{
"data": {
"id": 119697,
"accession_number": "1940.534",
"share_license_status": "CC0",
"tombstone": "Boats at Berck-sur-Mer, 1873. \u00c9douard Manet (French, 1832\u20131883). Oil on fabric; framed: 52.5 x 74 x 7 cm (20 11/16 x 29 1/8 x 2 3/4 in.); unframed: 34 x 55.8 cm (13 3/8 x 21 15/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1940.534",
"current_location": null,
"title": "Boats at Berck-sur-Mer",
"creation_date": "1873",
"creation_date_earliest": 1873,
"creation_date_latest": 1873,
"artists_tags": [
"male"
],
"culture": [
"France, 19th century"
],
"technique": "oil on fabric",
"support_materials": [],
"department": "Modern European Painting and Sculpture",
"collection": "Mod Euro - Painting 1800-1960",
"type": "Painting",
"measurements": "Framed: 52.5 x 74 x 7 cm (20 11/16 x 29 1/8 x 2 3/4 in.); Unframed: 34 x 55.8 cm (13 3/8 x 21 15/16 in.)",
"dimensions": {
"framed": {
"height": 0.525,
"height_inch": 20,
"height_inch_fraction": 0.6875,
"width": 0.74,
"width_inch": 29,
"width_inch_fraction": 0.125,
"depth": 0.07,
"depth_inch": 2,
"depth_inch_fraction": 0.75
},
"unframed": {
"height": 0.34,
"height_inch": 13,
"height_inch_fraction": 0.375,
"width": 0.558,
"width_inch": 21,
"width_inch_fraction": 0.9375
}
},
"state_of_the_work": null,
"edition_of_the_work": null,
"copyright": null,
"inscriptions": [
{
"inscription": "Signed lower left: Manet\r\n",
"inscription_translation": null,
"inscription_remark": null,
"sortorder": null
}
],
"exhibitions": {
"current": [
{
"id": 312517,
"title": "The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition",
"description": "The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition. 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": "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": 518777,
"title": "Impressionists and their Forebears from Barbizon",
"description": "Impressionists and their Forebears from Barbizon. Dallas Museum for Contemporary Arts, Dallas, TX (organizer) (March 8-April 2, 1961).",
"opening_date": "1961-03-08T05:00:00"
},
{
"id": 343605,
"title": "\u00c9douard Manet",
"description": "\u00c9douard Manet. Philadelphia Museum of Art (organizer) (November 3-December 11, 1966); The Art Institute of Chicago (January 13-February 19, 1967).",
"opening_date": "1966-11-03T05:00:00"
},
{
"id": 517571,
"title": "Impressionism: French and American",
"description": "Impressionism: French and American. Philbrook Museum of Art, Tulsa, OK (organizer) (October 2-November 26, 1967).",
"opening_date": "1967-10-02T04:00:00"
},
{
"id": 206147,
"title": "Manet and the Civil War",
"description": "Manet and the Civil War. The Metropolitan Museum of Art, New York, NY (organizer) (June 3-August 17, 2003).",
"opening_date": "2003-06-03T00:00:00"
},
{
"id": 216746,
"title": "Manet and the Sea",
"description": "Manet and the Sea. The Art Institute of Chicago, Chicago, IL (organizer) (October 19, 2003-January 4, 2004); Philadelphia Museum of Art, Philadelphia, PA (February 8-May 9, 2004); Van Gogh Museum, 1070 AJ Amsterdam, Netherlands (June 18-October 10, 2004).",
"opening_date": "2003-10-19T00:00:00"
},
{
"id": 295866,
"title": "Edouard Manet",
"description": "Edouard Manet. Von der Heydt-Museum, Wuppertal, Germany (organizer) (October 24, 2017-February 25, 2018).",
"opening_date": "2017-10-24T04:00:00"
}
],
"legacy": [
{
"description": "Paris, Bernheim-Jeune. Manet: Trente-cinq tableaux de la Collection Pellerin (1910), no. 3, Marine, p\u00e9riode 1873-1874, no. 164 du catalogue Duret.",
"opening_date": "1910-01-01T00:00:00"
},
{
"description": "cma. French Paintings of the Later XIX th Century (1921), no cat., lent by Ralph M. Coe.",
"opening_date": "1921-01-01T00:00:00"
},
{
"description": "Pittsburgh, Carnegie Institute; cma, Exhibition of Paintings-\u00c9douard Manet, Pierre Renoir, Berthe Morisot (1924-25), no. 18, lent by Mr. and Mrs. Ralph M. Coe.",
"opening_date": "1924-01-01T00:00:00"
},
{
"description": "cma. Catalogue of the Twentieth Anniversary Exhibition of the Cleveland Museum of Art (1936), no. 287.",
"opening_date": "1936-01-01T00:00:00"
},
{
"description": "Art Institute of Zanesville (Ohio). French Paintings (1944), no cat.",
"opening_date": "1944-01-01T00:00:00"
},
{
"description": "Coral Gables, Lowe Art Gallery of the University of Miami; Athens, University of Georgia. French Exhibition (1952), no cat.",
"opening_date": "1952-01-01T00:00:00"
},
{
"description": "Dallas Museum for Contemporary Arts. Impressionists and Their Forebears from Barbizon (1961), no. 44, 16 (repr.).",
"opening_date": "1961-01-01T00:00:00"
},
{
"description": "Philadelphia Museum of Art; Art Institute of Chicago. \u00c9douard Manet (1966-67), no. 119 (repr.).",
"opening_date": "1966-01-01T00:00:00"
},
{
"description": "Tulsa, Oklahoma, Philbrook Art Center. French and American Impressionism (1967), no. 5.",
"opening_date": "1967-01-01T00:00:00"
},
{
"description": "Metropolitan Musuem of Art (6/3/2003 - 8/17/2003): \"Manet and the Civil War\"",
"opening_date": "2003-06-03T00:00:00"
},
{
"description": "Art Institute of Chicago (10/19/2003 - 1/4/2004); Philadelphia Museum of Art (2/8/2004 - 5/9/2004); Van Gogh Museum, Amsterdam (6/18/2004 - 9/26/2004): \"Manet and the Sea\" exh. cat. no. 38, p. 127.",
"opening_date": "2003-10-19T00:00:00"
},
{
"description": "Von der Heydt Museum, Wuppertal, Germany (10/24/2017 - 2/25/2018): \"Edward Manet\"",
"opening_date": "2017-10-24T00:00:00"
}
]
},
"provenance": [
{
"description": "Portier, Paris. Eug\u00e8ne Blot, Paris. Bernheim Jeune, Paris. Auguste Pellerin, Paris by 1910. Baron Denys Cochin. His sale, Paris, Georges Petit, 26 March 1919 (lot 17), to L\u00e9on Payen, Paris, for ff 30,000. Ralph M. Coe, Cleveland. Purchased by the Cleveland Museum of Art in November 1940.",
"citations": [],
"footnotes": null,
"date": null,
"sortorder": null
}
],
"find_spot": null,
"related_works": [],
"former_accession_numbers": [
"1875.24"
],
"did_you_know": null,
"early_education_description": null,
"artlens_description": null,
"description": "Ever since his childhood, Manet spent almost every summer at the seashore. At age 16, after failing the entrance exam for the naval academy, he embarked as an apprentice on a training ship, traveling as far away as Rio de Janeiro. The sea would always capture his imagination, and in 1864 he painted several seascapes. This painting was made nearly ten years later, while the artist was staying in Berck-sur-Mer, near Boulogne. Exploring light and movement, he rapidly sketched the sails of the countless ships that dance in the wind on blue-green waves highlighted with white. Manet even added a slight curve to the horizon, thus conveying an impression of infinite space, despite the painting's small size.",
"external_resources": {
"wikidata": [
"https://www.wikidata.org/wiki/Q60514355"
],
"internet_archive": [
"https://archive.org/details/clevelandart-1940.534-boats-at-berck-sur-m"
]
},
"citations": [
{
"citation": "The Cleveland Museum of Art. Handbook of the Cleveland Museum of Art/1966. Cleveland, OH: The Cleveland Museum of Art, 1966.",
"page_number": "Reproduced: p. 172",
"url": "https://archive.org/details/CMAHandbook1966/page/n196"
},
{
"citation": "The Cleveland Museum of Art. Handbook of the Cleveland Museum of Art/1969. Cleveland, OH: The Cleveland Museum of Art, 1969.",
"page_number": "Reproduced: p. 172",
"url": "https://archive.org/details/CMAHandbook1969/page/n196"
},
{
"citation": "The Cleveland Museum of Art. Handbook of the Cleveland Museum of Art/1978. Cleveland, OH: The Cleveland Museum of Art, 1978.",
"page_number": "Reproduced: p. 213",
"url": "https://archive.org/details/CMAHandbook1978/page/n233"
},
{
"citation": "Argencourt, Louise d', and Roger Diederen. Catalogue of Paintings. Pt. 4. European Paintings of the 19th Century. Cleveland: Cleveland Museum of Art, 1974.",
"page_number": "Mentioned and reproduced: P. 411-412, Vol. II, no. 142",
"url": ""
},
{
"citation": "Finckh, Gerhard. Edouard Manet. Wuppertal, Germany : Von der Heydt-Museum, 2017.",
"page_number": null,
"url": null
}
],
"url": "https://clevelandart.org/art/1940.534",
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"creditline": "Purchase from the J. H. Wade Fund",
"image_credit": null,
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"sketchfab_url": null,
"gallery_donor_text": null,
"athena_id": 119697,
"creators": [
{
"id": 1796,
"description": "\u00c9douard Manet (French, 1832\u20131883)",
"extent": null,
"qualifier": null,
"role": "artist",
"biography": "Born into a wealthy family, \u00c9douard Manet was encouraged in his artistic curiosity by his uncle and often visited the Louvre with his college friend Antonin Proust. Initially, however, Manet wanted to pursue a naval career. It was not until he failed the entrance exams for the naval academy that he decided to pursue a career as an artist. In 1850 he entered the studio of Couture (q.v.), whose reputation had risen sharply after exhibiting his Romans of the Decadence (Salon 1847, Mus\u00e9e d'Orsay, Paris). Couture wanted to circumvent conventional academic training and combined traditional painting methods with new techniques-for example, allowing underpaint to form an intrinsic part of the final composition, which resulted in a sketchy appearance. Manet would absorb this technique into his work. He had no strict need to sell his artwork; rather, he longed for recognition as an artist. He responded to Charles Baudelaire's call to young artists to paint contemporary life rather than antiquity and take a distanced point of view, because, as Baudelaire stated in his article The Painter of Modern Life (published in Le Figaro, 1863), objectivity is more sincere and honest. In 1863 the Salon jury rejected more than half of the five thousand works submitted, including Manet's D\u00e9jeuner sur l'herbe (Mus\u00e9e d'Orsay, Paris). In response to the conservative jury of that year, Napoleon III, in an effort to appease the artists as well as discourage antigovernment sentiment, organized the Salon des Refus\u00e9s, which took place in the Palais des Champs-\u00c9lys\u00e9es two weeks after the opening of the official Salon. The painting caused a formidable succ\u00e8s de scandale both for its technique and subject matter. The majority of the people failed to understand that the artist wanted to translate the conventions of the Old Masters into a new idiom that would reflect contemporary society. Two years later the scandal was repeated when Manet's Olympia (Mus\u00e9e d'Orsay, Paris) was accepted into the Salon of 1865. This time the jury was more lenient because fewer academicians were among its members. Even though his work often received severe criticism, Manet continued to submit works to the Salon, which he felt was the only legitimate place to compete and prove himself as an artist. At the time of the Universal Exposition in Paris in 1867, Manet, following Courbet's (q.v.) lead set in 1855, organized his own pavilion next to the Exposition where he showed more than fifty paintings. \u00c9mile Zola, the French writer and critic who may have collaborated with Manet in writing the preface for his one-man exhibition, recognized his talent and modernity. Zola rejected academic painting of the day, including Alexandre Cabanel's (1823-1889) The Birth of Venus (Mus\u00e9e d'Orsay, Paris), which not only won the gold medal at the Salon of 1863 but was purchased by Napoleon III. Zola vehemently defended Manet against harsh criticism and exalted him as the greatest painter of the nineteenth century. Manet painted a portrait of Zola (Salon 1868, Mus\u00e9e d'Orsay, Paris) that reflected the artist's interest in Japanese prints as well as photography. By the 1870s Manet's palette had lightened and his brushwork became freer and more sketchy. These new features in his painting technique may have resulted from his contact with the younger impressionist group that began exhibiting as such in 1874. Although Manet was friendly with its members and sympathized with their goals, he never exhibited with them and continued to show his paintings at the official Salon. Manet was truly innovative in depicting subjects of urban life. However, during his lifetime he enjoyed little support, and it was not until the impressionists gained general recognition that Manet was acknowledged as a truly modern painter. Henri Matisse (1869-1954) would express his immense admiration for Manet as follows: \"He was the first to act by reflex, thus simplifying the painter's m\u00e9tier, . . . Manet was direct as could be.\"1 1. Matisse in L'Intransigeant (25 January 1932), cited in Manet 1832-1883, 18.",
"name_in_original_language": null,
"birth_year": "1832",
"death_year": "1883",
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}
],
"legal_status": "accessioned",
"accession_date": "1940-10-30T00:00:00",
"sortable_date": 1873,
"date_added_to_oa": null,
"date_text": "1873",
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"alternate_titles": [
"Boats"
],
"is_highlight": false,
"updated_at": "2026-05-29 06:10:47.677000"
}
}