{
"data": {
"id": 118042,
"accession_number": "1939.165",
"share_license_status": "CC0",
"tombstone": "The Dock of Deauville, 1891. Eug\u00e8ne Boudin (French, 1824\u20131898). Oil on wood panel; framed: 80.5 x 116 x 10 cm (31 11/16 x 45 11/16 x 3 15/16 in.); unframed: 46.7 x 37.8 cm (18 3/8 x 14 7/8 in.). The Cleveland Museum of Art, Gift of Leonard C. Hanna Jr., for the Coralie Walker Hanna Memorial Collection, 1939.165",
"current_location": null,
"title": "The Dock of Deauville",
"creation_date": "1891",
"creation_date_earliest": 1891,
"creation_date_latest": 1891,
"artists_tags": [
"male"
],
"culture": [
"France, 19th century"
],
"technique": "oil on wood panel",
"support_materials": [],
"department": "Modern European Painting and Sculpture",
"collection": "Mod Euro - Painting 1800-1960",
"type": "Painting",
"measurements": "Framed: 80.5 x 116 x 10 cm (31 11/16 x 45 11/16 x 3 15/16 in.); Unframed: 46.7 x 37.8 cm (18 3/8 x 14 7/8 in.)",
"dimensions": {
"framed": {
"height": 0.805,
"height_inch": 31,
"height_inch_fraction": 0.6875,
"width": 1.16,
"width_inch": 45,
"width_inch_fraction": 0.6875,
"depth": 0.1,
"depth_inch": 3,
"depth_inch_fraction": 0.9375
},
"unframed": {
"height": 0.467,
"height_inch": 18,
"height_inch_fraction": 0.375,
"width": 0.378,
"width_inch": 14,
"width_inch_fraction": 0.875
}
},
"state_of_the_work": null,
"edition_of_the_work": null,
"copyright": null,
"inscriptions": [
{
"inscription": "Signed lower right: E. Boudin / 91\r\nInscribed lower left: Deauville\r\n\r\n",
"inscription_translation": null,
"inscription_remark": null,
"sortorder": null
}
],
"exhibitions": {
"current": [
{
"id": 312341,
"title": "The Silver Jubilee Exhibition",
"description": "The Silver Jubilee Exhibition. 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": "French Drawings and Watercolors from French Public and Private Collections. 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": "19th and 20th Century French Art and Leonard C. Hanna, Jr. Loans. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 22-September 1, 1943).",
"opening_date": "1943-06-22T04:00:00"
},
{
"id": 443988,
"title": "Louis Boudin: Precurser of Impressionism",
"description": "Louis Boudin: Precurser of Impressionism. Santa Barbara Museum of Art, Santa Barbara, CA (organizer) (October 8-November 21, 1976); Art Museum of South Texas, Corpus Christi, TX (December 2, 1976-January 9, 1977); Museum of Fine Arts, St. Petersburg, Florida, St. Petersburg, FL (January 25-February 25, 1977); Columbus Museum of Art, Columbus, OH (March 11-April 24, 1977); San Diego Museum of Art, San Diego, CA (May 7-June 12, 1977).",
"opening_date": "1976-10-08T04:00:00"
},
{
"id": 309956,
"title": "Gallant Ships and Bully Boys",
"description": "Gallant Ships and Bully Boys. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 6-August 3, 1986).",
"opening_date": "1986-05-06T04:00:00"
}
],
"legacy": [
{
"description": "Possibly Paris, \u00c9cole des Beaux-Arts. L'Exposition des oeuvres d'Eug\u00e8ne Boudin (1899), no. 42, Bassin de Deauville (1891), appartient \u00e0 M. Panhard.",
"opening_date": null
},
{
"description": "Santa Barbara Museum of Art; St. Petersburg Museum of Fine Arts; Corpus Christi Art Museum of South Texas; Columbus (Ohio) Gallery of Fine Arts; Fine Arts Gallery of San Diego. Louis Eug\u00e8ne Boudin, Precursor of Impressionism (1976-77), no. 27 (repr.).",
"opening_date": "1976-01-01T00:00:00"
}
]
},
"provenance": [
{
"description": "Gustave Hoche, Paris. His sale (vente Gustave H. . .), Paris, Drouot, 22 February 1895 (lot 13), ff 900 (perhaps bought in) (price according to Frick Library copy). His sale (vente de M. X . . .), Paris, Drouot, 18 March 1898 (lot 11), ff 560. Coralie Walker Hanna, Cleveland. Gift of Leonard C. Hanna to the CMA in 1939.",
"citations": [],
"footnotes": null,
"date": null,
"sortorder": null
}
],
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"related_works": [],
"former_accession_numbers": [],
"did_you_know": null,
"early_education_description": null,
"artlens_description": null,
"description": "This painting treats a common theme in Eug\u00e8ne Boudin's mature art: ships at harbor. Boudin typically did not depict the busy commercial life or human tasks related to ships; rather, he seemed always to strive for an overall mood of calm, harmony, and light. Although Boudin's brushwork was quite sketchy at this time, he was still able to suggest the complex sails and structures of large vessels. Here he rubbed light tones around the ships' masts, often overlapping the darker lines of the wood and rigging with white or gray tones as if to evoke the passing wind and shifting positions common to nautical life.",
"external_resources": {
"wikidata": [
"https://www.wikidata.org/wiki/Q60514268"
],
"internet_archive": [
"https://archive.org/details/clevelandart-1939.165-the-dock-of-deauvill"
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},
"citations": [
{
"citation": "Milliken, William. \"The Coralie Walker Hanna Memorial Collection Gift of Leonard C Hanna.\" The Bulletin of the Cleveland Museum of Art 26, no. 6 (June 1939): 84-115",
"page_number": "",
"url": "https://www.jstor.org/stable/i25138016"
}
],
"url": "https://clevelandart.org/art/1939.165",
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"creditline": "Gift of Leonard C. Hanna Jr., for the Coralie Walker Hanna Memorial Collection",
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"athena_id": 118042,
"creators": [
{
"id": 1568,
"description": "Eug\u00e8ne Boudin (French, 1824\u20131898)",
"extent": null,
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"role": "artist",
"biography": "Eug\u00e8ne Boudin is traditionally presented in literature as a self-taught artist, independent of the Parisian art world whose works, painted out of doors in a sketchy, light-hued style, foreshadowed impressionism.1 Recent scholarship has tempered this interpretation of the artist, but it conserves his importance to contemporaneous artistic concerns of modernity, the notion of \"finish,\" the relationship between the French city and countryside, and the marketing of art works.2 Raised by parents who worked on steamers, Boudin grew up in Le Havre on the Normandy coast. At the age of twenty, he and an associate established their own framing and stationery shop where they regularly served artists. In 1847 Boudin went to Paris to study art and made contacts with artists such as Couture (q.v.), who helped him win a three-year study grant in 1850 from the municipal council of Le Havre, and Constant Troyon (1810-1865). But it was along the Normandy coast, not in Paris, where Boudin first met painters Ribot (q.v.) in 1851, Monet (q.v.) in 1858, and Courbet (q.v.) in 1859 and art critic Charles Baudelaire in 1859 and painted in a coarse realist style. Boudin spent each winter, roughly November to May, in Paris, working in his studio. He spent the summer season, lasting from two to five months, making pictures on the Normandy coast or in the Breton landscape. In 1860 he began to paint scenes of fashionable society at the beach resorts of Trouville (The Beach at Trouville, Minneapolis Institute of Arts) and Deauville. At first his work attracted little critical notice, but Baudelaire praised his pastels in a review of the 1859 Salon where Boudin made his debut.4 By 1869 Boudin and his art came to be identified with the Normandy coast.5 After 1870 Boudin increasingly turned away from beach resort subjects to focus on port and harbor views and fisherfolk scenes. In 1881 Boudin entered into a business relationship with the important Parisian art dealer Durand-Ruel, who provided him with a regular income for the rights to his entire production. When Durand-Ruel mounted a one-person exhibition of Boudin's works in 1883, the artist enjoyed financial and critical triumph. Boudin sold his first picture to the French state in 1886 (A Squall, Mus\u00e9e de Morlaix) and his second two years later (The Russian Corvette in the Eure Reservoir, Mus\u00e9e d'Agen). In 1892 he was decorated with the Legion of Honor. Extremely productive until the end of his life, Boudin left more than four thousand paintings and seven thousand works on paper, some of which he or his family bequeathed to the French nation and art museums of Le Havre and Honfleur. The reputation that Boudin quietly established is nowhere better evidenced than in the fact that the retro-spective exhibition of his work (January 1898) was held at the \u00c9cole des Beaux-Arts in Paris, where Boudin never set foot and which had fought, and failed, to privilege history painting over landscape and genre.
1. By 1883 art critic Gustave Geffroy had already pronounced that Boudin \"is, together with Corot and Jongkind, one of the immediate precursors of Impressionism. He shows us that impenetrable black does not exist and that air is transparent.\" Cited in trans. in Hamilton 1992, 42.
2. See John House, \"Boudin's Modernity,\" in Hamilton 1992, 15-23.
3. Courbet first visited Le Havre in 1841, the year he moved to Paris from Ornans. He returned at the time of the 1858 Salon du Havre, to which he contributed, and again in 1859. He is reported to have bought some of Boudin's paintings. In 1865 the two painters socialized together and painted side by side at Trouville.
4. The artist exhibited no pastels in the Salon, but Baudelaire might have seen them in the artist's studio or elsewhere. 5. Jules Castagnary, Salon de 1869, cited in trans. in Hamilton 1992, 59.",
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"birth_year": "1824",
"death_year": "1898",
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"legal_status": "accessioned",
"accession_date": "1939-02-13T00:00:00",
"sortable_date": 1891,
"date_added_to_oa": null,
"date_text": "1891",
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"updated_at": "2026-05-29 06:06:34.525000"
}
}