{
"data": {
"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,
"height_inch": 29,
"height_inch_fraction": 0.25,
"width": 0.902,
"width_inch": 35,
"width_inch_fraction": 0.5,
"depth": 0.172,
"depth_inch": 6,
"depth_inch_fraction": 0.75
}
},
"state_of_the_work": null,
"edition_of_the_work": null,
"copyright": "\u00a9 Artists Rights Society (ARS), New York",
"inscriptions": [
{
"inscription": "Signed lower right: \"RENOIR 1914 v.\"",
"inscription_translation": null,
"inscription_remark": null,
"sortorder": null
}
],
"exhibitions": {
"current": [
{
"id": 338065,
"title": "French Art Since Eighteen Hundred",
"description": "French Art Since Eighteen Hundred. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 8-December 8, 1929).",
"opening_date": "1929-11-08T05:00:00"
},
{
"id": 312517,
"title": "The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition",
"description": "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": 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": 300859,
"title": "The Venetian Tradition",
"description": "The Venetian Tradition. The Cleveland Museum of Art, Cleveland, OH (November 8, 1956-January 1, 1957).",
"opening_date": "1956-11-08T05:00:00"
},
{
"id": 216550,
"title": "Renoir in the 20th Century",
"description": "Renoir in the 20th Century. 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": "Gallery One 2012. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 12, 2012-March 5, 2017).",
"opening_date": "2012-12-12T05:00:00"
}
],
"legacy": [
{
"description": "\"Exposition Art Francais\". Antwerp, 1930.",
"opening_date": "1930-04-26T05:00:00Z"
},
{
"description": "\"Collection of Mr. and Mrs. Paul Lamb\". CMA 1933.",
"opening_date": "1933-01-01T00:00:00"
},
{
"description": "\"Modern Sculpture\". Chicago Arts Club, 1933.",
"opening_date": "1933-01-01T00:00:00"
},
{
"description": "\"Contemporary Sculpture\". CMA 1937.",
"opening_date": "1937-01-01T00:00:00"
}
]
},
"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.",
"early_education_description": null,
"artlens_description": null,
"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": "CMA 1936: \"20th Anniversary Exhibition,\" cat. 311, repr.",
"page_number": "",
"url": ""
},
{
"citation": "CMA 1956: \"The Venetian Tradition,\" cat. #79, repr. pl. LVII",
"page_number": "",
"url": ""
},
{
"citation": "Francis, Henry Sayles. Venetian Tradition: Catalogue of the Exhibition. [Cleveland, Ohio]: The Cleveland Museum of Art, 1956.",
"page_number": "Medntioned: p. 42, no. 79; Reproduced: pl. LVII",
"url": ""
},
{
"citation": "The Cleveland Museum of Art. The Cleveland Museum of Art Handbook. 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. Handbook of the Cleveland Museum of Art/1966. 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. Handbook of the Cleveland Museum of Art/1969. 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. Handbook of the Cleveland Museum of Art/1978. 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 & 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": "2026-07-25 11:42:17.628000"
}
}