960", "creation_date_earliest": 1960, "creation_date_latest": 1960, "artists_tags": ["male", "Asian (from 1900 to present)"], "culture": ["Japan, Sh\u014dwa period (1926\u201389)"], "technique": "glazed stoneware (Oribe style)", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Ceramic", "dimensions": {"overall": {"height": 0.151, "width": 0.161, "depth": 0.168}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Okabe Mineo", "inscriptions": [{"inscription": "Artist's mark incised in the shape of a mountain", "inscription_translation": null, "inscription_remark": "The mark was incised in the wet clay during manufacture.", "sortorder": null}, {"inscription": "Box title: Oribe mizusashi \u7e54\u90e8 \u6c34\u6307", "inscription_translation": "Oribe-glazed water jar", "inscription_remark": null, "sortorder": null}, {"inscription": "Signature on box: Mineo \u5dba\u7537", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Seal on box: Mineo \u5dba\u7537", "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": 450266, "title": "To the River's South in Japanese Painting", "description": "<i>To the River's South in Japanese Painting</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 15, 2023-June 2, 2024).", "opening_date": "2023-12-15T05:00:00"}], "legacy": []}, "provenance": [{"description": "(Joan B. Mirviss Ltd., New York, NY, sold to Nancy F. and Joseph P. Keithley)", "citations": [], "footnotes": [], "date": "?\u20132016", "sortorder": 1}, {"description": "Nancy F. and Joseph P. Keithley, Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "2016\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": "Born in Seto, Aichi prefecture, Okabe was the son of influential potter Kat\u014d Tokur\u014d (1897\u20131985).", "description": "This water jar was made to hold the water used in tea gatherings. Okabe Mineo took his inspiration for the lidded vessel from the aesthetics of tea master Furuta Oribe (1544\u20131615), who initiated the color schemes and sometimes flamboyant designs that characterize the so-called Oribe style.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117245211"], "internet_archive": []}, "citations": [{"citation": "Nihon \u0100to Sent\u0101 (\u65e5\u672c\u30a2\u30fc\u30c8\u30bb\u30f3\u30bf\u30fc) ed., \u9676\u6101\uff0d\u5ca1\u90e8\u5dba\u7537\u4f5c\u54c1\u96c6 [<em>To\u0304shu\u0304: Okabe Mineo sakuhinshu\u0304</em> = Ceramic Melancholy: Collected Works of Okabe Mineo]. Tokyo: Sho\u0304gakkan, 2007.", "page_number": "Mentioned and Reproduced: p. 52, pl. 61", "url": ""}, {"citation": "Maske, Andrew L. <em>A Palette for Genius: Japanese Water Jars for the Tea Ceremony: Presented at Joan B. Mirviss Ltd., New York, Collaboration with Shibuya Kuradatoen Co., Ltd., March 10-April 15, 2016</em>. New York: Joan B. Mirviss Ltd., 2016.", "page_number": "Reproduced: front cover, back cover (detail), p. 9", "url": ""}, {"citation": "Rousmaniere, Nicole Coolidge. \"Japanese Ceramics.\" In <em>The Keithley Collection at the Cleveland Museum of Art, </em>edited by Heather Lemonedes Brown, 230\u2013251. Cleveland, OH: The Cleveland Museum of Art, 2022.", "page_number": "Mentioned and Reproduced: pp. 238\u2013239; Mentioned: p. 269", "url": ""}], "url": "https://clevelandart.org/art/2020.198.a", "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": 398997, "creators": [{"id": 64357, "description": "Okabe Mineo (Japanese, 1919\u20131990)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\u5ca1\u90e8 \u5dba\u7537", "birth_year": "1919", "death_year": "1990", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2020-03-02T00:00:00-05:00", "sortable_date": 1960, "date_added_to_oa": null, "date_text": "1960", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "2020.198", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:05:22.611000"}, {"id": 399000, "accession_number": "2020.198.b", "share_license_status": "Copyrighted", "tombstone": "Water Jar (Lid) (\u6c34\u6307\uff08\u84cb\uff09), 1960. Okabe Mineo (Japanese, 1919\u20131990). Glazed stoneware (Oribe style). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift, 2020.198.b. \u00a9 Okabe Mineo", "current_location": null, "title": "Water Jar (Lid)", "title_in_original_language": "\u6c34\u6307\uff08\u84cb\uff09", "creation_date": "1960", "creation_date_earliest": 1960, "creation_date_latest": 1960, "artists_tags": ["male", "Asian (from 1900 to present)"], "culture": ["Japan, Sh\u014dwa period (1926\u201389)"], "technique": "glazed stoneware (Oribe style)", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Ceramic", "dimensions": {"overall": {"height": 0.025, "width": 0.125, "depth": 0.131}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Okabe Mineo", "inscriptions": [{"inscription": "Box title: Oribe mizusashi \u7e54\u90e8 \u6c34\u6307", "inscription_translation": "Oribe-glazed water jar", "inscription_remark": null, "sortorder": null}, {"inscription": "Signature on box: Mineo \u5dba\u7537", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Seal on box: Mineo \u5dba\u7537", "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": 450266, "title": "To the River's South in Japanese Painting", "description": "<i>To the River's South in Japanese Painting</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 15, 2023-June 2, 2024).", "opening_date": "2023-12-15T05:00:00"}], "legacy": []}, "provenance": [{"description": "(Joan B. Mirviss Ltd., New York, NY, sold to Nancy F. and Joseph P. Keithley)", "citations": [], "footnotes": [], "date": "?\u20132016", "sortorder": 1}, {"description": "Nancy F. and Joseph P. Keithley, Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "2016\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": "Born in Seto, Aichi prefecture, Okabe was the son of influential potter Kat\u014d Tokur\u014d (1897\u20131985).", "description": "This water jar was made to hold the water used in tea gatherings. Okabe Mineo took his inspiration for the lidded vessel from the aesthetics of tea master Furuta Oribe (1544\u20131615), who initiated the color schemes and sometimes flamboyant designs that characterize the so-called Oribe style.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117245212"], "internet_archive": []}, "citations": [{"citation": "Nihon \u0100to Sent\u0101 (\u65e5\u672c\u30a2\u30fc\u30c8\u30bb\u30f3\u30bf\u30fc) ed., \u9676\u6101\uff0d\u5ca1\u90e8\u5dba\u7537\u4f5c\u54c1\u96c6 [<em>To\u0304shu\u0304: Okabe Mineo sakuhinshu\u0304</em> = Ceramic Melancholy: Collected Works of Okabe Mineo]. Tokyo: Sho\u0304gakkan, 2007.", "page_number": "Mentioned and Reproduced: p. 52, pl. 61", "url": ""}, {"citation": "Maske, Andrew L. <em>A Palette for Genius: Japanese Water Jars for the Tea Ceremony: Presented at Joan B. Mirviss Ltd., New York, Collaboration with Shibuya Kuradatoen Co., Ltd., March 10-April 15, 2016</em>. New York: Joan B. Mirviss Ltd., 2016.", "page_number": "Reproduced: front cover, back cover (detail), p. 9", "url": ""}, {"citation": "Rousmaniere, Nicole Coolidge. \"Japanese Ceramics.\" In <em>The Keithley Collection at the Cleveland Museum of Art, </em>edited by Heather Lemonedes Brown, 230\u2013251. Cleveland, OH: The Cleveland Museum of Art, 2022.", "page_number": "Mentioned and Reproduced: pp. 238\u2013239; Mentioned: p. 269", "url": ""}], "url": "https://clevelandart.org/art/2020.198.b", "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": 399000, "creators": [{"id": 64357, "description": "Okabe Mineo (Japanese, 1919\u20131990)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\u5ca1\u90e8 \u5dba\u7537", "birth_year": "1919", "death_year": "1990", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2020-03-02T00:00:00-05:00", "sortable_date": 1960, "date_added_to_oa": null, "date_text": "1960", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "2020.198", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:03.041000"}, {"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": 677381, "accession_number": "2024.66", "share_license_status": "Copyrighted", "tombstone": "White and Red Still Life, 1947. Fran\u00e7oise Gilot (French, 1921\u20132023). Gouache and graphite on thick wove paper; sheet: 65.1 x 50.4 cm (25 5/8 x 19 13/16 in.). The Cleveland Museum of Art, Severance and Greta Millikin Purchase Fund, 2024.66. \u00a9 Fran\u00e7oise Gilot", "current_location": null, "title": "White and Red Still Life", "creation_date": "1947", "creation_date_earliest": 1947, "creation_date_latest": 1947, "artists_tags": ["female"], "culture": ["France"], "technique": "gouache and graphite on thick wove paper", "support_materials": [], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 65.1 x 50.4 cm (25 5/8 x 19 13/16 in.)", "dimensions": {"sheet": {"height": 0.651, "width": 0.504}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Fran\u00e7oise Gilot", "inscriptions": [{"inscription": "Signed and dated, lower right, in graphite: 1947. F. Gilot.; Gilot archive label, on verso, in black: G. 707 archives / White and Red Still Life / Nov. 1947 / Pencil and gouache / Size 66 cm x 50 cm / Fran\u00e7oise Gilot; in blue: Collection Serge Panijel; Watermark: MB", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 317581, "title": "Picasso and Paper", "description": "<i>Picasso and Paper</i>. The Cleveland Museum of Art, Cleveland, OH (co-organizer) (December 8, 2024-March 23, 2025).", "opening_date": "2024-12-08T05:00:00"}], "legacy": [{"description": "<em>Fran\u00e7oise Gilot. </em>Rosenberg &amp; Co., New York, NY (April 3 \u2013 July 3, 2024).", "opening_date": "2024-04-03T04:00:00Z"}]}, "provenance": [{"description": "Studio of the artist, acquired by Serge Panijel, New York, NY", "citations": [], "footnotes": null, "date": "1947\u2013after 2002", "sortorder": 1}, {"description": "Serge Panijel, New York, NY", "citations": [], "footnotes": null, "date": "after 2002\u20132024", "sortorder": 2}, {"description": "(Rosenberg & Co., New York, NY sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "2024", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "September 9, 2024\u2013", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "To create the vivid red tonality in this drawing, Fran\u00e7oise Gilot painted with cadmium red, a pigment known for its brightness and opacity.", "description": "In this drawing, Fran\u00e7oise Gilot portrayed everyday household objects while incorporating numerous vantage points. Gilot developed this technique alongside Pablo Picasso, with whom she had a relationship from 1943 until 1953. Together, the two experimented with geometric abstraction. Rather than pure formal experimentation, Gilot also incorporated autobiographical references into her work\u2014here, for example, the rounded shapes stood for femininity, disrupted by angular, masculine forms.", "external_resources": {"wikidata": [], "internet_archive": []}, "citations": [{"citation": "Corwin, William. \u201cFran\u00e7oise Gilot: Charting the Path of a Modern Master.\u201d <em>Art &amp; Antiques</em> (May/June 2024).", "page_number": "Mentioned: pp. 68-69; Reproduced: p. 70.", "url": ""}, {"citation": "Russo, Jillian. \u201cFran\u00e7oise Gilot.\u201d <em>Brooklyn Rail</em> (May 2024).", "page_number": "Mentioned", "url": ""}, {"citation": "Holman, Matthew, et al. <em>Fran\u00e7oise Gilot</em>. Exh. Cat. New York: Rosenberg &amp; Co., 2024.", "page_number": "Mentioned: pp. 11-12, 22, 72, 110; Reproduced: p. 73", "url": ""}], "catalogue_raisonne": "Gilot archive G.707", "url": "https://clevelandart.org/art/2024.66", "images": {}, "alternate_images": [], "creditline": "Severance and Greta Millikin Purchase Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 677381, "creators": [{"id": 37025, "description": "Fran\u00e7oise Gilot (French, 1921\u20132023)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1921", "death_year": "2023", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2024-09-09T04:00:00Z", "sortable_date": 1947, "date_added_to_oa": null, "date_text": "1947", "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 00:09:55.722000"}, {"id": 114107, "accession_number": "1933.38", "share_license_status": "Copyrighted", "tombstone": "Sky Ride (Century of Progress Prints no. 1005), 1933. Walter Dorwin Teague (American, 1883\u20131960), Marshall Field & Co. (American, Chicago, 1852\u20132005). Silk: plain weave, printed; overall: 49.2 x 50.8 cm (19 3/8 x 20 in.). The Cleveland Museum of Art, Gift of Mrs. Edd A. Ruggles, 1933.38", "current_location": "234 Textile Gallery", "title": "Sky Ride (Century of Progress Prints no. 1005)", "creation_date": "1933", "creation_date_earliest": 1933, "creation_date_latest": 1933, "artists_tags": ["male"], "culture": ["America"], "technique": "Silk: plain weave, printed", "support_materials": [], "department": "Textiles", "collection": "Textiles", "type": "Textile", "measurements": "Overall: 49.2 x 50.8 cm (19 3/8 x 20 in.)", "dimensions": {"overall": {"height": 0.492, "width": 0.508}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 688299, "title": "American Printed Silks, 1927\u20131947", "description": "<i>American Printed Silks, 1927\u20131947</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 9, 2025-November 8, 2026).", "opening_date": "2025-11-09T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [{"id": 114176, "description": "Sky Ride (Century of Progress Prints no. 1005), 1933. Walter Dorwin Teague (American, 1883\u20131960), Marshall Field & Co. (American, Chicago, 1852\u20132005). Silk: plain weave, printed; overall: 51.4 x 52.1 cm (20 1/4 x 20 1/2 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1933.426", "relationship": null}], "former_accession_numbers": [], "did_you_know": null, "description": "This printed silk square was designed by American industrial designer Walter Dorwin Teague (1883-1960) for the department store Marshall Field and Company. The abstract, geometric, architectural pattern was inspired by the Sky Ride towers at the Century of Progress exposition in Chicago (1933-34). Sky ride was a transporter bridge attraction that ferried visitors across the exposition fairgrounds. During its short installation Sky Ride carried more than 4 million passengers.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80006764"], "internet_archive": []}, "citations": [{"citation": "Century of Progress International Exposition. <em>Official Pictures of a Century of Progress Exposition.</em> Kaufmann &amp; Fabry Co. (Chicago, Ill: 1933)", "page_number": "", "url": ""}, {"citation": "\"The Store Book: Views and Facts of the Retail Store of Marshall Field &amp; Company,\" Marshall Field &amp; Company (1933)", "page_number": "", "url": "https://www.lib.uchicago.edu/ead/pdf/century0127.pdf"}, {"citation": "\"The Store and A Century of Progress 1934, Marshall Field &amp; Company, Chicago,\" <em>Fashion of the Hour,</em> Marshall Field &amp; Company (1934)", "page_number": "", "url": "https://digital.hagley.org/08084890_the_store_and_a_century"}, {"citation": "Reid, Kenneth. \"Walter Dorwin Teague, Master of Design,\" <em>Pencil Points</em> (New York: Architectural Review, Inc, 1937)", "page_number": "", "url": ""}, {"citation": "Teague, Walter Dorwin. <em>Design This Day: The Technique of Order in the Machine Age.</em> New York: Harcourt, Brace and Company, 1940.", "page_number": "", "url": ""}, {"citation": "Marchand, Roland. 1991. \u201cThe Designers Go to the Fair: Walter Dorwin Teague and the Professionalization of Corporate Industrial Exhibits, 1933-1940.\u201d <em>Design Issues</em> 8 (1)", "page_number": "pp. 4-17", "url": "https://www.jstor.org/stable/1511449"}, {"citation": "Boardman, Michelle. <em>All That Jazz: Printed Fashion Silks of the '20s and '30s.</em> Allentown, Pa: Allentown Art Museum, 1998.", "page_number": "pp. 17-20", "url": ""}, {"citation": "Allen, Franklin.<em> Silk Industry of the World at the Opening of the Twentieth Century.</em> New York, Silk Association of America: Nabu Press, 2010.", "page_number": "", "url": ""}], "url": "https://clevelandart.org/art/1933.38", "images": {}, "alternate_images": [], "creditline": "Gift of Mrs. Edd A. Ruggles", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Arlene M. and Arthur S. Holden Textile Gallery", "athena_id": 114107, "creators": [{"id": 41360, "description": "Walter Dorwin Teague (American, 1883\u20131960)", "extent": null, "qualifier": null, "role": "designed by", "biography": "Industrial designer and architect Walter Dorwin Teague (1883-1960) was a pioneering American modern industrial designer. Best known for his design of the Ford Building at the 1939 New York World\u2019s Fair, Teague was also responsible for the interior design of Detroit-based industrial architect Albert Kahn\u2019s (1869-1942) Ford pavilion at the Century of Progress exposition (Chicago, 1933-34). Teague impressed the public with his minimalism and dramatic lighting, a style that can be seen in his designs for cameras, radios, graphics, textiles and more. The Cleveland Museum of Art owns ten of Teague\u2019s silk textiles in eight different patterns inspired by the architectural installations at the Century of Progress exposition.", "name_in_original_language": null, "birth_year": "1883", "death_year": "1961", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 41363, "description": "Marshall Field & Co. (American, Chicago, 1852\u20132005)", "extent": null, "qualifier": null, "role": "manufacturer", "biography": "Built from a small dry goods store in the 1850s, Marshall Field and Co. (1852-2006) was one of the United States\u2019 largest department stores by 1930. Marshall Field offered international luxuries\u2014boasting oriental rug galleries and French dressing parlors. In the summer of 1933 alone, store guides (called Sightseers) led over 100,000 tours. In 1930, the company opened the Chicago Merchandise Mart, a massive expansion of their wholesale operations into a new building that was at the time the largest building in the world. It has its own zip code! Walter Dorwin Teague\u2019s Century of Progress silk prints were manufactured and printed by Marshall Field and Co. in celebration of the Century of Progress exposition, held in Chicago in 1933-34. Walter Dorwin Teague\u2019s silks, trademarked under the name <em>Silks Beau Monde</em>, were exhibited on the fourth floor of the Merchandise Mart; they were woven, dyed and printed in Marshall Field\u2019s mill in Union Hill, New Jersey.", "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1933-05-26T00:00:00", "sortable_date": 1933, "date_added_to_oa": null, "date_text": "1933", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:12.225000"}, {"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": 374816, "accession_number": "2020.259", "share_license_status": "CC0", "tombstone": "Portrait of a Government Official (\uad00\ub8cc \ucd08\uc0c1), 1921. Chae Yongshin (Korean, 1848\u20131941). Hanging scroll; ink and color on silk; overall: 156.4 x 87.3 cm (61 9/16 x 34 3/8 in.); painting only: 127 x 71.1 cm (50 x 28 in.). The Cleveland Museum of Art, John L. Severance Fund, 2020.259", "current_location": null, "title": "Portrait of a Government Official", "title_in_original_language": "\uad00\ub8cc \ucd08\uc0c1", "creation_date": "1921", "creation_date_earliest": 1921, "creation_date_latest": 1921, "artists_tags": ["Asian (from 1900 to present)", "male"], "culture": ["Korea, Japanese colonial period (1910\u22121945)"], "technique": "Hanging scroll; ink and color on silk", "support_materials": [], "department": "Korean Art", "collection": "ASIAN - Hanging scroll", "type": "Painting", "measurements": "Overall: 156.4 x 87.3 cm (61 9/16 x 34 3/8 in.); Painting only: 127 x 71.1 cm (50 x 28 in.)", "dimensions": {"painting only": {"height": 1.27, "width": 0.711}, "overall": {"height": 1.564, "width": 0.873}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "\u958b\u95e2\u4e00\u53430\u5341\u4e94\u842c\u4e94\u5343\u516b\u767e\u4e09\u5341\u4e5d\u5e74  \u8f9b\u9149\u5341\u4e8c\u6708\u4e0a\u6fa3\u524d \u90e1\u5b88\u5f9e\u4e8c\u54c1\u5fa1\u8cdc\u865f,  \u77f3\u6c5f \u8521\u9f8d\u81e3\u516b\u5341\u7fc1\u6479\u5beb. \n[\u5370] \u5b9a\u5c71\u90e1\u5b88 \u8521\uf9c4\u81e3\u7ae0", "inscription_translation": "The former governor of the second degree painted in the first half of December in the year of 1921, 10,155,839 years after the beginning of the world, Seokgang, a royally bestowed title, Chae Yong-shin painted at the age of 80.\n[Seal] The former Jeongsan governor Chae Yong-shin\u2019s seal.", "inscription_remark": "The calligraphic inscription written in ink and the artist\u2019s seal are found on the back of the painting.", "sortorder": null}], "exhibitions": {"current": [{"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": []}, "provenance": [{"description": "Dr. Poul Stengaard Hansen [1919\u20132019], by descent to his daughter", "citations": [], "footnotes": ["<div><!--block-->Hansen worked from 1963 to 1965 as the Chief of Mission at the National Medical Center in Seoul, Korea</div>"], "date": "early 1960s\u20132019", "sortorder": 1}, {"description": "(Kang Collection of Korean Art, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "2019\u20132020", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2020\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1.2020"], "did_you_know": "It was European photography introduced to Korea in the end of the 1800s that most inspired Chae\u2019s naturalistic approach to his subject.", "description": "Wearing a dark green court uniform, a man is seated in a chair covered with a leopard skin, a gift from the royal court to a newly appointed officer. The embroidered rank badge with a design of a single flying crane identifies the sitter\u2019s bureaucratic status: the third ranked officer. In this work, the painter Chae Yongshin (1848\u20131941) rendered a newly promoted government official's shy smile, giving a glimpse into his mixed feelings of confidence and anxiety about his future professional career.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117244128"], "internet_archive": ["https://archive.org/details/clevelandart-2020.259-portrait-of-a-govern"]}, "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. \"Portrait of Joseon Period [\uc870\uc120\uc2dc\ub300\uc758 \ucd08\uc0c1\ud654].\" <em>Misulsa Yeongu: Journal of Art History</em>, vol. 12 (December, 1998): 207-224.", "page_number": null, "url": "http://www.dbpia.co.kr/Article/NODE00195368"}, {"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): 95-129.", "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": "<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": "\"Recommendations from Our Curators.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>61, no. 2 (Spring 2021): 32.", "page_number": "Reproduced and Mentioned: p. 32", "url": ""}], "url": "https://clevelandart.org/art/2020.259", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2020.259/2020.259_web.jpg", "width": "508", "height": "900", "filesize": "275626", "filename": "2020.259_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2020.259/2020.259_print.jpg", "width": "1920", "height": "3400", "filesize": "2381633", "filename": "2020.259_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2020.259/2020.259_full.tif", "width": "7628", "height": "13505", "filesize": "309075748", "filename": "2020.259_full.tif"}}, "alternate_images": [{"date_created": "2020-04-06T12:07:20", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.259/2020.259_alt0_web.jpg", "width": "494", "height": "900", "filesize": "255371"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.259/2020.259_alt0_print.jpg", "width": "1580", "height": "2880", "filesize": "890447"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.259/2020.259_alt0_full.tif", "width": "1580", "height": "2880", "filesize": "13675208"}}, {"date_created": "2021-02-24T12:40:58", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.259/2020.259_alt1_web.jpg", "width": "467", "height": "900", "filesize": "223416"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.259/2020.259_alt1_print.jpg", "width": "1764", "height": "3400", "filesize": "1726804"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.259/2020.259_alt1_full.tif", "width": "7190", "height": "13861", "filesize": "299008064"}}, {"date_created": "2021-02-24T15:33:14", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.259/2020.259_alt2_web.jpg", "width": "675", "height": "900", "filesize": "315104"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.259/2020.259_alt2_print.jpg", "width": "2550", "height": "3400", "filesize": "3074661"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.259/2020.259_alt2_full.tif", "width": "10652", "height": "14204", "filesize": "453930892"}}, {"date_created": "2021-02-24T15:49:12", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.259/2020.259_alt3_web.jpg", "width": "482", "height": "900", "filesize": "156296"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.259/2020.259_alt3_print.jpg", "width": "1821", "height": "3400", "filesize": "1093563"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.259/2020.259_alt3_full.tif", "width": "7326", "height": "13679", "filesize": "300661432"}}, {"date_created": "2021-02-24T16:02:03", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.259/2020.259_alt4_web.jpg", "width": "392", "height": "900", "filesize": "157436"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.259/2020.259_alt4_print.jpg", "width": "1481", "height": "3400", "filesize": "1751229"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.259/2020.259_alt4_full.tif", "width": "5642", "height": "12953", "filesize": "219266420"}}], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 374816, "creators": [{"id": 374819, "description": "Chae Yongshin (Korean, 1848\u20131941)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\ucc44\uc6a9\uc2e0", "birth_year": "1848", "death_year": "1941", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2020-12-07T05:00:00Z", "sortable_date": 1921, "date_added_to_oa": null, "date_text": "1921", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": "This portrait of an officer is mounted in a two-color hanging scroll format using blue and beige silk damask with flower patterns. While the mounting is very worn and damaged, the pigment from the painting overlaps the edges of the border silks in some areas, which seems to indicate that it is original to the painting. Not many Korean paintings have survived with their original mountings, and so it is very important to preserve this format. Any future treatment will attempt to save and reuse the current silks and lining fabric with inscription.", "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Portrait of a Young Officer"], "is_highlight": false, "updated_at": "2026-03-27 16:32:49.873000"}, {"id": 166192, "accession_number": "2008.144", "share_license_status": "Copyrighted", "tombstone": "Wall Drawing #4, 1969. Sol LeWitt (American, 1928\u20132007). Black pencil drawn directly on the wall; overall: 304.7 x 304.7 cm (119 15/16 x 119 15/16 in.); paper: 30.5 x 22.9 cm (12 x 9 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 2008.144. \u00a9  The LeWitt Estate / Artists Rights Society (ARS), New York", "current_location": null, "title": "Wall Drawing #4", "creation_date": "1969", "creation_date_earliest": 1969, "creation_date_latest": 1969, "artists_tags": ["male", "Jewish artists"], "culture": ["America"], "technique": "black pencil drawn directly on the wall", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Installation Media", "type": "Drawing", "measurements": "Overall: 304.7 x 304.7 cm (119 15/16 x 119 15/16 in.); Paper: 30.5 x 22.9 cm (12 x 9 in.)", "dimensions": {"overall": {"height": 3.047, "width": 3.047}, "paper": {"height": 0.305, "width": 0.229}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  The LeWitt Estate / Artists Rights Society (ARS), New York", "inscriptions": [], "exhibitions": {"current": [], "legacy": [{"description": "\"Sol LeWitt\", Konrad Fischer Gallery, Dusseldorf, Germany, April 22- May 16, 1969.", "opening_date": "1969-04-22T00:00:00"}, {"description": "\"Sol LeWitt, Early Works 1960's- 1970's\", Bjorn Ressle Gallery, New York, NY, June 25- September 20, 2008.", "opening_date": "2008-06-25T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "A conceptual artist, LeWitt began drawing directly on walls in the late 1960s and early '70s in order to create works unconstrained by paper. He developed a system of ownership by which the buyer of the drawing receives a certificate and a rendering with directions for any other drafter to use. In this way, LeWitt opens up the work to the interpretation of the drafter. Although conceived by LeWitt, this particular version was accomplished by representatives from LeWitt's studio in concert with museum installation staff.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79996130"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2008.144", "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": 166192, "creators": [{"id": 14289, "description": "Sol LeWitt (American, 1928\u20132007)", "extent": null, "qualifier": null, "role": "artist", "biography": "One of the most important and influential contemporary artists, Sol LeWitt has created a significant body of work in different media, including sculpture, drawing, printmaking, and photography. Born in Hartford, Connecticut, LeWitt received a B.F.A. from Syracuse University (1949), beginning his career as a painter but later abandoning the flat surface of the canvas in favor of three-dimensional minimalist forms. During the 1960s, he and other artists of his generation challenged the basic nature of art by developing conceptual art, which holds that the idea behind a work of art is as important as its eventual visualization. While his art tends to be systematic and intellectual, LeWitt acknowledges the arbitrary and unexpected that arise from the creative process, and that the viewer's response is incidental to the artist's intention. According to this philosophy, his photographs document what he makes, acting as proof of the creative process but also as independent art objects that relate to specific projects. LeWitt's photographic works have been included in several group exhibitions, including Mirrors and Windows: American Photography since 1960 at the Museum of Modern Art, New York (1978), Target III: In Sequence at the Museum of Fine Arts, Houston (1982), Special Collections: The Photographic Order from Pop to Now at the International Center of Photography, New York (1992), and Beyond Boundaries: Art of the Sixties and Seventies at the San Francisco Museum of Modern Art (1993). The Cleveland Museum of Art also owns a sculpture by LeWitt. He lives in New York. A.W.", "name_in_original_language": null, "birth_year": "1928", "death_year": "2007", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2008-12-08T00:00:00", "sortable_date": 1969, "date_added_to_oa": null, "date_text": "1969", "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 00:10:23.179000"}, {"id": 135136, "accession_number": "1958.17", "share_license_status": "Copyrighted", "tombstone": "The Road to Nantes, 1929. Pierre Bonnard (French, 1867\u20131947). Oil on fabric; framed: 92.1 x 89.9 x 7.6 cm (36 1/4 x 35 3/8 x 3 in.); unframed: 69.2 x 66.2 cm (27 1/4 x 26 1/16 in.). The Cleveland Museum of Art, Bequest of Leonard C. Hanna Jr., 1958.17. \u00a9 Artists Rights Society (ARS), New York", "current_location": null, "title": "The Road to Nantes", "creation_date": "1929", "creation_date_earliest": 1929, "creation_date_latest": 1929, "artists_tags": ["Nabis", "male"], "culture": ["France, 20th century"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 92.1 x 89.9 x 7.6 cm (36 1/4 x 35 3/8 x 3 in.); Unframed: 69.2 x 66.2 cm (27 1/4 x 26 1/16 in.)", "dimensions": {"framed": {"height": 0.921, "width": 0.899, "depth": 0.076}, "unframed": {"height": 0.692, "width": 0.662}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "Signed in light-gray paint lower left corner: Bonnard\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 520736, "title": "Bonnard and His Environment", "description": "<i>Bonnard and His Environment</i>. The Museum of Modern Art, New York, NY (organizer) (October 5-November 29, 1964); The Art Institute of Chicago, Chicago, IL (January 8-February 28, 1965); Los Angeles County Museum of Art, Los Angeles, CA (March 31-May 30, 1965).", "opening_date": "1964-10-05T04:00:00"}, {"id": 515807, "title": "Pierre Bonnard, 1867-1947", "description": "<i>Pierre Bonnard, 1867-1947</i>. Royal Academy of Arts, London, United Kingdom of Great Britain and Northern Ireland (organizer) (January 6-March 6, 1966).", "opening_date": "1966-01-06T05:00:00"}, {"id": 516350, "title": "Pierre Bonnard: 100th Anniversary", "description": "<i>Pierre Bonnard: 100th Anniversary</i>. Haus der Kunst, Munich, M\u00f9nich, Germany (organizer) (October 8, 1966-January 1, 1967); Mus\u00e9e de l'Orangerie, Paris, France (January 13-April 15, 1967).", "opening_date": "1966-10-08T04:00:00"}, {"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": "New York, Museum of Modern Art; cma. Pierre Bonnard (1948), no. 60, 104 (repr.).", "opening_date": "1948-01-01T00:00:00"}, {"description": "New York, Metropolitan Museum of Art. Summer Loan (June-September 1949), no catalogue (group of fourteen Hanna paintings on loan).", "opening_date": "1949-06-01T00:00:00"}, {"description": "Palm Beach, Society of the Four Arts. Loan Exhibition of Works by Pierre Bonnard (1957), no. 20.", "opening_date": "1957-01-01T00:00:00"}, {"description": "New York, Museum of Modern Art; Los Angeles County Museum; Art Institute of Chicago. Bonnard and His Environment (1964-65), 108 (no. 50), 54 (repr.).", "opening_date": "1964-01-01T00:00:00"}, {"description": "London, Royal Academy of Arts. Pierre Bonnard (1966), no. 207.", "opening_date": "1966-01-01T00:00:00"}, {"description": "Munich, Haus der Kunst. Pierre Bonnard (1966-67), no. 109 (repr.).", "opening_date": "1966-01-01T00:00:00"}, {"description": "Paris, Orangerie des Tuileries. Pierre Bonnard: Centenaire de sa naissance (1967), no. 120-bis (repr.).", "opening_date": "1967-01-01T00:00:00"}, {"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": "Bought by Bernheim-Jeune, Paris, in February 1930. Pierre Loeb, Paris. Valentine Gallery, New York. Sold in 1944 to Leonard C. Hanna. Bequeathed to the CMA in 1958.", "citations": [], "footnotes": [], "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Bonnard probably painted this scene depicting a road on the way to Nantes, a port city on France's Atlantic coast, while touring Brittany by car in the summer of 1929. Bonnard was a founding member of the Nabis (Hebrew for prophets), a group of artists who formed in Paris during the 1890s. Inspired by Paul Gauguin, they emphasized inventive, decorative design and color liberated from natural appearances.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60517602"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art. <em>In Memoriam: Leonard C. Hanna, Jr.</em> Cleveland: The Cleveland Museum of Art, 1958.", "page_number": "cat. fig. 1", "url": "https://archive.org/details/LeonardCHanna/page/n27"}, {"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. 6", "url": "http://www.jstor.org/stable/25159565"}, {"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. 50-53, Vol. I, no. 19", "url": ""}], "url": "https://clevelandart.org/art/1958.17", "images": {}, "alternate_images": [], "creditline": "Bequest of Leonard C. Hanna Jr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 135136, "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": "1958-11-29T00:00:00", "sortable_date": 1929, "date_added_to_oa": null, "date_text": "1929", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:07:38.819000"}, {"id": 151947, "accession_number": "1984.23", "share_license_status": "Copyrighted", "tombstone": "Bubble Emerging from Clay Pipe and Frosted Leaf, 1937. Man Ray (American, 1890\u20131976). Gelatin silver print, photogram; image: 40 x 29.7 cm (15 3/4 x 11 11/16 in.); matted: 55.9 x 45.7 cm (22 x 18 in.). The Cleveland Museum of Art, John L. Severance Fund, 1984.23. \u00a9 2013 Man Ray Trust / Artists Rights Society (ARS), New York / ADAGP, Paris", "current_location": null, "title": "Bubble Emerging from Clay Pipe and Frosted Leaf", "creation_date": "1937", "creation_date_earliest": 1937, "creation_date_latest": 1937, "artists_tags": ["male", "Jewish artists"], "culture": ["America"], "technique": "gelatin silver print, photogram", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 40 x 29.7 cm (15 3/4 x 11 11/16 in.); Matted: 55.9 x 45.7 cm (22 x 18 in.)", "dimensions": {"image": {"height": 0.4, "width": 0.297}, "matted": {"height": 0.559, "width": 0.457}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 2013 Man Ray Trust / Artists Rights Society (ARS), New York / ADAGP, Paris", "inscriptions": [{"inscription": "Scratched into photograph on recto: \"Man Ray [signed] 37\"; written in pencil on verso: \"A\"; \"Man Ray [signed] 1937\"", "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": 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": 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": 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": 229110, "title": "The Colour of My Dreams: The Surrealist Revolution in Art", "description": "<i>The Colour of My Dreams: The Surrealist Revolution in Art</i>. Vancouver Art Gallery, Vancouver, Canada (organizer) (May 28-October 2, 2011).", "opening_date": "2011-05-28T00:00:00"}], "legacy": [{"description": "CMA, April 3 - May 5, 1985: \"Year in Review 1984,\" CMA Bulletin, 72 (April 1985), p. 202, no. 63, repr. p. 195.", "opening_date": "1985-04-03T00:00:00"}, {"description": "CMA, July 7 - August 23, 1987: \"Images of the Mind,\"  catalogue illustrated p. 28.", "opening_date": "1987-07-07T00:00:00"}, {"description": "Washington, D.C. National Museum of American Art, December 2, 1988 - February 20, 1989: \"Perpetual Motif: The Art of Man Ray.\"", "opening_date": "1988-12-02T00:00:00"}, {"description": "Los Angeles, CA, Museum of Contemporary Art, March 19 - May 28, 1989: \"Perpetual Motif: The Art of Man Ray.\"", "opening_date": "1989-03-19T00:00:00"}, {"description": "Houston, TX, The Menil Collection, June 30 - September 17, 1989: \"Perpetual Motif: The Art of Man Ray.\"", "opening_date": "1989-06-30T00:00:00"}, {"description": "Philadelphia, PA, The Philadelphia Museum of Art, October 14, 1989 - January 7, 1990: \"Perpetual Motif: The Art of Man Ray.\"", "opening_date": "1989-10-14T00:00:00"}, {"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": "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"}, {"description": "Vancouver Art Gallery (5/28/2011 - 10/2/2011):  \"The Colour of My Dreams: The Surrealist Revolution in Art\"", "opening_date": "2011-05-28T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "One of the 20th century's most inventive and witty photographers, Man Ray was one of several artists who rediscovered the photogram technique. This cameraless approach had first been used during the early history of photography by William Henry Fox Talbot and Anna Atkins. <em>Bubble Emerging from Clay Pipe and Frosted Leaf</em> reflects Man Ray's preoccupation with ordinary articles brought together by chance, ambiguity, and unconscious association. For him, the down-turned pipe bowl symbolized lost dreams and the separated leaves referred to the Surrealists leaving Paris in the face of the oncoming second World War.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780786"], "internet_archive": []}, "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. 202, no. 63; Reproduced: p. 195", "url": "http://www.jstor.org/stable/25159897"}, {"citation": "Cleveland Museum of Art, Tom E Hinson. <em>Catalogue of Photography</em>. Cleveland, OH: Cleveland Museum of Art, 1996.", "page_number": "Reproduced: P. 229", "url": ""}], "url": "https://clevelandart.org/art/1984.23", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 151947, "creators": [{"id": 618, "description": "Man Ray (American, 1890\u20131976)", "extent": null, "qualifier": null, "role": "artist", "biography": "Man Ray (Emanuel Rudnitsky) American, 1890-1976 Man Ray (born Emanuel Rudnitsky in Philadelphia) was an avant-garde painter and photographer active in the dada and surrealist movements who became known for his experiments with the photogram and solarization. He grew up in New York and in his 20s worked in the city as a commercial artist, attending night classes at the National Academy of Design and lectures at the avant-garde Ferrer Social Center. Visiting the 1913 Armory show and \"291,\" Alfred Stieglitz's gallery, he became increasingly familiar with the latest developments in modern art. In 1915 Man Ray had his first one-person show of paintings and drawings at New York's Daniel Gallery and met French artist Marcel Duchamp, with whom he became lifelong friends. He also began taking photographs that year as a way to document his paintings. Along with Duchamp and Francis Picabia, another French artist, Man Ray was a member of the New York dada group during World War I and in the years immediately following the war. In 1921 he moved to Paris, soon establishing himself as a professional portrait and fashion photographer. He also became interested in experimental photography, producing photograms (cameraless photographs that he called rayographs) and pioneering the use of solarization, a technique accidentally discovered by his darkroom assistant, Lee Miller, in 1929. Throughout the 1920s-30s Man Ray worked with surrealist painters and poets on a number of collaborative projects, providing photographs for their books and articles. He also made avant-garde films, including Le Retour \u00e0 la raison (1923), Emak Bakia (1926), L'Etoile de mer (1928), and Les Mysteres du Chateau du Des (1929). Widely recognized for its innovation, his work was shown at the first invitational exhibition of contemporary modernist photography held in Paris at the Salon de l'Escalier at the Th\u00e9atre des Champs-Elys\u00e9es (1928) and at the Film und Foto exhibition in Stuttgart (1929). In 1940 Man Ray moved to Hollywood, where he worked as a freelance photographer and painter until returning to Paris in 1951. He experimented with color photography in the late 1950s and early 1960s, but painting became his primary interest. One of his paintings is also in the collection of the Cleveland Museum of Art. Man Ray's photographs have been exhibited in more than 100 one-artist exhibitions, including a retrospective at the Los Angeles County Museum of Art (1966), a showing at the Venice Biennale (1976), and major exhibitions at the Kunstverein, Frankfurt (1979, and tour), and the Centre Georges Pompidou, Paris (1981). Awarded the Gold Medal for photography at the Venice Biennale in 1961, Man Ray's images, which emphasize chance and the irrational and which deliberately mock traditional ideas of art, continue to fascinate and inspire generations of photographers. M.M.", "name_in_original_language": null, "birth_year": "1890", "death_year": "1976", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1984-03-26T00:00:00", "sortable_date": 1937, "date_added_to_oa": null, "date_text": "1937", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:16.286000"}, {"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": "2026-04-07 20:16:26.412000"}, {"id": 293363, "accession_number": "2016.544", "share_license_status": "Copyrighted", "tombstone": "Serpent Deity (Nag Devta I), 1979. Mrinalini Mukherjee (Indian, 1949\u20132015). Undyed and dyed hemp rope and fibers; cotton; steel; overall: 114.3 x 83.8 x 129.5 cm (45 x 33 x 51 in.). The Cleveland Museum of Art, Gift of Phyllis Granoff, 2016.544. \u00a9 Mrinalini Mukherjee Foundation", "current_location": null, "title": "Serpent Deity (Nag Devta I)", "creation_date": "1979", "creation_date_earliest": 1979, "creation_date_latest": 1979, "artists_tags": ["female", "Asian (from 1900 to present)", "LGBTQ+ (after 1900)"], "culture": ["India"], "technique": "Undyed and dyed hemp rope and fibers; cotton; steel", "support_materials": [], "department": "Indian and Southeast Asian Art", "collection": "Indian Art", "type": "Mixed Media", "measurements": "Overall: 114.3 x 83.8 x 129.5 cm (45 x 33 x 51 in.)", "dimensions": {"overall": {"height": 1.143, "width": 0.838, "depth": 1.295}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Mrinalini Mukherjee Foundation", "inscriptions": [], "exhibitions": {"current": [{"id": 393229, "title": "Contemporary Installation", "description": "<i>Contemporary Installation</i>. The Cleveland Museum of Art (organizer).", "opening_date": "2021-04-12T04:00:00"}], "legacy": []}, "provenance": [{"description": "Mrinalini Mukherjee [1949-2015], New Delhi, India, to Phyllis Granoff", "citations": [], "footnotes": [], "date": "1979", "sortorder": 1}, {"description": "Phyllis Granoff [b. 1947], New Haven, CT, given to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1979\u20132016", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2016\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Mrinalini Mukherjee often worked intuitively to create her hemp textile pieces, without sketches, models, or preparatory drawings.", "description": "Mrinalini Mukherjee's array of organic abstract forms evokes human and animal bodies as well as vegetation. Mostly made of knotted hemp fiber, a material and technique traditionally used by village women in rural India, this contemporary sculpture references the serpent deities that have been revered in southern Asia for thousands of years.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79865537"], "internet_archive": []}, "citations": [{"citation": "Mukherjee, Mrinalini, David Elliott, Gulam Mohammed Sheikh, Jagdish Swaminathan, and Chrissie Iles. <em>Mrinalini Mukherjee: Sculpture</em>. Oxford: Museum of Modern Art Oxford, 1994.", "page_number": "p. 12", "url": null}, {"citation": "Ella Datta, <em>Art India</em>, Vol. XI, Issue IV, Quarter IV, 2006, p. 214.", "page_number": "p. 214", "url": null}, {"citation": "Murtaza Vali, \u201cMrinalini Mukherjee, National Gallery of Modern Art, New Delhi,\u201d <em>Artforum</em> (Summer 2015), 349\u201350.", "page_number": null, "url": null}, {"citation": "Mukherjee, Mrinalini, and Shanay Jhaveri. <em>Mrinalini Mukherjee</em>. Mumbai, India: The Shoestring Publisher, 2019.", "page_number": null, "url": null}, {"citation": "\"New Take on the New<em>: A </em>comprehensive reinstallation of the galleries of contemporary art offers fresh viewpoints on the art of our time.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>61, no. 2 (Spring 2021): Cover, 4-9.", "page_number": "Reproduced: P. 5; Mentioned: P. 4.", "url": ""}, {"citation": "\u201cNew Take on the New: A comprehensive reinstallation of the galleries of contemporary art offers fresh viewpoints on the art of our time.\"  <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>61, no. 2 (Spring 2021): 4-9.", "page_number": "Reproduced: P. 5; Mentioned: P. 4.", "url": ""}], "url": "https://clevelandart.org/art/2016.544", "images": {}, "alternate_images": [], "creditline": "Gift of Phyllis Granoff", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 293363, "creators": [{"id": 293370, "description": "Mrinalini Mukherjee (Indian, 1949\u20132015)", "extent": null, "qualifier": null, "role": "artist", "biography": "Born in Calcutta (now Kolkata), Meera Mukherjee studied painting, graphic design, and sculpture in Calcutta, New Delhi, Shantiniketan, and Munich. During her four years in Europe, she met and became acquainted with the work of Henry Moore (English, 1898\u20131986) and decided to adapt a similar modernist vision to rural Indian subjects and casting techniques. Mukherjee plays with formal abstraction and exaggerated proportions to achieve a modernist aesthetic that marries seamlessly with the Indigenous.", "name_in_original_language": null, "birth_year": "1949", "death_year": "2015", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2017-02-27T00:00:00-05:00", "sortable_date": 1979, "date_added_to_oa": null, "date_text": "1979", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Serpent Deity (Naga)"], "is_highlight": false, "updated_at": "2026-03-27 00:03:18.989000"}, {"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": 116961, "accession_number": "1937.514", "share_license_status": "Copyrighted", "tombstone": "Tree and Sea, Maine, 1919. John Marin (American, 1870\u20131953). Watercolor on thick wove paper; 22.9 x 29.8 cm (9 x 11 3/4 in.). The Cleveland Museum of Art, Dudley P. Allen Fund, 1937.514. \u00a9 Estate of John Marin / Artists Rights Society (ARS), New York", "current_location": null, "title": "Tree and Sea, Maine", "creation_date": "1919", "creation_date_earliest": 1919, "creation_date_latest": 1919, "artists_tags": ["male"], "culture": ["America"], "technique": "Watercolor on thick wove paper", "support_materials": [], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "22.9 x 29.8 cm (9 x 11 3/4 in.)", "dimensions": {"No Extent Specified": {"height": 0.229, "width": 0.298}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of John Marin / Artists Rights Society (ARS), New York", "inscriptions": [], "exhibitions": {"current": [{"id": 300831, "title": "John Marin Memorial Exhibition", "description": "<i>John Marin Memorial Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (November 17, 1955-January 1, 1956); San Francisco Museum of Modern Art, San Francisco, CA (March 1-October 13, 1956); The Phillips Collection (March 1-October 13, 1956); Minneapolis Institute of Art, Minneapolis, MN (March 1-October 13, 1956); Fowler Museum at UCLA, Los Angeles, CA (March 1-October 13, 1956); Museum of Fine Arts, Boston, Boston, MA (March 1-October 13, 1956).", "opening_date": "1955-11-17T05:00:00"}, {"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": "Estate of Charles T. Brooks", "citations": [], "footnotes": null, "date": "1937", "sortorder": 1}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In 1915, Marin bought a small island off the coast of Small Point Harbor, Maine.", "description": "By 1919, Marin was a summer regular in Maine where he continued to find inspiration for his experiments in watercolor. This composition focuses on an evergreen tree, which he often highlighted as a symbol of steadfastness amid a harsh and changing environment. Unusually realistic in terms of palette, Marin nevertheless played with the abstract shapes of the rising hill, horizon, and sea in this composition.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80011304"], "internet_archive": []}, "citations": [{"citation": "Coe, Nancy. \"'Rocks and Sea, Small Point, Maine.'\" <em>The Bulletin of the Cleveland Museum of Art </em>44, no. 1 (January 1957): 9-12.", "page_number": "Mentioned: p. 9", "url": "https://www.jstor.org/stable/25142179"}, {"citation": "Reich, Sheldon. John Marin: A Stylistic Analysis and Catalogue Raisonne\u0301. 2 vols. Tucson: University of Arizona Press, 1970.", "page_number": "II: 474, no. 19.43", "url": ""}], "url": "https://clevelandart.org/art/1937.514", "images": {}, "alternate_images": [], "creditline": "Dudley P. Allen Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 116961, "creators": [{"id": 3179, "description": "John Marin (American, 1870\u20131953)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1870", "death_year": "1953", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1937-12-20T00:00:00", "sortable_date": 1919, "date_added_to_oa": null, "date_text": "1919", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:07:54.762000"}, {"id": 138504, "accession_number": "1962.398", "share_license_status": "CC0", "tombstone": "Souvenir of Seville, 1905. Charles Conder (British, 1868\u20131909). Watercolor, gouache, and shell gold with graphite on silk; fabric: 20.3 x 39.7 cm (8 x 15 5/8 in.). The Cleveland Museum of Art, In memory of Mr. and Mrs. Ralph King, 1962.398", "current_location": null, "title": "Souvenir of Seville", "creation_date": "1905", "creation_date_earliest": 1905, "creation_date_latest": 1905, "artists_tags": ["male"], "culture": ["England, 20th century"], "technique": "watercolor, gouache, and shell gold with graphite on silk", "support_materials": [], "department": "Drawings", "collection": "DR - British", "type": "Drawing", "measurements": "Fabric: 20.3 x 39.7 cm (8 x 15 5/8 in.)", "dimensions": {"fabric": {"height": 0.203, "width": 0.397}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Inscribed, at center, in red watercolor and shell gold: FOR MY DEAR / STELLA / MARIS / SOUVENIR / OF SEVILLE / APRIL 1905; signed at lower left, in gray watercolor: CONDER; at lower right, in red watercolor and shell gold: CONDER", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 311482, "title": "Fans: East and West", "description": "<i>Fans: East and West</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 15, 1992-March 7, 1993).", "opening_date": "1992-12-15T05:00:00"}, {"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": "Mr. and Mrs. Gilbert P. Schafer, Shaker Heights, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "?-1962", "sortorder": 1}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1962-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Charles Conder exhibited his first fan design in 1893 and created a significant number of similar works over the following 15 years.", "description": "As famous for his watercolors on silk as he was for his self-destructive lifestyle, Charles Conder belonged to a generation that the poet W. B. Yeats called \"the last Romantics.\" His delicately tinted watercolors seem like fragments of a lost era, conjuring an imaginary world of beauty, leisure, and luxury. This painted fan was made on a trip to Spain that Conder took with his wife, Stella Maris, to witness the celebration and pageantry of Holy Week and Easter. Its bold color and dynamic composition memorialized a period of health and happiness spent in the Mediterranean.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80034416"], "internet_archive": ["https://archive.org/details/clevelandart-1962.398-souvenir-of-seville"]}, "citations": [{"citation": "Galbally, Ann. <em>Charles Conder: The Last Bohemian</em>. Victoria: Melbourne University Press, 2002.", "page_number": "Mentioned: p. 266", "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. 134-35, 144, no. 46; Reproduced: p. 135", "url": null}], "url": "https://clevelandart.org/art/1962.398", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1962.398/1962.398_web.jpg", "width": "1263", "height": "655", "filesize": "115806", "filename": "1962.398_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1962.398/1962.398_print.jpg", "width": "3400", "height": "1764", "filesize": "1146197", "filename": "1962.398_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1962.398/1962.398_full.tif", "width": "5996", "height": "3112", "filesize": "56014180", "filename": "1962.398_full.tif"}}, "alternate_images": [{"date_created": "2010-01-05T20:16:22", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1962.398/1962.398_alt0_web.jpg", "width": "1263", "height": "631", "filesize": "551670"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1962.398/1962.398_alt0_print.jpg", "width": "3400", "height": "1699", "filesize": "4569014"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1962.398/1962.398_alt0_full.tif", "width": "6438", "height": "3217", "filesize": "62165112"}}], "creditline": "In memory of Mr. and Mrs. Ralph King", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 138504, "creators": [{"id": 1533, "description": "Charles Conder (British, 1868\u20131909)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1868", "death_year": "1909", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1963-02-09T00:00:00", "sortable_date": 1905, "date_added_to_oa": null, "date_text": "1905", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:02:18.020000"}, {"id": 144895, "accession_number": "1970.111", "share_license_status": "Copyrighted", "tombstone": "From the Series:  The Coming, 1970. Liu Kuo-sung (Chinese, b. 1932). Hanging scroll; ink and collage on paper; overall: 207.4 x 81.1 cm (81 5/8 x 31 15/16 in.); painting only: 141.5 x 73.6 cm (55 11/16 x 29 in.). The Cleveland Museum of Art, Gift of Dr. and Mrs. Ku Yin Lin, 1970.111", "current_location": null, "title": "From the Series:  The Coming", "creation_date": "1970", "creation_date_earliest": 1970, "creation_date_latest": 1970, "artists_tags": ["male", "Asian (from 1900 to present)"], "culture": ["Taiwan"], "technique": "Hanging scroll; ink and collage on paper", "support_materials": [], "department": "Chinese Art", "collection": "ASIAN - Hanging scroll", "type": "Painting", "measurements": "Overall: 207.4 x 81.1 cm (81 5/8 x 31 15/16 in.); Painting only: 141.5 x 73.6 cm (55 11/16 x 29 in.)", "dimensions": {"painting only": {"height": 1.415, "width": 0.736}, "overall": {"height": 2.074, "width": 0.811}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "\u5289\u570b\u677e \u4e00\u4e5d\u4e030", "inscription_translation": "Liu Guosong 1970", "inscription_remark": "Artist signature and date, with a seal, lower left.", "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": 367949, "title": "Spotlight on a New Generation: Contemporary Chinese Artists", "description": "<i>Spotlight on a New Generation: Contemporary Chinese Artists</i>. The Cleveland Museum of Art (organizer) (February 6-November 1, 2020).", "opening_date": "2020-02-06T05:00:00"}], "legacy": []}, "provenance": [{"description": "Dr. Ku Yin Lin [1914\u20131983] and Mrs. Julia W. Lin [1918\u20131993], Cleveland Heights, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "?\u20131970", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1970\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Liu Kuo-sung envisioned the Fifth Moon Group bridging the deep ravine between Chinese and Western painting.", "description": "A pioneer in modern Chinese ink painting, Liu Kuo-sung left mainland China at the age of 17 for Taiwan where he founded the progressive Fifth Moon Group (\u4e94\u6708\u756b\u6703) in 1956. While artists in mainland China still used socialist realist styles and political propaganda, the group in Taipei already began to assimilate Western concepts and techniques such as American Abstract Expressionism with traditional ink painting. Impressed by the Apollo missions that landed the first human on the moon in 1969, Liu started to create series of moonscapes or landscapes of the cosmos (<em>taikong hua</em> \u592a\u7a7a\u756b), like this one, reflecting his newly gained vision of nature and the universe.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60470721"], "internet_archive": []}, "citations": [{"citation": "Lee, Sherman E. \u201cThe Year in Review for 1970.\u201d <em>The Bulletin of the Cleveland Museum of Art</em>, vol. 58, no. 2, 1971, pp. 22\u201371.", "page_number": "Reproduced: p. 69, no. 117", "url": "https://www.jstor.org/stable/25152361"}, {"citation": "Liu, Guosong \u5289\u570b\u677e, Glen Lucas, and Mingxue Xie \u8b1d\u660e\u5b78. <em>Ben.yue: liu guo song</em> [\u5954.\u6708: \u5289\u570b\u677e = To the moon: Liu Kuo-Sung]. Kaohsiong: Gaoxiong shi li meishuguan [Kaohsiong Museum of Fine Arts], 2020.", "page_number": "", "url": ""}], "url": "https://clevelandart.org/art/1970.111", "images": {}, "alternate_images": [], "creditline": "Gift of Dr. and Mrs. Ku Yin Lin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 144895, "creators": [{"id": 36000, "description": "Liu Kuo-sung (Chinese, b. 1932)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\u5289\u570b\u677e", "birth_year": "1932", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1970-12-18T00:00:00", "sortable_date": 1970, "date_added_to_oa": null, "date_text": "1970", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-26 23:59:14.644000"}, {"id": 146101, "accession_number": "1971.289", "share_license_status": "Copyrighted", "tombstone": "Mask (Kanaga), c. 1930s. Africa, West Africa, Mali, Dogon-style maker. Wood, paint, leather, human hair, plant fiber, and metal; overall: 94 cm (37 in.). The Cleveland Museum of Art, Gift of Katherine C. White, 1971.289", "current_location": null, "title": "Mask (Kanaga)", "creation_date": "c. 1930s", "creation_date_earliest": 1930, "creation_date_latest": 1939, "artists_tags": [], "culture": ["Africa, West Africa, Mali, Dogon-style maker"], "technique": "Wood, paint, leather, human hair, plant fiber, and metal", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Mask", "measurements": "Overall: 94 cm (37 in.)", "dimensions": {"overall": {"height": 0.94}}, "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. 1, repr.", "opening_date": "1968-01-01T00:00:00"}, {"description": "CMA 1973: \"Year in Review 1972,\" CMA Bulletin LX (March, 1973), p. 106, no. 32.", "opening_date": "1973-03-01T00:00:00"}]}, "provenance": [{"description": "Julius Carlebach, New York", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "Julius Carlebach, New York; Katherine White Reswick", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": ["662.68"], "did_you_know": "Performing the <em>kanaga</em> mask takes a lot of physical strength, so teenagers or young men typically dance it.", "description": "The <em>kanaga</em>, characterized by its double-barred superstructure, has been interpreted variously as representing a bird, a crocodile, Amma (the creator god), or the cosmic realms of sky and earth. Kanaga maskers perform as part of <em>dama</em> rites, whose goal is to escort the soul of a deceased on its journey to the spiritual realm. The masks are spectacular in motion\u2014dramatic dips and whirls in which the dancer touches the top of the mask to the ground with each rapid revolution.", "external_resources": {"wikidata": [], "internet_archive": []}, "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. 1.", "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. 59-60, no. 3.4", "url": ""}], "url": "https://clevelandart.org/art/1971.289", "images": {}, "alternate_images": [], "creditline": "Gift of Katherine C. White", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 146101, "creators": [], "legal_status": "accessioned", "accession_date": "1971-12-11T00:00:00", "sortable_date": 1930, "date_added_to_oa": null, "date_text": "c. 1930s", "collapse_artists": false, "on_loan": false, "recently_acquired": 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 (kanaga)"], "is_highlight": false, "updated_at": "2026-03-27 00:03:59.506000"}, {"id": 146775, "accession_number": "1972.2", "share_license_status": "Copyrighted", "tombstone": "Mask (Kifwebe), c. 1930s. Africa, Central Africa, Democratic Republic of Congo, Songye-style maker. Wood and paint; overall: 71.2 cm (28 1/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1972.2", "current_location": null, "title": "Mask (Kifwebe)", "creation_date": "c. 1930s", "creation_date_earliest": 1930, "creation_date_latest": 1939, "artists_tags": [], "culture": ["Africa, Central Africa, Democratic Republic of Congo, Songye-style maker"], "technique": "Wood and paint", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Mask", "measurements": "Overall: 71.2 cm (28 1/16 in.)", "dimensions": {"overall": {"height": 0.712}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 301752, "title": "Year in Review: 1972", "description": "<i>Year in Review: 1972</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 27-March 18, 1973).", "opening_date": "1973-02-27T05:00:00"}, {"id": 302145, "title": "Traditions and Revisions: Themes from the History of Sculpture", "description": "<i>Traditions and Revisions: Themes from the History of Sculpture</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 24-November 16, 1975).", "opening_date": "1975-09-24T04:00:00"}], "legacy": []}, "provenance": [{"description": "Georges Vidal, Cannes, France", "citations": [], "footnotes": ["<div><!--block-->\"J'ai trouv\u00e9 ce masque Basongue dans la region da Cabinda. Kasa\u00ef Oriental. Ex Congo Belge des les ann\u00e9es 1960, 1961.\" Letter June 25, 1972 from Georges Vidal to Herbert Baker.</div>"], "date": "acquired in 1960 or 1961", "sortorder": null}, {"description": "Herbert Baker, Chicago, IL", "citations": [], "footnotes": ["<div><!--block-->Owned by at least 1971; see CMA historical object number dated to that year</div>"], "date": "until 1972", "sortorder": 3}, {"description": "The Cleveland Museum of Art by purchase", "citations": [], "footnotes": null, "date": "1972\u2013", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The three-colored stripes on this <em>kifwebe </em>mask visually link it to powerful and dangerous animals including zebras, snakes, lions, and porcupines; not all of these animals are local to where the Songye peoples live.", "description": "The closely spaced, painted grooves on this <em>kifwebe</em> mask accentuate the contours of the mask itself. The colors are mixed with sacred substances that activate the mask and help induce the wearer to enter a state of being between human and spirit. The theme of transformation may be inherent in the form of the mask itself, which recalls, in an abstracted way, some of the distinctive traits of the chameleon\u2014a supreme symbol of transformative power.", "external_resources": {"wikidata": [], "internet_archive": []}, "citations": [{"citation": "Strother, Z. S., Inventing Masks; Agency and History in the Art of the Central Pende (Chicago: The University of Chicago Press, 1998), p. 162, no. 62.", "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: p. 272, no. 9.10", "url": ""}], "url": "https://clevelandart.org/art/1972.2", "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": 146775, "creators": [], "legal_status": "accessioned", "accession_date": "1972-01-31T00:00:00", "sortable_date": 1930, "date_added_to_oa": null, "date_text": "c. 1930s", "collapse_artists": false, "on_loan": false, "recently_acquired": 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 (kifwebe)"], "is_highlight": false, "updated_at": "2026-03-27 00:10:01.441000"}, {"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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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": 155453, "accession_number": "1990.18", "share_license_status": "Copyrighted", "tombstone": "Untitled, 1989. Donald Judd (American, 1928\u20131994). Anodized aluminum, Plexiglas; overall: 304.6 x 68.6 x 61 cm (119 15/16 x 27 x 24 in.); each section: 15.3 x 68.6 x 61 cm (6 x 27 x 24 in.). The Cleveland Museum of Art, Dorothea Wright Hamilton Fund, 1990.18. \u00a9  Judd Foundation / Artists Rights Society (ARS), New York", "current_location": null, "title": "Untitled", "creation_date": "1989", "creation_date_earliest": 1989, "creation_date_latest": 1989, "artists_tags": ["male"], "culture": ["America"], "technique": "anodized aluminum, Plexiglas", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Sculpture", "type": "Sculpture", "measurements": "Overall: 304.6 x 68.6 x 61 cm (119 15/16 x 27 x 24 in.); Each section: 15.3 x 68.6 x 61 cm (6 x 27 x 24 in.)", "dimensions": {"overall": {"height": 3.046, "width": 0.686, "depth": 0.61}, "each section": {"height": 0.153, "width": 0.686, "depth": 0.61}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  Judd Foundation / Artists Rights Society (ARS), New York", "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"}], "legacy": [{"description": "CMA 1991: \"Notable Acquisitions,\" Bulletin 78, no. 3 (June 1991), repr. p. 111", "opening_date": "1991-06-01T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Judd commissioned the colored anodized aluminum pieces which compose this artwork from Lehni AG, a furniture manufacturing company based in Switzerland that also fabricates Judd's signature furniture line.", "description": "Throughout his career, Donald Judd explored the infinite possibilities of color and material while working with Minimalist, serial forms, like the stacked box seen here. In this piece, the sides of the factory-made boxes\u2014conceived, designed, and ordered by the artist\u2014are bright green, while the top and bottom of each unit is clear Plexiglas. This factor allows for a multitude of views and reflections, and for visual integration with the surrounding architecture.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79943538"], "internet_archive": []}, "citations": [{"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. 111", "url": "https://www.jstor.org/stable/25161319"}, {"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. 74, fig. 13", "url": ""}], "url": "https://clevelandart.org/art/1990.18", "images": {}, "alternate_images": [], "creditline": "Dorothea Wright Hamilton Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 155453, "creators": [{"id": 3892, "description": "Donald Judd (American, 1928\u20131994)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1928", "death_year": "1994", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1990-04-16T00:00:00", "sortable_date": 1989, "date_added_to_oa": null, "date_text": "1989", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:31.041000"}, {"id": 155838, "accession_number": "1991.143", "share_license_status": "Copyrighted", "tombstone": "Oaxaca Series #26, 1982. Evelyn Svec Ward (American, 1921\u20131989). Amate paper, ixtle fiber, clay beads, and thread on undyed, unbleached plain weave linen; overall: 25.4 x 20.3 x 4.5 cm (10 x 8 x 1 3/4 in.). The Cleveland Museum of Art, Anonymous gift in honor of the Museum's seventy-fifth anniversary, 1991.143", "current_location": null, "title": "Oaxaca Series #26", "creation_date": "1982", "creation_date_earliest": 1982, "creation_date_latest": 1982, "artists_tags": ["May Show", "female"], "culture": ["America"], "technique": "Amate paper, ixtle fiber, clay beads, and thread on undyed, unbleached plain weave linen", "support_materials": [], "department": "Textiles", "collection": "T - Contemporary Fiber Art", "type": "Textile", "measurements": "Overall: 25.4 x 20.3 x 4.5 cm (10 x 8 x 1 3/4 in.)", "dimensions": {"overall": {"height": 0.254, "width": 0.203, "depth": 0.045}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 310318, "title": "Evelyn Svec Ward Retrospective", "description": "<i>Evelyn Svec Ward Retrospective</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 28, 1990-February 3, 1991).", "opening_date": "1990-12-28T05:00:00"}, {"id": 311486, "title": "Signs of Affection: Gifts Honoring the Museum's 75th Anniversary", "description": "<i>Signs of Affection: Gifts Honoring the Museum's 75th Anniversary</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 27, 1992-January 3, 1993).", "opening_date": "1992-10-27T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": ["1055.1990"], "did_you_know": "The beads used in this collage were purchased by the artist from a market in Santa Maria Atzompa, a small village outside Oaxaca City, which is in the middle of the state of Oaxaca, Mexico.", "description": "The artist\u2019s love of textile techniques and materials\u2014including lacemaking\u2014are evident in these small-scale, intimate explorations of the local materials available to Ward during her annual trips to Oaxaca, Mexico.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79944327"], "internet_archive": []}, "citations": [{"citation": "Ward, Evelyn Svec, and William E. Ward. Evelyn Svec Ward: Retrospective. Westerville, Ohio: Otterbein College, 1990.", "page_number": "p. 53", "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. 76", "url": "http://www.jstor.org/stable/25161388"}], "url": "https://clevelandart.org/art/1991.143", "images": {}, "alternate_images": [], "creditline": "Anonymous gift in honor of the Museum's seventy-fifth anniversary", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 155838, "creators": [{"id": 9264, "description": "Evelyn Svec Ward (American, 1921\u20131989)", "extent": null, "qualifier": null, "role": "artist", "biography": "Biographical information exists in the Cleveland Museum of Art Archives.", "name_in_original_language": null, "birth_year": "1921", "death_year": "1989", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1991-09-23T00:00:00", "sortable_date": 1982, "date_added_to_oa": null, "date_text": "1982", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:23.644000"}, {"id": 155839, "accession_number": "1991.144", "share_license_status": "Copyrighted", "tombstone": "Mixteca Series #16, 1984. Evelyn Svec Ward (American, 1921\u20131989). Amate paper, palm fiber, and thread on undyed, unbleached plain weave linen; overall: 35.6 x 27.9 x 1 cm (14 x 11 x 3/8 in.). The Cleveland Museum of Art, Anonymous gift in honor of the Museum's seventy-fifth anniversary, 1991.144", "current_location": null, "title": "Mixteca Series #16", "creation_date": "1984", "creation_date_earliest": 1984, "creation_date_latest": 1984, "artists_tags": ["May Show", "female"], "culture": ["America"], "technique": "Amate paper, palm fiber, and thread on undyed, unbleached plain weave linen", "support_materials": [], "department": "Textiles", "collection": "T - Contemporary Fiber Art", "type": "Textile", "measurements": "Overall: 35.6 x 27.9 x 1 cm (14 x 11 x 3/8 in.)", "dimensions": {"overall": {"height": 0.356, "width": 0.279, "depth": 0.01}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 310318, "title": "Evelyn Svec Ward Retrospective", "description": "<i>Evelyn Svec Ward Retrospective</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 28, 1990-February 3, 1991).", "opening_date": "1990-12-28T05:00:00"}, {"id": 311486, "title": "Signs of Affection: Gifts Honoring the Museum's 75th Anniversary", "description": "<i>Signs of Affection: Gifts Honoring the Museum's 75th Anniversary</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 27, 1992-January 3, 1993).", "opening_date": "1992-10-27T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": ["1063.1990"], "did_you_know": "Between 1982 and 1983, Ward created at least 29 Mixteca Series collages.", "description": "Ward used indigenous materials in the creation of both her Oaxaca and Mixteca Series. Palm products, such as the fibers used in this collage, are a particularly important fiber in the economy of Mixteca, Mexico, a region within the state of Oaxaca and northwest of Oaxaca City.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79944330"], "internet_archive": []}, "citations": [{"citation": "Ward, Evelyn Svec, and William E. Ward. Evelyn Svec Ward: Retrospective. Westerville, Ohio: Otterbein College, 1990.", "page_number": "p. 11", "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. 76", "url": "http://www.jstor.org/stable/25161388"}], "url": "https://clevelandart.org/art/1991.144", "images": {}, "alternate_images": [], "creditline": "Anonymous gift in honor of the Museum's seventy-fifth anniversary", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 155839, "creators": [{"id": 9264, "description": "Evelyn Svec Ward (American, 1921\u20131989)", "extent": null, "qualifier": null, "role": "artist", "biography": "Biographical information exists in the Cleveland Museum of Art Archives.", "name_in_original_language": null, "birth_year": "1921", "death_year": "1989", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1991-09-23T00:00:00", "sortable_date": 1984, "date_added_to_oa": null, "date_text": "1984", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:26.662000"}, {"id": 156295, "accession_number": "1992.129", "share_license_status": "Copyrighted", "tombstone": "Beer Container (M\u00e1huetan), c. 1940. Amazonia, Peru, Ucayali River region, Shipibo people. Ceramic, slip; diameter: 79 cm (31 1/8 in.); height: 68 cm (26 3/4 in.). The Cleveland Museum of Art, Bequest of Elizabeth M. Skala, 1992.129", "current_location": null, "title": "Beer Container (M\u00e1huetan)", "creation_date": "c. 1940", "creation_date_earliest": 1935, "creation_date_latest": 1945, "artists_tags": [], "culture": ["Amazonia, Peru, Ucayali River region, Shipibo people"], "technique": "Ceramic, slip", "support_materials": [], "department": "Art of the Americas", "collection": "AA - Andes", "type": "Ceramic", "measurements": "Diameter: 79 cm (31 1/8 in.); height: 68 cm (26 3/4 in.)", "dimensions": {"diameter": {"width": 0.79}, "height": {"height": 0.68}}, "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": [{"description": "<em>The Cosmos Encoiled: Indian Art of the Peruvian Amazon</em>, Center for Inter- American Relations, New York, NY (February 15- April 29, 1984).", "opening_date": "1984-02-15T00:00:00"}]}, "provenance": [{"description": "(Peter Koepke, New York, NY, sold 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": [], "former_accession_numbers": [], "did_you_know": "This jar is a beer keg used during festivals in the Shipibo-Conibo area of Amazonian Peru.", "description": "Jars like this one are used as beer kegs during multi-day feasts. The shape and colors may reference a tiered cosmos, graduating from the earthen tones of the dark underworld to the bright, light-filled celestial realm. Perhaps extending this idea, the brown, tapered base is buried in the earth to keep the vessel\u2019s contents cool.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79945421"], "internet_archive": []}, "citations": [{"citation": "Gebhart-Sayer, Angelika. <em>The Cosmos Encoiled: Indian Art of the Peruvian Amazon</em>. New York: Center for Inter-American Relations, 1984.", "page_number": "p. 11", "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. 76", "url": "https://www.jstor.org/stable/25161388"}], "url": "https://clevelandart.org/art/1992.129", "images": {}, "alternate_images": [], "creditline": "Bequest of Elizabeth M. Skala", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 156295, "creators": [], "legal_status": "accessioned", "accession_date": "1992-10-19T00:00:00", "sortable_date": 1935, "date_added_to_oa": null, "date_text": "c. 1940", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:05:39.019000"}, {"id": 159478, "accession_number": "1996.252", "share_license_status": "Copyrighted", "tombstone": "Modern Progress in Transportation, c. 1930. Charles Sheeler (American, 1883\u20131965). Tempera and graphite; sheet: 31.6 x 56.1 cm (12 7/16 x 22 1/16 in.); image: 20.4 x 45.5 cm (8 1/16 x 17 15/16 in.). The Cleveland Museum of Art, Andrew R. and Martha Holden Jennings Fund, 1996.252", "current_location": null, "title": "Modern Progress in Transportation", "creation_date": "c. 1930", "creation_date_earliest": 1925, "creation_date_latest": 1935, "artists_tags": ["male"], "culture": ["America"], "technique": "Tempera and graphite", "support_materials": [{"description": "beige(1) wove paper (Rives BFK)", "watermarks": []}], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Sheet: 31.6 x 56.1 cm (12 7/16 x 22 1/16 in.); Image: 20.4 x 45.5 cm (8 1/16 x 17 15/16 in.)", "dimensions": {"sheet": {"height": 0.316, "width": 0.561}, "image": {"height": 0.204, "width": 0.455}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "fragment of old label, now removed, in typescript: modern progress in tra[cropped]; by artist, in graphite: [b]y Charles Shee[ler] [cropped]\r\n", "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": "Charles Sheeler, sold to private collection, Philadelphia, PA", "citations": [], "footnotes": [], "date": "1930s-?", "sortorder": 1}, {"description": "Private collection, Philadelpha, PA, by descent", "citations": [], "footnotes": [], "date": "1930s-1996", "sortorder": 2}, {"description": "(Sotheby's, New York, NY, March 14, 1996, no. 157, sold to Martha Parrish and James Reinish, Inc.)", "citations": [], "footnotes": [], "date": "1996", "sortorder": 3}, {"description": "(Martha Parrish & James Reinish, Inc., New York, NY, sold to Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "1996", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1996-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Charles Sheeler was commissioned by the Ford Motor Company to spend six weeks photographing its new factory, and this drawing relates to the images he created then.", "description": "Charles Sheeler based this work, a combination of painting and drawing, on a photograph he took of a Ford Trimotor airplane on the assembly line at the company's plant near its huge River Rouge facility in Dearborn, Michigan. The artist felt that photography could help him see things in a more objective and truthful way, so that he could concentrate on representing pure form. Sheeler loved industrial subjects and held an optimistic view of the impact of modern machines on everyday life -- even during the Great Depression, when this drawing was made. His style became known as \"Precisionism\" because of its crisp, clear forms and elimination of detail.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79979107"], "internet_archive": []}, "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": "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. 254-55, p. 197; Reproduced: p. 255", "url": null}], "url": "https://clevelandart.org/art/1996.252", "images": {}, "alternate_images": [], "creditline": "Andrew R. and Martha Holden Jennings Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 159478, "creators": [{"id": 889, "description": "Charles Sheeler (American, 1883\u20131965)", "extent": null, "qualifier": null, "role": "artist", "biography": "Charles Sheeler American, 1883-1965\r\n\r\nPhiladelphia-born Charles Sheeler was a well-known precisionist painter and photographer. After studying at the School of Industrial Art in Philadelphia (1900-3), he spent the next three years as a student of painter William Merritt Chase at the Pennsylvania Academy of Fine Arts. Around 1910 he took up photography as a way to support himself.\r\n\tSheeler began as an architectural photographer, documenting buildings for Philadelphia architects, but was soon taking pictures of paintings and other works of art. He continued to paint (in 1913 a group of his works were exhibited in the famous Armory Show in New York) and to photograph, often using his photographs as the basis for paintings. In 1917 his photographs were included in a three-person show along with Paul Strand and Morton Schamberg at Marius de Zayas's Modern Gallery in New York.\r\n\tTwo years later Sheeler moved to New York and in 1920 collaborated with Paul Strand on the avant-garde film Manhatta (originally titled New York the Magnificent). In 1923 he began working as a staff photographer for Cond\u00e9 Nast publications. Four years later he received his most important commercial commission when Ford Motor Company hired him to photograph its River Rouge plant. A powerful series of images celebrating American industry resulted and were widely published. They also served as an inspiration for a number of his paintings.\r\n\tIn 1939 a small group of Sheeler's photographs were included in a retrospective of his work organized by the Museum of Modern Art, New York. Over the next decade he worked as staff photographer for the Metropolitan Museum of Art and focused primarily on painting in his own work, especially during the late 1940s and 1950s. In 1959, after suffering a stroke, Sheeler stopped painting and photographing; he died six years later from a second stroke. M.M.", "name_in_original_language": null, "birth_year": "1883", "death_year": "1965", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1996-09-16T00:00:00", "sortable_date": 1925, "date_added_to_oa": null, "date_text": "c. 1930", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:04:57.721000"}, {"id": 159526, "accession_number": "1996.29", "share_license_status": "Copyrighted", "tombstone": "Wrapped Chair, 1961. Christo (American, 1935\u20132020). Wood, fabric, lacquer paint, and ropes; overall: 90 x 42.5 x 44 cm (35 7/16 x 16 3/4 x 17 5/16 in.). The Cleveland Museum of Art, Gift of Agnes Gund and Daniel Shapiro, 1996.29. \u00a9 Christo", "current_location": null, "title": "Wrapped Chair", "creation_date": "1961", "creation_date_earliest": 1961, "creation_date_latest": 1961, "artists_tags": ["male"], "culture": ["America"], "technique": "wood, fabric, lacquer paint, and ropes", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Sculpture", "type": "Sculpture", "measurements": "Overall: 90 x 42.5 x 44 cm (35 7/16 x 16 3/4 x 17 5/16 in.)", "dimensions": {"overall": {"height": 0.9, "width": 0.425, "depth": 0.44}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Christo", "inscriptions": [], "exhibitions": {"current": [{"id": 226391, "title": "Christo and Jeanne-Claude: Early Works, 1958-69", "description": "<i>Christo and Jeanne-Claude: Early Works, 1958-69</i>. Martin Gropius Bau (September 8-December 30, 2001).", "opening_date": "2001-09-08T00:00:00"}], "legacy": [{"description": "Martin Gropius Bau Museum, Berlin; September 8-December 30, 2001.  \"Christo and Jeanne-Claude:  Early Works, 1958-69,\" exh. cat. no. 73, p. 59.", "opening_date": "2001-09-08T00:00:00"}]}, "provenance": [{"description": "Jeanne-Claude Christo, New York.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": ["49.1996"], "did_you_know": "Christo and his partner, Jeanne-Claude, are known for their monumental wrapping of public buildings and sites using techniques seen in this chair.", "description": "This sculpture is one of the earliest examples of Christo's signature style. His technique first incorporated the wrapping of everyday objects, including cans and bottles, stacks of magazines, furniture, and even an automobile, but led to the wrapping of public buildings and entire outdoor parks. This work uses a chair from the Paris apartment of Christo and his wife and partner, Jeanne-Claude. The use of drapery and concealment adds a layer of mystery to the chair's otherwise straightforward meaning. Christo was among a group of artists in France in the late 1950s who rebelled against the previous generation's fascination with abstraction. These nouveaux r\u00e9alistes (new realists) chose to use real objects, rather than try to represent the items using other media. They preferred an art that was physical and tangible. Christo took this art one step further by \"cloaking\" reality, transforming and abstracting it.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79979235"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art, \u201cArt Museum Acquires Three Works of Art by Christo<em> Christo &amp; Jeanne-Claude to Give Lecture at CMA</em>,\u201d April 24, 1996, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr4038"}, {"citation": "Donley, Gregory, M., \"Hide and Seek\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 46 no. 05, May/June 2006", "page_number": "Mentioned & reproduced: p. 14", "url": "https://archive.org/details/CMAMM2006-05/page/14"}], "url": "https://clevelandart.org/art/1996.29", "images": {}, "alternate_images": [], "creditline": "Gift of Agnes Gund and Daniel Shapiro", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 159526, "creators": [{"id": 3868, "description": "Christo (American, 1935\u20132020)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1935", "death_year": "2020", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1996-06-03T00:00:00", "sortable_date": 1961, "date_added_to_oa": null, "date_text": "1961", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:07:09.894000"}, {"id": 165156, "accession_number": "2007.157", "share_license_status": "Copyrighted", "tombstone": "From or by Marcel Duchamp or Rrose S\u00e9lavy , 1935\u201340, 1963\u201366 (Series F). Marcel Duchamp (French, 1887\u20131968). Red leather box containing 80 objects (collotype, letterpress, pochoir, and lithographic prints; gouache, green lacquer, varnish, celluloid, wood; objects of glass, oilcloth, and ceramic; overall: 41.5 x 38.5 x 9.9 cm (16 5/16 x 15 3/16 x 3 7/8 in.). The Cleveland Museum of Art, Andrew R. and Martha Holden Jennings Fund, 2007.157. \u00a9 Association Marcel Duchamp / ADAGP, Paris / Artists Rights Society (ARS), New York 2021", "current_location": null, "title": "From or by Marcel Duchamp or Rrose S\u00e9lavy ", "creation_date": "1935\u201340, 1963\u201366 (Series F)", "creation_date_earliest": 1935, "creation_date_latest": 1966, "artists_tags": ["male"], "culture": ["France, 20th century"], "technique": "Red leather box containing 80 objects (collotype, letterpress, pochoir, and lithographic prints; gouache, green lacquer, varnish, celluloid, wood; objects of glass, oilcloth, and ceramic", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Mixed Media", "measurements": "Overall: 41.5 x 38.5 x 9.9 cm (16 5/16 x 15 3/16 x 3 7/8 in.)", "dimensions": {"overall": {"height": 0.415, "width": 0.385, "depth": 0.099}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Association Marcel Duchamp / ADAGP, Paris / Artists Rights Society (ARS), New York 2021", "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>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008).", "opening_date": "2006-05-27T00:00:00"}], "legacy": [{"description": "Main Gallery Rotation (gallery 225): May 29, 2009 - September 15, 2009; July 9, 2012 - January 14, 2013; April 5, 2016 - July 5, 2016.", "opening_date": "2009-05-29T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In 1919, Duchamp created his iconic work <em>L.H.O.O.Q</em>. by drawing a goatee over a printed reproduction of Leonardo da Vinci's <em>Mona Lisa</em>.", "description": "A leader of the Dada movement that emerged in Europe and America during World War I, Marcel Duchamp assaulted the traditional concept of art as a unique, physical object distinguished by superior handwork or craftsmanship. In its place he proposed that the central, animating principle of art should be the idea. His reputation as the century's most controversial artist began with the public's riotous reaction to his <em>Nude Descending a Staircase</em> at the 1913 Armory Show. That same year he created his first \"ready-made\" by attaching a bicycle wheel to a kitchen stool, and in 1917 he exhibited a urinal under the title <em>Fountain</em>. Often adding inscriptions with humorous puns and ironic double meanings to his works, Duchamp raised philosophical speculation to a higher level of importance than the physical object. Shocked by his unconventional tactics, critics labeled his works \"anti-art.\"", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79993658"], "internet_archive": []}, "citations": [{"citation": "Bonk,Ecke. <em>The Portable Museum. </em>London, United Kingdom: Thames and Hudson, 1989.", "page_number": null, "url": null}, {"citation": "Cleveland Museum of Art. Masterworks on Loan: Celebrating the 100th Anniversary of the Cleveland Museum of Art: April Through June 2016. [Cleveland]: Cleveland Museum of Art, 2016.", "page_number": "p. 8-9", "url": null}], "url": "https://clevelandart.org/art/2007.157", "images": {}, "alternate_images": [], "creditline": "Andrew R. and Martha Holden Jennings Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 165156, "creators": [{"id": 28972, "description": "Marcel Duchamp (French, 1887\u20131968)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1887", "death_year": "1968", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2007-06-04T00:00:00", "sortable_date": 1935, "date_added_to_oa": null, "date_text": "1935\u201340, 1963\u201366 (Series F)", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_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 00:10:25.668000"}, {"id": 170844, "accession_number": "2013.33", "share_license_status": "Copyrighted", "tombstone": "My Heart is the Universe, c. 2000. Irene Chou (Chinese, 1924\u20132011). Ink, color, and acrylic on silk; overall: 63.5 x 95.9 cm (25 x 37 3/4 in.). The Cleveland Museum of Art, Mr. and Mrs. Richard W. Whitehill Art Purchase Endowment Fund, 2013.33", "current_location": null, "title": "My Heart is the Universe", "creation_date": "c. 2000", "creation_date_earliest": 2000, "creation_date_latest": 2005, "artists_tags": ["female", "Asian (from 1900 to present)"], "culture": ["China"], "technique": "ink, color, and acrylic on silk", "support_materials": [], "department": "Chinese Art", "collection": "Chinese Art", "type": "Painting", "measurements": "Overall: 63.5 x 95.9 cm (25 x 37 3/4 in.)", "dimensions": {"overall": {"height": 0.635, "width": 0.959}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed by the artist with five of the artist's seals", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": [{"description": "<em>Irene Chou's solo exhibition.</em> Hong Kong Arts Centre, Hong Kong (2003).", "opening_date": "2003-01-01T00:00:00"}, {"description": "<em>Main Asian Rotation (Gallery 242)</em>. The Cleveland Museum of Art, Cleveland, OH (January 7-July 7, 2015).", "opening_date": "2015-01-07T00:00:00"}]}, "provenance": [{"description": "The artist's collection, Brisbane, Australia, by descent to the artist's family", "citations": [], "footnotes": [], "date": "c. 2000\u2013after 2011", "sortorder": 1}, {"description": "(Lok Ku Gallery Ltd., Hong Kong, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "?\u20132013", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2013\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Chou applied her so-called impact textural strokes (<em>jixian cun</em>) by hitting a wet brush against a rod to splatter ink on the silk painting surface.", "description": "This painting belongs to a series of Irene Chou\u2019s late work, inspired by two lines of the Southern Song idealist and neo-Confucian philosopher Lu Jiuyuan: \"The universe is my mind, and my mind is the universe.\" <br><br>The background of ink wash is suffused with a brilliant green to create a depth of infinite space\u2014\"the symbolic depth, the depth from one\u2019s heart and mind,\" as Chou says. In the midst of this infinite space is a small modulated sphere, her \"inner self.\" The sphere echoes with the red disc and red lines of veins, which are the abstract symbols for the artist\u2019s communion with the cosmic system. This painting communicates an exuberant joy and absolute freedom, as Chou searches for mystical oneness with the universe.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60481884"], "internet_archive": []}, "citations": [{"citation": "Chung, Anita.  \u201c2013 Acquisitions: Chinese Art.\u201d  <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 54, no. 2 (March/April 2014): 21.", "page_number": "Reproduced and Mentioned: p. 21", "url": "https://archive.org/details/CMAMM2014-02"}, {"citation": "Chung, Anita. \"Body, Mind, and Cosmos: The ink paintings of Irene Chou.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 55, no. 3 (May/June 2015): 14\u201315.", "page_number": "Reproduced and Mentioned: p. 15", "url": "https://archive.org/details/CMAMM2015-03"}], "url": "https://clevelandart.org/art/2013.33", "images": {}, "alternate_images": [], "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": 170844, "creators": [{"id": 63436, "description": "Irene Chou (Chinese, 1924\u20132011)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\u5468\u7da0\u96f2", "birth_year": "1924", "death_year": "2011", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2013-05-28T00:00:00", "sortable_date": 2000, "date_added_to_oa": null, "date_text": "c. 2000", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:22.576000"}, {"id": 90542, "accession_number": "2020.103", "share_license_status": "Copyrighted", "tombstone": "Basket of Anemones, 1924. Georges Braque (French, 1882\u20131963). Oil on canvas; unframed: 21 x 65.4 cm (8 1/4 x 25 3/4 in.). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift, 2020.103. \u00a9 Artists Right Society (ARS), New York / ADAGP, Paris", "current_location": null, "title": "Basket of Anemones", "creation_date": "1924", "creation_date_earliest": 1924, "creation_date_latest": 1924, "artists_tags": ["male"], "culture": ["France, 20th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 21 x 65.4 cm (8 1/4 x 25 3/4 in.)", "dimensions": {"unframed": {"height": 0.21, "width": 0.654}, "framed": {"height": 0.335, "width": 0.784, "depth": 0.063}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Artists Right Society (ARS), New York / ADAGP, Paris", "inscriptions": [{"inscription": "Artist's signature and date on lower left: \"G. Braque / 24\"", "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": "None known", "opening_date": null}]}, "provenance": [{"description": "Gottlieb F. Reber [1880\u20131959], Barmen and Lausanne", "citations": [], "footnotes": [""], "date": null, "sortorder": 1}, {"description": "Dr. W. Chiodera, K\u00fcsnacht, Switzerland", "citations": [], "footnotes": ["<div><!--block-->According to Dorothy Kosinski, \u201cG. F. Reber: Collector of Cubism,\u201d <em>Burlington Magazine</em> 133, no. 1061 (August 1991), p. 529.&nbsp;</div>"], "date": null, "sortorder": 2}, {"description": "(Sold at Christie's, London, United Kingdom, June 26, 1989, lot 37)", "citations": [], "footnotes": ["<div><!--block-->Dimensions given as \u201c7 7/8 x 25 5/8 in (20 x 65 cm)\u201d</div>"], "date": "June 26, 1989", "sortorder": 3}, {"description": "(Sold at Christie's, New York, NY, November 9, 2000, lot 237)", "citations": [], "footnotes": [], "date": "November 9, 2000", "sortorder": 4}, {"description": "(Richard Feigen Gallery, New York, NY)", "citations": [], "footnotes": ["<div><!--block-->According to documentation in the curatorial file supplied by Richard Feigen Gallery.</div>"], "date": "2000\u20132002", "sortorder": 5}, {"description": "Nancy F. and Joseph P. Keithley, Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?\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 flowering plant genus <em>Anemone</em> blooms in a wide variety of colors from red to blue; however, Braque opted to paint the flowers in a muted, neutral Cubist color palette.", "description": "In the early 1920s, Braque painted a series of still lifes notable for their focus on a few objects compressed into a dense space. This still life features a brown wicker basket with five or six flowers packed into a horizontal format. The basket dominates the space by its size and central placement. The absence of a conventional foreground is striking. Rather than recede into space, the tabletop is tilted upright so it exists on the same vertical plane as the gray wall. A decorator\u2019s comb was used to create the wood grain pattern in the tabletop.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q87481082"], "internet_archive": []}, "citations": [{"citation": "Kosinski, Dorothy. \"G. F. Reber: Collector of Cubism.\"  <em>The Burlington Magazine</em> 133, no. 1061 (August 1991): 519-531.", "page_number": "Mentioned: P. 529", "url": "http://www.jstor.org/stable/884887"}, {"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. 144-145; Mentioned: p. 257-258", "url": ""}], "url": "https://clevelandart.org/art/2020.103", "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": 90542, "creators": [{"id": 3029, "description": "Georges Braque (French, 1882\u20131963)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1882", "death_year": "1963", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2020-03-02T00:00:00-05:00", "sortable_date": 1924, "date_added_to_oa": null, "date_text": "1924", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:03.057000"}, {"id": 438335, "accession_number": "2021.21", "share_license_status": "Copyrighted", "tombstone": "Untitled, 1996. Wolfgang Laib (German, b. 1950). Beeswax, wooden understructure; 142.9 x 114 x 54 cm (56 1/4 x 44 7/8 x 21 1/4 in.). The Cleveland Museum of Art, Gift of Agnes Gund in honor of the artist's grandson, Sirius Nathanael Laib, 2021.21", "current_location": null, "title": "Untitled", "creation_date": "1996", "creation_date_earliest": 1996, "creation_date_latest": 1996, "artists_tags": ["male"], "culture": ["Germany"], "technique": "beeswax, wooden understructure", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Sculpture", "type": "Mixed Media", "measurements": "142.9 x 114 x 54 cm (56 1/4 x 44 7/8 x 21 1/4 in.)", "dimensions": {"No Extent Specified": {"height": 1.429, "width": 1.14, "depth": 0.54}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "\u201claib 96\u201d", "inscription_translation": null, "inscription_remark": "signed on bottom: \u201claib 96\u201d", "sortorder": null}], "exhibitions": {"current": [], "legacy": [{"description": "\u201cWolfgang Laib: Nowhere \u2013 Everywhere,\u201d Sperone Westwater, New York, 2 May \u2013 13 June 1998", "opening_date": "1998-06-01T00:00:00"}, {"description": "\u201cWolfgang Laib: A Retrospective,\u201d Hirshhorn Museum and Sculpture Garden, Washington, D.C., 26 October 2000 \u2013 22 January 2001; Henry Art Gallery, Seattle, 13 February \u2013 6 May 2001; Dallas Museum of Art, Dallas, 29 May \u2013 2 September 2001; Scottsdale Museum of Contemporary Art, Scottsdale, AZ, 7 October \u2013 6 January 2002; Museum of Contemporary Art San Diego, La Jolla and San Diego, CA, 25 January \u2013 21 April 2002; Haus der Kunst, Munich, 8 October 2002 \u2013 5 January 2003 (catalogue)", "opening_date": "2000-10-01T00:00:00"}]}, "provenance": [{"description": "Collection of the artist", "citations": [], "footnotes": null, "date": "1996", "sortorder": 1}, {"description": "Private Collection, Dallas, TX", "citations": [], "footnotes": null, "date": "?", "sortorder": 2}, {"description": "Private Collection", "citations": [], "footnotes": null, "date": "?", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2021-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In addition to beeswax, Laib frequently uses milk, marble, pollen, and rice in his artworks.", "description": "A freestanding beeswax staircase, <em>Untitled</em> is characteristic of the German artist Wolfgang Laib\u2019s interest in creating pared down sculptural forms made from organic matter. The work\u2019s natural surface is untreated, demonstrating the artist\u2019s respect for the inherent properties of his chosen material. Close to human scale,<em> Untitled</em> invites the viewer to relate to the work through his or her body. Despite its formal simplicity, <em>Untitled</em> suggests an array of rich narrative associations.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117246646"], "internet_archive": []}, "citations": [{"citation": "Ottmann, Klaus, Wolfgang Laib, Margit Rowell, Harald Szeemann, Margit Rowell, American Federation of Arts, Hirshhorn Museum and Sculpture Garden, et al. <em>Wolfgang Laib : A Retrospective</em>. New York: American Federation of Arts, 2000.", "page_number": "Reproduced:  pp. 93, 188. [The work is incorrectly dated 1999.]", "url": "https://ingallslibrary.on.worldcat.org/oclc/43790363"}, {"citation": "Ottmann, Klaus, Wolfgang Laib, Margit Rowell, Harald Szeemann, Margit Rowell, American Federation of Arts, Hirshhorn Museum and Sculpture Garden, et al. 2000. <em>Wolfgang Laib : A Retrospective</em>. New York: American Federation of Arts.", "page_number": "Reproduced:  pp. 93,188.", "url": "https://ingallslibrary.on.worldcat.org/oclc/43790363"}], "url": "https://clevelandart.org/art/2021.21", "images": {}, "alternate_images": [], "creditline": "Gift of Agnes Gund in honor of the artist's grandson, Sirius Nathanael Laib", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 438335, "creators": [{"id": 438332, "description": "Wolfgang Laib (German, b. 1950)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1950", "use_in_caption": true, "include_extent": false, "weight": 0}], "legal_status": "accessioned", "accession_date": "2021-03-01T00:00:00-05:00", "sortable_date": 1996, "date_added_to_oa": null, "date_text": "1996", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:03:59.776000"}, {"id": 281825, "accession_number": "2022.104", "share_license_status": "Copyrighted", "tombstone": "Vase, c. 1929. Gale Turnbull (American, 1889\u20131962), Sebring Pottery Company (American, 1916\u201334). Ceramic; overall: 12.7 x 15 x 18.7 cm (5 x 5 7/8 x 7 3/8 in.). The Cleveland Museum of Art, Gift of Mark Bassett in memory of Cecil George Cooper, 2022.104", "current_location": null, "title": "Vase", "creation_date": "c. 1929", "creation_date_earliest": 1924, "creation_date_latest": 1934, "artists_tags": ["male"], "culture": ["America, Ohio, Sebring"], "technique": "Ceramic", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Ceramic", "measurements": "Overall: 12.7 x 15 x 18.7 cm (5 x 5 7/8 x 7 3/8 in.)", "dimensions": {"overall": {"height": 0.127, "width": 0.15, "depth": 0.187, "length": 0.216}, "No Extent Specified": {}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "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>. Cooper Hewitt, Smithsonian Design Museum, New York, NY (April 7-August 20, 2017); The Cleveland Museum of Art, Cleveland, OH (organizer) (September 30, 2017-January 14, 2018).", "opening_date": "2017-04-07T00:00:00"}], "legacy": [{"description": "<em>The Jazz Age: American Style in the 1920s</em>. The Cleveland Museum of Art, Cleveland, OH (April 07, 2017-January 14, 2018.", "opening_date": "2017-04-07T00:00:00"}]}, "provenance": [{"description": "Mark Bassett and George Cooper, Lakewood, OH", "citations": [], "footnotes": null, "date": "2005\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": "Sebring Pottery Company was one of several important ceramic manufacturers located in Ohio during the early 20th century.", "description": "This bud vase constitutes a rare foray into avant-garde ceramic design intended for mass consumption. Its gracefully clustered geometric form was inspired by contemporary skyscrapers. For many artists during this time, the urban environment signaled modernity.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117230304"], "internet_archive": []}, "citations": [{"citation": "Bassett, Mark, \"Sebring Pottery Artware: An Introduction,\" <em>Journal of the American Pottery Association</em> 32 (Fall 2016).", "page_number": "Reproduced cover, P. 3, 8, and 11", "url": ""}, {"citation": "Coffin, Sarah D. and Stephen Harrison. <em>The Jazz Age: American Style in the 1920s,</em> exh. cat. (Cleveland: Cleveland Museum of Art, 2017).", "page_number": "Mentioned P. 365; Reproduced P. 183", "url": ""}], "url": "https://clevelandart.org/art/2022.104", "images": {}, "alternate_images": [], "creditline": "Gift of Mark Bassett in memory of Cecil George Cooper", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 281825, "creators": [{"id": 54606, "description": "Gale Turnbull (American, 1889\u20131962)", "extent": "designed by", "qualifier": null, "role": "designer", "biography": null, "name_in_original_language": null, "birth_year": "1889", "death_year": "1962", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 285880, "description": "Sebring Pottery Company (American, 1916\u201334)", "extent": "manufactured by", "qualifier": null, "role": "manufacturer", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "2022-09-12T04:00:00Z", "sortable_date": 1924, "date_added_to_oa": null, "date_text": "c. 1929", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:22.569000"}, {"id": 299434, "accession_number": "2022.229", "share_license_status": "CC0", "tombstone": "Prunus Vase with Amaranth, 1914\u201346. Seif\u016b Yohei IV (Japanese, 1872\u20131951). Porcelain with yellow glaze and overglaze color enamel and gold; height: 29.8 cm (11 3/4 in.); diameter: 11.4 cm (4 1/2 in.); height with stand: 32.4 cm (12 3/4 in.). The Cleveland Museum of Art, Gift of James and Christine Heusinger, 2022.229", "current_location": null, "title": "Prunus Vase with Amaranth", "creation_date": "1914\u201346", "creation_date_earliest": 1914, "creation_date_latest": 1946, "artists_tags": ["male", "Asian (from 1900 to present)"], "culture": ["Japan, Taish\u014d period (1912\u201326)"], "technique": "Porcelain with yellow glaze and overglaze color enamel and gold", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Ceramic", "measurements": "height: 29.8 cm (11 3/4 in.); Diameter: 11.4 cm (4 1/2 in.); height with stand: 32.4 cm (12 3/4 in.)", "dimensions": {"height": {"height": 0.298}, "height with stand": {"height": 0.324}, "diameter of base": {"width": 0.089}, "diameter of top": {"width": 0.114}, "stand": {"height": 0.025, "width": 0.114}, "diameter": {"width": 0.114}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "\u6e05\u98a8", "inscription_translation": "\u201cSeif\u016b\u201d incised on the base", "inscription_remark": null, "sortorder": 1}, {"inscription": "\u6e21\u908a\u6240\u85cf", "inscription_translation": "The paper label on the side of the outer box has a seal that reads \u201cKept by Watanabe.\"", "inscription_remark": null, "sortorder": 2}, {"inscription": "\u6e05\u98a8\u9020", "inscription_translation": "Inscription on the inside of the inner box's lid: \"Made by Seif\u016b\"", "inscription_remark": null, "sortorder": 3}, {"inscription": "", "inscription_translation": "Inscriptions on the lids of the outer and inner boxes and on a paper affixed to the side of the vase\u2019s outer box refer to the plant as ganraik\u014d (C. yanlaihong \u96c1\u6765\u7d05). This term is an alternate for gen or hiyu (C. xian). Both may be translated as amaranthus. In Japan, there is also the word hageit\u014d, or \u201cleaf[\u2013variety] cockscomb.\u201d The amaranthus family includes the Celosia genus of plants, among which is the cockscomb (Celosia cristata). The plants on this vase, however, more closely resemble the plumed celosia (Celosia plumosa). The genus name derives from the ancient Greek term \u03ba\u03ae\u03bb\u03b5\u03bf\u03c2 meaning \u201cburning.\u201d", "inscription_remark": null, "sortorder": 4}], "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": 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": [], "did_you_know": "Seif\u016b Yohei IV continued to create works in the studio\u2019s signature colors but also produced pieces with strong color and flare that were his interpretations of Qing dynasty (1644\u20131911) glazes.", "description": "Yohei IV\u2019s interest in bold, colorful designs is on full display in this vase shaped like a \u201cprunus vase,\u201d or <em>meiping</em> (Japanese <em>meipin</em>). It has two colors of amaranthus on a yellow ground. It follows a design appearing on a sleeve-shaped vase by Yohei III. Yohei IV uses bright spring-green dots of overglaze enamel to suggest a ground plane in his yellow environment; he also uses red and magenta accented with wild gold cascades of dots for two plants he places on opposite sides of the vase, one much larger than the other. In Yohei III\u2019s version, the body of the vessel is white, and the foliage of one plant is red with carefully painted veins in gold, while another plant strategically positioned behind it has a deep rust color, again carefully detailed in gold. In a sense, Yohei IV has deconstructed his father\u2019s logical, balanced design and re-presented it as an emotive, lightheartedly chaotic one that sates the appetite for instant gratification, much as his father\u2019s creation rewards the pursuit of elegance.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117793513"], "internet_archive": ["https://archive.org/details/clevelandart-2022.229-prunus-vase-with-ama"]}, "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. 87, pp. 176\u2013179", "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. 192; Reproduced: p. 1 (inside front cover), 193 (fig. 10)", "url": ""}], "url": "https://clevelandart.org/art/2022.229", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2022.229/2022.229_web.jpg", "width": "626", "height": "900", "filesize": "146111", "filename": "2022.229_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2022.229/2022.229_print.jpg", "width": "2365", "height": "3400", "filesize": "674369", "filename": "2022.229_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2022.229/2022.229_full.tif", "width": "8276", "height": "11900", "filesize": "295480800", 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"cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:03:14.352000"}, {"id": 78625, "accession_number": "2026.2", "share_license_status": "Copyrighted", "tombstone": "Some More, 1980. Joan Mitchell (American, 1925\u20131992). Oil on canvas; overall unframed: 130 x 291.1 cm (51 3/16 x 114 5/8 in.); each panel unframed: 130 x 97 cm (51 3/16 x 38 3/16 in.). The Cleveland Museum of Art, Gift of Nancy F. and Joseph P. Keithley, 2026.2. \u00a9 Estate of Joan Mitchell", "current_location": null, "title": "Some More", "creation_date": "1980", "creation_date_earliest": 1980, "creation_date_latest": 1980, "artists_tags": ["female"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "measurements": "Overall unframed: 130 x 291.1 cm (51 3/16 x 114 5/8 in.); Each panel unframed: 130 x 97 cm (51 3/16 x 38 3/16 in.)", "dimensions": {"overall unframed": {"height": 1.3, "width": 2.911}, "overall framed": {"height": 1.349, "width": 2.962, "depth": 0.06}, "each panel unframed": {"height": 1.3, "width": 0.97}, "No Extent Specified": {}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of Joan Mitchell", "inscriptions": [{"inscription": "Right canvas, signed, lower right: Joan Mitchell", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Left canvas, verso, signed, titled, and dated on stretcher: Joan Mitchell Some More 1980", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Center canvas, verso, signed, titled, and dated on stretcher: Joan Mitchell Some More 1980", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Right canvas, verso, signed, titled, and dated on stretcher: Joan Mitchell Some More 1980", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Left canvas, verso, upper right: a", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Center canvas, verso, upper right: b", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Right canvas, verso, upper right: c", "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": "Joan Mitchell - New Paintings. Xavier Fourcade Inc., New York, NY (1981)", "opening_date": "1981-01-01T00:00:00"}]}, "provenance": [{"description": "(Xavier Fourcade, Inc., New York, NY, 1981, sold to Private Collection)", "citations": [], "footnotes": null, "date": "1981", "sortorder": 1}, {"description": "Private Collection, consigned to Sotheby's New York, NY", "citations": [], "footnotes": null, "date": "1981\u20132012", "sortorder": 2}, {"description": "(Sotheby's, New York, NY, November 14, 2012, no. 122, sold to Nancy F. and Joseph P. Keithley)", "citations": [], "footnotes": null, "date": "2012", "sortorder": 3}, {"description": "Nancy F. and Joseph P. Keithley, promised gift to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "2012\u2013", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In 1967, Mitchell purchased a two-acre estate in V\u00e9theuil, France, the gardener's cottage of which had previously been home to Impressionist Claude Monet.", "description": "During the final quarter century of her career, Joan Mitchell made a significant number of multipanel paintings, including <em>Some More</em>, comprising three equal-sized canvases whose composition bridges their shared edges. While the painting\u2019s color and texture connote nature\u2014such as a bed of flowers or shimmering sunlight\u2014its rhythmic interaction of brushwork also suggests a source in music. In fact, Mitchell loved listening to opera while working in her studio during this period.", "external_resources": {"wikidata": [], "internet_archive": []}, "citations": [{"citation": "Brown, Heather Lemonedes, ed. <em>The Keithley Collection at the Cleveland Museum of Art, </em>exh. cat.(Cleveland, OH: The Cleveland Museum of Art, 2022).", "page_number": "Mentioned PP. 170, 267-68; Reproduced PP. 19, 171, 252-53 (detail), back cover (detail).", "url": ""}, {"citation": "Roberts, Sarah. \"Joan Mitchell.\" In <em>The Keithley Collection at the Cleveland Museum of Art, </em>edited by Heather Lemonedes Brown, 168-181. Cleveland, OH: The Cleveland Museum of Art, 2022.", "page_number": "Mentioned and reproduced: p. 170-171; Mentioned: p. 267-268", "url": ""}], "url": "https://clevelandart.org/art/2026.2", "images": {}, "alternate_images": [], "creditline": "Gift of Nancy F. and Joseph P. Keithley", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 78625, "creators": [{"id": 3564, "description": "Joan Mitchell (American, 1925\u20131992)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1925", "death_year": "1992", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2026-01-21T05:00:00Z", "sortable_date": 1980, "date_added_to_oa": null, "date_text": "1980", "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": "2026-04-04 11:57:51.885000"}, {"id": 112627, "accession_number": "1931.246", "share_license_status": "Copyrighted", "tombstone": "The Noon Hour, 1931. Peggy Bacon (American, 1895\u20131987). Etching; platemark: 12.6 x 17.5 cm (4 15/16 x 6 7/8 in.); sheet: 21.2 x 28.4 cm (8 3/8 x 11 3/16 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1931.246", "current_location": null, "title": "The Noon Hour", "creation_date": "1931", "creation_date_earliest": 1931, "creation_date_latest": 1931, "artists_tags": ["female"], "culture": ["America"], "technique": "etching", "support_materials": [], "department": "Prints", "collection": "PR - Etching", "type": "Print", "measurements": "Platemark: 12.6 x 17.5 cm (4 15/16 x 6 7/8 in.); Sheet: 21.2 x 28.4 cm (8 3/8 x 11 3/16 in.)", "dimensions": {"platemark": {"height": 0.126, "width": 0.175}, "sheet": {"height": 0.212, "width": 0.284}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "In graphite, recto: \"The Noon Hour-1931. Peggy Bacon\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 541503, "title": "The First International Competitive Print Exhibition", "description": "<i>The First International Competitive Print Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (March 18-April 15, 1931).", "opening_date": "1931-03-18T05:00:00"}, {"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": 309576, "title": "A Golden Age of American Printmaking", "description": "<i>A Golden Age of American Printmaking</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 12-April 11, 1982).", "opening_date": "1982-01-12T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Peggy Bacon's parents were both artists who met at New York's Art Students League.", "description": "The setting in Peggy Bacon\u2019s print could be a street in one of several New York City neighborhoods, where brownstone dwellers emerge from their homes for a noontime walk with the dog, school children play, street vendors sell their wares, and a corner luncheonette does swift business. Bacon\u2019s etchings were taken directly from everyday life in the city, embellished with a bit of wit and humor in the form of caricatured city types, such as the elderly woman with a cane and the tussling ruffians.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80005131"], "internet_archive": []}, "citations": [], "catalogue_raisonne": "Flint 101", "url": "https://clevelandart.org/art/1931.246", "images": {}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 112627, "creators": [{"id": 14127, "description": "Peggy Bacon (American, 1895\u20131987)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1895", "death_year": "1987", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1931-06-18T00:00:00", "sortable_date": 1931, "date_added_to_oa": null, "date_text": "1931", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:34.906000"}, {"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": 115871, "accession_number": "1936.582", "share_license_status": "CC0", "tombstone": "Splinter Beach\r\n, 1916. George Bellows (American, 1882\u20131925). Lithograph; platemark: 37.5 x 49.9 cm (14 3/4 x 19 5/8 in.); sheet: 60.6 x 80.2 cm (23 7/8 x 31 9/16 in.). The Cleveland Museum of Art, Gift of Leonard C. Hanna Jr., 1936.582", "current_location": null, "title": "Splinter Beach\r\n", "creation_date": "1916", "creation_date_earliest": 1916, "creation_date_latest": 1916, "artists_tags": ["male"], "culture": ["America"], "technique": "lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Platemark: 37.5 x 49.9 cm (14 3/4 x 19 5/8 in.); Sheet: 60.6 x 80.2 cm (23 7/8 x 31 9/16 in.)", "dimensions": {"platemark": {"height": 0.375, "width": 0.499}, "sheet": {"height": 0.606, "width": 0.802}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "In graphite, lower left, recto: \"No 27\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "In graphite, center, recto: \"Splinter Beach\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "In graphite, lower right, recto: \"Geo. Bellows\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 309574, "title": "George Bellows Prints: Centennial Exhibition", "description": "<i>George Bellows Prints: Centennial Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 7-October 31, 1982).", "opening_date": "1982-09-07T04:00:00"}, {"id": 310260, "title": "American Cities: The Artist's View", "description": "<i>American Cities: The Artist's View</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 17, 1989-January 7, 1990).", "opening_date": "1989-10-17T04:00:00"}, {"id": 381923, "title": "Ashcan School Prints and the American City, 1900\u20131940", "description": "<i>Ashcan School Prints and the American City, 1900\u20131940</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 18-December 26, 2021).", "opening_date": "2021-07-17T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": ["1686.1926"], "did_you_know": "Splinter Beach was located under the Brooklyn Bridge, the underside of which can be seen in this image.", "description": "During George Bellows\u2019s first decade in New York City, starting in 1904, newspapers ran many stories about the \u201csocial problem\u201d of the urban poor, reporting that the city\u2019s tenement district lacked cleanliness and order. Drawn to this unvarnished side of city life, Bellows made several images of the public docks along the East River that were unofficial places of recreation for the city\u2019s tenement children. Both Splinter Beach and River-Front feature, without sentimentality, children that display their nakedness unabashedly. Disturbingly, both images feature fully clothed adults observing or even touching children, as well as other sexual touching. Portrayals of sexual indecency in Bellows\u2019s work aligned with the off-color humor often found in fictional representations of the urban poor of the time.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80009955"], "internet_archive": []}, "citations": [], "catalogue_raisonne": "Mason 28", "url": "https://clevelandart.org/art/1936.582", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1936.582/1936.582_web.jpg", "width": "900", "height": "709", "filesize": "313675", "filename": "1936.582_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1936.582/1936.582_print.jpg", "width": "3400", "height": "2680", "filesize": "4630407", "filename": "1936.582_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1936.582/1936.582_full.tif", "width": "7611", "height": "6000", "filesize": "137030200", "filename": "1936.582_full.tif"}}, "alternate_images": [{"date_created": "2012-09-25T12:47:02", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1936.582/1936.582_alt0_web.jpg", "width": "1160", "height": "893", "filesize": "350242"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1936.582/1936.582_alt0_print.jpg", "width": "3400", "height": "2618", "filesize": "3149111"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1936.582/1936.582_alt0_full.tif", "width": "7164", "height": "5518", "filesize": "118615724"}}, {"date_created": "2012-09-25T12:41:20", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1936.582/1936.582_alt1_web.jpg", "width": "1200", "height": "893", "filesize": "173107"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1936.582/1936.582_alt1_print.jpg", "width": "3400", "height": "2531", "filesize": "1475873"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1936.582/1936.582_alt1_full.tif", "width": "7754", "height": "5773", "filesize": "134314424"}}, {"date_created": "2016-08-04T13:43:11", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1936.582/1936.582_alt2_web.jpg", "width": "900", "height": "687", "filesize": "184969"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1936.582/1936.582_alt2_print.jpg", "width": "3400", "height": "2594", "filesize": "2625224"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1936.582/1936.582_alt2_full.tif", "width": "7578", "height": "5782", "filesize": "131477620"}}], "creditline": "Gift of Leonard C. Hanna Jr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 115871, "creators": [{"id": 3005, "description": "George Bellows (American, 1882\u20131925)", "extent": null, "qualifier": null, "role": "artist", "biography": "An accomplished athlete, George Bellows (1882\u20131925) was an especially appropriate artist to address the subject of sports. Born and raised in Columbus, Ohio, he played baseball and basketball as a youth, developing sufficient ability to letter in both at Ohio State University. According to some accounts, scouts for the Cincinnati Reds took notice of his shortstop talents. However, Bellows\u2019s first love, art, ultimately intervened, and after his junior year he relocated to New York to study painting. In a remarkably short period he became the leading artist of his generation, a reputation fueled through boxing subjects such as <em>Stag at Sharkey\u2019s.</em> In his later years he developed recreational passions for tennis and billiards, which he routinely played with friends. Bellows\u2019s life was cut short at the age of 42, due to complications after his appendix ruptured.", "name_in_original_language": null, "birth_year": "1882", "death_year": "1925", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1936-11-09T00:00:00", "sortable_date": 1916, "date_added_to_oa": null, "date_text": "1916", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:07:04.128000"}, {"id": 123399, "accession_number": "1943.63", "share_license_status": "Copyrighted", "tombstone": "Southern Spring, 1938. Hobson Pittman (American, 1899\u20131972). Oil on canvas; unframed: 80 x 117 cm (31 1/2 x 46 1/16 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1943.63", "current_location": null, "title": "Southern Spring", "creation_date": "1938", "creation_date_earliest": 1938, "creation_date_latest": 1938, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Unframed: 80 x 117 cm (31 1/2 x 46 1/16 in.)", "dimensions": {"unframed": {"height": 0.8, "width": 1.17}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower left: \"Hobson Pittman\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 519719, "title": "Hobson Pittman Retrospective", "description": "<i>Hobson Pittman Retrospective</i>. North Carolina Museum of Art, Raleigh, NC (organizer) (February 1-March 24, 1963).", "opening_date": "1963-02-01T05:00:00"}], "legacy": [{"description": "Vienna, Austria, The American Embassy, 1978- : ART IN EMBASSIES PROGRAM, DEPARTMENT OF STATE.", "opening_date": "1978-01-01T00:00:00"}, {"description": "<em>Sesquicentennial Celebration. </em>Miami University, Miami, OH (May 15-June 15, 1959).", "opening_date": "1959-05-15T04:00:00Z"}]}, "provenance": [{"description": "(Artists for Victory, Inc.)", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Hobson Pittman was close friends with birth control advocate Margaret Sanger.", "description": "The artist recalled that this painting's inception came from a trip heading south to the town where he grew up in North Carolina: \"I remember so well as I went down on the train, drinking in every bit of the landscape from the windows, noticing the flowering trees becoming fuller and fuller as I got nearer to my home. The yellow and reddish browns in the earth against the many tones and shades of greens and the blooming trees made me want to stop, then and there, and start painting. But that was not possible until my return. So from memory and imagination, the painting was done.\"", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60514919"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1943.63", "images": {}, "alternate_images": [], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 123399, "creators": [{"id": 3243, "description": "Hobson Pittman (American, 1899\u20131972)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1899", "death_year": "1972", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1943-02-03T00:00:00", "sortable_date": 1938, "date_added_to_oa": null, "date_text": "1938", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:26.959000"}, {"id": 125441, "accession_number": "1947.382", "share_license_status": "Copyrighted", "tombstone": "Copyist at the Metropolitan Museum, 1908. John Sloan (American, 1871\u20131951). Etching; platemark: 18.5 x 22.4 cm (7 5/16 x 8 13/16 in.); sheet: 32.4 x 45 cm (12 3/4 x 17 11/16 in.). The Cleveland Museum of Art, Gift of Leonard C. Hanna Jr., 1947.382. \u00a9  Delaware Art Museum / Artists Rights Society (ARS), New York", "current_location": null, "title": "Copyist at the Metropolitan Museum", "creation_date": "1908", "creation_date_earliest": 1908, "creation_date_latest": 1908, "artists_tags": ["male"], "culture": ["America"], "technique": "etching", "support_materials": [], "department": "Prints", "collection": "PR - Etching", "type": "Print", "measurements": "Platemark: 18.5 x 22.4 cm (7 5/16 x 8 13/16 in.); Sheet: 32.4 x 45 cm (12 3/4 x 17 11/16 in.)", "dimensions": {"platemark": {"height": 0.185, "width": 0.224}, "sheet": {"height": 0.324, "width": 0.45}}, "state_of_the_work": "VIII/VIII", "edition_of_the_work": null, "copyright": "\u00a9  Delaware Art Museum / Artists Rights Society (ARS), New York", "inscriptions": [], "exhibitions": {"current": [{"id": 309578, "title": "Graphic Humor", "description": "<i>Graphic Humor</i>. 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The Cleveland Museum of Art, Cleveland, OH (organizer) (July 18-December 26, 2021).", "opening_date": "2021-07-17T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The Metropolitan Museum of Art\u2019s Fifth Avenue building opened in 1902, and quickly became a leisure and culture destination for New Yorkers.", "description": "John Sloan took pleasure in satirizing his own profession and particularly the aura that surrounded some art objects, artists, and collectors. This image may express amusement at the common phenomenon of spectators taking interest in a painting only when it is admired by others. Sloan included a self-portrait and a portrait of his wife, Dolly, in the foreground.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79903952"], "internet_archive": []}, "citations": [], "catalogue_raisonne": "Morse 148.VIII", "url": "https://clevelandart.org/art/1947.382", "images": {}, "alternate_images": [], "creditline": "Gift of Leonard C. Hanna Jr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 125441, "creators": [{"id": 3285, "description": "John Sloan (American, 1871\u20131951)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1871", "death_year": "1951", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1947-12-19T00:00:00", "sortable_date": 1908, "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": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:21.275000"}, {"id": 125851, "accession_number": "1948.101", "share_license_status": "CC0", "tombstone": "Stenciled Velvet, c. 1902\u201310. Tiffany Studios (United States, New York, 1902\u201332), Dorothy Marshall Hornblower (American, 1886\u20131968). Plain silk velvet stencilled with vegetable dyes; overall: 11.7 x 34.3 cm (4 5/8 x 13 1/2 in.); mounted: 18.7 x 41.3 cm (7 3/8 x 16 1/4 in.). The Cleveland Museum of Art, Gift of Joseph F. Sindelar, 1948.101", "current_location": null, "title": "Stenciled Velvet", "creation_date": "c. 1902\u201310", "creation_date_earliest": 1902, "creation_date_latest": 1910, "artists_tags": ["female", "gender unknown"], "culture": ["America, New York"], "technique": "plain silk velvet stencilled with vegetable dyes", "support_materials": [], "department": "Textiles", "collection": "Textiles", "type": "Velvet", "measurements": "Overall: 11.7 x 34.3 cm (4 5/8 x 13 1/2 in.); Mounted: 18.7 x 41.3 cm (7 3/8 x 16 1/4 in.)", "dimensions": {"overall": {"height": 0.117, "width": 0.343}, "mounted": {"height": 0.187, "width": 0.413}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 302021, "title": "Design in Printed Textiles", "description": "<i>Design in Printed Textiles</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 7-September 3, 1961).", "opening_date": "1961-04-07T05:00:00"}, {"id": 219076, "title": "Louis Comfort Tiffany: Artist for the Ages", "description": "<i>Louis Comfort Tiffany: Artist for the Ages</i>. 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"}, {"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": "Joseph F. Sindelar, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?-1948", "sortorder": 1}, {"description": "The Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1948-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This dragonfly design for a stenciled velvet fabric was likely used for drapery material.", "description": "Textiles formed a large part of Louis Comfort Tiffany's artistic production, especially since he used many of them in his designs for artistic interiors. His clients included many society notables, institutions, churches, and even the White House. Tiffany employed many women artisans in his business, including Dorothy Marshall Hornblower, who oversaw the textile department and likely designed this ethereal Art Nouveau pattern.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79904940"], "internet_archive": ["https://archive.org/details/clevelandart-1948.101-stenciled-velvet"]}, "citations": [], "url": "https://clevelandart.org/art/1948.101", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1948.101/1948.101_web.jpg", "width": "1263", "height": "480", "filesize": "556825", "filename": "1948.101_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1948.101/1948.101_print.jpg", "width": "3400", "height": "1292", "filesize": "3925197", "filename": "1948.101_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1948.101/1948.101_full.tif", "width": "5899", "height": "2242", "filesize": "39697740", "filename": "1948.101_full.tif"}}, "alternate_images": [{"date_created": "2009-11-13T16:11:37", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1948.101/1948.101_alt0_web.jpg", "width": "1263", "height": "486", "filesize": "539380"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1948.101/1948.101_alt0_print.jpg", "width": "3400", "height": "1307", "filesize": "4461297"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1948.101/1948.101_alt0_full.tif", "width": "5936", "height": "2281", "filesize": "40641124"}}], "creditline": "Gift of Joseph F. Sindelar", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 125851, "creators": [{"id": 292194, "description": "Tiffany Studios (United States, New York, 1902\u201332)", "extent": null, "qualifier": null, "role": "maker", "biography": "American jewelry and glass manufactory, 1902-1932", "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 373112, "description": "Dorothy Marshall Hornblower (American, 1886\u20131968)", "extent": "designed by", "qualifier": null, "role": "designer", "biography": null, "name_in_original_language": null, "birth_year": "1886", "death_year": "1968", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1948-05-19T00:00:00", "sortable_date": 1902, "date_added_to_oa": null, "date_text": "c. 1902\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": false, "updated_at": "2026-04-01 19:07:10.814000"}, {"id": 125852, "accession_number": "1948.102", "share_license_status": "CC0", "tombstone": "Stenciled Velvet, c. 1902\u201310. Dorothy Marshall Hornblower (American, 1886\u20131968), Tiffany Studios (United States, New York, 1902\u201332). Plain silk velvet stencilled with vegetable dyes; overall: 22 x 30.8 cm (8 11/16 x 12 1/8 in.); mounted: 28.6 x 36.8 cm (11 1/4 x 14 1/2 in.). The Cleveland Museum of Art, Gift of Joseph F. Sindelar, 1948.102", "current_location": null, "title": "Stenciled Velvet", "creation_date": "c. 1902\u201310", "creation_date_earliest": 1902, "creation_date_latest": 1910, "artists_tags": ["female", "gender unknown"], "culture": ["America, New York"], "technique": "plain silk velvet stencilled with vegetable dyes", "support_materials": [], "department": "Textiles", "collection": "Textiles", "type": "Velvet", "measurements": "Overall: 22 x 30.8 cm (8 11/16 x 12 1/8 in.); Mounted: 28.6 x 36.8 cm (11 1/4 x 14 1/2 in.)", "dimensions": {"overall": {"height": 0.22, "width": 0.308}, "mounted": {"height": 0.286, "width": 0.368}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 302021, "title": "Design in Printed Textiles", "description": "<i>Design in Printed Textiles</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 7-September 3, 1961).", "opening_date": "1961-04-07T05:00:00"}, {"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).", "opening_date": "2005-10-13T00:00:00"}, {"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": "Joseph F. Sindelar, given to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "?-1948", "sortorder": 1}, {"description": "The Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1948-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This morning glory pattern stenciled velvet was likely used for drapery fabric.", "description": "Textiles formed a large part of Louis Comfort Tiffany's artistic production, especially since he used many of them in his designs for artistic interiors. His clients included many society notables, institutions, churches, and even the White House. Tiffany employed many women artisans in his business, including Dorothy Marshall Hornblower, who oversaw the textile department and likely designed this ethereal Art Nouveau pattern.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79904943"], "internet_archive": ["https://archive.org/details/clevelandart-1948.102-stenciled-velvet"]}, "citations": [], "url": "https://clevelandart.org/art/1948.102", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1948.102/1948.102_web.jpg", "width": "1232", "height": "893", "filesize": "969526", "filename": "1948.102_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1948.102/1948.102_print.jpg", "width": "3400", "height": "2464", "filesize": "6779166", "filename": "1948.102_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1948.102/1948.102_full.tif", "width": "5462", "height": "3958", "filesize": "64876852", "filename": "1948.102_full.tif"}}, "alternate_images": [{"date_created": "2009-11-13T16:11:56", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1948.102/1948.102_alt0_web.jpg", "width": "1205", "height": "893", "filesize": "970060"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1948.102/1948.102_alt0_print.jpg", "width": "3400", "height": "2520", "filesize": "8279828"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1948.102/1948.102_alt0_full.tif", "width": "5318", "height": "3942", "filesize": "62911744"}}], "creditline": "Gift of Joseph F. Sindelar", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 125852, "creators": [{"id": 373112, "description": "Dorothy Marshall Hornblower (American, 1886\u20131968)", "extent": "designed by", "qualifier": null, "role": "designer", "biography": null, "name_in_original_language": null, "birth_year": "1886", "death_year": "1968", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 292194, "description": "Tiffany Studios (United States, New York, 1902\u201332)", "extent": null, "qualifier": null, "role": "maker", "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": "1948-05-19T00:00:00", "sortable_date": 1902, "date_added_to_oa": null, "date_text": "c. 1902\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": false, "updated_at": "2026-04-01 19:07:10.822000"}, {"id": 126215, "accession_number": "1948.436", "share_license_status": "Copyrighted", "tombstone": "Gaiety Burlesque, 1930. Reginald Marsh (American, born France, 1898\u20131954). Etching; platemark: 30.2 x 25 cm (11 7/8 x 9 13/16 in.); sheet: 38.1 x 28 cm (15 x 11 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1948.436. \u00a9 Estate of Reginald Marsh / Art Students League, New York / Artists Rights Society (ARS), New   \r\n    York", "current_location": null, "title": "Gaiety Burlesque", "creation_date": "1930", "creation_date_earliest": 1930, "creation_date_latest": 1930, "artists_tags": ["male"], "culture": ["America"], "technique": "etching", "support_materials": [], "department": "Prints", "collection": "PR - Etching", "type": "Print", "measurements": "Platemark: 30.2 x 25 cm (11 7/8 x 9 13/16 in.); Sheet: 38.1 x 28 cm (15 x 11 in.)", "dimensions": {"platemark": {"height": 0.302, "width": 0.25}, "sheet": {"height": 0.381, "width": 0.28}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of Reginald Marsh / Art Students League, New York / Artists Rights Society (ARS), New   \r\n    York", "inscriptions": [], "exhibitions": {"current": [{"id": 309576, "title": "A Golden Age of American Printmaking", "description": "<i>A Golden Age of American Printmaking</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 12-April 11, 1982).", "opening_date": "1982-01-12T05:00:00"}, {"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": 381923, "title": "Ashcan School Prints and the American City, 1900\u20131940", "description": "<i>Ashcan School Prints and the American City, 1900\u20131940</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 18-December 26, 2021).", "opening_date": "2021-07-17T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The Gaiety Theater, seen here, hosted the Minsky Burlesque show featuring the famous Gypsy Rose Lee during the 1930s.", "description": "In addition to the grand opera houses and symphony halls that attracted new audiences in New York City, burlesque theaters and dance halls offered a less expensive and seamier side of entertainment that was just as popular, though with a primarily male crowd. The Gaiety Theatre opened in Manhattan's midtown in 1909. Its burlesque shows featured comedy acts, skits, songs, and, increasingly by the 1920s, a striptease. In this image, the female dancer wades across a narrow stage while navigating the men\u2019s leering gazes.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79905465"], "internet_archive": []}, "citations": [], "catalogue_raisonne": "Sasowsky 102", "url": "https://clevelandart.org/art/1948.436", "images": {}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 126215, "creators": [{"id": 31614, "description": "Reginald Marsh (American, born France, 1898\u20131954)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1898", "death_year": "1954", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1948-12-30T00:00:00", "sortable_date": 1930, "date_added_to_oa": null, "date_text": "1930", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:46.834000"}, {"id": 134094, "accession_number": "1956.599", "share_license_status": "Copyrighted", "tombstone": "Paloma and Claude (cover design for Picasso's Lithographs II), 1950. Pablo Picasso (Spanish, 1881\u20131973), printed and published by Mourlot. Transfer lithograph; overall: 32 x 51.6 cm (12 5/8 x 20 5/16 in.). The Cleveland Museum of Art, Gift of The Cleveland Museum of Art Library, 1956.599. \u00a9 Estate of  Pablo Picasso / Artists Rights Society (ARS), New York", "current_location": null, "title": "Paloma and Claude (cover design for Picasso's Lithographs II)", "creation_date": "1950", "creation_date_earliest": 1950, "creation_date_latest": 1950, "artists_tags": ["male", "Latine and Hispanic Artists", "gender unknown"], "culture": ["Spain, 20th century"], "technique": "transfer lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Overall: 32 x 51.6 cm (12 5/8 x 20 5/16 in.)", "dimensions": {"overall": {"height": 0.32, "width": 0.516}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of  Pablo Picasso / Artists Rights Society (ARS), New York", "inscriptions": [], "exhibitions": {"current": [{"id": 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": 350592, "title": "Prints and Drawings, 1916-1965", "description": "<i>Prints and Drawings, 1916-1965</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 20-July 24, 1966).", "opening_date": "1966-05-20T04:00:00"}, {"id": 317581, "title": "Picasso and Paper", "description": "<i>Picasso and Paper</i>. The Cleveland Museum of Art, Cleveland, OH (co-organizer) (December 8, 2024-March 23, 2025).", "opening_date": "2024-12-08T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Picasso frequently depicted Claude and Paloma, his children with the artist Fran\u00e7oise Gilot.", "description": "To create the portrait of his two children seen here, Picasso applied lithographic ink directly to a printing stone using his fingers. He experimented with the technique during the print\u2019s creation, wiping the material in sweeping marks to depict his daughter, Paloma, and layering his fingerprints for the image of his son, Claude. The vertical border between the pair suggests the work\u2019s intended use as the cover of a book about Picasso\u2019s lithographs.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80026388"], "internet_archive": []}, "citations": [], "catalogue_raisonne": "Bloch 664; Mourlot III.44.186; Cramer 60", "url": "https://clevelandart.org/art/1956.599", "images": {}, "alternate_images": [], "creditline": "Gift of The Cleveland Museum of Art Library", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 134094, "creators": [{"id": 2160, "description": "Pablo Picasso (Spanish, 1881\u20131973)", "extent": null, "qualifier": null, "role": "artist", "biography": "Pablo Ruiz Picasso (1881-1973), the most prolific and influential artist of the 20th century, shifted the emphasis of art from its traditional concern with beauty toward radical innovation. The son of an art teacher, Picasso demonstrated remarkable talents as a child and entered the royal art academy in Madrid at age sixteen. Less than a year later, he abandoned his studies and soon joined several avant-garde artist and anarchist groups in Barcelona and Paris. After passing through a succession of stylistic periods, most notably the Blue (1901-1904) and Rose (1904-1906) Periods, he collaborated with Georges Braque (1882-1963) in 1908 to invent Cubism, a revolutionary method of restructuring pictorial space. Picasso remained active until his death in 1973. Although his art still appears radical, many of his works are over one hundred years old. Cubism, perhaps the most important development in 20th-century art, was invented around 1908 by Pablo Picasso (1881-1973) and Georges Braque (1882-1963). The most revolutionary aspect of the style was not its obvious emphasis on geometric form; rather, it was the introduction of a radically new approach to configuring pictorial space. Since the Renaissance, artists had used various methods to create the illusion of distant space receding behind the canvas surface. The Cubists rejected that idea and collapsed space by compressing foreground, middle ground, and background into a continuous web of overlapping, intersecting planes. During the 1910s, other painters and sculptors embraced or adapted Cubism to their own ends. This revolutionary approach inspired a host of related movements and continues to influence the visual language of artists, architects, and designers throughout the world.", "name_in_original_language": null, "birth_year": "1881", "death_year": "1973", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 62587, "description": "Mourlot", "extent": "printed and published by", "qualifier": null, "role": "printer and publisher", "biography": null, "name_in_original_language": null, "birth_year": "1852", "use_in_caption": true, "include_extent": true, "weight": 2}], "legal_status": "accessioned", "accession_date": "1956-12-11T00:00:00", "sortable_date": 1950, "date_added_to_oa": null, "date_text": "1950", "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": "2026-04-02 20:05:50.140000"}, {"id": 140102, "accession_number": "1964.110", "share_license_status": "Copyrighted", "tombstone": "Reading in the Subway, 1926. John Sloan (American, 1871\u20131951). Etching; platemark: 12.5 x 10.1 cm (4 15/16 x 4 in.); sheet: 28 x 23.8 cm (11 x 9 3/8 in.). The Cleveland Museum of Art, Mr. and Mrs. Charles G. Prasse Collection, 1964.110. \u00a9 Delaware Art Museum / Artists Rights Society (ARS), New York", "current_location": null, "title": "Reading in the Subway", "creation_date": "1926", "creation_date_earliest": 1926, "creation_date_latest": 1926, "artists_tags": ["male"], "culture": ["America"], "technique": "etching", "support_materials": [], "department": "Prints", "collection": "PR - Etching", "type": "Print", "measurements": "Platemark: 12.5 x 10.1 cm (4 15/16 x 4 in.); Sheet: 28 x 23.8 cm (11 x 9 3/8 in.)", "dimensions": {"platemark": {"height": 0.125, "width": 0.101}, "sheet": {"height": 0.28, "width": 0.238}}, "state_of_the_work": "III/III", "edition_of_the_work": null, "copyright": "\u00a9 Delaware Art Museum / Artists Rights Society (ARS), New York", "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": 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": 381923, "title": "Ashcan School Prints and the American City, 1900\u20131940", "description": "<i>Ashcan School Prints and the American City, 1900\u20131940</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 18-December 26, 2021).", "opening_date": "2021-07-17T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Below this print, Sloan wrote a quote from the poem <em>A Ballad upon a Wedding</em> by the 17th-century English poet Sir John Suckling.", "description": "While etiquette manuals in the Victorian era restricted eye contact between strangers, such strictures were challenged by the culture emerging in New York City in the first decades of the 1900s. Public transportation provided people watching of the type unheard of just decades before\u2014especially of women unaccompanied on their commute to office or retail jobs. Here, John Sloan depicted a woman lost in a book. Her crossed legs and the hint of a garter are on display. Never one to miss an opportunity for cheeky humor, Sloan added an advertisement behind the girl, reading \u201cRub with Sloan\u2019s Ointment.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80037784"], "internet_archive": []}, "citations": [], "catalogue_raisonne": "Morse 223", "url": "https://clevelandart.org/art/1964.110", "images": {}, "alternate_images": [], "creditline": "Mr. and Mrs. Charles G. Prasse Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 140102, "creators": [{"id": 3285, "description": "John Sloan (American, 1871\u20131951)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1871", "death_year": "1951", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1964-05-06T00:00:00", "sortable_date": 1926, "date_added_to_oa": null, "date_text": "1926", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:07:00.654000"}, {"id": 140103, "accession_number": "1964.111", "share_license_status": "Copyrighted", "tombstone": "14th Street, The Wigwam, 1928. John Sloan (American, 1871\u20131951). Etching; matted: 56.2 x 40.6 cm (22 1/8 x 16 in.); image: 24.7 x 17.6 cm (9 3/4 x 6 15/16 in.); sheet: 46.3 x 31.6 cm (18 1/4 x 12 7/16 in.). The Cleveland Museum of Art, Mr. and Mrs. Charles G. Prasse Collection, 1964.111. \u00a9  Delaware Art Museum / Artists Rights Society (ARS), New York", "current_location": null, "title": "14th Street, The Wigwam", "creation_date": "1928", "creation_date_earliest": 1928, "creation_date_latest": 1928, "artists_tags": ["male"], "culture": ["America"], "technique": "etching", "support_materials": [], "department": "Prints", "collection": "PR - Etching", "type": "Print", "measurements": "Matted: 56.2 x 40.6 cm (22 1/8 x 16 in.); Image: 24.7 x 17.6 cm (9 3/4 x 6 15/16 in.); Sheet: 46.3 x 31.6 cm (18 1/4 x 12 7/16 in.)", "dimensions": {"image": {"height": 0.247, "width": 0.176}, "sheet": {"height": 0.463, "width": 0.316}, "matted": {"height": 0.562, "width": 0.406}}, "state_of_the_work": "VII/VII", "edition_of_the_work": null, "copyright": "\u00a9  Delaware Art Museum / Artists Rights Society (ARS), New York", "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": 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": 381923, "title": "Ashcan School Prints and the American City, 1900\u20131940", "description": "<i>Ashcan School Prints and the American City, 1900\u20131940</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 18-December 26, 2021).", "opening_date": "2021-07-17T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The year that Sloan made this print depicting the headquarters of the Tammany Society on fourteenth street, the society sold the building and relocated to Union Square.", "description": "City streets were the site of socializing and entertainment as well as of political events and parades. Here, John Sloan depicted the street outside the headquarters of Tammany Hall, a fraternal society formed in 1789 that became a champion of the working class and was crucial to helping immigrants, especially the Irish, rise in politics in the early 1900s. The society was originally named for Chief Tamanend, a leader of the Lenape people during the colonial era, and its entirely white membership appropriated native terms, such as \u201cwigwam,\u201d into club lingo. By the time of Sloan\u2019s print, the Tammany Society was a strong supporter of the Democratic Party but also known for corruption.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80037786"], "internet_archive": []}, "citations": [], "catalogue_raisonne": "Morse 235", "url": "https://clevelandart.org/art/1964.111", "images": {}, "alternate_images": [], "creditline": "Mr. and Mrs. Charles G. Prasse Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 140103, "creators": [{"id": 3285, "description": "John Sloan (American, 1871\u20131951)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1871", "death_year": "1951", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1964-05-06T00:00:00", "sortable_date": 1928, "date_added_to_oa": null, "date_text": "1928", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:20.689000"}, {"id": 146795, "accession_number": "1972.217", "share_license_status": "Copyrighted", "tombstone": "Boy and Dog, 1932. Diego Rivera (Mexican, 1886\u20131957), printed by George C. Miller (American, 1894\u20131966), published by Weyhe Gallery. Lithograph; image: 41.5 x 30.2 cm (16 5/16 x 11 7/8 in.); sheet: 57.8 x 40.3 cm (22 3/4 x 15 7/8 in.). The Cleveland Museum of Art, Mr. and Mrs. Charles G. Prasse Collection, 1972.217. \u00a9 Banco de M\u00e9xico Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society (ARS), New York", "current_location": null, "title": "Boy and Dog", "creation_date": "1932", "creation_date_earliest": 1932, "creation_date_latest": 1932, "artists_tags": ["male", "Latine and Hispanic Artists", "Jewish artists"], "culture": ["Mexico, 20th century"], "technique": "lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image: 41.5 x 30.2 cm (16 5/16 x 11 7/8 in.); Sheet: 57.8 x 40.3 cm (22 3/4 x 15 7/8 in.)", "dimensions": {"image": {"height": 0.415, "width": 0.302}, "sheet": {"height": 0.578, "width": 0.403}}, "state_of_the_work": "I/I", "edition_of_the_work": "edition of 100", "copyright": "\u00a9 Banco de M\u00e9xico Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "inscribed and signed at lower left, in pencil: No. 3 Diego Rivera 1932; along lower margin of sheet: Boy and Dog Ed. 100", "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": 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": 373919, "title": "A Graphic Revolution: Prints and Drawings in Latin America", "description": "<i>A Graphic Revolution: Prints and Drawings in Latin America</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 14-August 2, 2020).", "opening_date": "2020-03-08T05:00:00"}], "legacy": []}, "provenance": [{"description": "Mr. and Mrs. Charles G. Prasse, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "?-1972", "sortorder": 1}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1972", "sortorder": 2}], "find_spot": null, "related_works": [{"id": 141332, "description": "Boy and Dog, 1932. Diego Rivera (Mexican, 1886\u20131957). Lithograph. The Cleveland Museum of Art, The Mr. and Mrs. Charles G. Prasse Collection, 1964.543. \u00a9 Banco de M\u00e9xico Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society (ARS), New York", "relationship": "related impression"}], "former_accession_numbers": [], "did_you_know": "Diego Rivera produced only 13 prints during his long career, encouraged by his dealer Carl Zigrosser of Weyhe Gallery.", "description": "During the 1920s, following ten years of political conflict, the Mexican government commissioned the country's most prominent artists to create civic murals that addressed a broad public and celebrated Mexico\u2019s history and goals for the future. Diego Rivera created this print based on a detail from one such commission, created for the Secretariat of Public Education in Mexico City.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79925382"], "internet_archive": []}, "citations": [], "catalogue_raisonne": "Williams 7", "url": "https://clevelandart.org/art/1972.217", "images": {}, "alternate_images": [], "creditline": "Mr. and Mrs. Charles G. Prasse Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 146795, "creators": [{"id": 13165, "description": "Diego Rivera (Mexican, 1886\u20131957)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1886", "death_year": "1957", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 370463, "description": "George C. Miller (American, 1894\u20131966)", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "birth_year": "1894", "death_year": "1966", "use_in_caption": true, "include_extent": true, "weight": 2}, {"id": 370474, "description": "Weyhe Gallery", "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": "1972-12-05T00:00:00", "sortable_date": 1932, "date_added_to_oa": null, "date_text": "1932", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Boy with Taco"], "is_highlight": false, "updated_at": "2026-03-27 00:09:10.472000"}, {"id": 146796, "accession_number": "1972.218", "share_license_status": "Copyrighted", "tombstone": "Flower Market, 1930. Diego Rivera (Mexican, 1886\u20131957), published by Weyhe Gallery. Lithograph; image: 27.9 x 40.6 cm (11 x 16 in.). The Cleveland Museum of Art, Mr. and Mrs. Charles G. Prasse Collection, 1972.218. \u00a9 Banco de M\u00e9xico Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society (ARS), New York", "current_location": null, "title": "Flower Market", "creation_date": "1930", "creation_date_earliest": 1930, "creation_date_latest": 1930, "artists_tags": ["male", "Latine and Hispanic Artists", "Jewish artists"], "culture": ["Mexico, 20th century"], "technique": "lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image: 27.9 x 40.6 cm (11 x 16 in.)", "dimensions": {"image": {"height": 0.279, "width": 0.406}}, "state_of_the_work": "II/II", "edition_of_the_work": "edition of 150", "copyright": "\u00a9 Banco de M\u00e9xico Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "signed at lower left, in pencil: Diego Rivera 1930", "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": 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": 373919, "title": "A Graphic Revolution: Prints and Drawings in Latin America", "description": "<i>A Graphic Revolution: Prints and Drawings in Latin America</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 14-August 2, 2020).", "opening_date": "2020-03-08T05:00:00"}], "legacy": []}, "provenance": [{"description": "Mr. and Mrs. Charles G. Prasse, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "?-1972", "sortorder": 1}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1972-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "To create the vivid yellow background of this lithograph, Diego Rivera's master printer, George C. Miller, used a \"tone stone\" that imprinted a white sheet of paper with colored ink.", "description": "Following the Mexican Revolution, artists throughout the country began to create works that celebrated the country's history and future. In this print, Diego Rivera shows a gathering of figures in indigenous costume gathering to exchange flowers, suggesting Mexico's bounty. 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She studied drawing, sculpture, and weaving with well-known artists at the University of Illinois in Champaign-Urbana (1943-45), the Institute of Design in Chicago (1946-48), and at the Penland School of Crafts in North Carolina where she became a weaver (1954). Throughout her prolific career, Tawney has had numerous one-person exhibitions and participated in many group exhibitions, including the renowned landmark international Fiberworks at the Cleveland Museum of Art in 1977. Her work is represented in many major museums, including four pieces in the Cleveland Museum of Art, and she has received numerous awards, including the American Craft Council's Gold Medal in 1987. 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Pen and black and red ink and pencil and collage; image: 13.8 x 8.8 cm (5 7/16 x 3 7/16 in.); sheet: 13.8 x 8.8 cm (5 7/16 x 3 7/16 in.). The Cleveland Museum of Art, Gift of Katharine Kuh, 1981.189. \u00a9 Lenore G. Tawney Foundation", "current_location": null, "title": "Cat", "creation_date": "1976", "creation_date_earliest": 1976, "creation_date_latest": 1976, "artists_tags": ["female"], "culture": ["America"], "technique": "pen and black and red ink and pencil and collage", "support_materials": [{"description": "postcard", "watermarks": []}], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Image: 13.8 x 8.8 cm (5 7/16 x 3 7/16 in.); Sheet: 13.8 x 8.8 cm (5 7/16 x 3 7/16 in.)", "dimensions": {"image": {"height": 0.138, "width": 0.088}, "sheet": {"height": 0.138, "width": 0.088}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Lenore G. Tawney Foundation", "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": 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": 383281, "title": "Stories from Storage", "description": "<i>Stories from Storage</i>. 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This postcard featuring eggs, leaves, and a cat, was sent to Daniel Rich, a museum director and close friend of Kuh's, while he was hospitalized.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79932780"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1981.189", "images": {}, "alternate_images": [], "creditline": "Gift of Katharine Kuh", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 150400, "creators": [{"id": 32648, "description": "Lenore Tawney (American, 1907\u20132007)", "extent": null, "qualifier": null, "role": "artist", "biography": "Tawney was born Leonora Agnes Gallagher in Lorain, Ohio, in 1907. She studied drawing, sculpture, and weaving with well-known artists at the University of Illinois in Champaign-Urbana (1943-45), the Institute of Design in Chicago (1946-48), and at the Penland School of Crafts in North Carolina where she became a weaver (1954). 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The Cleveland Museum of Art, Gift of Katharine Kuh, 1981.198. \u00a9 Lenore G. Tawney Foundation", "current_location": null, "title": "Pre-Columbian Feathers with Envelope", "creation_date": "1980", "creation_date_earliest": 1980, "creation_date_latest": 1980, "artists_tags": ["female"], "culture": ["America"], "technique": "pen and black ink and watercolor and collage", "support_materials": [], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Lenore G. Tawney Foundation", "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": 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": 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": "Lenore Tawney (the artist) [1907-1997]", "citations": [], "footnotes": [], "date": "1980", "sortorder": 1}, {"description": "Katharine Kuh [1904-1994]", "citations": [], "footnotes": [], "date": "1980-82", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "March 8, 1982", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Lenore Tawney was a pioneering fiber artist known for large-scale public installations, but her postcard collages were personal missives to close friends on an intimate scale.", "description": "This is one of 44 postcard collages in the CMA\u2019s collection that the textile artist Lenore Tawney sent through the mail to her friend, the art dealer, curator, and critic Katherine Kuh between 1969 and 1981. 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This collage, a Christmas card, features feathers arrayed to imitate a fire.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79932827"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1981.198", "images": {}, "alternate_images": [], "creditline": "Gift of Katharine Kuh", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 150415, "creators": [{"id": 32648, "description": "Lenore Tawney (American, 1907\u20132007)", "extent": null, "qualifier": null, "role": "artist", "biography": "Tawney was born Leonora Agnes Gallagher in Lorain, Ohio, in 1907. She studied drawing, sculpture, and weaving with well-known artists at the University of Illinois in Champaign-Urbana (1943-45), the Institute of Design in Chicago (1946-48), and at the Penland School of Crafts in North Carolina where she became a weaver (1954). 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Platinum print; image: 42.6 x 16 cm (16 3/4 x 6 5/16 in.); paper: 46.5 x 21.8 cm (18 5/16 x 8 9/16 in.); matted: 66 x 35.6 cm (26 x 14 in.). The Cleveland Museum of Art, Gift of Friends of Photography, 1996.308. \u00a9 Lois Conner", "current_location": null, "title": "Buddha, Leshan, Sichuan, China", "creation_date": "1986", "creation_date_earliest": 1986, "creation_date_latest": 1986, "artists_tags": ["female"], "culture": ["America"], "technique": "platinum print", "support_materials": [], "department": "Photography", "collection": "PH - American 1951-Present", "type": "Photograph", "measurements": "Image: 42.6 x 16 cm (16 3/4 x 6 5/16 in.); Paper: 46.5 x 21.8 cm (18 5/16 x 8 9/16 in.); Matted: 66 x 35.6 cm (26 x 14 in.)", "dimensions": {"image": {"height": 0.426, "width": 0.16}, "paper": {"height": 0.465, "width": 0.218}, "matted": {"height": 0.66, "width": 0.356}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Lois Conner", "inscriptions": [{"inscription": "Written in negative: \"CH86134 Le Shan, Sichuan\"; in pencil on recto: \"CH861394.15. 9602 / 131HIc94dc / 60u60d / 180b\"; \"Buddha, Le Shan, Sichuan, China (1986) (64)\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 184611, "title": "Gifts from the CMA Friends of Photography", "description": "<i>Gifts from the CMA Friends of Photography</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 7, 2002-April 23, 2003).", "opening_date": "2002-12-07T00:00:00"}, {"id": 298005, "title": "Inspired by Chinese Landscape and Art \u2013 Chinese Gallery Rotation 240a, 241c", "description": "<i>Inspired by Chinese Landscape and Art \u2013 Chinese Gallery Rotation 240a, 241c</i>. The Cleveland Museum of Art (organizer) (August 14, 2017-February 5, 2018).", "opening_date": "2017-08-14T04:00:00"}, {"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": "This 233-foot-tall stone sculpture was carved by hand from a sandstone cliff.", "description": "Inspired by the elongated scrolls of Chinese landscape painters, Lois Conner uses an antique view camera that yields 7-by-17-inch negatives, well suited to depicting this statue of Buddha. At the top of the image, we glimpse a modern city across the river through the haze. As our eye descends, it echoes the experience of the visitors who climb down to the feet of this ancient monument, built between 713 and 803. Sadly, the sculpture is now imperiled by weathering, air pollution, and the impact of tourists\u2019 visits and, in fall 2020, was endangered by floodwaters.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79979341"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1996.308", "images": {}, "alternate_images": [], "creditline": "Gift of Friends of Photography", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 159559, "creators": [{"id": 42873, "description": "Lois Conner (American, b. 1951)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1951", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1996-12-02T00:00:00", "sortable_date": 1986, "date_added_to_oa": null, "date_text": "1986", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:52.096000"}, {"id": 162120, "accession_number": "2001.57", "share_license_status": "Copyrighted", "tombstone": "Rain in May (\uff15\u6708\u306b\u96e8), 1931. It\u014d Shinsui (Japanese, 1898\u20131972). Woodblock print, ink and color on paper; sheet: 43.4 x 28 cm (17 1/16 x 11 in.); image: 41.2 x 26.1 cm (16 1/4 x 10 1/4 in.). The Cleveland Museum of Art, Mr. and Mrs. William E. Ward Collection Fund, 2001.57", "current_location": null, "title": "Rain in May", "title_in_original_language": "\uff15\u6708\u306b\u96e8", "creation_date": "1931", "creation_date_earliest": 1931, "creation_date_latest": 1931, "artists_tags": ["male"], "culture": ["Japan, Sh\u014dwa period (1926\u201389)"], "technique": "Woodblock print, ink and color on paper", "support_materials": [], "department": "Prints", "collection": "PR - Woodcut", "type": "Print", "measurements": "Sheet: 43.4 x 28 cm (17 1/16 x 11 in.); Image: 41.2 x 26.1 cm (16 1/4 x 10 1/4 in.)", "dimensions": {"sheet": {"height": 0.434, "width": 0.28}, "image": {"height": 0.412, "width": 0.261}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 188290, "title": "East Meets West:  Tradition and Innovation in Modern Japanese Prints", "description": "<i>East Meets West:  Tradition and Innovation in Modern Japanese Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 19-May 28, 2000).", "opening_date": "2000-03-19T00:00:00"}, {"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": 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": []}, "provenance": [{"description": "(Verne Collection, Inc., Cleveland, OH, 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": "The primary market for <em>shinhanga</em> at the time of its production was Europe and the US; major shinhanga exhibitions were held at the Toledo Museum of Art in Ohio in the 1930s.", "description": "Chiefly known for romanticized depictions of beautiful women in paintings and prints, It\u014d Shinsui was one of the leading artists of the <em>shinhanga</em> (new prints) movement While they strove to retain the traditional team-based production system and standard subject matter of actors, beauties, and famous places, shinhanga artists also sought to incorporate effects from European painting into their work.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79985797"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2001.57", "images": {}, "alternate_images": [], "creditline": "Mr. and Mrs. William E. Ward Collection Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 162120, "creators": [{"id": 11303, "description": "It\u014d Shinsui (Japanese, 1898\u20131972)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\u4f0a\u6771 \u6df1\u6c34", "birth_year": "1898", "death_year": "1972", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2001-06-24T00:00:00", "sortable_date": 1931, "date_added_to_oa": null, "date_text": "1931", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:04:52.928000"}, {"id": 86472, "accession_number": "2015.144.1", "share_license_status": "Copyrighted", "tombstone": "Sonata I-IV: Sonata I, 1996. Nam June Paik (Korean, 1932\u20132006), Mark Patsfall Graphics (United States, Ohio, Cincinnati, est. 1981), Galerie Asb\u00e6k (Denmark, Copenhagan, est. 1975). Lithograph, screenprint, and etching; sheet: 53.3 x 66 cm (21 x 26 in.); image: 51.8 x 64.8 cm (20 3/8 x 25 1/2 in.). The Cleveland Museum of Art, The A. W. Ellenberger, Sr., Endowment Fund, 2015.144.1", "current_location": null, "title": "Sonata I", "series": "Sonata I-IV", "creation_date": "1996", "creation_date_earliest": 1996, "creation_date_latest": 1996, "artists_tags": ["male", "Asian (from 1900 to present)"], "culture": ["Korea"], "technique": "Lithograph, screenprint, and etching", "support_materials": [{"description": "Rives BFK paper", "watermarks": []}], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Sheet: 53.3 x 66 cm (21 x 26 in.); Image: 51.8 x 64.8 cm (20 3/8 x 25 1/2 in.)", "dimensions": {"sheet": {"height": 0.533, "width": 0.66}, "image": {"height": 0.518, "width": 0.648}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right TV screen; numbered lower left TV screen in graphite;\r\nlower right corner, print shop blindstamp of Clay Street Press\r\n\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 306109, "title": "Korean Gallery 236 Rotation", "description": "<i>Korean Gallery 236 Rotation</i>. The Cleveland Museum of Art (organizer) (January 29-July 16, 2018).", "opening_date": "2018-01-29T05:00:00"}, {"id": 677112, "title": "Juxtaposition and Juncture in Korean Modern and Contemporary Art", "description": "<i>Juxtaposition and Juncture in Korean Modern and Contemporary Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 21, 2025-May 3, 2026).", "opening_date": "2025-03-21T04:00:00"}], "legacy": [{"description": "\"Electronic Undercurrents\" at the Statens Museum, Copenhagen", "opening_date": null}]}, "provenance": [{"description": "(Carl Solway Gallery, Cincinnati, OH, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "?\u20132015", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2015\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In the final row of <em>Sonata I</em>, Paik includes an image of himself and a bare-breasted Charlotte Moorman performing his composition <em>Cello Sonata No. 1 for Adults Only </em>in 1965. They were arrested for public indecency immediately after the performance.", "description": "From a set of four prints entitled <em>Sonata</em>, these prints juxtapose collaged images from Nam June Paik\u2019s childhood, including photographs, musical compositions, and clips from his video works. In the final row of <em>Sonata I</em>, Paik included an image capturing his sensational performance with cellist and performance artist Charlotte Moorman in 1965. And, in <em>Sonata III</em>, Paik included a few images that echo his memory with his father whom he rebelled against in his youth. As one of the core members of Fluxus (from the Latin word for flowing), an international experimental and interdisciplinary art movement of the 1960s and 1970s, Paik stood out with his electronic works employing television sets and a stream of endless images and videos clips.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79473042"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2015.144.1", "images": {}, "alternate_images": [], "creditline": "The A. W. Ellenberger, Sr., Endowment Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 86472, "creators": [{"id": 65871, "description": "Nam June Paik (Korean, 1932\u20132006)", "extent": null, "qualifier": null, "role": "artist", "biography": "Korean artist, active in America<br>Born: July 20, 1932, Seoul, South Korea<br>Died: January 29, 2006, Miami, FL", "name_in_original_language": null, "birth_year": "1932", "death_year": "2006", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 672119, "description": "Mark Patsfall Graphics (United States, Ohio, Cincinnati, est. 1981)", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}, {"id": 672117, "description": "Galerie Asb\u00e6k (Denmark, Copenhagan, est. 1975)", "extent": "published by", "qualifier": null, "role": "publisher", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 3}], "legal_status": "accessioned", "accession_date": "2015-12-07T00:00:00", "sortable_date": 1996, "date_added_to_oa": null, "date_text": "1996", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "2015.144", "is_nazi_era_provenance": false, "impression": "15", "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:48.064000"}, {"id": 150522, "accession_number": "1981.76", "share_license_status": "Copyrighted", "tombstone": "Secretary, 1911. Henry Mather Greene (American, 1870\u20131954), and Charles Sumner Greene (American, 1868\u20131957), Peter Hall Manufacturing Co. (American). Mahogany with inlays and glazed doors; overall: 208.3 x 137.8 x 61 cm (82 x 54 1/4 x 24 in.). The Cleveland Museum of Art, Gift of Mrs. John A. Hadden, 1981.76", "current_location": "208 American Gilded Age and Realism", "title": "Secretary", "creation_date": "1911", "creation_date_earliest": 1911, "creation_date_latest": 1911, "artists_tags": ["male", "gender unknown"], "culture": ["America, California, Pasadena, 20th century"], "technique": "mahogany with inlays and glazed doors", "support_materials": [], "department": "Decorative Art and Design", "collection": "Furniture", "type": "Furniture and woodwork", "measurements": "Overall: 208.3 x 137.8 x 61 cm (82 x 54 1/4 x 24 in.)", "dimensions": {"overall": {"height": 2.083, "width": 1.378, "depth": 0.61}}, "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"}], "legacy": []}, "provenance": [{"description": "Cordelia A. Culbertson, Pasadena; Mrs. Elisabeth Severance Prentiss, Pasadena; Mrs. John A. Hadden, Cleveland.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "This secretary was made for the Cordelia A. Culbertson House in Pasadena, California.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780866"], "internet_archive": []}, "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. 56; Mentioned: p. 79, no. 38", "url": "http://www.jstor.org/stable/25159758"}, {"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. 333-338, fig. 12", "url": "http://www.jstor.org/stable/25159796"}, {"citation": "Bosley, Edward R., and Greene &amp; Greene.<em> Greene &amp; Greene</em>. London: Phaidon, 2000. p. 158, fig. 44.", "page_number": "", "url": ""}, {"citation": "Adams, Henry. <em>What's American about American art?: a gallery tour in the Cleveland Museum of Art. </em>Cleveland: Cleveland Museum of Art, 2008.", "page_number": "Reproduced: p. 120 - 121", "url": ""}, {"citation": "Mathias, David. <em>Greene &amp; Greene Furniture: Poems of Wood &amp; Light.</em> Cincinnati, Ohio: Popular Woodworking Books, 2010. pp. 18, 114, 166, 168.", "page_number": "", "url": ""}, {"citation": "Pin\u0303a, Leslie A. <em>Furniture in History, 3000 B.C.-2000 A.D.</em> 2nd ed. Boston: Prentice Hall, 2010. p. 184.", "page_number": "", "url": ""}], "url": "https://clevelandart.org/art/1981.76", "images": {}, "alternate_images": [], "creditline": "Gift of Mrs. John A. Hadden", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "The Cleveland Foundation Gallery", "athena_id": 150522, "creators": [{"id": 50521, "description": "Henry Mather Greene (American, 1870\u20131954)", "extent": null, "qualifier": null, "role": "designed by", "biography": null, "name_in_original_language": null, "birth_year": "1870", "death_year": "1954", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 7338, "description": "Charles Sumner Greene (American, 1868\u20131957)", "extent": null, "qualifier": "and", "role": "designed by", "biography": null, "name_in_original_language": null, "birth_year": "1868", "death_year": "1957", "use_in_caption": true, "include_extent": false, "weight": 2}, {"id": 7341, "description": "Peter Hall Manufacturing Co. (American)", "extent": null, "qualifier": null, "role": "made by", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 3}], "legal_status": "accessioned", "accession_date": "1982-03-08T00:00:00", "sortable_date": 1911, "date_added_to_oa": null, "date_text": "1911", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:05:21.871000"}, {"id": 159378, "accession_number": "1996.203", "share_license_status": "Copyrighted", "tombstone": "Untitled, 1984. Dorothy Ruddick (American, 1925\u20132010). Needle weaving, couched embroidery, painting, and drawing: cotton thread, india ink, and gesso on linen; overall: 28 x 35.3 x 2.3 cm (11 x 13 7/8 x 7/8 in.). The Cleveland Museum of Art, Gift of Mildred Constantine, 1996.203", "current_location": "224A Contemporary Corridor", "title": "Untitled", "creation_date": "1984", "creation_date_earliest": 1984, "creation_date_latest": 1984, "artists_tags": ["female"], "culture": ["America"], "technique": "needle weaving, couched embroidery, painting, and drawing: cotton thread, india ink, and gesso on linen", "support_materials": [], "department": "Textiles", "collection": "T - Contemporary Fiber Art", "type": "Textile", "measurements": "Overall: 28 x 35.3 x 2.3 cm (11 x 13 7/8 x 7/8 in.)", "dimensions": {"overall": {"height": 0.28, "width": 0.353, "depth": 0.023}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 311494, "title": "Small Works in Fiber: The Collection of Mildred Constantine", "description": "<i>Small Works in Fiber: The Collection of Mildred Constantine</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 27-March 28, 1993).", "opening_date": "1993-01-27T05:00:00"}, {"id": 615862, "title": "Contemporary Textile Rotation - October 2025", "description": "<i>Contemporary Textile Rotation - October 2025</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 10, 2025-April 28, 2026).", "opening_date": "2025-10-10T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": ["40.1993"], "did_you_know": null, "description": "Dorothy Ruddick worked in pen and ink drawing before shifting focus to the combined processes of stitching, weaving, and drawing on natural linen. She abruptly switched to needle and thread in the summer of 1973, as she sat transfixed by the congressional hearings of the Watergate investigation that resulted in President Richard Nixon\u2019s resignation. The modestly sized linen panels and intricately stitched compositions lent themselves to hours of watching the televised proceedings. The trompe l\u2019oeil (trick the eye) effect of <em>Untitled</em>, giving the illusion of draped fabric, may draw from the classical statues and Baroque paintings that inspired her.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79978858"], "internet_archive": []}, "citations": [{"citation": "Constantine, Mildred, and Jack Lenor Larsen. <em>The Art Fabric : Mainstream</em>. New York: Van Nostrand Reinhold, 1981.", "page_number": "p. 115, 158, 265", "url": ""}, {"citation": "Cleveland Museum of Art. Small Works in Fiber: The Mildred Constantine Collection. Cleveland, Ohio: Cleveland Museum of Art, 1993.", "page_number": "p. 59", "url": null}], "url": "https://clevelandart.org/art/1996.203", "images": {}, "alternate_images": [], "creditline": "Gift of Mildred Constantine", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 159378, "creators": [{"id": 9273, "description": "Dorothy Ruddick (American, 1925\u20132010)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1925", "death_year": "2010", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1996-06-03T00:00:00", "sortable_date": 1984, "date_added_to_oa": null, "date_text": "1984", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:32.610000"}, {"id": 284577, "accession_number": "2020.217", "share_license_status": "Copyrighted", "tombstone": "Mirror, c. 1930. Paul Feh\u00e9r (American, born Hungary, 1898\u20131990), Rose Iron Works (America, Ohio, Cleveland, est. 1904). Wrought iron, brass, silver, gold plating, glass; 182.9 x 114.3 x 6.4 cm (72 x 45 x 2 1/2 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 2020.217. \u00a9 Rose Iron Works Collections, LLC", "current_location": "228B Cleveland Artists", "title": "Mirror", "creation_date": "c. 1930", "creation_date_earliest": 1925, "creation_date_latest": 1935, "artists_tags": ["May Show", "male"], "culture": [], "technique": "Wrought iron, brass, silver, gold plating, glass", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Furniture and woodwork", "measurements": "182.9 x 114.3 x 6.4 cm (72 x 45 x 2 1/2 in.)", "dimensions": {"No Extent Specified": {"height": 1.829, "width": 1.143, "depth": 0.064}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Rose Iron Works Collections, LLC", "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>. Cooper Hewitt, Smithsonian Design Museum, New York, NY (April 7-August 20, 2017); The Cleveland Museum of Art, Cleveland, OH (organizer) (September 30, 2017-January 14, 2018).", "opening_date": "2017-04-07T00:00:00"}], "legacy": [{"description": "<em>The 1920s: Age of the Metropolis. </em>The Montreal Museum of Fine Arts, Montreal, Canada (June 20-November 10, 1991).", "opening_date": "1991-06-20T00:00:00"}]}, "provenance": [{"description": "(Rose Iron Works Collections, LLC, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": [], "date": "c. 1930\u20132020", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2020\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "The Rose Iron Works in Cleveland embraced the modern aesthetic of geometric patterning, with highly stylized and abstracted natural forms, in their designs by Hungarian-born Paul Feh\u00e9r, who came from Paris to work for the company. Despite the stock market crash in 1929, the company continued to produce such designs in the hope that prosperity would soon return. However, this mirror remained unsold in their studio as the Great Depression took hold.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117230325"], "internet_archive": []}, "citations": [{"citation": "Clair, Jean. <em>The 1920s: Age of the Metropolis, </em>exh. cat. (Montreal, Canada: Montreal Museum of Fine Arts, 1991).", "page_number": "Mentioned and reproduced P. 532", "url": ""}, {"citation": "Coffin, Sarah, Stephen Harrison, Emily Marshall Orr, Cooper-Hewitt Museum, and Cleveland Museum of Art. <em>The Jazz Age: American Style in the 1920s</em>. Cleveland, OH: Cleveland Museum of Art, 2017", "page_number": "Reproduced and mentioned: p. 193, fig. 240, cat. 315, p. 359", "url": "https://ingallslibrary.on.worldcat.org/oclc/985455434"}], "url": "https://clevelandart.org/art/2020.217", "images": {}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "William P. and Amanda C. Madar Gallery", "athena_id": 284577, "creators": [{"id": 10465, "description": "Paul Feh\u00e9r (American, born Hungary, 1898\u20131990)", "extent": null, "qualifier": null, "role": "designer", "biography": null, "name_in_original_language": null, "birth_year": "1898", "death_year": "1990", "use_in_caption": true, "include_extent": true, "weight": 1}, {"id": 383447, "description": "Rose Iron Works (America, Ohio, Cleveland, est. 1904)", "extent": null, "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": "2020-09-14T00:00:00-04:00", "sortable_date": 1925, "date_added_to_oa": null, "date_text": "c. 1930", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:37.355000"}, {"id": 168467, "accession_number": "2010.226", "share_license_status": "Copyrighted", "tombstone": "Take a Picture of the Indian/Take a Picture with the Indian , 2000. Zig Jackson (Mandan/ Hidatsa/ Arikara, b. 1957). Gelatin silver print (diptych); paper: 50.2 x 60.4 cm (19 3/4 x 23 3/4 in.); matted: 71.1 x 81.3 cm (28 x 32 in.); right image: 35.3 x 25.1 cm (13 7/8 x 9 7/8 in.); left image: 35.4 x 26.1 cm (13 15/16 x 10 1/4 in.). The Cleveland Museum of Art, Gift of Friends of Photography, 2010.226. \u00a9 Zig Jackson", "current_location": "101B Prints & Drawings", "title": "Take a Picture of the Indian/Take a Picture with the Indian ", "creation_date": "2000", "creation_date_earliest": 2000, "creation_date_latest": 2000, "artists_tags": ["Indigenous", "male"], "culture": ["America"], "technique": "gelatin silver print (diptych)", "support_materials": [], "department": "Photography", "collection": "PH - American 1951-Present", "type": "Photograph", "measurements": "Paper: 50.2 x 60.4 cm (19 3/4 x 23 3/4 in.); Matted: 71.1 x 81.3 cm (28 x 32 in.); right image: 35.3 x 25.1 cm (13 7/8 x 9 7/8 in.); left image: 35.4 x 26.1 cm (13 15/16 x 10 1/4 in.)", "dimensions": {"paper": {"height": 0.502, "width": 0.604}, "matted": {"height": 0.711, "width": 0.813}, "right image": {"height": 0.353, "width": 0.251}, "left image": {"height": 0.354, "width": 0.261}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Zig Jackson", "inscriptions": [{"inscription": "Written in black marker on verso: \"Take a picture of the Indian/Take a picture with the Indians/Cherokee N.C. Zig Jackson, Mandan. Hidatsa, Arikara\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 198065, "title": "The American Indian Image: Photographs by Edward S. Curtis and Zig Jackson ", "description": "<i>The American Indian Image: Photographs by Edward S. Curtis and Zig Jackson </i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 7-May 30, 2010).", "opening_date": "2010-02-07T00:00:00"}, {"id": 695926, "title": "still/emerging: Native American Works on Paper", "description": "<i>still/emerging: Native American Works on Paper</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 1-June 7, 2026).", "opening_date": "2026-02-01T05:00:00"}], "legacy": [{"description": "CMA, February 7, 2010 - May 30, 2010: \"The American Indian Image: Photographs by Edward S. Curtis and Zig Jackson,\" exhibited in the East Wing Photography Exhibition gallery.", "opening_date": "2010-02-07T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": ["12.2010"], "did_you_know": null, "description": "Zig Jackson travels with his camera to different\rAmerican Indian reservations, visiting former\rschoolmates and friends and taking pictures.\rWhile driving through Cherokee, North Carolina,\rhe observed billboards inviting tourists to \u201cTake\r<br>a Picture with an Indian.\u201d Jackson spent the day\rspeaking with a tribal elder about his life and\rfamily and documenting the method by which\rhe made a living\u2014posing with tourists for a fee.\rCommitted to showing the daily life and reality\r<br>of Indigenous populations, Jackson\u2019s diptych\rhighlights the cliches perpetuated by literature and\rthe media that many people still hold about Native\rAmericans in the United States.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80074391"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2010.226", "images": {}, "alternate_images": [], "creditline": "Gift of Friends of Photography", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "These Galleries are the Gift of James and Hanna Bartlett", "athena_id": 168467, "creators": [{"id": 59447, "description": "Zig Jackson (Mandan/ Hidatsa/ Arikara, b. 1957)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1957", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2010-09-07T00:00:00", "sortable_date": 2000, "date_added_to_oa": null, "date_text": "2000", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Take a Picture of the Indian, Take a Picture with the Indian (diptych)"], "is_highlight": false, "updated_at": "2026-03-27 00:09:39.690000"}, {"id": 164433, "accession_number": "2005.56", "share_license_status": "CC0", "tombstone": "Bwami Prestige Cap (Mukuba or Nkumbu), early to mid-1900s. 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. After being collected near the Maldives islands, these Indo-Pacific shells entered parts of Africa via overseas trade routes.", "description": "Hats of different types, sizes, and materials figure prominently in the Lega people\u2019s Bwami association where they indicate status and rank. Cone-shaped hats made of canvas covered with cowrie shells and surmounted by an elephant tail are worn during initiations into <em>kindi</em>, the highest of the five male grades. This prestige cap uses a variety of local and imported materials to show its wearer's importance. The plant fibers that support the hat and the elephant hair were sourced in Central Africa, while the beads and cowrie shells were imported. The beads were made in Europe, while the cowrie shells came from the Indian Ocean region. The might of Bwami members is likened to the elephant\u2019s potentially destructive strength.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79992023"], "internet_archive": ["https://archive.org/details/clevelandart-2005.56-bwami-prestige-cap-m"]}, "citations": [{"citation": "Petridis, Constantine. \"New Acquisitions of African Art at the Cleveland Museum of Art\". African Arts. (44) No. 1, Spring 2011. Pg. 57, Fig. 5.", "page_number": "", "url": ""}, {"citation": "Arnoldi, Mary Jo, Christine Mullen Kreamer, and University of California, Los Angeles Fowler Museum of Cultural History. 1995. <em>Crowning Achievements : African Arts of Dressing the Head</em>. 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. 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/2005.56", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2005.56/2005.56_web.jpg", "width": "770", "height": "900", "filesize": "185793", "filename": "2005.56_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2005.56/2005.56_print.jpg", "width": "2908", "height": "3400", "filesize": "1125381", "filename": "2005.56_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2005.56/2005.56_full.tif", "width": "6981", "height": "8161", "filesize": "170941552", "filename": "2005.56_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2005.56/2005.56_alt0_web.jpg", "width": "674", "height": "893", "filesize": "273440"}, "print": {"url": 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{"date_created": "2021-04-22T21:04:14", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2005.56/2005.56_alt6_web.jpg", "width": "741", "height": "900", "filesize": "186300"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2005.56/2005.56_alt6_print.jpg", "width": "2800", "height": "3400", "filesize": "1083103"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2005.56/2005.56_alt6_full.tif", "width": "6685", "height": "8118", "filesize": "162832252"}}, {"date_created": "2021-04-22T21:22:54", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2005.56/2005.56_alt7_web.jpg", "width": "900", "height": "570", "filesize": "185584"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2005.56/2005.56_alt7_print.jpg", "width": "3400", "height": "2152", "filesize": "1173016"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2005.56/2005.56_alt7_full.tif", "width": "7039", "height": "4456", "filesize": "94122928"}}, {"date_created": "2021-04-22T21:31:01", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2005.56/2005.56_alt8_web.jpg", "width": "900", "height": "516", "filesize": "177679"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2005.56/2005.56_alt8_print.jpg", "width": "3400", "height": "1951", "filesize": "1197047"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2005.56/2005.56_alt8_full.tif", "width": "6779", "height": "3889", "filesize": "79115948"}}], "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": 164433, "creators": [], "legal_status": "accessioned", "accession_date": "2005-06-06T00:00:00", "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": ["Hat (Mukuba)"], "is_highlight": false, "updated_at": "2026-03-27 00:08:05.751000"}, {"id": 160911, "accession_number": "1999.191", "share_license_status": "Copyrighted", "tombstone": "Bowl, c. 1948\u201349. Maria Martinez (San Ildefonso Pueblo, about 1887\u20131980), and Santana Roybal Martinez (San Ildefonso Pueblo, 1909\u20132002). Ceramic, slip; diameter: 23.1 cm (9 1/8 in.). The Cleveland Museum of Art, Gift in memory of Dr. Henry L. Tapp by his family, MaryLou, Carl, and Richard Tapp, 1999.191", "current_location": null, "title": "Bowl", "creation_date": "c. 1948\u201349", "creation_date_earliest": 1948, "creation_date_latest": 1949, "artists_tags": ["Indigenous", "female"], "culture": ["America, New Mexico, San Ildefonso, 20th century"], "technique": "Ceramic, slip", "support_materials": [], "department": "Art of the Americas", "collection": "AA - Native North America", "type": "Ceramic", "measurements": "Diameter: 23.1 cm (9 1/8 in.)", "dimensions": {"diameter": {"width": 0.231}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"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": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Maria Martinez was one of the most distinguished Native American potters of the Southwest who worked at the San Ildefonso Pueblo in the first half of the 20th century. Firing in a reducing (low oxygen) atmosphere produces the black-on-black effect seen on this bowl. Maria Martinez and her husband Juli\u00e1n invented the black-on-black decoration technique around 1920; it was then adopted by many other potters at their pueblo.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79982911"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art, \u201cMrs. Paul Wurzburger Donates Major Calder Mobile to Cleveland Museum of Art, Korean Painting, Japanese Ceramic, Italian Drawing and other Works Acquired\u201d September 8, 1999, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr4281"}], "url": "https://clevelandart.org/art/1999.191", "images": {}, "alternate_images": [], "creditline": "Gift in memory of Dr. Henry L. Tapp by his family, MaryLou, Carl, and Richard Tapp", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 160911, "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}, {"id": 57518, "description": "Santana Roybal Martinez (San Ildefonso Pueblo, 1909\u20132002)", "extent": null, "qualifier": "and", "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1909", "death_year": "2002", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1999-08-31T00:00:00", "sortable_date": 1948, "date_added_to_oa": null, "date_text": "c. 1948\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": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:23.117000"}, {"id": 171783, "accession_number": "2014.532", "share_license_status": "Copyrighted", "tombstone": "Model's Feet Wearing Two-Toned Shoes, 1934. Ilse Bing (American, 1899\u20131998). Gelatin silver print; image: 22.2 x 28 cm (8 3/4 x 11 in.); mounted: 34.7 x 41.8 cm (13 11/16 x 16 7/16 in.); paper: 22.2 x 28 cm (8 3/4 x 11 in.). The Cleveland Museum of Art, Gift of George Stephanopoulos, 2014.532. \u00a9 Estate of Ilse Bing", "current_location": null, "title": "Model's Feet Wearing Two-Toned Shoes", "creation_date": "1934", "creation_date_earliest": 1929, "creation_date_latest": 1938, "artists_tags": ["female", "Jewish artists"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 22.2 x 28 cm (8 3/4 x 11 in.); Mounted: 34.7 x 41.8 cm (13 11/16 x 16 7/16 in.); Paper: 22.2 x 28 cm (8 3/4 x 11 in.)", "dimensions": {"image": {"height": 0.222, "width": 0.28}, "mounted": {"height": 0.347, "width": 0.418}, "paper": {"height": 0.222, "width": 0.28}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of Ilse Bing", "inscriptions": [{"inscription": "Recto: On bottom ,left corner of photo image, printed by artist, in black: \" ILSE BING/1934\".\nImprinted in black type, on recto of mount: \"ILSE BING/PARIS/1934\".\nVerso: Commercially imprinted throughout the verso of photo paper: \" Agfa Brovira \".\nVerso of mount, written in pencil: \"[1189-425-D7]\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 370361, "title": "Ilse Bing: Queen of the Leica", "description": "<i>Ilse Bing: Queen of the Leica</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 6-October 11, 2020).", "opening_date": "2020-03-06T05:00:00"}], "legacy": []}, "provenance": [{"description": "George Stephanopoulos [1961-], New York, NY", "citations": [], "footnotes": [], "date": "?-2014", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "December 1, 2014", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Ilse Bing\u2019s assignment from a Frankfurt newspaper to cover the couture ball in Paris led to commissions from designers and fashion magazines, including French <em>Vogue.</em> In November 1933 she began doing all the Paris accessory shoots for the American magazine <em>Harper\u2019s Bazaar.</em> Although the Leica was associated with candid photography, she used it in the studio to create staged still lifes of shoes, jewelry, handbags, and belts, and occasionally views of shoes on a model\u2019s feet. Accustomed to using available light, Bing had to master artificial lighting. Preferring a natural look, she avoided bright spots and deep shadows in favor of gently modeled highlights that emphasized the objects\u2019 sculptural shapes while revealing their polished surfaces.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80082661"], "internet_archive": []}, "citations": [{"citation": "Lee, Key Jo, and William Griswold. Perceptual Drift: Black Art and an Ethics of Looking. Cleveland, OH : Cleveland Museum of Art, 2022.", "page_number": "Mentioned and reproduced:p. 36, fig. 18", "url": ""}], "url": "https://clevelandart.org/art/2014.532", "images": {}, "alternate_images": [], "creditline": "Gift of George Stephanopoulos", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 171783, "creators": [{"id": 235, "description": "Ilse Bing (American, 1899\u20131998)", "extent": null, "qualifier": null, "role": "artist", "biography": "Ilse Bing (American, b. Germany, 1899-1998). Ilse Bing became interested in photography while pursuing a doctoral degree in art history at Frankfurt University. Around 1927-28 she began taking photographs to illustrate her dissertation and in 1930 decided to move to Paris to look for freelance assignments. Using the new 35mm Leica camera, she worked as a fashion, portrait, and architectural photographer, as well as a photojournalist. During her years in Paris she took part in numerous exhibitions, including the Museum of Modern Art's Photography 1839-1937 show in New York. In 1941 Bing and her husband immigrated to the United States, settling in New York City. In New York she began to work on a different scale, using the larger-format Rolleiflex camera as well as electronic flash. By 1957 she was working exclusively in color. Two years later Bing gave up photography to concentrate on painting and poetry.", "name_in_original_language": null, "birth_year": "1899", "death_year": "1998", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2014-12-01T00:00:00", "sortable_date": 1929, "date_added_to_oa": null, "date_text": "1934", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:07:17.105000"}, {"id": 97005, "accession_number": "1916.65", "share_license_status": "Copyrighted", "tombstone": "Rubbing of Imperial Procession with Empress, taken from Northern Wei dynasty (386-534) Central Binyang Cave, Longmen, Henan Province (\u79ae\u4f5b\u5716\u62d3\u7247\uff0c\u51fa\u81ea\u5317\u9b4f\uff08386-534\uff09\u9f8d\u9580\u8cd3\u967d\u4e2d\u6d1e\uff0c\u6cb3\u5357\u7701), 1910\u201316. China, Qing dynasty (1644-1911) or Republican period (1912-49). Rubbing; rubbing only: 205.6 x 388.4 cm (80 15/16 x 152 15/16 in.); overall: 227.3 x 406.4 cm (89 1/2 x 160 in.). The Cleveland Museum of Art, Gift of Yamanaka & Company, 1916.65", "current_location": null, "title": "Rubbing of Imperial Procession with Empress, taken from Northern Wei dynasty (386-534) Central Binyang Cave, Longmen, Henan Province", "title_in_original_language": "\u79ae\u4f5b\u5716\u62d3\u7247\uff0c\u51fa\u81ea\u5317\u9b4f\uff08386-534\uff09\u9f8d\u9580\u8cd3\u967d\u4e2d\u6d1e\uff0c\u6cb3\u5357\u7701", "creation_date": "1910\u201316", "creation_date_earliest": 1910, "creation_date_latest": 1916, "artists_tags": [], "culture": ["China, Qing dynasty (1644-1911) or Republican period (1912-49)"], "technique": "rubbing", "support_materials": [], "department": "Chinese Art", "collection": "Chinese Art", "type": "Miscellaneous", "measurements": "Rubbing only: 205.6 x 388.4 cm (80 15/16 x 152 15/16 in.); Overall: 227.3 x 406.4 cm (89 1/2 x 160 in.)", "dimensions": {"overall": {"height": 2.273, "width": 4.064}, "rubbing only": {"height": 2.056, "width": 3.884}}, "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 (1919).", "opening_date": "1919-01-01T05:00:00Z"}]}, "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": "A rubbing is taken directly from a carved stone\u2019s surface, so the resulting image has the same orientation as the original carving.", "description": "This rubbing was taken from stone reliefs commissioned by the Northern Wei emperor Xuanwu (reigned 500\u2013515) in honor of his deceased parents.<br> <br>In this rubbing, the empress mother is in the center, crowned with an elaborate headdress and attended by an entourage of palace ladies. The empress mother is about to place an incense stick into a censer held by a lady on the left side. Other attendants carry offerings for the Buddha, such as lotus flowers, a symbol of purity in Buddhism.<br> <br>The second part of the imperial procession, showing the emperor with male attendants, is depicted in another rubbing in the CMA collection, 1916.64.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79480994"], "internet_archive": []}, "citations": [{"citation": "Coleman, Fletcher. \"Encountering Chinese sculpture in America: the early pedagogy and exhibition of monumental ink rubbings from Longmen\" <em>Orientations </em>51, no. 1 (January/February 2020): 92-102.", "page_number": "Reproduction: p.95, fig. 3; Mention: p. 92; p.102", "url": null}], "url": "https://clevelandart.org/art/1916.65", "images": {}, "alternate_images": [], "creditline": "Gift of Yamanaka & Company", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 97005, "creators": [], "legal_status": "accessioned", "accession_date": "1916-03-09T00:00:00", "sortable_date": 1910, "date_added_to_oa": null, "date_text": "1910\u201316", "collapse_artists": false, "on_loan": false, "recently_acquired": 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"], "is_highlight": false, "updated_at": "2026-03-27 00:03:48.735000"}, {"id": 97847, "accession_number": "1917.454", "share_license_status": "CC0", "tombstone": "Jar-shaped Basket, 1910. Sarah Hunter (Timbisha Shoshone (Panamint), 1883\u20131967). Willow, bulrush; coiled (3 rods); overall: 12.5 x 18.5 cm (4 15/16 x 7 5/16 in.). The Cleveland Museum of Art, Presented by William Albert Price in memory of Mrs. William Albert Price, 1917.454", "current_location": null, "title": "Jar-shaped Basket", "creation_date": "1910", "creation_date_earliest": 1910, "creation_date_latest": 1910, "artists_tags": ["female"], "culture": ["Native North America, Great Basin, California, Death Valley"], "technique": "Willow, bulrush; coiled (3 rods)", "support_materials": [], "department": "Art of the Americas", "collection": "AA - Native North America", "type": "Basketry", "measurements": "Overall: 12.5 x 18.5 cm (4 15/16 x 7 5/16 in.)", "dimensions": {"overall": {"height": 0.125, "width": 0.185}}, "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": "Some Timbisha Shoshone women continue traditions of basket weaving to the present day.", "description": "Sarah Hunter\u2019s basketry is noted for geometricized motifs reminiscent of the animals depicted in petroglyphs on canyon walls in the Death Valley region. Here they include pronghorn mountain sheep, deer, and birds, along with humans, all created in light-brown bulrush against a honey-colored willow ground. Traditional Indigenous basket weavers, who have exhaustive knowledge of the plant world, tend, harvest, and prepare their own materials. If stages of the process are not done properly and at the right time, color will be uneven and stitches will twist and split.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79482645"], "internet_archive": ["https://archive.org/details/clevelandart-1917.454-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/1917.454", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1917.454/1917.454_web.jpg", "width": "1143", "height": "893", "filesize": "666296", "filename": "1917.454_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1917.454/1917.454_print.jpg", "width": "3400", "height": "2656", "filesize": "6258276", "filename": "1917.454_print.jpg"}, "full": {"url": 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"65675040"}}], "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": 97847, "creators": [{"id": 57365, "description": "Sarah Hunter (Timbisha Shoshone (Panamint), 1883\u20131967)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1883", "death_year": "1967", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1958-07-08T00:00:00", "sortable_date": 1910, "date_added_to_oa": null, "date_text": "1910", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:07:59.917000"}, {"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": 111385, "accession_number": "1929.888", "share_license_status": "CC0", "tombstone": "The Saltimbanques: The Frugal Meal, September 1904, printed 1913. Pablo Picasso (Spanish, 1881\u20131973), Louis Fort (French, active 1800s\u20131900s), Ambroise Vollard (French, 1867\u20131939). Etching; image: 45.5 x 37 cm (17 15/16 x 14 9/16 in.); plate: 46.3 x 37.6 cm (18 1/4 x 14 13/16 in.); sheet: 63 x 49.8 cm (24 13/16 x 19 5/8 in.). The Cleveland Museum of Art, Dudley P. Allen Fund, 1929.888", "current_location": null, "title": "The Frugal Meal", "series": "The Saltimbanques", "creation_date": "September 1904, printed 1913", "creation_date_earliest": 1904, "creation_date_latest": 1913, "artists_tags": ["male", "Latine and Hispanic Artists"], "culture": ["Spain, 20th century"], "technique": "etching", "support_materials": [], "department": "Prints", "collection": "PR - Etching", "type": "Print", "measurements": "Image: 45.5 x 37 cm (17 15/16 x 14 9/16 in.); Plate: 46.3 x 37.6 cm (18 1/4 x 14 13/16 in.); Sheet: 63 x 49.8 cm (24 13/16 x 19 5/8 in.)", "dimensions": {"image": {"height": 0.455, "width": 0.37}, "plate": {"height": 0.463, "width": 0.376}, "sheet": {"height": 0.63, "width": 0.498}}, "state_of_the_work": "IIb/II (Geiser)", "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "watermark: VAN GELDER ZONEN", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"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": 317581, "title": "Picasso and Paper", "description": "<i>Picasso and Paper</i>. The Cleveland Museum of Art, Cleveland, OH (co-organizer) (December 8, 2024-March 23, 2025).", "opening_date": "2024-12-08T05:00:00"}], "legacy": []}, "provenance": [{"description": "(C.W. Kraushaar Art Galleries, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "?-1929", "sortorder": 1}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1929-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "To create this print, Pablo Picasso recycled a zinc plate previously used by a friend.", "description": "In this early print, Pablo Picasso depicted a couple\u2014possibly two performers\u2014sitting before a meager meal. Although the woman gazes forward directly, her male companion's unfocused stare suggests his blindness. This subject was one that Picasso explored during his Blue Period (1901\u20134), a stage of his career when he used a predominantly cool palette to depict figures marginalized by society.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80003452"], "internet_archive": []}, "citations": [{"citation": "Planas, Claustre Raffart. \"Early Works and the Blue Period.\" In <em>Picasso and Paper</em>. William H. Robinson, et al., 62-79. London: Royal Academy of Arts, 2020.", "page_number": "Reproduced: P. 77, cat. no. 50", "url": ""}], "catalogue_raisonne": "Bloch 1; Palau i Fabre 994; Geiser/Baer I.18.2", "url": "https://clevelandart.org/art/1929.888", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1929.888/1929.888_web.jpg", "width": "748", "height": "900", "filesize": "330662", "filename": "1929.888_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1929.888/1929.888_print.jpg", "width": "2826", "height": "3400", "filesize": "4259417", "filename": "1929.888_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1929.888/1929.888_full.tif", "width": "4624", "height": "5563", "filesize": "77203324", "filename": "1929.888_full.tif"}}, "alternate_images": [{"date_created": "2006-05-18T17:28:16", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1929.888/1929.888_alt0_web.jpg", "width": "730", "height": "893", "filesize": "574811"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1929.888/1929.888_alt0_print.jpg", "width": "2779", "height": "3400", "filesize": "7802190"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1929.888/1929.888_alt0_full.tif", "width": "3752", "height": "4591", "filesize": "51709952"}}], "creditline": "Dudley P. Allen Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 111385, "creators": [{"id": 2160, "description": "Pablo Picasso (Spanish, 1881\u20131973)", "extent": null, "qualifier": null, "role": "artist", "biography": "Pablo Ruiz Picasso (1881-1973), the most prolific and influential artist of the 20th century, shifted the emphasis of art from its traditional concern with beauty toward radical innovation. The son of an art teacher, Picasso demonstrated remarkable talents as a child and entered the royal art academy in Madrid at age sixteen. Less than a year later, he abandoned his studies and soon joined several avant-garde artist and anarchist groups in Barcelona and Paris. After passing through a succession of stylistic periods, most notably the Blue (1901-1904) and Rose (1904-1906) Periods, he collaborated with Georges Braque (1882-1963) in 1908 to invent Cubism, a revolutionary method of restructuring pictorial space. Picasso remained active until his death in 1973. Although his art still appears radical, many of his works are over one hundred years old. Cubism, perhaps the most important development in 20th-century art, was invented around 1908 by Pablo Picasso (1881-1973) and Georges Braque (1882-1963). The most revolutionary aspect of the style was not its obvious emphasis on geometric form; rather, it was the introduction of a radically new approach to configuring pictorial space. Since the Renaissance, artists had used various methods to create the illusion of distant space receding behind the canvas surface. The Cubists rejected that idea and collapsed space by compressing foreground, middle ground, and background into a continuous web of overlapping, intersecting planes. During the 1910s, other painters and sculptors embraced or adapted Cubism to their own ends. This revolutionary approach inspired a host of related movements and continues to influence the visual language of artists, architects, and designers throughout the world.", "name_in_original_language": null, "birth_year": "1881", "death_year": "1973", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 669786, "description": "Louis Fort (French, active 1800s\u20131900s)", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "use_in_caption": true, "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": "1929-11-12T00:00:00", "sortable_date": 1904, "date_added_to_oa": null, "date_text": "September 1904, printed 1913", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-04-02 20:05:17.136000"}, {"id": 112057, "accession_number": "1930.537", "share_license_status": "Copyrighted", "tombstone": "Lady Artist, 1925. Peggy Bacon (American, 1895\u20131987). Drypoint; platemark: 15.2 x 10.1 cm (6 x 4 in.); sheet: 29.7 x 23.4 cm (11 11/16 x 9 3/16 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. Malcolm L. McBride, 1930.537", "current_location": null, "title": "Lady Artist", "creation_date": "1925", "creation_date_earliest": 1925, "creation_date_latest": 1925, "artists_tags": ["female"], "culture": ["America"], "technique": "drypoint", "support_materials": [], "department": "Prints", "collection": "PR - Drypoint", "type": "Print", "measurements": "Platemark: 15.2 x 10.1 cm (6 x 4 in.); Sheet: 29.7 x 23.4 cm (11 11/16 x 9 3/16 in.)", "dimensions": {"platemark": {"height": 0.152, "width": 0.101}, "sheet": {"height": 0.297, "width": 0.234}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "In graphite, recto: \"Lady Artist  Peggy Bacon/1925\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "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": 381923, "title": "Ashcan School Prints and the American City, 1900\u20131940", "description": "<i>Ashcan School Prints and the American City, 1900\u20131940</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 18-December 26, 2021).", "opening_date": "2021-07-17T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The artist in this print is using an etching needle to draw a composition onto a copperplate.", "description": "Having studied with both George Bellows and John Sloan, Peggy Bacon was one of a growing number of women who sought independence and professional success in America\u2019s cities. In this self-portrait, she portrayed herself with her etching needle poised on a copperplate. The crowded domestic setting invites her audience to see what it means to be an artist and a woman, with curious neighbors peering in and an inquisitive spider, like an omnipresent observer, above. While the easel and floor display drawings of a nude and a portrait\u2014traditional art subjects\u2014the copperplate reveals a more ordinary subject: the bare outline of a cat.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80004554"], "internet_archive": []}, "citations": [{"citation": "Maze, Ramey. \"Peggy Bacon.\" In <em>150 Stories: Lives of the Artists at the League, </em>edited by Stephanie Cassidy, 114-117. New York, NY: The Art Students League of New York, 2025.", "page_number": "Mentioned and reproduced: p. 116-117", "url": ""}], "catalogue_raisonne": "Flint 58", "url": "https://clevelandart.org/art/1930.537", "images": {}, "alternate_images": [], "creditline": "Gift of Mr. and Mrs. Malcolm L. McBride", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 112057, "creators": [{"id": 14127, "description": "Peggy Bacon (American, 1895\u20131987)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1895", "death_year": "1987", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1930-10-27T00:00:00", "sortable_date": 1925, "date_added_to_oa": null, "date_text": "1925", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:33.026000"}, {"id": 174077, "accession_number": "1932.967", "share_license_status": "Copyrighted", "tombstone": "Self-Portrait, c. 1931. Russell Barnett Aitken (American, 1910\u20132002). Ceramic; overall: 48.6 x 17.8 cm (19 1/8 x 7 in.). The Cleveland Museum of Art, Hinman B. Hurlbut Collection, 1932.967", "current_location": null, "title": "Self-Portrait", "creation_date": "c. 1931", "creation_date_earliest": 1930, "creation_date_latest": 1932, "artists_tags": ["May Show", "male", "Cleveland Institute of Art (alumni)"], "culture": ["America, Ohio, Cleveland"], "technique": "ceramic", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Ceramic", "measurements": "Overall: 48.6 x 17.8 cm (19 1/8 x 7 in.)", "dimensions": {"overall": {"height": 0.486, "width": 0.178}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "on back of base: \"Russell Aitken.\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 382023, "title": "The May Show: 14th Annual Exhibition of Works by Cleveland Artists and Craftsmen", "description": "<i>The May Show: 14th Annual Exhibition of Works by Cleveland Artists and Craftsmen</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 27-June 5, 1932).", "opening_date": "1932-04-27T04:00:00"}, {"id": 312185, "title": "Retrospective Twenty-fifth Anniversary May Show", "description": "<i>Retrospective Twenty-fifth Anniversary May Show</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 13-February 14, 1943).", "opening_date": "1943-01-13T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": ["971.1932", "967.1932"], "did_you_know": "This caricature depicts the Cleveland ceramist Russell Barnett Aitken, who was a graduate of the Cleveland Institute of Art, in a stylized self-portrait as a young hunter in the wild.", "description": "Figural studies were emphasized in ceramic classes at the Kunstgewerbeschule in Vienna where Clevelanders Viktor Schreckengost and Russell Barnett Aitken studied in 1929\u201330. Aitken absorbed the Viennese style of exaggeration and caricature as seen in this depiction of himself as hunter in the wild, incorporating similar motifs and techniques of caricature into his work for the rest of his career.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117230302"], "internet_archive": []}, "citations": [{"citation": "Russell Barnett Aitken Entry Card to 1932 May Show. Cleveland Museum of Art May Show Records, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/CMAMS02362"}], "url": "https://clevelandart.org/art/1932.967", "images": {}, "alternate_images": [], "creditline": "Hinman B. Hurlbut Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 174077, "creators": [{"id": 18625, "description": "Russell Barnett Aitken (American, 1910\u20132002)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1910", "death_year": "2002", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1932-04-26T00:00:00", "sortable_date": 1930, "date_added_to_oa": null, "date_text": "c. 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": ["Hunter"], "is_highlight": false, "updated_at": "2026-03-27 00:08:21.096000"}, {"id": 120798, "accession_number": "1941.526", "share_license_status": "Copyrighted", "tombstone": "Shine, Washington Square, New York City, 1923. John Sloan (American, 1871\u20131951). Lithograph; image: 18.2 x 22.7 cm (7 3/16 x 8 15/16 in.); sheet: 24.3 x 38.7 cm (9 9/16 x 15 1/4 in.). The Cleveland Museum of Art, Mr. and Mrs. Lewis B. Williams Collection, 1941.526. \u00a9  Delaware Art Museum / Artists Rights Society (ARS), New York", "current_location": null, "title": "Shine, Washington Square, New York City", "creation_date": "1923", "creation_date_earliest": 1923, "creation_date_latest": 1923, "artists_tags": ["male"], "culture": ["America"], "technique": "lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image: 18.2 x 22.7 cm (7 3/16 x 8 15/16 in.); Sheet: 24.3 x 38.7 cm (9 9/16 x 15 1/4 in.)", "dimensions": {"image": {"height": 0.182, "width": 0.227}, "sheet": {"height": 0.243, "width": 0.387}}, "state_of_the_work": "only state", "edition_of_the_work": null, "copyright": "\u00a9  Delaware Art Museum / Artists Rights Society (ARS), New York", "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": 381923, "title": "Ashcan School Prints and the American City, 1900\u20131940", "description": "<i>Ashcan School Prints and the American City, 1900\u20131940</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 18-December 26, 2021).", "opening_date": "2021-07-17T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Washington Arch, seen behind the figures in this print, was dedicated in 1895 as a monument to the centenary of George Washington\u2019s inauguration.", "description": "In the 1920s, a growing number of women worked in secretarial and retail jobs in America\u2019s cities. Many artists could not resist portraying these unaccompanied women as they enjoyed the city on their lunch hours or spent their meager wages in pursuit of fun. Here, John Sloan captured a humorous dynamic in Washington Square Park, near his Greenwich Village apartment. As two young women converse, they are oblivious to the older man on the same bench who appears fascinated by the available view of the woman\u2019s leg.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80016413"], "internet_archive": []}, "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: Shoe Shine, Washington Square, New York City.", "page_number": "Mentioned: p. 64", "url": "https://archive.org/details/Lithography/page/n71"}], "catalogue_raisonne": "Morse 210", "url": "https://clevelandart.org/art/1941.526", "images": {}, "alternate_images": [], "creditline": "Mr. and Mrs. Lewis B. Williams Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 120798, "creators": [{"id": 3285, "description": "John Sloan (American, 1871\u20131951)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1871", "death_year": "1951", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1941-12-05T00:00:00", "sortable_date": 1923, "date_added_to_oa": null, "date_text": "1923", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Shoe Shine, Washington Square, New York City"], "is_highlight": false, "updated_at": "2026-03-27 00:04:28.301000"}, {"id": 130879, "accession_number": "1953.577", "share_license_status": "Copyrighted", "tombstone": "Dying Sunflowers, 1916. Charles Burchfield (American, 1893\u20131967). Graphite on wove paper, lined. The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1953.577. Reproduced with permission from the Charles E. Burchfield Foundation", "current_location": null, "title": "Dying Sunflowers", "creation_date": "1916", "creation_date_earliest": 1916, "creation_date_latest": 1916, "artists_tags": ["May Show", "male", "Cleveland Institute of Art (alumni)"], "culture": ["America"], "technique": "Graphite on wove paper, lined", "support_materials": [], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "dimensions": {"sheet": {"height": 0.214, "width": 0.276}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "Reproduced with permission from the Charles E. Burchfield Foundation", "inscriptions": [], "exhibitions": {"current": [{"id": 311926, "title": "The Drawings of Charles E. Burchfield", "description": "<i>The Drawings of Charles E. Burchfield</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 4, 1953-January 10, 1954).", "opening_date": "1953-11-04T05:00:00"}, {"id": 313096, "title": "Charles Burchfield: The Ohio Landscapes, 1915\u20131920", "description": "<i>Charles Burchfield: The Ohio Landscapes, 1915\u20131920</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 22, 2018-May 5, 2019).", "opening_date": "2018-12-22T05:00:00"}], "legacy": []}, "provenance": [{"description": "Charles Burchfield [1893-1967], Buffalo, NY, sold to the Print Club of Cleveland as a gift for the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1916-1953", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1953-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Burchfield believed that sunflowers looked most alive when they were almost dead.", "description": "Sunflowers were among Burchfield's favorite subjects. He often depicted them anthropomorphically, suggesting either open eyes or, as here, slumped human forms.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780924"], "internet_archive": []}, "citations": [{"citation": "Prasse, Leona E. T<em>he Drawings of Charles E. Burchfield</em>. Exh. Cat. Cleveland: Cleveland Museum of Art,1953.", "page_number": "Mentioned: p. 17, no. 16", "url": null}], "url": "https://clevelandart.org/art/1953.577", "images": {}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 130879, "creators": [{"id": 3989, "description": "Charles Burchfield (American, 1893\u20131967)", "extent": null, "qualifier": null, "role": "artist", "biography": "Charles Burchfield was among the most original and poetic painters of the Cleveland modernist movement. Born in Ashtabula, he moved to Salem, Ohio, following the death of his father in 1898. After graduating from high school, he attended Cleveland School of Art, studying with William Eastman, Frederick Gottwald, Henry Keller, and Frank Wilcox. In 1914 Burchfield began attending Kokoon Klub exhibitions, and in spring 1915 he went to Brandywine to meet William Sommer. Around this time Burchfild began experimenting with the brilliant colors and simplified forms of the Berlin Heights painters. He painted his first mature works in 1915, and grad ed from the Cleveland School of Art with a degree in illustration the following spring. That summer the Cleveland School of Art sponsored his first solo exhibition, and in the fall, after attending the National Academy of Design in New York for one month, he returned to Salem. In February 1917 the Cleveland School of Art mounted his second solo exhibition. Burchfield was inducted into the army that summer. After his return in 1919 he exhibited with other Cleveland modernists at the Play House, Laukhuff\u2019 s Book store, and other Cleveland venues. In 1921 he went on an extended sketching trip through eastern Ohio with Keller, Wilcox, and Paul Travis, exhibiting these recent paintings at the Cleveland School of Art and in the May Show at the Cleveland Museum of Art. Later that year he moved to Buffalo to work as a wallpaper designer, a position he retained until he resigned in 1929 to become a full-time painter. Over the next 30 years he exhibited extensively at museums and galleries across the country. Solo exhibitions of his paintings were held at New York\u2019s Museum of Modern Art (1930), Pittsburgh\u2019 s Carnegie Institute of Art (1935, 1938, 1946), and Buffalo\u2019 s Albright-Knox Art Gallery (1944, 1955, 1963, 1967). In 1953 New York\u2019s Whitney Museum of American Art organized a major exhibition that traveled to the Cleveland Museum of Art. Burchfield died in West Seneca, New York. <br>\"Transformations in Cleveland Art\" (CMA, 1996), p. 224", "name_in_original_language": null, "birth_year": "1893", "death_year": "1967", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1953-12-15T00:00:00", "sortable_date": 1916, "date_added_to_oa": null, "date_text": "1916", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:05:35.491000"}, {"id": 141604, "accession_number": "1965.2.b", "share_license_status": "Copyrighted", "tombstone": "Figure (verso), 1940. Joan Mir\u00f3 (Spanish, 1893\u20131983). Pen and brown ink; sheet: 45.8 x 37.9 cm (18 1/16 x 14 15/16 in.). The Cleveland Museum of Art, Contemporary Collection of The Cleveland Museum of Art, 1965.2.b. \u00a9 Successi\u00f3 Mir\u00f3 / Artists Rights Society (ARS), New York / ADAGP, Paris", "current_location": null, "title": "Figure (verso)", "creation_date": "1940", "creation_date_earliest": 1940, "creation_date_latest": 1940, "artists_tags": ["male", "Latine and Hispanic Artists"], "culture": ["Spain, 20th century"], "technique": "pen and brown ink", "support_materials": [{"description": "white wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - Spanish", "type": "Drawing", "measurements": "Sheet: 45.8 x 37.9 cm (18 1/16 x 14 15/16 in.)", "dimensions": {"sheet": {"height": 0.458, "width": 0.379}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Successi\u00f3 Mir\u00f3 / Artists Rights Society (ARS), New York / ADAGP, Paris", "inscriptions": [{"inscription": "verso, signed, center, in brown ink: Joan Mir\u00f3 / *Femme \u00e0 la blonde aisselle coiffant / sa ch\u00e9velure \u00e0 la lueur des \u00e9toiles* / Varengeville s/mer / 5/iii/1940; center left, in graphite: 5 [circled] \r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 518118, "title": "Exposition Miro", "description": "<i>Exposition Miro</i>. Fondation Maeght, Saint-Paul-de-Vence, France (organizer) (July 23-September 30, 1968).", "opening_date": "1968-07-23T04:00:00"}], "legacy": [{"description": "Possibly New York 1945, no. 5 (all the \"Constellation\" series drawings, except Nocturne, the one Mir\u00f3 gave to his wife, are listed in the brochure printed for the 1945 exhibition at the Pierre Matisse Gallery; according to Lilian Tone, however, who compiled exhibition histories for the 1993 Mir\u00f3 retrospective [New York 1993-94], not all the \"Constellation\" drawings were shown there; she listed only the few mentioned in contemporary reviews of the show as ones we know for certain were in the exhibition); possibly New York 1959b (according to New York 1993-94, 417, under no. 160); Paris 1959b (according to New York 1993-94, 417, under no. 160); cma 1965f; Cleveland 1966, 204, no. 77 (repr.); Saint-Paul-de-Vence 1968, no. 38; Barcelona 1968-69, 61, no. 42; Cleveland 1979b, 80-81, no. 34, 175, color pl. xxi; Houston 1982, 4; Cleveland 1987, 79-82, no. 38, color pl. vii; Madrid 1993, 153, no. 65 (repr.) 114; New York 1993-94, 417, no. 160, 242 (color repr.).", "opening_date": "1945-01-01T00:00:00"}]}, "provenance": [{"description": "[E. V. Thaw & Co., Inc., New York].", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This drawing was published in book alongside the other works from Joan Miro's \"Constellations\" series, accompanied by poems written by Andr\u00e9 Breton.", "description": "This drawing belongs to a group of 23 works made by Joan Miro between January 1940 and September 1941, which he called \"Constellations.\" All were made in Normandy, where the artist had retreated from the Spanish civil war. Miro juxtaposed blurry layers of watercolor in earthy tones with neatly linear lines in black ink and shapes in white gouache to develop his own language of symbols that suggested, in his words, \"the night, music, and the stars.\" The fifth in the series, this drawing is dominated by a vague figural form at center, who draws a comb through her hair while holding a mirror through which shines the moon and a star. The allover abstract composition was a major influence on later artists, following a 1945 exhibition in New York.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80041159"], "internet_archive": []}, "citations": [{"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. 264-265, 298; Reproduced: P. 264, cat. no. 112", "url": ""}], "url": "https://clevelandart.org/art/1965.2.b", "images": {}, "alternate_images": [], "creditline": "Contemporary Collection of The Cleveland Museum of Art", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 141604, "creators": [{"id": 2157, "description": "Joan Mir\u00f3 (Spanish, 1893\u20131983)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1893", "death_year": "1983", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1966-01-03T00:00:00", "sortable_date": 1940, "date_added_to_oa": null, "date_text": "1940", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1965.2", "is_nazi_era_provenance": true, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:02:52.643000"}, {"id": 144562, "accession_number": "1969.221", "share_license_status": "CC0", "tombstone": "Five Pound Piece: Edward VII (obverse); St. George and the Dragon (reverse), 1902. Design by after Benedetto Pistrucci (Italian, 1784\u20131855), George Edward de Saulles (British). Gold; diameter: 3.7 cm (1 7/16 in.). The Cleveland Museum of Art, The Norweb Collection, 1969.221", "current_location": null, "title": "Five Pound Piece: Edward VII (obverse); St. George and the Dragon (reverse)", "creation_date": "1902", "creation_date_earliest": 1902, "creation_date_latest": 1902, "artists_tags": ["male"], "culture": ["England, Edward VII, 1901-1910"], "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": "EDWARDVS VII DEI GRA: BRITT: OMN: REX FID: DEF: IND: IMP:", "inscription_translation": "Edward the Seventh, by the Grace of God, King of all the Britains, Defender of the Faith, Emperor of India", "inscription_remark": "obverse", "sortorder": null}, {"inscription": "1902", "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}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "George Edward de Saulles designed coins under Queen Victoria and King Edward VII.", "description": "Struck for inclusion in the proof commemorative sets of the new coinage of the reign, this piece was unusual in having a frosted or matte surface, produced by the application of acid. Non-proof five-pound pieces were also struck, but not for circulation. George Edward de Saulles was appointed chief engraver at the Royal Mint in 1892. At his death, the position was abolished for the sake of 'greater freedom in obtaining designs.\" There is still, however, a body of engravers at the mint to carry out the work necessary in adapting coin designs and making the dies.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79921929"], "internet_archive": ["https://archive.org/details/clevelandart-1969.221-five-pound-piece-edw"]}, "citations": [{"citation": "Cleveland Museum of Art, and Emery May Norweb.<em> English Gold Coins, Ancient to Modern Times</em>, On Loan to the Cleveland Museum of Art from the Norweb Collection. [Catalog. 1968.]", "page_number": "p. 78", "url": ""}], "url": "https://clevelandart.org/art/1969.221", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1969.221/1969.221_web.jpg", "width": "900", "height": "473", "filesize": "224733", "filename": "1969.221_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1969.221/1969.221_print.jpg", "width": "3400", "height": "1786", "filesize": "1715735", "filename": "1969.221_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1969.221/1969.221_full.tif", "width": "3844", "height": "2019", "filesize": "23307984", "filename": "1969.221_full.tif"}}, "alternate_images": [{"date_created": "2009-12-09T03:42:39", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.221/1969.221_alt0_web.jpg", "width": "888", "height": "900", "filesize": "218232"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.221/1969.221_alt0_print.jpg", "width": "2048", "height": "2076", "filesize": "1011707"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.221/1969.221_alt0_full.tif", "width": "2048", "height": "2076", "filesize": "12780244"}}], "creditline": "The Norweb Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 144562, "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": 10385, "description": "George Edward de Saulles (British)", "extent": null, "qualifier": null, "role": "designed by", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1969-12-13T00:00:00", "sortable_date": 1902, "date_added_to_oa": null, "date_text": "1902", "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 00:06:29.947000"}, {"id": 144565, "accession_number": "1969.222", "share_license_status": "CC0", "tombstone": "Two Pound Piece: George V (obverse); St. George and the Dragon (reverse), 1911. Design by Bertram Mackennal (Australian, 1863\u20131931), design by after Benedetto Pistrucci (Italian, 1784\u20131855). Gold; diameter: 2.8 cm (1 1/8 in.). The Cleveland Museum of Art, The Norweb Collection, 1969.222", "current_location": null, "title": "Two Pound Piece: George V (obverse); St. George and the Dragon (reverse)", "creation_date": "1911", "creation_date_earliest": 1911, "creation_date_latest": 1911, "artists_tags": ["male"], "culture": ["England, George V, 1910-1936"], "technique": "gold", "support_materials": [], "department": "Medieval Art", "collection": "MED - Numismatics", "type": "Coins", "measurements": "Diameter: 2.8 cm (1 1/8 in.)", "dimensions": {"diameter": {"height": 0.028}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "GEORGIVS V DEI GRA: BRITT: OMN: REX FID: DEF: IND: IMP:", "inscription_translation": "George the Fifth, by the Grace of God, King of all the Britains, Defender of the Faith, Emperor of India", "inscription_remark": "Obverse", "sortorder": null}, {"inscription": "1911", "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 struck for inclusion in poof sets, never for circulation.", "description": "Benedetto Pistrucci, an Italian gem and coin engraver, is best known for his image of St. George and the Dragon, which is still used on coinage today. Bertram Mackennal, an Australian sculptor and medallist, was reported to be one of the few artists King George V liked and is most famous for designing the king's likeness.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79921934"], "internet_archive": ["https://archive.org/details/clevelandart-1969.222-two-pound-piece-geor"]}, "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. 79", "url": ""}], "url": "https://clevelandart.org/art/1969.222", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1969.222/1969.222_web.jpg", "width": "900", "height": "446", "filesize": "235235", "filename": "1969.222_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1969.222/1969.222_print.jpg", "width": "3252", "height": "1613", "filesize": "1823126", "filename": "1969.222_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1969.222/1969.222_full.tif", "width": "3252", "height": "1613", "filesize": "15761636", "filename": "1969.222_full.tif"}}, "alternate_images": [{"date_created": "2009-12-09T03:43:02", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.222/1969.222_alt0_web.jpg", "width": "900", "height": "891", "filesize": "264911"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.222/1969.222_alt0_print.jpg", "width": "1630", "height": "1613", "filesize": "831933"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.222/1969.222_alt0_full.tif", "width": "1630", "height": "1613", "filesize": "7914120"}}], "creditline": "The Norweb Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 144565, "creators": [{"id": 440936, "description": "Bertram Mackennal (Australian, 1863\u20131931)", "extent": "design by", "qualifier": null, "role": "designer", "biography": "Australian sculptor, 1863-1931", "name_in_original_language": null, "birth_year": "1863", "death_year": "1931", "use_in_caption": true, "include_extent": true, "weight": null}, {"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}], "legal_status": "accessioned", "accession_date": "1969-12-13T00:00:00", "sortable_date": 1911, "date_added_to_oa": null, "date_text": "1911", "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 00:05:50.792000"}, {"id": 144568, "accession_number": "1969.223", "share_license_status": "Copyrighted", "tombstone": "Five Pound Piece: George VI (obverse); St. George and the Dragon (reverse), 1937. Designed by Thomas Humphrey Paget (British, 1893\u20131974), after Benedetto Pistrucci (Italian, 1784\u20131855). Gold; diameter: 3.7 cm (1 7/16 in.). The Cleveland Museum of Art, The Norweb Collection, 1969.223", "current_location": null, "title": "Five Pound Piece: George VI (obverse); St. George and the Dragon (reverse)", "creation_date": "1937", "creation_date_earliest": 1937, "creation_date_latest": 1937, "artists_tags": ["male"], "culture": ["England, George VI, 1936-1952"], "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": "GEORGIVS VI D: G: BR: OMN: REX  F: D: IND: IMP.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "1937", "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 coin was struck for inclusion in proof sets, never for circulation.", "description": "The of King George VI, shown uncrowned, was designed by Thomas Humphrey Paget, a medal and coin designer who worked for the Royal Mint. The reverse image of St. George and the Dragon was designed by Benedetto Pistrucci, an Italian gem and coin engraver whose work is still used on coinage today.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79921940"], "internet_archive": ["https://archive.org/details/clevelandart-1969.223-five-pound-piece-geo"]}, "citations": [{"citation": "Cleveland Museum of Art, and Emery May Norweb. English Gold Coins, Ancient to Modern Times, On Loan to the Cleveland Museum of Art from the Norweb Collection. [Catalog. 1968.]", "page_number": "p. 80", "url": ""}], "url": "https://clevelandart.org/art/1969.223", "images": {}, "alternate_images": [], "creditline": "The Norweb Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 144568, "creators": [{"id": 440934, "description": "Thomas Humphrey Paget (British, 1893\u20131974)", "extent": "designed by", "qualifier": null, "role": "designer", "biography": null, "name_in_original_language": null, "birth_year": "1894", "death_year": "1973", "use_in_caption": true, "include_extent": true, "weight": null}, {"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": false, "weight": null}], "legal_status": "accessioned", "accession_date": "1969-12-13T00:00:00", "sortable_date": 1937, "date_added_to_oa": null, "date_text": "1937", "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 00:10:01.317000"}, {"id": 144574, "accession_number": "1969.225", "share_license_status": "Copyrighted", "tombstone": "Half Pound: Elizabeth II (obverse); Springbok (reverse), 1953. Mary Gaskell Gillick (1881\u20131965, London, England). Gold; diameter: 1.9 cm (3/4 in.). The Cleveland Museum of Art, The Norweb Collection, 1969.225", "current_location": null, "title": "Half Pound: Elizabeth II (obverse); Springbok (reverse)", "creation_date": "1953", "creation_date_earliest": 1953, "creation_date_latest": 1953, "artists_tags": [], "culture": ["England, Elizabeth II, 1953"], "technique": "gold", "support_materials": [], "department": "Medieval Art", "collection": "MED - Numismatics", "type": "Coins", "measurements": "Diameter: 1.9 cm (3/4 in.)", "dimensions": {"diameter": {"height": 0.019}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "ELIZABETH II REGINA.", "inscription_translation": "Queen Elizabeth II", "inscription_remark": "obverse", "sortorder": null}, {"inscription": "SOUTH AFRICA 1953 SUID-AFRIKA below: \u00a31/2", "inscription_translation": "South Africa 1953 South Africa", "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 springbok is a medium-sized antelope found mainly in southern and southwestern Africa.", "description": "Mary Gaskell Gillick was a sculptor best known for designing the effigy of Elizabeth II that was used on coinage in the United Kingdom from 1953 to 1970. Her design was notable for portraying the queen uncrowned. This coin was struck at the mint in South Africa.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79921953"], "internet_archive": []}, "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. 82", "url": ""}], "url": "https://clevelandart.org/art/1969.225", "images": {}, "alternate_images": [], "creditline": "The Norweb Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 144574, "creators": [{"id": 440908, "description": "Mary Gaskell Gillick (1881\u20131965, London, England)", "extent": null, "qualifier": null, "role": "designer", "biography": null, "name_in_original_language": null, "birth_year": "1881", "death_year": "1965", "use_in_caption": true, "include_extent": false, "weight": null}], "legal_status": "accessioned", "accession_date": "1969-12-13T00:00:00", "sortable_date": 1953, "date_added_to_oa": null, "date_text": "1953", "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 00:01:02.410000"}, {"id": 146430, "accession_number": "1972.1195", "share_license_status": "Copyrighted", "tombstone": "Perpetual Vine Cup on Stand, 1965. Kenneth F. Bates (American, Cleveland, 1904\u20131994). Transparent enamel (plique-\u00e0-jour); copper; silver; overall: 7.7 x 10 cm (3 1/16 x 3 15/16 in.). The Cleveland Museum of Art, Bequest of Marie Odenkirk Clark, 1972.1195", "current_location": null, "title": "Perpetual Vine Cup on Stand", "creation_date": "1965", "creation_date_earliest": 1965, "creation_date_latest": 1965, "artists_tags": ["May Show", "male", "Cleveland Institute of Art (faculty)"], "culture": ["America, Ohio, Cleveland"], "technique": "Transparent enamel (plique-\u00e0-jour); copper; silver", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Enamel", "measurements": "Overall: 7.7 x 10 cm (3 1/16 x 3 15/16 in.)", "dimensions": {"overall": {"height": 0.077, "width": 0.1}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 304720, "title": "The May Show: 46th Annual Exhibition of Works by Artists and Craftsmen of The Western Reserve", "description": "<i>The May Show: 46th Annual Exhibition of Works by Artists and Craftsmen of The Western Reserve</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 6-June 14, 1964).", "opening_date": "1964-05-06T04:00:00"}, {"id": 309579, "title": "The Cleveland Institute of Art: 100 Years", "description": "<i>The Cleveland Institute of Art: 100 Years</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 22, 1982-January 30, 1983).", "opening_date": "1982-12-22T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "There is no backing to the enamel cloisonn\u00e9 in <em>Perpetual Vine</em>, rendering it both translucent and dangerously fragile.", "description": "Kenneth Bates spent a lifetime devoted to the art of enameling. He taught several generations of students at the Cleveland Institute of Art, who subsequently became renowned enamelists, and created a spectacular body of work that won him international accolades. This small, luxurious cup typifies the skill and technical prowess of Bates's talent. Featuring the cloisonn\u00e9 enamel technique known as plique-\u00e0-jour, in which the enamel is applied in cells with no backing, the cup seemingly exists with no structure, held aloft only by the tiny silver arms of its stand. The translucent enamel lets the light permeate as a stained glass window would in a church. The effect is ethereal and impressionistic, and in this way, recalls the work of the masters of this art from the early 1900s, Ren\u00e9 Lalique and Fernand Thesmar.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79924914"], "internet_archive": []}, "citations": [{"citation": "Kenneth F. Bates Entry Card to 1964 May Show. Cleveland Museum of Art May Show Records, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/CMAMS13262"}], "url": "https://clevelandart.org/art/1972.1195", "images": {}, "alternate_images": [], "creditline": "Bequest of Marie Odenkirk Clark", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 146430, "creators": [{"id": 8589, "description": "Kenneth F. Bates (American, Cleveland, 1904\u20131994)", "extent": null, "qualifier": null, "role": "artist", "biography": "Kenneth F. Bates was a long-time member of the faculty of the Cleveland Institute of Art, who specialized in enamel work and was nationally recognized for his achievements in the field. Born to Francis and Winnette Litchfield Bates in North Scituate, MA, Kenneth pursued his art education at the Massachussetts School of Art and earned his bachelor's degree there. He came to Cleveland in 1926, and one year later joined the faculty of the Cleveland School of Art (later Cleveland Institute of Art). During his forty-three years at the CIA, he taught advanced courses in enameling and became professor emeritus in 1971. In 1927 Bates submitted his first enamel work to the May Show of the Cleveland Museum of Art, where it received first prize. Bates continued to submit entries to the annual May Show for the next 62 years, garnering a long list of prizes. In 1946 he was awarded first prize in the national enameling competition. His works have been displayed in many museums and were featured in one-man shows in Brooklyn and Chicago. In 1987 the National Society of Enamelists honored him with the title \"Dean of American Enamelists.\" Bates authored three books: <em>Enameling: Principles and Practice</em>, 1951; <em>The Enamelist</em>, 1967; and <em>Basic Design</em>, 1970.", "name_in_original_language": null, "birth_year": "1904", "death_year": "1994", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1972-12-05T00:00:00", "sortable_date": 1965, "date_added_to_oa": null, "date_text": "1965", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "cover", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Perpetual Vine Bowl"], "is_highlight": false, "updated_at": "2026-03-27 00:00:36.616000"}, {"id": 146806, "accession_number": "1972.227", "share_license_status": "CC0", "tombstone": "Rooster (Gallic Cock), 1916 (plaster), cast 1919. Raymond Duchamp-Villon (French, 1876\u20131918). Painted bronze; overall: 43.5 x 36 x 5.5 cm (17 1/8 x 14 3/16 x 2 3/16 in.). The Cleveland Museum of Art, Bequest of Lucia McCurdy McBride, 1972.227", "current_location": null, "title": "Rooster (Gallic Cock)", "creation_date": "1916 (plaster), cast 1919", "creation_date_earliest": 1916, "creation_date_latest": 1919, "artists_tags": ["male"], "culture": ["France, 20th century"], "technique": "painted bronze", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Sculpture 1800-1960", "type": "Sculpture", "measurements": "Overall: 43.5 x 36 x 5.5 cm (17 1/8 x 14 3/16 x 2 3/16 in.)", "dimensions": {"overall": {"height": 0.435, "width": 0.36, "depth": 0.055}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 301752, "title": "Year in Review: 1972", "description": "<i>Year in Review: 1972</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 27-March 18, 1973).", "opening_date": "1973-02-27T05:00:00"}, {"id": 309667, "title": "Circa 1930", "description": "<i>Circa 1930</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 12-October 31, 1983).", "opening_date": "1983-04-12T05:00:00"}], "legacy": []}, "provenance": [{"description": "John Quinn", "citations": [], "footnotes": [], "date": null, "sortorder": null}, {"description": "Lucia McCurdy McBride", "citations": [], "footnotes": [], "date": "1927    ", "sortorder": null}, {"description": "John Quinn; Lucia McCurdy McBride, 1927", "citations": [], "footnotes": [], "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Before being embraced by artists, the term \"Cubism\" originated from an insult. The same is true of Gallus, a Latin word meaning both \"rooster\" and \"inhabitant of Gaul\" (present-day France). Once used to mock the French, the rooster was reclaimed as a national symbol of triumph, as pictured here.", "description": "A pioneer of Cubist sculpture, Duchamp-Villon carved the original plaster for this bronze relief while serving in the army during World War I. It was intended for the entrance to a temporary theater erected near the front lines, where French soldiers would have recognized the rooster and rising sun as symbols of victory. Duchamp-Villon died during the war, and in 1919, five bronze casts were made from his plaster as a memorial to the artist.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60750725"], "internet_archive": ["https://archive.org/details/clevelandart-1972.227-rooster-gallic-cock"]}, "citations": [{"citation": "\u201cAnnual Report for 1972.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 60, no. 6 (June 1973): 171\u2013205.", "page_number": "Mentioned and reproduced: p. 182", "url": "http://www.jstor.org/stable/25152482"}], "url": "https://clevelandart.org/art/1972.227", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1972.227/1972.227_web.jpg", "width": "741", "height": "893", "filesize": "416135", "filename": "1972.227_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1972.227/1972.227_print.jpg", "width": "2820", "height": "3400", "filesize": "6574619", "filename": "1972.227_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1972.227/1972.227_full.tif", "width": "4296", "height": "5180", "filesize": "66798556", "filename": "1972.227_full.tif"}}, "alternate_images": [], "creditline": "Bequest of Lucia McCurdy McBride", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 146806, "creators": [{"id": 18963, "description": "Raymond Duchamp-Villon (French, 1876\u20131918)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1876", "death_year": "1918", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1972-12-05T00:00:00", "sortable_date": 1916, "date_added_to_oa": null, "date_text": "1916 (plaster), cast 1919", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:04:09.096000"}, {"id": 147027, "accession_number": "1972.53.1", "share_license_status": "Copyrighted", "tombstone": "Two Nude Women (A series of progressive proofs), 1945\u201346. Pablo Picasso (Spanish, 1881\u20131973), Mourlot. Lithograph; image: 26.4 x 34.7 cm (10 3/8 x 13 11/16 in.); sheet: 32.3 x 44.3 cm (12 11/16 x 17 7/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1972.53.1. \u00a9 Estate of  Pablo Picasso / Artists Rights Society (ARS), New York", "current_location": null, "title": "Two Nude Women (A series of progressive proofs)", "creation_date": "1945\u201346", "creation_date_earliest": 1945, "creation_date_latest": 1946, "artists_tags": ["male", "Latine and Hispanic Artists", "gender unknown"], "culture": ["Spain, 20th century"], "technique": "lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image: 26.4 x 34.7 cm (10 3/8 x 13 11/16 in.); Sheet: 32.3 x 44.3 cm (12 11/16 x 17 7/16 in.)", "dimensions": {"image": {"height": 0.264, "width": 0.347}, "sheet": {"height": 0.323, "width": 0.443}}, "state_of_the_work": "III", "edition_of_the_work": null, "copyright": "\u00a9 Estate of  Pablo Picasso / Artists Rights Society (ARS), New York", "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>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008).", "opening_date": "2006-05-27T00:00:00"}, {"id": 317581, "title": "Picasso and Paper", "description": "<i>Picasso and Paper</i>. The Cleveland Museum of Art, Cleveland, OH (co-organizer) (December 8, 2024-March 23, 2025).", "opening_date": "2024-12-08T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": ["1972.53"], "did_you_know": "The two figures in this print are thought to represent the painter Fran\u00e7oise Gilot and the photographer Dora Maar, both of whom were romantically involved with Picasso around this time.", "description": "Picasso printed each of these nine lithographs from the same stone. This technique involves chemically sealing a drawing to the surface of a printing stone so that ink adheres to the design and the stone can be run through a printing press. Picasso edited and reprinted his stone as he transformed the image. The artist ultimately created 21 states, or variations, highlighting his fascination with what he described as the \u201cmetamorphosis\u201d possible through printmaking. He experimented with realistic and abstract versions of the composition, which features women sitting and sleeping, while also adding and removing marginal images as he worked.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79925985"], "internet_archive": []}, "citations": [{"citation": "Lee, Sherman E. \"The Year in Review for 1972.\" <em>The Bulletin of the Cleveland Museum of Art </em>60, no. 3 (March 1973): 63-115.", "page_number": "P. 112, #213.", "url": "https://www.jstor.org/stable/25093732"}], "catalogue_raisonne": "Bloch 390; Mourlot 16", "url": "https://clevelandart.org/art/1972.53.1", "images": {}, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 147027, "creators": [{"id": 2160, "description": "Pablo Picasso (Spanish, 1881\u20131973)", "extent": null, "qualifier": null, "role": "artist", "biography": "Pablo Ruiz Picasso (1881-1973), the most prolific and influential artist of the 20th century, shifted the emphasis of art from its traditional concern with beauty toward radical innovation. The son of an art teacher, Picasso demonstrated remarkable talents as a child and entered the royal art academy in Madrid at age sixteen. Less than a year later, he abandoned his studies and soon joined several avant-garde artist and anarchist groups in Barcelona and Paris. After passing through a succession of stylistic periods, most notably the Blue (1901-1904) and Rose (1904-1906) Periods, he collaborated with Georges Braque (1882-1963) in 1908 to invent Cubism, a revolutionary method of restructuring pictorial space. Picasso remained active until his death in 1973. Although his art still appears radical, many of his works are over one hundred years old. Cubism, perhaps the most important development in 20th-century art, was invented around 1908 by Pablo Picasso (1881-1973) and Georges Braque (1882-1963). The most revolutionary aspect of the style was not its obvious emphasis on geometric form; rather, it was the introduction of a radically new approach to configuring pictorial space. Since the Renaissance, artists had used various methods to create the illusion of distant space receding behind the canvas surface. The Cubists rejected that idea and collapsed space by compressing foreground, middle ground, and background into a continuous web of overlapping, intersecting planes. During the 1910s, other painters and sculptors embraced or adapted Cubism to their own ends. This revolutionary approach inspired a host of related movements and continues to influence the visual language of artists, architects, and designers throughout the world.", "name_in_original_language": null, "birth_year": "1881", "death_year": "1973", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 62587, "description": "Mourlot", "extent": "printed and published by", "qualifier": null, "role": "printer and publisher", "biography": null, "name_in_original_language": null, "birth_year": "1852", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1972-06-12T00:00:00", "sortable_date": 1945, "date_added_to_oa": null, "date_text": "1945\u201346", "collapse_artists": true, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1972.53", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-04-03 13:35:09.074000"}, {"id": 147965, "accession_number": "1974.62", "share_license_status": "Copyrighted", "tombstone": "Head of Gertrude, 1947. William Zorach (American, born Russian Empire [now Lithuania], 1889\u20131966). Marble; overall: 53.3 x 26 x 33.7 cm (21 x 10 1/4 x 13 1/4 in.). The Cleveland Museum of Art, Gift of the Schoener Family, 1974.62", "current_location": null, "title": "Head of Gertrude", "creation_date": "1947", "creation_date_earliest": 1947, "creation_date_latest": 1947, "artists_tags": ["male", "Jewish artists"], "culture": ["America"], "technique": "marble", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Sculpture", "type": "Sculpture", "measurements": "Overall: 53.3 x 26 x 33.7 cm (21 x 10 1/4 x 13 1/4 in.)", "dimensions": {"overall": {"height": 0.533, "width": 0.26, "depth": 0.337}}, "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": 309579, "title": "The Cleveland Institute of Art: 100 Years", "description": "<i>The Cleveland Institute of Art: 100 Years</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 22, 1982-January 30, 1983).", "opening_date": "1982-12-22T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [{"id": 147966, "description": "Head of Gertrude, c. 1938. William Zorach (American, born Russian Empire [now Lithuania], 1889\u20131966). Pencil. The Cleveland Museum of Art, Gift of the Zorach Family in memory of Harry Schoener, 1974.63", "relationship": null}], "former_accession_numbers": [], "did_you_know": "As a teenager, William Zorach sold newspapers on Public Square in Cleveland.", "description": "Cleveland-raised sculptor William Zorach carved <em>Head of Gertrude</em> from a single block of gray-veined white marble. Although the figure\u2019s face and ears are polished, her hair and the base of her neck are in a more roughly textured state. Zorach dusted these coarser areas with red pigment, giving them a slight pink tonality.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79927798"], "internet_archive": []}, "citations": [{"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. 83; Mentioned: p. 102, no. 143", "url": "http://www.jstor.org/stable/25152580"}], "url": "https://clevelandart.org/art/1974.62", "images": {}, "alternate_images": [], "creditline": "Gift of the Schoener Family", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 147965, "creators": [{"id": 11059, "description": "William Zorach (American, born Russian Empire [now Lithuania], 1889\u20131966)", "extent": null, "qualifier": null, "role": "artist", "biography": "Although his birth date is usually given as 1887, he changed it from 1889 to 1887 at the time of his marriage in 1912 so that his wife Marguerite, born in 1887, would not appear older than he. The 1889 birth date and the reason for the change have been verified by William Zorach\u2019s sister, Ida Schoener of Cleveland. See also letter from William Zorach to Marguerite Thompson, December 7, 1911 at the Manuscript Division of the Library of Congress. The above information came from the publication, Marguerite Zorach: The Early Years, 1908-1920 Published for the National Collection of Fine Arts by the Smithsonian Institution Press, City of Washington, 1973, p. 58, note 14.", "name_in_original_language": null, "birth_year": "1889", "death_year": "1966", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1974-05-21T00:00:00", "sortable_date": 1947, "date_added_to_oa": null, "date_text": "1947", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:31.666000"}, {"id": 148147, "accession_number": "1975.147", "share_license_status": "Copyrighted", "tombstone": "Man with a Guitar, 1915, printed 1929. Pablo Picasso (Spanish, 1881\u20131973), Daniel-Henry Kahnweiler (German, 1884\u20131979). Drypoint and etching. The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1975.147. \u00a9 Estate of  Pablo Picasso / Artists Rights Society (ARS), New York", "current_location": null, "title": "Man with a Guitar", "creation_date": "1915, printed 1929", "creation_date_earliest": 1915, "creation_date_latest": 1929, "artists_tags": ["male", "Latine and Hispanic Artists"], "culture": ["Spain, 20th century"], "technique": "drypoint and etching", "support_materials": [], "department": "Prints", "collection": "PR - Drypoint", "type": "Print", "dimensions": {"platemark": {"height": 0.154, "width": 0.115}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of  Pablo Picasso / Artists Rights Society (ARS), New York", "inscriptions": [], "exhibitions": {"current": [{"id": 304408, "title": "Gifts of the Print Club of Cleveland, 1969 - 1979", "description": "<i>Gifts of the Print Club of Cleveland, 1969 - 1979</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 4, 1979-January 27, 1980).", "opening_date": "1979-09-04T04:00:00"}, {"id": 318307, "title": "A Lasting Impression: Gifts of the Print Club of Cleveland", "description": "<i>A Lasting Impression: Gifts of the Print Club of Cleveland</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 5-September 22, 2019).", "opening_date": "2019-05-05T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Angus Whyte Gallery, Boston, MA, sold to the Print Club of Cleveland, Cleveland, OH)", "citations": [], "footnotes": [], "date": "?-1975", "sortorder": 1}, {"description": "Print Club of Cleveland, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1975", "sortorder": 2}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1975-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This print was published by Pablo Picasso's dealer as a means of promoting the artist's avant-garde style.", "description": "Pablo Picasso worked closely with Georges Braque to develop Cubism around the time this print was made. Their work became virtually indistinguishable from each other as they reduced identifiable subject matter to geometric abstraction. Here, Braque presented a still-life featuring a playing card and a bottle of gin, and Picasso focused on a guitarist\u2014subjects that they frequently explored. Although Picasso worked extensively in printmaking, Braque made fewer than ten Cubist prints. Both of these works were published by dealers as a means of promoting the artists\u2019 avant-garde style.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79928205"], "internet_archive": []}, "citations": [{"citation": "Lee, Sherman E. \u201cThe Year in Review for 1975.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 63, no. 2 (February 1976): 31\u201371.", "page_number": "Reproduced: p. 48; Mentioned: p. 69, no. 105", "url": "http://www.jstor.org/stable/25152624"}], "catalogue_raisonne": "Geiser I.109.51", "url": "https://clevelandart.org/art/1975.147", "images": {}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 148147, "creators": [{"id": 2160, "description": "Pablo Picasso (Spanish, 1881\u20131973)", "extent": null, "qualifier": null, "role": "artist", "biography": "Pablo Ruiz Picasso (1881-1973), the most prolific and influential artist of the 20th century, shifted the emphasis of art from its traditional concern with beauty toward radical innovation. The son of an art teacher, Picasso demonstrated remarkable talents as a child and entered the royal art academy in Madrid at age sixteen. Less than a year later, he abandoned his studies and soon joined several avant-garde artist and anarchist groups in Barcelona and Paris. After passing through a succession of stylistic periods, most notably the Blue (1901-1904) and Rose (1904-1906) Periods, he collaborated with Georges Braque (1882-1963) in 1908 to invent Cubism, a revolutionary method of restructuring pictorial space. Picasso remained active until his death in 1973. Although his art still appears radical, many of his works are over one hundred years old. Cubism, perhaps the most important development in 20th-century art, was invented around 1908 by Pablo Picasso (1881-1973) and Georges Braque (1882-1963). The most revolutionary aspect of the style was not its obvious emphasis on geometric form; rather, it was the introduction of a radically new approach to configuring pictorial space. Since the Renaissance, artists had used various methods to create the illusion of distant space receding behind the canvas surface. The Cubists rejected that idea and collapsed space by compressing foreground, middle ground, and background into a continuous web of overlapping, intersecting planes. During the 1910s, other painters and sculptors embraced or adapted Cubism to their own ends. This revolutionary approach inspired a host of related movements and continues to influence the visual language of artists, architects, and designers throughout the world.", "name_in_original_language": null, "birth_year": "1881", "death_year": "1973", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 380409, "description": "Daniel-Henry Kahnweiler (German, 1884\u20131979)", "extent": "published by", "qualifier": null, "role": "publisher", "biography": null, "name_in_original_language": null, "birth_year": "1884", "death_year": "1979", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1975-11-29T00:00:00", "sortable_date": 1915, "date_added_to_oa": null, "date_text": "1915, printed 1929", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-04-03 13:35:09.205000"}, {"id": 150363, "accession_number": "1981.163", "share_license_status": "Copyrighted", "tombstone": "Heart, 1981. Lenore Tawney (American, 1907\u20132007). Pen and black ink and watercolor; image: 12.1 x 15.2 cm (4 3/4 x 6 in.); sheet: 12.1 x 15.2 cm (4 3/4 x 6 in.). The Cleveland Museum of Art, Gift of Katharine Kuh, 1981.163. \u00a9 Lenore G. Tawney Foundation", "current_location": null, "title": "Heart", "creation_date": "1981", "creation_date_earliest": 1981, "creation_date_latest": 1981, "artists_tags": ["female"], "culture": ["America"], "technique": "pen and black ink and watercolor", "support_materials": [{"description": "postcard", "watermarks": []}], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Image: 12.1 x 15.2 cm (4 3/4 x 6 in.); Sheet: 12.1 x 15.2 cm (4 3/4 x 6 in.)", "dimensions": {"image": {"height": 0.121, "width": 0.152}, "sheet": {"height": 0.121, "width": 0.152}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Lenore G. Tawney Foundation", "inscriptions": [{"inscription": "Signed and dated: \"Lenore Tawney 1981\"", "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": 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": "Lenore Tawney (the artist) [1907-1997]", "citations": [], "footnotes": null, "date": "1981", "sortorder": 1}, {"description": "Katharine Kuh [1904-1994]", "citations": [], "footnotes": [], "date": "1981-82", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "March 8, 1982", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Lenore Tawney was a pioneering fiber artist known for large-scale public installations, but her postcard collages were personal missives to close friends on an intimate scale.", "description": "This is one of 44 postcard collages in the CMA\u2019s collection that the textile artist Lenore Tawney sent through the mail to her friend, the art dealer, curator, and critic Katherine Kuh between 1969 and 1981. Using natural objects and ephemera that she compiled over a lifetime, Tawney\u2019s collages display the artist\u2019s personal visual vocabulary and poetic response to materials. Recurring images\u2014such as eggs, feathers, birds, baby animals, crosses, and circles\u2014engage with universal themes such as vulnerability, resilience, infinity, and spirituality.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79932679"], "internet_archive": []}, "citations": [{"citation": "Lee, Sherman E. \"The Year in Review for 1981.\" <em>The Bulletin of the Cleveland Museum of Art</em> 69, no. 2 (1982)", "page_number": "p. 82, no. 116", "url": "http://www.jstor.org/stable/25159758"}], "url": "https://clevelandart.org/art/1981.163", "images": {}, "alternate_images": [], "creditline": "Gift of Katharine Kuh", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 150363, "creators": [{"id": 32648, "description": "Lenore Tawney (American, 1907\u20132007)", "extent": null, "qualifier": null, "role": "artist", "biography": "Tawney was born Leonora Agnes Gallagher in Lorain, Ohio, in 1907. She studied drawing, sculpture, and weaving with well-known artists at the University of Illinois in Champaign-Urbana (1943-45), the Institute of Design in Chicago (1946-48), and at the Penland School of Crafts in North Carolina where she became a weaver (1954). Throughout her prolific career, Tawney has had numerous one-person exhibitions and participated in many group exhibitions, including the renowned landmark international Fiberworks at the Cleveland Museum of Art in 1977. Her work is represented in many major museums, including four pieces in the Cleveland Museum of Art, and she has received numerous awards, including the American Craft Council's Gold Medal in 1987. Tawney's \"flag\" is one of the highlights of the museum's contemporary fiber art collection, which includes about 100 works.", "name_in_original_language": null, "birth_year": "1907", "death_year": "2007", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1982-03-08T00:00:00", "sortable_date": 1981, "date_added_to_oa": null, "date_text": "1981", "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 00:05:48.594000"}, {"id": 150364, "accession_number": "1981.164", "share_license_status": "Copyrighted", "tombstone": "Factory Butte, Utah, 1980. Lenore Tawney (American, 1907\u20132007). Pen and black ink and watercolor and collage; image: 12 x 15.2 cm (4 3/4 x 6 in.); sheet: 12 x 15.2 cm (4 3/4 x 6 in.). The Cleveland Museum of Art, Gift of Katharine Kuh, 1981.164. \u00a9 Lenore G. Tawney Foundation", "current_location": null, "title": "Factory Butte, Utah", "creation_date": "1980", "creation_date_earliest": 1980, "creation_date_latest": 1980, "artists_tags": ["female"], "culture": ["America"], "technique": "pen and black ink and watercolor and collage", "support_materials": [{"description": "postcard", "watermarks": []}], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Image: 12 x 15.2 cm (4 3/4 x 6 in.); Sheet: 12 x 15.2 cm (4 3/4 x 6 in.)", "dimensions": {"image": {"height": 0.12, "width": 0.152}, "sheet": {"height": 0.12, "width": 0.152}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Lenore G. Tawney Foundation", "inscriptions": [{"inscription": "Signed and dated: \"Lenore Tawney 1980\"", "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": 383281, "title": "Stories from Storage", "description": "<i>Stories from Storage</i>. 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Recurring images\u2014such as eggs, feathers, birds, baby animals, crosses, and circles\u2014engage with universal themes such as vulnerability, resilience, infinity, and spirituality.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79932682"], "internet_archive": []}, "citations": [{"citation": "Lee, Sherman E. \"The Year in Review for 1981.\" <em>The Bulletin of the Cleveland Museum of Art</em> 69, no. 2 (1982)", "page_number": "p. 82, no. 116", "url": "http://www.jstor.org/stable/25159758"}], "url": "https://clevelandart.org/art/1981.164", "images": {}, "alternate_images": [], "creditline": "Gift of Katharine Kuh", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 150364, "creators": [{"id": 32648, "description": "Lenore Tawney (American, 1907\u20132007)", "extent": null, "qualifier": null, "role": "artist", "biography": "Tawney was born Leonora Agnes Gallagher in Lorain, Ohio, in 1907. 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Collage and white gouache; envelope: pen and black ink and collage; sheet: 13.4 x 12.1 cm (5 1/4 x 4 3/4 in.). The Cleveland Museum of Art, Gift of Katharine Kuh, 1981.165. \u00a9 Lenore G. Tawney Foundation", "current_location": null, "title": "Basket of Eggs with Envelope", "creation_date": "1980", "creation_date_earliest": 1980, "creation_date_latest": 1980, "artists_tags": ["female"], "culture": ["America"], "technique": "collage and white gouache; envelope: pen and black ink and collage", "support_materials": [], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Sheet: 13.4 x 12.1 cm (5 1/4 x 4 3/4 in.)", "dimensions": {"sheet": {"height": 0.134, "width": 0.121}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Lenore G. Tawney Foundation", "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": 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": "Lenore Tawney (the artist) [1907-2007]", "citations": [], "footnotes": null, "date": "1980", "sortorder": 1}, {"description": "Katherine Kuh [1904-1994]", "citations": [], "footnotes": null, "date": "1980-82", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "March 8, 1982", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Lenore Tawney was a pioneering fiber artist known for large-scale public installations, but her postcard collages were personal missives to close friends on an intimate scale.", "description": "This is one of 44 postcard collages in the CMA\u2019s collection that the textile artist Lenore Tawney sent through the mail to her friend, the art dealer, curator, and critic Katherine Kuh between 1969 and 1981. 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Here, below the flower petal on the envelope Tawney wrote \"the iris / its blue blood drained away.\"", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79932684"], "internet_archive": []}, "citations": [{"citation": "Lee, Sherman E. \"The Year in Review for 1981.\" <em>The Bulletin of the Cleveland Museum of Art</em> 69, no. 2 (1982)", "page_number": "p. 82, no. 116", "url": "http://www.jstor.org/stable/25159758"}], "url": "https://clevelandart.org/art/1981.165", "images": {}, "alternate_images": [], "creditline": "Gift of Katharine Kuh", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 150365, "creators": [{"id": 32648, "description": "Lenore Tawney (American, 1907\u20132007)", "extent": null, "qualifier": null, "role": "artist", "biography": "Tawney was born Leonora Agnes Gallagher in Lorain, Ohio, in 1907. 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Pen and black ink and watercolor and collage; envelope: pen and black and blue ink. The Cleveland Museum of Art, Gift of Katharine Kuh, 1981.166. \u00a9 Lenore G. Tawney Foundation", "current_location": null, "title": "Leaves from My Book of Feathers with Envelope", "creation_date": "1980", "creation_date_earliest": 1980, "creation_date_latest": 1980, "artists_tags": ["female"], "culture": ["America"], "technique": "pen and black ink and watercolor and collage; envelope: pen and black and blue ink", "support_materials": [], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Lenore G. Tawney Foundation", "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": 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": "Lenore Tawney (the artist) [1907-1997]", "citations": [], "footnotes": [], "date": "1980", "sortorder": 1}, {"description": "Katharine Kuh [1904-1994]", "citations": [], "footnotes": [], "date": "1980-82", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "March 8, 1982", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Lenore Tawney was a pioneering fiber artist known for large-scale public installations, but her postcard collages were personal missives to close friends on an intimate scale.", "description": "This is one of 44 postcard collages in the CMA\u2019s collection that the textile artist Lenore Tawney sent through the mail to her friend, the art dealer, curator, and critic Katherine Kuh between 1969 and 1981. 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The \"book of feathers\" here probably refers to one of many albums in which Tawney kept her collections of feathers, leaves, and other natural materials.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79932694"], "internet_archive": []}, "citations": [{"citation": "Lee, Sherman E. \"The Year in Review for 1981.\" <em>The Bulletin of the Cleveland Museum of Art</em> 69, no. 2 (1982)", "page_number": "p.82, no. 116", "url": "http://www.jstor.org/stable/25159758"}], "url": "https://clevelandart.org/art/1981.166", "images": {}, "alternate_images": [], "creditline": "Gift of Katharine Kuh", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 150368, "creators": [{"id": 32648, "description": "Lenore Tawney (American, 1907\u20132007)", "extent": null, "qualifier": null, "role": "artist", "biography": "Tawney was born Leonora Agnes Gallagher in Lorain, Ohio, in 1907. 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Tawney's \"flag\" is one of the highlights of the museum's contemporary fiber art collection, which includes about 100 works.", "name_in_original_language": null, "birth_year": "1907", "death_year": "2007", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1982-03-08T00:00:00", "sortable_date": 1980, "date_added_to_oa": null, "date_text": "1980", "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 23:59:20.828000"}, {"id": 150374, "accession_number": "1981.168", "share_license_status": "Copyrighted", "tombstone": "Indian Art from Mesa Verde, 1980. Lenore Tawney (American, 1907\u20132007). Pen and black ink and watercolor and collage; image: 8.8 x 14 cm (3 7/16 x 5 1/2 in.); sheet: 8.8 x 14 cm (3 7/16 x 5 1/2 in.). The Cleveland Museum of Art, Gift of Katharine Kuh, 1981.168. \u00a9 Lenore G. Tawney Foundation", "current_location": null, "title": "Indian Art from Mesa Verde", "creation_date": "1980", "creation_date_earliest": 1980, "creation_date_latest": 1980, "artists_tags": ["female"], "culture": ["America"], "technique": "pen and black ink and watercolor and collage", "support_materials": [{"description": "postcard", "watermarks": []}], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Image: 8.8 x 14 cm (3 7/16 x 5 1/2 in.); Sheet: 8.8 x 14 cm (3 7/16 x 5 1/2 in.)", "dimensions": {"image": {"height": 0.088, "width": 0.14}, "sheet": {"height": 0.088, "width": 0.14}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Lenore G. Tawney Foundation", "inscriptions": [{"inscription": "Signed and dated: \"Lenore Tawney 1980\"", "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": 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": "Lenore Tawney (the artist) [1907-1997]", "citations": [], "footnotes": null, "date": "1980", "sortorder": 1}, {"description": "Katharine Kuh [1904-1994]", "citations": [], "footnotes": null, "date": "1980-82", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "March 8, 1982", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Lenore Tawney was a pioneering fiber artist known for large-scale public installations, but her postcard collages were personal missives to close friends on an intimate scale.", "description": "This is one of 44 postcard collages in the CMA\u2019s collection that the textile artist Lenore Tawney sent through the mail to her friend, the art dealer, curator, and critic Katherine Kuh between 1969 and 1981. 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Recurring images\u2014such as eggs, feathers, birds, baby animals, crosses, and circles\u2014engage with universal themes such as vulnerability, resilience, infinity, and spirituality.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79932709"], "internet_archive": []}, "citations": [{"citation": "Lee, Sherman E. \"The Year in Review for 1981.\" <em>The Bulletin of the Cleveland Museum of Art</em> 69, no. 2 (1982)", "page_number": "p. 82, no. 116", "url": "http://www.jstor.org/stable/25159758"}], "url": "https://clevelandart.org/art/1981.168", "images": {}, "alternate_images": [], "creditline": "Gift of Katharine Kuh", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 150374, "creators": [{"id": 32648, "description": "Lenore Tawney (American, 1907\u20132007)", "extent": null, "qualifier": null, "role": "artist", "biography": "Tawney was born Leonora Agnes Gallagher in Lorain, Ohio, in 1907. She studied drawing, sculpture, and weaving with well-known artists at the University of Illinois in Champaign-Urbana (1943-45), the Institute of Design in Chicago (1946-48), and at the Penland School of Crafts in North Carolina where she became a weaver (1954). Throughout her prolific career, Tawney has had numerous one-person exhibitions and participated in many group exhibitions, including the renowned landmark international Fiberworks at the Cleveland Museum of Art in 1977. Her work is represented in many major museums, including four pieces in the Cleveland Museum of Art, and she has received numerous awards, including the American Craft Council's Gold Medal in 1987. 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Pen and black and green ink and pencil and collage; image: 11.5 x 16 cm (4 1/2 x 6 5/16 in.); sheet: 11.5 x 16 cm (4 1/2 x 6 5/16 in.). The Cleveland Museum of Art, Gift of Katharine Kuh, 1981.172. \u00a9 Lenore G. Tawney Foundation", "current_location": null, "title": "Shiva", "creation_date": "1980", "creation_date_earliest": 1980, "creation_date_latest": 1980, "artists_tags": ["female"], "culture": ["America"], "technique": "pen and black and green ink and pencil and collage", "support_materials": [{"description": "postcard", "watermarks": []}], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Image: 11.5 x 16 cm (4 1/2 x 6 5/16 in.); Sheet: 11.5 x 16 cm (4 1/2 x 6 5/16 in.)", "dimensions": {"image": {"height": 0.115, "width": 0.16}, "sheet": {"height": 0.115, "width": 0.16}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Lenore G. Tawney Foundation", "inscriptions": [{"inscription": "Signed and dated 1969", "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": 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": "Lenore Tawney (the artist) [1907-1997]", "citations": [], "footnotes": [], "date": "1980", "sortorder": 1}, {"description": "Katharine Kuh [1904-1994]", "citations": [], "footnotes": [], "date": "1980-82", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "March 8, 1982", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Lenore Tawney was a pioneering fiber artist known for large-scale public installations, but her postcard collages were personal missives to close friends on an intimate scale.", "description": "This is one of 44 postcard collages in the CMA\u2019s collection that the textile artist Lenore Tawney sent through the mail to her friend, the art dealer, curator, and critic Katherine Kuh between 1969 and 1981. 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Tawney placed an image of the face of the artist Pablo Picasso on the body of a bull in this collage.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79932760"], "internet_archive": []}, "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 (1982).", "page_number": "p. 82, no. 116", "url": "http://www.jstor.org/stable/25159758"}], "url": "https://clevelandart.org/art/1981.181", "images": {}, "alternate_images": [], "creditline": "Gift of Katharine Kuh", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 150392, "creators": [{"id": 32648, "description": "Lenore Tawney (American, 1907\u20132007)", "extent": null, "qualifier": null, "role": "artist", "biography": "Tawney was born Leonora Agnes Gallagher in Lorain, Ohio, in 1907. 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Recurring images\u2014such as eggs, feathers, birds, baby animals, crosses, and circles\u2014engage with universal themes such as vulnerability, resilience, infinity, and spirituality.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79932762"], "internet_archive": []}, "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 (1982).", "page_number": "p. 82, no. 116", "url": "http://www.jstor.org/stable/25159758"}], "url": "https://clevelandart.org/art/1981.182", "images": {}, "alternate_images": [], "creditline": "Gift of Katharine Kuh", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 150393, "creators": [{"id": 32648, "description": "Lenore Tawney (American, 1907\u20132007)", "extent": null, "qualifier": null, "role": "artist", "biography": "Tawney was born Leonora Agnes Gallagher in Lorain, Ohio, in 1907. She studied drawing, sculpture, and weaving with well-known artists at the University of Illinois in Champaign-Urbana (1943-45), the Institute of Design in Chicago (1946-48), and at the Penland School of Crafts in North Carolina where she became a weaver (1954). Throughout her prolific career, Tawney has had numerous one-person exhibitions and participated in many group exhibitions, including the renowned landmark international Fiberworks at the Cleveland Museum of Art in 1977. Her work is represented in many major museums, including four pieces in the Cleveland Museum of Art, and she has received numerous awards, including the American Craft Council's Gold Medal in 1987. Tawney's \"flag\" is one of the highlights of the museum's contemporary fiber art collection, which includes about 100 works.", "name_in_original_language": null, "birth_year": "1907", "death_year": "2007", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1982-03-08T00:00:00", "sortable_date": 1977, "date_added_to_oa": null, "date_text": "1977", "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 00:07:40.694000"}, {"id": 151379, "accession_number": "1983.219", "share_license_status": "Copyrighted", "tombstone": "Savarin Suite, 1978\u201379. Jasper Johns (American, b. 1930), Universal Limited Art Editions. Lithograph. 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By expressively layering lithographic ink or using his own fingerprints as a compositional element, Johns made his presence evident throughout the series. These personal connections to the artist\u2019s practice suggest that the image may function as a symbolic self-portrait.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79934799"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art. <em>The CMA Companion: A Guide to the Cleveland Museum of Art</em>. 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Jasper Johns (American, b. 1930), printed and published by Universal Limited Art Editions. Lithograph. The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1983.219.3. \u00a9  Jasper Johns / Licensed by VAGA at Artists Rights Society (ARS), NY", "current_location": null, "title": "Savarin 3 (Red)", "series": "Savarin Suite", "creation_date": "1978", "creation_date_earliest": 1978, "creation_date_latest": 1978, "artists_tags": ["male", "LGBTQ+ (after 1900)"], "culture": ["America"], "technique": "lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  Jasper Johns / Licensed by VAGA at Artists Rights Society (ARS), NY", "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": 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": "(Fendrick Gallery, Washington DC and New York, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "?-1983", "sortorder": 1}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1983-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Nearly two decades before making this print, Jasper Johns created a sculpture with the same image of paintbrushes in a Savarin coffee can.", "description": "Since 1960 Jasper Johns has frequently depicted a Savarin coffee can filled with his paintbrushes, a reference to his studio practice. The image is typical of Johns\u2019s work, which features everyday objects imbued with meaning through his handling of materials. By expressively layering lithographic ink or using his own fingerprints as a compositional element, Johns made his presence evident throughout the series. These personal connections to the artist\u2019s practice suggest that the image may function as a symbolic self-portrait.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79934805"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art. <em>The CMA Companion: A Guide to the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2014.<br>Savarin 3 (Red) only", "page_number": "Mentioned and reproduced: P. 359", "url": ""}], "catalogue_raisonne": "Field 193; ULAE 193", "url": "https://clevelandart.org/art/1983.219.3", "images": {}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 151382, "creators": [{"id": 39574, "description": "Jasper Johns (American, b. 1930)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1930", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 69470, "description": "Universal Limited Art Editions", "extent": "printed and published by", "qualifier": null, "role": "printer and publisher", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": true, "weight": 2}], "legal_status": "accessioned", "accession_date": "1983-12-14T00:00:00", "sortable_date": 1978, "date_added_to_oa": null, "date_text": "1978", "collapse_artists": true, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1983.219", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:51.913000"}, {"id": 154066, "accession_number": "1988.183", "share_license_status": "Copyrighted", "tombstone": "Hungarian Debutante Ball, New York City, 1977. Larry Fink (American, 1941\u20132023). Gelatin silver print; image: 34.5 x 25.4 cm (13 9/16 x 10 in.); paper: 35.3 x 27.8 cm (13 7/8 x 10 15/16 in.); matted: 50.8 x 40.6 cm (20 x 16 in.). The Cleveland Museum of Art, Gift of Dorothy and Eugene Prakapas, 1988.183. \u00a9 Larry Fink", "current_location": null, "title": "Hungarian Debutante Ball, New York City", "creation_date": "1977", "creation_date_earliest": 1977, "creation_date_latest": 1977, "artists_tags": ["male", "Jewish artists"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1951-Present", "type": "Photograph", "measurements": "Image: 34.5 x 25.4 cm (13 9/16 x 10 in.); Paper: 35.3 x 27.8 cm (13 7/8 x 10 15/16 in.); Matted: 50.8 x 40.6 cm (20 x 16 in.)", "dimensions": {"image": {"height": 0.345, "width": 0.254}, "paper": {"height": 0.353, "width": 0.278}, "matted": {"height": 0.508, "width": 0.406}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Larry Fink", "inscriptions": [{"inscription": "Written in pencil on verso: \"LARRY FINK [signed]\"", "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"}], "legacy": [{"description": "CMA, March 17 - May 14, 1989: \"Photographs: Recent Acquisitions,\" Gallery 39.", "opening_date": "1989-03-17T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Larry Fink likes to catch people unaware, but one person here noticed him as he clicked the shutter.", "description": "There are two parts to Larry Fink\u2019s <em>Social Graces</em> series: images like this of people attending elite social events in New York City and pictures of celebrations held by the Sabatine family, the artist\u2019s working-class neighbors in rural Pennsylvania. Here, the juxtaposition of guests with the server, who tries to bow out of the picture, is a reminder of the laborers whose efforts make black-tie events possible.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79940542"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art, Tom E Hinson. <em>Catalogue of Photography</em>. Cleveland, OH: Cleveland Museum of Art, 1996.", "page_number": "Reproduced: P. 158", "url": ""}], "url": "https://clevelandart.org/art/1988.183", "images": {}, "alternate_images": [], "creditline": "Gift of Dorothy and Eugene Prakapas", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 154066, "creators": [{"id": 30827, "description": "Larry Fink (American, 1941\u20132023)", "extent": null, "qualifier": null, "role": "artist", "biography": "Larry Fink American, 1941\u20132023 Laurence B. Fink is a social documentarian who describes himself as \"political, but not polemical.\" Among the photographers who have influenced his work are Robert Frank, Garry Winogrand, Diane Arbus, and Fink's teacher, Lisette Model. His most recognized subjects, published in the monograph Social Graces (1984), are family celebrations and gatherings of the upper, middle, and lower-middle classes. Fascinated by the rituals of pleasure and leisure, Fink has photographed baptisms, birthdays, weddings, and picnics -- focusing in particular on the Sabatine family, his friends and neighbors in Martins Creek, Pennsylvania. He has also used his camera to explore the sport of boxing, investigating its corruption and violence as intriguing and complex indices of a greater social power structure. Born in New York City, Fink first recognized the transformative power of photography at age 13 when, as a way to make friends, he set out to photograph his Brooklyn school's football team. He was a rebellious teenager whose interests centered on beatnik poetry and photography. After briefly attending college, he became a freelance fashion photographer in New York. Frustrated by the vacuity of commercial work, he began to pursue his own projects, supporting himself through magazine assignments and teaching photography at Parsons School of Design (1968-72), Yale Summer School of Art and Music (1978), Cooper Union (1978-83), Lehigh University (1985-88), and Bard College (1988-present). Fink's photographs have appeared regularly in the New York Times Magazine, Life, and American Photo. He has received many grants and awards, including fellowships from the New York State Council on the Arts (1970, 1974), the John Simon Guggenheim Memorial Foundation (1977, 1979), and the National Endowment for the Arts (1978, 1986), a grant from the Seattle Arts Council (1980), and the Pennsylvania Hazlett Memorial Award for Excellence in the Arts (1985). His one-person exhibitions include a retrospective at the American Cultural Embassy, Brussels (1987), and shows at the Museum of Modern Art, New York (1979), the San Francisco Museum of Modern Art (1981), and Mus\u00e9e de L'Elys\u00e9e, Lausanne (1994). Fink lives in Martins Creek. A.W.", "name_in_original_language": null, "birth_year": "1941", "death_year": "2023", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1989-02-24T00:00:00", "sortable_date": 1977, "date_added_to_oa": null, "date_text": "1977", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:58.542000"}, {"id": 156264, "accession_number": "1992.108", "share_license_status": "Copyrighted", "tombstone": "Lidded Vessel, 1992. Koike Sh\u014dko (Japanese, b. 1943). Glazed stoneware; diameter: 38.1 cm (15 in.); with cover: 43.2 cm (17 in.). The Cleveland Museum of Art, Seventy-fifth anniversary gift of Mrs. Keiko Kumita, Mr. Masaharu Nagano, and Mr. Klaus Naumann, 1992.108", "current_location": null, "title": "Lidded Vessel", "creation_date": "1992", "creation_date_earliest": 1992, "creation_date_latest": 1992, "artists_tags": ["female", "Asian (from 1900 to present)"], "culture": ["Japan, Heisei period (1989\u20132019)"], "technique": "Glazed stoneware", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Ceramic", "measurements": "Diameter: 38.1 cm (15 in.); with cover: 43.2 cm (17 in.)", "dimensions": {"diameter": {"width": 0.381}, "with cover": {"height": 0.432}}, "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": 666805, "title": "Contemporary Calligraphy and Clay", "description": "<i>Contemporary Calligraphy and Clay</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 7, 2024-June 15, 2025).", "opening_date": "2024-06-07T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Gallery Koyanagi, Tokyo, Japan, sold 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": [], "former_accession_numbers": [], "did_you_know": "Ceramist Koike Sh\u014dko is a recipient of the Japanese Ceramic Society\u2019s top award.", "description": "Koike Sh\u014dko, one of the first women to graduate from the renowned ceramics department at the Tokyo National University of Fine Arts and Music, often draws her forms from the ocean. The artist has shaped this lidded vessel as a shell, with sweeping curves and serrated edges, capturing an undulating sense of movement.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780842"], "internet_archive": []}, "citations": [{"citation": "Turner, Evan H. \u201cThe Year in Review for 1992.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 80, no. 2 (February 1993): 38\u201379.", "page_number": "Mentioned: p. 78", "url": "http://www.jstor.org/stable/25161388"}], "url": "https://clevelandart.org/art/1992.108", "images": {}, "alternate_images": [], "creditline": "Seventy-fifth anniversary gift of Mrs. Keiko Kumita, Mr. Masaharu Nagano, and Mr. Klaus Naumann", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 156264, "creators": [{"id": 34945, "description": "Koike Sh\u014dko (Japanese, b. 1943)", "extent": null, "qualifier": null, "role": "artist", "biography": "Koike Shoko is one of a number of younger women potters who have begun to appear on the stage of Japanese ceramics, long an almost exclusive purview of men. She is the second daughter of the branch mananger of a paper manufacturing company who died on the battlefield in 1945. At first she wanted to become a glass maker, but, unable to sudy glass at Tokyo Art University (B.A., 1966, M.F.A., 1969), she turned to ceramics and became so proficient that she won its Salon de Printemps Award with her graduation piece. After building a kiln in Tama, Tokyo, she exhibited only in one-woman shows at Tokyo ceramics and crafts galleries, and in department store group exhibitions. Koike made relatively small vessels and sculptures until 1991 when she began to produce works on a larger scale. [From \"Modern Japanese Ceramics in American Collections,\" Japan Society, 1993.]", "name_in_original_language": "\u5c0f\u6c60\u980c\u5b50", "birth_year": "1943", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1992-05-18T00:00:00", "sortable_date": 1992, "date_added_to_oa": null, "date_text": "1992", "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": ["Vessel"], "is_highlight": false, "updated_at": "2026-03-27 00:07:36.182000"}, {"id": 156889, "accession_number": "1992.98", "share_license_status": "Copyrighted", "tombstone": "Jar with Japanese Snake Gourd Design (\u304b\u3089\u3059\u74dc\u6a21\u69d8\u58fa), mid- to late 1900s. Imanishi Masaya (Japanese, b. 1947). Porcelain with underglaze blue; diameter: 33.6 cm (13 1/4 in.); overall: 31.7 cm (12 1/2 in.); diameter of rim: 14 cm (5 1/2 in.). The Cleveland Museum of Art, Seventy-fifth anniversary gift of the artist, 1992.98", "current_location": null, "title": "Jar with Japanese Snake Gourd Design", "title_in_original_language": "\u304b\u3089\u3059\u74dc\u6a21\u69d8\u58fa", "creation_date": "mid- to late 1900s", "creation_date_earliest": 1960, "creation_date_latest": 1992, "artists_tags": ["male", "Asian (from 1900 to present)"], "culture": ["Japan, Sh\u014dwa period (1926\u201389) to Heisei period (1989\u20132019)"], "technique": "porcelain with underglaze blue", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Ceramic", "measurements": "Diameter: 33.6 cm (13 1/4 in.); Overall: 31.7 cm (12 1/2 in.); Diameter of rim: 14 cm (5 1/2 in.)", "dimensions": {"diameter": {"width": 0.336}, "overall": {"height": 0.317}, "diameter of rim": {"width": 0.14}}, "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": 666805, "title": "Contemporary Calligraphy and Clay", "description": "<i>Contemporary Calligraphy and Clay</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 7, 2024-June 15, 2025).", "opening_date": "2024-06-07T04:00:00"}], "legacy": []}, "provenance": [{"description": "Collection of the artist, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?\u20131992", "sortorder": 1}, {"description": "The Cleveland Museum of Art,", "citations": [], "footnotes": null, "date": "1992\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The snake gourds growing around the artist's home near Nara are shaped like rugby balls and in summer, their white flowers that look like silk threads make you forget the heat, he says.", "description": "Imanishi Masaya trained with Kond\u014d Y\u016bz\u014d, whose mature work combined classical East Asian decorative motifs, such as pine, bamboo, and plum, executed with Western-style brushwork on traditional Asian forms, like the flower vase <a href=\"https://www.clevelandart.org/art/1994.129\">1994.129</a>. Imanishi\u2019s jar shows overall fidelity to his teacher\u2019s methods while reintroducing more delicate, calligraphic brushwork in the surface design.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79946974"], "internet_archive": []}, "citations": [{"citation": "Turner, Evan H. \u201cThe Year in Review for 1992.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 80, no. 2 (February 1993): 38\u201379.", "page_number": "Mentioned: p. 78", "url": "http://www.jstor.org/stable/25161388"}], "url": "https://clevelandart.org/art/1992.98", "images": {}, "alternate_images": [], "creditline": "Seventy-fifth anniversary gift of the artist", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 156889, "creators": [{"id": 34952, "description": "Imanishi Masaya (Japanese, b. 1947)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\u4eca\u897f \u65b9\u54c9", "birth_year": "1947", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1992-05-18T00:00:00", "sortable_date": 1960, "date_added_to_oa": null, "date_text": "mid- to late 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": ["\u74dc\u67d3\u4ed8\u58fa"], "is_highlight": false, "updated_at": "2026-03-27 00:10:23.387000"}, {"id": 161450, "accession_number": "2000.129", "share_license_status": "Copyrighted", "tombstone": "Unit #167, from the Clavilux Home Instrument (First Home Lumia Instrument) Series, 1930. Thomas Wilfred (American, born Denmark, 1889\u20131968). Mixed media; overall: 85 x 55.8 x 39.6 cm (33 7/16 x 21 15/16 x 15 9/16 in.). The Cleveland Museum of Art, Gift of the Artist, 2000.129", "current_location": null, "title": "Unit #167, from the Clavilux Home Instrument (First Home Lumia Instrument) Series", "creation_date": "1930", "creation_date_earliest": 1930, "creation_date_latest": 1930, "artists_tags": ["male"], "culture": ["America"], "technique": "mixed media", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Sculpture", "type": "Time-based Media", "measurements": "Overall: 85 x 55.8 x 39.6 cm (33 7/16 x 21 15/16 x 15 9/16 in.)", "dimensions": {"overall": {"height": 0.85, "width": 0.558, "depth": 0.396}, "No Extent Specified": {}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 310023, "title": "Illuminations: The Art of Light", "description": "<i>Illuminations: The Art of Light</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 22-November 29, 1987).", "opening_date": "1987-09-22T04:00:00"}, {"id": 205335, "title": "Lumia: Thomas Wilfred and the Art of Light", "description": "<i>Lumia: Thomas Wilfred and the Art of Light</i>. Yale University Art Gallery (organizer) (February 17-July 23, 2017); Smithsonian American Art Museum, Washington, DC (October 6, 2017-January 7, 2018).", "opening_date": "2017-02-17T05:00:00"}], "legacy": []}, "provenance": [{"description": "Collection of the artist, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1930\u20132000", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2000\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": ["17410/3"], "did_you_know": "A curator of education bought this object in 1954 with the intention of making it a gift of the artist, but apparently the museum was perplexed over its status as a work of art, and did not formally add it into the collection until 2000.", "description": "Thomas Wilfred was a pioneer in using light as a primary artistic medium, and he coined the term <em>lumia</em> to describe his new art form. This early example is a cabinet with an interior mechanism incorporating a lightbulb, motor, hand-painted glass disc, and reflective surfaces, all of which operate in unison to project abstract images in motion and color against a screen. The viewer can turn exterior knobs to manipulate these projected compositions. The artist named this device a Clavilux, after a Latin word meaning \u201clight played by key.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79984170"], "internet_archive": []}, "citations": [{"citation": "Orgeman, Keely, Thomas Wilfred, James Turrell, and Maibritt Borgen. <em>Lumia: Thomas Wilfred and the Art of Light</em>. New Haven, CT : Yale University Press, 2017.", "page_number": "Mentioned and Reproduced: pp. 102\u2013103, Plate 2", "url": null}], "url": "https://clevelandart.org/art/2000.129", "images": {}, "alternate_images": [], "creditline": "Gift of the Artist", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 161450, "creators": [{"id": 39470, "description": "Thomas Wilfred (American, born Denmark, 1889\u20131968)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1889", "death_year": "1968", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2000-12-04T00:00:00", "sortable_date": 1930, "date_added_to_oa": null, "date_text": "1930", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:57.595000"}, {"id": 163438, "accession_number": "2004.227", "share_license_status": "Copyrighted", "tombstone": " (\u56db\u5b63\u306e\u306a\u304c\u3081 \u304a\u306f\u306a\u3057): Conversation, from the series Views of the Four Seasons, 1906. Yamamoto Sh\u014dun (Japanese, 1870\u20131965). Woodblock print, ink and color on paper; sheet: 23.9 x 34 cm (9 7/16 x 13 3/8 in.); image: 20.3 x 30 cm (8 x 11 13/16 in.). The Cleveland Museum of Art, Gift of Frederick, Tina, and Zoe Zwegat, 2004.227", "current_location": null, "title": "Conversation, from the series Views of the Four Seasons", "series_in_original_language": "\u56db\u5b63\u306e\u306a\u304c\u3081 \u304a\u306f\u306a\u3057", "creation_date": "1906", "creation_date_earliest": 1906, "creation_date_latest": 1906, "artists_tags": ["male"], "culture": ["Japan, Meiji period (1868\u20131912)"], "technique": "Woodblock print, ink and color on paper", "support_materials": [{"description": "laid Japanese paper", "watermarks": []}], "department": "Japanese Art", "collection": "Japanese Art", "type": "Print", "measurements": "Sheet: 23.9 x 34 cm (9 7/16 x 13 3/8 in.); Image: 20.3 x 30 cm (8 x 11 13/16 in.)", "dimensions": {"sheet": {"height": 0.239, "width": 0.34}, "image": {"height": 0.203, "width": 0.3}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "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": 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": []}, "provenance": [{"description": "Frederick, Tina, and Zoe Zwegat, Oberlin, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "?\u20132004", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2004\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "A painter from K\u014dchi trained in Tokyo, Yamamoto Sh\u014dun often had works in the prestigious Ministry of Education Exhibition (<em>Bunten</em>) and Imperial Exhibition (<em>Teiten</em>).", "description": "This print is from a series of 12 depicting vignettes from modern life in Tokyo over the course of the seasons. A talented print designer, Yamamoto Sh\u014dun was also a painter, who often won top prizes in national exhibitions.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79989483"], "internet_archive": []}, "citations": [{"citation": "Vilbar, Sin\u00e9ad. \"A Measured Modernity: A new installation explores how artists in 19th- and early 20th-century Japan balanced tradition and Western influence \u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 57, no. 4 (July/August 2017): 12\u201313.", "page_number": "Reproduced and Mentioned: p. 13", "url": "https://archive.org/details/CMAMM2017-04/page/n5/mode/2up"}], "url": "https://clevelandart.org/art/2004.227", "images": {}, "alternate_images": [], "creditline": "Gift of Frederick, Tina, and Zoe Zwegat", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 163438, "creators": [{"id": 47013, "description": "Yamamoto Sh\u014dun (Japanese, 1870\u20131965)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\u5c71\u672c \u6607\u96f2", "birth_year": "1870", "death_year": "1965", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2005-02-28T00:00:00", "sortable_date": 1906, "date_added_to_oa": null, "date_text": "1906", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Scenes of the Four Seasons: The Conversation", "A Chat by the Flowers (Secrets), from the series Scenes of the Four Seasons"], "is_highlight": false, "updated_at": "2026-03-27 00:09:38.403000"}, {"id": 165639, "accession_number": "2007.67.11", "share_license_status": "Copyrighted", "tombstone": "In the Hands of Light: Images and Poems: Hope Is beyond the Window, 1948. Marcel G. Lefrancq (Belgian, 1916\u20131974). Gelatin silver print, ferrotyped; image: 22.9 x 15.2 cm (9 x 6 in.); paper: 22.9 x 16.3 cm (9 x 6 7/16 in.). The Cleveland Museum of Art, John L. Severance Fund, 2007.67.11. \u00a9 Marcel G. Lefrancq", "current_location": null, "title": "Hope Is beyond the Window", "series": "In the Hands of Light: Images and Poems", "creation_date": "1948", "creation_date_earliest": 1948, "creation_date_latest": 1948, "artists_tags": ["male"], "culture": ["Belgium, 20th century"], "technique": "gelatin silver print, ferrotyped", "support_materials": [], "department": "Photography", "collection": "PH - Misc. 20th Century", "type": "Photograph", "measurements": "Image: 22.9 x 15.2 cm (9 x 6 in.); Paper: 22.9 x 16.3 cm (9 x 6 7/16 in.)", "dimensions": {"image": {"height": 0.229, "width": 0.152}, "paper": {"height": 0.229, "width": 0.163}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Marcel G. Lefrancq", "inscriptions": [{"inscription": "each image is titled and authenticated by son on verso", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Written in pencil on verso of print: \"L'espoir est au dela de la fen\u00eatre/ M LEFRANCQ 11\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 203169, "title": "Forbidden Games: Surrealist and Modernist Photography", "description": "<i>Forbidden Games: Surrealist and Modernist Photography</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 19, 2014-January 11, 2015).", "opening_date": "2014-10-19T00:00:00"}, {"id": 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": "The artist's estate, Mons, Belgium", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "David Raymond [b.1979], New York, NY", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2007-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "During World War II, Marcel G. Lefrancq took photographs for fake IDs for Jews attempting to escape Belgium.", "description": "In works such as this one, Marcel G. Lefrancq presented views of daily life in his native city, Mons, from an unexpected perspective. A woman stands inside a room looking out the window in a reversal of the standard version of such imagery: rather than being seen from indoors, landscape enters the space in the form of a creeping vine. Lefrancq published it in a photographic portfolio, where it was featured alongside similarly evocative poetry.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79994935"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art, Tom E. Hinson, Ian Walker, and Lisa Kurzner. Forbidden Games: Surrealist and Modernist Photography : the David Raymond Collection in the Cleveland Museum of Art. 2014.", "page_number": "Reproduced: p. 150, no. 103; mentioned: p. 218; reproduced: p. 219.", "url": null}], "url": "https://clevelandart.org/art/2007.67.11", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 165639, "creators": [{"id": 55371, "description": "Marcel G. Lefrancq (Belgian, 1916\u20131974)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1916", "death_year": "1974", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2007-02-26T00:00:00", "sortable_date": 1948, "date_added_to_oa": null, "date_text": "1948", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "2007.67", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-26 23:59:03.393000"}, {"id": 166171, "accession_number": "2008.13.4", "share_license_status": "Copyrighted", "tombstone": "Listening to the Waterfall (\u807d\u6cc9\u5716), 1962. Fu Baoshi (Chinese, 1904\u20131965). Fan painting mounted as an album leaf, ink and color on paper; overall: 20 x 54 cm (7 7/8 x 21 1/4 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 2008.13.4", "current_location": null, "title": "Listening to the Waterfall", "title_in_original_language": "\u807d\u6cc9\u5716", "creation_date": "1962", "creation_date_earliest": 1962, "creation_date_latest": 1962, "artists_tags": ["male", "Asian (from 1900 to present)"], "culture": ["China"], "technique": "fan painting mounted as an album leaf, ink and color on paper", "support_materials": [], "department": "Chinese Art", "collection": "ASIAN - Album leaf", "type": "Painting", "measurements": "Overall: 20 x 54 cm (7 7/8 x 21 1/4 in.)", "dimensions": {"overall": {"height": 0.2, "width": 0.54}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "The artist\u2019s poetic inscription:\n\nHeavenly carved perilous peak stands ten thousand ren in green./ \nThe flying rainbow of a thousand feet runs into the thunderbolt./ \nWhere is the guest enjoying the glowing clouds?/ \nLeaning on the rails and listening to the cleansing sound./ \n\nIn the mid-summer of the renyin year [1962], in Nanjing, Baoshi painted in accordance with the poetic thoughts of Shitao.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 199339, "title": "Chinese Art in an Age of Revolution: Fu Baoshi (1904\u20131965)", "description": "<i>Chinese Art in an Age of Revolution: Fu Baoshi (1904\u20131965)</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 16, 2011-January 8, 2012); The Metropolitan Museum of Art, New York, NY (co-organizer) (January 30-April 29, 2012).", "opening_date": "2011-10-16T00:00:00"}, {"id": 293212, "title": "Greeting the Spring (Chinese art rotation, galleries 240a, 239, 241c)", "description": "<i>Greeting the Spring (Chinese art rotation, galleries 240a, 239, 241c)</i>. The Cleveland Museum of Art (organizer) (February 11-August 13, 2017).", "opening_date": "2017-02-11T05:00:00"}], "legacy": []}, "provenance": [{"description": "Fu Baoshi's family collection, Nanjing, China", "citations": [], "footnotes": null, "date": "1960s\u2013?", "sortorder": 1}, {"description": "(Han Mo Xuan Co., Ltd., Hong Kong, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "?\u20132008", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2008\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Fu Baoshi researched the life and art of early Qing painter and calligrapher Shitao (1642\u20131707) and referred to him on the inscription here.", "description": "Themes like gazing at waterfalls and listening to the sound of nature traditionally evoke the literati ideal of man in harmony with nature. However, in post-1949 China, they seemed out of touch with contemporary life and were either painted for private contemplation or associated with the beauty of the new and modern China. Fu Baoshi painted this fan 1962 in Nanjing and dedicated the whole set, to which this leaf belongs, to his wife and eldest daughter, Yishan. The small painting offers an extraordinary breadth of vision and demonstrates the artist\u2019s effortless and free use of the brush.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60480419"], "internet_archive": []}, "citations": [{"citation": "Chung, Anita, Julia Frances Andrews, Kuiyi Shen, Tamaki Maeda, and Aida Yuen Wong.<em> Chinese art in an age of revolution: Fu Baoshi (1904-1965)</em>. Cleveland, OH: The Cleveland Museum of Art, 2011.", "page_number": "Mentioned and Reproduced: cat. no. 61, pp. 184-196", "url": null}], "url": "https://clevelandart.org/art/2008.13.4", "images": {}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 166171, "creators": [{"id": 56839, "description": "Fu Baoshi (Chinese, 1904\u20131965)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\u5085\u62b1\u77f3", "birth_year": "1904", "death_year": "1965", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2008-03-03T00:00:00", "sortable_date": 1962, "date_added_to_oa": null, "date_text": "1962", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "2008.13", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:29.711000"}, {"id": 166172, "accession_number": "2008.13.5", "share_license_status": "Copyrighted", "tombstone": "Boating in a Spring River (\u6625\u6c5f\u6cdb\u821f), 1963. Fu Baoshi (Chinese, 1904\u20131965). Fan painting mounted as an album leaf, ink and color on paper; overall: 13.5 x 42.5 cm (5 5/16 x 16 3/4 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 2008.13.5", "current_location": null, "title": "Boating in a Spring River", "title_in_original_language": "\u6625\u6c5f\u6cdb\u821f", "creation_date": "1963", "creation_date_earliest": 1963, "creation_date_latest": 1963, "artists_tags": ["male", "Asian (from 1900 to present)"], "culture": ["China"], "technique": "fan painting mounted as an album leaf, ink and color on paper", "support_materials": [], "department": "Chinese Art", "collection": "ASIAN - Album leaf", "type": "Painting", "measurements": "Overall: 13.5 x 42.5 cm (5 5/16 x 16 3/4 in.)", "dimensions": {"overall": {"height": 0.135, "width": 0.425}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "The artist\u2019s inscription: \n\nToday is the Dragon Boat Festival. This is painted to welcome by daughter Yishan home for a reunion. Inscribed by Baoshi in the early evening of 25 June 1963.", "inscription_translation": null, "inscription_remark": null, "sortorder": 1}], "exhibitions": {"current": [{"id": 199339, "title": "Chinese Art in an Age of Revolution: Fu Baoshi (1904\u20131965)", "description": "<i>Chinese Art in an Age of Revolution: Fu Baoshi (1904\u20131965)</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 16, 2011-January 8, 2012); The Metropolitan Museum of Art, New York, NY (co-organizer) (January 30-April 29, 2012).", "opening_date": "2011-10-16T00:00:00"}, {"id": 293212, "title": "Greeting the Spring (Chinese art rotation, galleries 240a, 239, 241c)", "description": "<i>Greeting the Spring (Chinese art rotation, galleries 240a, 239, 241c)</i>. The Cleveland Museum of Art (organizer) (February 11-August 13, 2017).", "opening_date": "2017-02-11T05:00:00"}], "legacy": []}, "provenance": [{"description": "Fu Baoshi's family collection, Nanjing, China", "citations": [], "footnotes": null, "date": "1960s\u2013?", "sortorder": 1}, {"description": "(Han Mo Xuan Co., Ltd., Hong Kong, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "?\u20132008", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2008\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This fan painting is from a set that gives insights into Fu Baoshi's personal life and reveals the depth of his artistic vision.", "description": "This fan painting shows a charming scene of figures boating in a river framed by overhanging branches flowering in pink. The inscription states: \u201cToday is the Dragon Boat Festival. This is painted to welcome my daughter Yishan home for a reunion. Inscribed by Baoshi in the early evening of 25 June 1963.\u201d It is noteworthy that Fu Baoshi chose a joyful spring scene to express his delight about his daughter having returned home.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60480424"], "internet_archive": []}, "citations": [{"citation": "Chung, Anita, Julia Frances Andrews, Kuiyi Shen, Tamaki Maeda, and Aida Yuen Wong.<em> Chinese art in an age of revolution: Fu Baoshi (1904-1965)</em>. Cleveland, OH: The Cleveland Museum of Art, 2011.", "page_number": "Mentioned and Reproduced: cat. no. 61, pp. 184-196 and p. 25, fig. 17", "url": null}], "url": "https://clevelandart.org/art/2008.13.5", "images": {}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 166172, "creators": [{"id": 56839, "description": "Fu Baoshi (Chinese, 1904\u20131965)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\u5085\u62b1\u77f3", "birth_year": "1904", "death_year": "1965", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2008-03-03T00:00:00", "sortable_date": 1963, "date_added_to_oa": null, "date_text": "1963", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "2008.13", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:07.575000"}, {"id": 169281, "accession_number": "2011.16", "share_license_status": "Copyrighted", "tombstone": "Storing Life (\u8caf\u5875), 1979. Aoyama Sanu (Japanese, 1912\u20131993). Ink on paper; image: 43 x 68.5 cm (16 15/16 x 26 15/16 in.); framed: 57 x 83 cm (22 7/16 x 32 11/16 in.). The Cleveland Museum of Art, Gift of Aoyama Keiji, 2011.16", "current_location": null, "title": "Storing Life", "title_in_original_language": "\u8caf\u5875", "creation_date": "1979", "creation_date_earliest": 1979, "creation_date_latest": 1979, "artists_tags": ["male", "Asian (from 1900 to present)"], "culture": ["Japan, Sh\u014dwa period (1926\u201389)"], "technique": "ink on paper", "support_materials": [], "department": "Japanese Art", "collection": "ASIAN - Handscroll", "type": "Calligraphy", "measurements": "Image: 43 x 68.5 cm (16 15/16 x 26 15/16 in.); Framed: 57 x 83 cm (22 7/16 x 32 11/16 in.)", "dimensions": {"image": {"height": 0.43, "width": 0.685}, "framed": {"height": 0.57, "width": 0.83}}, "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": 666805, "title": "Contemporary Calligraphy and Clay", "description": "<i>Contemporary Calligraphy and Clay</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 7, 2024-June 15, 2025).", "opening_date": "2024-06-07T04:00:00"}], "legacy": []}, "provenance": [{"description": "Aoyama family collection, Tokyo, Japan, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1979\u20132024", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2024\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Fascicle 94 of the <em>Commentary on the Great Perfection of Wisdom Sutra</em> contains a phrase noting that dust piled up will become a mountain.", "description": "Read from right to left, the two characters in this calligraphy translate to \u201cstoring up dust\u201d (<em>chojin</em>). The word used for dust appears in Buddhist sacred texts, where it can refer to everyday life. Aoyama Sanu\u2019s phrase means to contemplate the moments making up an ordinary existence. It prompts meditation on dust, and invites the viewer to consider the endlessly shifting nature of the materials that constitute our lives.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80076330"], "internet_archive": []}, "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. 97; reproduced: P. 95, no. 96", "url": ""}], "url": "https://clevelandart.org/art/2011.16", "images": {}, "alternate_images": [], "creditline": "Gift of Aoyama Keiji", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 169281, "creators": [{"id": 60694, "description": "Aoyama Sanu (Japanese, 1912\u20131993)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\u9752\u5c71\u6749\u96e8", "birth_year": "1912", "death_year": "1993", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2011-03-07T00:00:00", "sortable_date": 1979, "date_added_to_oa": null, "date_text": "1979", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Reserving the Mundane Life"], "is_highlight": false, "updated_at": "2026-03-27 00:01:34.818000"}, {"id": 169292, "accession_number": "2011.17", "share_license_status": "Copyrighted", "tombstone": "Two Poems by Du Fu (\u675c\u752b\u4e94\u5f8b \u4e8c\u9996), 1983. Aoyama Sanu (Japanese, 1912\u20131993). Pair of hanging scrolls; ink on paper; image: 161 x 38.5 cm (63 3/8 x 15 3/16 in.); each mounted: 220 x 52 cm (86 5/8 x 20 1/2 in.). The Cleveland Museum of Art, Gift of Aoyama Keiji, 2011.17", "current_location": null, "title": "Two Poems by Du Fu", "title_in_original_language": "\u675c\u752b\u4e94\u5f8b \u4e8c\u9996", "creation_date": "1983", "creation_date_earliest": 1983, "creation_date_latest": 1983, "artists_tags": ["male", "Asian (from 1900 to present)"], "culture": ["Japan, Sh\u014dwa period (1926\u201389)"], "technique": "Pair of hanging scrolls; ink on paper", "support_materials": [], "department": "Japanese Art", "collection": "ASIAN - Hanging scroll", "type": "Calligraphy", "measurements": "Image: 161 x 38.5 cm (63 3/8 x 15 3/16 in.); Each mounted: 220 x 52 cm (86 5/8 x 20 1/2 in.)", "dimensions": {"image": {"height": 1.61, "width": 0.385}, "each mounted": {"height": 2.2, "width": 0.52}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "\u4f55\u5e74\u9867\u864e\u982d\uff0c\u6eff\u58c1\u756b\u6ec4[alt. \u701b] \u6d32\u3002/ \n\u8d64\u65e5\u77f3\u6797\u6c23\uff0c\u9752\u5929\u6c5f\u6d77\u6d41\u3002/ \n\u932b\u98db\u5e38\u8fd1\u9db4\uff0c\u676f\u6e21\u4e0d\u9a5a\u9dd7\u3002/ \n\u4f3c\u5f97\u5eec\u5c71\u8def\uff0c\u771f\u96a8\u60e0\u9060\u904a\u3002", "inscription_translation": "The hanging scroll on the right is a poem by Du Fu. \"On the Wall of the Chamber of the Chan Master of Xuanwu Temple.\" \n\nWhat year did \u201cTigerhead\u201d Gu Kaizhi/  \nfill this wall with a painting of Yingzhou?/  \nRed sun, the vapors of rock and forests,/ \nblue skies, the current of lakes and rivers./ \nThe tin staff flies always close to the crane,/ \nthe wooden cup crosses not alarming the gulls./ \nIt seems that here I have found the road to Mount Lu/ \nand truly roam together with Huiyuan.", "inscription_remark": "Translation by Stephen Owen, \"The Poetry of Du Fu\" Volume 1 (2016), poem no. 11.39, pp. 146\u2013147.", "sortorder": 1}, {"inscription": "\"\u8239\u4e0b\u5914\u5dde\u90ed\u5bbf\u96e8\u6fd5\u4e0d\u5f97\u4e0a\u5cb8\u5225\u738b\u5341\u4e8c\u5224\u5b98\".\n\u4f9d\u6c99\u5bbf\u8238\u8239\uff0c/ \n\u77f3\u7028\u6708\u5a1f\u5a1f\u3002/ \n\u98a8\u8d77\u6625\u71c8\u4e82\uff0c/ \n\u6c5f\u9cf4\u591c\u96e8\u61f8\u3002/ \n\u6668\u9418\u96f2\u5916\u6fd5\uff0c/ \n\u52dd\u5730\u77f3\u5802\u7159\u3002/ \n\u67d4\u6ad3\u8f15\u9dd7\u5916\uff0c/ \n\u542b\u60bd\u89ba\u6c5d\u8ce2\u3002", "inscription_translation": "The hanging scroll on the left is a poem by Du Fu. \"Going Downriver by Boat to Kuizhou. I Spent the Night in the Outskirts, but Having Been Soaked by Rain, I Could Not Climb the Shore to Part with Administrative Assistant Wang \"\n\nI spent the night in the barge beached in the sand,/ \nthe moon was charming on the rocky shallows./ \nThen a wind rose up, and my spring lamp-fire flickered,/ \nthe river sang as the night rain hung down./ \nThe morning bell was wet beyond the clouds,/ \na splendid place, the mist of Stone Hall./ \nThe deftly plied sweep is beyond the light gulls,/ \nI feel a sorrow, realizing what a good man you are.", "inscription_remark": "Translation by Stephen Owen, \"The Poetry of Du Fu\" Volume 1 (2016), poem no. 15.2, pp. 120\u2013121.", "sortorder": 2}, {"inscription": "\u675c\u752b\u3000\u4e94\u5f8b\u5e45\u3000\u4e8c", "inscription_translation": "inscription on the wood box for the two hanging scrolls", "inscription_remark": null, "sortorder": 3}], "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": 666805, "title": "Contemporary Calligraphy and Clay", "description": "<i>Contemporary Calligraphy and Clay</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 7, 2024-June 15, 2025).", "opening_date": "2024-06-07T04:00:00"}], "legacy": []}, "provenance": [{"description": "Aoyama family collection, Tokyo, Japan, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1983\u20132011", "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": "Aoyama Sanu was awarded Japan's Order of Cultural Merit in 1992.", "description": "Aoyama Sanu used a calligraphic form called running script to brush two compositions by Du Fu (712\u2013770) in a mode of classical Chinese poetry that features eight lines of five-character regulated verse. The poem on the right describes the immersive sensation of viewing a vivid mural of the legendary Isle of the Immortals on the wall of a monk\u2019s residence; the one on the left concerns the complex mood brought on by spending a rainy night on a boat set for departure, unable to go ashore to say farewell to a friend who has made the journey possible. Du Fu counts among the most well-known Chinese poets.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80076361"], "internet_archive": []}, "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. 97; Reproduced: p. 94, no. 95", "url": ""}], "url": "https://clevelandart.org/art/2011.17", "images": {}, "alternate_images": [], "creditline": "Gift of Aoyama Keiji", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 169292, "creators": [{"id": 60694, "description": "Aoyama Sanu (Japanese, 1912\u20131993)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\u9752\u5c71\u6749\u96e8", "birth_year": "1912", "death_year": "1993", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2011-03-07T00:00:00", "sortable_date": 1983, "date_added_to_oa": null, "date_text": "1983", "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": ["Two Wulu Poems by Du Fu"], "is_highlight": false, "updated_at": "2026-03-27 00:02:43.667000"}, {"id": 169366, "accession_number": "2011.219", "share_license_status": "Copyrighted", "tombstone": "Mount McKinley and Wonder Lake, Denali National Park, Alaska, 1947, printed in or before 1979. Ansel Adams (American, 1902\u20131984). Gelatin silver print; image: 38.8 x 48.8 cm (15 1/4 x 19 3/16 in.); mounted: 55.6 x 70.8 cm (21 7/8 x 27 7/8 in.). The Cleveland Museum of Art, Gift of Lynn Schreiber, 2011.219. \u00a9 Trustees of the Ansel Adams Publishing Rights Trust", "current_location": null, "title": "Mount McKinley and Wonder Lake, Denali National Park, Alaska", "creation_date": "1947, printed in or before 1979", "creation_date_earliest": 1947, "creation_date_latest": 1947, "artists_tags": ["male"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 38.8 x 48.8 cm (15 1/4 x 19 3/16 in.); Mounted: 55.6 x 70.8 cm (21 7/8 x 27 7/8 in.)", "dimensions": {"image": {"height": 0.388, "width": 0.488}, "mounted": {"height": 0.556, "width": 0.708}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Trustees of the Ansel Adams Publishing Rights Trust", "inscriptions": [{"inscription": "Written in pencil on recto of mount: \"Ansel Adams (signed)\"\r\nStamped in black ink and filled in with fine black marker on verso of mount: \"Photograph by Ansel Adams/Mt.McKinley and Wonderlake/Mt.McKinley National Park, Alaska 1947/Route I Box 181 Carmel, California 93921\"\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304866, "title": "Ansel Adams: A Photographer\u2019s Evolution", "description": "<i>Ansel Adams: A Photographer\u2019s Evolution</i>. Taft Museum of Art, Cincinnati, OH (organizer) (June 23-September 16, 2018).", "opening_date": "2018-06-23T04:00:00"}, {"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": "Ansel Adams shot this photograph in July 1947 at around 1:30 a.m., which is sunrise in that part of Alaska in midsummer.", "description": "Because of Adams's choice of time and framing, the mountain floats majestically above still-dark plains, inspiring awe in nature and respect for the grand scale of the American continent. Taken in a national park that few had visited at that point, this image and others made by Adams on that trip helped inspire Alaskan tourism and furthered the territory\u2019s battle to gain statehood.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80076583"], "internet_archive": []}, "citations": [{"citation": "Tannenbaum, Barbara. \u201cFrom Long Shot to Close-up: A brief history of the photography collection.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>63, no. 1 (2023): 30-33.", "page_number": "Reproduced: P. 30", "url": "https://archive.org/details/CMAMM2023-01/page/n29/mode/2up"}], "url": "https://clevelandart.org/art/2011.219", "images": {}, "alternate_images": [], "creditline": "Gift of Lynn Schreiber", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 169366, "creators": [{"id": 186, "description": "Ansel Adams (American, 1902\u20131984)", "extent": null, "qualifier": null, "role": "artist", "biography": "Ansel Adams American, 1902-1984\r\n\r\nSan Francisco-born Ansel Adams took his first photograph in 1916. More than a dozen years later (during which time he also trained as a concert pianist), he decided on photography as a career. A master of the natural landscape photograph, Adams became famous for his spectacular, reverential images of the American West. He also was known for his technical skill, conceiving the zone system method of exposure and development control.\r\n\tAn advocate of straight, unmanipulated photography, in 1932 Adams cofounded Group f/64 (among the other founding members were Imogen Cunningham, Edward Weston, and Willard Van Dyke), and that year exhibited his work with the group at San Francisco's M. H. de Young Memorial Museum. In 1936 his images were featured in a one-person exhibition at Alfred Stieglitz's New York gallery, An American Place, and three years later he took part in group exhibitions at the Golden Gate International Exposition in San Francisco and the Museum of Modern Art in New York. In 1940 Adams helped found the department of photography at the Museum of Modern Art, and later in the decade was awarded two fellowships from the John Simon Guggenheim Memorial Foundation to photograph America's national parks.\r\n\tBeginning in the 1930s and continuing throughout his long, productive career, Adams published numerous books and portfolios of his images. His technical books on photography, including Making a Photograph, Basic Photo Series, and Polaroid Land Photography Manual, were also popular. Adams was influential not only as a photographer but also as a teacher, lecturer, and conservationist. In 1980 he was awarded the Presidential Medal of Freedom, the country's highest civilian honor. M.M.", "name_in_original_language": null, "birth_year": "1902", "death_year": "1984", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2011-12-05T00:00:00", "sortable_date": 1947, "date_added_to_oa": null, "date_text": "1947, printed in or before 1979", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-26 23:59:06.819000"}, {"id": 171617, "accession_number": "2014.394", "share_license_status": "Copyrighted", "tombstone": "just the two of us, 1982. Julia Wachtel (American, b. 1956). Acrylic on canvas; unframed: 187.9 x 198 cm (74 x 77 15/16 in.). 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Fujii Setsuden (Japanese). One of a pair of six-panel folding screens, ink and color on silk; panel: 169 x 372 cm (66 9/16 x 146 7/16 in.). The Cleveland Museum of Art, John L. Severance Fund, 2015.64.2", "current_location": null, "title": "White Herons in Rain (left)", "title_in_original_language": "\u96e8\u306b\u767d\u9dfa\u56f3\u5c4f\u98a8", "creation_date": "1910s", "creation_date_earliest": 1910, "creation_date_latest": 1919, "artists_tags": ["male"], "culture": ["Japan, Meiji period (1868\u20131912) or Taish\u014d period (1912\u201326)"], "technique": "One of a pair of six-panel folding screens, ink and color on silk", "support_materials": [], "department": "Japanese Art", "collection": "ASIAN - Folding screen", "type": "Painting", "measurements": "Panel: 169 x 372 cm (66 9/16 x 146 7/16 in.)", "dimensions": {"panel": {"height": 1.69, "width": 3.72}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 295705, "title": "Japanese Gallery 235 Rotation - July 2017-January 2018", "description": "<i>Japanese Gallery 235 Rotation - July 2017-January 2018</i>. 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Marcel Broodthaers (Belgian, 1924\u20131976). Projector, slides. The Cleveland Museum of Art, Purchased with funds donated by Scott Mueller, 2016.300. \u00a9 Marcel Broodthaers", "current_location": null, "title": "Bateau-Tableau", "creation_date": "1973", "creation_date_earliest": 1973, "creation_date_latest": 1973, "artists_tags": ["male"], "culture": ["Belgium"], "technique": "Projector, slides", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Installation Media", "type": "Time-based Media", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": "Edition 18/26", "copyright": "\u00a9 Marcel Broodthaers", "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": 449797, "title": "Ren\u00e9e Green: Contact", "description": "<i>Ren\u00e9e Green: Contact</i>. Museum of Contemporary Art Cleveland (MOCA), Cleveland, OH (organizer) (July 15-December 31, 2022) https://www.mocacleveland.org/reneegreen-contact.", "opening_date": "2022-07-15T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Cayre Art Group, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "2016", "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": "Working primarily as a poet until the age of 40, Marcel Broodthaers often incorporated language and word play into his visual art.", "description": "<em>Bateau-Tableau</em>\u2019s object of study is a 19th-century naval painting that the artist purchased in a Paris antiques shop. After the first slide displays the artwork, the following slides explore the painting through a series of successive close-ups. As the recognizable picture dissolves, we focus instead on the varied textures of paint on the work\u2019s surface, the weave of the canvas, and the nails that hold the canvas to the wooden stretcher bars. An image becomes an object.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79870689"], "internet_archive": []}, "citations": [{"citation": "Liebert, Emily. \u201cA Painting Is a Sculpture.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>61, no. 1 (Winter 2021): 23.", "page_number": "Reproduced and Mentioned: P. 23.", "url": ""}], "url": "https://clevelandart.org/art/2016.300", "images": {}, "alternate_images": [], "creditline": "Purchased with funds donated by Scott Mueller", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 290465, "creators": [{"id": 290458, "description": "Marcel Broodthaers (Belgian, 1924\u20131976)", "extent": null, "qualifier": null, "role": "artist", "biography": "Belgian installation artist and author, 1924-1976", "name_in_original_language": null, "birth_year": "1924", "death_year": "1976", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2016-12-05T00:00:00-05:00", "sortable_date": 1973, "date_added_to_oa": null, "date_text": "1973", "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 00:00:59.557000"}, {"id": 89212, "accession_number": "2018.275", "share_license_status": "CC0", "tombstone": "Poppy Filigree Table Lamp, c.1902\u201310. Probably by Clara Wolcott Driscoll (American, 1861\u20131944), Tiffany Studios (United States, New York, 1902\u201332). Leaded glass, blown glass, brass, bronze; height: 58.5 x 42 cm (23 1/16 x 16 9/16 in.); shade diameter: 42 cm (16 9/16 in.). The Cleveland Museum of Art, Bequest of Charles Maurer, 2018.275", "current_location": null, "title": "Poppy Filigree Table Lamp", "creation_date": "c.1902\u201310", "creation_date_earliest": 1902, "creation_date_latest": 1910, "artists_tags": ["female", "Cleveland Institute of Art (alumni)", "gender unknown"], "culture": ["America, New York"], "technique": "Leaded glass, blown glass, brass, bronze", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Lamp", "measurements": "height: 58.5 x 42 cm (23 1/16 x 16 9/16 in.); Shade diameter: 42 cm (16 9/16 in.)", "dimensions": {"height": {"height": 0.585, "width": 0.42}, "shade diameter": {"width": 0.42}, "diameter of base": {"width": 0.21}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Shade impressed:  TIFFANY STUDIOS/NEW YORK/1431", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Base impressed: TIFFANY STUDIOS/NEW YORK/28610", "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>. 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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": null, "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": "Brass filigree layered over and underneath the glass in the <em>Poppy</em> lamp helps define its blossoms and leaves.", "description": "In the 1870s a renewed emphasis on natural landscapes ushered in a generation of cottage gardeners who delighted in planting perennials in large quantities. Louis Comfort Tiffany was among those who championed the lush, sometimes wild-looking displays of varied floral species in the garden at his Long Island estate, Laurelton Hall. Tiffany encouraged his designers to take inspiration from his garden by shipping fresh cuttings almost weekly to his studios. 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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": 156753, "accession_number": "1992.351", "share_license_status": "Copyrighted", "tombstone": "Man's Tunic (Cushma), 1970s. Amazonia, Peru, Ucayali River region, Shipibo people. Cotton, pigment; overall: 119.4 x 119.4 cm (47 x 47 in.). The Cleveland Museum of Art, John L. Severance Fund, 1992.351", "current_location": null, "title": "Man's Tunic (Cushma)", "creation_date": "1970s", "creation_date_earliest": 1970, "creation_date_latest": 1979, "artists_tags": [], "culture": ["Amazonia, Peru, Ucayali River region, Shipibo people"], "technique": "cotton, pigment", "support_materials": [], "department": "Textiles", "collection": "Textiles", "type": "Textile", "measurements": "Overall: 119.4 x 119.4 cm (47 x 47 in.)", "dimensions": {"overall": {"height": 1.194, "width": 1.194}}, "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": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This tunic\u2019s designs may be based on the skin patterns of the legendary Great Boa.", "description": "Women are the main artists among Peru\u2019s Shipibo. The designs (ken\u00e9) on this tunic are based on the skin patterns of the legendary Great Boa (the mother of water creatures) or the patterns that in mythic times covered the world like a web, today revealed by dreams, visions, and other means.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79946591"], "internet_archive": []}, "citations": [{"citation": "Turner, Evan H. \u201cThe Year in Review for 1992.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 80, no. 2 (February 1993): 38\u201379.", "page_number": "Mentioned: p. 77", "url": "http://www.jstor.org/stable/25161388"}, {"citation": "Odland, Claire, and Feldman, Nancy. S<em>hipibo Textile Practices 1952-2010</em>. DigitalCommons@University of Nebraska - Lincoln, 2010. .", "page_number": "p. 1-9", "url": "https://digitalcommons.unl.edu/cgi/viewcontent.cgi?article=1041&context=tsaconf"}, {"citation": "Odland, J. Claire, and Ronald L Weber. 2016. \u201cChapter 6: Shipibo-Conibo Material Culture: Textiles and Ceramics in the Field Museum Collections.\u201d <em>Fieldiana. Anthropology</em> 45 (45): 63\u201379.", "page_number": "p. 63-79", "url": "https://www.jstor.org/stable/44744611"}, {"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/1992.351", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 156753, "creators": [], "legal_status": "accessioned", "accession_date": "1993-02-17T00:00:00", "sortable_date": 1970, "date_added_to_oa": null, "date_text": "1970s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:04.277000"}, {"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": 166211, "accession_number": "2008.152", "share_license_status": "CC0", "tombstone": "Pipe bowl, early to mid-1900s. Africa, Central Africa, Democratic Republic of Congo, Luluwa or Luntu maker. Wood, iron, and copper alloy; overall: 6 x 7.4 x 24 cm (2 3/8 x 2 15/16 x 9 7/16 in.). The Cleveland Museum of Art, Jo Hershey Selden Fund, 2008.152", "current_location": null, "title": "Pipe bowl", "creation_date": "early to mid-1900s", "creation_date_earliest": 1901, "creation_date_latest": 1950, "artists_tags": [], "culture": ["Africa, Central Africa, Democratic Republic of Congo, Luluwa or Luntu maker"], "technique": "Wood, iron, and copper alloy", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Implements", "measurements": "Overall: 6 x 7.4 x 24 cm (2 3/8 x 2 15/16 x 9 7/16 in.)", "dimensions": {"overall": {"height": 0.06, "width": 0.074, "depth": 0.24}}, "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": "Private collection, possibly France", "citations": [], "footnotes": [], "date": "dates unknown, by at least 1987", "sortorder": 1}, {"description": "possibly Galerie Ratton-Hourd\u00e9, Paris, France", "citations": [], "footnotes": [], "date": "1990 or later", "sortorder": 2}, {"description": "Private collection, Belgium", "citations": [], "footnotes": [], "date": "dates unknown", "sortorder": 3}, {"description": "(Galerie Joaquin Pecci, Brussels, Belgium, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "unknown-2008", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2008-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The cavity for the tobacco is positioned in the belly of a figure who holds himself up with bent arms on the pipe.", "description": "Tobacco smoking had important social connotations in Central Africa, denoting age, status, and gender. Perhaps the enlarged hand expressed physical and spiritual powers and indicates that this work belonged to a chief. Figuratively carved pipes and snuff mortars constitute important genres of Luluwa decorative arts. As personal objects reflecting the prominence and success of their male and sometimes female owners, they are usually the creative work of virtuoso artists and take a variety of often imaginative shapes.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79996174"], "internet_archive": ["https://archive.org/details/clevelandart-2008.152-pipe-bowl"]}, "citations": [{"citation": "G\u00e9rard Berjonneau &amp; Jean-Louis Sonnery, eds. Rediscovered Masterpieces of African Art (Boulogne: ARTS 135/Paris: Fondation Dapper, 1987), fig. 292.", "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": "Petridis, Constantijn. Luluwa: Central African Art between Heaven and Earth. 2018, 169.", "page_number": "Reproduced; p. 169, fig. 146", "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/2008.152", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2008.152/2008.152_web.jpg", "width": "1263", "height": "802", "filesize": "484710", "filename": "2008.152_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2008.152/2008.152_print.jpg", "width": "3400", "height": "2159", "filesize": "3957815", "filename": "2008.152_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2008.152/2008.152_full.tif", "width": "4692", "height": "2980", "filesize": "41976320", "filename": "2008.152_full.tif"}}, "alternate_images": [{"date_created": "2009-01-19T19:12:14", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.152/2008.152_alt0_web.jpg", "width": "1263", "height": "738", "filesize": "467859"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.152/2008.152_alt0_print.jpg", "width": "3400", "height": "1986", "filesize": "3865641"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.152/2008.152_alt0_full.tif", "width": "4605", "height": "2690", "filesize": "37191776"}}, {"date_created": "2009-01-19T19:42:30", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.152/2008.152_alt1_web.jpg", "width": "1263", "height": "706", "filesize": "415156"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.152/2008.152_alt1_print.jpg", "width": "3400", "height": "1901", "filesize": "3478408"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.152/2008.152_alt1_full.tif", "width": "5153", "height": "2881", "filesize": "44566732"}}, {"date_created": "2009-01-19T20:06:36", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.152/2008.152_alt2_web.jpg", "width": "1263", "height": "668", "filesize": "400727"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.152/2008.152_alt2_print.jpg", "width": "3400", "height": "1798", "filesize": "3350856"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.152/2008.152_alt2_full.tif", "width": "5248", "height": "2776", "filesize": "43734612"}}, {"date_created": "2009-01-20T14:26:54", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.152/2008.152_alt3_web.jpg", "width": "525", "height": "893", "filesize": "185985"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.152/2008.152_alt3_print.jpg", "width": "1999", "height": "3400", "filesize": "3131685"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.152/2008.152_alt3_full.tif", "width": "3110", "height": "5290", "filesize": "49385148"}}, {"date_created": "2009-01-19T20:42:08", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.152/2008.152_alt4_web.jpg", "width": "511", "height": "893", "filesize": "190951"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.152/2008.152_alt4_print.jpg", "width": "1945", "height": "3400", "filesize": "3030726"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.152/2008.152_alt4_full.tif", "width": "2903", "height": "5074", "filesize": "44218832"}}], "creditline": "Jo Hershey Selden Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 166211, "creators": [], "legal_status": "accessioned", "accession_date": "2008-12-08T00:00:00", "sortable_date": 1901, "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": ["Tobacco Pipe"], "is_highlight": false, "updated_at": "2026-03-27 00:09:25.096000"}, {"id": 304417, "accession_number": "2017.102", "share_license_status": "Copyrighted", "tombstone": "Birth of a Child (Geburt eines Kindes), 1914. Oskar Kokoschka (Austrian, 1886\u20131980). Tempera paint and charcoal; 49.4 x 56 cm (19 7/16 x 22 1/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 2017.102. \u00a9 Fondation Oskar Kokoschka / Artists Rights Society (ARS), New York / ProLitteris, Z\u00fcrich", "current_location": null, "title": "Birth of a Child (Geburt eines Kindes)", "creation_date": "1914", "creation_date_earliest": 1914, "creation_date_latest": 1914, "artists_tags": ["male"], "culture": ["Austria"], "technique": "Tempera paint and charcoal", "support_materials": [], "department": "Drawings", "collection": "DR - Austrian", "type": "Drawing", "measurements": "49.4 x 56 cm (19 7/16 x 22 1/16 in.)", "dimensions": {"No Extent Specified": {"height": 0.494, "width": 0.56}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Fondation Oskar Kokoschka / Artists Rights Society (ARS), New York / ProLitteris, Z\u00fcrich", "inscriptions": [{"inscription": "Lower right: Monogram \u201cOK\u201d in black chalk; verso, inscribed: \u201cGrablegung, Entwurf f\u00fcr Wandgem\u00e4lde in einem Krematorium / Z36.\u201d", "inscription_translation": "Burial, Design for Wall painting in a Crematorium", "inscription_remark": "Lower right: Monogram \u201cOK\u201d in black chalk; verso, inscribed: \u201cGrablegung, Entwurf f\u00fcr Wandgem\u00e4lde in einem Krematorium / Z36.\u201d (Burial, Design for Wall painting in a Crematorium)", "sortorder": null}], "exhibitions": {"current": [{"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"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The large wall mural for which this painting on paper was a preparatory study was never executed because of the onset of World War I in Europe.", "description": "Oskar Kokoschka made this drawing as a preparatory design for a wall mural on the theme of the inevitability of death. His energetic strokes of color portray a woman giving birth aided by three female attendants. The newborn\u2019s absence and death is relayed in the lifeless pallor of the mother. The wall painting was to have been painted within the reception hall of a new cemetery complex in Breslau, but was never constructed because of World War I.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79873138"], "internet_archive": []}, "citations": [{"citation": "Kokoschka, Oskar, Alfred Weidinger, and Alice Strobl. Oskar Kokoschka: die Zeichnungen und Aquarelle 1897-1916. Salzburg: Galerie Welz, 2008.", "page_number": null, "url": null}, {"citation": "Kokoschka, Oskar, Alice Strobl, and Alfred Weidinger. Oskar Kokoschka: das Fru\u0308hwerk (1897/98-1917) : Zeichnungen und Aquarelle. 1994.", "page_number": null, "url": null}, {"citation": "Peters, Emily J. and Wehn, James. \u201cAcquisition Highlights: Drawings.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 58, no. 2 (March/April 2018): 12-13.", "page_number": "Reproduced: P. 13; Mentioned: P. 12-13", "url": "https://archive.org/details/CMAMM2018-02/page/n5/mode/2up"}, {"citation": "Griswold, William M. \u201cRecent Acquisitions (2013-20) at the Cleveland Museum of Art.\u201d <em>Burlington Magazine </em>163, no. 1414 (January 2021): 93-104.", "page_number": "Mentioned and reproduced: P. 98, no. 10", "url": ""}], "catalogue_raisonne": "Strobl & Strobl 802", "url": "https://clevelandart.org/art/2017.102", "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": 304417, "creators": [{"id": 304418, "description": "Oskar Kokoschka (Austrian, 1886\u20131980)", "extent": null, "qualifier": null, "role": "artist", "biography": "Austrian painter and printmaker, 1886-1980", "name_in_original_language": null, "birth_year": "1886", "death_year": "1980", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2017-09-11T00:00:00-04:00", "sortable_date": 1914, "date_added_to_oa": null, "date_text": "1914", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": true, "updated_at": "2026-03-27 00:02:32.734000"}, {"id": 304600, "accession_number": "2017.204", "share_license_status": "Copyrighted", "tombstone": "Seedpod Pin, 1962. John Paul Miller (American, 1918\u20132013). Gold; overall: 1 x 2.9 cm (3/8 x 1 1/8 in.). The Cleveland Museum of Art, Bequest of Frances P. Taft, Trustee of the Cleveland Museum of Art, 1973-2017, 2017.204", "current_location": null, "title": "Seedpod Pin", "creation_date": "1962", "creation_date_earliest": 1961, "creation_date_latest": 1962, "artists_tags": ["male", "Cleveland Institute of Art (faculty)", "Cleveland School", "May Show", "Cleveland Institute of Art (alumni)", "LGBTQ+ (after 1900)"], "culture": ["America"], "technique": "gold", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Jewelry", "measurements": "Overall: 1 x 2.9 cm (3/8 x 1 1/8 in.)", "dimensions": {"overall": {"height": 0.01, "width": 0.029, "length": 0.073}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 304104, "title": "The May Show: 44th Annual Exhibition of Works by Artists and Craftsmen of The Western Reserve", "description": "<i>The May Show: 44th Annual Exhibition of Works by Artists and Craftsmen of The Western Reserve</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 16-June 24, 1962).", "opening_date": "1962-05-16T04:00:00"}], "legacy": []}, "provenance": [{"description": "Made by artist for Seth and Frances P. Taft, Cleveland, OH", "citations": [], "footnotes": null, "date": "1962", "sortorder": 1}, {"description": "Frances P. Taft, Cleveland, OH, bequest to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1962\u20132017", "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": "A presentation drawing exists within the CMA archives for this brooch.", "description": "The <em>Seedpod Pin</em> by John Paul Miller comes relatively early (1962) in his career after his landmark rediscovery of the technique of granulation (1952\u201353). Here he contrasts hammered planes with granulated surfaces to emphasize texture and enhance the drama of discovery\u2014a technique that would become a hallmark of his naturalistic compositions.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60756858"], "internet_archive": []}, "citations": [{"citation": "Rendering, 1962. John Paul Miller Collection, Cleveland Museum of Art Archives.", "page_number": null, "url": "http://digitalarchives.clevelandart.org/cdm/ref/collection/p17142coll8/id/20"}, {"citation": "John Paul Miller Entry Card to 1962 May Show. Cleveland Museum of Art May Show Records, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/CMAMS12944"}, {"citation": "Harrison, Stephen. \u201cAcquisition Highlights: Decorative Art.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 58, no. 2 (March/April 2018): 19.", "page_number": "Reproduced and Mentioned: P. 19", "url": "https://archive.org/details/CMAMM2018-02/page/n9/mode/2up"}, {"citation": "John Paul Miller collection. 1850-2010, bulk 1940-2000. Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/JohnPaulMiller"}], "url": "https://clevelandart.org/art/2017.204", "images": {}, "alternate_images": [], "creditline": "Bequest of Frances P. Taft, Trustee of the Cleveland Museum of Art, 1973-2017", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 304600, "creators": [{"id": 56027, "description": "John Paul Miller (American, 1918\u20132013)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1918", "death_year": "2013", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2017-12-04T00:00:00-05:00", "sortable_date": 1961, "date_added_to_oa": null, "date_text": "1962", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:24.851000"}, {"id": 297929, "accession_number": "2018.307", "share_license_status": "Copyrighted", "tombstone": "Untitled, c.1988\u201393. G\u00e9rard Santoni (Ivorian, 1943\u20132008). Cotton, bark cloth, and dye (indigo or kola nut); overall: 89.5 x 125.7 cm (35 1/4 x 49 1/2 in.). The Cleveland Museum of Art, Gift of Robert and Elizabeth Soppelsa, in memory of the artist G\u00e9rard Santoni, 2018.307. \u00a9 G\u00e9rard Santoni", "current_location": null, "title": "Untitled", "creation_date": "c.1988\u201393", "creation_date_earliest": 1983, "creation_date_latest": 1998, "artists_tags": ["male"], "culture": [], "technique": "Cotton, bark cloth, and dye (indigo or kola nut)", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Textile", "measurements": "Overall: 89.5 x 125.7 cm (35 1/4 x 49 1/2 in.)", "dimensions": {"overall": {"height": 0.895, "width": 1.257}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 G\u00e9rard Santoni", "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": "G\u00e9rard Santoni, Abidjan, C\u00f4te d\u2019Ivoire, sold to Robert Soppelsa", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "Robert and Elizabeth Soppelsa, Washington DC, gifted to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "?-2018", "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": "A painting by Santoni with a similar color palette of white, blue, and red appears on a 1987 stamp from C\u00f4te d'Ivoire.", "description": "G\u00e9rard Santoni drew inspiration from the strip-woven Baule textiles he grew up around in C\u00f4te d\u2019Ivoire. Meant for wearing, these textiles were woven on narrow-band heddle looms. In contrast, Santoni used a wide Gobelin-style (French tapestry) loom to make this wall hanging, reflecting his art school training in Paris and Nice. He handcrafted some threads from bark cloth, and dyed cotton ones with indigo. In this serene abstract landscape, those latter threads recall Baule textiles and Ivorian waterways. The diagonal red dash echoes similar markings on Baule textiles, highlighting Santoni\u2019s interest in color rather than symbolic or cultural meanings. He once said that \u201cI break down the traditional weavings, \u2018decompose\u2019 them, and find something personal in their decomposition.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79874494"], "internet_archive": []}, "citations": [{"citation": "McEvilley, Thomas. <em>Fusion: West African Artists at the Venice Biennale. </em>New York: Museum for African Art; Munich: Prestel, 1993.", "page_number": null, "url": "https://ingallslibrary.on.worldcat.org/oclc/31167850"}, {"citation": "Oguibe, Olu. The Culture Game. Minneapolis: University of Minnesota Press, 2004.", "page_number": "23-24", "url": "https://faculty.risd.edu/bcampbel/readingsforweek11-2.pdf"}, {"citation": "Milbourne, Karen. \u201cNational Museum of African Art Curator Karen Milbourne talks about the power of water on this #EarthDay2018.\u201d Smithsonian Museum of African Art.", "page_number": null, "url": "https://africa.si.edu/national-museum-of-african-art-curator-karen-milbourne-talks-about-the-power-of-water-on-this-earthday2018/"}, {"citation": "Windmuller-Luna, Kristen. \u201cThreads across Time: African Textiles, 500-1993.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>61, no. 1 (Winter 2021): 13.", "page_number": "Reproduced and Mentioned: P. 13.", "url": ""}], "url": "https://clevelandart.org/art/2018.307", "images": {}, "alternate_images": [], "creditline": "Gift of Robert and Elizabeth Soppelsa, in memory of the artist G\u00e9rard Santoni", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 297929, "creators": [{"id": 322264, "description": "G\u00e9rard Santoni (Ivorian, 1943\u20132008)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1945", "death_year": "2008", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2018-12-03T00:00:00-05:00", "sortable_date": 1983, "date_added_to_oa": null, "date_text": "c.1988\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": "2026-03-27 00:03:01.490000"}, {"id": 83453, "accession_number": "2020.143", "share_license_status": "CC0", "tombstone": "The Beach at Saint-Jacut, 1909. \u00c9douard Vuillard (French, 1868\u20131940). Distemper on paper, laid down on canvas; image and sheet: 57.8 x 43.2 cm (22 3/4 x 17 in.); mounted: 58.7 x 44.3 cm (23 1/8 x 17 7/16 in.). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift, 2020.143", "current_location": null, "title": "The Beach at Saint-Jacut", "creation_date": "1909", "creation_date_earliest": 1909, "creation_date_latest": 1909, "artists_tags": ["male"], "culture": ["France, 20th century"], "technique": "distemper on paper, laid down on canvas", "support_materials": [], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Image and Sheet: 57.8 x 43.2 cm (22 3/4 x 17 in.); Mounted: 58.7 x 44.3 cm (23 1/8 x 17 7/16 in.)", "dimensions": {"image and sheet": {"height": 0.578, "width": 0.432}, "mounted": {"height": 0.587, "width": 0.443}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "stamped, in black ink, at lower right: E. Vuillard [Lugt 2497a]", "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": []}, "provenance": [{"description": "Studio of the artist [1868-1940; Lugt 2497a]", "citations": [], "footnotes": [], "date": "1909-1940", "sortorder": 1}, {"description": "(sale, Galerie Motte, Geneva, June 16, 1972, no. 28)", "citations": [], "footnotes": [], "date": "1972", "sortorder": 2}, {"description": "(sale, Hotel President, Geneva, December 3-12, 1989, no. 3159)", "citations": [], "footnotes": [], "date": "1989", "sortorder": 3}, {"description": "Private collection, Paris", "citations": [], "footnotes": [], "date": "after 1989-before 2008", "sortorder": 4}, {"description": "(Neffe-Degrandt Fine Art, London, sold to private collection, Japan)", "citations": [], "footnotes": null, "date": "1999", "sortorder": 5}, {"description": "Private collection, Japan", "citations": [], "footnotes": null, "date": "after 1999", "sortorder": 6}, {"description": "(Jill Newhouse, New York, NY)", "citations": [], "footnotes": null, "date": "after 1999-2008", "sortorder": 7}, {"description": "Nancy F. and Joseph P. Keithley, Cleveland, OH", "citations": [], "footnotes": [], "date": "2008-2020", "sortorder": 8}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2020-", "sortorder": 9}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Vuillard created this drawing using distemper, a technique that involves mixing pigment and glue, which he favored at this time for the planes of matte color that resulted.", "description": "\u00c9douard Vuillard spent the summer of 1909 in the French coastal town of Saint-Jacut de la Mer, known for its beaches and bathing. Sharing housing with a group of artist friends, Vuillard sketched and painted avidly, depicting the seascape in several works including this drawing. Here, the artist emphasized the remoteness of the beach, depicting a woman sitting alone, wearing a gray dress that matches the tone of the infinitely expanding sky beyond her.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q87480847"], "internet_archive": ["https://archive.org/details/clevelandart-2020.143-the-beach-at-saint-j"]}, "citations": [{"citation": "Chastel, Andr\u00e9. <em>Vuillard, 1868\u20131940</em>. Paris: Floury, 1946.", "page_number": "Mentioned and reproduced: p. 71", "url": ""}, {"citation": "<em>Ventes aux ench\u00e8res publiques</em>. Geneva: H\u00f4tel Pr\u00e9sident, 1989.", "page_number": "Mentioned and reproduced: pp. 222\u2013223, no. 3159", "url": ""}, {"citation": "Salomon, Antoine and Guy Cogeval. <em>Vuillard: The Inexhaustible Glance, Critical Catalogue of Paintings and Pastels</em>. Paris: Wildenstein, 2003.", "page_number": "Mentioned and reproduced: vol. II, p. 985, no. VIII-345", "url": "https://view.publitas.com/wildenstein-plattner-institute-ol46yv9z6qv6/c-r_edouard_vuillard_volume_ii_wildenstein_institute/page/456-457"}, {"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. 100-101; Mentioned: p. 273-274", "url": ""}], "catalogue_raisonne": "Salomon and Cogeval VIII-345", "url": "https://clevelandart.org/art/2020.143", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2020.143/2020.143_web.jpg", "width": "669", "height": "900", "filesize": "250780", "filename": "2020.143_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2020.143/2020.143_print.jpg", "width": "2529", "height": "3400", "filesize": "3184144", "filename": "2020.143_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2020.143/2020.143_full.tif", "width": "8881", "height": "11938", "filesize": "318091864", "filename": "2020.143_full.tif"}}, "alternate_images": [{"date_created": "2020-02-21T16:22:09", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.143/2020.143_alt0_web.jpg", "width": "681", "height": "900", "filesize": "256445"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.143/2020.143_alt0_print.jpg", "width": "2574", "height": "3400", "filesize": "3151579"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.143/2020.143_alt0_full.tif", "width": "9449", "height": "12482", "filesize": "353855076"}}, {"date_created": "2020-02-21T16:22:39", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.143/2020.143_alt1_web.jpg", "width": "681", "height": "900", "filesize": "360646"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.143/2020.143_alt1_print.jpg", "width": "2574", "height": "3400", "filesize": "5256219"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.143/2020.143_alt1_full.tif", "width": "9449", "height": "12482", "filesize": "353854540"}}], "creditline": "Nancy F. and Joseph P. Keithley Collection Gift", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 83453, "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": 1909, "date_added_to_oa": null, "date_text": "1909", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:05:57.504000"}, {"id": 380087, "accession_number": "2020.170", "share_license_status": "Copyrighted", "tombstone": "Farm Yard, 1948. Milton Avery (American, 1885\u20131965). Oil on canvas; unframed: 80.3 x 121 cm (31 5/8 x 47 5/8 in.). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift, 2020.170. \u00a9 The Milton Avery Trust / Artists Rights Society (ARS), New York", "current_location": null, "title": "Farm Yard", "creation_date": "1948", "creation_date_earliest": 1948, "creation_date_latest": 1948, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Unframed: 80.3 x 121 cm (31 5/8 x 47 5/8 in.)", "dimensions": {"unframed": {"height": 0.803, "width": 1.21}, "framed": {"height": 1.002, "width": 1.408, "depth": 0.063}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 The Milton Avery Trust / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "Signed and dated, lower left: Milton Avery 1948", "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": []}, "provenance": [{"description": "Nancy F. and Joseph P. Keithley, Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "2020", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2020-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Explaining why he was so quiet, Milton Avery said, \"Why talk when you can paint?\"", "description": "Milton Avery\u2019s passion for bold color and elemental shapes infuses <em>Farm Yard.</em> Throughout his career, the artist sought inspiration from everyday life, which he carefully distilled into abstracted compositions that would capture, as he described, \u201cthe purity and essence of the idea expressed in its simplest form.\u201d This painting likely reflects Avery's fondness for folk art; indeed, the fowl with their simplified silhouettes resemble early American weather vanes.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q87481586"], "internet_archive": []}, "citations": [{"citation": "Brown, Heather Lemonedes, ed. <em>The Keithley Collection at the Cleveland Museum of Art, </em>exh. cat.(Cleveland, OH: The Cleveland Museum of Art, 2022).", "page_number": "", "url": ""}, {"citation": "Kramer, Hilton, <em>Milton Avery: Paintings 1930-1960.</em> (New York: Thomas Yoseloff, 1962).", "page_number": "Mentioned P. 29; Reproduced Plate 65.", "url": ""}, {"citation": "Hobbs, Robert. \"Milton Avery.\" In <em>The Keithley Collection at the Cleveland Museum of Art, </em>edited by Heather Lemonedes Brown, 162-165. Cleveland, OH: The Cleveland Museum of Art, 2022.", "page_number": "Mentioned and reproduced: p. 162-165; Mentioned: p. 254", "url": ""}, {"citation": "Brown, Heather Lemonedes. \u201cColor, Sensation, and Memory: Themes in the Keithleys\u2019 gift and promised gift.\u201d <em>Cleveland Art </em>62, no. 3, 2022", "page_number": "Mentioned: PP. 5, 6; Reproduced P. 6.", "url": ""}], "url": "https://clevelandart.org/art/2020.170", "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": 380087, "creators": [{"id": 3366, "description": "Milton Avery (American, 1885\u20131965)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1885", "death_year": "1965", "use_in_caption": true, "include_extent": false, "weight": 0}], "legal_status": "accessioned", "accession_date": "2020-03-02T00:00:00-05:00", "sortable_date": 1948, "date_added_to_oa": null, "date_text": "1948", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:29.243000"}, {"id": 93170, "accession_number": "1926.1547", "share_license_status": "CC0", "tombstone": "Russian Dancer, 1925. Alexander Blazys (American, born Russian Empire [now Lithuania], 1894\u20131963). Bronze; overall: 26.1 x 29.2 x 12.8 cm (10 1/4 x 11 1/2 x 5 1/16 in.). The Cleveland Museum of Art, Hinman B. Hurlbut Collection, 1926.1547", "current_location": null, "title": "Russian Dancer", "creation_date": "1925", "creation_date_earliest": 1925, "creation_date_latest": 1925, "artists_tags": ["May Show", "male", "Cleveland Institute of Art (faculty)"], "culture": ["America, Ohio, Cleveland"], "technique": "bronze", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Sculpture", "type": "Sculpture", "measurements": "Overall: 26.1 x 29.2 x 12.8 cm (10 1/4 x 11 1/2 x 5 1/16 in.)", "dimensions": {"overall": {"height": 0.261, "width": 0.292, "depth": 0.128}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 381558, "title": "The May Show: 8th Annual Exhibition of Works by Cleveland Artists and Craftsmen", "description": "<i>The May Show: 8th Annual Exhibition of Works by Cleveland Artists and Craftsmen</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 4-June 7, 1926).", "opening_date": "1926-05-04T04:00:00"}, {"id": 312185, "title": "Retrospective Twenty-fifth Anniversary May Show", "description": "<i>Retrospective Twenty-fifth Anniversary May Show</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 13-February 14, 1943).", "opening_date": "1943-01-13T05:00:00"}, {"id": 445409, "title": "Art Deco", "description": "<i>Art Deco</i>. Western Reserve Historical Society, Cleveland, OH (organizer) (June 6-August 1, 1971).", "opening_date": "1971-06-06T04:00:00"}, {"id": 444884, "title": "Art Deco", "description": "<i>Art Deco</i>. The Butler Institute of American Art, Youngstown, OH (organizer) (December 2, 1973-January 27, 1974).", "opening_date": "1973-12-02T05:00:00"}, {"id": 309579, "title": "The Cleveland Institute of Art: 100 Years", "description": "<i>The Cleveland Institute of Art: 100 Years</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 22, 1982-January 30, 1983).", "opening_date": "1982-12-22T05:00:00"}, {"id": 310252, "title": "Cleveland Art Comes of Age: 1919-1940", "description": "<i>Cleveland Art Comes of Age: 1919-1940</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 28-September 10, 1989).", "opening_date": "1989-06-28T04:00:00"}, {"id": 411184, "title": "The Human Figure in American Sculpture: A Question of Modernity", "description": "<i>The Human Figure in American Sculpture: A Question of Modernity</i>. Los Angeles County Museum of Art (organizer) (February 23-May 14, 1995); Montgomery Museum of Fine Arts (June 22-September 10, 1995); Wichita Art Museum (October 19, 1995-January 7, 1996); National Academy of Design Museum and School of Fine Arts (February 15-May 5, 1996).", "opening_date": "1995-02-23T05:00:00"}, {"id": 311873, "title": "Transformations in Cleveland Art, 1796-1946", "description": "<i>Transformations in Cleveland Art, 1796-1946</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 19-July 21, 1996).", "opening_date": "1996-05-19T04:00:00"}, {"id": 177916, "title": "Burchfield to Schreckengost: Cleveland Art of the Jazz Age", "description": "<i>Burchfield to Schreckengost: Cleveland Art of the Jazz Age</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 28-July 18, 2004).", "opening_date": "2004-03-28T00:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": ["944.1926", "1547.1926"], "did_you_know": null, "description": "A Lithuanian immigrant, Blazys introduced modernist sculpture to Cleveland upon his arrival in 1925. These figures merge rhythmic movement inspired by music with faceted, geometric planes derived from Cubism.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q107585411"], "internet_archive": ["https://archive.org/details/clevelandart-1926.1547-russian-dancer"]}, "citations": [{"citation": "Alexander Blazys Entry Card to 1926 May Show. Cleveland Museum of Art May Show Records, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/CMAMS01065/"}, {"citation": "Clark, Edna Maria. <em>Ohio Art and Artists</em>. Richmond, VA: Garrett and Massie, 1975.", "page_number": "Mentioned: p. 414", "url": null}, {"citation": "Hoffman, Jay, Dee Driscole, and Mary Clare Zahler.<em> A Study in Regional Taste: The May Show, 1919-1975</em>. [Cleveland]: Cleveland Museum of Art, 1977.", "page_number": "Reproduced: P. 47, no. 48; Mentioned: P. 78, no. 48", "url": ""}, {"citation": "Robinson, William H., et. al. <em>Transformations in Cleveland Art, 1796-1946: Community and Diversity in Early Modern America</em>. Cleveland, Ohio: Cleveland Museum of Art, 1996.", "page_number": "Reproduced: p.98, fig.104; Mentioned: p. 245", "url": ""}, {"citation": "Bassett, Mark T., R. Guy Cowan, and Victoria Naumann. <em>Cowan Pottery and the Cleveland School</em>. Atglen, PA: Schiffer Publishing, Ltd., 1997.", "page_number": "Reproduced: p. 113, pl. 312", "url": null}, {"citation": "Steinberg, David and William H. Robinson. <em>Cleveland Museum of Art--Exhibitions--Transformations in Cleveland Art, 1796-1946: Community and Diversity in Early Modern America</em>. The Cleveland Museum of Art: Ohio University Press, 2013.", "page_number": "Reproduced: p. 98, fig. 104; Mentioned: p. 245", "url": null}], "url": "https://clevelandart.org/art/1926.1547", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1926.1547/1926.1547_web.jpg", "width": "711", "height": "900", "filesize": "104412", "filename": "1926.1547_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1926.1547/1926.1547_print.jpg", "width": "2685", "height": "3400", "filesize": "1303674", "filename": "1926.1547_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1926.1547/1926.1547_full.tif", "width": "5182", "height": "6561", "filesize": "102024996", "filename": "1926.1547_full.tif"}}, "alternate_images": [{"date_created": "2015-01-27T15:10:03", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1547/1926.1547_alt0_web.jpg", "width": "657", "height": "900", "filesize": "90045"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1547/1926.1547_alt0_print.jpg", "width": "2483", "height": "3400", "filesize": "971378"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1547/1926.1547_alt0_full.tif", "width": "4662", "height": "6385", "filesize": "89327952"}}, {"date_created": "2015-01-27T14:55:37", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1547/1926.1547_alt1_web.jpg", "width": "711", "height": "900", "filesize": "100164"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1547/1926.1547_alt1_print.jpg", "width": "2687", "height": "3400", "filesize": "1249470"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1547/1926.1547_alt1_full.tif", "width": "5103", "height": "6458", "filesize": "98893064"}}, {"date_created": "2015-01-27T14:34:08", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1547/1926.1547_alt2_web.jpg", "width": "751", "height": "900", "filesize": "104307"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1547/1926.1547_alt2_print.jpg", "width": "2836", "height": "3400", "filesize": "1341828"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1547/1926.1547_alt2_full.tif", "width": "5483", "height": "6573", "filesize": "108147072"}}, {"date_created": "2015-01-27T15:26:53", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1547/1926.1547_alt3_web.jpg", "width": "635", "height": "900", "filesize": "79308"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1547/1926.1547_alt3_print.jpg", "width": "2399", "height": "3400", "filesize": "871474"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1547/1926.1547_alt3_full.tif", "width": "4571", "height": "6477", "filesize": "88846112"}}, {"date_created": "2015-01-28T08:06:20", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1547/1926.1547_alt4_web.jpg", "width": "655", "height": "900", "filesize": "83617"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1547/1926.1547_alt4_print.jpg", "width": "2476", "height": "3400", "filesize": "952254"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1547/1926.1547_alt4_full.tif", "width": "4616", "height": "6339", "filesize": "87809648"}}, {"date_created": "2015-01-28T08:31:13", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1547/1926.1547_alt5_web.jpg", "width": "900", "height": "655", "filesize": "169253"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1547/1926.1547_alt5_print.jpg", "width": "3400", "height": "2475", "filesize": "1489023"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1547/1926.1547_alt5_full.tif", "width": "5967", "height": "4343", "filesize": "77772360"}}, {"date_created": "2015-01-28T13:22:08", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1547/1926.1547_alt6_web.jpg", "width": "900", "height": "857", "filesize": "223152"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1547/1926.1547_alt6_print.jpg", "width": "3400", "height": "3238", "filesize": "2299798"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1547/1926.1547_alt6_full.tif", "width": "5157", "height": "4912", "filesize": "76022832"}}], "creditline": "Hinman B. Hurlbut Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 93170, "creators": [{"id": 14713, "description": "Alexander Blazys (American, born Russian Empire [now Lithuania], 1894\u20131963)", "extent": null, "qualifier": null, "role": "sculptor", "biography": "Cleveland\u2019 s leading modernist sculptor of the 1920s, Alexander Blazys was born in Poniewiesz, Lithuania. After graduating from military school, he studied sculpture for seven years at the St. Petersburg Academy of Fine Arts. He visited Paris frequently during this period and in 1920 decided not to return to the Soviet Union because of the political restrictions placed on modernist art. Working in Paris, he received critical acclaim for sculptures exhibited in the Salon des Ind\u00e9pendants. In 1923 he immigrated to Detroit, where exhibited and received his first American commissions. The following year he moved to New York City but, upon the invitation of a friend, settled in Cleveland in 1925. Blazys\u2019 gracefully stylized sculptures of East European folk dancers and musicians in the 1926 May Show at the Cleveland Museum of Art established his reputation as \u201cthe sculptor of rhythms.\u201d He was immediately embraced by the Cleveland art community, receiving numerous commissions for portrait busts, from which he earned his primary income. He was head of the sculpture department at the Cleveland School of Art, 1926\u201338. In 1927 his large bronze figural work <em>City Fettering Nature</em> was installed on the grounds of the Cleveland Museum of Art. Around this time Blazys joined the staff of the Cowan Pottery Studio as a designer and encouraged the studio to experiment with ceramic sculpture. Cleveland\u2019s Eastman Bolton Gallery sponsored his first solo exhibition (1929), and his works subsequently appeared in group shows in Cleveland, Chicago, and Philadelphia though he remained active in the local art scene during the 1930s, his popularity waned, and in the early 1940s, after com plet ing a Works Progress Administration commission to create stone relief carvings for the Woodhill Homes housing project, he moved to New Jersey and worked for a series of ceramic firms creating molds for mass-produced figurines. Blazys returned to Cleveland in 1952. Selected References Fort, Ilene Susan. <br>\"Transformations in Cleveland Art\" (CMA, 1996), p. 223", "name_in_original_language": null, "birth_year": "1894", "death_year": "1963", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1926-06-04T00:00:00", "sortable_date": 1925, "date_added_to_oa": null, "date_text": "1925", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:37.744000"}, {"id": 109638, "accession_number": "1928.269", "share_license_status": "CC0", "tombstone": "Americana Prints: Je T'aime (No. 632), 1927. Kneeland (Ruzzie) Green (American 1892\u20131956), Stehli Silks Corporation  (United States; Pennsylvania, Lancaster; and New York, New York, 1840\u2013c. 1955). Silk crepe: plain weave, roller printed; 51.4 x 95.9 cm (20 1/4 x 37 3/4 in.). The Cleveland Museum of Art, Gift of the Stehli Silks Corporation, 1928.269", "current_location": "234 Textile Gallery", "title": "Je T'aime (No. 632)", "series": "Americana Prints", "creation_date": "1927", "creation_date_earliest": 1927, "creation_date_latest": 1927, "artists_tags": ["male", "gender unknown"], "culture": ["America, New York"], "technique": "Silk crepe: plain weave, roller printed", "support_materials": [], "department": "Textiles", "collection": "Textiles", "type": "Textile", "measurements": "51.4 x 95.9 cm (20 1/4 x 37 3/4 in.)", "dimensions": {"No Extent Specified": {"height": 0.514, "width": 0.959}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 444884, "title": "Art Deco", "description": "<i>Art Deco</i>. The Butler Institute of American Art, Youngstown, OH (organizer) (December 2, 1973-January 27, 1974).", "opening_date": "1973-12-02T05:00:00"}, {"id": 688299, "title": "American Printed Silks, 1927\u20131947", "description": "<i>American Printed Silks, 1927\u20131947</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 9, 2025-November 8, 2026).", "opening_date": "2025-11-09T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "This roller printed design in red and blue on a white ground features an abstract design of the words <em>Je T\u2019aime</em> (I Love You). Designed in 1927, it was part of the Stehli Silks Corporation\u2019s Americana Prints series.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80002110"], "internet_archive": []}, "citations": [{"citation": "Green, Kneeland L. \u201cModern Life, Ordinary Things, Design: Americana Fabrics.\u201d <em>The Studio: An illustrated magazine of fine and applied art</em>. London : Offices of the Studio, v. 97. 1929.", "page_number": "p. 102-107", "url": ""}], "url": "https://clevelandart.org/art/1928.269", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1928.269/1928.269_web.jpg", "width": "484", "height": "893", "filesize": "507897", "filename": "1928.269_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1928.269/1928.269_print.jpg", "width": "1843", "height": "3400", "filesize": "6262868", "filename": "1928.269_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1928.269/1928.269_full.tif", "width": "3312", "height": "6110", "filesize": "60751344", "filename": "1928.269_full.tif"}}, "alternate_images": [], "creditline": "Gift of the Stehli Silks Corporation", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Arlene M. and Arthur S. Holden Textile Gallery", "athena_id": 109638, "creators": [{"id": 59809, "description": "Kneeland (Ruzzie) Green (American 1892\u20131956)", "extent": null, "qualifier": null, "role": "designer", "biography": "Born in Jersey City, New Jersey, Kneeland L'Amoureux Green adopted the nickname \u201cRuzzie\u201d while attending the Art Students League in New York. After graduating in 1917, he worked as a freelance illustrator and layout specialist for commercial clients until he was employed as chief illustrator\u2014and later art director\u2014for the Stehli Silks Corporation, a leading textile design firm of the 1920s. After his time at Stehli Silks, Green was hired as art director for Harper\u2019s Bazaar, where he remained until he turned to commercial photography in 1932. From the 1930s through the 1950s, Green's commercial work appeared in Harper\u2019s Bazaar, Ladies\u2019 Home Journal, and McCall\u2019s. Despite his relative obscurity today, Green was one of the best-known and most accomplished commercial photographers of his generation; his photographs blurred the boundary between fashion photography and commercial illustration.", "name_in_original_language": null, "birth_year": "1892", "death_year": "1956", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 47400, "description": "Stehli Silks Corporation  (United States; Pennsylvania, Lancaster; and New York, New York, 1840\u2013c. 1955)", "extent": null, "qualifier": null, "role": "manufactured by", "biography": "Founded in 1837 in Obfelden, Switzerland, by the Stehli family, the original cotton mill transitioned to weaving silk in 1840. By the 1890s, half of the silk produced by Stehli was being shipped to the United States; at that point moving production closer to the customer base made economic sense. Stehli opened their first US mill in Lancaster, Pennsylvania, in 1898 and at the same time established an office in New York City, becoming one of the first American silk manufacturers. By the mid-1920s, Stehli operated five mills in three states\u2014Pennsylvania, Virginia, and North Carolina. In those two decades, Stehli\u2019s business increased fourteen fold. A significant product line was their three Americana Prints series of 1925-1927, under art director and artist Kneeland \u201cRuzzie\u201d Green. In a deliberate attempt to shift the silk industry away from traditional French design, the three series focused on imagery of contemporary American life. Fifteen well-known artists were commissioned to design 86 silk patterns.", "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1928-10-18T00:00:00", "sortable_date": 1927, "date_added_to_oa": null, "date_text": "1927", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:05:17.048000"}, {"id": 159350, "accession_number": "1996.181", "share_license_status": "Copyrighted", "tombstone": "Untitled, 1988. Fran\u00e7oise Grossen (Swiss, 1943-). Linen thread: twining and braiding; overall: 36.9 x 38.2 cm (14 1/2 x 15 1/16 in.). The Cleveland Museum of Art, Gift of Mildred Constantine, 1996.181", "current_location": "224A Contemporary Corridor", "title": "Untitled", "creation_date": "1988", "creation_date_earliest": 1988, "creation_date_latest": 1988, "artists_tags": ["female"], "culture": ["Switzerland"], "technique": "Linen thread: twining and braiding", "support_materials": [], "department": "Textiles", "collection": "T - Contemporary Fiber Art", "type": "Textile", "measurements": "Overall: 36.9 x 38.2 cm (14 1/2 x 15 1/16 in.)", "dimensions": {"overall": {"height": 0.369, "width": 0.382}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 311494, "title": "Small Works in Fiber: The Collection of Mildred Constantine", "description": "<i>Small Works in Fiber: The Collection of Mildred Constantine</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 27-March 28, 1993).", "opening_date": "1993-01-27T05:00:00"}, {"id": 615862, "title": "Contemporary Textile Rotation - October 2025", "description": "<i>Contemporary Textile Rotation - October 2025</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 10, 2025-April 28, 2026).", "opening_date": "2025-10-10T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "After spending formative time as a teacher in Gabon and the Democratic Republic of Congo where the use of handmade rope was a central part of everyday life, Grossen devoted her artistic career to working almost exclusively in rope, exploring its materiality and response to gravity. <em>Untitled</em> is a smaller version of the monumental scale that she sometimes works in, hanging floor-to-ceiling roped forms in large spaces. Grossen\u2019s knotted ropes emphasize both the delicate ply and natural strength of the twisted linen thread. Somewhat biomorphic (abstracted yet resembling shapes found in nature), the six nearly identical forms mimic the appearance of dolls or a line of dancers awaiting their cue.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79978798"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art. Small Works in Fiber: The Mildred Constantine Collection. Cleveland, Ohio: Cleveland Museum of Art, 1993.", "page_number": "p. 23", "url": null}], "url": "https://clevelandart.org/art/1996.181", "images": {}, "alternate_images": [], "creditline": "Gift of Mildred Constantine", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 159350, "creators": [{"id": 9208, "description": "Fran\u00e7oise Grossen (Swiss, 1943-)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1943", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1996-06-03T00:00:00", "sortable_date": 1988, "date_added_to_oa": null, "date_text": "1988", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "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 23:59:29.877000"}, {"id": 168768, "accession_number": "2010.464.a", "share_license_status": "Copyrighted", "tombstone": "Pendant Brooch, 1959. John Paul Miller (American, 1918\u20132013). Gold and agate; brooch: 3.5 x 4.5 x 1.3 cm (1 3/8 x 1 3/4 x 1/2 in.). The Cleveland Museum of Art, Gift from the Ruth and Sherman Lee Collection, 2010.464.a", "current_location": "228B Cleveland Artists", "title": "Pendant Brooch", "creation_date": "1959", "creation_date_earliest": 1959, "creation_date_latest": 1959, "artists_tags": ["male", "Cleveland Institute of Art (faculty)", "Cleveland School", "May Show", "Cleveland Institute of Art (alumni)", "LGBTQ+ (after 1900)"], "culture": ["America"], "technique": "gold and agate", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Jewelry", "measurements": "Brooch: 3.5 x 4.5 x 1.3 cm (1 3/8 x 1 3/4 x 1/2 in.)", "dimensions": {"brooch": {"height": 0.035, "width": 0.045, "depth": 0.013}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 197431, "title": "The Jewelry of John Paul Miller", "description": "<i>The Jewelry of John Paul Miller</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 13, 2010-January 2, 2011).", "opening_date": "2010-06-15T00:00:00"}], "legacy": [{"description": "CMA 2010: \"The Jewerly of John Paul Miller\" (6/15/2010- 1/2/2011), no catalogue", "opening_date": "2010-06-15T00:00:00"}]}, "provenance": [{"description": "Commissioned by Sherman Lee for his wife Ruth; Katherine Lee Reid", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Commissioned by former Cleveland Museum of Art director Sherman Lee (1918\u20132008) as a gift for his wife, this brooch incorporates an ancient Assyria hardstone seal that Lee brought back from his travels.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80075173"], "internet_archive": []}, "citations": [{"citation": "Miller, John Paul. John Paul Miller collection. 1850-2010, bulk 1940-2000. Cleveland Museum of Art Archives.", "page_number": null, "url": "http://library.clevelandart.org/john-paul-miller-collection"}], "url": "https://clevelandart.org/art/2010.464.a", "images": {}, "alternate_images": [], "creditline": "Gift from the Ruth and Sherman Lee Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 168768, "creators": [{"id": 56027, "description": "John Paul Miller (American, 1918\u20132013)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1918", "death_year": "2013", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2011-03-07T00:00:00", "sortable_date": 1959, "date_added_to_oa": null, "date_text": "1959", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "2010.464", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:19.878000"}, {"id": 136483, "accession_number": "1960.57", "share_license_status": "Copyrighted", "tombstone": "Smaragd Red and Germinating Yellow, 1959. Hans Hofmann (American, born Germany, 1880\u20131966). Oil on canvas; framed: 144 x 106 x 4.5 cm (56 11/16 x 41 3/4 x 1 3/4 in.); unframed: 139.7 x 101.6 cm (55 x 40 in.). The Cleveland Museum of Art, Contemporary Collection of The Cleveland Museum of Art, 1960.57. \u00a9 Estate of Hans Hofmann / Artists Rights Society (ARS), New York", "current_location": null, "title": "Smaragd Red and Germinating Yellow", "creation_date": "1959", "creation_date_earliest": 1959, "creation_date_latest": 1959, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 144 x 106 x 4.5 cm (56 11/16 x 41 3/4 x 1 3/4 in.); Unframed: 139.7 x 101.6 cm (55 x 40 in.)", "dimensions": {"framed": {"height": 1.44, "width": 1.06, "depth": 0.045}, "unframed": {"height": 1.397, "width": 1.016}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of Hans Hofmann / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "On back of canvas in black crayon: Smaragd red and germiating yellow/oil on canvas, 55 x 40, 1959, Hans Hofmann/Cat.# 954/59", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 302007, "title": "Paths of Abstract Art", "description": "<i>Paths of Abstract Art</i>. The Cleveland Museum of Art, Cleveland, OH (October 5-November 13, 1960).", "opening_date": "1960-10-05T04:00:00"}, {"id": 302015, "title": "Year in Review - Nineteen Hundred Sixty", "description": "<i>Year in Review - Nineteen Hundred Sixty</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 30, 1960-January 1, 1961).", "opening_date": "1960-11-30T05:00:00"}, {"id": 515911, "title": "Hans Hofmann", "description": "<i>Hans Hofmann</i>. Fr\u00e4nkische Galerie am Marientor, N\u00fcrnberg, Germany (organizer) (April 8, 1962-January 13, 1963).", "opening_date": "1962-04-08T05:00:00"}, {"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": 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": 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"}], "legacy": [{"description": "Nuremberg, Germany, National Museum, 1962: Exhibition of One Hundred Important Paintings by Hofmann, cat. no. 70, German Gallery am Mariantor, Nuremburg (also circulated in Belgium, Holland, Switzerland, Paris and London.)", "opening_date": "1962-01-01T00:00:00"}, {"description": "New York, NY: Hans Hofmann, Whitney Museum of American Art, June 20-September 16, 1990 (traveled also to Center for the Fine Arts, Miami, and The Chrysler Museum, Norfolk, VA but CMA painting exhibited at Whitney Museum only.)", "opening_date": "1990-06-20T00:00:00"}]}, "provenance": [{"description": "[Samuel M. Kootz Gallery, Inc., NY].", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "<em>Smaragd Red and Germinating Yellow</em> shows Hofmann's ability to suggest space, movement, formal structure, and visual tension with color. His works are filled with the depiction of opposites, juxtaposing two-dimensional surface plane with the illusion of shallow three-dimensional space. In this painting, he included only two clearly defined rectangles, a favorite motif. The most persistent is an acid yellow one surrounded by a turbulent field of heavily encrusted opaque color. These flat planes, along with the broadly brushed, built-up areas of paint, appear to move forward or recede. The resolution of this visual tension was achieved through the artist's celebrated principle of composition\u2014called \"push, pull\"\u2014in which various visual conflicts within the work were harmoniously balanced.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60465779"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art, \u201cRecent Acquisitions Press Release,\u201d April 1, 1960, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr0534"}, {"citation": "Henning, Edward. \"Exhibition Paths of Abstract Art.\" <em>The Bulletin of the Cleveland Museum of Art </em>47, no. 8 (October 1960): 199-201.", "page_number": "Mentioned: p. 201; Reproduced: back cover", "url": "https://www.jstor.org/stable/25142412"}, {"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. 202", "url": "https://archive.org/details/CMAHandbook1966/page/n226"}, {"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. 202", "url": "https://archive.org/details/CMAHandbook1969/page/n226"}, {"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. 3", "url": "https://archive.org/details/20thCenturyArtCMA/page/n3/"}, {"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. 250", "url": "https://archive.org/details/CMAHandbook1978/page/n270"}, {"citation": "Landau, Ellen G. \u201c\u2018Space and Pictorial Life\u2019 Hans Hofmann\u2019s \u2018Smaragd Red and Germinating Yellow.\u2019\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 72, no. 5 (September 1985): 310\u2013322.", "page_number": "Mentioned and reproduced: p. 310-311, fig. 1", "url": "http://www.jstor.org/stable/25159910"}, {"citation": "Henning, Edward B. <em>Creativity in Art and Science, 1860-1960.</em> [Cleveland, Ohio]: Published by the Cleveland Museum of Art in cooperation with Indiana University Press, 1987.", "page_number": "Mentioned and reproduced: P. 132, no. 41", "url": ""}], "url": "https://clevelandart.org/art/1960.57", "images": {}, "alternate_images": [], "creditline": "Contemporary Collection of The Cleveland Museum of Art", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 136483, "creators": [{"id": 3476, "description": "Hans Hofmann (American, born Germany, 1880\u20131966)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1880", "death_year": "1966", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1961-12-29T00:00:00", "sortable_date": 1959, "date_added_to_oa": null, "date_text": "1959", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Smaragd red and permiating yellow"], "is_highlight": false, "updated_at": "2026-03-27 00:10:25.698000"}, {"id": 109980, "accession_number": "1928.587", "share_license_status": "Copyrighted", "tombstone": "Americana Prints: Pegs (No. 668), c. 1927. Charles Buckles Falls (American, 1874\u20131960), Stehli Silks Corporation  (United States; Pennsylvania, Lancaster; and New York, New York, 1840\u2013c. 1955). Silk: plain weave, roller printed; overall: 48.9 x 52.1 cm (19 1/4 x 20 1/2 in.). The Cleveland Museum of Art, Gift of the Stehli Silks Corporation, 1928.587", "current_location": "234 Textile Gallery", "title": "Pegs (No. 668)", "series": "Americana Prints", "creation_date": "c. 1927", "creation_date_earliest": 1927, "creation_date_latest": 1927, "artists_tags": ["male", "gender unknown"], "culture": ["America, New York"], "technique": "Silk: plain weave, roller printed", "support_materials": [], "department": "Textiles", "collection": "Textiles", "type": "Textile", "measurements": "Overall: 48.9 x 52.1 cm (19 1/4 x 20 1/2 in.)", "dimensions": {"overall": {"height": 0.489, "width": 0.521}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 688299, "title": "American Printed Silks, 1927\u20131947", "description": "<i>American Printed Silks, 1927\u20131947</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 9, 2025-November 8, 2026).", "opening_date": "2025-11-09T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "This roller printed design from 1927 features three-dimensional gray pegs against a bright red ground. Charles Falls created this textile design to \u201csimulate the effect of still-life photography through artful perspective drawing.\u201d He also created several designs for Stehli Silks based on motifs from Maya and Incan art. Today, Falls\u2019s printed silks are in collections in the United States and United Kingdom, including at the Victoria and Albert Museum, London, and the Metropolitan Museum of Art, New York, as well as at Cleveland.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80002270"], "internet_archive": []}, "citations": [{"citation": "Mendes, Valerie D.<em> Novelty Fabrics</em>. New York: H.N. Abrams, 1988.", "page_number": "plate 8", "url": ""}, {"citation": "Samuels, Charlotte. <em>Art Deco Textiles</em>. London, New York: V &amp; A ; Distributed by Harry N. Abrams, 2003.", "page_number": "plate. 66, p. 11, 19, 87", "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. 370", "url": ""}, {"citation": "Hanson, Robin and Scaturro, Sarah. \u201cPrinted American Dress Silks: Wearing a Nation.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 65, no. 3 (2025): 12-13.", "page_number": "Reproduced and mentioned: p. 12-13", "url": "https://archive.org/details/CMAMM-2025-03"}], "url": "https://clevelandart.org/art/1928.587", "images": {}, "alternate_images": [], "creditline": "Gift of the Stehli Silks Corporation", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Arlene M. and Arthur S. Holden Textile Gallery", "athena_id": 109980, "creators": [{"id": 56737, "description": "Charles Buckles Falls (American, 1874\u20131960)", "extent": null, "qualifier": null, "role": "designed by", "biography": "Charles Buckles Falls was a printmaker, illustrator, author, painter, and textile designer. In his early twenties, he moved from Fort Wayne to Chicago and worked as an architect\u2019s draftsman, a sketch artist for the <em>Chicago Tribune</em>, with an advertising firm, and as a free-lance magazine and book illustrator. At the turn of the century, Falls moved to New York City. During World War I, Falls created posters for the Committee on Public Information\u2019s Division of Pictorial Publicity. His most famous poster, <em>Books Wanted</em> (1917), was part of a campaign to get one million books donated to troops. It featured a U. S. Marine carrying a towering stack of books with the caption, \u201cBooks wanted for our men in camp and \u2018over there\u2019. Take your gifts to the public library.\u201d After the birth of his daughter, Falls focused on children\u2019s book illustration. In 1923, he wrote and illustrated <em>The ABC Book</em>, which taught children the alphabet using woodcut prints with each letter a different animal. In 1925, Falls began designing textiles for the Stehli Silks Corporation. Their Americana Prints series included designs by 15 American artists and depicted contemporary American culture.", "name_in_original_language": null, "birth_year": "1874", "death_year": "1960", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 47400, "description": "Stehli Silks Corporation  (United States; Pennsylvania, Lancaster; and New York, New York, 1840\u2013c. 1955)", "extent": null, "qualifier": null, "role": "manufacturer", "biography": "Founded in 1837 in Obfelden, Switzerland, by the Stehli family, the original cotton mill transitioned to weaving silk in 1840. By the 1890s, half of the silk produced by Stehli was being shipped to the United States; at that point moving production closer to the customer base made economic sense. Stehli opened their first US mill in Lancaster, Pennsylvania, in 1898 and at the same time established an office in New York City, becoming one of the first American silk manufacturers. By the mid-1920s, Stehli operated five mills in three states\u2014Pennsylvania, Virginia, and North Carolina. In those two decades, Stehli\u2019s business increased fourteen fold. A significant product line was their three Americana Prints series of 1925-1927, under art director and artist Kneeland \u201cRuzzie\u201d Green. In a deliberate attempt to shift the silk industry away from traditional French design, the three series focused on imagery of contemporary American life. Fifteen well-known artists were commissioned to design 86 silk patterns.", "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1928-10-18T00:00:00", "sortable_date": 1927, "date_added_to_oa": null, "date_text": "c. 1927", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:32.425000"}, {"id": 144369, "accession_number": "1969.16", "share_license_status": "Copyrighted", "tombstone": "Fragmented Figure Construction, 1963. Richard Hunt (American, 1935\u20132023). Welded steel; base: 35.6 x 66 x 66 cm (14 x 26 x 26 in.); unframed: 143.5 cm (56 1/2 in.). The Cleveland Museum of Art, Gift of Arnold H. Maremont, 1969.16. \u00a9 Richard Hunt", "current_location": null, "title": "Fragmented Figure Construction", "creation_date": "1963", "creation_date_earliest": 1963, "creation_date_latest": 1963, "artists_tags": ["Black American Artists", "male"], "culture": ["America"], "technique": "welded steel", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Sculpture", "type": "Sculpture", "measurements": "Base: 35.6 x 66 x 66 cm (14 x 26 x 26 in.); Unframed: 143.5 cm (56 1/2 in.)", "dimensions": {"base": {"height": 0.356, "width": 0.66, "depth": 0.66}, "unframed": {"height": 1.435}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Richard Hunt", "inscriptions": [], "exhibitions": {"current": [{"id": 301294, "title": "Works from the Contemporary Collection", "description": "<i>Works from the Contemporary Collection</i>. The Cleveland Museum of Art, Cleveland, OH (July 1-October 15, 1969).", "opening_date": "1969-07-01T04:00:00"}, {"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": 445303, "title": "Richard Hunt", "description": "<i>Richard Hunt</i>. The Museum of Modern Art, New York, NY (organizer) (March 23-June 7, 1971).", "opening_date": "1971-03-23T05:00:00"}, {"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": 302349, "title": "Materials and Techniques of 20th-Century Artists", "description": "<i>Materials and Techniques of 20th-Century Artists</i>. The Cleveland Museum of Art, Cleveland, OH (November 17, 1976-January 2, 1977).", "opening_date": "1976-11-17T05:00:00"}], "legacy": [{"description": "CMA:  Works from the Contemporary Collection, July 1-mid-October, 1969", "opening_date": "1969-10-01T00:00:00"}, {"description": "\"Year in Review for 1969,\" CMA (Jan. 28 - Feb. 22, 1970).", "opening_date": "1970-01-28T00:00:00"}, {"description": "\"Richard Hunt,\" Museum of Modern Art, New York (Mar. 23 - June 7, 1971) and the Art Institute of Chicago (Aug. 21 - Oct. 4, 1971).", "opening_date": "1971-03-23T00:00:00"}, {"description": "\"Traditions and Revisions: Themes from the History of Sculpture,\" CMA (1975).", "opening_date": "1975-01-01T00:00:00"}, {"description": "\"The Appropriate Object,\" Albright-Knox Art Gallery, Buffalo, New York (Mar. 4 - April 23, 1989).  Also to Detroit Institute of Arts (May 15 - July 15, 1989) and J. B. Speed Art Museum, Louisville, KY (Nov. 13, 1989 - Jan. 7, 1990).", "opening_date": "1989-03-04T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Chicago sculptor Richard Hunt embarked on his artistic career in 1955 when he taught himself to become a master welder. During the 1960s, his abstract work often referred to human, plant, and animal shapes. This sculpture balances on two splayed legs, appearing to strain and bulge with energy. Light and shadow define the curving ridges and hollows of its form, in which remnants of industrial waste are folded and fused together beyond recognition. Color and texture continually change as the eye scans the surface-from deep brown tones to flashes of coppery iridescence, and from scuffs and abrasions to polished sheens. Hunt relied on a vigorous technique to convey the presence of life and \"the kind of forms nature might create if only heat and steel were available to her.\"", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79921472"], "internet_archive": []}, "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. 200", "url": "https://archive.org/details/CMAHandbook1969/page/n224"}, {"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. 4", "url": "https://archive.org/details/20thCenturyArtCMA/page/n5"}, {"citation": "Kupka, Frank, Paul Klee, Larry Poons, Richard Hunt, and Edward B. Henning. \u201cA Group of Twentieth-Century Works of Art Recently Acquired.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 57, no. 4 (May 1970): 107\u2013126.", "page_number": "Mentioned and reproduced: p. 123-126, figs. 20-22", "url": "http://www.jstor.org/stable/25152324"}, {"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. 254", "url": "https://archive.org/details/CMAHandbook1978/page/n274"}], "url": "https://clevelandart.org/art/1969.16", "images": {}, "alternate_images": [], "creditline": "Gift of Arnold H. Maremont", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 144369, "creators": [{"id": 3883, "description": "Richard Hunt (American, 1935\u20132023)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1935", "death_year": "2023", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1969-05-10T00:00:00", "sortable_date": 1963, "date_added_to_oa": null, "date_text": "1963", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:09.684000"}, {"id": 704871, "accession_number": "2025.195", "share_license_status": "Copyrighted", "tombstone": "Untitled, 1948. Francis Picabia (French, 1879\u20131953). Oil on cardboard; 60 x 48.5 cm (23 5/8 x 19 1/8 in.). The Cleveland Museum of Art, Gift of the Alex Katz Foundation, 2025.195", "current_location": null, "title": "Untitled", "creation_date": "1948", "creation_date_earliest": 1948, "creation_date_latest": 1948, "artists_tags": ["male", "Latine and Hispanic Artists"], "culture": ["France"], "technique": "oil on cardboard", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "60 x 48.5 cm (23 5/8 x 19 1/8 in.)", "dimensions": {"No Extent Specified": {"height": 0.6, "width": 0.485}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Hans Arp and Marguerite Arp-Hagenbach", "citations": [], "footnotes": null, "date": "? before 1964\u2013? after 1965", "sortorder": 1}, {"description": "Succi Collection", "citations": [], "footnotes": null, "date": "? by1983\u2013? before 2003", "sortorder": 2}, {"description": "Private Collection", "citations": [], "footnotes": null, "date": "? by 1997\u2013? before 2003", "sortorder": 3}, {"description": "Galerie Neuendorf AG", "citations": [], "footnotes": null, "date": "? after 1997\u2013? before 2003", "sortorder": 4}, {"description": "Hauser & Wirth", "citations": [], "footnotes": null, "date": "2003", "sortorder": 5}, {"description": "Private Collection", "citations": [], "footnotes": null, "date": "2003\u2013before 2008", "sortorder": 6}, {"description": "Hauser & Wirth", "citations": [], "footnotes": null, "date": "possibly before 2008\u2013possibly after 2012", "sortorder": 7}, {"description": "Alex Katz Foundation", "citations": [], "footnotes": null, "date": "2015\u20132025", "sortorder": 8}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2025\u2013", "sortorder": 9}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Throughout his career, Picabia changed styles so many times that he was described by contemporary critics as \"shape-shifting\" and \"kaleidoscopic.\"", "description": "Over a career that spanned more than 50 years, Francis Picabia became known for inventing and then abandoning one style after another, transitioning repeatedly from figuration to abstraction. His late paintings, made from the end of the Second World War until his death in 1953, were abstract and characterized by simplified elements, pared-down compositions in dark, brooding hues as seen in <em>Untitled</em>.", "external_resources": {"wikidata": [], "internet_archive": []}, "citations": [{"citation": "Sanouillet, Michel.<em> Picabia. </em>[Paris]: [\u00c9ditions du Temps], 1964.", "page_number": "Reproduced: p. 141", "url": ""}, {"citation": "Schuldt, St\u00e4dtische Kunsthalle D\u00fcsseldorf, Kunsthaus Z\u00fcrich, and Moderna Museet (Stockholm, Sweden). <em>Francis Picabia.</em> K\u00f6ln: DuMont, 1983.", "page_number": "Reproduced: p. 145, no. 157; Mentioned: p. 184, no. 157", "url": ""}, {"citation": "Borr\u00e0s, Maria Llu\u00efsa. <em>Picabia</em>. New York: Rizzoli, 1985.", "page_number": "Reproduced: p. 490, no. 1106; Mentioned: p. 535, no. 894", "url": ""}, {"citation": "Scottish National Gallery of Modern Art. <em>Picabia, 1879-1953.</em> Edinburgh: Scottish National Gallery of Modern Art, 1988.", "page_number": "Reproduced: p. 129; Mentioned: p. 149, no. 77", "url": ""}, {"citation": "Felix, Zdenek, ed. <em>Francis Picabia: The Late Works 1933-1953. </em>Ostfildern-Ruit, New York: Hatje; D.A.P. (distributor), 1998.", "page_number": "Reproduced: p. 114", "url": ""}, {"citation": "Calt\u00e9, Beverley, Galerie Michel Vidal, and Tibor de Nagy Gallery.<em> Picabia: Funny Guy. </em>Paris: Galerie Michel Vidal, 2009.", "page_number": "Reproduced: unpaginated", "url": ""}, {"citation": "Darragon, Eric, and Michael Werner (Gallery). <em>Francis Picabia: Late Paintings.</em> New York: Michael Werner, 2011.", "page_number": "Reproduced: cat. no. 23", "url": ""}, {"citation": "Wipplinger, Hans-Peter, and Felix Zdenek. <em>Francis Picabia: Kunsthalle Krems. </em>1. Aufl. K\u00f6ln: K\u00f6nig, 2012.", "page_number": "Reproduced: p. 158; Mentioned: p. 181", "url": ""}, {"citation": "Camfield, William A., Beverley Calt\u00e9, Candace Clements, and Arnauld Pierre. <em>Francis Picabia Catalogue Raisonn\u00e9.</em> Translated by Imogen Forster. Brussels: Mercatorfonds, 2014.", "page_number": "Mentioned and reproduced: p. 392, no. 2018, Vol. IV", "url": ""}, {"citation": "Rower, A. S. C., Arnauld Pierre, and George Baker. <em>Alexander Calder, Francis Picabia: Transparence.</em> Ostfildern, [Zurich, Switzerland]: Hatje Cantz Verlag; Galerie Hauser &amp; Wirth, 2015.", "page_number": "Reproduced: p. 75", "url": ""}], "url": "https://clevelandart.org/art/2025.195", "images": {}, "alternate_images": [], "creditline": "Gift of the Alex Katz Foundation", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 704871, "creators": [{"id": 29406, "description": "Francis Picabia (French, 1879\u20131953)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1879", "death_year": "1953", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2025-12-08T05:00:00Z", "sortable_date": 1948, "date_added_to_oa": null, "date_text": "1948", "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 00:05:32.984000"}, {"id": 93171, "accession_number": "1926.1548", "share_license_status": "CC0", "tombstone": "Balalaika Player, 1925. Alexander Blazys (American, born Russian Empire [now Lithuania], 1894\u20131963). Bronze; overall: 31.2 x 19.8 x 9.3 cm (12 5/16 x 7 13/16 x 3 11/16 in.). The Cleveland Museum of Art, Hinman B. Hurlbut Collection, 1926.1548", "current_location": null, "title": "Balalaika Player", "creation_date": "1925", "creation_date_earliest": 1925, "creation_date_latest": 1925, "artists_tags": ["May Show", "male", "Cleveland Institute of Art (faculty)"], "culture": ["America, Ohio, Cleveland"], "technique": "bronze", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Sculpture", "type": "Sculpture", "measurements": "Overall: 31.2 x 19.8 x 9.3 cm (12 5/16 x 7 13/16 x 3 11/16 in.)", "dimensions": {"overall": {"height": 0.312, "width": 0.198, "depth": 0.093}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 381558, "title": "The May Show: 8th Annual Exhibition of Works by Cleveland Artists and Craftsmen", "description": "<i>The May Show: 8th Annual Exhibition of Works by Cleveland Artists and Craftsmen</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 4-June 7, 1926).", "opening_date": "1926-05-04T04:00:00"}, {"id": 312185, "title": "Retrospective Twenty-fifth Anniversary May Show", "description": "<i>Retrospective Twenty-fifth Anniversary May Show</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 13-February 14, 1943).", "opening_date": "1943-01-13T05:00:00"}, {"id": 445409, "title": "Art Deco", "description": "<i>Art Deco</i>. Western Reserve Historical Society, Cleveland, OH (organizer) (June 6-August 1, 1971).", "opening_date": "1971-06-06T04:00:00"}, {"id": 444884, "title": "Art Deco", "description": "<i>Art Deco</i>. The Butler Institute of American Art, Youngstown, OH (organizer) (December 2, 1973-January 27, 1974).", "opening_date": "1973-12-02T05:00:00"}, {"id": 309579, "title": "The Cleveland Institute of Art: 100 Years", "description": "<i>The Cleveland Institute of Art: 100 Years</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 22, 1982-January 30, 1983).", "opening_date": "1982-12-22T05:00:00"}, {"id": 310252, "title": "Cleveland Art Comes of Age: 1919-1940", "description": "<i>Cleveland Art Comes of Age: 1919-1940</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 28-September 10, 1989).", "opening_date": "1989-06-28T04:00:00"}, {"id": 411184, "title": "The Human Figure in American Sculpture: A Question of Modernity", "description": "<i>The Human Figure in American Sculpture: A Question of Modernity</i>. Los Angeles County Museum of Art (organizer) (February 23-May 14, 1995); Montgomery Museum of Fine Arts (June 22-September 10, 1995); Wichita Art Museum (October 19, 1995-January 7, 1996); National Academy of Design Museum and School of Fine Arts (February 15-May 5, 1996).", "opening_date": "1995-02-23T05:00:00"}, {"id": 311873, "title": "Transformations in Cleveland Art, 1796-1946", "description": "<i>Transformations in Cleveland Art, 1796-1946</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 19-July 21, 1996).", "opening_date": "1996-05-19T04:00:00"}, {"id": 177916, "title": "Burchfield to Schreckengost: Cleveland Art of the Jazz Age", "description": "<i>Burchfield to Schreckengost: Cleveland Art of the Jazz Age</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 28-July 18, 2004).", "opening_date": "2004-03-28T00:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [{"id": 93170, "description": "Russian Dancer, 1925. Alexander Blazys (American, born Russian Empire [now Lithuania], 1894\u20131963). Bronze; overall: 26.1 x 29.2 x 12.8 cm (10 1/4 x 11 1/2 x 5 1/16 in.). The Cleveland Museum of Art, Hinman B. Hurlbut Collection, 1926.1547", "relationship": null}], "former_accession_numbers": ["944.1926a", "1548.1926"], "did_you_know": null, "description": "A Lithuanian immigrant, Blazys introduced modernist sculpture to Cleveland upon his arrival in 1925. These figures merge rhythmic movement inspired by music with faceted, geometric planes derived from Cubism.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q106569012"], "internet_archive": ["https://archive.org/details/clevelandart-1926.1548-balalaika-player"]}, "citations": [{"citation": "Alexander Blazys Entry Card to 1926 May Show. Cleveland Museum of Art May Show Records, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/CMAMS01065/"}, {"citation": "Hoffman, Jay, Dee Driscole, and Mary Clare Zahler.<em> A Study in Regional Taste: The May Show, 1919-1975</em>. [Cleveland]: Cleveland Museum of Art, 1977.", "page_number": "Reproduced: P. 47, no. 29; Mentioned: P. 78, no. 29", "url": ""}, {"citation": "Robinson, William H., et. al. <em>Transformations in Cleveland Art, 1796-1946: Community and Diversity in Early Modern America</em>. Cleveland, Ohio: Cleveland Museum of Art, 1996.", "page_number": "Reproduced: p. 98, fig. 104; Mentioned: p. 244", "url": null}, {"citation": "Clark, Edna Maria. <em>Ohio Art and Artists</em>. Richmond, VA: Garrett and Massie, 1975.", "page_number": "Mentioned: p. 414", "url": null}, {"citation": "Bassett, Mark T., R. Guy Cowan, and Victoria Naumann. <em>Cowan Pottery and the Cleveland School</em>. Atglen, PA: Schiffer Publishing, Ltd., 1997.", "page_number": "Reproduced: p. 113, pl. 312", "url": null}], "url": "https://clevelandart.org/art/1926.1548", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1926.1548/1926.1548_web.jpg", "width": "900", "height": "727", "filesize": "99980", "filename": "1926.1548_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1926.1548/1926.1548_print.jpg", "width": "3400", "height": "2746", "filesize": "1181912", "filename": "1926.1548_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1926.1548/1926.1548_full.tif", "width": "7305", "height": "5900", "filesize": "129326364", "filename": "1926.1548_full.tif"}}, "alternate_images": [{"date_created": "2015-01-28T09:31:55", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1548/1926.1548_alt0_web.jpg", "width": "900", "height": "823", "filesize": "109326"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1548/1926.1548_alt0_print.jpg", "width": "3400", "height": "3108", "filesize": "1351303"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1548/1926.1548_alt0_full.tif", "width": "6333", "height": "5790", "filesize": "110032200"}}, {"date_created": "2015-01-28T09:44:57", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1548/1926.1548_alt1_web.jpg", "width": "900", "height": "744", "filesize": "98057"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1548/1926.1548_alt1_print.jpg", "width": "3400", "height": "2811", "filesize": "1163007"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1548/1926.1548_alt1_full.tif", "width": "7077", "height": "5851", "filesize": "124250328"}}, {"date_created": "2015-01-28T10:08:24", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1548/1926.1548_alt2_web.jpg", "width": "783", "height": "900", "filesize": "98659"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1548/1926.1548_alt2_print.jpg", "width": "2958", "height": "3400", "filesize": "1136062"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1548/1926.1548_alt2_full.tif", "width": "4850", "height": "5575", "filesize": "81143856"}}, {"date_created": "2015-01-28T10:56:25", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1548/1926.1548_alt3_web.jpg", "width": "775", "height": "900", "filesize": "99625"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1548/1926.1548_alt3_print.jpg", "width": "2929", "height": "3400", "filesize": "1174092"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1548/1926.1548_alt3_full.tif", "width": "4983", "height": "5784", "filesize": "86492940"}}, {"date_created": "2015-01-28T11:18:02", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1548/1926.1548_alt4_web.jpg", "width": "900", "height": "794", "filesize": "112553"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1548/1926.1548_alt4_print.jpg", "width": "3400", "height": "3001", "filesize": "1377729"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1548/1926.1548_alt4_full.tif", "width": "6661", "height": "5879", "filesize": "117508128"}}, {"date_created": "2015-01-28T13:08:25", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1548/1926.1548_alt5_web.jpg", "width": "900", "height": "670", "filesize": "190196"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1548/1926.1548_alt5_print.jpg", "width": "3400", "height": "2532", "filesize": "1913381"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1548/1926.1548_alt5_full.tif", "width": "5483", "height": "4084", "filesize": "67206800"}}, {"date_created": "2015-01-28T13:14:33", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1548/1926.1548_alt6_web.jpg", "width": "900", "height": "669", "filesize": "226007"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1548/1926.1548_alt6_print.jpg", "width": "3400", "height": "2529", "filesize": "2334502"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.1548/1926.1548_alt6_full.tif", "width": "4452", "height": "3312", "filesize": "44263908"}}], "creditline": "Hinman B. Hurlbut Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 93171, "creators": [{"id": 14713, "description": "Alexander Blazys (American, born Russian Empire [now Lithuania], 1894\u20131963)", "extent": null, "qualifier": null, "role": "sculptor", "biography": "Cleveland\u2019 s leading modernist sculptor of the 1920s, Alexander Blazys was born in Poniewiesz, Lithuania. After graduating from military school, he studied sculpture for seven years at the St. Petersburg Academy of Fine Arts. He visited Paris frequently during this period and in 1920 decided not to return to the Soviet Union because of the political restrictions placed on modernist art. Working in Paris, he received critical acclaim for sculptures exhibited in the Salon des Ind\u00e9pendants. In 1923 he immigrated to Detroit, where exhibited and received his first American commissions. The following year he moved to New York City but, upon the invitation of a friend, settled in Cleveland in 1925. Blazys\u2019 gracefully stylized sculptures of East European folk dancers and musicians in the 1926 May Show at the Cleveland Museum of Art established his reputation as \u201cthe sculptor of rhythms.\u201d He was immediately embraced by the Cleveland art community, receiving numerous commissions for portrait busts, from which he earned his primary income. He was head of the sculpture department at the Cleveland School of Art, 1926\u201338. In 1927 his large bronze figural work <em>City Fettering Nature</em> was installed on the grounds of the Cleveland Museum of Art. Around this time Blazys joined the staff of the Cowan Pottery Studio as a designer and encouraged the studio to experiment with ceramic sculpture. Cleveland\u2019s Eastman Bolton Gallery sponsored his first solo exhibition (1929), and his works subsequently appeared in group shows in Cleveland, Chicago, and Philadelphia though he remained active in the local art scene during the 1930s, his popularity waned, and in the early 1940s, after com plet ing a Works Progress Administration commission to create stone relief carvings for the Woodhill Homes housing project, he moved to New Jersey and worked for a series of ceramic firms creating molds for mass-produced figurines. Blazys returned to Cleveland in 1952. Selected References Fort, Ilene Susan. <br>\"Transformations in Cleveland Art\" (CMA, 1996), p. 223", "name_in_original_language": null, "birth_year": "1894", "death_year": "1963", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1926-06-04T00:00:00", "sortable_date": 1925, "date_added_to_oa": null, "date_text": "1925", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:02:03.061000"}, {"id": 120745, "accession_number": "1941.479", "share_license_status": "Copyrighted", "tombstone": "The Ferry Boat, 1930. Mabel Dwight (American, 1876\u20131955). Lithograph; platemark: 23.2 x 25.8 cm (9 1/8 x 10 3/16 in.); sheet: 28.6 x 40.5 cm (11 1/4 x 15 15/16 in.). The Cleveland Museum of Art, Mr. and Mrs. Lewis B. Williams Collection, 1941.479", "current_location": null, "title": "The Ferry Boat", "creation_date": "1930", "creation_date_earliest": 1930, "creation_date_latest": 1930, "artists_tags": ["female"], "culture": ["America"], "technique": "lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Platemark: 23.2 x 25.8 cm (9 1/8 x 10 3/16 in.); Sheet: 28.6 x 40.5 cm (11 1/4 x 15 15/16 in.)", "dimensions": {"platemark": {"height": 0.232, "width": 0.258}, "sheet": {"height": 0.286, "width": 0.405}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "In graphite, lower right, recto: \"Mabel Dwight 1930\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 381923, "title": "Ashcan School Prints and the American City, 1900\u20131940", "description": "<i>Ashcan School Prints and the American City, 1900\u20131940</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 18-December 26, 2021).", "opening_date": "2021-07-17T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In the 1920s, over 25 ferry routes connected New York City\u2019s five boroughs; these routes declined with the construction of bridges and tunnels.", "description": "In the early 1900s, ferry boats connected Staten Island to Manhattan and Brooklyn. Mabel Dwight often took the ferry to Staten Island and back, sketchbook in hand, to capture the unexpected interactions provided by public transportation. In this scene, two matrons, perhaps traveling to Manhattan for a day of shopping or errands, sit beside a nun, who finds a moment of quiet solace in a prayer book. A frequent character in prints of the era, nuns signaled Old World European values, often in contrast to the increasingly secular and commercial culture of the American city.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80016294"], "internet_archive": []}, "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. 32", "url": "https://archive.org/details/Lithography/page/n39"}, {"citation": "\"Exhibitions Through February 2022.\" C<em>leveland Art: Cleveland Museum of Art Members Magazine </em>61, no. 4 (Fall 2021): 16.", "page_number": "Reproduced: P. 16", "url": ""}, {"citation": "\"Ashcan School Prints and the American City, 1900-1940.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>61, no. 1 (Winter 2021): 46.", "page_number": "Reproduced and Mentioned: P. 46.", "url": ""}], "catalogue_raisonne": "Robinson and Pirog 50", "url": "https://clevelandart.org/art/1941.479", "images": {}, "alternate_images": [], "creditline": "Mr. and Mrs. Lewis B. Williams Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 120745, "creators": [{"id": 23656, "description": "Mabel Dwight (American, 1876\u20131955)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1876", "death_year": "1955", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1941-12-05T00:00:00", "sortable_date": 1930, "date_added_to_oa": null, "date_text": "1930", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:03:10.995000"}, {"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. Bloomington: Indiana University Press, 1992.", "page_number": null, "url": null}], "url": "https://clevelandart.org/art/1976.187", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1976.187/1976.187_web.jpg", "width": "543", "height": "893", "filesize": "312352", "filename": "1976.187_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1976.187/1976.187_print.jpg", "width": "2051", "height": "3400", "filesize": "1782594", "filename": "1976.187_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1976.187/1976.187_full.tif", "width": "3574", "height": "5924", "filesize": "63566208", "filename": "1976.187_full.tif"}}, "alternate_images": [{"date_created": "2009-11-02T13:27:41", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1976.187/1976.187_alt0_web.jpg", "width": "562", "height": "893", "filesize": "267141"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1976.187/1976.187_alt0_print.jpg", "width": "2139", "height": "3400", "filesize": "3762742"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1976.187/1976.187_alt0_full.tif", "width": "3762", "height": "5981", "filesize": "67541524"}}, {"date_created": "2009-11-02T13:28:21", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1976.187/1976.187_alt1_web.jpg", "width": "507", "height": "893", "filesize": "248608"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1976.187/1976.187_alt1_print.jpg", "width": "1930", "height": "3400", "filesize": "3474101"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1976.187/1976.187_alt1_full.tif", "width": "3476", "height": "6122", "filesize": "63881052"}}, {"date_created": "2009-11-02T13:35:16", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1976.187/1976.187_alt2_web.jpg", "width": "569", "height": "893", "filesize": "307728"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1976.187/1976.187_alt2_print.jpg", "width": "2165", "height": "3400", "filesize": "4252472"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1976.187/1976.187_alt2_full.tif", "width": "3756", "height": "5898", "filesize": "66499700"}}, {"date_created": "2009-11-02T13:36:03", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1976.187/1976.187_alt3_web.jpg", "width": "668", "height": "893", "filesize": "573810"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1976.187/1976.187_alt3_print.jpg", "width": "2545", "height": "3400", "filesize": "7768063"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1976.187/1976.187_alt3_full.tif", "width": "4992", "height": "6668", "filesize": "99897272"}}], "creditline": "Gift of Katherine C. White", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 148746, "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 00:09:12.385000"}, {"id": 162995, "accession_number": "2003.42", "share_license_status": "Copyrighted", "tombstone": "Chrysanthemums, c. 1925. Maison Henry Bertrand (French). Silk, artificial gold thread; twill-based jacquard weave; overall: 310.1 x 108 cm (122 1/16 x 42 1/2 in.). The Cleveland Museum of Art, John L. Severance Fund, 2003.42", "current_location": null, "title": "Chrysanthemums", "creation_date": "c. 1925", "creation_date_earliest": 1925, "creation_date_latest": 1925, "artists_tags": ["gender unknown"], "culture": ["France"], "technique": "silk, artificial gold thread; twill-based jacquard weave", "support_materials": [], "department": "Textiles", "collection": "Textiles", "type": "Textile", "measurements": "Overall: 310.1 x 108 cm (122 1/16 x 42 1/2 in.)", "dimensions": {"overall": {"height": 3.101, "width": 1.08}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "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>. Cooper Hewitt, Smithsonian Design Museum, New York, NY (April 7-August 20, 2017); The Cleveland Museum of Art, Cleveland, OH (organizer) (September 30, 2017-January 14, 2018).", "opening_date": "2017-04-07T00:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Elaborately constructed textiles, such as this example from Maison Bertrand of Lyon, were most often used in creating high couture fashion.", "description": "Among the many sumptuous textiles presented at the 1925 Paris exposition was this silk brocade by Maison Henry Bertrand of Lyon, probably intended for use in a coat or shawl design.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79988337"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art. <em>The CMA Companion: A Guide to the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2014.", "page_number": "Mentioned and reproduced: P. 369", "url": ""}, {"citation": "Coffin, Sarah, Stephen Harrison, and Emily Marshall Orr. The jazz age: American style in the 1920s. 2017.", "page_number": "p. 43, 45, 328", "url": null}, {"citation": "Harrison, Stephen. \u201cThe Jazz Age: The 1920s brought a new rhythm to American style.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 57, no. 5 (September/October 2017): Cover, 5-7.", "page_number": "Reproduced: Cover; Mentioned: P. 7", "url": "https://archive.org/details/CMAMM2017-05/mode/2up"}], "url": "https://clevelandart.org/art/2003.42", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 162995, "creators": [{"id": 43921, "description": "Maison Henry Bertrand (French)", "extent": null, "qualifier": null, "role": "manufacturer", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2003-06-02T00:00:00", "sortable_date": 1925, "date_added_to_oa": null, "date_text": "c. 1925", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:24.785000"}, {"id": 172601, "accession_number": "2015.83", "share_license_status": "Copyrighted", "tombstone": "My Home Town, 1998. Michelangelo Lovelace (American, 1960\u20132021). Acrylic on canvas; unframed: 139.7 x 243.8 cm (55 x 96 in.). The Cleveland Museum of Art, Gift of the Artist, Michelangelo Lovelace, Sr., 2015.83", "current_location": null, "title": "My Home Town", "creation_date": "1998", "creation_date_earliest": 1998, "creation_date_latest": 1998, "artists_tags": ["Black American Artists", "male"], "culture": ["America, Ohio, Cleveland"], "technique": "Acrylic on canvas", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "measurements": "Unframed: 139.7 x 243.8 cm (55 x 96 in.)", "dimensions": {"unframed": {"height": 1.397, "width": 2.438}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 668192, "title": "Michelangelo Lovelace: Art Saved My Life", "description": "<i>Michelangelo Lovelace: Art Saved My Life</i>. Akron Art Museum, Akron, OH (organizer) (May 4-August 18, 2024) https://akronartmuseum.org/media/exhibition/michelangelo-lovelace-art-saved-my-life/.", "opening_date": "2024-05-04T04:00:00"}], "legacy": []}, "provenance": [{"description": "Collection of the artist, Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "2015", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2015-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In Lovelace's painting, the city's east-west orientation is reversed on the upper half of the painting versus its lower half.", "description": "Lovelace dedicated most of his career to depicting Cleveland\u2019s urban landscape; many of the city\u2019s iconic destinations are visible in the background of <em>My Home Town.</em> His paintings can be read as vibrant and candid commentaries on the city\u2019s sociopolitical and cultural heritage. This work\u2019s panoramic scene combines different local neighborhoods, represented as storefronts. Lovelace said, \u201cI painted the way I remember Cleveland being\u2014white on the west, black on the east, and with downtown where people came together in the middle.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60482459"], "internet_archive": []}, "citations": [{"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. 77", "url": ""}, {"citation": "Rutland, Beau. \u201cAcquisitions 2015: Contemporary Art.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 56, no. 2 (March/April 2016): 26-27.", "page_number": "Reproduced and Mentioned: p. 27", "url": "https://archive.org/details/CMAMM2016-02"}, {"citation": "Kraynak, Scott, Henry Adams, Douglas Max Utter, William G. Scheele, R. A. Washington, and Mike Hudson. <em>The Heart of Cleveland.</em> Shaker Hts, OH: Red Giant Books, 2018.", "page_number": "Reproduced: P. 109, fig. 88", "url": null}], "url": "https://clevelandart.org/art/2015.83", "images": {}, "alternate_images": [], "creditline": "Gift of the Artist, Michelangelo Lovelace, Sr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 172601, "creators": [{"id": 66729, "description": "Michelangelo Lovelace (American, 1960\u20132021)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1960", "death_year": "2021", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2015-09-08T00:00:00", "sortable_date": 1998, "date_added_to_oa": null, "date_text": "1998", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:24.484000"}, {"id": 289550, "accession_number": "2016.59", "share_license_status": "Copyrighted", "tombstone": "Fervor, 2000. Shirin Neshat (American, born in Iran 1957). Gelatin silver print; unframed: 167.6 x 117.2 cm (66 x 46 1/8 in.); framed: 176.8 x 127.2 cm (69 5/8 x 50 1/16 in.). The Cleveland Museum of Art, Purchased with funds donated by William and Margaret Lipscomb in celebration of the museum\u2019s centennial, 2016.59", "current_location": null, "title": "Fervor", "creation_date": "2000", "creation_date_earliest": 2000, "creation_date_latest": 2000, "artists_tags": ["female"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - Misc. 20th Century", "type": "Photograph", "measurements": "Unframed: 167.6 x 117.2 cm (66 x 46 1/8 in.); Framed: 176.8 x 127.2 cm (69 5/8 x 50 1/16 in.)", "dimensions": {"unframed": {"height": 1.676, "width": 1.172}, "framed": {"height": 1.768, "width": 1.272, "length": 0.051}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 294015, "title": "Arts of Iran (Islamic art rotation)", "description": "<i>Arts of Iran (Islamic art rotation)</i>. 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During Friday prayers, a vital communal practice in Islam, men and women are required to sit separately, divided by a cloth wall. One woman turns her head to challenge that separation.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780782"], "internet_archive": []}, "citations": [{"citation": "Babaie, Sussan, Rebecca R. Hart, Nancy Princenthal, and Shirin Neshat. Shirin Neshat. Detroit: Detroit Institute of Arts, 2013.", "page_number": null, "url": null}, {"citation": "Neshat, Shirin, and Giorgio Verzotti. Shirin Neshat: Castello di Rivoli, museo d'arte contemporanea. Milano: Charta, 2002.", "page_number": null, "url": null}, {"citation": "Tannenbaum, Barbara. \u201cAcquisition Highlights 2016: Photography.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 57, no. 2 (March/April 2017): 27-28.", "page_number": "Reproduced and Mentioned: P. 27", "url": "https://archive.org/details/CMAMM2017-02/page/n13/mode/2up"}], "url": "https://clevelandart.org/art/2016.59", "images": {}, "alternate_images": [], "creditline": "Purchased with funds donated by William and Margaret Lipscomb in celebration of the museum\u2019s centennial", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 289550, "creators": [{"id": 289547, "description": "Shirin Neshat (American, born in Iran 1957)", "extent": null, "qualifier": null, "role": "artist", "biography": "American and Iranian video artist and photographer, born 1957", "name_in_original_language": null, "birth_year": "1957", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2016-09-06T00:00:00-04:00", "sortable_date": 2000, "date_added_to_oa": null, "date_text": "2000", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_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 00:06:45.023000"}, {"id": 368159, "accession_number": "2019.174", "share_license_status": "Copyrighted", "tombstone": "Untitled, c. 1947. Wifredo Lam (Cuban, 1902\u20131982). Watercolor and ink on paper; sheet: 48.9 x 62 cm (19 1/4 x 24 7/16 in.). The Cleveland Museum of Art, Jo Hershey Selden Fund, 2019.174. \u00a9 Artists Rights Society (ARS), New York", "current_location": null, "title": "Untitled", "creation_date": "c. 1947", "creation_date_earliest": 1942, "creation_date_latest": 1952, "artists_tags": ["male", "Latine and Hispanic Artists"], "culture": ["Cuba"], "technique": "watercolor and ink on paper", "support_materials": [], "department": "Drawings", "collection": "DR - Misc. Countries", "type": "Drawing", "measurements": "Sheet: 48.9 x 62 cm (19 1/4 x 24 7/16 in.)", "dimensions": {"sheet": {"height": 0.489, "width": 0.62}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "stamped signature at lower right: WiLam", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 373919, "title": "A Graphic Revolution: Prints and Drawings in Latin America", "description": "<i>A Graphic Revolution: Prints and Drawings in Latin America</i>. 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Back in Havana, Lam explored the religions practiced there, especially Santer\u00eda and Voudou. The emphasis of both on the supernatural inspired a series of imaginative compositions, including the one seen here, which features winged creatures marked with areas of bright color.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79878247"], "internet_archive": []}, "citations": [{"citation": "<em>Wifredo Lam: Cuba, Italia, Un precorso</em>. Exh. Cat. Milan: Galleria Gruppo Credito Valtellinese Refettorio delle Stelline, 2002.", "page_number": "Mentioned: p. 117 and 173, no. 69; Reproduced: p. 117", "url": null}, {"citation": "Maximin, Daniel. <em>Wifredo Lam: L\u2019Oiseau du possible, Works from 1930 to 1978</em>. Exh. Cat. Paris: Galerie Boulakia, 2004.", "page_number": "Mentioned: p. 56; Reproduced: p. 57", "url": null}, {"citation": "Salsbury, Britany. \u201cA Graphic Revolution: Through prints and drawings, Latin American artists helped spur social change.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>60, no. 2 (March/April 2020): 34-35.<br><br> <br><br>vvvv", "page_number": "Reproduced: P. 34; Mentioned: P. 35.", "url": ""}], "url": "https://clevelandart.org/art/2019.174", "images": {}, "alternate_images": [], "creditline": "Jo Hershey Selden Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 368159, "creators": [{"id": 28026, "description": "Wifredo Lam (Cuban, 1902\u20131982)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1902", "death_year": "1982", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2019-09-09T00:00:00-04:00", "sortable_date": 1942, "date_added_to_oa": null, "date_text": "c. 1947", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": true, "updated_at": "2026-03-27 00:07:57.502000"}, {"id": 325468, "accession_number": "2019.30", "share_license_status": "Copyrighted", "tombstone": "Circus Showbill, c. 1930. Walker Evans (American, 1903\u20131975). Gelatin silver print; image: 20.5 x 15.8 cm (8 1/16 x 6 1/4 in.); paper: 20.5 x 15.8 cm (8 1/16 x 6 1/4 in.); mounted: 21.9 x 17.4 cm (8 5/8 x 6 7/8 in.). The Cleveland Museum of Art, Gift of Diann G. Mann and Thomas A. Mann, 2019.30", "current_location": null, "title": "Circus Showbill", "creation_date": "c. 1930", "creation_date_earliest": 1925, "creation_date_latest": 1935, "artists_tags": ["male"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 20.5 x 15.8 cm (8 1/16 x 6 1/4 in.); Paper: 20.5 x 15.8 cm (8 1/16 x 6 1/4 in.); Mounted: 21.9 x 17.4 cm (8 5/8 x 6 7/8 in.)", "dimensions": {"image": {"height": 0.205, "width": 0.158}, "paper": {"height": 0.205, "width": 0.158}, "mounted": {"height": 0.219, "width": 0.174}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Written in pencil on verso of mount: \u201cCircus showbill\u201d", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Written in pencil on verso of mount: \u201c38.2 333/Evans/Walker Evans\u201d", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 393871, "title": "A New York Minute: Street Photography, 1920\u20131950", "description": "<i>A New York Minute: Street Photography, 1920\u20131950</i>. 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Evans\u2019s delight in this subject matter may be partly due to its inclusion in the cityscapes of his friend and photographic mentor Ralph Steiner, whose work is also represented in the museum\u2019s collection.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79875988"], "internet_archive": []}, "citations": [{"citation": "Mora, Gilles, and John T. Hill. Walker Evans: The Hungry Eye. New York: H.N. Abrams, 1993.", "page_number": "p. 307", "url": null}, {"citation": "Evans, Walker, Ellen Fleurov, Marian Hill, and Benjamin A. Hill. Walker Evans, Simple Secrets: Photographs from the Collection of Marian and Benjamin A. Hill. Atlanta, GA: High Museum of Art, 1997.", "page_number": "p. 45", "url": null}, {"citation": "Christie, Manson &amp; Woods International Inc. An American Journey: The Diann G. and Thomas A. Mann Collection of Photographic Masterworks. 2018.", "page_number": null, "url": null}], "url": "https://clevelandart.org/art/2019.30", "images": {}, "alternate_images": [], "creditline": "Gift of Diann G. Mann and Thomas A. Mann", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 325468, "creators": [{"id": 122, "description": "Walker Evans (American, 1903\u20131975)", "extent": null, "qualifier": null, "role": "artist", "biography": "Walker Evans American, 1903-1975\r\n\r\nGreatly admired for his photographs of America during the Great Depression, Walker Evans (born in St. Louis) originally wanted to be a writer. He studied literature and languages at Phillips Academy in Massachusetts, then spent one year at Williams College. In 1926 he traveled to Paris, where he audited courses at the Sorbonne before moving to New York City in 1927. Over the next two years Evans developed a strong interest in photography, taking numerous pictures of New York. The unusual viewpoints and sharp angles of this early work reveal his awareness of contemporary European photography. Also influential was the work of Eug\u00e8ne Atget and Paul Strand, whose strong, direct style Evans admired.\r\n\tIn 1931 Evans undertook his first major photographic project in collaboration with Lincoln Kirstein: a series of photographs of New England architecture for a proposed book by architectural historian John Brooks Wheelwright. A selection of these photographs was later exhibited at the Museum of Modern Art, New York (1933). From 1935 to early 1937, Evans worked for the Resettlement Administration (later known as the Farm Security Administration), documenting the effects of the depression. He spent most of his time traveling through the South, taking photographs in the clear, straightforward manner for which he became famous. His subjects ranged from rural farmers and miners to roadside architecture and main streets. In 1936 Evans took three weeks' leave from the fsa to work with writer James Agee on an illustrated article on tenant farm families for Fortune magazine. This collaborative project later appeared in book form as Let Us Now Praise Famous Men (1941).\r\n\tIn 1938 the Museum of Modern Art organized a major traveling exhibition of Evans's pictures, accompanied by the book American Photographs. Two years later Evans received the first of three fellowships from the John Simon Guggenheim Memorial Foundation (1940, 1941, 1959). From 1943-45 he worked as a writer for Time magazine and from 1945-65 was on the staff of Fortune, producing numerous portfolios and photographic essays. Evans then moved to New Haven, Connecticut, to join the faculty of Yale University as professor of photography/graphic design; in 1974 he was named professor emeritus. M.M.", "name_in_original_language": null, "birth_year": "1903", "death_year": "1975", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2019-03-04T00:00:00-05:00", "sortable_date": 1925, "date_added_to_oa": null, "date_text": "c. 1930", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:02:30.515000"}, {"id": 357754, "accession_number": "2019.79.6", "share_license_status": "Copyrighted", "tombstone": "The Life of Toussaint L'Ouverture: General Toussaint L'Ouverture, 1986. Jacob Lawrence (American, 1917\u20132000). Silkscreen on paper; sheet: 81.6 x 55.9 cm (32 1/8 x 22 in.). The Cleveland Museum of Art, Gift of Agnes Gund in honor of Gordon Gund, 2019.79.6. \u00a9 The Jacob and Gwendolyn Knight Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York", "current_location": null, "title": "General Toussaint L'Ouverture", "series": "The Life of Toussaint L'Ouverture", "creation_date": "1986", "creation_date_earliest": 1986, "creation_date_latest": 1986, "artists_tags": ["Black American Artists", "male", "gender unknown"], "culture": ["America"], "technique": "silkscreen on paper", "support_materials": [], "department": "Prints", "collection": "PR - Screenprint", "type": "Print", "measurements": "Sheet: 81.6 x 55.9 cm (32 1/8 x 22 in.)", "dimensions": {"sheet": {"height": 0.816, "width": 0.559}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 The Jacob and Gwendolyn Knight Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York", "inscriptions": [], "exhibitions": {"current": [{"id": 541557, "title": "New Narratives: Contemporary Works on Paper", "description": "<i>New Narratives: Contemporary Works on Paper</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 19, 2023-April 14, 2024).", "opening_date": "2023-11-19T05:00:00"}], "legacy": []}, "provenance": [{"description": "Collection of Health Legacy of Cleveland, Inc., Cleveland, OH", "citations": [], "footnotes": null, "date": "1999-2007", "sortorder": 1}, {"description": "Swann Galleries, New York, NY", "citations": [], "footnotes": null, "date": "February 6, 2007", "sortorder": 2}, {"description": "Swann Galleries, New York, NY", "citations": [], "footnotes": null, "date": "February 19, 2008", "sortorder": 3}, {"description": "DC Moore Gallery, New York, NY", "citations": [], "footnotes": [], "date": null, "sortorder": 4}, {"description": "the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "June 3, 2019", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Jacob Lawrence reinterpreted a series of paintings to make these prints, changing their forms, composition, colors, and scale\u2014a process that he described as \u201canother creative step.\u201d", "description": "These prints reinterpret a series of paintings that African American artist Jacob Lawrence made about Toussaint L\u2019Ouverture, a Haitian revolutionary. Born into slavery, L\u2019Ouverture led an uprising that freed Haiti from European rule. After hearing the story as a young man and being struck that it had been omitted from his formal education, Lawrence began to paint episodes from L\u2019Ouverture\u2019s biography, using bright colors and simple forms to evoke its drama.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79877602"], "internet_archive": []}, "citations": [{"citation": "Nesbett, Peter T., Jacob Lawrence, and Patricia Hills. Jacob Lawrence: The Complete Prints, 1963-2000 : a Catalogue Raisonne\u0301. Seattle: Francine Seders Gallery, in association with University of Washington Press, 2001.", "page_number": "p. 71-85, nos. L86-2\u2013L97-5", "url": null}, {"citation": "Salsbury, Britany. \u201cAcquisitions 2018: Prints.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>60, no. 2 (March/April 2020): 22-23.", "page_number": "Reproduced and Mentioned: P. 23", "url": "https://archive.org/details/CMAMM2020-02/page/n11/mode/2up"}, {"citation": "Peters, Emily J. \"New Narratives: Contemporary works on paper emphasize storytelling.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>63, no. 4 (2023): 4-7.", "page_number": "Reproduced: P. 5; Mentioned: P. 4", "url": "https://archive.org/details/CMAMM2023-04/page/4/mode/2up"}], "url": "https://clevelandart.org/art/2019.79.6", "images": {}, "alternate_images": [], "creditline": "Gift of Agnes Gund in honor of Gordon Gund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 357754, "creators": [{"id": 4050, "description": "Jacob Lawrence (American, 1917\u20132000)", "extent": null, "qualifier": null, "role": "artist", "biography": "Jacob Lawrence (born 1917) has been a prominent artist since 1941 when, at age 24, he became the first African American to have a work in the permanent collection of the Museum of Modern Art in New York. His career, now spanning seven decades, has been devoted to documenting African-American life and history, from everyday scenes to the universal struggle for freedom, social justice, and human dignity. Moving to Harlem as a teenager in 1930, Lawrence was influenced by the artists, writers, and philosophers of the Harlem Renaissance-among them Romare Bearden, Langston Hughes, and W.E.B. DuBois-who fostered pride in African-American culture. Lawrence's subjects include the legendary abolitionist heroes Frederick Douglass, Harriet Tubman, and John Brown, and the story of the massive migration of African Americans from the rural South to the industrialized, urban North during the early decades of the 20th century. After thorough research, Lawrence chronicles the crucial events of each saga by creating a series of small paintings on paper in a modernist style of flat, brightly-colored forms.", "name_in_original_language": null, "birth_year": "1917", "death_year": "2000", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 370547, "description": "Lou Stovall Workshop, Inc.", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "birth_year": "1937", "use_in_caption": false, "include_extent": false, "weight": 2}, {"id": 62635, "description": "Amistad Research Center", "extent": "published by", "qualifier": null, "role": "publisher", "biography": null, "name_in_original_language": null, "use_in_caption": false, "include_extent": false, "weight": 3}], "legal_status": "accessioned", "accession_date": "2019-06-03T00:00:00-04:00", "sortable_date": 1986, "date_added_to_oa": null, "date_text": "1986", "collapse_artists": true, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "2019.79", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:03:30.934000"}, {"id": 438208, "accession_number": "2020.429", "share_license_status": "Copyrighted", "tombstone": "Summer Kimono with Cherry and Plum Blossoms (\u6885\u685c\u6587\u69d8\u5358\u8863), 1926\u201359?. Japan, Sh\u014dwa period (1926\u201389). Silk; leno weave with tie-dye. The Cleveland Museum of Art, Gift of John C. Weber, 2020.429", "current_location": null, "title": "Summer Kimono with Cherry and Plum Blossoms", "title_in_original_language": "\u6885\u685c\u6587\u69d8\u5358\u8863", "creation_date": "1926\u201359?", "creation_date_earliest": 1926, "creation_date_latest": 1959, "artists_tags": [], "culture": ["Japan, Sh\u014dwa period (1926\u201389)"], "technique": "Silk; leno weave with tie-dye", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Textile", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"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": []}, "provenance": [{"description": "Ms. Fifi White, Asiatica, Kansas City, KS, sold to John C. Weber", "citations": [], "footnotes": null, "date": "?\u2013March 19, 1998", "sortorder": 1}, {"description": "John C. Weber, New York, NY, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "March 19, 1998\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": "<em>Karamiori</em>, or leno weave, textiles were introduced to Japan from China in the 700s.", "description": "This summer-wear kimono has a bold, tie-dyed pattern in white of cherry and plum blossoms within red rings on a black ground. The weaving technique used is called leno and was introduced to Japan from China in the 700s. It produces a textile that is at once very breathable and stable. The twisted-warp (vertical) threads hold the weft (horizontal) threads like a vise and keep them spaced farther apart, so more air can pass through. The garment is an example of the continued utility of ancient weaving techniques in the modern era.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117246640"], "internet_archive": []}, "citations": [{"citation": "Burnham, Dorothy K. <em>Warp &amp; Weft: A Dictionary of Textile Terms</em>. New York: Scribner, 1981.", "page_number": "p. 63", "url": ""}, {"citation": "Wada, Yoshiko Iwamoto, Mary Kellogg Rice, and Jane Barton. <em>Shibori: The Inventive Art of Japanese Shaped Resist Dyeing : Tradition, Techniques, Innovation.</em> Tokyo: Kodansha International, 1983.", "page_number": "p. 83", "url": ""}, {"citation": "Yang, Sunny, and Rochelle M. Narasin. <em>Textile Art of Japan</em>. Tokyo, Japan: Shufunotomo/Japan Publications, 1989.", "page_number": "p. 45", "url": ""}], "url": "https://clevelandart.org/art/2020.429", "images": {}, "alternate_images": [], "creditline": "Gift of John C. Weber", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 438208, "creators": [], "legal_status": "accessioned", "accession_date": "2021-03-01T00:00:00-05:00", "sortable_date": 1926, "date_added_to_oa": null, "date_text": "1926\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": false, "impression": null, "alternate_titles": ["Summer Kimono", "Kimono"], "is_highlight": false, "updated_at": "2026-03-27 00:06:10.605000"}, {"id": 376295, "accession_number": "2020.83", "share_license_status": "Copyrighted", "tombstone": "Kimono with Multicolor Lattice (\u591a\u8272\u683c\u5b50\u6a21\u69d8\u7740\u7269), 1930s\u201350s. Japan, Sh\u014dwa period (1926\u201389). Machine-spun pongee plain weave silk (meisen) with resist-dyed threads; overall: 162.9 x 130.5 cm (64 1/8 x 51 3/8 in.). The Cleveland Museum of Art, Gift of Julia Meech, 2020.83", "current_location": null, "title": "Kimono with Multicolor Lattice", "title_in_original_language": "\u591a\u8272\u683c\u5b50\u6a21\u69d8\u7740\u7269", "creation_date": "1930s\u201350s", "creation_date_earliest": 1930, "creation_date_latest": 1959, "artists_tags": [], "culture": ["Japan, Sh\u014dwa period (1926\u201389)"], "technique": "Machine-spun pongee plain weave silk (meisen) with resist-dyed threads", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Textile", "measurements": "Overall: 162.9 x 130.5 cm (64 1/8 x 51 3/8 in.)", "dimensions": {"overall": {"height": 1.629, "width": 1.305}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"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": []}, "provenance": [{"description": "(Yoko Mizutani, Kyoto, Japan, sold to Julia Meech)", "citations": [], "footnotes": [], "date": "?\u20132001", "sortorder": 1}, {"description": "Julia Meech, New York, NY, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "2001\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": "<em>Kasuri </em>is the Japanese term for ikat, which means forming patterns with pre-dyed threads.", "description": "In the 1900s, silk thread produced by machine spinning made the purchase of fashionable attire more affordable, as mechanization reduced labor costs. This kimono has bright lines that resemble calligraphic brushstrokes forming an abstracted lattice. The threads were dyed with the design prior to weaving, which generates a desirable, blurred appearance in the textile called ikat, or <em>kasuri </em>in Japanese. While abstraction is a key element of the art of calligraphy, and lattice patterns a common motif in Japanese design, their combination in vivid color creates an effect in this traditional garment that was modern for its time.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117244391"], "internet_archive": []}, "citations": [{"citation": "Mutoh, Kazuo. <em>Hogushi and Heiyo: Methods of Creating Painterly Images in Woven Textiles.</em> DigitalCommons@University of Nebraska - Lincoln, 1998.", "page_number": "pgs. 11-20", "url": ""}, {"citation": "Thakar, Karun, and Anna Jackson. <em>Kimono Meisen: The Karun Thakar Collection</em>. 2015.", "page_number": "", "url": ""}, {"citation": "Jackson, Anna. 2015. <em>Japanese meisen dyeing</em>. Victoria and Albert Museum Blog.", "page_number": "", "url": "https://www.vam.ac.uk/blog/news/japanese-meisen-dyeing."}], "url": "https://clevelandart.org/art/2020.83", "images": {}, "alternate_images": [], "creditline": "Gift of Julia Meech", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 376295, "creators": [], "legal_status": "accessioned", "accession_date": "2020-03-02T00:00:00-05:00", "sortable_date": 1930, "date_added_to_oa": null, "date_text": "1930s\u201350s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:43.165000"}, {"id": 447824, "accession_number": "2022.220", "share_license_status": "Copyrighted", "tombstone": "Rabbit with Jewel (\u5b9d\u73e0\u5154), 1930s\u201390s. Shinkai Kanzan (Japanese, 1912\u20132011). Porcelain with underglaze pink and cream glaze; overall: 16 x 12.5 x 9 cm (6 5/16 x 4 15/16 x 3 9/16 in.). The Cleveland Museum of Art, Gift of James and Christine Heusinger, 2022.220", "current_location": null, "title": "Rabbit with Jewel", "title_in_original_language": "\u5b9d\u73e0\u5154", "creation_date": "1930s\u201390s", "creation_date_earliest": 1930, "creation_date_latest": 1989, "artists_tags": ["male", "Asian (from 1900 to present)"], "culture": ["Japan, Sh\u014dwa period (1926\u201389)"], "technique": "Porcelain with underglaze pink and cream glaze", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Ceramic", "measurements": "Overall: 16 x 12.5 x 9 cm (6 5/16 x 4 15/16 x 3 9/16 in.)", "dimensions": {"overall": {"height": 0.16, "width": 0.125, "depth": 0.09}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "\u5bdb\u5c71", "inscription_translation": "\"Kanzan\" incised on the base", "inscription_remark": null, "sortorder": 1}, {"inscription": "\u5b9d\u73e0\u5154/ \u65b0\u958b \u5bdb\u5c71\u9020\u3002 \u3010\u5370\u3011 \u5bdb\u5c71", "inscription_translation": "Inscription on the box lid: \"Jewel Rabbit/ Made by Shinkai Kanzan.\" Seal: \u201cKanzan\"", "inscription_remark": null, "sortorder": 2}], "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": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Shinkai Kanzan and Seif\u016b Yohei V were first cousins.", "description": "Shinkai Kunitar\u014d\u65b0\u958b\u90a6\u592a\u90ce, who took the artist style name Kanzan \u5bdb\u5c71, had a cute design sense and keen interest in birds, insects, and animals as subject matter. His rabbit is entirely cream-colored but for touches of deep pink for the eyes. It is meant for display at New Year\u2019s in the Year of the Rabbit. The animal looks up while holding a treasured jewel, which is banded to indicate that it is tricolored. <br><br>Seifu Yohei III was the artist\u2019s grandfather, and Yohei IV was his uncle and the older brother of his father, who specialized in throwing ceramics on the wheel.1 Shinkai studied ceramics with Yohei IV and attended the Kyoto City School of Fine and Decorative Arts, where he studied design and painting on the advice of his father, for in the world of the ceramics studio, those who applied designs and paintings had a more elevated status than those who worked the wheel. In 1930, the year of his graduation, he first exhibited in the 11th Imperial Exhibition. From 1932, he went on to receive additional ceramics training from Kiyomizu Rokubei VI (1901\u20131980) after joining the ceramics society of Rokubei VI\u2019s father, Kiyomizu Rokubei V (1875\u20131959). After World War II, he reinvented himself and exhibited extensively in national-level exhibitions, garnering numerous prizes. He later served as a jurist or committee member for many of the same shows. In 1989, he was awarded the Kyoto Prefecture Culture Award for Lifetime Achievement and remained active on the board of the Japan Fine Arts Exhibition, or Nitten, as late as 1992.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117793552"], "internet_archive": []}, "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. 80, pp. 167\u2013169 and back cover", "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": "\"Exhibitions through May 2024. Colors of Kyoto: The Seifu Yohel Ceramic Studio.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 64, no. 1 (2024): 16\u201317.", "page_number": "Reproduced: p. 16", "url": "https://archive.org/details/CMAMM-2024-01/page/16/mode/2up"}], "url": "https://clevelandart.org/art/2022.220", "images": {}, "alternate_images": [], "creditline": "Gift of James and Christine Heusinger", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 447824, "creators": [{"id": 535855, "description": "Shinkai Kanzan (Japanese, 1912\u20132011)", "extent": null, "qualifier": null, "role": null, "biography": null, "name_in_original_language": "\u65b0\u958b \u5bdb\u5c71", "birth_year": "1912", "death_year": "2011", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2022-12-05T05:00:00Z", "sortable_date": 1930, "date_added_to_oa": null, "date_text": "1930s\u201390s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:04:35.445000"}, {"id": 85807, "accession_number": "2022.80", "share_license_status": "Copyrighted", "tombstone": "Untitled, 1990. Hiroyuki Shindo (Japanese, 1941-). Cotton: indigo-dyed; diameter: 19.1 cm (7 1/2 in.). The Cleveland Museum of Art, Bequest of Camille and Alex Cook, 2022.80", "current_location": null, "title": "Untitled", "creation_date": "1990", "creation_date_earliest": 1990, "creation_date_latest": 1990, "artists_tags": ["male", "Asian (from 1900 to present)"], "culture": ["Japan"], "technique": "Cotton: indigo-dyed", "support_materials": [], "department": "Textiles", "collection": "T - Contemporary Fiber Art", "type": "Textile", "measurements": "Diameter: 19.1 cm (7 1/2 in.)", "dimensions": {"diameter": {"height": 0.191}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 536086, "title": "Contemporary Art Rotation - Spring 2023", "description": "<i>Contemporary Art Rotation - Spring 2023</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 7-September 24, 2023).", "opening_date": "2023-04-07T04:00:00"}], "legacy": []}, "provenance": [{"description": "Collection of the artist", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "Collection of Camille Cook", "citations": [], "footnotes": null, "date": "", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2022\u2013", "sortorder": 3}], "find_spot": null, "related_works": [{"id": 159379, "description": "Untitled, 1990. Hiroyuki Shindo (Japanese, 1941-). Indigo-dyed cotton; overall: 17.2 x 17.2 x 17.2 cm (6 3/4 x 6 3/4 x 6 3/4 in.). The Cleveland Museum of Art, Gift of Mildred Constantine, 1996.204", "relationship": null}, {"id": 159363, "description": "Untitled, 1990. Hiroyuki Shindo (Japanese, 1941-). Indigo-dyed cotton; overall: 17 x 17 x 17 cm (6 11/16 x 6 11/16 x 6 11/16 in.). The Cleveland Museum of Art, Gift of Mildred Constantine, 1996.193", "relationship": null}], "former_accession_numbers": [], "did_you_know": "The artist often exhibits these balls in groups, directly on the floor.", "description": "The method of indigo dyeing is a centuries-old Japanese tradition, and the artist Hiroyuki Shindo is internationally known for his artwork that utilizes this ancient tradition in contemporary forms. He uses a natural dye process that begins with the harvesting the plants. In the case of the thread balls, he uses a resist dying technique on different size balls that results in an array of organic designs and levels of saturation. By showing the thread balls in groups, it displays the individualism of each hand-made iteration.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q115702475"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art. <em>Small Works in Fiber: The Mildred Constantine Collection</em>. Cleveland, Ohio: Cleveland Museum of Art, 1993.", "page_number": "", "url": ""}, {"citation": "Hicks, Sheila, Rhonda Brown, and Thomas Grotta. <em>Sheila Hicks Joined by Seven Artists from Japan: Masakazu Kobayashi, Naomi Kobayashi, Chiaki Maki, Toshio Sekiji, Hiroyuki Shindo, Chiyoko Tanaka, and Jun Tomita.</em> Wilton, CT: Brown/Grotta Gallery, 1995.", "page_number": "", "url": ""}, {"citation": "Balfour-Paul, Jenny. <em>Indigo</em>. London: British Museum Press, 1998.", "page_number": "", "url": ""}], "url": "https://clevelandart.org/art/2022.80", "images": {}, "alternate_images": [], "creditline": "Bequest of Camille and Alex Cook", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 85807, "creators": [{"id": 9249, "description": "Hiroyuki Shindo (Japanese, 1941-)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1941", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2022-06-06T04:00:00Z", "sortable_date": 1990, "date_added_to_oa": null, "date_text": "1990", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:59.305000"}, {"id": 693800, "accession_number": "2025.147", "share_license_status": "Copyrighted", "tombstone": "Exact Ruler II, 1974. Sylvia Plimack Mangold (American, b. 1938). Acrylic on canvas; 61 x 76.2 cm (24 x 30 in.). The Cleveland Museum of Art, Gift of Agnes Gund in memory of Mary Krogness, 2025.147. \u00a9 1974 Sylvia Plimack Mangold", "current_location": null, "title": "Exact Ruler II", "creation_date": "1974", "creation_date_earliest": 1974, "creation_date_latest": 1974, "artists_tags": ["female", "Jewish artists"], "culture": ["America"], "technique": "acrylic on canvas", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "measurements": "61 x 76.2 cm (24 x 30 in.)", "dimensions": {"No Extent Specified": {"height": 0.61, "width": 0.762}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 1974 Sylvia Plimack Mangold", "inscriptions": [{"inscription": "Signed and titled in pencil upper middle stretcher bar on verso: Exact Ruler II Sylvia Mangold", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": [{"description": "Sylvia Plimack Mangold: Floors and Rulers, 1967-76. Craig F. Starr Gallery, New York  (February 5\u2013March 26, 2016)", "opening_date": "2016-02-05T05:00:00Z"}]}, "provenance": [{"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2025\u2013", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Sylvia Plimack Mangold used rulers as tools to make her paintings before incorporating them into the paintings\u2019 compositions.", "description": "<em>Exact Ruler II </em>(1974) depicts a stainless steel ruler, lying horizontally across a span of vertical wooden floorboards that fill the painting\u2019s frame. It belongs to Sylvia Plimack Mangold\u2019s series of paintings, made between the mid-1960s and the mid-1970s, comprising meticulous renderings of floors, often with rulers, graph paper, and masking tape. As they engage numerous art historical traditions, these paintings also model\u2014and encourage\u2014the practice of paying exquisite attention to one\u2019s surroundings.", "external_resources": {"wikidata": [], "internet_archive": []}, "citations": [{"citation": "Sylvia Plimack Mangold: Floors and Rulers, 1967-76. New York: Craig F. Starr Gallery, 2016. Essay by Susan Harris.", "page_number": "Illus. front cover (detail), pl. 7, cat. no. 7, cited in essay fig. 7 (unpaginated)", "url": ""}, {"citation": "Yau, John. \u201cSylvia Plimack Mangold Has the Floor.\u201d <em>Hyperallergic</em> (March 20, 2016)", "page_number": "", "url": "https://hyperallergic.com/283389/sylvia-plimack-mangold-has-the-floor/"}, {"citation": "Mangold, Sylvia Plimack, Helen Molesworth, and Craig F. Starr Gallery (New York, N.Y.). <em>Sylvia Plimack Mangold : Tapes, Fields, and Trees, 1975-84</em>. New York: Craig Starr Gallery, 2024.", "page_number": "Color Illustration, pl. 7.", "url": ""}], "url": "https://clevelandart.org/art/2025.147", "images": {}, "alternate_images": [], "creditline": "Gift of Agnes Gund in memory of Mary Krogness", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 693800, "creators": [{"id": 57416, "description": "Sylvia Plimack Mangold (American, b. 1938)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1938", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2025-06-09T04:00:00Z", "sortable_date": 1974, "date_added_to_oa": null, "date_text": "1974", "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 00:04:05.156000"}, {"id": 157448, "accession_number": "1994.3", "share_license_status": "Copyrighted", "tombstone": "Gift Wrapped Doll #3, 1992. James Rosenquist (American, 1933\u20132017). Oil on canvas; unframed: 152.4 x 152.4 cm (60 x 60 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1994.3. \u00a9  Estate of James Rosenquist  / Licensed by VAGA at Artists Rights Society (ARS), NY.  Used by permission. All rights reserved.", "current_location": null, "title": "Gift Wrapped Doll #3", "creation_date": "1992", "creation_date_earliest": 1992, "creation_date_latest": 1992, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "measurements": "Unframed: 152.4 x 152.4 cm (60 x 60 in.)", "dimensions": {"unframed": {"height": 1.524, "width": 1.524}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  Estate of James Rosenquist  / Licensed by VAGA at Artists Rights Society (ARS), NY.  Used by permission. All rights reserved.", "inscriptions": [{"inscription": "Signed on reverse of top tacking margin in black paint: Gift Wrapped Doll III  1.5 x 1.5 m  James Rosenquist 1992", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "As models for this painting and its related series, James Rosenquist placed dolls under strong artificial light in his studio.", "description": "In <em>Gift Wrapped Doll #3</em>, James Rosenquist paints a doll\u2019s face distorted by iridescent cellophane wrapping. The doll stares blankly at the viewer, waves of plastic splitting its large eyes and round cheeks. Up close, the painting dissolves into vibrant fields of color and light. As seen here, Rosenquist\u2019s work often explores American consumer culture and commodification through the abstraction of everyday objects.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60477086"], "internet_archive": []}, "citations": [{"citation": "<em>James Rosenquist: The Serenade for the Doll after Claude Debussy or Gift Wrapped Dolls and Masquerade of the Military Industrial Complex Looking Down on the Insect World.</em> New York: Leo Castelli Gallery, 1993.", "page_number": "Reproduced p. 10, pl. 3.", "url": ""}, {"citation": "New York, New York, Leo Castelli Gallery, James Rosenquist, Mar. 20 - Apr. 17, 1993.", "page_number": "", "url": ""}, {"citation": "Russell, John. \u201cA Painter Finds That Dolls Can Be Dynamite,\u201d <em>The New York Times</em>, April 11, 1993.", "page_number": "", "url": "https://www.nytimes.com/1993/04/11/arts/gallery-view-a-painter-finds-that-dolls-can-be-dynamite.html"}, {"citation": "Tokyo, Akira Ikeda Gallery, James Rosenquist: The Serenade for the Doll after Claude Debussy or Gift Wrapped Dolls, September 1993.", "page_number": "", "url": ""}, {"citation": "Chicago, Illinois, Feigen Incorporated, James Rosenquist: Gift Wrapped Dolls or Serenade for the Doll after Claude Debussy, Sept. 10 - Oct. 9, 1993.", "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"}, {"citation": "Heartney, Eleanor. \u201cMalevolent Dolls,\u201d <em>ARTnews</em>, Summer 1998, p. 167.", "page_number": "p. 167", "url": ""}, {"citation": "Rosenquist, James, with David Dalton. <em>Painting Below Zero: Notes on a Life in Art</em>. New York: Alfred A. Knopf, 2009.", "page_number": "Reference to series, p. 301\u2013302.", "url": ""}, {"citation": "Cleveland Museum of Art. <em>Museum Masters: 2016-17 Companion Guide.</em> [Cleveland, Ohio]: Cleveland Museum of Art, 2016.", "page_number": "Mentioned: P. 25", "url": ""}], "url": "https://clevelandart.org/art/1994.3", "images": {}, "alternate_images": [], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 157448, "creators": [{"id": 3621, "description": "James Rosenquist (American, 1933\u20132017)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1933", "death_year": "2017", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1994-02-15T00:00:00", "sortable_date": 1992, "date_added_to_oa": null, "date_text": "1992", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:37.238000"}, {"id": 325449, "accession_number": "2019.22", "share_license_status": "CC0", "tombstone": "The Steerage, 1907. Alfred Stieglitz (American, 1864\u20131946). Photogravure; image: 32 x 25.7 cm (12 5/8 x 10 1/8 in.); image with black margin: 33.2 x 26.5 cm (13 1/16 x 10 7/16 in.); paper: 40 x 27.9 cm (15 3/4 x 11 in.); mounted: 50.8 x 38 cm (20 x 14 15/16 in.). The Cleveland Museum of Art, Gift of Diann G. Mann and Thomas A. Mann, 2019.22", "current_location": null, "title": "The Steerage", "creation_date": "1907", "creation_date_earliest": 1907, "creation_date_latest": 1907, "artists_tags": ["male", "Jewish artists"], "culture": ["America"], "technique": "photogravure", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 32 x 25.7 cm (12 5/8 x 10 1/8 in.); Image with black margin: 33.2 x 26.5 cm (13 1/16 x 10 7/16 in.); Paper: 40 x 27.9 cm (15 3/4 x 11 in.); Mounted: 50.8 x 38 cm (20 x 14 15/16 in.)", "dimensions": {"image": {"height": 0.32, "width": 0.257}, "paper": {"height": 0.4, "width": 0.279}, "mounted": {"height": 0.508, "width": 0.38}, "image with black margin": {"height": 0.332, "width": 0.265}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Written in pencil on recto of mount in lower left: \u201cThe Steerage-1907/original Photogravure/Alfred Stieglitz (signed)\u201d", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Georgia O'Keeffe [1887-1986]", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "Delacroix Davis, Jr.", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "Ledel Gallery, New York, NY", "citations": [], "footnotes": null, "date": null, "sortorder": 3}, {"description": "Thomas A. and Diann G. Mann, Palm Beach Gardens, FL", "citations": [], "footnotes": null, "date": "1983", "sortorder": 4}, {"description": "the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "March 4, 2019", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This print is Alfred Stieglitz\u2019s own, lifelong copy of <em>The Steerage</em>, one of his most important works.", "description": "With his camera, Stieglitz transformed a scene of impoverished immigrants returning to Europe into a study in shape and form; the image sparked his evolution from a pictorialist into a modernist. Reflecting on his career in 1942, Stieglitz proclaimed this image<em>,</em> taken in 1907, as an achievement of modern art that anticipated Cubism.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79875963"], "internet_archive": ["https://archive.org/details/clevelandart-2019.22-the-steerage"]}, "citations": [{"citation": "Alfred Stieglitz, <em>Camera Work</em>, New York.", "page_number": "No. 36, October 1911, pl. IX", "url": null}, {"citation": "Newhall, Beaumont. The History of Photography: From 1839 to the Present Day. New York: Museum of Modern Art, 1964.", "page_number": "p. 112", "url": null}, {"citation": "Norman, Dorothy, and Alfred Stieglitz. Alfred Stieglitz: An American Seer. 1973.", "page_number": "p. 65", "url": null}, {"citation": "Frank, Waldo David, Lewis Mumford, Dorothy Norman, Paul Rosenfeld, and Harold Ordway Rugg. America &amp; Alfred Stieglitz: A Collective Portrait. [Millerton, N.Y.]: Aperture, Inc, 1979.", "page_number": "pl. XXVII-B", "url": null}, {"citation": "Stieglitz, Alfred, Sarah Greenough, and Juan Hamilton. Alfred Stieglitz, Photographs &amp; Writings. [Washington, D.C.]: National Gallery of Art, 1983.", "page_number": "pl. 18", "url": null}, {"citation": "Greenough, Sarah. Modern Art and America: Alfred Stieglitz and His New York Galleries. Washington [D.C.]: National Gallery of Art, 2000.", "page_number": "pl. 30, p. 140", "url": null}, {"citation": "Homer, William Innes, and Catherine Johnson. Stieglitz and the Photo-Secession, 1902. New York: Viking Studio, 2002.", "page_number": "p. 156", "url": null}, {"citation": "National Gallery of Art (U.S.), Sarah Greenough, and Alfred Stieglitz. Alfred Stieglitz: The Key Set : the Alfred Stieglitz Collection of Photographs. Washington, D.C.: National Gallery of Art, 2002.", "page_number": "p. 190-94, cat. no. 310-14", "url": null}, {"citation": "Tannenbaum, Barbara.  \u201cAcquisitions 2019: Photography.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>60, no. 2 (March/April 2020): 24-26.", "page_number": "Reproduced and Mentioned: P. 24.", "url": ""}], "url": "https://clevelandart.org/art/2019.22", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2019.22/2019.22_web.jpg", "width": "679", "height": "900", "filesize": "224645", "filename": "2019.22_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2019.22/2019.22_print.jpg", "width": "2566", "height": "3400", "filesize": "1868143", "filename": "2019.22_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2019.22/2019.22_full.tif", "width": "5336", "height": "7070", "filesize": "113208052", "filename": "2019.22_full.tif"}}, "alternate_images": [{"date_created": "2019-01-08T14:59:33", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2019.22/2019.22_alt0_web.jpg", "width": "685", "height": "900", "filesize": "151369"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2019.22/2019.22_alt0_print.jpg", "width": "2586", "height": "3400", "filesize": "1505466"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2019.22/2019.22_alt0_full.tif", "width": "5365", "height": "7055", "filesize": "113578324"}}, {"date_created": "2019-01-08T15:00:56", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2019.22/2019.22_alt1_web.jpg", "width": "722", "height": "900", "filesize": "139839"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2019.22/2019.22_alt1_print.jpg", "width": "2728", "height": "3400", "filesize": "1003187"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2019.22/2019.22_alt1_full.tif", "width": "5679", "height": "7078", "filesize": "120616688"}}], "creditline": "Gift of Diann G. Mann and Thomas A. Mann", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 325449, "creators": [{"id": 9393, "description": "Alfred Stieglitz (American, 1864\u20131946)", "extent": null, "qualifier": null, "role": "artist", "biography": "Photographer, writer, publisher, gallery owner, leader of the Photo-Secession, and mentor to numerous other photographers, Alfred Stieglitz was a pivotal force during the late 19th and 20th centuries in promoting photography in America and gaining its acceptance as an art form. He also pioneered in bringing modern art to this country through the avant-garde European and American work presented in the pages of his well-known journal, Camera Work, and at his gallery, \"291.\" Stieglitz (born in Hoboken, New Jersey) first became interested in photography in the early 1880s while studying mechanical engineering in Germany at the polytechnic institute in Charlottenburg (now a suburb of Berlin). Following a class with the great photochemist Hermann Wilhelm Vogel, Stieglitz turned his attention to photography and soon began writing technical articles on the subject for European journals. In 1887 he won a prize for a photograph submitted to the Holiday Work Competition sponsored by Amateur Photographer magazine. When he returned to the United States three years later, Stieglitz became a partner in the Photochrome Engraving Company; running a business did not interest him, however, and his association with the company lasted only five years. In addition to pursuing his own photographic work and writing articles on pictorial photography for various American journals during the 1890s, Stieglitz became editor of the American Amateur Photographer in 1893. Four years later he took on the editorship of Camera Notes, the journal of the newly formed Camera Club of New York. In 1902 Stieglitz organized the first Photo-Secession exhibition at the National Arts Club in New York, launching an organization that was to play a major role in the fight for recognition of photography as an art form. At the end of the year he began publishing Camera Work, the journal of the Photo-Secession, which soon became one of the premier photographic publications of the day (the first issue, dated January 1903, was published in December 1902). In 1905, with the assistance of painter and photographer Edward Steichen, Stieglitz opened the Little Galleries of the Photo-Secession at 291 Fifth Avenue. The gallery, which soon became known as \"291,\" provided Stieglitz with a center from which to promote art photography and exhibit the work of its finest practitioners. In addition to presenting work by the most advanced American and European pictorial photographers, Stieglitz began showing the work of modern European artists, including Henri Matisse, Pablo Picasso, and Paul C\u00e9zanne. He also organized numerous exhibitions of art photography for museums and expositions in this country and in Europe, including the famous 1910 International Exhibition of Pictorial Photography at the Albright Art Gallery, Buffalo. After closing \"291\" in 1917, Stieglitz focused on his own work, beginning a series of portraits of artist Georgia O'Keeffe (whom he married in 1924) and a series of cloud pictures called Equivalents, which he exhibited in the 1920s at the Anderson Gallery in New York. During these years he also produced a group of photographs of New York City skyscrapers, as well as images of Lake George, New York. Stieglitz continued to photograph into the 1930s. He also ran two galleries from the mid-1920s until his death: the Intimate Gallery (1925-29) and An American Place (1929-46). Both galleries presented the work of a small group of American modernists, including O'Keeffe, Charles Demuth, Arthur Dove, Marsden Hartley, John Marin, and Paul Strand, as well as Stieglitz's photographs. M.M.", "name_in_original_language": null, "birth_year": "1864", "death_year": "1946", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2019-03-04T00:00:00-05:00", "sortable_date": 1907, "date_added_to_oa": null, "date_text": "1907", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:01.934000"}, {"id": 115263, "accession_number": "1935.56", "share_license_status": "Copyrighted", "tombstone": "From my Window at the Shelton, West, 1932. Alfred Stieglitz (American, 1864\u20131946). Gelatin silver print; image: 23.9 x 18.5 cm (9 7/16 x 7 5/16 in.); matted: 55.9 x 45.7 cm (22 x 18 in.). The Cleveland Museum of Art, Gift of Cary Ross, Knoxville, Tennessee, 1935.56", "current_location": null, "title": "From my Window at the Shelton, West", "creation_date": "1932", "creation_date_earliest": 1932, "creation_date_latest": 1932, "artists_tags": ["male", "Jewish artists"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 23.9 x 18.5 cm (9 7/16 x 7 5/16 in.); Matted: 55.9 x 45.7 cm (22 x 18 in.)", "dimensions": {"image": {"height": 0.239, "width": 0.185}, "matted": {"height": 0.559, "width": 0.457}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Written in pencil on recto: \"New York - 32 / Alfred Stieglitz [signed]\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"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": 301411, "title": "Photograph Exhibition", "description": "<i>Photograph Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (July 13-September 19, 1971).", "opening_date": "1971-07-13T04:00:00"}, {"id": 301622, "title": "Source Material for Studio Projects", "description": "<i>Source Material for Studio Projects</i>. The Cleveland Museum of Art, Cleveland, OH (June 20-August 27, 1972).", "opening_date": "1972-06-20T04:00:00"}, {"id": 443928, "title": "Masters of the Camera: Stieglitz, Steichen, and Their Successors", "description": "<i>Masters of the Camera: Stieglitz, Steichen, and Their Successors</i>. The American Federation of Arts, New York, NY (organizer) (November 10, 1976-January 10, 1977).", "opening_date": "1976-11-10T05:00:00"}, {"id": 310243, "title": "The Precisionist Aesthetic in American Art", "description": "<i>The Precisionist Aesthetic in American Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 24-April 9, 1989).", "opening_date": "1989-01-24T05:00:00"}, {"id": 311876, "title": "Legacy of Light: Seven Masters in Depth", "description": "<i>Legacy of Light: Seven Masters in Depth</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 20-February 2, 1996).", "opening_date": "1996-11-20T05:00:00"}, {"id": 194095, "title": "Icons of American Photography: A Century of Photographs from the Cleveland Museum of Art", "description": "<i>Icons of American Photography: A Century of Photographs from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 24-September 16, 2007).", "opening_date": "2007-06-24T00:00:00"}, {"id": 299125, "title": "From Riches to Rags: American Photography in the Depression", "description": "<i>From Riches to Rags: American Photography in the Depression</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 13-December 31, 2017).", "opening_date": "2017-08-13T04:00:00"}], "legacy": [{"description": "CMA, December 12, 1934 - January 13, 1935, \"Exhibition of Photographs,\" no exhibition catalogue.", "opening_date": "1934-12-12T00:00:00"}, {"description": "New York, The American Federation of Arts, 1976-1977: \"Masters of the Camera: Stieglitz, Steichen and Their Successors,\" cat. p. 19, repr. p. 66.", "opening_date": "1976-01-01T00:00:00"}, {"description": "San Francisco, Museum of Modern Art, September 9, 1982 - November 7, 1982: \"Precisionist Painting and American Photography,\" also traveled to St. Louis, Baltimore, Des Moines, and CMA through October 9, 1982, cat. 130, p. 238, repr. plate 52.", "opening_date": "1982-09-09T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "While the Depression led to the cancellation of many ambitious construction plans, some high-rise building projects continued in the 1930s, including the one Stieglitz saw from his midtown New York apartment in the Shelton Hotel. Built in 1923, the Shelton was one of the first \u201cskyscraper\u201d residential hotels, and briefly the tallest hotel in the world. A photographer and gallerist, Stieglitz was a leading proponent for the recognition of photography as a fine art equal to painting and sculpture.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780816"], "internet_archive": []}, "citations": [{"citation": "Milliken, William. \"Alfred Stieglitz, Photographer an Appreciation.\" <em>The Bulletin of the Cleveland Museum of Art </em>22, no. 3 (March 1935): 32-34.", "page_number": "Reproduced: p. 30", "url": "https://www.jstor.org/stable/25137684"}, {"citation": "Cleveland Museum of Art, Tom E Hinson. <em>Catalogue of Photography</em>. Cleveland, OH: Cleveland Museum of Art, 1996.<br>Published as: <em>New York</em>", "page_number": "Reproduced: P. 333", "url": ""}], "url": "https://clevelandart.org/art/1935.56", "images": {}, "alternate_images": [], "creditline": "Gift of Cary Ross, Knoxville, Tennessee", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 115263, "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": "1935-01-25T00:00:00", "sortable_date": 1932, "date_added_to_oa": null, "date_text": "1932", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-26 23:59:22.604000"}, {"id": 150110, "accession_number": "1980.32", "share_license_status": "Copyrighted", "tombstone": "Pensive Face, 1929. Julio Gonz\u00e1lez (Spanish, 1876\u20131942). Iron mounted on painted wood; framed: 34.9 x 30.5 x 8.3 cm (13 3/4 x 12 x 3 1/4 in.); overall: 24.5 x 19.7 cm (9 5/8 x 7 3/4 in.). The Cleveland Museum of Art, Gift of Ralph King, by exchange, 1980.32. \u00a9 Artists Rights Society (ARS), New York", "current_location": null, "title": "Pensive Face", "creation_date": "1929", "creation_date_earliest": 1929, "creation_date_latest": 1929, "artists_tags": ["male", "Latine and Hispanic Artists"], "culture": ["Spain, 20th century"], "technique": "iron mounted on painted wood", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Sculpture 1800-1960", "type": "Sculpture", "measurements": "Framed: 34.9 x 30.5 x 8.3 cm (13 3/4 x 12 x 3 1/4 in.); Overall: 24.5 x 19.7 cm (9 5/8 x 7 3/4 in.)", "dimensions": {"framed": {"height": 0.349, "width": 0.305, "depth": 0.083}, "overall": {"height": 0.245, "width": 0.197}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Artists Rights Society (ARS), New York", "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": 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"}], "legacy": [{"description": "Berne, Kunsthalle, 1955,", "opening_date": "1955-01-01T00:00:00"}, {"description": "NY, Gal. Chalette, 1961", "opening_date": "1961-01-01T00:00:00"}, {"description": "San Francisco Museum of Fine Art, 1962", "opening_date": "1962-01-01T00:00:00"}, {"description": "Montreal Museum of Fine Art, 1962", "opening_date": "1962-01-01T00:00:00"}, {"description": "National Gallery of Ottawa, 1962", "opening_date": "1962-01-01T00:00:00"}, {"description": "Utica, NY, Munson-Williams-Proctor Institute, 1963", "opening_date": "1963-01-01T00:00:00"}, {"description": "Buffalo, NY, Albright-Knox Art Gallery, 1963", "opening_date": "1963-01-01T00:00:00"}, {"description": "CMA 1981:  \"Year in Review 1980,\" Bulletin, LXVIII (June 1981), cat. no. 92, p. 213, repr. p. 199", "opening_date": "1981-06-01T00:00:00"}, {"description": "Cleveland Museum of Art (10/15/2006 - 06/03/2007); The Metropolitan Museum of Art (03/04/2007 - 06/03/2007); \"Barcelona &amp; Modernity: Picasso, Gaud\u00ed. Mir\u00f3, Dal\u00ed\", fig. 12 (cat. 7:6), p. 315, repr. 315- EXHIBITED AT CMA VENUE ONLY.", "opening_date": "2006-10-15T00:00:00"}]}, "provenance": [{"description": "Julio Gonzalez", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "Madelaine Chalette Lejwa", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "Julio Gonzalez; [Madelaine Chalette Lejwa]", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Gonz\u00e1lez\u2019s early iron sculptures\u2014small heads in low relief made in 1928\u201329\u2014are closely related in subject, style, and technique to the masks Pablo Gargallo had been producing in copper since 1907 and in iron since 1913. Both artists first learned metalworking techniques during their early years in Barcelona, a city renowned for its tradition of wrought-iron ornament, which reached a new climax in the buildings of Antoni Gaud\u00ed.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60781301"], "internet_archive": []}, "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. 199; Mentioned: p. 213, no. 92", "url": "http://www.jstor.org/stable/25159730"}, {"citation": "Robinson, William H., Jordi Falga\u0300s, Carmen Belen Lord, and Josefina Alix Trueba. <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. 314-315, fig. 12, no. 7:6", "url": ""}], "url": "https://clevelandart.org/art/1980.32", "images": {}, "alternate_images": [], "creditline": "Gift of Ralph King, by exchange", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 150110, "creators": [{"id": 19173, "description": "Julio Gonz\u00e1lez (Spanish, 1876\u20131942)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1876", "death_year": "1942", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1980-05-23T00:00:00", "sortable_date": 1929, "date_added_to_oa": null, "date_text": "1929", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:12.755000"}, {"id": 135481, "accession_number": "1958.470", "share_license_status": "Copyrighted", "tombstone": "Helmet Head, 1952. Henry Moore (British, 1898\u20131986). Bronze; base: 2.6 x 16.5 x 10.2 cm (1 x 6 1/2 x 4 in.); without base: 16.5 cm (6 1/2 in.). The Cleveland Museum of Art, Gift of the Womens Council of the Cleveland Museum of Art, 1958.470. \u00a9 2010 The Henry Moore Foundation. All Rights Reserved / Artists Rights Society (ARS), New York\r\n", "current_location": "225 German Expressionism & Surrealism", "title": "Helmet Head", "creation_date": "1952", "creation_date_earliest": 1952, "creation_date_latest": 1952, "artists_tags": ["male"], "culture": ["England, 20th century"], "technique": "bronze", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Sculpture 1800-1960", "type": "Sculpture", "measurements": "Base: 2.6 x 16.5 x 10.2 cm (1 x 6 1/2 x 4 in.); without base: 16.5 cm (6 1/2 in.)", "dimensions": {"base": {"height": 0.026, "width": 0.165, "depth": 0.102}, "without base": {"height": 0.165}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 2010 The Henry Moore Foundation. All Rights Reserved / Artists Rights Society (ARS), New York\r\n", "inscriptions": [], "exhibitions": {"current": [{"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"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": ["1767.1958"], "did_you_know": null, "description": "British sculptor Henry Moore is known for his abstract bronze sculptures that evoke the human form. This small bronze sculpture is one of many \"helmet heads\" made by Moore throughout his career, reflecting his interest in visualizing the body as a protective shell. Here, the sculpture's armor-like head and shoulders appear to be embracing an empty void.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780902"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art, \u201cRecent Acquisition Press Release,\u201d February 25, 1959, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr0342"}, {"citation": "\u201cRecent Accessions Briefly Noted.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 46, no. 4 (April 1959): 60\u201361.", "page_number": "Reproduced: p. 60", "url": "http://www.jstor.org/stable/25142335"}, {"citation": "Calder, Alexander, Robert M\u00fcller, Reg Butler, and William D. Wixom. \u201cThree Contemporary Sculptures.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 49, no. 3 (March 1962): 60\u201363.", "page_number": "Mentioned and reproduced: p. 60-61, fig. 3", "url": "http://www.jstor.org/stable/25142500"}], "url": "https://clevelandart.org/art/1958.470", "images": {}, "alternate_images": [], "creditline": "Gift of the Womens Council of the Cleveland Museum of Art", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 135481, "creators": [{"id": 690, "description": "Henry Moore (British, 1898\u20131986)", "extent": null, "qualifier": null, "role": "artist", "biography": "Henry Moore British, 1898-1986\r\n\r\nBorn in Castleford, Yorkshire, Henry Moore was one of this century's most famous sculptors. Following studies at Leeds College of Art and the Royal College of Art in London, Moore began carving sculpture from stone and wood in the early 1920s. His work was first publicly exhibited in a 1924 group show at London's Redfern Gallery, and the following year he traveled through Europe on a scholarship from the Royal College of Art. Moore was given his first one-artist exhibition at London's Warren Gallery in 1928 and that same year received his first public commission (West Wind, a relief carving in stone for one of the facades of the city's new Underground Railway headquarters). By the early 1930s he had been named head of the new department of sculpture at the Chelsea School of Art in London, and in 1934 the first monograph devoted to his sculpture was published, Henry Moore: Sculpture.\r\n\tDuring the early years of his career, Moore began photographing his sculptures, creating images that generally served as straightforward records of completed pieces or as documents of works in progress. Some were more dramatic, employing an unusual viewpoint or strong, raking light to emphasize a piece's particular texture: stone, wood, lead, or bronze. Moore often worked on his sculpture outdoors, and most of his photographs are set outside as well. Photography sometimes proved a useful tool in helping him decide how a work should be sited (the best height for viewing or its proximity to a grove of trees, for example).\r\n\tOver the years, Moore produced hundreds of photographs, creating a personal document of his long career. A selection of these images was featured in Henry Moore's Photographs of His Sculpture, an exhibition organized by the San Francisco Museum of Modern Art (1985). The Cleveland Museum of Art also owns three sculptures by Moore. M.M.", "name_in_original_language": null, "birth_year": "1898", "death_year": "1986", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1958-12-19T00:00:00", "sortable_date": 1952, "date_added_to_oa": null, "date_text": "1952", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:37.419000"}, {"id": 156074, "accession_number": "1991.314.4", "share_license_status": "CC0", "tombstone": "Sugar Bowl, c. 1910. Louis Rorimer (American, 1872\u20131939), and Rokesley Shop (American). Silver, moonstones, ebony; overall: 9.7 x 22.4 x 12.7 cm (3 13/16 x 8 13/16 x 5 in.). The Cleveland Museum of Art, Gift in memory of Louis Rorimer from his daughter, Louise Rorimer Dushkin and his granddaughter, Edie Soeiro, 1991.314.4", "current_location": "228B Cleveland Artists", "title": "Sugar Bowl", "creation_date": "c. 1910", "creation_date_earliest": 1905, "creation_date_latest": 1915, "artists_tags": ["male", "Cleveland Institute of Art (faculty)", "Jewish artists", "May Show", "female"], "culture": ["America, Ohio, Cleveland"], "technique": "silver, moonstones, ebony", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Silver", "measurements": "Overall: 9.7 x 22.4 x 12.7 cm (3 13/16 x 8 13/16 x 5 in.)", "dimensions": {"overall": {"height": 0.097, "width": 0.224, "depth": 0.127}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 221961, "title": "Bringing Modernism Home:  Ohio Decorative Arts, 1890-1960", "description": "<i>Bringing Modernism Home:  Ohio Decorative Arts, 1890-1960</i>. Columbus Museum of Art, Columbus, OH (organizer) (January 28-April 17, 2005).", "opening_date": "2005-01-28T00:00:00"}], "legacy": []}, "provenance": [{"description": "Mrs. Louise Rorimer Dushkin, New York.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "This tea and coffee service was designed for production by the Rokesley Shop, a collaborative group working at Louis Rorimer\u2019s studio. Reacting against industrial mass production, Rorimer emphasized inventive design in finely crafted objects.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60760436"], "internet_archive": []}, "citations": [{"citation": "Johnston, Phillip M. <em>Catalogue of American Silver: The Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 1994.", "page_number": "mentioned & reproduced P 133", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=29477961"}, {"citation": "Robinson, William H., and David Steinberg. <em>Transformations in Cleveland Art, 1796-1946: Community and Diversity in Early Modern America</em>. Cleveland: Cleveland Museum of Art, 1996.", "page_number": "mentioned & reproduced PP 167 & 249", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=34410438"}, {"citation": "Boram-Hays, Carol Sue. <em>Bringing Modernism Home: Ohio Decorative Arts, 1890-1960</em>. Athens: Ohio University Press, 2005.", "page_number": "mentioned P 35, cat. no. 10", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=56599772"}], "url": "https://clevelandart.org/art/1991.314.4", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1991.314.4/1991.314.4_web.jpg", "width": "900", "height": "560", "filesize": "80413", "filename": "1991.314.4_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1991.314.4/1991.314.4_print.jpg", "width": "3400", "height": "2115", "filesize": "573611", "filename": "1991.314.4_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1991.314.4/1991.314.4_full.tif", "width": "5218", "height": "3246", "filesize": "50838496", "filename": "1991.314.4_full.tif"}}, "alternate_images": [{"date_created": "2007-12-05T16:24:08", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.314.4/1991.314.4_alt0_web.jpg", "width": "900", "height": "563", "filesize": "78847"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.314.4/1991.314.4_alt0_print.jpg", "width": "3400", "height": "2128", "filesize": "544696"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.314.4/1991.314.4_alt0_full.tif", "width": "5320", "height": "3330", "filesize": "53173660"}}], "creditline": "Gift in memory of Louis Rorimer from his daughter, Louise Rorimer Dushkin and his granddaughter, Edie Soeiro", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 156074, "creators": [{"id": 7373, "description": "Louis Rorimer (American, 1872\u20131939)", "extent": null, "qualifier": null, "role": "designed by", "biography": "Louis Rorimer was born Louis Rohrheimer in Cleveland to a German immigrant family. In the mid-1880s he studied at Cleveland\u2019s Manual Training School with sculptor Herman Matzen. Around the age of 16 Rorimer began taking classes at the Cleveland School of Art and later studied in Munich at the Kunstgewerbeschule, 1890\u201393, and in Paris at the \u00c9cole des Arts D\u00e9coratifs and the Acad\u00e9mie Julian, 1893\u201395. He returned to Cleveland in 1895, opening a design studio for handmade furniture and interior design the following year. From 1898 until his retirement in 1936, he taught decorative art and design at the Cleveland School of Art, where his students included Horace Potter, Max Kalish, Abel Warshawsky, Grace Kelly, and Charles Burchfield. Rorimer merged his studio with another interior design company in 1910 to form the Rorimer-Brooks Studios, a commercial workshop and gallery. He encouraged progressive artists to meet and display their works at his gallery, which from 1910 to 1912 mounted early exhibitions by Warshawsky, William Zorach, and the Cleveland \u201dsecessionists\u201d. In 1913 Rorimer was promoted to head of the design department at the Cleveland School of Art, and his work appeared in May Shows at the Cleveland Museum of Art (1919\u201328).<br><em>Transformations in Cleveland Art.</em> (CMA, 1996), p. 235", "name_in_original_language": null, "birth_year": "1872", "death_year": "1939", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 7376, "description": "Rokesley Shop (American)", "extent": null, "qualifier": "and", "role": "made at", "biography": "Rokesley Shop (Mary Blakeslee [1875-1964], Carolyn Hadlow [1878-1953], Ruth Smedley [1882-1920]).", "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1992-02-24T05:00:00Z", "sortable_date": 1905, "date_added_to_oa": null, "date_text": "c. 1910", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1991.314", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:13.986000"}, {"id": 140070, "accession_number": "1963.86", "share_license_status": "CC0", "tombstone": "Mountain Landscape with Fir Trees, 1918/19. Ernst Ludwig Kirchner (German, 1880\u20131938). Graphite and brush and black ink; sheet: 34.6 x 50.7 cm (13 5/8 x 19 15/16 in.). The Cleveland Museum of Art, Delia E. Holden and L. E. Holden Funds, 1963.86", "current_location": null, "title": "Mountain Landscape with Fir Trees", "creation_date": "1918/19", "creation_date_earliest": 1918, "creation_date_latest": 1919, "artists_tags": ["male"], "culture": ["Germany, 20th century"], "technique": "graphite and brush and black ink", "support_materials": [{"description": "cream(2) wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - German", "type": "Drawing", "measurements": "Sheet: 34.6 x 50.7 cm (13 5/8 x 19 15/16 in.)", "dimensions": {"sheet": {"height": 0.346, "width": 0.507}}, "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": 350592, "title": "Prints and Drawings, 1916-1965", "description": "<i>Prints and Drawings, 1916-1965</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 20-July 24, 1966).", "opening_date": "1966-05-20T04:00:00"}, {"id": 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": 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": 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": 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": 310264, "title": "Cross Section: Graphic Art in Germany after the First World War", "description": "<i>Cross Section: Graphic Art in Germany after the First World War</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 10, 1989-January 7, 1990).", "opening_date": "1989-10-10T04:00:00"}, {"id": 311557, "title": "The German Tradition", "description": "<i>The German Tradition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 27-June 27, 1993).", "opening_date": "1993-04-27T04:00:00"}, {"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"}], "legacy": []}, "provenance": [{"description": "Ernst Ludwig Kirchner, Berlin (Lugt 1570b (artist's estate stamp), verso, lower left, in violet ink; notation, by hand, within stamp, in black ink: PDa/Aa 30. [Galerie Wolfgang Ketterer, Stuttgart]", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Following his discharge from the military after a mental and physical breakdown in 1915, Ernst Ludwig Kirchner took refuge at a sanitarium near Davos, Switzerland. The alpine landscape provided a new focus for his work and became a metaphor for his spiritual regeneration. Kirchner sketched this scene with black ink swept over graphite. His viewpoint is one of self-absorption, from within the mountain range rather than from above, a subjective view with vigorous marks that imbue the scene with energy.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80037692"], "internet_archive": ["https://archive.org/details/clevelandart-1963.86-mountain-landscape-w"]}, "citations": [{"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 197", "url": "https://archive.org/details/CMAHandbook1966/page/n221"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 197", "url": "https://archive.org/details/CMAHandbook1969/page/n221"}, {"citation": "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"}], "url": "https://clevelandart.org/art/1963.86", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1963.86/1963.86_web.jpg", "width": "1263", "height": "862", "filesize": "248929", "filename": "1963.86_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1963.86/1963.86_print.jpg", "width": "3400", "height": "2320", "filesize": "1517207", "filename": "1963.86_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1963.86/1963.86_full.tif", "width": "5661", "height": "3863", "filesize": "65629356", "filename": "1963.86_full.tif"}}, "alternate_images": [], "creditline": "Delia E. Holden and L. E. Holden Funds", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 140070, "creators": [{"id": 3155, "description": "Ernst Ludwig Kirchner (German, 1880\u20131938)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1880", "death_year": "1938", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1963-02-09T00:00:00", "sortable_date": 1918, "date_added_to_oa": null, "date_text": "1918/19", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:36.493000"}, {"id": 152599, "accession_number": "1985.41", "share_license_status": "Copyrighted", "tombstone": "Wrapping It up at the Lafayette, 1974. Romare Bearden (American, 1912\u20131988). Collage, acrylic, and lacquer; framed: 123.3 x 93.4 x 6.7 cm (48 9/16 x 36 3/4 x 2 5/8 in.); unframed: 121.9 x 91.5 cm (48 x 36 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1985.41. \u00a9 Romare Bearden Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY", "current_location": null, "title": "Wrapping It up at the Lafayette", "creation_date": "1974", "creation_date_earliest": 1974, "creation_date_latest": 1974, "artists_tags": ["Black American Artists", "male"], "culture": ["America"], "technique": "collage, acrylic, and lacquer", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "measurements": "Framed: 123.3 x 93.4 x 6.7 cm (48 9/16 x 36 3/4 x 2 5/8 in.); Unframed: 121.9 x 91.5 cm (48 x 36 in.)", "dimensions": {"framed": {"height": 1.233, "width": 0.934, "depth": 0.067}, "unframed": {"height": 1.219, "width": 0.915}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Romare Bearden Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY", "inscriptions": [{"inscription": "Signed bottom right edge on orange background with a felt-tipped marker in a vertical orientation: rom/are bear/den", "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": 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": 177200, "title": "The Art of Romare Bearden (1911-1988)", "description": "<i>The Art of Romare Bearden (1911-1988)</i>. National Gallery of Art, Landover, MD (organizer) (September 14, 2003-January 4, 2004); San Francisco Museum of Modern Art, San Francisco, CA (February 7-May 16, 2004).", "opening_date": "2003-09-14T00:00:00"}, {"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": "\"Images of the Mind,\" CMA (July 7 - Aug. 23, 1987).", "opening_date": "1987-07-07T00:00:00"}, {"description": "\"Riffs and Takes, Music in the Art of Romare Bearden,\" North Carolina Museum of Art, Raleigh, NC, (Jan. 23 - April 2, 1988).", "opening_date": "1988-01-23T00:00:00"}, {"description": "\"Memory and Metaphor: The Art of Romare Bearden: 1940 - 1987,\" Carnegie Museum of Art, Pittsburgh, PA, (May 30 - July 26, 1992), National Museum of American Art, Washington, D.C., (Oct. 2, 1992 - Jan. 3, 1993).", "opening_date": "1992-05-30T00:00:00"}, {"description": "National Gallery of Art (9/14/2003 - 1/4/2004) and San Francisco Musuem of Art (2/7/2004 - 5/16/2004): \"The Art of Romare Bearden (1911-1988)\" exh. cat. no. 71, p. 77.", "opening_date": "2003-09-14T00:00:00"}, {"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. 111, p. 122.", "opening_date": "2006-06-09T00:00:00"}, {"description": "Main Gallery Rotation (Gallery 229): April 14, 2014 -", "opening_date": "2014-04-14T00:00:00"}]}, "provenance": [{"description": "(Cordier & Ekstrom, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "1985", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1985-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Coming of age in New York in the 1930s, Bearden was immersed in the cultural revolution of the Harlem Renaissance. His home was located across the street from Harlem\u2019s Lafayette Theatre, a hub for musicians such as Duke Ellington and Earl Hines. Bearden sought a way to translate the elements of jazz into visual art and discovered that collage was the ideal medium for capturing the spontaneity and improvisation of the genre, thus creating a lively visual rhythm.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60475695"], "internet_archive": []}, "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. 60; Mentioned: p. 64, no. 62", "url": "http://www.jstor.org/stable/25159930"}, {"citation": "Cleveland Museum of Art. <em>Images of the Mind.</em> Cleveland, Ohio: Cleveland Museum of Art, 1987.", "page_number": "Reproduced: [p. 31]", "url": ""}, {"citation": "Campbell, Mary Schmidt. <em>An American Odyssey: The Life and Work of Romare Bearden.</em> New York, NY: Oxford University Press, 2018.", "page_number": "Reproduced: p. [9]; color plate section", "url": null}], "url": "https://clevelandart.org/art/1985.41", "images": {}, "alternate_images": [], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 152599, "creators": [{"id": 3388, "description": "Romare Bearden (American, 1912\u20131988)", "extent": null, "qualifier": null, "role": "artist", "biography": "Bearden's birthdate has been given as 1911, 1912, or 1914. The Register of Deeds in Charlotte, North Carolina, his birthplace, record Bearden's date of birth as September 2, 1912.", "name_in_original_language": null, "birth_year": "1912", "death_year": "1988", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1985-03-25T00:00:00", "sortable_date": 1974, "date_added_to_oa": null, "date_text": "1974", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:04:36.160000"}, {"id": 161193, "accession_number": "1999.304.2", "share_license_status": "Copyrighted", "tombstone": "Gardener's Huts: My Huts, 1999. Fran\u00e7ois Houtin (French, 1950-). Etching; sheet: 37.7 x 28.3 cm (14 13/16 x 11 1/8 in.); platemark: 23.3 x 17.8 cm (9 3/16 x 7 in.). The Cleveland Museum of Art, Gift of Elizabeth Carroll Shearer in memory of Robert Lundie Shearer, 1999.304.2", "current_location": null, "title": "Gardener's Huts: My Huts", "creation_date": "1999", "creation_date_earliest": 1999, "creation_date_latest": 1999, "artists_tags": ["male"], "culture": ["France, 20th century"], "technique": "etching", "support_materials": [{"description": "Lana Royal watermarked wove paper", "watermarks": []}], "department": "Prints", "collection": "PR - Etching", "type": "Print", "measurements": "Sheet: 37.7 x 28.3 cm (14 13/16 x 11 1/8 in.); Platemark: 23.3 x 17.8 cm (9 3/16 x 7 in.)", "dimensions": {"sheet": {"height": 0.377, "width": 0.283}, "platemark": {"height": 0.233, "width": 0.178}}, "state_of_the_work": null, "edition_of_the_work": "60", "copyright": null, "inscriptions": [{"inscription": "in graphite: numbered XIX/LX; titled Mes Cabanes; signed and dated Houtin '99", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"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": null, "description": "Houtin, a landscape architect, also makes etchings of utopian gardens. In this suite of 14 prints he invented charming gardener sheds that blend nature and architecture into delightful, imaginative follies.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79983634"], "internet_archive": []}, "citations": [], "catalogue_raisonne": "Armstrong+Broutta 282", "url": "https://clevelandart.org/art/1999.304.2", "images": {}, "alternate_images": [], "creditline": "Gift of Elizabeth Carroll Shearer in memory of Robert Lundie Shearer", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 161193, "creators": [{"id": 11174, "description": "Fran\u00e7ois Houtin (French, 1950-)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1950", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2000-03-15T00:00:00", "sortable_date": 1999, "date_added_to_oa": null, "date_text": "1999", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1999.304", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:25.850000"}, {"id": 169377, "accession_number": "2011.229", "share_license_status": "Copyrighted", "tombstone": "Neu-Birnau, 1929. Ilse Bing (American, 1899\u20131998). Gelatin silver print; image: 16.2 x 12.2 cm (6 3/8 x 4 13/16 in.); paper: 17.8 x 13 cm (7 x 5 1/8 in.); matted: 45.7 x 35.6 cm (18 x 14 in.). The Cleveland Museum of Art, Gift of George Stephanopoulos, 2011.229. \u00a9 Estate of Ilse Bing", "current_location": null, "title": "Neu-Birnau", "creation_date": "1929", "creation_date_earliest": 1929, "creation_date_latest": 1929, "artists_tags": ["female", "Jewish artists"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 16.2 x 12.2 cm (6 3/8 x 4 13/16 in.); Paper: 17.8 x 13 cm (7 x 5 1/8 in.); Matted: 45.7 x 35.6 cm (18 x 14 in.)", "dimensions": {"image": {"height": 0.162, "width": 0.122}, "paper": {"height": 0.178, "width": 0.13}, "matted": {"height": 0.457, "width": 0.356}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of Ilse Bing", "inscriptions": [{"inscription": "Gelatin silver print\r\nWritten in pencil on verso: \"IB-EAR-165/IB-EAR-165/60/3000-/Neu Birnau\"\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 370361, "title": "Ilse Bing: Queen of the Leica", "description": "<i>Ilse Bing: Queen of the Leica</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 6-October 11, 2020).", "opening_date": "2020-03-06T05:00:00"}], "legacy": []}, "provenance": [{"description": "George Stephanopoulos", "citations": [], "footnotes": [], "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "This entryway is part of Neu-Birnau, a small pilgrimage church built in 1745\u201351 on the Austrian shore of Lake Constance. The dramatic framing of the water through the door and the print\u2019s soft focus and warm tones mimic the aesthetic of Pictorialism, a turn-of-the-20th-century photographic style that argued for the acceptance of photography as a fine art. By 1929 that style had been superseded in fine art photography circles by the modernist aesthetic, which called for sharp focus, geometric compositions, and a more neutral, gray palette.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80076609"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2011.229", "images": {}, "alternate_images": [], "creditline": "Gift of George Stephanopoulos", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 169377, "creators": [{"id": 235, "description": "Ilse Bing (American, 1899\u20131998)", "extent": null, "qualifier": null, "role": "artist", "biography": "Ilse Bing (American, b. Germany, 1899-1998). Ilse Bing became interested in photography while pursuing a doctoral degree in art history at Frankfurt University. Around 1927-28 she began taking photographs to illustrate her dissertation and in 1930 decided to move to Paris to look for freelance assignments. Using the new 35mm Leica camera, she worked as a fashion, portrait, and architectural photographer, as well as a photojournalist. During her years in Paris she took part in numerous exhibitions, including the Museum of Modern Art's Photography 1839-1937 show in New York. In 1941 Bing and her husband immigrated to the United States, settling in New York City. In New York she began to work on a different scale, using the larger-format Rolleiflex camera as well as electronic flash. By 1957 she was working exclusively in color. Two years later Bing gave up photography to concentrate on painting and poetry.", "name_in_original_language": null, "birth_year": "1899", "death_year": "1998", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2011-12-05T00:00:00", "sortable_date": 1929, "date_added_to_oa": null, "date_text": "1929", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:59.079000"}, {"id": 170212, "accession_number": "2012.391", "share_license_status": "Copyrighted", "tombstone": "Hippopotamus, NYC, 1936. Ilse Bing (American, 1899\u20131998). Gelatin silver print; image: 21.3 x 28.3 cm (8 3/8 x 11 1/8 in.); mounted: 25.3 x 30.1 cm (9 15/16 x 11 7/8 in.); paper: 21.3 x 28.3 cm (8 3/8 x 11 1/8 in.); matted: 40.6 x 50.8 cm (16 x 20 in.). The Cleveland Museum of Art, Gift of George Stephanopoulos, 2012.391. \u00a9 Estate of Ilse Bing", "current_location": null, "title": "Hippopotamus, NYC", "creation_date": "1936", "creation_date_earliest": 1936, "creation_date_latest": 1936, "artists_tags": ["female", "Jewish artists"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 21.3 x 28.3 cm (8 3/8 x 11 1/8 in.); Mounted: 25.3 x 30.1 cm (9 15/16 x 11 7/8 in.); Paper: 21.3 x 28.3 cm (8 3/8 x 11 1/8 in.); Matted: 40.6 x 50.8 cm (16 x 20 in.)", "dimensions": {"image": {"height": 0.213, "width": 0.283}, "mounted": {"height": 0.253, "width": 0.301}, "paper": {"height": 0.213, "width": 0.283}, "matted": {"height": 0.406, "width": 0.508}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of Ilse Bing", "inscriptions": [{"inscription": "Written in black ink on recto of image in upper right hand corner: \"ILSE BING/1936\"\r\nWritten in pencil on verso of mount: \"(unidentified marking) 6500 [86-26-C3] IB-NYC-159.2\"\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 370361, "title": "Ilse Bing: Queen of the Leica", "description": "<i>Ilse Bing: Queen of the Leica</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 6-October 11, 2020).", "opening_date": "2020-03-06T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Ilse Bing delighted in walking through and photographing in Central Park. Its zoo, which was modernized in 1934, was a source of civic pride and enjoyment. Rose, its much-beloved hippopotamus, was brought there in 1930. In this portrait, she is 12 years old.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80078572"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2012.391", "images": {}, "alternate_images": [], "creditline": "Gift of George Stephanopoulos", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 170212, "creators": [{"id": 235, "description": "Ilse Bing (American, 1899\u20131998)", "extent": null, "qualifier": null, "role": "artist", "biography": "Ilse Bing (American, b. Germany, 1899-1998). Ilse Bing became interested in photography while pursuing a doctoral degree in art history at Frankfurt University. Around 1927-28 she began taking photographs to illustrate her dissertation and in 1930 decided to move to Paris to look for freelance assignments. Using the new 35mm Leica camera, she worked as a fashion, portrait, and architectural photographer, as well as a photojournalist. During her years in Paris she took part in numerous exhibitions, including the Museum of Modern Art's Photography 1839-1937 show in New York. In 1941 Bing and her husband immigrated to the United States, settling in New York City. In New York she began to work on a different scale, using the larger-format Rolleiflex camera as well as electronic flash. By 1957 she was working exclusively in color. Two years later Bing gave up photography to concentrate on painting and poetry.", "name_in_original_language": null, "birth_year": "1899", "death_year": "1998", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2012-12-03T00:00:00", "sortable_date": 1936, "date_added_to_oa": null, "date_text": "1936", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:25.054000"}, {"id": 170216, "accession_number": "2012.395", "share_license_status": "Copyrighted", "tombstone": "Self-Portrait, 1945. Ilse Bing (American, 1899\u20131998). Gelatin silver print; image: 33.9 x 26.5 cm (13 3/8 x 10 7/16 in.); mounted: 50.7 x 40.5 cm (19 15/16 x 15 15/16 in.); paper: 33.9 x 26.5 cm (13 3/8 x 10 7/16 in.). The Cleveland Museum of Art, Gift of George Stephanopoulos, 2012.395. \u00a9 Estate of Ilse Bing", "current_location": null, "title": "Self-Portrait", "creation_date": "1945", "creation_date_earliest": 1945, "creation_date_latest": 1945, "artists_tags": ["female", "Jewish artists"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 33.9 x 26.5 cm (13 3/8 x 10 7/16 in.); Mounted: 50.7 x 40.5 cm (19 15/16 x 15 15/16 in.); Paper: 33.9 x 26.5 cm (13 3/8 x 10 7/16 in.)", "dimensions": {"image": {"height": 0.339, "width": 0.265}, "mounted": {"height": 0.507, "width": 0.405}, "paper": {"height": 0.339, "width": 0.265}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of Ilse Bing", "inscriptions": [{"inscription": "Written in black marker in upper right corner of recto: \"ILSE BING (signed)/1945\"\r\nWritten in pencil on verso of mount: \"6500 [940-297-E15] IB-SPT-031.2\"\r\nWritten in pencil on verso of mount: \"ILSE/BING (signed)/1945\"\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 370361, "title": "Ilse Bing: Queen of the Leica", "description": "<i>Ilse Bing: Queen of the Leica</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 6-October 11, 2020).", "opening_date": "2020-03-06T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Living in New York provoked a stylistic shift in Ilse Bing\u2019s work. The city\u2019s \u201cclear and differentiating light, which [made her] see things in sharp detail,\u201d inspired brighter and larger prints. Her compositions separated the forms from each other. Bing attributed these changes to a sense of isolation, which is mirrored in these self-portraits. Living in New York, she said, was like being \u201cin a vacuum . . . looking out on the world as if from inside a space capsule.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80078581"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2012.395", "images": {}, "alternate_images": [], "creditline": "Gift of George Stephanopoulos", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 170216, "creators": [{"id": 235, "description": "Ilse Bing (American, 1899\u20131998)", "extent": null, "qualifier": null, "role": "artist", "biography": "Ilse Bing (American, b. Germany, 1899-1998). Ilse Bing became interested in photography while pursuing a doctoral degree in art history at Frankfurt University. Around 1927-28 she began taking photographs to illustrate her dissertation and in 1930 decided to move to Paris to look for freelance assignments. Using the new 35mm Leica camera, she worked as a fashion, portrait, and architectural photographer, as well as a photojournalist. During her years in Paris she took part in numerous exhibitions, including the Museum of Modern Art's Photography 1839-1937 show in New York. In 1941 Bing and her husband immigrated to the United States, settling in New York City. In New York she began to work on a different scale, using the larger-format Rolleiflex camera as well as electronic flash. By 1957 she was working exclusively in color. Two years later Bing gave up photography to concentrate on painting and poetry.", "name_in_original_language": null, "birth_year": "1899", "death_year": "1998", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2012-12-03T00:00:00", "sortable_date": 1945, "date_added_to_oa": null, "date_text": "1945", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:27.141000"}, {"id": 171775, "accession_number": "2014.525", "share_license_status": "Copyrighted", "tombstone": "Tree, 1955. Ilse Bing (American, 1899\u20131998). Gelatin silver print; image: 43 x 40.4 cm (16 15/16 x 15 7/8 in.); paper: 50.4 x 40.4 cm (19 13/16 x 15 7/8 in.). The Cleveland Museum of Art, Gift of George Stephanopoulos, 2014.525. \u00a9 Estate of Ilse Bing", "current_location": null, "title": "Tree", "creation_date": "1955", "creation_date_earliest": 1950, "creation_date_latest": 1960, "artists_tags": ["female", "Jewish artists"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1951-Present", "type": "Photograph", "measurements": "Image: 43 x 40.4 cm (16 15/16 x 15 7/8 in.); Paper: 50.4 x 40.4 cm (19 13/16 x 15 7/8 in.)", "dimensions": {"image": {"height": 0.43, "width": 0.404}, "paper": {"height": 0.504, "width": 0.404}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of Ilse Bing", "inscriptions": [{"inscription": "On the recto white margin, written in pencil: \" HH / 50 ( 5B) \".\nOn the verso, written in pencil: \"ILSE/BING/1955\"/[ 2020-731-22]\"/ \" IB-LAN-015.2]/ \"4500\"/ \" 50/58\"(?).", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 370361, "title": "Ilse Bing: Queen of the Leica", "description": "<i>Ilse Bing: Queen of the Leica</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 6-October 11, 2020).", "opening_date": "2020-03-06T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "It is tempting to interpret this desiccated tree as foretelling Ilse Bing\u2019s decision to give up photography in 1959 at age 60. \u201cI had nothing more to say. . . . I did not want to repeat myself.\u201d For three years she made films, but the medium was too costly. In 1962 she channeled her artistic energies into drawing, collage, and writing poetry. To earn a living, Bing became a dog groomer. After her art was rediscovered in the mid-1970s, she was able to enjoy two decades back in the art world spotlight. Bing died in New York City two weeks before a retrospective exhibition that was to open on her 99th birthday.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80082645"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2014.525", "images": {}, "alternate_images": [], "creditline": "Gift of George Stephanopoulos", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 171775, "creators": [{"id": 235, "description": "Ilse Bing (American, 1899\u20131998)", "extent": null, "qualifier": null, "role": "artist", "biography": "Ilse Bing (American, b. Germany, 1899-1998). Ilse Bing became interested in photography while pursuing a doctoral degree in art history at Frankfurt University. Around 1927-28 she began taking photographs to illustrate her dissertation and in 1930 decided to move to Paris to look for freelance assignments. Using the new 35mm Leica camera, she worked as a fashion, portrait, and architectural photographer, as well as a photojournalist. During her years in Paris she took part in numerous exhibitions, including the Museum of Modern Art's Photography 1839-1937 show in New York. In 1941 Bing and her husband immigrated to the United States, settling in New York City. In New York she began to work on a different scale, using the larger-format Rolleiflex camera as well as electronic flash. By 1957 she was working exclusively in color. Two years later Bing gave up photography to concentrate on painting and poetry.", "name_in_original_language": null, "birth_year": "1899", "death_year": "1998", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2014-12-01T00:00:00", "sortable_date": 1950, "date_added_to_oa": null, "date_text": "1955", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Reaching Tree"], "is_highlight": false, "updated_at": "2026-03-27 00:09:56.928000"}, {"id": 171777, "accession_number": "2014.527", "share_license_status": "Copyrighted", "tombstone": "Greco Shoes, 1934. Ilse Bing (American, 1899\u20131998). Gelatin silver print; image: 22.3 x 28.2 cm (8 3/4 x 11 1/8 in.); mounted: 34.8 x 41.7 cm (13 11/16 x 16 7/16 in.); paper: 22.3 x 28.2 cm (8 3/4 x 11 1/8 in.). The Cleveland Museum of Art, Gift of George Stephanopoulos, 2014.527. \u00a9 Estate of Ilse Bing", "current_location": null, "title": "Greco Shoes", "creation_date": "1934", "creation_date_earliest": 1929, "creation_date_latest": 1939, "artists_tags": ["female", "Jewish artists"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 22.3 x 28.2 cm (8 3/4 x 11 1/8 in.); Mounted: 34.8 x 41.7 cm (13 11/16 x 16 7/16 in.); Paper: 22.3 x 28.2 cm (8 3/4 x 11 1/8 in.)", "dimensions": {"image": {"height": 0.223, "width": 0.282}, "mounted": {"height": 0.348, "width": 0.417}, "paper": {"height": 0.223, "width": 0.282}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of Ilse Bing", "inscriptions": [{"inscription": "Recto: On bottom left corner of image, printed by artist, in white: \" ILSE BING/1934\".\nImprinted in black type, on recto of mount: \"ILSE BING/PARIS/1934\".\nVerso: Commercially imprinted throughout the verso of photo paper: \" Agfa Brovira \".\nOn verso of photo, a red circle drawn.\nOn recto of mount, written in pencil: \" Greco\".\nVerso of mount, written in pencil: \"[1195428D77]\".\nVerso of mount, written in pencil: \"2\" or and \"N\".(?)", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 370361, "title": "Ilse Bing: Queen of the Leica", "description": "<i>Ilse Bing: Queen of the Leica</i>. 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Preferring a natural look, she avoided bright spots and deep shadows in favor of gently modeled highlights that emphasized the objects\u2019 sculptural shapes while revealing their polished surfaces.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80082649"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2014.527", "images": {}, "alternate_images": [], "creditline": "Gift of George Stephanopoulos", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 171777, "creators": [{"id": 235, "description": "Ilse Bing (American, 1899\u20131998)", "extent": null, "qualifier": null, "role": "artist", "biography": "Ilse Bing (American, b. Germany, 1899-1998). Ilse Bing became interested in photography while pursuing a doctoral degree in art history at Frankfurt University. 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Two years later Bing gave up photography to concentrate on painting and poetry.", "name_in_original_language": null, "birth_year": "1899", "death_year": "1998", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2014-12-01T00:00:00", "sortable_date": 1929, "date_added_to_oa": null, "date_text": "1934", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:07:13.276000"}, {"id": 171779, "accession_number": "2014.529", "share_license_status": "Copyrighted", "tombstone": "Schiaparelli, Satin Dress (Detail), 1933. Ilse Bing (American, 1899\u20131998). Gelatin silver print; image: 28.1 x 22.2 cm (11 1/16 x 8 3/4 in.); mounted: 41.5 x 34.5 cm (16 5/16 x 13 9/16 in.); paper: 28.1 x 22.2 cm (11 1/16 x 8 3/4 in.). The Cleveland Museum of Art, Gift of George Stephanopoulos, 2014.529. \u00a9 Estate of Ilse Bing", "current_location": null, "title": "Schiaparelli, Satin Dress (Detail)", "creation_date": "1933", "creation_date_earliest": 1928, "creation_date_latest": 1938, "artists_tags": ["female", "Jewish artists"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 28.1 x 22.2 cm (11 1/16 x 8 3/4 in.); Mounted: 41.5 x 34.5 cm (16 5/16 x 13 9/16 in.); Paper: 28.1 x 22.2 cm (11 1/16 x 8 3/4 in.)", "dimensions": {"image": {"height": 0.281, "width": 0.222}, "mounted": {"height": 0.415, "width": 0.345}, "paper": {"height": 0.281, "width": 0.222}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of Ilse Bing", "inscriptions": [{"inscription": "On recto, top left of photo image, printed by artist, in black: \" ILSE BING/1933\".\nCommercially imprinted on verso of photo paper: \" Agfa Brovira \".\nOn recto of mount, written in pencil:\" modele Schiaparelli\"\nRecto of  mount, black ink stamp: \"ILSE BING/PARIS/1933\".\nOn recto of mount, written in pencil: \"IB14132\".\nOn verso of mount, written in pencil : \" Schiaparelli \".", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 370361, "title": "Ilse Bing: Queen of the Leica", "description": "<i>Ilse Bing: Queen of the Leica</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 6-October 11, 2020).", "opening_date": "2020-03-06T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "The evening dress seen here was by Elsa Schiaparelli, one of the most prominent Parisian clothing designers between the World Wars. The two women met in fall 1933 and worked together through 1934. Both strong-minded, successful women, they also shared affinities for Surrealism and fantasy. In both views of the dress, Bing emphasizes the silhouette of the puffs at the shoulder, which were a hallmark of Schiaparelli\u2019s fall 1933 collection, and the glistening, sleek fabric.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80082652"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2014.529", "images": {}, "alternate_images": [], "creditline": "Gift of George Stephanopoulos", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 171779, "creators": [{"id": 235, "description": "Ilse Bing (American, 1899\u20131998)", "extent": null, "qualifier": null, "role": "artist", "biography": "Ilse Bing (American, b. Germany, 1899-1998). Ilse Bing became interested in photography while pursuing a doctoral degree in art history at Frankfurt University. 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Two years later Bing gave up photography to concentrate on painting and poetry.", "name_in_original_language": null, "birth_year": "1899", "death_year": "1998", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2014-12-01T00:00:00", "sortable_date": 1928, "date_added_to_oa": null, "date_text": "1933", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:05:46.406000"}, {"id": 86212, "accession_number": "2015.247", "share_license_status": "Copyrighted", "tombstone": "Schiaparelli, Satin Dress, 1933. Ilse Bing (American, 1899\u20131998). Gelatin silver print; paper: 28.3 x 15 cm (11 1/8 x 5 7/8 in.). The Cleveland Museum of Art, Gift of George Stephanopoulos, 2015.247. \u00a9 Estate of Ilse Bing", "current_location": null, "title": "Schiaparelli, Satin Dress", "creation_date": "1933", "creation_date_earliest": 1933, "creation_date_latest": 1933, "artists_tags": ["female", "Jewish artists"], "culture": ["America"], "technique": "Gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1951-Present", "type": "Photograph", "measurements": "Paper: 28.3 x 15 cm (11 1/8 x 5 7/8 in.)", "dimensions": {"paper": {"height": 0.283, "width": 0.15}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of Ilse Bing", "inscriptions": [{"inscription": "Signed and dated recto; title, credit and date mount recto", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 370361, "title": "Ilse Bing: Queen of the Leica", "description": "<i>Ilse Bing: Queen of the Leica</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 6-October 11, 2020).", "opening_date": "2020-03-06T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "The evening dress seen here was by Elsa Schiaparelli, one of the most prominent Parisian clothing designers between the World Wars. The two women met in fall 1933 and worked together through 1934. Both strong-minded, successful women, they also shared affinities for Surrealism and fantasy. In both views of the dress, Bing emphasizes the silhouette of the puffs at the shoulder, which were a hallmark of Schiaparelli\u2019s fall 1933 collection, and the glistening, sleek fabric.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79472391"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2015.247", "images": {}, "alternate_images": [], "creditline": "Gift of George Stephanopoulos", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 86212, "creators": [{"id": 235, "description": "Ilse Bing (American, 1899\u20131998)", "extent": null, "qualifier": null, "role": "artist", "biography": "Ilse Bing (American, b. Germany, 1899-1998). Ilse Bing became interested in photography while pursuing a doctoral degree in art history at Frankfurt University. 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Two years later Bing gave up photography to concentrate on painting and poetry.", "name_in_original_language": null, "birth_year": "1899", "death_year": "1998", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2015-12-07T00:00:00", "sortable_date": 1933, "date_added_to_oa": null, "date_text": "1933", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-26 23:59:43.435000"}, {"id": 86213, "accession_number": "2015.248", "share_license_status": "Copyrighted", "tombstone": "Andr\u00e9 Perugia  Shoes with Ankle Strap, 1934. Ilse Bing (American, 1899\u20131998). Gelatin silver print; paper: 22.3 x 28.3 cm (8 3/4 x 11 1/8 in.). The Cleveland Museum of Art, Gift of George Stephanopoulos, 2015.248. \u00a9 Estate of Ilse Bing", "current_location": null, "title": "Andr\u00e9 Perugia  Shoes with Ankle Strap", "creation_date": "1934", "creation_date_earliest": 1934, "creation_date_latest": 1934, "artists_tags": ["female", "Jewish artists"], "culture": ["America"], "technique": "Gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1951-Present", "type": "Photograph", "measurements": "Paper: 22.3 x 28.3 cm (8 3/4 x 11 1/8 in.)", "dimensions": {"paper": {"height": 0.223, "width": 0.283}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of Ilse Bing", "inscriptions": [{"inscription": "Signed and dated recto; title, credit, date, and annotation \"Avec la permission de la Maison Padova\" on mount recto", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 370361, "title": "Ilse Bing: Queen of the Leica", "description": "<i>Ilse Bing: Queen of the Leica</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 6-October 11, 2020).", "opening_date": "2020-03-06T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Ilse Bing\u2019s assignment from a Frankfurt newspaper to cover the couture ball in Paris led to commissions from designers and fashion magazines, including French <em>Vogue.</em> In November 1933 she began doing all the Paris accessory shoots for the American magazine <em>Harper\u2019s Bazaar.</em> Although the Leica was associated with candid photography, she used it in the studio to create staged still lifes of shoes, jewelry, handbags, and belts, and occasionally views of shoes on a model\u2019s feet. Accustomed to using available light, Bing had to master artificial lighting. Preferring a natural look, she avoided bright spots and deep shadows in favor of gently modeled highlights that emphasized the objects\u2019 sculptural shapes while revealing their polished surfaces.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79472395"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2015.248", "images": {}, "alternate_images": [], "creditline": "Gift of George Stephanopoulos", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 86213, "creators": [{"id": 235, "description": "Ilse Bing (American, 1899\u20131998)", "extent": null, "qualifier": null, "role": "artist", "biography": "Ilse Bing (American, b. Germany, 1899-1998). Ilse Bing became interested in photography while pursuing a doctoral degree in art history at Frankfurt University. Around 1927-28 she began taking photographs to illustrate her dissertation and in 1930 decided to move to Paris to look for freelance assignments. Using the new 35mm Leica camera, she worked as a fashion, portrait, and architectural photographer, as well as a photojournalist. During her years in Paris she took part in numerous exhibitions, including the Museum of Modern Art's Photography 1839-1937 show in New York. In 1941 Bing and her husband immigrated to the United States, settling in New York City. In New York she began to work on a different scale, using the larger-format Rolleiflex camera as well as electronic flash. By 1957 she was working exclusively in color. Two years later Bing gave up photography to concentrate on painting and poetry.", "name_in_original_language": null, "birth_year": "1899", "death_year": "1998", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2015-12-07T00:00:00", "sortable_date": 1934, "date_added_to_oa": null, "date_text": "1934", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:02:47.982000"}, {"id": 291352, "accession_number": "2016.453", "share_license_status": "Copyrighted", "tombstone": "Two-Toned Paul Bernard Shoes against Burlap Background, 1934. Ilse Bing (American, 1899\u20131998). Vintage gelatin silver print; image: 22.3 x 28.3 cm (8 3/4 x 11 1/8 in.); paper: 22.3 x 28.3 cm (8 3/4 x 11 1/8 in.); mounted: 34.8 x 41.6 cm (13 11/16 x 16 3/8 in.). The Cleveland Museum of Art, Gift of George Stephanopoulos, 2016.453. \u00a9 Estate of Ilse Bing", "current_location": null, "title": "Two-Toned Paul Bernard Shoes against Burlap Background", "creation_date": "1934", "creation_date_earliest": 1934, "creation_date_latest": 1934, "artists_tags": ["female"], "culture": ["America"], "technique": "vintage gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 22.3 x 28.3 cm (8 3/4 x 11 1/8 in.); Paper: 22.3 x 28.3 cm (8 3/4 x 11 1/8 in.); Mounted: 34.8 x 41.6 cm (13 11/16 x 16 3/8 in.)", "dimensions": {"image": {"height": 0.223, "width": 0.283}, "paper": {"height": 0.223, "width": 0.283}, "mounted": {"height": 0.348, "width": 0.416}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of Ilse Bing", "inscriptions": [{"inscription": "Commercially imprinted throughout verso of photograph: \u201cAgfa-Brovira\u201d\nWritten in black ink on recto of photograph: \u201cIlse Bing/1934\u201d\nStamped in black ink on recto of mount: \u201cILSE BING/PARIS/1934\u201d\nWritten in pencil on verso of mount: \u201cPaul Bernard\u201d", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 370361, "title": "Ilse Bing: Queen of the Leica", "description": "<i>Ilse Bing: Queen of the Leica</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 6-October 11, 2020).", "opening_date": "2020-03-06T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Ilse Bing\u2019s assignment from a Frankfurt newspaper to cover the couture ball in Paris led to commissions from designers and fashion magazines, including French <em>Vogue.</em> In November 1933 she began doing all the Paris accessory shoots for the American magazine <em>Harper\u2019s Bazaar.</em> Although the Leica was associated with candid photography, she used it in the studio to create staged still lifes of shoes, jewelry, handbags, and belts, and occasionally views of shoes on a model\u2019s feet. Accustomed to using available light, Bing had to master artificial lighting. Preferring a natural look, she avoided bright spots and deep shadows in favor of gently modeled highlights that emphasized the objects\u2019 sculptural shapes while revealing their polished surfaces.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79870871"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2016.453", "images": {}, "alternate_images": [], "creditline": "Gift of George Stephanopoulos", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 291352, "creators": [{"id": 291349, "description": "Ilse Bing (American, 1899\u20131998)", "extent": null, "qualifier": null, "role": "artist", "biography": "American and German photographer, born 1899 or 1900, died 1998", "name_in_original_language": null, "birth_year": "1899", "death_year": "1998", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2016-12-05T00:00:00-05:00", "sortable_date": 1934, "date_added_to_oa": null, "date_text": "1934", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:29.445000"}, {"id": 291357, "accession_number": "2016.458", "share_license_status": "Copyrighted", "tombstone": "Portrait of a Shade, 1953. Ilse Bing (American, 1899\u20131998). Vintage gelatin silver print; image: 50.4 x 40.5 cm (19 13/16 x 15 15/16 in.); paper: 50.4 x 40.5 cm (19 13/16 x 15 15/16 in.). The Cleveland Museum of Art, Gift of George Stephanopoulos, 2016.458. \u00a9 Estate of Ilse Bing", "current_location": null, "title": "Portrait of a Shade", "creation_date": "1953", "creation_date_earliest": 1953, "creation_date_latest": 1953, "artists_tags": ["female"], "culture": ["America"], "technique": "vintage gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1951-Present", "type": "Photograph", "measurements": "Image: 50.4 x 40.5 cm (19 13/16 x 15 15/16 in.); Paper: 50.4 x 40.5 cm (19 13/16 x 15 15/16 in.)", "dimensions": {"image": {"height": 0.504, "width": 0.405}, "paper": {"height": 0.504, "width": 0.405}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of Ilse Bing", "inscriptions": [{"inscription": "Written in pencil on verso: \u201c[illegible scribbles]\u201d\nWritten in pencil on verso: \u201cILSE/BING/1953\u201d\nWritten in pencil on verso: \u201c7000 6-5 10/13 750-256-E7 IB-LRG-028\u201d", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 370361, "title": "Ilse Bing: Queen of the Leica", "description": "<i>Ilse Bing: Queen of the Leica</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 6-October 11, 2020).", "opening_date": "2020-03-06T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "While a striking study of light and shadow, this work also has an emotional component. Bing\u2019s sense of isolation and alienation in New York can be intuited from this view of a window that reveals nothing of the outside world.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79870896"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2016.458", "images": {}, "alternate_images": [], "creditline": "Gift of George Stephanopoulos", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 291357, "creators": [{"id": 291349, "description": "Ilse Bing (American, 1899\u20131998)", "extent": null, "qualifier": null, "role": "artist", "biography": "American and German photographer, born 1899 or 1900, died 1998", "name_in_original_language": null, "birth_year": "1899", "death_year": "1998", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2016-12-05T00:00:00-05:00", "sortable_date": 1953, "date_added_to_oa": null, "date_text": "1953", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Study of blinds and shadows"], "is_highlight": false, "updated_at": "2026-03-27 00:10:48.201000"}, {"id": 322060, "accession_number": "2018.387", "share_license_status": "Copyrighted", "tombstone": "Shoe against Dark Background for Harper's Bazaar, 1934. Ilse Bing (American, 1899\u20131998). Gelatin silver print; paper: 35 x 41.8 cm (13 3/4 x 16 7/16 in.); image: 18.1 x 28.3 cm (7 1/8 x 11 1/8 in.). The Cleveland Museum of Art, Gift of George Stephanopoulos, 2018.387. \u00a9 Estate of Ilse Bing", "current_location": null, "title": "Shoe against Dark Background for Harper's Bazaar", "creation_date": "1934", "creation_date_earliest": 1934, "creation_date_latest": 1934, "artists_tags": ["female"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Paper: 35 x 41.8 cm (13 3/4 x 16 7/16 in.); Image: 18.1 x 28.3 cm (7 1/8 x 11 1/8 in.)", "dimensions": {"image": {"height": 0.181, "width": 0.283}, "paper": {"height": 0.35, "width": 0.418}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of Ilse Bing", "inscriptions": [{"inscription": "Stamped in black ink on recto of tan colored mounting paper: \"ILSE BING/ PARIS/ 1934\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Written in pencil on recto of tan colored mounting paper: \"Pour/ 'Harper's Bazar'\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Written in pencil inside mat: \"IB-FAS-30   8K  005  3/13\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Written in red colored pencil on verso: \"O\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Commercially imprinted throughout on verso: \"Afga-Brovira\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Written in pencil on verso of tan colored mounting paper: \"[1222-441-D7]\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 370361, "title": "Ilse Bing: Queen of the Leica", "description": "<i>Ilse Bing: Queen of the Leica</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 6-October 11, 2020).", "opening_date": "2020-03-06T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Ilse Bing\u2019s assignment from a Frankfurt newspaper to cover the couture ball in Paris led to commissions from designers and fashion magazines, including French <em>Vogue.</em> In November 1933 she began doing all the Paris accessory shoots for the American magazine <em>Harper\u2019s Bazaar.</em> Although the Leica was associated with candid photography, she used it in the studio to create staged still lifes of shoes, jewelry, handbags, and belts, and occasionally views of shoes on a model\u2019s feet. Accustomed to using available light, Bing had to master artificial lighting. Preferring a natural look, she avoided bright spots and deep shadows in favor of gently modeled highlights that emphasized the objects\u2019 sculptural shapes while revealing their polished surfaces.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79874751"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2018.387", "images": {}, "alternate_images": [], "creditline": "Gift of George Stephanopoulos", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 322060, "creators": [{"id": 291349, "description": "Ilse Bing (American, 1899\u20131998)", "extent": null, "qualifier": null, "role": "artist", "biography": "American and German photographer, born 1899 or 1900, died 1998", "name_in_original_language": null, "birth_year": "1899", "death_year": "1998", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2018-12-03T00:00:00-05:00", "sortable_date": 1934, "date_added_to_oa": null, "date_text": "1934", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:04:53.605000"}, {"id": 322061, "accession_number": "2018.388", "share_license_status": "Copyrighted", "tombstone": "Close-up of Fashion Model's Shoes, 1934. Ilse Bing (American, 1899\u20131998). Gelatin silver print; image: 28.2 x 20 cm (11 1/8 x 7 7/8 in.); paper: 28.2 x 20 cm (11 1/8 x 7 7/8 in.); mounted: 41.9 x 34.7 cm (16 1/2 x 13 11/16 in.). The Cleveland Museum of Art, Gift of George Stephanopoulos, 2018.388. \u00a9 Estate of Ilse Bing", "current_location": null, "title": "Close-up of Fashion Model's Shoes", "creation_date": "1934", "creation_date_earliest": 1934, "creation_date_latest": 1934, "artists_tags": ["female"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 28.2 x 20 cm (11 1/8 x 7 7/8 in.); Paper: 28.2 x 20 cm (11 1/8 x 7 7/8 in.); Mounted: 41.9 x 34.7 cm (16 1/2 x 13 11/16 in.)", "dimensions": {"image": {"height": 0.282, "width": 0.2}, "paper": {"height": 0.282, "width": 0.2}, "mounted": {"height": 0.419, "width": 0.347}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of Ilse Bing", "inscriptions": [{"inscription": "Written in black ink in lower right on recto of photograph: \"Ilse Bing/1934\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Imprinted in black type on recto of mount: \"ILSE BING/PARIS/1934\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Commercially imprinted throughout verso of photograph: \"Agfa Brovira\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Written in pencil on verso of mount: \"IB-FAS-36 #2 8k 0.5 3/13\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Written in pencil on verso of mount: \"[1206-433-D7]\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 370361, "title": "Ilse Bing: Queen of the Leica", "description": "<i>Ilse Bing: Queen of the Leica</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 6-October 11, 2020).", "opening_date": "2020-03-06T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Ilse Bing\u2019s assignment from a Frankfurt newspaper to cover the couture ball in Paris led to commissions from designers and fashion magazines, including French <em>Vogue.</em> In November 1933 she began doing all the Paris accessory shoots for the American magazine <em>Harper\u2019s Bazaar.</em> Although the Leica was associated with candid photography, she used it in the studio to create staged still lifes of shoes, jewelry, handbags, and belts, and occasionally views of shoes on a model\u2019s feet. Accustomed to using available light, Bing had to master artificial lighting. Preferring a natural look, she avoided bright spots and deep shadows in favor of gently modeled highlights that emphasized the objects\u2019 sculptural shapes while revealing their polished surfaces.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79874756"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2018.388", "images": {}, "alternate_images": [], "creditline": "Gift of George Stephanopoulos", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 322061, "creators": [{"id": 291349, "description": "Ilse Bing (American, 1899\u20131998)", "extent": null, "qualifier": null, "role": "artist", "biography": "American and German photographer, born 1899 or 1900, died 1998", "name_in_original_language": null, "birth_year": "1899", "death_year": "1998", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2018-12-03T00:00:00-05:00", "sortable_date": 1934, "date_added_to_oa": null, "date_text": "1934", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:48.712000"}, {"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": 111716, "accession_number": "1930.243", "share_license_status": "Copyrighted", "tombstone": "Grief (Mural Study), 1929. Jos\u00e9 Clemente Orozco (Mexican, 1883\u20131949), published by Delphic Studios. Lithograph; image: 30.2 x 35.1 cm (11 7/8 x 13 13/16 in.). The Cleveland Museum of Art, Dudley P. 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Orozco\u2019s focus on universal emotions\u2014such as grief, seen here\u2014appealed to an especially broad audience. This print features a detail from murals that the artist created for the National Preparatory School in Mexico City.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80004178"], "internet_archive": []}, "citations": [], "catalogue_raisonne": "Hopkins 34; Orozco 7", "url": "https://clevelandart.org/art/1930.243", "images": {}, "alternate_images": [], "creditline": "Dudley P. Allen Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 111716, "creators": [{"id": 3234, "description": "Jos\u00e9 Clemente Orozco (Mexican, 1883\u20131949)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1883", "death_year": "1949", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 370942, "description": "Delphic Studios", "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": "1930-05-10T00:00:00", "sortable_date": 1929, "date_added_to_oa": null, "date_text": "1929", "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": "56", "alternate_titles": ["Mural Study"], "is_highlight": false, "updated_at": "2026-03-27 00:02:06.312000"}, {"id": 112295, "accession_number": "1930.71", "share_license_status": "Copyrighted", "tombstone": "Pair of Bookends, c. 1925\u201329. 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George Bellows (American, 1882\u20131925). Lithograph; image: 38.1 x 53.2 cm (15 x 20 15/16 in.); matted: 66 x 86.2 x 0.3 cm (26 x 33 15/16 x 1/8 in.); platemark: 39.2 x 54.6 cm (15 7/16 x 21 1/2 in.); sheet: 45.1 x 58.1 cm (17 3/4 x 22 7/8 in.). The Cleveland Museum of Art, Gift of Leonard C. Hanna Jr., 1935.250", "current_location": null, "title": "River-Front", "creation_date": "1924", "creation_date_earliest": 1924, "creation_date_latest": 1924, "artists_tags": ["male"], "culture": ["America"], "technique": "lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image: 38.1 x 53.2 cm (15 x 20 15/16 in.); Matted: 66 x 86.2 x 0.3 cm (26 x 33 15/16 x 1/8 in.); Platemark: 39.2 x 54.6 cm (15 7/16 x 21 1/2 in.); Sheet: 45.1 x 58.1 cm (17 3/4 x 22 7/8 in.)", "dimensions": {"platemark": {"height": 0.392, "width": 0.546}, "sheet": {"height": 0.451, "width": 0.581}, "image": {"height": 0.381, "width": 0.532}, "matted": {"height": 0.66, "width": 0.862, "depth": 0.003}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "In graphite, lower right, recto: \"Geo. 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The Cleveland Museum of Art, Cleveland, OH (organizer) (July 18-December 26, 2021).", "opening_date": "2021-07-17T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": ["424.1926"], "did_you_know": "Bellows created a dynamic triangle in this composition with the verticality of the central boy and lone building, the horizontal of the tugboat, and the two sails that complete the shape.", "description": "During George Bellows\u2019s first decade in New York City, starting in 1904, newspapers ran many stories about the \u201csocial problem\u201d of the urban poor, reporting that the city\u2019s tenement district lacked cleanliness and order. Drawn to this unvarnished side of city life, Bellows made several images of the public docks along the East River that were unofficial places of recreation for the city\u2019s tenement children. Both <em>Splinter Beach</em> and <em>River-Front</em> feature, without sentimentality, children that display their nakedness unabashedly. Disturbingly, both images feature fully clothed adults observing or even touching children, as well as other sexual touching. 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The Cleveland Museum of Art, Cleveland, OH (organizer) (July 18-December 26, 2021).", "opening_date": "2021-07-17T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": ["1676.1926"], "did_you_know": "The Third Avenue Elevated train seen in this print, constructed in 1878, covered the length of the Bowery in New York until its closure starting in 1950.", "description": "Tenement dwellers on the Lower East Side of Manhattan spent much of their time on their stoops or in the street socializing, eating, playing, or otherwise escaping their cramped living spaces. Here, the elevated train makes the crowded street feel especially claustrophobic. A woman scolds a barefoot street urchin before a curious audience in the center of the activity. In the foreground, two young women stand out in their gleaming white outfits amid the endless gray tones of the crowd. As ready-to-wear fashions became increasingly available, women of every class could go out on the town sporting the latest styles.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80009802"], "internet_archive": []}, "citations": [], "catalogue_raisonne": "Mason 47", "url": "https://clevelandart.org/art/1936.547", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1936.547/1936.547_web.jpg", "width": "715", "height": "893", "filesize": "199551", "filename": "1936.547_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1936.547/1936.547_print.jpg", "width": "2724", "height": "3400", "filesize": "3260167", "filename": "1936.547_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1936.547/1936.547_full.tif", "width": "3523", "height": "4396", "filesize": "46496816", "filename": "1936.547_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": 115832, "creators": [{"id": 3005, "description": "George Bellows (American, 1882\u20131925)", "extent": null, "qualifier": null, "role": "artist", "biography": "An accomplished athlete, George Bellows (1882\u20131925) was an especially appropriate artist to address the subject of sports. Born and raised in Columbus, Ohio, he played baseball and basketball as a youth, developing sufficient ability to letter in both at Ohio State University. According to some accounts, scouts for the Cincinnati Reds took notice of his shortstop talents. However, Bellows\u2019s first love, art, ultimately intervened, and after his junior year he relocated to New York to study painting. In a remarkably short period he became the leading artist of his generation, a reputation fueled through boxing subjects such as <em>Stag at Sharkey\u2019s.</em> In his later years he developed recreational passions for tennis and billiards, which he routinely played with friends. Bellows\u2019s life was cut short at the age of 42, due to complications after his appendix ruptured.", "name_in_original_language": null, "birth_year": "1882", "death_year": "1925", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1936-11-09T00:00:00", "sortable_date": 1917, "date_added_to_oa": null, "date_text": "1917", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-26 23:59:14.625000"}, {"id": 115833, "accession_number": "1936.548", "share_license_status": "CC0", "tombstone": "The Holdup, first state, 1921. George Bellows (American, 1882\u20131925). Lithograph; platemark: 28 x 21.6 cm (11 x 8 1/2 in.); sheet: 32.8 x 26.5 cm (12 15/16 x 10 7/16 in.). The Cleveland Museum of Art, Gift of Leonard C. Hanna Jr., 1936.548", "current_location": null, "title": "The Holdup, first state", "creation_date": "1921", "creation_date_earliest": 1921, "creation_date_latest": 1921, "artists_tags": ["male"], "culture": ["America"], "technique": "lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Platemark: 28 x 21.6 cm (11 x 8 1/2 in.); Sheet: 32.8 x 26.5 cm (12 15/16 x 10 7/16 in.)", "dimensions": {"platemark": {"height": 0.28, "width": 0.216}, "sheet": {"height": 0.328, "width": 0.265}}, "state_of_the_work": "I/II", "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "In graphite, center, recto: \"Hold Up I\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "In graphite, lower right, recto: \"Geo Bellows\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "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": 381923, "title": "Ashcan School Prints and the American City, 1900\u20131940", "description": "<i>Ashcan School Prints and the American City, 1900\u20131940</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 18-December 26, 2021).", "opening_date": "2021-07-17T04:00:00"}], "legacy": []}, "provenance": [{"description": "Leonard C. Hanna, Jr. [1889-1957], Cleveland, OH", "citations": [], "footnotes": null, "date": "?-1936", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "November 9, 1936", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": ["564.1926"], "did_you_know": "Their hats\u2014a top hat, and a flat cap, or newsboy\u2014help to distinguish the high society and working-class status of the two main characters in this print.", "description": "When the <em>New York Times </em>reviewed this work by George Bellows in 1921, it described it as a \u201csubject interpreted in the spirit of Dickens. With a hint of melodrama, a hint of comedy, and a pinch of realism.\u201d Bellows cast the episode as humorous; a gentleman in a fancy waistcoat and top hat is jumped by a thief with a small handgun and an accomplice emerging from the shadows behind. For such caricatured encounters, Bellows may have looked to the long history of political satire in the popular press. This is the first of two states, or versions, that Bellows made of this print.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80009806"], "internet_archive": []}, "citations": [], "catalogue_raisonne": "Mason 89", "url": "https://clevelandart.org/art/1936.548", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1936.548/1936.548_web.jpg", "width": "686", "height": "893", "filesize": "533628", "filename": "1936.548_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1936.548/1936.548_print.jpg", "width": "2610", "height": "3400", "filesize": "8429492", "filename": "1936.548_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1936.548/1936.548_full.tif", "width": "3662", "height": "4770", "filesize": "52434924", "filename": "1936.548_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": 115833, "creators": [{"id": 3005, "description": "George Bellows (American, 1882\u20131925)", "extent": null, "qualifier": null, "role": "artist", "biography": "An accomplished athlete, George Bellows (1882\u20131925) was an especially appropriate artist to address the subject of sports. Born and raised in Columbus, Ohio, he played baseball and basketball as a youth, developing sufficient ability to letter in both at Ohio State University. According to some accounts, scouts for the Cincinnati Reds took notice of his shortstop talents. However, Bellows\u2019s first love, art, ultimately intervened, and after his junior year he relocated to New York to study painting. In a remarkably short period he became the leading artist of his generation, a reputation fueled through boxing subjects such as <em>Stag at Sharkey\u2019s.</em> In his later years he developed recreational passions for tennis and billiards, which he routinely played with friends. Bellows\u2019s life was cut short at the age of 42, due to complications after his appendix ruptured.", "name_in_original_language": null, "birth_year": "1882", "death_year": "1925", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1936-11-09T00:00:00", "sortable_date": 1921, "date_added_to_oa": null, "date_text": "1921", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:02:41.297000"}, {"id": 115876, "accession_number": "1936.587", "share_license_status": "CC0", "tombstone": "Spring, Central Park, 1921. George Bellows (American, 1882\u20131925). Lithograph; platemark: 21.4 x 17.6 cm (8 7/16 x 6 15/16 in.); sheet: 28.2 x 23.9 cm (11 1/8 x 9 7/16 in.). The Cleveland Museum of Art, Gift of Leonard C. Hanna Jr., 1936.587", "current_location": null, "title": "Spring, Central Park", "creation_date": "1921", "creation_date_earliest": 1921, "creation_date_latest": 1921, "artists_tags": ["male"], "culture": ["America"], "technique": "lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Platemark: 21.4 x 17.6 cm (8 7/16 x 6 15/16 in.); Sheet: 28.2 x 23.9 cm (11 1/8 x 9 7/16 in.)", "dimensions": {"platemark": {"height": 0.214, "width": 0.176}, "sheet": {"height": 0.282, "width": 0.239}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 309574, "title": "George Bellows Prints: Centennial Exhibition", "description": "<i>George Bellows Prints: Centennial Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 7-October 31, 1982).", "opening_date": "1982-09-07T04:00:00"}, {"id": 381923, "title": "Ashcan School Prints and the American City, 1900\u20131940", "description": "<i>Ashcan School Prints and the American City, 1900\u20131940</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 18-December 26, 2021).", "opening_date": "2021-07-17T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": ["1694.1926"], "did_you_know": "These fashionably dressed young women are sporting fur muffs over their hands, whose large size denotes them as luxury items.", "description": "Within the city\u2019s many parks, people from different social classes could mingle and observe one another. Both the men and women in this print are dressed in fashionable attire, and yet it remains unclear if the groups are of the same social class. By 1921, clothing mimicking couture fashions could be purchased off the rack, and even working-class men could buy the \u201cwhite collars\u201d associated with businessmen. The two ladies appear unaffected by the men\u2019s laughter and backward glances; unaccompanied, and apparently absorbed in conversation, they epitomized the increasing independence of young urban women.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80009969"], "internet_archive": []}, "citations": [], "catalogue_raisonne": "Mason 90", "url": "https://clevelandart.org/art/1936.587", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1936.587/1936.587_web.jpg", "width": "750", "height": "893", "filesize": "618471", "filename": "1936.587_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1936.587/1936.587_print.jpg", "width": "2854", "height": "3400", "filesize": "9125605", "filename": "1936.587_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1936.587/1936.587_full.tif", "width": "3798", "height": "4524", "filesize": "51582944", "filename": "1936.587_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": 115876, "creators": [{"id": 3005, "description": "George Bellows (American, 1882\u20131925)", "extent": null, "qualifier": null, "role": "artist", "biography": "An accomplished athlete, George Bellows (1882\u20131925) was an especially appropriate artist to address the subject of sports. Born and raised in Columbus, Ohio, he played baseball and basketball as a youth, developing sufficient ability to letter in both at Ohio State University. According to some accounts, scouts for the Cincinnati Reds took notice of his shortstop talents. However, Bellows\u2019s first love, art, ultimately intervened, and after his junior year he relocated to New York to study painting. In a remarkably short period he became the leading artist of his generation, a reputation fueled through boxing subjects such as <em>Stag at Sharkey\u2019s.</em> In his later years he developed recreational passions for tennis and billiards, which he routinely played with friends. Bellows\u2019s life was cut short at the age of 42, due to complications after his appendix ruptured.", "name_in_original_language": null, "birth_year": "1882", "death_year": "1925", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1936-11-09T00:00:00", "sortable_date": 1921, "date_added_to_oa": null, "date_text": "1921", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:23.052000"}, {"id": 120781, "accession_number": "1941.510", "share_license_status": "Copyrighted", "tombstone": "Open-Air School, 1932. Diego Rivera (Mexican, 1886\u20131957), printed by George C. Miller (American, 1894\u20131966), published by Weyhe Gallery. Lithograph; image: 31.5 x 41.1 cm (12 3/8 x 16 3/16 in.). The Cleveland Museum of Art, Mr. and Mrs. Lewis B. Williams Collection, 1941.510. \u00a9 Banco de M\u00e9xico Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society (ARS), New York", "current_location": null, "title": "Open-Air School", "creation_date": "1932", "creation_date_earliest": 1932, "creation_date_latest": 1932, "artists_tags": ["male", "Latine and Hispanic Artists", "Jewish artists"], "culture": ["Mexico, 20th century"], "technique": "lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image: 31.5 x 41.1 cm (12 3/8 x 16 3/16 in.)", "dimensions": {"image": {"height": 0.315, "width": 0.411}}, "state_of_the_work": "I/I", "edition_of_the_work": "edition of 100", "copyright": "\u00a9 Banco de M\u00e9xico Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "signed and inscribed at lower left, in pencil: 73/100 Diego Rivera; at lower right, in pencil: 1932", "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": 373919, "title": "A Graphic Revolution: Prints and Drawings in Latin America", "description": "<i>A Graphic Revolution: Prints and Drawings in Latin America</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 14-August 2, 2020).", "opening_date": "2020-03-08T05:00:00"}], "legacy": []}, "provenance": [{"description": "Mr. and Mrs. Lewis B. Williams, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "after 1932-1941", "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": "This print belongs to a series of five that Diego Rivera was commissioned to create in 1932 by New York's Weyhe Gallery representing details from mural projects in Mexico.", "description": "In the decades following the Mexican Revolution, the country's citizens fought for social reform and civil liberties. This print presents an idealized vision of universal public education, one of their central goals. A teacher holds a book and instructs a group of attentive students while behind the group, farmers tend to the land, suggesting the important role of agriculture in Mexico.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80016378"], "internet_archive": []}, "citations": [], "catalogue_raisonne": "Williams 8", "url": "https://clevelandart.org/art/1941.510", "images": {}, "alternate_images": [], "creditline": "Mr. and Mrs. Lewis B. Williams Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 120781, "creators": [{"id": 13165, "description": "Diego Rivera (Mexican, 1886\u20131957)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1886", "death_year": "1957", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 370463, "description": "George C. Miller (American, 1894\u20131966)", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "birth_year": "1894", "death_year": "1966", "use_in_caption": true, "include_extent": true, "weight": 2}, {"id": 370474, "description": "Weyhe Gallery", "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": "1941-12-05T00:00:00", "sortable_date": 1932, "date_added_to_oa": null, "date_text": "1932", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": "73", "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:03.100000"}, {"id": 122916, "accession_number": "1943.175", "share_license_status": "Copyrighted", "tombstone": "Impromptu, 1938. Henry Keller (American, born Germany, 1869\u20131949). Color lithograph. The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1943.175", "current_location": null, "title": "Impromptu", "creation_date": "1938", "creation_date_earliest": 1938, "creation_date_latest": 1938, "artists_tags": ["May Show", "male", "Cleveland Institute of Art (faculty)"], "culture": ["America, Ohio, Cleveland"], "technique": "color lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": "edition of 3(?)", "copyright": null, "inscriptions": [{"inscription": "Signed in pencil on bottom right: H.G. Keller", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 312152, "title": "Graphic Work by Henry G. Keller", "description": "<i>Graphic Work by Henry G. Keller</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 1-April 23, 1944).", "opening_date": "1944-03-01T05:00:00"}, {"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": "after 1938-1943", "sortorder": 1}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1943-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Henry Keller's first work as a commercial lithographer involved printing circus posters.", "description": "Cleveland-born artist Henry Keller frequently worked in lithography throughout his long career. Many artists collaborated with a master printer, but Keller could print his work himself; he was extremely knowledgeable about the technique after having apprenticed with a commercial lithographer for almost a decade as a young man. In prints such as this one, he combined his professional knowledge with an interest in the human figure and expressive mark making: two female nudes are reduced to simple forms and surrounded with repetitive, gestural lines that suggest Keller\u2019s continuing interest in abstraction.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80019452"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1943.175", "images": {}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 122916, "creators": [{"id": 4433, "description": "Henry Keller (American, born Germany, 1869\u20131949)", "extent": null, "qualifier": null, "role": "artist", "biography": "A leader of the Cleveland modernist movement, Henry Keller grew up in the city and enrolled in the Western Reserve School of Design for Women in 1887. In 1890 he went to Karlsruhe, Germany, for a year of study with Hermann Baisch. Unable to find a teaching position after returning to Cleveland, Keller worked for eight years at the Morgan Lithograph Company, where he specialized in designing circus posters. In 1899 he returned to Germany to study at art academies in D\u00fcsseldorf and Munich. In 1902, after receiving a silver medal at the Munich Kunstakademie\u2019 s spring exhibition, he returned to Cleveland. Around 1903 he began teaching at the Cleveland School of Art, first as a part-time watercolor instructor, then as full-time instructor of decorative illustration. He also taught private classes on family-owned farmland in Berlin Heights, Ohio, during summers from 1903 to 1914. In the 1910s he championed the cause of modern art through lectures and teaching. He exhibited in the Armory Show (1913) and the annuals of the Carnegie Institute of Art in Pittsburgh. The Cleveland School of Art sponsored several solo exhibitions of his paintings. He exhibited in the annual May Shows at the Cleveland Museum of Art (1919\u201350) and in annuals at Pennsylvania Academy of Fine Arts in Philadelphia and the Whitney Museum of American Art in New York. When he retired from the Cleveland School of Art in 1945, Keller moved to San Diego, where he died.<br><em>Transformations in Cleveland Art.</em> (CMA, 1996), p. 232", "name_in_original_language": null, "birth_year": "1869", "death_year": "1949", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1943-04-26T00:00:00", "sortable_date": 1938, "date_added_to_oa": null, "date_text": "1938", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:05:49.500000"}, {"id": 127809, "accession_number": "1950.452", "share_license_status": "CC0", "tombstone": "Seated Boy, c. 1914. George Bellows (American, 1882\u20131925). Black crayon; sheet: 25.4 x 20.5 cm (10 x 8 1/16 in.). The Cleveland Museum of Art, Gift of Leonard C. Hanna Jr., 1950.452", "current_location": null, "title": "Seated Boy", "creation_date": "c. 1914", "creation_date_earliest": 1909, "creation_date_latest": 1919, "artists_tags": ["male"], "culture": ["America"], "technique": "black crayon", "support_materials": [], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Sheet: 25.4 x 20.5 cm (10 x 8 1/16 in.)", "dimensions": {"sheet": {"height": 0.254, "width": 0.205}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed in pencil, lower right: \"Geo Bellows (signed)/raft\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 309573, "title": "American Drawings: 1900-1930", "description": "<i>American Drawings: 1900-1930</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 7-October 31, 1982).", "opening_date": "1982-09-07T04:00:00"}, {"id": 381923, "title": "Ashcan School Prints and the American City, 1900\u20131940", "description": "<i>Ashcan School Prints and the American City, 1900\u20131940</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 18-December 26, 2021).", "opening_date": "2021-07-17T04:00:00"}], "legacy": []}, "provenance": [{"description": "Leonard C. Hanna, Jr. [1889-1957], Cleveland, OH", "citations": [], "footnotes": [], "date": "?-1950", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "December 28, 1950", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Bellows made several compositions of boys swimming and lounging on the banks of the East River in New York City, based on studies such as this one.", "description": "The seated youth in this drawing was probably made as a study for one of the many young boys in George Bellows\u2019s lithographs <em>Splinter Beach</em> and <em>River-Front</em> or their related paintings. The inscription \u201craft\u201d below the figure suggests that the pose was intended for the large raft in the <em>River-Front</em> composition, although a pose with greater similarity appears on the shoreline in the same print. Bellows\u2019s quick sketch captures the wiry, perhaps undernourished physique and the darting eyes of the young man.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79661091"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1950.452", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1950.452/1950.452_web.jpg", "width": "745", "height": "893", "filesize": "483253", "filename": "1950.452_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1950.452/1950.452_print.jpg", "width": "2835", "height": "3400", "filesize": "7224336", "filename": "1950.452_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1950.452/1950.452_full.tif", "width": "3849", "height": "4616", "filesize": "53335000", "filename": "1950.452_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": 127809, "creators": [{"id": 3005, "description": "George Bellows (American, 1882\u20131925)", "extent": null, "qualifier": null, "role": "artist", "biography": "An accomplished athlete, George Bellows (1882\u20131925) was an especially appropriate artist to address the subject of sports. Born and raised in Columbus, Ohio, he played baseball and basketball as a youth, developing sufficient ability to letter in both at Ohio State University. According to some accounts, scouts for the Cincinnati Reds took notice of his shortstop talents. However, Bellows\u2019s first love, art, ultimately intervened, and after his junior year he relocated to New York to study painting. In a remarkably short period he became the leading artist of his generation, a reputation fueled through boxing subjects such as <em>Stag at Sharkey\u2019s.</em> In his later years he developed recreational passions for tennis and billiards, which he routinely played with friends. Bellows\u2019s life was cut short at the age of 42, due to complications after his appendix ruptured.", "name_in_original_language": null, "birth_year": "1882", "death_year": "1925", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1950-12-28T00:00:00", "sortable_date": 1909, "date_added_to_oa": null, "date_text": "c. 1914", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:19.854000"}, {"id": 128360, "accession_number": "1951.320", "share_license_status": "Copyrighted", "tombstone": "Ring: Coiled Snake on a Ball, before 1951. Africa, West Africa, Ghana, Asante goldsmith. Gold; overall: 4.5 x 3 x 2.3 cm (1 3/4 x 1 3/16 x 7/8 in.). 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"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": "1966-11-05T00:00:00", "sortable_date": 1914, "date_added_to_oa": null, "date_text": "1914", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1966.511", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:38.369000"}, {"id": 142832, "accession_number": "1966.511.b", "share_license_status": "CC0", "tombstone": "Cover for a Pot, 1914. 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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": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This lid is the cover for a copper soup pot that was sent to the front lines filled with provisions during the First World War.", "description": "As Russia entered the First World War, austerity and economy settled into the fabric of life even among wealthy aristocrats and nobility. Not only were precious materials such as gold, silver, and gemstones hard to procure, but such luxury seemed out of place when so many men were dying at the front. Faberg\u00e9 contributed to the war effort by making shells, casings, and other munitions out of brass and copper. He also made cookware, such as this small covered soup pot, to be sent to the front lines with provisions tucked inside. However, these simple forms only looked affordable. They were still a luxury only the wealthiest families could afford to send to their sons.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80043056"], "internet_archive": ["https://archive.org/details/clevelandart-1966.511.b-cover-for-a-pot"]}, "citations": [], "url": "https://clevelandart.org/art/1966.511.b", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1966.511.b/1966.511.b_web.jpg", "width": "900", "height": "719", "filesize": "150180", "filename": "1966.511.b_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1966.511.b/1966.511.b_print.jpg", "width": "3400", "height": "2718", "filesize": "938247", "filename": "1966.511.b_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1966.511.b/1966.511.b_full.tif", "width": "5132", "height": "4102", "filesize": "63179412", "filename": "1966.511.b_full.tif"}}, "alternate_images": [{"date_created": "2019-08-06T16:29:57", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.511.b/1966.511.b_alt0_web.jpg", "width": "900", "height": "779", "filesize": "148977"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.511.b/1966.511.b_alt0_print.jpg", "width": "3400", "height": "2943", "filesize": "964371"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.511.b/1966.511.b_alt0_full.tif", "width": "5800", "height": "5020", "filesize": "87372800"}}, {"date_created": "2019-08-06T16:31:54", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.511.b/1966.511.b_alt1_web.jpg", "width": "900", "height": "768", "filesize": "170720"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.511.b/1966.511.b_alt1_print.jpg", "width": "3400", "height": "2901", "filesize": "1425331"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.511.b/1966.511.b_alt1_full.tif", "width": "5854", "height": "4995", "filesize": "87746884"}}, {"date_created": "2021-10-25T21:40:22", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.511.b/1966.511.b_alt2_web.jpg", "width": "900", "height": "718", "filesize": "189570"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.511.b/1966.511.b_alt2_print.jpg", "width": "3400", "height": "2714", "filesize": "1633213"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.511.b/1966.511.b_alt2_full.tif", "width": "5132", "height": "4097", "filesize": "63102524"}}], "creditline": "The India Early Minshall Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 142832, "creators": [{"id": 5366, "description": "Peter Carl Faberg\u00e9 (Russian, 1846\u20131920)", "extent": null, "qualifier": "firm of", "role": "artist", "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}], "legal_status": "accessioned", "accession_date": "1966-11-05T00:00:00", "sortable_date": 1914, "date_added_to_oa": null, "date_text": "1914", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1966.511", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:50.935000"}, {"id": 142833, "accession_number": "1966.512", "share_license_status": "Copyrighted", "tombstone": "Bowl, 1930. Orrefors Glasshouse (Swedish, est. 1898), probably by Carl Oskar Simon Gate (Swedish, 1883\u20131945). Glass; overall: 10.8 cm (4 1/4 in.). The Cleveland Museum of Art, Bequest of Henry Hunt Clark, 1966.512", "current_location": null, "title": "Bowl", "creation_date": "1930", "creation_date_earliest": 1930, "creation_date_latest": 1930, "artists_tags": ["gender unknown", "male"], "culture": ["Sweden, 20th century"], "technique": "glass", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Glass", "measurements": "Overall: 10.8 cm (4 1/4 in.)", "dimensions": {"overall": {"height": 0.108}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed on base:  Orrefors 1930 G.U. 65.", "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": 445409, "title": "Art Deco", "description": "<i>Art Deco</i>. Western Reserve Historical Society, Cleveland, OH (organizer) (June 6-August 1, 1971).", "opening_date": "1971-06-06T04:00:00"}], "legacy": []}, "provenance": [{"description": "Raymond Clark, Wooster, Ohio.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The designer, Simon Gate, created this understated and unadorned bowl at a point in his career when he was best known for vases with engraved figures.", "description": "This bowl features an undulating surface with four corners on a black base, a design Simon Gate initially created to compete at the Stockholm Exhibition of 1930. The popularity of the sleek and minimalist design prompted Gate to design a variety of bowls in different sizes and widths to sell at Orrefors that same year.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80043059"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1966.512", "images": {}, "alternate_images": [], "creditline": "Bequest of Henry Hunt Clark", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 142833, "creators": [{"id": 7297, "description": "Orrefors Glasshouse (Swedish, est. 1898)", "extent": null, "qualifier": null, "role": "manufacturer", "biography": "Established in 1898 in the Swedish region, Sm\u00e5land, Orrefors became the most prominent producer of Swedish modern art glass in the 20th century. At the height of Orrefors\u2019s popularity in the 1930s through 1960s, the firm\u2019s designers boasted prestigious awards from many world\u2019s fairs. The firm is associated with the development of the Graal and Ariel glass techniques, both considered distinctly Swedish styles of art glass. Since 1997, the firm has operated under the Danish design manufacturer, Royal Scandinavia. The Sm\u00e5land-based manufacturer closed in 2013.", "name_in_original_language": "Orrefors Glasbruk", "birth_year": "1898", "use_in_caption": true, "include_extent": false, "weight": 2}, {"id": 16536, "description": "Carl Oskar Simon Gate (Swedish, 1883\u20131945)", "extent": null, "qualifier": "probably by", "role": "designed by", "biography": "Initially trained as a painter, Oscar Simon Gate studied at the Konstfackskolan (University College of Arts, Crafts and design), the Tekniska Skolan, and the Kungliga Konsth\u00f6gskolan (Royal University College of Fine Arts), all in Stockholm. Gate began designing for Orrefors Glasshouse (est. 1898) in 1913. Gate\u2019s designs featured a breadth of styles, from figural engravings to sleek unadorned modernist vessels. His work is often associated with the development of \u201cSwedish Grace\u201d glass stylings that garnered much praise at the 1925 \u201cExposition Internationale des Arts D\u00e9coratifs et Industriels Modernes\u201d in Paris, where Gate won the Grand Prix for his <em>Parispokalen</em>, or <em>Paris Cup</em>.", "name_in_original_language": null, "birth_year": "1883", "death_year": "1945", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1966-11-05T00:00:00", "sortable_date": 1930, "date_added_to_oa": null, "date_text": "1930", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:24.587000"}, {"id": 144571, "accession_number": "1969.224", "share_license_status": "Copyrighted", "tombstone": "Pound: Elizabeth II (obverse); Springbok (reverse), 1953. Mary Gaskell Gillick (1881\u20131965, London, England). Gold; diameter: 2.2 cm (7/8 in.). The Cleveland Museum of Art, The Norweb Collection, 1969.224", "current_location": null, "title": "Pound: Elizabeth II (obverse); Springbok (reverse)", "creation_date": "1953", "creation_date_earliest": 1953, "creation_date_latest": 1953, "artists_tags": [], "culture": ["England, Elizabeth II, 1953"], "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": "ELIZABETH II REGINA.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "SUID AFRIKA 1953 SOUTH AFRICA", "inscription_translation": "South Africa 1953 South Africa", "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"}], "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": "Mary Gaskell Gillick's design was notable for portraying the queen uncrowned.", "description": "During the British Empire and early British Commonwealth period there were branches of the Royal Mint in Canada, South Africa, India, and Australia. At one time or another all struck sovereigns. The piece is marked \u00a31, the other name for the sovereign. One side features a young portrait of Elizabeth II designed by sculptor Mary Gaskell Gillick. The other side features a springbok, a medium-sized antelope found mainly in southern and southwestern Africa.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79921946"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1969.224", "images": {}, "alternate_images": [], "creditline": "The Norweb Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 144571, "creators": [{"id": 440908, "description": "Mary Gaskell Gillick (1881\u20131965, London, England)", "extent": null, "qualifier": null, "role": "designer", "biography": null, "name_in_original_language": null, "birth_year": "1881", "death_year": "1965", "use_in_caption": true, "include_extent": true, "weight": null}], "legal_status": "accessioned", "accession_date": "1969-12-13T00:00:00", "sortable_date": 1953, "date_added_to_oa": null, "date_text": "1953", "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 00:08:48.180000"}, {"id": 145077, "accession_number": "1970.26", "share_license_status": "Copyrighted", "tombstone": "Beowulf: Hero, c. 1930. Rockwell Kent (American, 1882\u20131971). Lithograph. The Cleveland Museum of Art, Gift of Mr. and Mrs. Richard H. Zinser for the fiftieth anniversary of The Print Club of Cleveland, 1970.26. \u00a9 Courtesy of Plattsburgh State Art Museum/Estate of Sally Kent Gordon.", "current_location": null, "title": "Hero", "series": "Beowulf", "creation_date": "c. 1930", "creation_date_earliest": 1925, "creation_date_latest": 1935, "artists_tags": ["male"], "culture": ["America"], "technique": "lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Courtesy of Plattsburgh State Art Museum/Estate of Sally Kent Gordon.", "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": 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": "Richard H. Zinser, Forest Hills, NY, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "?-1970", "sortorder": 1}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": null, "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "<em>N by E, </em>the book that this print was created to illustrate, was inspired by Rockwell Kent's own experiences as a sailor.", "description": "Rockwell Kent illustrated more than 100 publications during his career. This image was intended for <em>N by E</em> (1930), his book about a ship that sinks off the coast of Greenland and the adventures of its crew. Inspired by the story\u2019s focus on survival amid barren wilderness, the print depicts a man standing atop a rocky precipice, covering himself with a rough cloth while light shines on him from above.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79922912"], "internet_archive": []}, "citations": [], "catalogue_raisonne": "Jones 69; Zigrosser 55", "url": "https://clevelandart.org/art/1970.26", "images": {}, "alternate_images": [], "creditline": "Gift of Mr. and Mrs. Richard H. Zinser 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": 145077, "creators": [{"id": 14219, "description": "Rockwell Kent (American, 1882\u20131971)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1882", "death_year": "1971", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1970-03-09T00:00:00", "sortable_date": 1925, "date_added_to_oa": null, "date_text": "c. 1930", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:30.802000"}, {"id": 145186, "accession_number": "1970.354", "share_license_status": "Copyrighted", "tombstone": "Heddle Pulley (probably Noo mask), c. 1935. Africa, West Africa, C\u00f4te d\u2019Ivoire, Senufo-style carver. Wood. The Cleveland Museum of Art, Gift of The Butkin Foundation, 1970.354", "current_location": null, "title": "Heddle Pulley (probably Noo mask)", "creation_date": "c. 1935", "creation_date_earliest": 1930, "creation_date_latest": 1940, "artists_tags": [], "culture": ["Africa, West Africa, C\u00f4te d\u2019Ivoire, Senufo-style carver"], "technique": "wood", "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": 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": 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": "Georges D. Rodrigues", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1970-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Using a carefully carved\u2014rather than plain\u2014heddle pulley was a way for a weaver to show how he appreciated aesthetic beauty.", "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/Q79923175"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1970.354", "images": {}, "alternate_images": [], "creditline": "Gift of The Butkin Foundation", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 145186, "creators": [], "legal_status": "accessioned", "accession_date": "1970-12-18T00:00:00", "sortable_date": 1930, "date_added_to_oa": null, "date_text": "c. 1935", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Loom Pulley in the Form of a Horned Mask", "Heddle Pulley"], "is_highlight": false, "updated_at": "2026-03-27 00:08:49.720000"}, {"id": 145295, "accession_number": "1970.537", "share_license_status": "Copyrighted", "tombstone": "Vibrations: Untitled, 1969. Jes\u00fas Rafael Soto (Venezuelan, 1923\u20132005), published by Denise Ren\u00e9, Paris. Color screenprint; image: 45.7 x 38.7 cm (18 x 15 1/4 in.); sheet: 50.8 x 68 cm (20 x 26 3/4 in.). The Cleveland Museum of Art, The Harold T. Clark Educational Extension Fund, 1970.537. \u00a9 Artists Right Society (ARS), New York", "current_location": null, "title": "Untitled", "series": "Vibrations", "creation_date": "1969", "creation_date_earliest": 1969, "creation_date_latest": 1969, "artists_tags": ["male", "Latine and Hispanic Artists"], "culture": ["Venezuela, 20th century"], "technique": "Color screenprint", "support_materials": [], "department": "Prints", "collection": "Prints", "type": "Print", "measurements": "Image: 45.7 x 38.7 cm (18 x 15 1/4 in.); Sheet: 50.8 x 68 cm (20 x 26 3/4 in.)", "dimensions": {"sheet": {"height": 0.508, "width": 0.68}, "image": {"height": 0.457, "width": 0.387}}, "state_of_the_work": null, "edition_of_the_work": "edition of 200", "copyright": "\u00a9 Artists Right Society (ARS), New York", "inscriptions": [{"inscription": "Signed at lower margin, in pencil: 33/200 Soto; embossed circle: Denise Rene Editeur (around DR monogram)", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301405, "title": "Contemporary Prints", "description": "<i>Contemporary Prints</i>. The Cleveland Museum of Art (June 29-October 10, 1971).", "opening_date": "1971-06-29T04:00:00"}, {"id": 373919, "title": "A Graphic Revolution: Prints and Drawings in Latin America", "description": "<i>A Graphic Revolution: Prints and Drawings in Latin America</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 14-August 2, 2020).", "opening_date": "2020-03-08T05:00:00"}], "legacy": []}, "provenance": [{"description": "(Plunkett & Co., sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "1969-1970", "sortorder": null}, {"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": "Like many Latin American artists associated with kinetic art, Jes\u00fas Rafael Soto worked in Paris, where he made this artwork in collaboration with a master printer.", "description": "Jes\u00fas Rafael Soto aligned himself with kinetic art, a movement that spread across Latin America in the decades after World War II. 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Ward, Solon, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "?-1982", "sortorder": 1}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1982-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The earthy tones and simple shapes of this image suggest decorations on early pre-Colombian pottery.", "description": "Rufino Tamayo rejected the political imagery of many of his Mexican contemporaries, such as Diego Rivera and Jos\u00e9 Clemente Orozco. Like much of his art, this print draws inspiration from his native region, which was known for its indigenous culture into the 1900s.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79933995"], "internet_archive": []}, "citations": [], "catalogue_raisonne": "Pereda 148", "url": "https://clevelandart.org/art/1982.354", "images": {}, "alternate_images": [], "creditline": "Gift of Mr. and Mrs. William E. Ward", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 150949, "creators": [{"id": 3300, "description": "Rufino Tamayo (Mexican, 1899\u20131991)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1899", "death_year": "1991", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 370535, "description": "Ediciones Pol\u00edgrafa (Spanish, 20th century)", "extent": "printed and published by", "qualifier": null, "role": "printer and publisher", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": true, "weight": 2}], "legal_status": "accessioned", "accession_date": "1983-03-07T00:00:00", "sortable_date": 1973, "date_added_to_oa": null, "date_text": "1973", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": "29", "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:01.968000"}, {"id": 151383, "accession_number": "1983.219.4", "share_license_status": "Copyrighted", "tombstone": "Savarin Suite: Savarin 4 (Oval), 1978. Jasper Johns (American, b. 1930), printed and published by Universal Limited Art Editions. Lithograph. The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1983.219.4. \u00a9  Jasper Johns / Licensed by VAGA at Artists Rights Society (ARS), NY", "current_location": null, "title": "Savarin 4 (Oval)", "series": "Savarin Suite", "creation_date": "1978", "creation_date_earliest": 1978, "creation_date_latest": 1978, "artists_tags": ["male", "LGBTQ+ (after 1900)"], "culture": ["America"], "technique": "lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  Jasper Johns / Licensed by VAGA at Artists Rights Society (ARS), NY", "inscriptions": [], "exhibitions": {"current": [{"id": 311461, "title": "Generous Donors: A Tribute to The Print Club of Cleveland", "description": "<i>Generous Donors: A Tribute to The Print Club of Cleveland</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 2-August 4, 1991).", "opening_date": "1991-04-02T05:00:00"}, {"id": 318307, "title": "A Lasting Impression: Gifts of the Print Club of Cleveland", "description": "<i>A Lasting Impression: Gifts of the Print Club of Cleveland</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 5-September 22, 2019).", "opening_date": "2019-05-05T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Fendrick Gallery, Washington DC and New York, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "?-1983", "sortorder": 1}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1983-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Nearly two decades before making this print, Jasper Johns created a sculpture with the same image of paintbrushes in a Savarin coffee can.", "description": "Since 1960 Jasper Johns has frequently depicted a Savarin coffee can filled with his paintbrushes, a reference to his studio practice. The image is typical of Johns\u2019s work, which features everyday objects imbued with meaning through his handling of materials. By expressively layering lithographic ink or using his own fingerprints as a compositional element, Johns made his presence evident throughout the series. These personal connections to the artist\u2019s practice suggest that the image may function as a symbolic self-portrait.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79934808"], "internet_archive": []}, "citations": [], "catalogue_raisonne": "Field 194; ULAE 194", "url": "https://clevelandart.org/art/1983.219.4", "images": {}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 151383, "creators": [{"id": 39574, "description": "Jasper Johns (American, b. 1930)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1930", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 69470, "description": "Universal Limited Art Editions", "extent": "printed and published by", "qualifier": null, "role": "printer and publisher", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": true, "weight": 2}], "legal_status": "accessioned", "accession_date": "1983-12-14T00:00:00", "sortable_date": 1978, "date_added_to_oa": null, "date_text": "1978", "collapse_artists": true, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1983.219", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:29.281000"}, {"id": 152249, "accession_number": "1985.131", "share_license_status": "Copyrighted", "tombstone": "Landscape, 1980. Georg Baselitz (German, 1938-). Linocut. The Cleveland Museum of Art, Gift of the Print Club of Cleveland in memory of Leona E. Prasse, 1985.131", "current_location": null, "title": "Landscape", "creation_date": "1980", "creation_date_earliest": 1980, "creation_date_latest": 1980, "artists_tags": ["male"], "culture": ["Germany, 20th century"], "technique": "linocut", "support_materials": [], "department": "Prints", "collection": "PR - Linocut", "type": "Print", "dimensions": {}, "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": 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": "after 1980-1985", "sortorder": 1}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1985-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Since 1969, Georg Baselitz has depicted most of his subjects upside down as a way of reconsidering the relationship between art and representation.", "description": "Georg Baselitz\u2019s art is deeply informed by his experiences in post\u2013World War II Germany. He represented this landscape with violent, jagged forms, creating an abstracted view of destruction. Baselitz began to make linocuts around 1977, favoring the technique for the similarity between the smooth lines created in a linocut and drawing with a pen on paper. Here, he printed with oil paint rather than ink, which allowed the resulting image to bleed and contributed to the work\u2019s sense of anxiety and disorder.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79936380"], "internet_archive": []}, "citations": [], "catalogue_raisonne": "not in Jahn", "url": "https://clevelandart.org/art/1985.131", "images": {}, "alternate_images": [], "creditline": "Gift of the Print Club of Cleveland in memory of Leona E. Prasse", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 152249, "creators": [{"id": 25597, "description": "Georg Baselitz (German, 1938-)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1938", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1915-04-30T00:00:00", "sortable_date": 1980, "date_added_to_oa": null, "date_text": "1980", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:02:52.769000"}, {"id": 154199, "accession_number": "1988.244", "share_license_status": "Copyrighted", "tombstone": "Vessel (modern randa) with Rope Stand, c. 1970. Asibi Waje Kwali (Nigerian, active 1900s). Ceramic and plant fiber; vessel: 36.4 cm (14 5/16 in.). The Cleveland Museum of Art, Gift of Phyllis Sloane in memory of David Sloane, 1988.244", "current_location": null, "title": "Vessel (modern randa) with Rope Stand", "creation_date": "c. 1970", "creation_date_earliest": 1965, "creation_date_latest": 1975, "artists_tags": ["male"], "culture": ["Africa, West Africa, Nigeria, Gwari peoples"], "technique": "Ceramic and plant fiber", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Vessels", "measurements": "Vessel: 36.4 cm (14 5/16 in.)", "dimensions": {"vessel": {"height": 0.364}}, "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": 663599, "title": "From the Earth through Her Hands: African Ceramics", "description": "<i>From the Earth through Her Hands: African Ceramics</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 21, 2024-September 21, 2025).", "opening_date": "2024-09-21T04:00:00"}], "legacy": []}, "provenance": [{"description": "Phyllis Sloane", "citations": [], "footnotes": null, "date": "?\u20131989", "sortorder": 1}, {"description": "The Cleveland Museum of Art by gift", "citations": [], "footnotes": null, "date": "1989\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This earthenware vessel took about three hours to fire in an open-air setting.", "description": "This vessel represents a transitional stage between functional and nonfunctional Gwari pottery. When red hot from firing out in the open, artist Asibi Waje Kwali covered the vessel with <em>makuba</em>. This locust-bean liquid created a deep red-brown color and functional waterproof surface. <em>Randa </em>(water vessels) typically hold 20 to 30 gallons of water. However, this smaller version adapts that tradition-based form for contemporary size preferences. Gwari pottery historically incorporated engraved geometric and figurative motifs; here, the artist also incised her name. <em>Farin kasa </em>(white clay slip) applied into the designs heightens their contrast.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79940881"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1988.244", "images": {}, "alternate_images": [], "creditline": "Gift of Phyllis Sloane in memory of David Sloane", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 154199, "creators": [{"id": 9850, "description": "Asibi Waje Kwali (Nigerian, active 1900s)", "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": "1989-02-24T00:00:00", "sortable_date": 1965, "date_added_to_oa": null, "date_text": "c. 1970", "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": ["Water Vessel"], "is_highlight": false, "updated_at": "2026-03-27 00:05:20.734000"}, {"id": 157676, "accession_number": "1995.175", "share_license_status": "Copyrighted", "tombstone": "Strike on the Pier, 1954. David Alfaro Siqueiros (Mexican, 1896\u20131974). Gouache on board mounted on masonite; unframed: 55.9 x 70.5 cm (22 x 27 3/4 in.). The Cleveland Museum of Art, Gift of Semi J. and Ruth W. Begun, 1995.175. \u00a9 Artists Rights Society, (ARS), New York", "current_location": null, "title": "Strike on the Pier", "creation_date": "1954", "creation_date_earliest": 1954, "creation_date_latest": 1954, "artists_tags": ["male", "Latine and Hispanic Artists"], "culture": ["Mexico, 20th century"], "technique": "gouache on board mounted on masonite", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 55.9 x 70.5 cm (22 x 27 3/4 in.)", "dimensions": {"unframed": {"height": 0.559, "width": 0.705}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Artists Rights Society, (ARS), New York", "inscriptions": [{"inscription": "Signed in black paint lower right: Siqueiros/54", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 191828, "title": "Object in Focus:  David Alfaro Siqueiros, Strike on the Pier", "description": "<i>Object in Focus:  David Alfaro Siqueiros, Strike on the Pier</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 9-July 26, 1998).", "opening_date": "1998-06-09T00:00:00"}], "legacy": [{"description": "Cleveland, Ohio:  The Cleveland Museum of Art; June 9 - July 26, 1998.  \"Object in Focus:  David Alfaro Siqueiros, Strike on the Pier.\"", "opening_date": "1998-06-09T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Siqueiros utilizes nature to convey mood with the aggressive waves and darkened shadows of clouds on the water creating a feeling of tension reflective of the strike.", "description": "Early in his career, Siqueiros condemned easel painting as bourgeois and anti-revolutionary. Small-scale paintings, he believed, did not benefit of the public in the way that large-scale murals did. Still, smaller works are an important part of Siqueiros' prolific artistic career. During the mid-1940s and early 1950s he used the small format to expand his thematic interests to landscape, still-life, portraiture, and abstraction. Aware that such imagery conflicted with his more revolutionary paintings, he acknowledged their significance as independent works of art and as studies for murals. While <em>Strike on the Pier </em>is not a study for a particular mural, it is true to the spirit of the socialist themes Siqueiros explored throughout his career. A confrontation between two masses of people, a common motif in the artist's work, is heightened by agitated water lapping at a narrow pier. Seen from high above, the tiny figures are stylized and non-specific. A sense of broad movement is conveyed by the forward thrust of the group on the right, about to attack the mob on the left with bayonets. The composition is further energized by the bright colors, painted over an ominous gray background tone, and the use of rapidly executed brushstrokes.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60477128"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1995.175", "images": {}, "alternate_images": [], "creditline": "Gift of Semi J. and Ruth W. Begun", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 157676, "creators": [{"id": 3634, "description": "David Alfaro Siqueiros (Mexican, 1896\u20131974)", "extent": null, "qualifier": null, "role": "artist", "biography": "Along with Diego Rivera (1886\u20131957) and Jose Clemente Orozco (1883\u20131949), Siqueiros was one of Mexico's three great muralists. Together, these painters laid the foundation for modern Mexican art during the 1920s. Believing that art should be made for the betterment of society and not for the private pleasure of the elite, they created large-scale, easily understood murals for public buildings. These images effectively communicated the plight of peasants and laborers during this turbulent time in Mexican history. \r\n\r\nFor Siqueiros, a zealous political activist and member of the Communist Party of Mexico, painting was inseparable from politics. He worked on his first murals at Mexico's National Preparatory School from 1922 to 1924, but his dedication to politics was so great that at one time he set aside his artistic ambitions to work as a labor union organizer. He was a veteran of two civil wars and on several occasions was imprisoned, as well as exiled, for his activities and beliefs. While serving time in jail, the artist immersed himself in painting small-scale works, experiencing some of the most prolific periods of his career. During the 1930s, Siqueiros found a haven in New York and opened the Siqueiros Experimental Workshop, which was attended by the young American painter Jackson Pollock (1912\u20131956). In his teaching, Siqueiros emphasized the use of photography as an aid in developing compositions. He also advocated the employment of industrial materials and tools such as the spray-gun. He was a firm believer that modern technology should be used to create a new art for the times.\r\n\r\nDuring the early 1950s, Siqueiros expanded his themes of a utopian socialist society to include the progress of science and technology in the modern world. Throughout his career, the bold colors of industrial enamels, the dynamic lines of his compositions, and the portrayal of strong emotion infused all his works, regardless of scale or purpose, with movement and power.", "name_in_original_language": null, "birth_year": "1896", "death_year": "1974", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1995-12-04T00:00:00", "sortable_date": 1954, "date_added_to_oa": null, "date_text": "1954", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:46.190000"}, {"id": 159018, "accession_number": "1995.225", "share_license_status": "Copyrighted", "tombstone": "Frederick Douglass, 1951. Charles White (American, 1918\u20131979). Lithograph. The Cleveland Museum of Art, John L. Severance Fund, 1995.225", "current_location": null, "title": "Frederick Douglass", "creation_date": "1951", "creation_date_earliest": 1951, "creation_date_latest": 1951, "artists_tags": ["Black American Artists", "male"], "culture": ["America"], "technique": "lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 188479, "title": "From Rembrandt to Rauschenberg:  Recently Acquired Prints", "description": "<i>From Rembrandt to Rauschenberg:  Recently Acquired Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 17-November 26, 2000).", "opening_date": "2000-09-17T00:00:00"}], "legacy": [{"description": "Cleveland, Ohio:  The Cleveland Museum of Art; September 17 - November 26, 2000.  \"From Rembrandt to Rauschenberg:  Recently Acquired Prints.\"", "opening_date": "2000-09-17T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In addition to his work as an abolitionist, Frederick Douglass also supported women's rights and attended a convention for women's suffrage on February 20, 1895, the day of his death.", "description": "Charles White worked with Robert Blackburn, an African American master lithographer, to create this depiction of the abolitionist and civil rights leader Frederick Douglass (1817\u20131895). White felt that the images of black Americans that proliferated throughout art history were, in his words, \"a plague of distortions,\" and he sought to create his own representations that heroicized such figures. Here, Douglass\u2014an escaped slave\u2014meets the viewer's gaze confidently and directly, spotlit by a white border.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79977984"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1995.225", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 159018, "creators": [{"id": 7990, "description": "Charles White (American, 1918\u20131979)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1918", "death_year": "1979", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 7835, "description": "Robert Blackburn (American, 1920\u20132003)", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "birth_year": "1920", "death_year": "2003", "use_in_caption": false, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1995-12-04T00:00:00", "sortable_date": 1951, "date_added_to_oa": null, "date_text": "1951", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-26 23:59:37.906000"}, {"id": 159240, "accession_number": "1995.54.a", "share_license_status": "CC0", "tombstone": "La Lo\u00efe Fuller, by Roger Marx: Frontispiece/ Title Page, 1904. Pierre Roche (French, 1855\u20131922), Les Cents Bibliophiles. Gypsograph. The Cleveland Museum of Art, John L. Severance Fund, 1995.54.a", "current_location": null, "title": "Frontispiece/ Title Page", "series": "La Lo\u00efe Fuller, by Roger Marx", "creation_date": "1904", "creation_date_earliest": 1904, "creation_date_latest": 1904, "artists_tags": ["male"], "culture": ["France, early 20th Century"], "technique": "gypsograph", "support_materials": [], "department": "Prints", "collection": "PR - Gypsograph", "type": "Bound Volume", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 188479, "title": "From Rembrandt to Rauschenberg:  Recently Acquired Prints", "description": "<i>From Rembrandt to Rauschenberg:  Recently Acquired Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 17-November 26, 2000).", "opening_date": "2000-09-17T00:00:00"}], "legacy": [{"description": "Cleveland, Ohio:  The Cleveland Museum of Art; September 17 - November 26, 2000.  \"From Rembrandt to Rauschenberg:  Recently Acquired Prints.\"", "opening_date": "2000-09-17T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Roger Marx, the author of the essay contained in this book, was among the most prominent critics, curators, and collectors of late 19th-century Paris.", "description": "Although best known as a sculptor, Roche was a versatile and prolific artist who worked in many mediums. Lo\u00efe Fuller, the pioneer of modern dance who took Paris by storm in 1892, was one of his favorite subjects. He portrayed her in clay, bronze, marble, plaster, and in a series of gypsographs that illustrated an essay by the art critic Roger Marx. The book was described as \"a precious monument to Lo\u00efe Fuller.\"", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79978553"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1995.54.a", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1995.54.a/1995.54.a_web.jpg", "width": "729", "height": "900", "filesize": "348720", "filename": "1995.54.a_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1995.54.a/1995.54.a_print.jpg", "width": "2754", "height": "3400", "filesize": "4314633", "filename": "1995.54.a_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1995.54.a/1995.54.a_full.tif", "width": "7945", "height": "9807", "filesize": "233777601", "filename": "1995.54.a_full.tif"}}, "alternate_images": [{"date_created": "2022-02-22T15:37:02", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1995.54.a/1995.54.a_alt0_web.jpg", "width": "900", "height": "551", "filesize": "291639"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1995.54.a/1995.54.a_alt0_print.jpg", "width": "3400", "height": "2081", "filesize": "3489889"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1995.54.a/1995.54.a_alt0_full.tif", "width": "15682", "height": "9597", "filesize": "451528649"}}], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 159240, "creators": [{"id": 17043, "description": "Pierre Roche (French, 1855\u20131922)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1855", "death_year": "1922", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 68501, "description": "Les Cents Bibliophiles", "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": "1995-06-07T00:00:00", "sortable_date": 1904, "date_added_to_oa": null, "date_text": "1904", "collapse_artists": true, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1995.54", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["La Lo\u00efe Fuller: Frontispiece/ Title Page"], "is_highlight": false, "updated_at": "2026-03-27 00:10:35.720000"}, {"id": 159456, "accession_number": "1996.232", "share_license_status": "Copyrighted", "tombstone": "Large Sue, 1995. Lucian Freud (British, 1922\u20132011), Matthew Marks Gallery. Etching; sheet: 82.4 x 67.2 cm (32 7/16 x 26 7/16 in.); platemark: 73 x 59.3 cm (28 3/4 x 23 3/8 in.). The Cleveland Museum of Art, John L. Severance Fund, 1996.232", "current_location": null, "title": "Large Sue", "creation_date": "1995", "creation_date_earliest": 1995, "creation_date_latest": 1995, "artists_tags": ["male", "Jewish artists"], "culture": ["England, 20th century"], "technique": "etching", "support_materials": [{"description": "bright white wove paper (Somerset textured)", "watermarks": []}], "department": "Prints", "collection": "PR - Etching", "type": "Print", "measurements": "Sheet: 82.4 x 67.2 cm (32 7/16 x 26 7/16 in.); Platemark: 73 x 59.3 cm (28 3/4 x 23 3/8 in.)", "dimensions": {"sheet": {"height": 0.824, "width": 0.672}, "platemark": {"height": 0.73, "width": 0.593}}, "state_of_the_work": null, "edition_of_the_work": "36, plus 12 artist's proofs, and 2 printer's proofs", "copyright": null, "inscriptions": [{"inscription": "lower left, in graphite: 30/36; signed, lower right, in graphite: L.F", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 190040, "title": "Contemporary Prints: Recent Acquisitions", "description": "<i>Contemporary Prints: Recent Acquisitions</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 19-July 21, 1997).", "opening_date": "1997-04-19T00:00:00"}], "legacy": [{"description": "Cleveland, Ohio:  The Cleveland Museum of Art; 4/19/97 - 7/21/97.  \"Contemporary Prints:  Recent Acquisitions.\"", "opening_date": "1997-04-19T00:00:00"}]}, "provenance": [{"description": "purchased from (Matthew Marks Gallery, NY)", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This print depicts Sue Tilley, a friend and favorite model of the artist\u2019s.", "description": "Freud's etchings have aptly been described as having the power to \"turn candor into uncomfortable truth.\" Discussing his choice of subject matter, his rejection of Surrealism and his preference for brutally honest realism, Freud said, \"I could never put anything into a picture that wasn't actually there in front of me. That would be a pointless lie, a mere bit of artfulness.\" Freud presents the figure without idealization, and, helping to focus our attention, he has omitted the furniture on which the model is seated.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79979056"], "internet_archive": []}, "citations": [], "catalogue_raisonne": "Hartley and Blanchebarbe 22", "url": "https://clevelandart.org/art/1996.232", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 159456, "creators": [{"id": 1444, "description": "Lucian Freud (British, 1922\u20132011)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1922", "death_year": "2011", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 68627, "description": "Matthew Marks Gallery", "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": "1996-06-03T00:00:00", "sortable_date": 1995, "date_added_to_oa": null, "date_text": "1995", "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": "30/36", "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-26 23:59:38.616000"}, {"id": 160076, "accession_number": "1997.48", "share_license_status": "Copyrighted", "tombstone": "Mulackstra\u00dfe 37, Berlin (Slide projection of Jewish residents, c. 1932), 1992. Shimon Attie (American, b. 1957). Chromogenic print; image: 44.4 x 54.6 cm (17 1/2 x 21 1/2 in.); paper: 50.6 x 60.5 cm (19 15/16 x 23 13/16 in.); matted: 61 x 71.1 cm (24 x 28 in.). The Cleveland Museum of Art, John L. Severance Fund, 1997.48", "current_location": null, "title": "Mulackstra\u00dfe 37, Berlin (Slide projection of Jewish residents, c. 1932)", "creation_date": "1992", "creation_date_earliest": 1992, "creation_date_latest": 1992, "artists_tags": ["male", "Jewish artists", "LGBTQ+ (after 1900)"], "culture": ["America"], "technique": "Chromogenic print", "support_materials": [], "department": "Photography", "collection": "PH - American 1951-Present", "type": "Photograph", "measurements": "Image: 44.4 x 54.6 cm (17 1/2 x 21 1/2 in.); Paper: 50.6 x 60.5 cm (19 15/16 x 23 13/16 in.); Matted: 61 x 71.1 cm (24 x 28 in.)", "dimensions": {"image": {"height": 0.444, "width": 0.546}, "paper": {"height": 0.506, "width": 0.605}, "matted": {"height": 0.61, "width": 0.711}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Written in black felt pen: \"Shimon Attie [signed] 19/25 1992\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 197898, "title": "Portraiture: American Photography 1960 to the Present", "description": "<i>Portraiture: American Photography 1960 to the Present</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 1-September 13, 2009).", "opening_date": "2009-06-01T00:00:00"}], "legacy": [{"description": "The Cleveland Museum of Art (06/01/2009 - 09/13/2009); \"Portraiture: American Photography 1960 to the Present\"", "opening_date": "2009-06-01T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Jewish residents of this area of Berlin were some of the first sent to concentration camps.", "description": "Inspired by the lost Jewish culture that once occupied the streets of Berlin, Attie created a striking body of work in Berlin from 1991 to 1992. At night he projected archival images of the former Jewish quarter onto buildings standing today, often using the original facades. The resulting color photographs juxtapose past and present while combining varied camera angles, deliberate cropping, and saturated hues. Filled with layers of historic information, the compelling scene depicted here refers to the Holocaust, World War II, the division of Germany, and the grim effects of time.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79980701"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1997.48", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 160076, "creators": [{"id": 6467, "description": "Shimon Attie (American, b. 1957)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1957", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1997-03-04T00:00:00", "sortable_date": 1992, "date_added_to_oa": null, "date_text": "1992", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": "19", "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:37.134000"}, {"id": 160695, "accession_number": "1998.56", "share_license_status": "Copyrighted", "tombstone": "Castillo, Chich\u00e9n Itz\u00e1, 1932. Laura Gilpin (American, 1891\u20131979). Gelatin silver print, toned; image: 23.7 x 34.1 cm (9 5/16 x 13 7/16 in.); matted: 50.8 x 61 cm (20 x 24 in.). The Cleveland Museum of Art, John L. Severance Fund, 1998.56. \u00a9 1979  Amon Carter Museum of American Art", "current_location": null, "title": "Castillo, Chich\u00e9n Itz\u00e1", "creation_date": "1932", "creation_date_earliest": 1932, "creation_date_latest": 1932, "artists_tags": ["female", "LGBTQ+ (after 1900)"], "culture": ["America"], "technique": "gelatin silver print, toned", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 23.7 x 34.1 cm (9 5/16 x 13 7/16 in.); Matted: 50.8 x 61 cm (20 x 24 in.)", "dimensions": {"image": {"height": 0.237, "width": 0.341}, "matted": {"height": 0.508, "width": 0.61}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 1979  Amon Carter Museum of American Art", "inscriptions": [{"inscription": "In graphite, on verso: \"Proof. Sky lost / Sunset Castillo / Laura Gilpin [signed]\"; \"HGMH-17\"; \"PF16850\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 179137, "title": "Signs of Life:  Recent Photography Acquisitions", "description": "<i>Signs of Life:  Recent Photography Acquisitions</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 22, 2003-April 7, 2004).", "opening_date": "2003-11-22T00:00:00"}, {"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": "Laura Gilpin wrote that \"photography uses waves of light, composed and harmonized to express an idea.\"", "description": "Laura Gilpin traveled to Yucat\u00e1n, Mexico, in 1932 to document the Maya ruins at Chich\u00e9n Itz\u00e1. This image shows the site\u2019s most famous structure, known as both El Castillo and the Kukulk\u00e1n (Feathered Serpent) Pyramid. Gilpin wrote that the building \u201cstands with majestic dignity, a supreme expression of the thought and feeling of a great people.\u201d She chose to shoot it at sunset, when the monument\u2019s compact, massive form contrasted with delicate, lacy backlit clouds. At the right, a dramatic sunbeam bursts down, mirroring the pyramid\u2019s sloping side.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79982321"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1998.56", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 160695, "creators": [{"id": 143, "description": "Laura Gilpin (American, 1891\u20131979)", "extent": null, "qualifier": null, "role": "artist", "biography": "Laura Gilpin American, 1891-1979 Born in Colorado Springs, Laura Gilpin photographed the landscape and native peoples of the American Southwest with great sensitivity and skill for more than five decades. Interested in photography as a child, Gilpin took pictures at the 1904 St. Louis Louisiana Purchase Exposition with her Brownie camera and in 1908 experimented with the autochrome color process. From 1916-17 she studied at the Clarence H. White School of Photography in New York; her work during this period reflects the influence of White's pictorial style. Returning to Colorado Springs in 1918, Gilpin opened a commercial studio for portraiture and architectural photography and began recording ruins in southern Colorado and New Mexico. During World War II she worked as a photographer for the Boeing Aircraft Corporation (1942-45) and after the war settled in Santa Fe, New Mexico. There she undertook commercial assignments and pursued her own personal projects, including an ongoing series begun in the 1930s documenting the Navajo people and their culture, which resulted in The Enduring Navaho (1968). Other books by Gilpin include The Pueblos: A Camera Chronicle (1941), Temples in Yucatan: A Camera Chronicle of Chichen Itza (1948), and The Rio Grande: River of Destiny (1949). Following her death in 1979, Gilpin's photographic estate was given to the Amon Carter Museum in Fort Worth, Texas. Seven years later the museum organized a major retrospective of her work, accompanied by the exhibition catalogue Laura Gilpin: An Enduring Grace. M.M.", "name_in_original_language": null, "birth_year": "1891", "death_year": "1979", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1998-03-09T00:00:00", "sortable_date": 1932, "date_added_to_oa": null, "date_text": "1932", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:04:12.656000"}, {"id": 161715, "accession_number": "2000.75.a", "share_license_status": "Copyrighted", "tombstone": "Man Spirit Mask: Man, 1999. Willie Cole (American, b. 1955), Co-published by RCIPP and Alexander & Bonin Publishing, New York, NY. Embossed photoetching hand-colored with lemon juice; sheet: 99.8 x 67.5 cm (39 5/16 x 26 9/16 in.). The Cleveland Museum of Art, John L. Severance Fund, 2000.75.a", "current_location": null, "title": "Man Spirit Mask: Man", "creation_date": "1999", "creation_date_earliest": 1999, "creation_date_latest": 1999, "artists_tags": ["Black American Artists", "male"], "culture": ["America"], "technique": "embossed photoetching hand-colored with lemon juice", "support_materials": [{"description": "Somerset Antique White Paper", "watermarks": []}], "department": "Prints", "collection": "PR - Etching", "type": "Print", "measurements": "Sheet: 99.8 x 67.5 cm (39 5/16 x 26 9/16 in.)", "dimensions": {"sheet": {"height": 0.998, "width": 0.675}}, "state_of_the_work": null, "edition_of_the_work": "40 numbered impressions; 2 PP; 2 RI (Rutger's Impression) 1 Shop proof (Galamander Press)", "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 441598, "title": "Artlens Exhibition 2019", "description": "<i>Artlens Exhibition 2019</i>. The Cleveland Museum of Art, Cleveland, OH (organizer).", "opening_date": "2019-06-11T04:00:00"}], "legacy": [{"description": "The Cleveland Museum of Art (1/26/2014 - 5/18/2014); \"Our Stories: African American Prints and Drawings\"", "opening_date": "2014-01-26T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The steam iron is a personal symbol for this artist and it appears in many of his works.", "description": "Cole created a dialogue between blacks\u2019 ancestral home in Africa and their forced resettlement in America using his self-portrait and a favorite item, the steam iron. In <em>Man</em>, the first panel of this triptych, a photograph of Cole\u2019s face is covered with the embossed pattern of the steam holes of a Proctor Silex iron, a reference to the traditional tribal practice of skin scarification and branding for social identification. In <em>Mask</em> the iron resembles a face and is superimposed atop an inverted image of Cole\u2019s visage; in tribal ritual a mask contains the spirit while the persona of the mask hides the wearer. In <em>Spirit and Mask</em>, irons resemble African tribal war shields and mimic the shape of slave ships as seen from above. Irons and ironing boards are also reminders that generations of African American women have labored as domestics.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79984806"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2000.75.a", "images": {}, "alternate_images": [], "creditline": "John L. 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Willie Cole (American, b. 1955), Co-published by RCIPP and Alexander & Bonin Publishing, New York, NY. Photoscreenprint hand-colored with lemon juice; sheet: 99.5 x 68 cm (39 3/16 x 26 3/4 in.). The Cleveland Museum of Art, John L. Severance Fund, 2000.75.b", "current_location": null, "title": "Man Spirit Mask: Spirit", "creation_date": "1999", "creation_date_earliest": 1999, "creation_date_latest": 1999, "artists_tags": ["Black American Artists", "male"], "culture": ["America"], "technique": "photoscreenprint hand-colored with lemon juice", "support_materials": [{"description": "Rutger's HMP 100% cotton paper", "watermarks": []}], "department": "Prints", "collection": "PR - Screenprint", "type": "Print", "measurements": "Sheet: 99.5 x 68 cm (39 3/16 x 26 3/4 in.)", "dimensions": {"sheet": {"height": 0.995, "width": 0.68}}, "state_of_the_work": null, "edition_of_the_work": "40 numbered impressions; 2 PP; 2 RI (Rutger's Impression) 1 Shop proof (Galamander Press)", "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 441598, "title": "Artlens Exhibition 2019", "description": "<i>Artlens Exhibition 2019</i>. The Cleveland Museum of Art, Cleveland, OH (organizer).", "opening_date": "2019-06-11T04:00:00"}], "legacy": [{"description": "The Cleveland Museum of Art (1/26/2014 - 5/18/2014); \"Our Stories: African American Prints and Drawings\"", "opening_date": "2014-01-26T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The steam iron is a personal symbol for this artist and it appears in many of his works.", "description": "Cole created a dialogue between blacks\u2019 ancestral home in Africa and their forced resettlement in America using his self-portrait and a favorite item, the steam iron. In <em>Man</em>, the first panel of this triptych, a photograph of Cole\u2019s face is covered with the embossed pattern of the steam holes of a Proctor Silex iron, a reference to the traditional tribal practice of skin scarification and branding for social identification. In <em>Mask</em> the iron resembles a face and is superimposed atop an inverted image of Cole\u2019s visage; in tribal ritual a mask contains the spirit while the persona of the mask hides the wearer. In <em>Spirit and Mask</em>, irons resemble African tribal war shields and mimic the shape of slave ships as seen from above. Irons and ironing boards are also reminders that generations of African American women have labored as domestics.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79984808"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2000.75.b", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 161716, "creators": [{"id": 23893, "description": "Willie Cole (American, b. 1955)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1955", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 67730, "description": "Co-published by RCIPP and Alexander & Bonin Publishing, New York, NY", "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": "2000-09-18T00:00:00", "sortable_date": 1999, "date_added_to_oa": null, "date_text": "1999", "collapse_artists": true, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "2000.75", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:58.805000"}, {"id": 161717, "accession_number": "2000.75.c", "share_license_status": "Copyrighted", "tombstone": "Man Spirit Mask: Mask, 1999. Willie Cole (American, b. 1955), Co-published by RCIPP and Alexander & Bonin Publishing, New York, NY. Photoetching and woodcut; sheet: 99.6 x 67.6 cm (39 3/16 x 26 5/8 in.). The Cleveland Museum of Art, John L. Severance Fund, 2000.75.c", "current_location": null, "title": "Man Spirit Mask: Mask", "creation_date": "1999", "creation_date_earliest": 1999, "creation_date_latest": 1999, "artists_tags": ["Black American Artists", "male"], "culture": ["America"], "technique": "photoetching and woodcut", "support_materials": [{"description": "Somerset Antique White Paper", "watermarks": []}], "department": "Prints", "collection": "PR - Etching", "type": "Print", "measurements": "Sheet: 99.6 x 67.6 cm (39 3/16 x 26 5/8 in.)", "dimensions": {"sheet": {"height": 0.996, "width": 0.676}}, "state_of_the_work": null, "edition_of_the_work": "40 numbered impressions; 2 PP; 2 RI (Rutger's Impression) 1 Shop proof (Galamander Press)", "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 441598, "title": "Artlens Exhibition 2019", "description": "<i>Artlens Exhibition 2019</i>. The Cleveland Museum of Art, Cleveland, OH (organizer).", "opening_date": "2019-06-11T04:00:00"}], "legacy": [{"description": "The Cleveland Museum of Art (1/26/2014 - 5/18/2014); \"Our Stories: African American Prints and Drawings\"", "opening_date": "2014-01-26T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The steam iron is a personal symbol for this artist and it appears in many of his works.", "description": "Cole created a dialogue between blacks\u2019 ancestral home in Africa and their forced resettlement in America using his self-portrait and a favorite item, the steam iron. In <em>Man</em>, the first panel of this triptych, a photograph of Cole\u2019s face is covered with the embossed pattern of the steam holes of a Proctor Silex iron, a reference to the traditional tribal practice of skin scarification and branding for social identification. In <em>Mask</em> the iron resembles a face and is superimposed atop an inverted image of Cole\u2019s visage; in tribal ritual a mask contains the spirit while the persona of the mask hides the wearer. In <em>Spirit and Mask</em>, irons resemble African tribal war shields and mimic the shape of slave ships as seen from above. Irons and ironing boards are also reminders that generations of African American women have labored as domestics.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79984811"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2000.75.c", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 161717, "creators": [{"id": 23893, "description": "Willie Cole (American, b. 1955)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1955", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 67730, "description": "Co-published by RCIPP and Alexander & Bonin Publishing, New York, NY", "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": "2000-09-18T00:00:00", "sortable_date": 1999, "date_added_to_oa": null, "date_text": "1999", "collapse_artists": true, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "2000.75", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:03:46.704000"}, {"id": 161745, "accession_number": "2000.98", "share_license_status": "Copyrighted", "tombstone": "Heroes of the Fatherland: The Guerrilla Fighter Aureliano Rivera, 1951. Erasto Cort\u00e9s Ju\u00e1rez (Mexican, 1900\u20131972). Linocut; sheet: 37.3 x 35.7 cm (14 11/16 x 14 1/16 in.); image: 27.3 x 21.7 cm (10 3/4 x 8 9/16 in.). The Cleveland Museum of Art, Gift from funds of various donors to the Department of Prints and Drawings, 2000.98. \u00a9 Erasto Cort\u00e9s Ju\u00e1rez", "current_location": null, "title": "The Guerrilla Fighter Aureliano Rivera", "series": "Heroes of the Fatherland", "creation_date": "1951", "creation_date_earliest": 1951, "creation_date_latest": 1951, "artists_tags": ["male", "Latine and Hispanic Artists"], "culture": ["Mexico, 20th century"], "technique": "linocut", "support_materials": [], "department": "Prints", "collection": "PR - Linocut", "type": "Print", "measurements": "Sheet: 37.3 x 35.7 cm (14 11/16 x 14 1/16 in.); Image: 27.3 x 21.7 cm (10 3/4 x 8 9/16 in.)", "dimensions": {"sheet": {"height": 0.373, "width": 0.357}, "image": {"height": 0.273, "width": 0.217}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Erasto Cort\u00e9s Ju\u00e1rez", "inscriptions": [{"inscription": "Initialed in block, l.l. corner of image: EC\r\nInscribed in graphite below image: EL GUERRILLERO AURELIANO RIVERA (l.l.); E CORTES / [indecipherable letters] -951 (l.r.)\r\nInscribe in black ink, l.l. corner of sheet: No.5\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 184690, "title": "Against the Grain: Woodcuts from the Collection", "description": "<i>Against the Grain: Woodcuts from the Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 17-November 9, 2003).", "opening_date": "2003-08-17T00:00:00"}, {"id": 373919, "title": "A Graphic Revolution: Prints and Drawings in Latin America", "description": "<i>A Graphic Revolution: Prints and Drawings in Latin America</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 14-August 2, 2020).", "opening_date": "2020-03-08T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In the year this print was made, Erasto Cort\u00e9s Ju\u00e1rez published his own historical account of modern Mexican printmaking.", "description": "Erasto Cort\u00e9s Ju\u00e1rez took up printmaking late in life and often used it to illustrate his own texts on Mexico\u2019s cultural and political history. Such publications were popular in the decades following the revolution, as the country reconsidered its national identity. Included in a book about the country\u2019s heroes, this print depicts guerrilla fighter Aureliano Rivera (1832\u20131903). Rivera attempted to stage a coup d\u2019etat against Mexican president Benito Ju\u00e1rez (1806\u20131872), who he believed had been reelected unjustly. Cort\u00e9s Ju\u00e1rez shows Rivera gazing forward boldly despite the violence taking place behind him, emphasizing his bravery and determination.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79984880"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2000.98", "images": {}, "alternate_images": [], "creditline": "Gift from funds of various donors to the Department of Prints and Drawings", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 161745, "creators": [{"id": 39064, "description": "Erasto Cort\u00e9s Ju\u00e1rez (Mexican, 1900\u20131972)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1900", "death_year": "1972", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2000-09-18T00:00:00", "sortable_date": 1951, "date_added_to_oa": null, "date_text": "1951", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:18.228000"}, {"id": 163486, "accession_number": "2004.52", "share_license_status": "Copyrighted", "tombstone": "Peru 129, 1983. Aaron Siskind (American, 1903\u20131991). Gelatin silver print; image: 27.9 x 35.6 cm (11 x 14 in.); matted: 40.6 x 50.8 cm (16 x 20 in.). The Cleveland Museum of Art, Gift of the estate of Aaron Siskind, 2004.52. \u00a9 Aaron Siskind Foundation", "current_location": null, "title": "Peru 129", "creation_date": "1983", "creation_date_earliest": 1983, "creation_date_latest": 1983, "artists_tags": ["male", "Jewish artists"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1951-Present", "type": "Photograph", "measurements": "Image: 27.9 x 35.6 cm (11 x 14 in.); Matted: 40.6 x 50.8 cm (16 x 20 in.)", "dimensions": {"image": {"height": 0.279, "width": 0.356}, "matted": {"height": 0.406, "width": 0.508}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Aaron Siskind Foundation", "inscriptions": [{"inscription": "On the recto, written in black marker: \" Peru 129  1983  Aaron Siskind \"; On the verso, written in pencil : \" P129  '83  /   2 \u00bd \"   \" ASF  13902 \"  \"  RMG  14992 \"", "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": "Cleveland, Ohio:  The Cleveland Museum of Art; September 13 - November 19, 2003.  \"Peru 1983: Aaron Siskind Photographs\" .  No exhibition catalogue.", "opening_date": "2003-09-13T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Aaron Siskind began making fragmented compositions from what he called \u201cneglected\u201d urban imagery in the 1940s.", "description": "Aaron Siskind began making fragmented compositions from what he called \u201cneglected\u201d urban imagery in the 1940s. Although we know from its title that this photograph was taken in Peru, he purposely reduced the location to a disconnected fragment\u2014in this case, a set of wooden doors, printed to highlight the wood\u2019s texture and grain.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79989622"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2004.52", "images": {}, "alternate_images": [], "creditline": "Gift of the estate of Aaron Siskind", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 163486, "creators": [{"id": 912, "description": "Aaron Siskind (American, 1903\u20131991)", "extent": null, "qualifier": null, "role": "artist", "biography": "Aaron Siskind American, 1903-1991 Born in New York City, Aaron Siskind inspired many photographers through the example of his own work and his instruction at the Institute of Design, Illinois Institute of Technology, and at the Rhode Island School of Design. Graduating from City College of New York in 1926, Siskind taught English in the city's public schools for 23 years. He took up photography as a hobby in 1930 and two years later learned to process and print his own images. Around this time he joined the Photo League, an organization of socially concerned photographers who promoted documentary photography. Siskind headed the league's project focusing on Harlem (Harlem Document) and also produced his own series Tabernacle City, Bucks County and The Most Crowded Block in the World. In the early 1940s, Siskind's work gradually shifted from a social documentary approach to a more abstract and personal style. During summers on Martha's Vineyard and in Gloucester, Massachusetts, he began photographing natural objects close up, eliminating deep, naturalistic space and concentrating on the primacy of the flat, two-dimensional surface of the photograph. As a result of his experiments, he came to be interested in the photograph as a physical object in its own right, rather than as a reflection of the outside world. In 1947 Siskind exhibited his new work at the Egan Gallery in New York, where the paintings of the abstract expressionists were shown. He became friends with painter Franz Kline and other members of his circle and through their support published his first book, Aaron Siskind: Photographs (1959). In the 1950s Siskind also began to establish himself as a photography teacher. He gained his first experience as a part-time instructor at Trenton College (1949-51), then taught during the summer of 1951 at Black Mountain College in North Carolina. There he worked with Harry Callahan, who invited him to join the staff of the Institute of Design in Chicago. Siskind taught at the institute from 1951-71, when he left to join the Rhode Island School of Design where Callahan now headed the department of photography. Siskind continued to teach at the school until his retirement in 1976. Over the years Siskind remained interested in exploring the formal and abstract qualities of photography, becoming known for his closeup, abstracted views of rocks, peeling paint, bits of graffiti, torn signs, and other objects. He exhibited widely, and in 1982 his photographs were featured in a major retrospective, Aaron Siskind: Fifty Years, organized by the Center for Creative Photography, Tucson. M.M.", "name_in_original_language": null, "birth_year": "1903", "death_year": "1991", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2004-06-07T00:00:00", "sortable_date": 1983, "date_added_to_oa": null, "date_text": "1983", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:04:34.219000"}, {"id": 168571, "accession_number": "2010.297", "share_license_status": "Copyrighted", "tombstone": "Wind (\u98a8), 1994. Kohyama Yasuhisa (Japanese, b. 1936). Stoneware (Shigaraki style); overall: 22.3 x 52.7 x 11.8 cm (8 3/4 x 20 3/4 x 4 5/8 in.). The Cleveland Museum of Art, Gift of the Artist, 2010.297", "current_location": null, "title": "Wind", "title_in_original_language": "\u98a8", "creation_date": "1994", "creation_date_earliest": 1994, "creation_date_latest": 1994, "artists_tags": ["male", "Asian (from 1900 to present)"], "culture": ["Japan, Heisei period (1989\u20132019)"], "technique": "stoneware (Shigaraki style)", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Ceramic", "measurements": "Overall: 22.3 x 52.7 x 11.8 cm (8 3/4 x 20 3/4 x 4 5/8 in.)", "dimensions": {"overall": {"height": 0.223, "width": 0.527, "depth": 0.118}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 666805, "title": "Contemporary Calligraphy and Clay", "description": "<i>Contemporary Calligraphy and Clay</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 7, 2024-June 15, 2025).", "opening_date": "2024-06-07T04:00:00"}], "legacy": [{"description": "The Sculpture Center, Cleveland, OH (November 6\u2013December 19, 2009).", "opening_date": "2009-11-06T00:00:00"}]}, "provenance": [{"description": "Collection of the Artist, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1994\u20132010", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2010\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This vessel was fired in the kiln at Kent State University while Kohyama was in residence at the Cleveland Institute of Art.", "description": "Kohyama Yasuhisa is known for his exploration of natural forms. This piece is part of a series examining wind, which he began in the 1980s. This vessel was intended for ikebana, the Japanese art of flower arrangement.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60781182"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2010.297", "images": {}, "alternate_images": [], "creditline": "Gift of the Artist", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 168571, "creators": [{"id": 34942, "description": "Kohyama Yasuhisa (Japanese, b. 1936)", "extent": null, "qualifier": null, "role": "artist", "biography": "Born in the ancient pottery town of Shigaraki, Kohyama began working at a ceramic factory when he was fifteen. He performed chores at Oumi Kagaku Touki, the largest factory in Shigaraki that was influenced by Scandinavian design, during the day and trained in basic ceramic throwing techniques in the evenings at a vocational school. In 1955, he apprenticed under Sakuzo Hineo (1907\u20131984), a potter from Ueno, and began to concentrate on tableware. In the 1960s, Kohyama started collaborating with designers and architects to create ceramic tile installations. However, he is now best known for his vessels, both traditional wares like tea bowls as well as more experimental, sculptural forms. Many of Kohyama\u2019s pieces are suitable for ikebana, the art of flower arrangement in which he himself is highly skilled. He developed and continues to hone his creative process of cutting away clay with metal wires. He prefers to fire his works in a wood-fired anagama kiln. He has come to Cleveland three times to serve as an instructor for the Cleveland Institute of Art and for Kent State University: in 1993, 1999, and 2008.", "name_in_original_language": "\u795e\u5c71\u6613\u4e45", "birth_year": "1936", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2010-11-29T00:00:00", "sortable_date": 1994, "date_added_to_oa": null, "date_text": "1994", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:24.598000"}, {"id": 170901, "accession_number": "2013.36", "share_license_status": "Copyrighted", "tombstone": "Double-Spouted Vase, late 1950s. Toshiko Takaezu (American, 1922\u20132011). Ceramic; overall: 31.8 x 20.5 x 16 cm (12 1/2 x 8 1/16 x 6 5/16 in.). The Cleveland Museum of Art, Gift of Kathy Miller Gaphardt and Laura Miller Gruen in honor of Frederick and Mary Miller and John Paul Miller, 2013.36", "current_location": null, "title": "Double-Spouted Vase", "creation_date": "late 1950s", "creation_date_earliest": 1955, "creation_date_latest": 1959, "artists_tags": ["May Show", "female", "Cleveland Institute of Art (faculty)"], "culture": ["America"], "technique": "ceramic", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Ceramic", "measurements": "Overall: 31.8 x 20.5 x 16 cm (12 1/2 x 8 1/16 x 6 5/16 in.)", "dimensions": {"overall": {"height": 0.318, "width": 0.205, "depth": 0.16}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 541933, "title": "Toshiko Takaezu: Worlds Within", "description": "<i>Toshiko Takaezu: Worlds Within</i>. The Isamu Noguchi Foundation and Garden Museum, Long Island City, NY (organizer) (March 20-July 28, 2024) https://www.noguchi.org/museum/exhibitions/view/toshiko-takaezu/; Cranbrook Art Museum, Bloomfield Hills, MI (September 7, 2024-January 12, 2025); Museum of Fine Arts, Houston, Houston, TX (February 23-May 18, 2025); Chazen Museum of Art, Madison, WI (September 8-December 23, 2025).", "opening_date": "2024-03-20T04:00:00"}], "legacy": [{"description": "Included in the permanent collection installation within the contemporary galleries: \"Toshiko Takaezu: Form without Function\"", "opening_date": null}]}, "provenance": [{"description": "Given to John Paul Miller by the artist, Toshiko Takaezu", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "Inherited by Kathy Gaphardt and Laura Gruen from the John Paul Miller estate, 3/2013", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This double-spouted vase was intended to be a decorative sculpture rather than a functional object.", "description": "Toshiko Takaezu reformed the concept of a vessel by minimizing its functionality in her work. Here, the openings of the vase's two spouts are so reduced as to be unusable, becoming a ceramic sculpture rather than utilitarian container.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60758887"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2013.36", "images": {}, "alternate_images": [], "creditline": "Gift of Kathy Miller Gaphardt and Laura Miller Gruen in honor of Frederick and Mary Miller and John Paul Miller", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 170901, "creators": [{"id": 6647, "description": "Toshiko Takaezu (American, 1922\u20132011)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1922", "death_year": "2011", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2013-05-28T00:00:00", "sortable_date": 1955, "date_added_to_oa": null, "date_text": "late 1950s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:04:49.027000"}, {"id": 171161, "accession_number": "2013.73", "share_license_status": "Copyrighted", "tombstone": "Comet of the Millennium Brooch, 2000. James Mazurkewicz (American, 1943-), Potter and Mellen, Inc. (American). 18K gold, black tahitian pearl, diamonds. The Cleveland Museum of Art, Gift of Marjorie and Warren McCullough in memory of Joseph and Elizabeth McCullough, 2013.73", "current_location": null, "title": "Comet of the Millennium Brooch", "creation_date": "2000", "creation_date_earliest": 2000, "creation_date_latest": 2000, "artists_tags": ["male", "gender unknown"], "culture": ["America"], "technique": "18K gold, black tahitian pearl, diamonds", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Jewelry", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 232813, "title": "Out of this World!  Jewelry in the Space Age", "description": "<i>Out of this World!  Jewelry in the Space Age</i>. Carnegie Museum of Natural History, Pittsburgh, PA (organizer) (June 27, 2015-January 7, 2016).", "opening_date": "2015-06-27T00:00:00"}], "legacy": [{"description": "Carnegie Museum of Natural History, Pittsburgh, PA (6/27/2105 - 1/7/2016):  \"Out of this World!  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Nam June Paik (Korean, 1932\u20132006), Mark Patsfall Graphics (United States, Ohio, Cincinnati, est. 1981), Galerie Asb\u00e6k (Denmark, Copenhagan, est. 1975). Lithograph, screenprint, and etching; sheet: 53.1 x 65.9 cm (20 7/8 x 25 15/16 in.); image: 51.8 x 64.8 cm (20 3/8 x 25 1/2 in.). The Cleveland Museum of Art, The A. W. 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Ellenberger, Sr., Endowment Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 86475, "creators": [{"id": 65871, "description": "Nam June Paik (Korean, 1932\u20132006)", "extent": null, "qualifier": null, "role": "artist", "biography": "Korean artist, active in America<br>Born: July 20, 1932, Seoul, South Korea<br>Died: January 29, 2006, Miami, FL", "name_in_original_language": null, "birth_year": "1932", "death_year": "2006", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 672119, "description": "Mark Patsfall Graphics (United States, Ohio, Cincinnati, est. 1981)", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}, {"id": 672117, "description": "Galerie Asb\u00e6k (Denmark, Copenhagan, est. 1975)", "extent": "published by", "qualifier": null, "role": "publisher", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 3}], "legal_status": "accessioned", "accession_date": "2015-12-07T00:00:00", "sortable_date": 1996, "date_added_to_oa": null, "date_text": "1996", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "2015.144", "is_nazi_era_provenance": false, "impression": "15", "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:05:32.321000"}, {"id": 86518, "accession_number": "2016.4", "share_license_status": "Copyrighted", "tombstone": "Brunidor Portfolio No. 1, Plate 1: Rhabdomancie, 1947. Yves Tanguy (French, 1900\u20131955), Stanley William Hayter (British, 1901\u20131988), Edition Brunidor, New York, Atelier 17. Color etching ; platemark: 29.7 x 22.4 cm (11 11/16 x 8 13/16 in.); sheet: 40.7 x 33 cm (16 x 13 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 2016.4. \u00a9 Estate of Yves Tanguy / Artists Rights Society (ARS), New York", "current_location": null, "title": "Brunidor Portfolio No. 1, Plate 1: Rhabdomancie", "creation_date": "1947", "creation_date_earliest": 1947, "creation_date_latest": 1947, "artists_tags": ["male"], "culture": ["France, 20th century"], "technique": "Color etching ", "support_materials": [{"description": "wove paper", "watermarks": []}], "department": "Prints", "collection": "PR - Etching", "type": "Print", "measurements": "Platemark: 29.7 x 22.4 cm (11 11/16 x 8 13/16 in.); Sheet: 40.7 x 33 cm (16 x 13 in.)", "dimensions": {"sheet": {"height": 0.407, "width": 0.33}, "platemark": {"height": 0.297, "width": 0.224}}, "state_of_the_work": null, "edition_of_the_work": "22/70", "copyright": "\u00a9 Estate of Yves Tanguy / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "Below image, left, in graphite: 22/70; below image, right, in graphite: YVES TANGUY 1947", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 286696, "title": "Cutting Edge: Modern Prints from Atelier 17", "description": "<i>Cutting Edge: Modern Prints from Atelier 17</i>. 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Although <em>rhabdomancie</em> means dowsing, or searching underground for water, Surrealist titles were not meant to explain content but to set a poetic mood. The three figures in this composition could be involved in the activity of searching; accessing the subconscious played an important role in Tanguy\u2019s artistic practice.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79473155"], "internet_archive": []}, "citations": [], "catalogue_raisonne": "Wittrock 13", "url": "https://clevelandart.org/art/2016.4", "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": 86518, "creators": [{"id": 12379, "description": "Yves Tanguy (French, 1900\u20131955)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1900", "death_year": "1955", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 26459, "description": "Stanley William Hayter (British, 1901\u20131988)", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "birth_year": "1901", "death_year": "1988", "use_in_caption": true, "include_extent": false, "weight": 2}, {"id": 67841, "description": "Edition Brunidor, New York", "extent": "published by", "qualifier": null, "role": "publisher", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 3}, {"id": 283461, "description": "Atelier 17", "extent": null, "qualifier": null, "role": null, "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 4}], "legal_status": "accessioned", "accession_date": "2016-03-07T00:00:00-05:00", "sortable_date": 1947, "date_added_to_oa": null, "date_text": "1947", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": true, "updated_at": "2026-03-27 00:00:28.012000"}, {"id": 93189, "accession_number": "2018.280", "share_license_status": "CC0", "tombstone": "Magnolia Ginger Jar, c. 1904\u201314. Tiffany Studios (United States, New York, 1902\u201332). Glazed white clay; overall: 23.5 x 13 cm (9 1/4 x 5 1/8 in.). The Cleveland Museum of Art, Bequest of Charles Maurer, 2018.280", "current_location": null, "title": "Magnolia Ginger Jar", "creation_date": "c. 1904\u201314", "creation_date_earliest": 1904, "creation_date_latest": 1914, "artists_tags": ["gender unknown"], "culture": ["America, New York"], "technique": "glazed white clay", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Ceramic", "measurements": "Overall: 23.5 x 13 cm (9 1/4 x 5 1/8 in.)", "dimensions": {"overall": {"height": 0.235, "width": 0.13}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "LCT", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Tiffany Favrile Pottery P413", "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": null, "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": "Ceramic works were Louis Comfort Tiffany's contribution to the art pottery movement of the early 1900s.", "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 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/Q79874455"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2018.280", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2018.280/2018.280_web.jpg", "width": "698", "height": "900", "filesize": "161256", "filename": "2018.280_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2018.280/2018.280_print.jpg", "width": "2636", "height": "3400", "filesize": "893162", "filename": "2018.280_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2018.280/2018.280_full.tif", "width": "6638", "height": "8561", "filesize": "170508816", "filename": "2018.280_full.tif"}}, "alternate_images": [{"date_created": "2007-12-14T19:41:31", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.280/2018.280_alt0_web.jpg", "width": "685", "height": "900", "filesize": "182417"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.280/2018.280_alt0_print.jpg", "width": "2587", "height": "3400", "filesize": "1126529"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.280/2018.280_alt0_full.tif", "width": "4085", "height": "5369", "filesize": "65821652"}}], "creditline": "Bequest of Charles Maurer", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 93189, "creators": [{"id": 292194, "description": "Tiffany Studios (United States, New York, 1902\u201332)", "extent": "made by", "qualifier": null, "role": "maker", "biography": "American jewelry and glass manufactory, 1902-1932", "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": 1904, "date_added_to_oa": null, "date_text": "c. 1904\u201314", "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": "2026-03-31 19:02:34.982000"}, {"id": 374714, "accession_number": "2020.265", "share_license_status": "Copyrighted", "tombstone": "Centers, 1971. Vito Acconci (American, 1940\u20132017). Black-and-white video, sound; 22:28 minutes. The Cleveland Museum of Art, Louis D. Kacalieff, M.D. Fund, 2020.265. \u00a9 Vito Acconci", "current_location": null, "title": "Centers", "creation_date": "1971", "creation_date_earliest": 1971, "creation_date_latest": 1971, "artists_tags": ["male"], "culture": ["America"], "technique": "Black-and-white video, sound; 22:28 minutes", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Installation Media", "type": "Time-based Media", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Vito Acconci", "inscriptions": [], "exhibitions": {"current": [{"id": 361203, "title": "Pioneers: Part Two", "description": "<i>Pioneers: Part Two</i>. The Cleveland Museum of Art, Cleveland, OH (December 2, 2019-March 13, 2020).", "opening_date": "2019-12-01T05:00:00"}, {"id": 685750, "title": "Vito Acconci: Centers", "description": "<i>Vito Acconci: Centers</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 27-September 7, 2025).", "opening_date": "2025-05-27T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Electronic Arts Intermix, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "2020", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2020-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In Vito Acconci\u2019s <em>Centers</em>, the artist faces the camera, attempting to keep his finger pointed at the exact center of the screen. This performative test of endurance is also a conceptual exploration of the video screen as novel framing device.", "description": "In <em>Centers</em>, Vito Acconci faces the camera head-on, attempting to keep his finger directed at the exact center of the screen, which displays his own image. In pointing at himself, the artist also points at the viewer, creating a tension between the two. Of the film, Acconci wrote, \u201cThe result (the TV image) turns the activity around: a pointing away from myself, at an outside viewer\u2014I end up widening my focus onto passing viewers (I\u2019m looking straight out by looking straight in).\u201d Acconci started his career in the 1960s as a poet. By the end of the decade, he was a leading figure in the fields of performance, sound, and video art.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117244015"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2020.265", "images": {}, "alternate_images": [], "creditline": "Louis D. Kacalieff, M.D. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 374714, "creators": [{"id": 42764, "description": "Vito Acconci (American, 1940\u20132017)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1940", "death_year": "2017", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2020-12-07T00:00:00-05:00", "sortable_date": 1971, "date_added_to_oa": null, "date_text": "1971", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "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 00:07:02.415000"}, {"id": 375491, "accession_number": "2020.67", "share_license_status": "Copyrighted", "tombstone": "Writing Box (Suzuribako) with Hydrangea at Night (\u591c\u7d2b\u967d\u82b1\u6587\u786f\u7bb1), 1930s. Japan, Sh\u014dwa period (1926\u201389). Lacquered wood and silver with gold, silver, and color sprinkled powder (maki-e); 5.4 x 23.1 x 25.3 cm (2 1/8 x 9 1/8 x 9 15/16 in.). The Cleveland Museum of Art, Lillian M. Kern Memorial Fund, 2020.67", "current_location": null, "title": "Writing Box (Suzuribako) with Hydrangea at Night", "title_in_original_language": "\u591c\u7d2b\u967d\u82b1\u6587\u786f\u7bb1", "creation_date": "1930s", "creation_date_earliest": 1930, "creation_date_latest": 1939, "artists_tags": [], "culture": ["Japan, Sh\u014dwa period (1926\u201389)"], "technique": "Lacquered wood and silver with gold, silver, and color sprinkled powder (maki-e)", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Lacquer", "measurements": "5.4 x 23.1 x 25.3 cm (2 1/8 x 9 1/8 x 9 15/16 in.)", "dimensions": {"No Extent Specified": {"height": 0.054, "width": 0.231, "depth": 0.253}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 373117, "title": "Early Rinpa (Japanese gallery rotation) 235", "description": "<i>Early Rinpa (Japanese gallery rotation) 235</i>. The Cleveland Museum of Art (organizer) (July 23, 2020-January 17, 2021).", "opening_date": "2020-10-16T04:00:00"}, {"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": []}, "provenance": [{"description": "(Erik Thomsen Asian Art, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "?\u20132020", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2020\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The moody, glamorous look of the box is an excellent example of reconsidering classical seasonal motifs.", "description": "Japanese writing boxes are designed to hold all the tools for traditional calligraphy, including an inkstone, water dropper, ink cake, and brushes. This box retains its inkstone and water dropper, the latter of which has a design of the sun behind clouds\u2014a contrast to the hydrangea flower in moonlight motif on the box\u2019s lid.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q106617482"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2020.67", "images": {}, "alternate_images": [], "creditline": "Lillian M. Kern Memorial Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 375491, "creators": [], "legal_status": "accessioned", "accession_date": "2020-03-02T00:00:00-05:00", "sortable_date": 1930, "date_added_to_oa": null, "date_text": "1930s", "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 23:59:31.015000"}, {"id": 534897, "accession_number": "2022.252", "share_license_status": "Copyrighted", "tombstone": "City Plevins, c. 1939. Dox Thrash (American, 1892\u20131965). Watercolor with graphite underdrawing on wove paper; sheet: 39 x 29.7 cm (15 3/8 x 11 11/16 in.). The Cleveland Museum of Art, Severance and Greta Millikin Purchase Fund, 2022.252", "current_location": null, "title": "City Plevins", "creation_date": "c. 1939", "creation_date_earliest": 1939, "creation_date_latest": 1939, "artists_tags": ["Black American Artists", "male"], "culture": ["America"], "technique": "watercolor with graphite underdrawing on wove paper", "support_materials": [], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Sheet: 39 x 29.7 cm (15 3/8 x 11 11/16 in.)", "dimensions": {"sheet": {"height": 0.39, "width": 0.297}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Watermark: C.M. FABRIANO (partial)", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": [{"description": "Pyramid Club, Philadelphia, PA, 1945", "opening_date": "1945-01-01T04:00:00Z"}, {"description": "<em>Dox Thrash, Black Life, and the Carborundum Mezzotint</em>. Hyde Collection, Glens Falls, NY (January 19\u2013April 30, 2020).", "opening_date": "2020-01-19T05:00:00Z"}]}, "provenance": [{"description": "Studio of the artist, by descent", "citations": [], "footnotes": null, "date": "c. 1939\u201365", "sortorder": 1}, {"description": "Edna Thrash, Philadelphia, PA, given to Cathy Neal Riley and Peter Riley", "citations": [], "footnotes": null, "date": "c. 1965", "sortorder": 2}, {"description": "Cathy Neal Riley and Peter Riley, Philadelphia, PA", "citations": [], "footnotes": null, "date": "c. 1965", "sortorder": 3}, {"description": "(Dolan/Maxwell, Inc., Philadelphia, PA), sold to The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "?-2022", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "December 5, 2022-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Dox Thrash inscribed the work\u2019s enigmatic title on the sheet\u2019s verso, perhaps suggesting the promise and opportunity offered by life in northern cities such as Philadelphia during the Great Migration.", "description": "For nearly half a century, Dox Thrash created evocative depictions of the everyday lives of Black Americans in Philadelphia, where he lived. This watercolor depicts apartment buildings in the north side of the city, where the artist\u2019s own neighbors gather outside to work, play, and socialize. Thrash realistically depicted signs of wear, such as a falling shutter, but focused on the sense of community.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117247721"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2022.252", "images": {}, "alternate_images": [], "creditline": "Severance and Greta Millikin Purchase Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 534897, "creators": [{"id": 7984, "description": "Dox Thrash (American, 1892\u20131965)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1893", "death_year": "1965", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2022-12-05T00:00:00-05:00", "sortable_date": 1939, "date_added_to_oa": null, "date_text": "c. 1939", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:03:56.796000"}, {"id": 698822, "accession_number": "2025.210", "share_license_status": "Copyrighted", "tombstone": "Cosmic Jets, 1983. Athena Tacha (American, b. 1936). Felt tip pen on graph rag vellum; sheet: 40.6 x 78.7 cm (16 x 31 in.). The Cleveland Museum of Art, Gift of Athena Tacha, 2025.210. \u00a9 Athena Tacha", "current_location": null, "title": "Cosmic Jets", "creation_date": "1983", "creation_date_earliest": 1983, "creation_date_latest": 1983, "artists_tags": ["May Show", "female"], "culture": ["America"], "technique": "Felt tip pen on graph rag vellum", "support_materials": [], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Sheet: 40.6 x 78.7 cm (16 x 31 in.)", "dimensions": {"sheet": {"height": 0.406, "width": 0.787}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Athena Tacha", "inscriptions": [{"inscription": "Inscribed, at lower left, in pencil: Sc. Am. May 82, p. 126 (Cosmic Jets); inscribed, at lower right, in pencil: 3/4\" = 1\u2019 AT 83; along left and right margin of image: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 [from bottom to top]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": [{"description": "<em>Athena Tacha: Massacre Memorials and Other Public Projects</em>. Max Hutchinson Gallery, New York (1984).", "opening_date": "1984-01-01T05:00:00Z"}, {"description": "<em>Athena Tacha: Sculpting With/In Nature (1975-2013)</em>. Grounds for Sculpture, Hamilton, NJ (2013).", "opening_date": "2013-01-01T05:00:00Z"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The sculpture to which this drawing relates was proposed as a public artwork for the campuses of both the University of Alaska and the University of Florida, although it was not ultimately realized.", "description": "Born in Greece, Athena Tacha studied in Paris before obtaining advanced degrees in both art history and fine art. She eventually settled in Oberlin, Ohio, where she served as both the first curator of modern art for Oberlin College\u2019s Allen Memorial Art Museum, and later as a professor of sculpture for several decades. Around this time, she began to create site-specific environmental sculpture\u2014the medium for which she is best known. <em>Cosmic Jets</em> relates to, in the artist\u2019s words, a \u201cproposal for a tile-faced staircase on a waterfront or urban plaza.\u201d It translates the mosaic-influenced concept of this design into squares of saturated tones and was considered an artwork in its own right, exhibited by the artist several times in later decades.", "external_resources": {"wikidata": [], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2025.210", "images": {}, "alternate_images": [], "creditline": "Gift of Athena Tacha", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 698822, "creators": [{"id": 6884, "description": "Athena Tacha (American, b. 1936)", "extent": null, "qualifier": null, "role": "artist", "biography": "Biographical information exists in the  Cleveland Museum of Art Archives.", "name_in_original_language": null, "birth_year": "1936", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2025-12-08T05:00:00Z", "sortable_date": 1983, "date_added_to_oa": null, "date_text": "1983", "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 00:00:25.711000"}, {"id": 145289, "accession_number": "1970.530", "share_license_status": "Copyrighted", "tombstone": "Jar, 1970. Fannie Nampeyo (Hopi-Tewa, 1900\u20131987). Ceramic, slip; overall: 21.5 x 31.5 cm (8 7/16 x 12 3/8 in.). The Cleveland Museum of Art, The Harold T. Clark Educational Extension Fund, 1970.530", "current_location": "231 Native North American", "title": "Jar", "creation_date": "1970", "creation_date_earliest": 1970, "creation_date_latest": 1970, "artists_tags": ["Indigenous", "female"], "culture": ["Native North America, Southwest, Arizona, Pueblo, First Mesa"], "technique": "ceramic, slip", "support_materials": [], "department": "Art of the Americas", "collection": "AA - Native North America", "type": "Ceramic", "measurements": "Overall: 21.5 x 31.5 cm (8 7/16 x 12 3/8 in.)", "dimensions": {"overall": {"height": 0.215, "width": 0.315}}, "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": [{"description": "Mansfield Arts Center, Ohio (March 7 - April 4, 1993) \"Art of the First Nations\"", "opening_date": "1993-03-07T00:00:00"}]}, "provenance": [{"description": "Purchased from Indian Mill (Thomas Jones).", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Pueblo pottery\u2013making is a family affair, its matriarchs the founders of long lines of accomplished ceramic artists. Fannie Nampeyo is perhaps the most noted daughter-potter of Nampeyo of Hano, who revived fine Hopi ceramics in the late 1800s and whose legacy has so far passed through five generations of potters. The design that encircles this jar has great longevity in the family. Known as the migration pattern, it refers both to Hopi migrations and to water. Abstract, three-feathered bird wings help to create a sense of the movement that inspired the motif.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79923318"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1970.530", "images": {}, "alternate_images": [], "creditline": "The Harold T. Clark Educational Extension Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 145289, "creators": [{"id": 16887, "description": "Fannie Nampeyo (Hopi-Tewa, 1900\u20131987)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1900", "death_year": "1987", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1970-12-18T00:00:00", "sortable_date": 1970, "date_added_to_oa": null, "date_text": "1970", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:02.812000"}, {"id": 162862, "accession_number": "2003.348", "share_license_status": "Copyrighted", "tombstone": "Plate with Painted Design, July, 1966. Maria Martinez (San Ildefonso Pueblo, about 1887\u20131980), and Popovi Da (San Ildefonso Pueblo, 1921\u20131971). Ceramic, slip; overall: 5.6 x 30.3 x 5.6 cm (2 3/16 x 11 15/16 x 2 3/16 in.). The Cleveland Museum of Art, Gift of Frances and David Dickenson in memory of Sarah Dickenson and Jeffrey Cudlip, 2003.348", "current_location": "231 Native North American", "title": "Plate with Painted Design", "creation_date": "July, 1966", "creation_date_earliest": 1966, "creation_date_latest": 1966, "artists_tags": ["Indigenous", "female", "male"], "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: 5.6 x 30.3 x 5.6 cm (2 3/16 x 11 15/16 x 2 3/16 in.)", "dimensions": {"overall": {"height": 0.056, "width": 0.303, "depth": 0.056}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "incised on bottom \"Maria/Popovi 766\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "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. 106, p. 122.", "opening_date": "2006-06-09T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Maria Martinez was the matriarch of a large, multigenerational family of pottery makers, some active today, and she often collaborated with relatives. For instance, she fashioned this plate and her son, Popovi Da, painted it. The freehand design, precise and balanced, features mountains (the stepped forms at the center) streaked by rain or snow (the parallel lines); a scalloped motif representing water or clouds appears on the rim.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60778431"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2003.348", "images": {}, "alternate_images": [], "creditline": "Gift of Frances and David Dickenson in memory of Sarah Dickenson and Jeffrey Cudlip", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 162862, "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}, {"id": 47187, "description": "Popovi Da (San Ildefonso Pueblo, 1921\u20131971)", "extent": null, "qualifier": "and", "role": "artist", "biography": "Da is the son of Maria Martinez.", "name_in_original_language": null, "birth_year": "1921", "death_year": "1971", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "2004-03-01T00:00:00", "sortable_date": 1966, "date_added_to_oa": null, "date_text": "July, 1966", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:42.030000"}, {"id": 163790, "accession_number": "2005.197", "share_license_status": "Copyrighted", "tombstone": "Pink/White Form , 1990s. Toshiko Takaezu (American, 1922\u20132011). Porcelain; diameter: 19.1 cm (7 1/2 in.); overall: 32.4 cm (12 3/4 in.). The Cleveland Museum of Art, Gift of the Artist, 2005.197", "current_location": "228A Cleveland Artists", "title": "Pink/White Form ", "creation_date": "1990s", "creation_date_earliest": 1990, "creation_date_latest": 1999, "artists_tags": ["May Show", "female", "Cleveland Institute of Art (faculty)"], "culture": ["America"], "technique": "porcelain", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Ceramic", "measurements": "Diameter: 19.1 cm (7 1/2 in.); Overall: 32.4 cm (12 3/4 in.)", "dimensions": {"diameter": {"width": 0.191}, "overall": {"height": 0.324}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 198203, "title": "Toshiko Takaezu", "description": "<i>Toshiko Takaezu</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 20, 2009-May 15, 2010).", "opening_date": "2009-06-20T00:00:00"}], "legacy": [{"description": "The Cleveland Museum of Art (06/20/2009 - 05/15/2010); \"Toshiko Takaezu\"", "opening_date": "2009-06-20T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Shortly after studying in Japan, and while teaching at the Cleveland Institute of Art in the 1950s, Takaezu launched her signature series of closed vessels applied with painterly glazes. Constituting her primary output for nearly a half century, these works reveal her combined interests in Western and Eastern philosophies and aesthetics.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60757512"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2005.197", "images": {}, "alternate_images": [], "creditline": "Gift of the Artist", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "David and Helen Kangesser Gallery", "athena_id": 163790, "creators": [{"id": 6647, "description": "Toshiko Takaezu (American, 1922\u20132011)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1922", "death_year": "2011", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2005-12-05T00:00:00", "sortable_date": 1990, "date_added_to_oa": null, "date_text": "1990s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:05:18.923000"}, {"id": 361196, "accession_number": "2020.271", "share_license_status": "Copyrighted", "tombstone": "The Nurse and the Hijackers, 1977. Eleanor Antin (American, b. 1935). Video, color, sound; 75 min.. The Cleveland Museum of Art, Louis D. Kacalieff, M.D. Fund, 2020.271, Louis D. Kacalieff, MD, Fund. \u00a9 Eleanor Antin", "current_location": "224B Video", "title": "The Nurse and the Hijackers", "creation_date": "1977", "creation_date_earliest": 1977, "creation_date_latest": 1977, "artists_tags": ["female", "Jewish artists"], "culture": ["America"], "technique": "Video, color, sound; 75 min.", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Installation Media", "type": "Time-based Media", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Eleanor Antin", "inscriptions": [], "exhibitions": {"current": [{"id": 361203, "title": "Pioneers: Part Two", "description": "<i>Pioneers: Part Two</i>. The Cleveland Museum of Art, Cleveland, OH (December 2, 2019-March 13, 2020).", "opening_date": "2019-12-01T05:00:00"}, {"id": 685751, "title": "Eleanor Antin\u2019s \u201cNurse and Hijackers\u201d", "description": "<i>Eleanor Antin\u2019s \u201cNurse and Hijackers\u201d</i>. The Cleveland Museum of Art (organizer) (September 9, 2025-January 11, 2026).", "opening_date": "2025-09-09T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Electronic Arts Intermix, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "2020", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2020-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "In <em>The Nurse and the Hijackers</em>, Eleanor Antin employs the structure of a popular movie genre in this feature-length, narrative video tape that acts as an armature for her continuing theatre of ideas, which to explore history, contemporary culture, and identity from a feminist perspective.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117240057"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2020.271", "images": {}, "alternate_images": [], "creditline": "Louis D. Kacalieff, M.D. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 361196, "creators": [{"id": 318584, "description": "Eleanor Antin (American, b. 1935)", "extent": null, "qualifier": null, "role": "artist", "biography": "American performance artist, conceptual artist, and photographer, born 1935", "name_in_original_language": null, "birth_year": "1935", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2020-12-07T00:00:00-05:00", "sortable_date": 1977, "date_added_to_oa": null, "date_text": "1977", "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 00:09:41.041000"}, {"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": 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", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 146116, "creators": [], "legal_status": "accessioned", "accession_date": "1971-12-11T00:00:00", "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": [], "is_highlight": false, "updated_at": "2026-03-27 00:07:42.535000"}, {"id": 147031, "accession_number": "1972.53.5", "share_license_status": "Copyrighted", "tombstone": "Two Nude Women (A series of progressive proofs), 1945\u201346. Pablo Picasso (Spanish, 1881\u20131973), Mourlot. Lithograph; image: 32 x 42.4 cm (12 5/8 x 16 11/16 in.); sheet: 33 x 45.8 cm (13 x 18 1/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1972.53.5. \u00a9 Estate of  Pablo Picasso / Artists Rights Society (ARS), New York", "current_location": null, "title": "Two Nude Women (A series of progressive proofs)", "creation_date": "1945\u201346", "creation_date_earliest": 1945, "creation_date_latest": 1946, "artists_tags": ["male", "Latine and Hispanic Artists", "gender unknown"], "culture": ["Spain, 20th century"], "technique": "lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image: 32 x 42.4 cm (12 5/8 x 16 11/16 in.); Sheet: 33 x 45.8 cm (13 x 18 1/16 in.)", "dimensions": {"image": {"height": 0.32, "width": 0.424}, "sheet": {"height": 0.33, "width": 0.458}}, "state_of_the_work": "VIII", "edition_of_the_work": null, "copyright": "\u00a9 Estate of  Pablo Picasso / Artists Rights Society (ARS), New York", "inscriptions": [], "exhibitions": {"current": [{"id": 317581, "title": "Picasso and Paper", "description": "<i>Picasso and Paper</i>. The Cleveland Museum of Art, Cleveland, OH (co-organizer) (December 8, 2024-March 23, 2025).", "opening_date": "2024-12-08T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": ["1973.57"], "did_you_know": "The two figures in this print are thought to represent the painter Fran\u00e7oise Gilot and the photographer Dora Maar, both of whom were romantically involved with Picasso around this time.", "description": "Picasso printed each of these 10 lithographs from the same stone. This technique involves chemically sealing a drawing to the surface of a printing stone so that ink adheres to the design and the stone can be run through a printing press. Picasso edited and reprinted his stone as he transformed the image. The artist ultimately created 21 states, or variations, highlighting his fascination with what he described as the \u201cmetamorphosis\u201d possible through printmaking. He experimented with realistic and abstract versions of the composition, which features women sitting and sleeping, while also adding and removing marginal images as he worked.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79925996"], "internet_archive": []}, "citations": [{"citation": "Lee, Sherman E. \"The Year in Review for 1972.\" <em>The Bulletin of the Cleveland Museum of Art </em>60, no. 3 (March 1973): 63-115.", "page_number": "P. 112, #217. Reproduced: p. 90.", "url": "https://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. 241", "url": "https://archive.org/details/CMAHandbook1978/page/n261"}], "catalogue_raisonne": "Bloch 390; Mourlot 16", "url": "https://clevelandart.org/art/1972.53.5", "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": 147031, "creators": [{"id": 2160, "description": "Pablo Picasso (Spanish, 1881\u20131973)", "extent": null, "qualifier": null, "role": "artist", "biography": "Pablo Ruiz Picasso (1881-1973), the most prolific and influential artist of the 20th century, shifted the emphasis of art from its traditional concern with beauty toward radical innovation. The son of an art teacher, Picasso demonstrated remarkable talents as a child and entered the royal art academy in Madrid at age sixteen. Less than a year later, he abandoned his studies and soon joined several avant-garde artist and anarchist groups in Barcelona and Paris. After passing through a succession of stylistic periods, most notably the Blue (1901-1904) and Rose (1904-1906) Periods, he collaborated with Georges Braque (1882-1963) in 1908 to invent Cubism, a revolutionary method of restructuring pictorial space. Picasso remained active until his death in 1973. Although his art still appears radical, many of his works are over one hundred years old. Cubism, perhaps the most important development in 20th-century art, was invented around 1908 by Pablo Picasso (1881-1973) and Georges Braque (1882-1963). The most revolutionary aspect of the style was not its obvious emphasis on geometric form; rather, it was the introduction of a radically new approach to configuring pictorial space. Since the Renaissance, artists had used various methods to create the illusion of distant space receding behind the canvas surface. The Cubists rejected that idea and collapsed space by compressing foreground, middle ground, and background into a continuous web of overlapping, intersecting planes. During the 1910s, other painters and sculptors embraced or adapted Cubism to their own ends. This revolutionary approach inspired a host of related movements and continues to influence the visual language of artists, architects, and designers throughout the world.", "name_in_original_language": null, "birth_year": "1881", "death_year": "1973", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 62587, "description": "Mourlot", "extent": "printed and published by", "qualifier": null, "role": "printer and publisher", "biography": null, "name_in_original_language": null, "birth_year": "1852", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1972-06-12T00:00:00", "sortable_date": 1945, "date_added_to_oa": null, "date_text": "1945\u201346", "collapse_artists": true, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1972.53", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-04-03 13:35:09.112000"}, {"id": 156616, "accession_number": "1992.316", "share_license_status": "Copyrighted", "tombstone": "Acropolis, 1972, printed 1975. Kenneth Josephson (American, 1932-). Gelatin silver print; image: 15.2 x 22.8 cm (6 x 9 in.); matted: 35.6 x 45.7 cm (14 x 18 in.). The Cleveland Museum of Art, Gift of Russ Anderson, 1992.316", "current_location": null, "title": "Acropolis", "creation_date": "1972, printed 1975", "creation_date_earliest": 1972, "creation_date_latest": 1972, "artists_tags": ["male"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1951-Present", "type": "Photograph", "measurements": "Image: 15.2 x 22.8 cm (6 x 9 in.); Matted: 35.6 x 45.7 cm (14 x 18 in.)", "dimensions": {"image": {"height": 0.152, "width": 0.228}, "matted": {"height": 0.356, "width": 0.457}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Written in pencil on recto of mount: \"Kenneth Josephson [signed]\"", "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": "(Russ Anderson, Perspective Fine Art, Soquel, CA)", "citations": [], "footnotes": [], "date": "?-1993", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "February 17, 1993", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The oldest extant photograph of the Acropolis was taken in 1842.", "description": "Almost since its discovery in 1839, photography has been an essential part of travel. A breakthrough occurred in 1888 with the arrival of the Kodak, the first camera so simple to operate that everyone could document their own adventures. In Kenneth Josephson\u2019s 1972 image of sailors photographing the Erechtheion, an ancient Greek temple on the Acropolis in Athens, he included another option. In those days before cell phones, some tourist attractions were served by a local professional who would shoot visitors in front of the famous monument and send them the prints later.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79946206"], "internet_archive": []}, "citations": [{"citation": "Turner, Evan H. \u201cThe Year in Review for 1992.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 80, no. 2 (February 1993): 38\u201379.", "page_number": "Mentioned: p. 68", "url": "http://www.jstor.org/stable/25161388"}, {"citation": "Cleveland Museum of Art, Tom E Hinson. <em>Catalogue of Photography</em>. Cleveland, OH: Cleveland Museum of Art, 1996.", "page_number": "Reproduced: P. 205", "url": ""}], "url": "https://clevelandart.org/art/1992.316", "images": {}, "alternate_images": [], "creditline": "Gift of Russ Anderson", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 156616, "creators": [{"id": 177, "description": "Kenneth Josephson (American, 1932-)", "extent": null, "qualifier": null, "role": "artist", "biography": "Kenneth Josephson American, 1932-\r\n\r\nKenneth Bradley Josephson's photographs are about the medium itself: its illusionistic capabilities, inherent technical properties, and shifting meanings depending on context. As a student of Aaron Siskind and Harry Callahan in Chicago at the Institute of Design, Illinois Institute of Technology, Josephson learned the significance of abstraction and how to juxtapose and manipulate forms as tools for his clever, often surreal, tableaux. In his works he examines how an object and a photograph of that object relate, with humor and a reverence for the element of chance. In so doing, he calls attention to the two-dimensionality of the medium as a way to question our understanding of reality as it is represented photographically. His related series include Marks and Evidences of Events and Images within Images (begun 1963), History of Photography (begun 1970), and Archaeological Images (begun 1975).\r\n\tBorn in Detroit, Josephson bought his first camera in 1944. He attended the Rochester Institute of Technology (1951-53), earning a certificate before being drafted into the armed forces in 1953. He returned to rit and earned his B.F.A. in 1957. When his wife died in 1958, Josephson moved to Chicago to attend iit (M.S., 1960), then began teaching at the School of the Art Institute of Chicago. In 1963 he was a founding member of the Society for Photographic Education and, the following year, his work was included in The Photographer's Eye, a group exhibition organized by the Museum of Modern Art, New York. He has taught as an exchange teacher at the Konstfackskolan, Stockholm (1966-67), the University of Hawaii, Honolulu (1967-68), the Rhode Island School of Design (1973), and the University of Minnesota, Minneapolis (1974). In 1975 Josephson traveled in India for three months, teaching upon his return at the Tyler School of Art in Philadelphia. He has since taught at the University of California, Los Angeles, and continued at the School of the Art Institute of Chicago.\r\n\tJosephson has had numerous international one-person exhibitions, including a retrospective at the Museum of Contemporary Art, Chicago (1983), and received fellowships from the John Simon Guggenheim Memorial Foundation (1972) and the National Endowment for the Arts (1975, 1979). His publications include The Bread Book (1973), Portfolio: Kenneth Josephson (1975), and Kenneth Josephson, a postcard portfolio (1980). Josephson lives in Chicago. A.W.", "name_in_original_language": null, "birth_year": "1932", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1993-02-17T00:00:00", "sortable_date": 1972, "date_added_to_oa": null, "date_text": "1972, printed 1975", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:27.376000"}, {"id": 156999, "accession_number": "1993.153", "share_license_status": "Copyrighted", "tombstone": "Mt. Rushmore, 1969. Lee Friedlander (American, b. 1934). Gelatin silver print; image: 18.8 x 28.3 cm (7 3/8 x 11 1/8 in.); paper: 27.9 x 35.4 cm (11 x 13 15/16 in.); matted: 40.6 x 50.8 cm (16 x 20 in.). The Cleveland Museum of Art, John L. Severance Fund, 1993.153. \u00a9 1976 Lee Friedlander", "current_location": null, "title": "Mt. Rushmore", "creation_date": "1969", "creation_date_earliest": 1969, "creation_date_latest": 1969, "artists_tags": ["male", "Jewish artists"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1951-Present", "type": "Photograph", "measurements": "Image: 18.8 x 28.3 cm (7 3/8 x 11 1/8 in.); Paper: 27.9 x 35.4 cm (11 x 13 15/16 in.); Matted: 40.6 x 50.8 cm (16 x 20 in.)", "dimensions": {"image": {"height": 0.188, "width": 0.283}, "paper": {"height": 0.279, "width": 0.354}, "matted": {"height": 0.406, "width": 0.508}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 1976 Lee Friedlander", "inscriptions": [{"inscription": "Written in pencil on verso: \"84 Mt. Rushmore 1969 96-16\"", "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": "Toby Miller, New York", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Mt. Rushmore was proposed around 1920, but not completed until 1941.", "description": "Lee Friedlander did not photograph the famed sculpture of four US presidents; he shot its reflection, along with the two tourists viewing it through the lenses of their binoculars and camera. The Lakota Sioux, who call the mountain Six Grandfathers and consider it sacred territory, see the sculpture through a different lens: as a monument to European settlers who killed Indigenous populations and took their land. Created in order to attract tourists to the region, the sculpture was originally intended to depict white <em>and</em> Native American heroes of the American West. The artist chosen for the project felt that presidents would draw a broader audience.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79947137"], "internet_archive": []}, "citations": [{"citation": "\u201c1993 Annual Report.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 81, no. 6 (July 1994): 143\u2013218.", "page_number": "Mentioned: p. 162", "url": "http://www.jstor.org/stable/25161457"}, {"citation": "Cleveland Museum of Art, Tom E Hinson. <em>Catalogue of Photography</em>. Cleveland, OH: Cleveland Museum of Art, 1996.", "page_number": "Reproduced: P. 175", "url": ""}], "url": "https://clevelandart.org/art/1993.153", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 156999, "creators": [{"id": 58139, "description": "Lee Friedlander (American, b. 1934)", "extent": null, "qualifier": null, "role": "artist", "biography": "Lee Friedlander American, 1934- Lee Friedlander has retained a democratic documentary style throughout his career. Known for giving every disparate element equal status within his frames, he works with a 35mm camera and black-and-white film. His images of street scenes, urban and suburban buildings, storefront reflections, monuments, desert landscapes, and social gatherings are understated examinations of American vernacular culture. He uses devices such as multiple reflections, obstructed vantage points, and overlying shadows to assist his visions, which are characterized by formal coherence, aloof distance, and ironic ambiguity. Born in Aberdeen, Washington, Friedlander took up photography in 1948. He studied for two years at the Los Angeles Art Center School (1953-55), leaving to work with Edward Kaminski. Enamored of jazz, Friedlander completed many assignments for album jacket covers for Columbia, rca, and Atlantic Records before moving to New York City in 1956. His portraits of New Orleans jazz musicians earned him the first of three fellowships from the John Simon Guggenheim Memorial Foundation (1960, 1962, 1977) and his first one-person show at George Eastman House, Rochester (1966). During that time, he also rediscovered and salvaged the work of E. J. Bellocq, an early 20th-century New Orleans photographer, and collaborated with Jim Dine to produce a book of photographs and etchings, Work from the Same House (1969). In the 1970s Friedlander began work on a series of overlooked, often abandoned memorials in town squares and city parks across America. Published as The American Monument (1976), the images reveal a forgotten history, embodied in overgrown, unattended, and eroding icons. Later in the decade he turned his camera more directly to the beauty of nature, resulting in Flowers and Trees (1981) and Cherry Blossom Time in Japan (1986). His extensive series of unconventional and highly tangible nudes culminated in the book Lee Friedlander Nudes and a one-person show of the subject at the Museum of Modern Art, New York (1991). In the 1980s, Friedlander went into the workplace of computer operators to document the changes in American labor. Exhibited at the Massachusetts Institute of Technology in 1988, the series reveals a marked shift from the more mechanized, industrial division of labor revealed in his earlier books Factory Valleys (1982) and Cray at Chippewa Falls (1987). Throughout his career, Friedlander has photographed family and friends, publishing several of the images as Lee Friedlander Portraits (1985). One of his favorite and most enigmatic models has been his wife, Marie DePaoli, whom he married in 1958. His honors and awards include fellowships from the National Endowment for the Arts (1972, 1977) and the MacArthur Foundation (1990), the Medal of the City of Paris (1981), and the Edward MacDowell Medal (1986). He has had three one-person exhibitions at the Museum of Modern Art, New York (1972, 1974, 1991), and a major retrospective organized by the Seattle Art Museum, with an accompanying publication titled Like a One-Eyed Cat (1989). Friedlander lives in New York. A.W.", "name_in_original_language": null, "birth_year": "1934", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1993-09-15T00:00:00", "sortable_date": 1969, "date_added_to_oa": null, "date_text": "1969", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:31.523000"}, {"id": 161317, "accession_number": "1999.86", "share_license_status": "Copyrighted", "tombstone": "View out the Window, 1982. Georg Baselitz (German, 1938-). Oil on canvas; overall: 249.9 x 199.4 cm (98 3/8 x 78 1/2 in.). The Cleveland Museum of Art, John L. Severance Fund, 1999.86", "current_location": null, "title": "View out the Window", "creation_date": "1982", "creation_date_earliest": 1982, "creation_date_latest": 1982, "artists_tags": ["male"], "culture": ["Germany, 20th century"], "technique": "oil on canvas", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "measurements": "Overall: 249.9 x 199.4 cm (98 3/8 x 78 1/2 in.)", "dimensions": {"overall": {"height": 2.499, "width": 1.994}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "written in black crayon(?) on verso: \"23.VI.82/ Wa/ G. Baselitz [signed]/ OBEN\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 393229, "title": "Contemporary Installation", "description": "<i>Contemporary Installation</i>. The Cleveland Museum of Art (organizer).", "opening_date": "2021-04-12T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Georg Baselitz's first inverted figures included abstract portraits of his wife, Elke, and his friends in the German art world.", "description": "In 1969 Georg Baselitz challenged painting traditions through a foundational reversal: he began rendering the human figure upside down. This departure established a new pictorial convention for the artist that he developed in subsequent years. The work's expressive brushwork and bright, raw colors endow the disorienting image with strong emotional energy, evocative of inner turmoil.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60477958"], "internet_archive": []}, "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": "Hinson, Tom E., \"Reality Upended\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 40 no. 03, March 2000", "page_number": "Mentioned & reproduced: p. 8-9", "url": "https://archive.org/details/CMAMM2000-03/page/n7"}], "url": "https://clevelandart.org/art/1999.86", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 161317, "creators": [{"id": 25597, "description": "Georg Baselitz (German, 1938-)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1938", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1999-06-07T00:00:00", "sortable_date": 1982, "date_added_to_oa": null, "date_text": "1982", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "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 23:59:58.834000"}, {"id": 163644, "accession_number": "2005.143", "share_license_status": "Copyrighted", "tombstone": "In the American West: Ronald Fischer, beekeeper, Davis, California, May 9, 1981, 1981, printed 1985. Richard Avedon (American, 1923\u20132004). Gelatin silver print; image: 143.1 x 114.5 cm (56 5/16 x 45 1/16 in.); paper: 151.5 x 119.8 cm (59 5/8 x 47 3/16 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 2005.143. \u00a9 The Richard Avedon Foundation", "current_location": null, "title": "Ronald Fischer, beekeeper, Davis, California, May 9, 1981", "series": "In the American West", "creation_date": "1981, printed 1985", "creation_date_earliest": 1981, "creation_date_latest": 1981, "artists_tags": ["male", "Jewish artists"], "culture": ["America"], "technique": "gelatin silver print", "support_materials": [], "department": "Photography", "collection": "PH - American 1951-Present", "type": "Photograph", "measurements": "Image: 143.1 x 114.5 cm (56 5/16 x 45 1/16 in.); Paper: 151.5 x 119.8 cm (59 5/8 x 47 3/16 in.)", "dimensions": {"image": {"height": 1.431, "width": 1.145}, "paper": {"height": 1.515, "width": 1.198}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 The Richard Avedon Foundation", "inscriptions": [{"inscription": "Written and stamped on verso: \"In the American West\"/\"Richard Avedon warrents and represents that, aside from the signed and numbered photographs in this edition of 6 plus 2 artists proofs, no other photographs will be made by him or under his authority./This photograph may not be reproduced without the permission of Richard Avedon, Inc./(Copyright symbol) 1985 by Richard Avedon, Inc./All rights reserved/Ronald Fisher, beekeeper, Davis, California, 5/9/81\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": [{"description": "Main Gallery Rotation (Gallery 229): April 14, 2014 - October 28, 2014.", "opening_date": "2014-04-14T00:00:00"}]}, "provenance": [{"description": "(Fraenkel Gallery, San Francisco, CA)", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "September 6, 2005", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "There are between 115,000 and 125,000 beekeepers in the United States.", "description": "Beginning in 1979, Avedon visited nearly 200 communities to chronicle often ignored and overlooked people who worked at hard, uncelebrated jobs. This iconic image is one of the most memorable portraits from the 775 he made for his landmark series In the American West. An entomologist from the University of California, Davis, brought 120,000 bees to the shoot. The perfect confluence of idea and execution resulted in this dramatic image of the beekeeper at total peace with the mass of insects arranged in an allover, abstract pattern on his upper body. Fischer\u2019s stoic gaze perfectly fit Avedon\u2019s new definition of a photographic portrait: \"I\u2019m looking for people who are surprising-heartbreaking-or beautiful in a terrifying way.\"", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79990035"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art. <em>The CMA Companion: A Guide to the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2014.", "page_number": "Mentioned and reproduced: P. 315", "url": ""}, {"citation": "Tannenbaum, Barbara. \"Collection. Richard Avedon's Centenary: Iconic beekeeper portrait now on view.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>63, no. 3 (2023): 36-37.", "page_number": "Reproduced: P. 36; Mentioned: P. 37", "url": "https://archive.org/details/CMAMM2023-03/page/36/mode/2up"}], "url": "https://clevelandart.org/art/2005.143", "images": {}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 163644, "creators": [{"id": 38917, "description": "Richard Avedon (American, 1923\u20132004)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1923", "death_year": "2004", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2005-09-06T00:00:00", "sortable_date": 1981, "date_added_to_oa": null, "date_text": "1981, printed 1985", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Ronald Fischer, Beekeeper, Davis, California, May 9, 1981"], "is_highlight": false, "updated_at": "2026-03-26 23:59:03.594000"}, {"id": 166164, "accession_number": "2008.13", "share_license_status": "Copyrighted", "tombstone": "Set of Fan Paintings Mounted as Album Leaves (\u5c71\u6c34\u4eba\u7269\u6247\u9762\u5341\u4e8c\u9801), 1960s. Fu Baoshi (Chinese, 1904\u20131965). Fan paintings mounted as album leaves, ink and color on paper; overall: 21 x 55.5 cm (8 1/4 x 21 7/8 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 2008.13", "current_location": null, "title": "Set of Fan Paintings Mounted as Album Leaves", "title_in_original_language": "\u5c71\u6c34\u4eba\u7269\u6247\u9762\u5341\u4e8c\u9801", "creation_date": "1960s", "creation_date_earliest": 1962, "creation_date_latest": 1962, "artists_tags": ["male", "Asian (from 1900 to present)"], "culture": ["China"], "technique": "Fan paintings mounted as album leaves, ink and color on paper", "support_materials": [], "department": "Chinese Art", "collection": "ASIAN - Album leaf", "type": "Painting", "measurements": "Overall: 21 x 55.5 cm (8 1/4 x 21 7/8 in.)", "dimensions": {"overall": {"height": 0.21, "width": 0.555}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 199339, "title": "Chinese Art in an Age of Revolution: Fu Baoshi (1904\u20131965)", "description": "<i>Chinese Art in an Age of Revolution: Fu Baoshi (1904\u20131965)</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 16, 2011-January 8, 2012); The Metropolitan Museum of Art, New York, NY (co-organizer) (January 30-April 29, 2012).", "opening_date": "2011-10-16T00:00:00"}], "legacy": []}, "provenance": [{"description": "Fu Baoshi's family collection, Nanjing, China", "citations": [], "footnotes": null, "date": "1960s\u2013?", "sortorder": 1}, {"description": "(Han Mo Xuan Co., Ltd., Hong Kong, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "?\u20132008", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2008\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Despite the small pictorial surface of the fan format, each of these fan paintings has an extraordinary vision that is deep and broad.", "description": "This set of fan paintings expresses the artist\u2019s personal life and differs from the state-commissioned works Fu painted to fulfill his social duty. Here, several of the paintings have dedicatory inscriptions to Fu\u2019s wife, Luo Shihui, and his eldest daughter, Yishan. Not only do these inscriptions offer glimpses into the artist\u2019s private life, they also reveal acutely felt emotions, especially the struggle of a loving father deeply troubled by a daughter\u2019s illness.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60480401"], "internet_archive": []}, "citations": [{"citation": "Chung, Anita, Julia Frances Andrews, Kuiyi Shen, Tamaki Maeda, and Aida Yuen Wong.<em> Chinese art in an age of revolution: Fu Baoshi (1904-1965)</em>. Cleveland, OH: The Cleveland Museum of Art, 2011.", "page_number": "Mentioned and Reproduced: cat. no. 61, pp. 184-196", "url": null}, {"citation": "Chung, Anita. \"Re-emergence: New Chinese Galleries and Art Acquisitions of The Cleveland Museum of Art.\" <em>Orientations</em> vol 44 no. 8 (November/December 2013): 64-75.", "page_number": "Reproduced: p. 71, fig. 7", "url": null}], "url": "https://clevelandart.org/art/2008.13", "images": {}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 166164, "creators": [{"id": 56839, "description": "Fu Baoshi (Chinese, 1904\u20131965)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\u5085\u62b1\u77f3", "birth_year": "1904", "death_year": "1965", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2008-03-03T00:00:00", "sortable_date": 1962, "date_added_to_oa": null, "date_text": "1960s", "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 00:03:39.218000"}, {"id": 166165, "accession_number": "2008.13.1", "share_license_status": "Copyrighted", "tombstone": "Leaf 1:  Gazing at the Waterfall in the Shade of Pines (\u677e\u9670\u89c0\u7011), 1962. Fu Baoshi (Chinese, 1904\u20131965). Fan painting mounted as an album leaf, ink and color on paper; overall: 21 x 55.5 cm (8 1/4 x 21 7/8 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 2008.13.1", "current_location": null, "title": "Leaf 1:  Gazing at the Waterfall in the Shade of Pines", "title_in_original_language": "\u677e\u9670\u89c0\u7011", "creation_date": "1962", "creation_date_earliest": 1962, "creation_date_latest": 1962, "artists_tags": ["male", "Asian (from 1900 to present)"], "culture": ["China"], "technique": "fan painting mounted as an album leaf, ink and color on paper", "support_materials": [], "department": "Chinese Art", "collection": "ASIAN - Album leaf", "type": "Painting", "measurements": "Overall: 21 x 55.5 cm (8 1/4 x 21 7/8 in.)", "dimensions": {"overall": {"height": 0.21, "width": 0.555}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "The artist\u2019s first inscription:\n\nMy elder daughter, Yishan \u76ca\u73ca, has been staying at the Lake Tai Rehabilitation Center for about two and a half months. We haven\u2019t seen each other for more than two months. Today I am suddenly thinking of her. I am not a hero and can\u2019t be unaffected by human emotions, let alone my approaching old age! This work is painted to dispel my low spirits. Recorded by Fu Baoshi on the first day of the fifth lunar month, the renyin year [1962], in Nanjing.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "The artist\u2019s second inscription:\n\nToday I sent Xiaoxiao [Fu Yishan \u5085\u76ca\u73ca] to the hospital. She is beginning to recover. After returning from the Xiling Gorge, as I picked up this painting again, I thought more about the passage of time. So I added the twisted roots and gnarled branches of the green pines, giving them a posture of endurance. Recorded on the twentieth day of the leap fourth month in the guimao year [1963] by Baoshi.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 199339, "title": "Chinese Art in an Age of Revolution: Fu Baoshi (1904\u20131965)", "description": "<i>Chinese Art in an Age of Revolution: Fu Baoshi (1904\u20131965)</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 16, 2011-January 8, 2012); The Metropolitan Museum of Art, New York, NY (co-organizer) (January 30-April 29, 2012).", "opening_date": "2011-10-16T00:00:00"}], "legacy": []}, "provenance": [{"description": "Fu Baoshi's family collection, Nanjing, China", "citations": [], "footnotes": null, "date": "1960s\u2013?", "sortorder": 1}, {"description": "(Han Mo Xuan Co., Ltd., Hong Kong, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "?\u20132008", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2008\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Themes like gazing at waterfalls evoke the literati ideal of man in harmony with nature.", "description": "This set of fan paintings expresses the artist\u2019s personal life and differs from the state-commissioned works Fu painted to fulfill his social duty. Here, several of the paintings have dedicatory inscriptions to Fu\u2019s wife, Luo Shihui, and his eldest daughter, Yishan. Not only do these inscriptions offer glimpses into the artist\u2019s private life, they also reveal acutely felt emotions, especially the struggle of a loving father deeply troubled by a daughter\u2019s illness.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60480403"], "internet_archive": []}, "citations": [{"citation": "Chung, Anita, Julia Frances Andrews, Kuiyi Shen, Tamaki Maeda, and Aida Yuen Wong.<em> Chinese art in an age of revolution: Fu Baoshi (1904-1965)</em>. Cleveland, OH: The Cleveland Museum of Art, 2011.", "page_number": "Mentioned and Reproduced: cat. no. 61, pp. 184-196", "url": null}, {"citation": "Chung, Anita. \"Re-emergence: New Chinese Galleries and Art Acquisitions of The Cleveland Museum of Art.\" <em>Orientations</em> vol 44 no. 8 (November/December 2013): 64-75.", "page_number": "Reproduced: p. 71. fig. 7", "url": null}], "url": "https://clevelandart.org/art/2008.13.1", "images": {}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 166165, "creators": [{"id": 56839, "description": "Fu Baoshi (Chinese, 1904\u20131965)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\u5085\u62b1\u77f3", "birth_year": "1904", "death_year": "1965", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2008-03-03T00:00:00", "sortable_date": 1962, "date_added_to_oa": null, "date_text": "1962", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "2008.13", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:03:20.929000"}, {"id": 166170, "accession_number": "2008.13.3", "share_license_status": "Copyrighted", "tombstone": "Leaf 3:  Clear Brook from the Mountains (\u6e05\u6cc9\u5c71\u51fa), 1962. Fu Baoshi (Chinese, 1904\u20131965). Fan painting mounted as an album leaf, ink and color on paper; overall: 19 x 52.5 cm (7 1/2 x 20 11/16 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 2008.13.3", "current_location": null, "title": "Leaf 3:  Clear Brook from the Mountains", "title_in_original_language": "\u6e05\u6cc9\u5c71\u51fa", "creation_date": "1962", "creation_date_earliest": 1962, "creation_date_latest": 1962, "artists_tags": ["male", "Asian (from 1900 to present)"], "culture": ["China"], "technique": "fan painting mounted as an album leaf, ink and color on paper", "support_materials": [], "department": "Chinese Art", "collection": "ASIAN - Album leaf", "type": "Painting", "measurements": "Overall: 19 x 52.5 cm (7 1/2 x 20 11/16 in.)", "dimensions": {"overall": {"height": 0.19, "width": 0.525}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "The artist\u2019s inscription:\nI started this fan painting more than half a year ago. It was unfinished. Today is Shihui\u2019s birthday, thus I completed this work. Painted and inscribed by Baoshi in Nanjing.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 199339, "title": "Chinese Art in an Age of Revolution: Fu Baoshi (1904\u20131965)", "description": "<i>Chinese Art in an Age of Revolution: Fu Baoshi (1904\u20131965)</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 16, 2011-January 8, 2012); The Metropolitan Museum of Art, New York, NY (co-organizer) (January 30-April 29, 2012).", "opening_date": "2011-10-16T00:00:00"}], "legacy": []}, "provenance": [{"description": "Fu Baoshi's family collection, Nanjing, China", "citations": [], "footnotes": null, "date": "1960s\u2013?", "sortorder": 1}, {"description": "(Han Mo Xuan Co., Ltd., Hong Kong, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "?\u20132008", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2008\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Even on this small fan, Fu Baoshi could suggest the awe-inspiring grandeur of nature by including two small people in the landscape.", "description": "This set of fan paintings expresses the artist\u2019s personal life and differs from the state-commissioned works Fu painted to fulfill his social duty. Here, several of the paintings have dedicatory inscriptions to Fu\u2019s wife, Luo Shihui, and his eldest daughter, Yishan. Not only do these inscriptions offer glimpses into the artist\u2019s private life, they also reveal acutely felt emotions, especially the struggle of a loving father deeply troubled by a daughter\u2019s illness.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60480418"], "internet_archive": []}, "citations": [{"citation": "Chung, Anita, Julia Frances Andrews, Kuiyi Shen, Tamaki Maeda, and Aida Yuen Wong.<em> Chinese art in an age of revolution: Fu Baoshi (1904-1965)</em>. Cleveland, OH: The Cleveland Museum of Art, 2011.", "page_number": "Mentioned and Reproduced: cat. no. 61, pp. 184-196", "url": null}, {"citation": "Chung, Anita. \"Re-emergence: New Chinese Galleries and Art Acquisitions of The Cleveland Museum of Art.\" <em>Orientations</em> vol 44 no. 8 (November/December 2013): 64-75.", "page_number": "Reproduced: p. 71, fig. 7", "url": null}], "url": "https://clevelandart.org/art/2008.13.3", "images": {}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 166170, "creators": [{"id": 56839, "description": "Fu Baoshi (Chinese, 1904\u20131965)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\u5085\u62b1\u77f3", "birth_year": "1904", "death_year": "1965", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2008-03-03T00:00:00", "sortable_date": 1962, "date_added_to_oa": null, "date_text": "1962", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "2008.13", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:13.597000"}, {"id": 169488, "accession_number": "2011.32", "share_license_status": "Copyrighted", "tombstone": "The Principal Wife, 1984. Sheila Hicks (American, b. 1934). Linen, rayon, acrylic yarns; overall: 254 x 203.2 x 20.4 cm (100 x 80 x 8 1/16 in.). The Cleveland Museum of Art, Gift of Watson K. Blair, 2011.32", "current_location": null, "title": "The Principal Wife", "creation_date": "1984", "creation_date_earliest": 1984, "creation_date_latest": 1984, "artists_tags": ["female"], "culture": ["America"], "technique": "linen, rayon, acrylic yarns", "support_materials": [], "department": "Textiles", "collection": "T - Contemporary Fiber Art", "type": "Textile", "measurements": "Overall: 254 x 203.2 x 20.4 cm (100 x 80 x 8 1/16 in.)", "dimensions": {"overall": {"height": 2.54, "width": 2.032, "depth": 0.204}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 393229, "title": "Contemporary Installation", "description": "<i>Contemporary Installation</i>. The Cleveland Museum of Art (organizer).", "opening_date": "2021-04-12T04:00:00"}], "legacy": []}, "provenance": [{"description": "Collection of Jos\u00e9 and Watson Blair", "citations": [], "footnotes": null, "date": "1984\u20132011", "sortorder": 1}, {"description": "Watson K. Blair, Hobe Sound, FL, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "2011", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2011\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Hicks has studied textile traditions in South America, Mexico, Morocco, and India throughout her six-decade career, and combines indigenous techniques with modernist ideals to create her hanging fiber works.", "description": "<em>The Principal Wife</em> is part of a larger series by the pioneering fiber artist Sheila Hicks. 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Laure Albin Guillot (French, 1879\u20131962). Unbound volume with 14 Fresson prints; sheet: 34.9 x 27.2 cm (13 3/4 x 10 11/16 in.). The Cleveland Museum of Art, Dudley P. 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Laure Albin Guillot (French, 1879\u20131962). Fresson print; image: 33.7 x 26.3 cm (13 1/4 x 10 3/8 in.); paper: 33.7 x 26.3 cm (13 1/4 x 10 3/8 in.). The Cleveland Museum of Art, Dudley P. Allen Fund, 2018.211.13", "current_location": null, "title": "Et la lune perfide \u00e9l\u00e8ve son miroir", "series": "Narcisse", "creation_date": "1936", "creation_date_earliest": 1936, "creation_date_latest": 1936, "artists_tags": ["female"], "culture": ["France, 20th century"], "technique": "Fresson print", "support_materials": [], "department": "Photography", "collection": "PH - French 20th Century", "type": "Portfolio", "measurements": "Image: 33.7 x 26.3 cm (13 1/4 x 10 3/8 in.); Paper: 33.7 x 26.3 cm (13 1/4 x 10 3/8 in.)", "dimensions": {"image": {"height": 0.337, "width": 0.263}, "paper": {"height": 0.337, "width": 0.263}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 317308, "title": "Beyond Truth: Photography after the Shutter", "description": "<i>Beyond Truth: Photography after the Shutter</i>. 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After thorough research, Lawrence chronicles the crucial events of each saga by creating a series of small paintings on paper in a modernist style of flat, brightly-colored forms.", "name_in_original_language": null, "birth_year": "1917", "death_year": "2000", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 370547, "description": "Lou Stovall Workshop, Inc.", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "birth_year": "1937", "use_in_caption": false, "include_extent": false, "weight": 2}, {"id": 62635, "description": "Amistad Research Center", "extent": "published by", "qualifier": null, "role": "publisher", "biography": null, "name_in_original_language": null, "use_in_caption": false, "include_extent": false, "weight": 3}], "legal_status": "accessioned", "accession_date": "2019-06-03T00:00:00-04:00", "sortable_date": 1997, "date_added_to_oa": null, "date_text": "1997", "collapse_artists": true, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "2019.79", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:08.824000"}, {"id": 90395, "accession_number": "2020.134", "share_license_status": "Copyrighted", "tombstone": "The White Moon, Sailboat, c. 1922. John Marin (American, 1870\u20131953). Watercolor with scrubbing and blotting over charcoal on thick, rough-textured wove paper; image and sheet: 39.1 x 47.5 cm (15 3/8 x 18 11/16 in.). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift, 2020.134. \u00a9 Estate of John Marin / Artists Rights Society (ARS), New York", "current_location": null, "title": "The White Moon, Sailboat", "creation_date": "c. 1922", "creation_date_earliest": 1917, "creation_date_latest": 1927, "artists_tags": ["male"], "culture": ["America"], "technique": "Watercolor with scrubbing and blotting over charcoal on thick, rough-textured wove paper", "support_materials": [], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Image and Sheet: 39.1 x 47.5 cm (15 3/8 x 18 11/16 in.)", "dimensions": {"image and sheet": {"height": 0.391, "width": 0.475}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of John Marin / 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>. 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Keithley, Cleveland, OH", "citations": [], "footnotes": [], "date": null, "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "March 2, 2020", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "John Marin had a passion for boats and adopted the two-masted sailboat as a kind of personal talisman.", "description": "One of America's most important watercolor practitioners, John Marin spent every summer in Maine from 1914 through 1928, and the state's coastline became a central focus of his work. <em>The White Moon, Sailboat</em> exemplifies his experimental approach and deft handling of the medium. Here the sky and ocean share the same purplish-blue wash, while a jagged coastal rock ledge cuts through the sky. Marin achieved the sharp edge by combining a black chalk outline with his astounding control of the watercolor wash, creating the effect of a shadow along the edge. This hard element is countered by the washy swirls that make up the rock face. The moon and the sailboat each reveal where Marin reserved the white of the paper by controlling the wash, or by carefully removing it from the face of the paper.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q87481057"], "internet_archive": []}, "citations": [{"citation": "Fine, Ruth. \"John Marin.\" In <em>The Keithley Collection at the Cleveland Museum of Art, </em>edited by Heather Lemonedes Brown, 152-161. Cleveland, OH: The Cleveland Museum of Art, 2022.", "page_number": "Mentioned and reproduced: p. 152-161; Mentioned: p. 265-267", "url": ""}, {"citation": "\"Exhibitions: Transformative Gift.\" <em>Art &amp; Antiques </em>XLV, no. 10 (November 2022): 48-53.", "page_number": "Mentioned and reproduced: p. 52-53", "url": ""}], "catalogue_raisonne": "Reich 114, illus.", "url": "https://clevelandart.org/art/2020.134", "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": 90395, "creators": [{"id": 3179, "description": "John Marin (American, 1870\u20131953)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1870", "death_year": "1953", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2020-03-02T00:00:00-05:00", "sortable_date": 1917, "date_added_to_oa": null, "date_text": "c. 1922", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:05:16.801000"}, {"id": 380088, "accession_number": "2020.171", "share_license_status": "Copyrighted", "tombstone": "Garden Variations, Orange and Yellow, 1977. Joseph O'Sickey (American, 1918\u20132013). Oil on canvas; overall: 152.4 x 177.8 cm (60 x 70 in.). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift, 2020.171", "current_location": null, "title": "Garden Variations, Orange and Yellow", "creation_date": "1977", "creation_date_earliest": 1977, "creation_date_latest": 1977, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "measurements": "Overall: 152.4 x 177.8 cm (60 x 70 in.)", "dimensions": {"overall": {"height": 1.524, "width": 1.778}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed and dated, lower right: O'Sickey 77", "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": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "As a child, O\u2019Sickey attended Saturday classes in illustration here at the Cleveland Museum of Art.", "description": "Joseph O\u2019Sickey\u2019s most celebrated canvases, such as <em>Garden Variations: Orange and Yellow</em>, are hybrid still life and landscape subjects that he arranged and painted in his backyard. A frequent motif in this body of work is a cloth-covered table prepared for entertainment that takes center stage. Here, the table displays a bowl of fruit, vases of flowers, and bottled beverages. As this painting\u2019s title suggests, bold color is a prominent compositional feature, creating a festive feeling appropriate for an informal outdoor gathering.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q87481588"], "internet_archive": []}, "citations": [{"citation": "Adams, Henry. \"Joseph O\u2019Sickey.\" In <em>The Keithley Collection at the Cleveland Museum of Art, </em>edited by Heather Lemonedes Brown, 186-191. Cleveland, OH: The Cleveland Museum of Art, 2022.", "page_number": "Mentioned and reproduced: p. 186-191; Mentioned: p. 269", "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: Cover, P. 2", "url": "https://archive.org/details/CMAMM2022-03/page/4/mode/2up"}], "url": "https://clevelandart.org/art/2020.171", "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": 380088, "creators": [{"id": 3579, "description": "Joseph O'Sickey (American, 1918\u20132013)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1918", "death_year": "2013", "use_in_caption": true, "include_extent": false, "weight": 0}], "legal_status": "accessioned", "accession_date": "2020-03-02T00:00:00-05:00", "sortable_date": 1977, "date_added_to_oa": null, "date_text": "1977", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:17.720000"}, {"id": 78244, "accession_number": "2020.245", "share_license_status": "Copyrighted", "tombstone": "Bedford Series: Bedford II, 1981. Joan Mitchell (American, 1925\u20131992). Color lithograph; sheet: 108.4 x 82.5 cm (42 11/16 x 32 1/2 in.). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift, 2020.245. \u00a9 Estate of Joan Mitchell", "current_location": null, "title": "Bedford II", "series": "Bedford Series", "creation_date": "1981", "creation_date_earliest": 1981, "creation_date_latest": 1981, "artists_tags": ["female"], "culture": ["America"], "technique": "color lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Sheet: 108.4 x 82.5 cm (42 11/16 x 32 1/2 in.)", "dimensions": {"sheet": {"height": 1.084, "width": 0.825}}, "state_of_the_work": null, "edition_of_the_work": "AP 8/16", "copyright": "\u00a9 Estate of Joan Mitchell", "inscriptions": [{"inscription": "In pencil, recto, lower right: \"AP 8/16 Joan Mitchell (signed)\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Blindstamp lower right", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 396695, "title": "Impressionism to Modernism: The Keithley Collection", "description": "<i>Impressionism to Modernism: The Keithley Collection</i>. 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Keithley Collection, Cleveland, OH", "citations": [], "footnotes": null, "date": "2011-2020", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "September 14, 2020", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "To make this print, Mitchell painted clear sheets of Mylar, which allowed her to layer colors for printing and retain a sense of immediacy.", "description": "Abstract painter Joan Mitchell\u2019s monumental lithographs convey her experience of the landscape and combine the complexity, intensity, and fluidity of abstracted lines that are fundamental to her work. In this lithograph, part of her <em>Bedford series</em>, 1981, heavily abstracted, dense bands of colorretain traces of the natural world, while the rich blues and greens represent the inextricable relationship in Mitchell\u2019s work between color, feeling, and landscape.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q104191113"], "internet_archive": []}, "citations": [{"citation": "Tyler, Kenneth E. Tyler Graphics: Catalogue Raisonne\u0301, 1974-1985. Minneapolis: Walker Art Center, 1987.", "page_number": "364:JM2", "url": null}, {"citation": "Roberts, Sarah. \"Joan Mitchell.\" In <em>The Keithley Collection at the Cleveland Museum of Art, </em>edited by Heather Lemonedes Brown, 168-181. Cleveland, OH: The Cleveland Museum of Art, 2022.", "page_number": "Mentioned and reproduced: p. 172-177; Mentioned: p. 267-268", "url": ""}], "catalogue_raisonne": "364:JM2", "url": "https://clevelandart.org/art/2020.245", "images": {}, "alternate_images": [], "creditline": "Nancy F. and Joseph P. 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Joan Mitchell (American, 1925\u20131992). Color lithograph; sheet: 108.2 x 82.5 cm (42 5/8 x 32 1/2 in.). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift, 2020.247. \u00a9 Estate of Joan Mitchell", "current_location": null, "title": "Sides of a River I", "series": "Bedford Series", "creation_date": "1981", "creation_date_earliest": 1981, "creation_date_latest": 1981, "artists_tags": ["female"], "culture": ["America"], "technique": "color lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Sheet: 108.2 x 82.5 cm (42 5/8 x 32 1/2 in.)", "dimensions": {"sheet": {"height": 1.082, "width": 0.825}}, "state_of_the_work": null, "edition_of_the_work": "55/70", "copyright": "\u00a9 Estate of Joan Mitchell", "inscriptions": [{"inscription": "In pencil on recto, lower right: \"55/70 Joan Mitchell (signed)\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Blindstamp lower right corner", "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": []}, "provenance": [{"description": "(Mary Ryan Gallery, New York, NY, sold to Nancy F. and Joseph P. Keithley, Cleveland, OH)", "citations": [], "footnotes": null, "date": "?-2011", "sortorder": 1}, {"description": "Nancy F. and Joseph P. Keithley Collection, Cleveland, OH", "citations": [], "footnotes": null, "date": "2011-2020", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "September 14, 2020", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "To make this print, Mitchell painted clear sheets of Mylar, which allowed her to layer colors for printing and retain a sense of immediacy.", "description": "Abstract painter Joan Mitchell\u2019s monumental lithographs convey her experience of the landscape and combine the complexity, intensity, and fluidity of abstracted lines that are fundamental to her work. In this lithograph, part of her <em>Bedford series</em>, 1981, heavily abstracted, dense bands of colorretain traces of the natural world, which can be seen as riverbanks. The expressive, gestural color marks are balanced by the white of the sheet, which also acts as the source of light or reflection off the water.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q106764579"], "internet_archive": []}, "citations": [{"citation": "Tyler, Kenneth E. Tyler Graphics: Catalogue Raisonne\u0301, 1974-1985. Minneapolis: Walker Art Center, 1987.", "page_number": "366:JM4", "url": null}, {"citation": "Roberts, Sarah. \"Joan Mitchell.\" In <em>The Keithley Collection at the Cleveland Museum of Art, </em>edited by Heather Lemonedes Brown, 168-181. Cleveland, OH: The Cleveland Museum of Art, 2022.", "page_number": "Mentioned and reproduced: p. 172-177; Mentioned: p. 267-268", "url": ""}], "catalogue_raisonne": "366:JM4", "url": "https://clevelandart.org/art/2020.247", "images": {}, "alternate_images": [], "creditline": "Nancy F. and Joseph P. 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Joan Mitchell (American, 1925\u20131992). Color lithograph; sheet: 108 x 82.6 cm (42 1/2 x 32 1/2 in.). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift, 2020.248. \u00a9 Estate of Joan Mitchell", "current_location": null, "title": "Sides of a River II", "series": "Bedford Series", "creation_date": "1981", "creation_date_earliest": 1981, "creation_date_latest": 1981, "artists_tags": ["female"], "culture": ["America"], "technique": "color lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Sheet: 108 x 82.6 cm (42 1/2 x 32 1/2 in.)", "dimensions": {"sheet": {"height": 1.08, "width": 0.826}}, "state_of_the_work": null, "edition_of_the_work": "39/70", "copyright": "\u00a9 Estate of Joan Mitchell", "inscriptions": [{"inscription": "In pencil, recto, lower right: \"39/70 Joan Mitchell (signed)\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Blindstamp lower right", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 396695, "title": "Impressionism to Modernism: The Keithley Collection", "description": "<i>Impressionism to Modernism: The Keithley Collection</i>. 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Keithley Collection, Cleveland, OH", "citations": [], "footnotes": null, "date": "2011-2020", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "September 14, 2020", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "To make this print, Mitchell painted clear sheets of Mylar, which allowed her to layer colors for printing and retain a sense of immediacy.", "description": "Abstract painter Joan Mitchell\u2019s monumental lithographs convey her experience of the landscape and combine the complexity, intensity, and fluidity of abstracted lines that are fundamental to her work. In this lithograph, part of her <em>Bedford series</em>, 1981, heavily abstracted, dense bands of colorretain traces of the natural world, which can be seen as riverbanks. The expressive, gestural color marks are balanced by the white of the sheet, which also acts as the source of light or reflection off the water.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q106764580"], "internet_archive": []}, "citations": [{"citation": "Tyler, Kenneth E. Tyler Graphics: Catalogue Raisonne\u0301, 1974-1985. Minneapolis: Walker Art Center, 1987.", "page_number": "367:JM5", "url": null}, {"citation": "Roberts, Sarah. \"Joan Mitchell.\" In <em>The Keithley Collection at the Cleveland Museum of Art, </em>edited by Heather Lemonedes Brown, 168-181. Cleveland, OH: The Cleveland Museum of Art, 2022.", "page_number": "Mentioned and reproduced: p. 172-177; Mentioned: p. 267-268", "url": ""}], "catalogue_raisonne": "367:JM5", "url": "https://clevelandart.org/art/2020.248", "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": 85062, "creators": [{"id": 3564, "description": "Joan Mitchell (American, 1925\u20131992)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1925", "death_year": "1992", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 69458, "description": "Tyler Graphics Ltd.", "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": "2020-09-14T00:00:00-04:00", "sortable_date": 1981, "date_added_to_oa": null, "date_text": "1981", "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": "39", "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:02:34.829000"}, {"id": 85063, "accession_number": "2020.249", "share_license_status": "Copyrighted", "tombstone": "Bedford Series: Sides of a River III, 1981. Joan Mitchell (American, 1925\u20131992). Color lithograph; sheet: 108 x 82.5 cm (42 1/2 x 32 1/2 in.). The Cleveland Museum of Art, Nancy F. and Joseph P. 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Seif\u016b Yohei IV (Japanese, 1872\u20131951). Porcelain with underglaze color and modeled design; 11.5 x 21.5 cm (4 1/2 x 8 7/16 in.). The Cleveland Museum of Art, Gift of James and Christine Heusinger, 2022.242", "current_location": null, "title": "Sweets Bowl with Plum Tree", "title_in_original_language": "\u6708\u5bb5\u9752\u78c1\u6885\u56f3\u83d3\u5b50\u9262", "creation_date": "1914\u201346", "creation_date_earliest": 1914, "creation_date_latest": 1946, "artists_tags": ["Asian (from 1900 to present)", "male"], "culture": ["Japan, Taish\u014d period (1912\u201326) to Sh\u014dwa period (1926\u201389)"], "technique": "Porcelain with underglaze color and modeled design", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Ceramic", "measurements": "11.5 x 21.5 cm (4 1/2 x 8 7/16 in.)", "dimensions": {"No Extent Specified": {"height": 0.115, "width": 0.215}, "diameter of foot": {"width": 0.098}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "\u6e05\u98a8", "inscription_translation": "\u201cSeif\u016b\u201d incised on the base", "inscription_remark": null, "sortorder": 1}, {"inscription": "\u6e05\u98a8", "inscription_translation": "Seal on the inside of the box lid: \u201cSeif\u016b", "inscription_remark": "The storage box's lid is inscribed on both the top and the inside.", "sortorder": 2}], "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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For his sweets bowl based on Qing dynasty (1644\u20131911) Chinese prototypes, Seif\u016b Yohei IV first painted the gnarled boughs of a plum tree in iron oxide on the surface. Then he made the tree\u2019s blossoms slightly raised by building up slip, or liquified clay. He painted their centers yellow. Before applying the blue glaze, he covered the blossoms with paper so that they remained white.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117706835"], "internet_archive": ["https://archive.org/details/clevelandart-2022.242-sweets-bowl-with-plu"]}, "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: 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. 72, p. 163", "url": ""}], "url": "https://clevelandart.org/art/2022.242", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2022.242/2022.242_web.jpg", "width": "900", "height": "663", "filesize": "143656", "filename": "2022.242_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2022.242/2022.242_print.jpg", "width": "3400", "height": "2505", "filesize": "706433", "filename": "2022.242_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2022.242/2022.242_full.tif", "width": "9644", "height": "7106", "filesize": "205618304", "filename": "2022.242_full.tif"}}, "alternate_images": [{"date_created": "2022-10-28T20:14:55", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.242/2022.242_alt0_web.jpg", "width": "900", "height": "659", "filesize": "139006"}, "print": {"url": 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"https://openaccess-cdn.clevelandart.org/alternate/2022.242/2022.242_alt7_full.tif", "width": "8053", "height": "7786", "filesize": "188130440"}}, {"date_created": "2022-10-28T19:35:58", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.242/2022.242_alt8_web.jpg", "width": "900", "height": "871", "filesize": "256399"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.242/2022.242_alt8_print.jpg", "width": "3400", "height": "3290", "filesize": "3142219"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.242/2022.242_alt8_full.tif", "width": "8369", "height": "8098", "filesize": "203344892"}}], "creditline": "Gift of James and Christine Heusinger", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 447713, "creators": [{"id": 299426, "description": "Seif\u016b Yohei IV (Japanese, 1872\u20131951)", "extent": null, "qualifier": null, "role": null, "biography": null, "name_in_original_language": "\u56db\u4ee3\u6e05\u98a8\u4e0e\u5e73", "birth_year": "1872", "death_year": "1951", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2022-12-05T05:00:00Z", "sortable_date": 1914, "date_added_to_oa": null, "date_text": "1914\u201346", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-04-03 13:35:10.483000"}, {"id": 454847, "accession_number": "2022.52", "share_license_status": "Copyrighted", "tombstone": "Tool Shed, 1939. Fred Carlo (American, 1911\u20131987). Linocut; image: 21.5 x 26.3 cm (8 7/16 x 10 3/8 in.); sheet: 30.5 x 35 cm (12 x 13 3/4 in.). The Cleveland Museum of Art, Severance and Greta Millikin Trust, 2022.52", "current_location": null, "title": "Tool Shed", "creation_date": "1939", "creation_date_earliest": 1939, "creation_date_latest": 1939, "artists_tags": ["Black American Artists", "male"], "culture": [], "technique": "linocut", "support_materials": [], "department": "Prints", "collection": "PR - Linocut", "type": "Print", "measurements": "Image: 21.5 x 26.3 cm (8 7/16 x 10 3/8 in.); Sheet: 30.5 x 35 cm (12 x 13 3/4 in.)", "dimensions": {"sheet": {"height": 0.305, "width": 0.35}, "image": {"height": 0.215, "width": 0.263}}, "state_of_the_work": null, "edition_of_the_work": "30", "copyright": null, "inscriptions": [{"inscription": "Inscribed, lower left, in graphite: 1/30 TOOL SHED; lower right graphite, in pencil: F. Carlo / 39", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Typed on card attached to original mount: TOOL SHACK / I saw this from a neighbor\u2019s back porch. / The bright sunlight was making an inter- / esting pattern because of the contrast / between the shadows and the brilliant / light. / Fred Carlo", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": [{"description": "<em>Exhibit by Karamu Artists</em>. Associated American Artists Galleries, New York (January 7\u201322, 1942); Temple University, Philadelphia (February 2\u201316, 1942).", "opening_date": "1942-01-01T00:00:00"}]}, "provenance": [{"description": "(Lusenhop Fine Art, Cleveland Heights, OH), sold to The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2022", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "June 6, 2022-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This print was included in a 1942 exhibition of Karamu House artists organized at New York\u2019s Associated American Artists Galleries and sponsored by a committee including cultural figures such as Langston Hughes, Alain Locke, and Carl Van Vechten. The show traveled to Philadelphia\u2019s Temple University and brought national attention to the Karamu House printmaking workshop.", "description": "This linocut was created by Fred Carlo while he was involved in the printmaking workshop at Karamu House, a community art center founded in 1915 that is still active in Cleveland today. Created by carving into a smooth linoleum block, linocut is an accessible technique that was favored at Karamu for its accessibility and democracy. Carlo used it to evocatively depict the lives of Black Clevelanders\u2014here, as he described, a view \u201cfrom a neighbor\u2019s back porch.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117247186"], "internet_archive": []}, "citations": [{"citation": "<em>Exhibit by Karamu Artists</em>. Exh. Cat. New York: Associated American Artists, 1942.", "page_number": "", "url": ""}, {"citation": "Salsbury, Britany. \"Karamu Artists Inc. and Printmaking in the WPA Era.\" In <em>Karamu Artists Inc.: Printmaking, Race, and Community, </em>Britany Salsbury and Erin Benay, 16-55. Cleveland, OH: Cleveland Museum of Art, 2025.", "page_number": "Mentioned and reproduced: p. 21-23, no. 3", "url": ""}], "catalogue_raisonne": "Salsbury, Benay, and Kruse 22", "url": "https://clevelandart.org/art/2022.52", "images": {}, "alternate_images": [], "creditline": "Severance and Greta Millikin Trust", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 454847, "creators": [{"id": 454845, "description": "Fred Carlo (American, 1911\u20131987)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1911", "death_year": "1987", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2022-06-06T04:00:00Z", "sortable_date": 1939, "date_added_to_oa": null, "date_text": "1939", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:58.818000"}, {"id": 454851, "accession_number": "2022.55", "share_license_status": "Copyrighted", "tombstone": "I've Known Rivers, 1941. William E. Smith (American, 1913\u20131997). Linocut; image: 19.6 x 19.4 cm (7 11/16 x 7 5/8 in.); sheet: 40.6 x 30.4 cm (16 x 11 15/16 in.). The Cleveland Museum of Art, Severance and Greta Millikin Trust, 2022.55. \u00a9 William E. Smith", "current_location": null, "title": "I've Known Rivers", "creation_date": "1941", "creation_date_earliest": 1941, "creation_date_latest": 1941, "artists_tags": ["Black American Artists", "May Show", "male"], "culture": [], "technique": "linocut", "support_materials": [], "department": "Prints", "collection": "PR - Linocut", "type": "Print", "measurements": "Image: 19.6 x 19.4 cm (7 11/16 x 7 5/8 in.); Sheet: 40.6 x 30.4 cm (16 x 11 15/16 in.)", "dimensions": {"sheet": {"height": 0.406, "width": 0.304}, "image": {"height": 0.196, "width": 0.194}}, "state_of_the_work": null, "edition_of_the_work": "50", "copyright": "\u00a9 William E. Smith", "inscriptions": [{"inscription": "Inscribed, lower left margin, in graphite: \u201cI\u2019VE KNOWN RIVERS\u201d; lower right margin, in graphite: Wm. E. Smith \u201c41\u201d / 3/50", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": [{"description": "<em>Exhibit by Karamu Artists</em>. Associated American Artists Galleries, New York (January 7\u201322, 1942); Temple University, Philadelphia (February 2\u201316, 1942).", "opening_date": "1942-01-01T00:00:00"}]}, "provenance": [{"description": "(Lusenhop Fine Art, Cleveland Heights, OH), sold to The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2022", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "June 6, 2022-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This print was included in a 1942 exhibition of Karamu House artists organized at New York\u2019s Associated American Artists Galleries and sponsored by a committee including cultural figures such as Langston Hughes, Alain Locke, and Carl Van Vechten. The show traveled to Philadelphia\u2019s Temple University and brought national attention to the Karamu House printmaking workshop.", "description": "In this composition, which features a man reflecting on a shore, William E. Smith imagined the narrator of Langston Hughes\u2019s \u201cThe Negro Speaks of Rivers,\u201d who proclaims, \u201cMy soul has grown deep like the rivers.\u201d The poem established Hughes\u2019s reputation as a leading figure within the Harlem Renaissance\u2014a flourishing of Black culture in upper Manhattan\u2014when he wrote it as a teenager, the year after he graduated from Cleveland\u2019s Central High School in 1920. Like many members of Karamu Artists Inc., Smith remained friends with Hughes after they worked together at Karamu House, and the writer later praised Smith\u2019s ability to capture the \u201chumor and pathos\u201d of Black life.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117247193"], "internet_archive": []}, "citations": [{"citation": "<em>Exhibit by Karamu Artists</em>. Exh. Cat. New York: Associated American Artists, 1942.", "page_number": "", "url": ""}, {"citation": "Salsbury, Britany, and Erin E. Benay. <em>Karamu Artists Inc.: Printmaking, Race, and Community</em>. Cleveland, OH: Cleveland Museum of Art, 2025.", "page_number": "Reproduced: p. 51, no. 21", "url": ""}], "catalogue_raisonne": "Teller 22; Salsbury, Benay, and Kruse 114", "url": "https://clevelandart.org/art/2022.55", "images": {}, "alternate_images": [], "creditline": "Severance and Greta Millikin Trust", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 454851, "creators": [{"id": 7978, "description": "William E. Smith (American, 1913\u20131997)", "extent": null, "qualifier": null, "role": "artist", "biography": "A highly skilled printmaker, William Elijah Smith specialized in genre scenes of working-class African-American life in Cleveland. Born in Chattanooga, Smith moved to Cleveland at the age of 13 and became involved with Karamu House, learning print making and stage design. He studied art at the Huntington Polytechnic Institute, 1933\u201334. During this time he began teaching at Karamu House and continued to do so until 1940. In 1941 he won the art competition for presenting one of his prints to the Library of Congress for its permanent collection. Smith exhibited at the Connecticut Academy of Fine Arts in Hartford (1935), in the annual May Shows at the Cleveland Museum of Art (1936\u2013 49), at the Associated American Artists Galleries of New York (1942), and at Atlanta University (1942). During World War II, he served as a photographer in the army\u2019s educational department. After the war, he returned to Cleveland and established a commercial silkscreening studio. In 1946 the Lyman Brothers\u2019 Gallery in Indianapolis mounted his first solo exhibition. From 1946 to 1948 he studied painting and printmaking at the Cleveland School of Art and the Cooper School of Art. In the late 1940s Smith moved to Los Angeles, where he associated with Curtis Tann, a former colleague from Karamu House. With Tann, Smith cofounded the Eleven Associated Artists Gallery, the first Los Angeles gallery devoted specifically to African art. In 1952 Smith was hired to work as a blueprint draftsman at Lockheed Aircraft, beginning a long association with the corporation. In 1960 he cofounded Art West Associated, an African-American artists\u2019 advocacy organization in Los Angeles. In 1970 he published illustrations of subjects from African-American history for Cleveland\u2019s New Day Press. Smith\u2019 s works were displayed ins numerous group exhibitions in the Los Angeles area (1960s\u201380s).<br><em>Transformations in Cleveland Art.</em> (CMA, 1996), p. 238", "name_in_original_language": null, "birth_year": "1913", "death_year": "1997", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2022-06-06T04:00:00Z", "sortable_date": 1941, "date_added_to_oa": null, "date_text": "1941", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:59.492000"}, {"id": 399966, "accession_number": "2022.59", "share_license_status": "CC0", "tombstone": "Peonies, early 1900s. 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. 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London: The Muban Foundation, 2003.", "page_number": "p. 114", "url": ""}, {"citation": "Chen, Qi \u9648\u7426. <em>Shi jian jian pu: Chen Qi 1983-2013</em> [\u65f6\u95f4\u7b80\u8c31 : \u9648\u7426 1983-2013 = Notations of time: Chen Qi 1983-2013]. Beijing: Renmin meishu chubanshe, 2013.", "page_number": "", "url": ""}], "url": "https://clevelandart.org/art/2022.7", "images": {}, "alternate_images": [], "creditline": "Edward L. Whittemore Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 452853, "creators": [{"id": 452844, "description": "Chen Qi (Chinese, b. 1963)", "extent": null, "qualifier": null, "role": "artist", "biography": "CHEN Qi was born in 1963 in Nanjing, Jiangsu province, China. He graduated from Nanjing Academy of Fine Arts in 1987 and received a doctoral degree from Nanjing Academy of Fine Arts in 2006, Chen Qi currently serves as Professor at the China Central Academy of Fine Arts in Beijing. 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