{
"data": {
"id": 130020,
"accession_number": "1952.445",
"share_license_status": "CC0",
"tombstone": "Berthe Morisot in Black, about 1872\u201374; printed 1884. \u00c9douard Manet (French, 1832\u20131883), printed by Auguste Clot (French, 1858\u20131936), published by Lemercier & Cie.. Lithograph on wove paper; image: 20.4 x 14.3 cm (8 1/16 x 5 5/8 in.); sheet: 36 x 27.4 cm (14 3/16 x 10 13/16 in.). The Cleveland Museum of Art, Dudley P. Allen Fund, 1952.445",
"current_location": "004 Special Exhibition Gallery",
"title": "Berthe Morisot in Black",
"creation_date": "about 1872\u201374; printed 1884",
"creation_date_earliest": 1872,
"creation_date_latest": 1884,
"artists_tags": [
"male"
],
"culture": [
"France, 19th century"
],
"technique": "lithograph on wove paper",
"support_materials": [],
"department": "Prints",
"collection": "PR - Lithograph",
"type": "Print",
"measurements": "Image: 20.4 x 14.3 cm (8 1/16 x 5 5/8 in.); Sheet: 36 x 27.4 cm (14 3/16 x 10 13/16 in.)",
"dimensions": {
"image": {
"height": 0.204,
"height_inch": 8,
"height_inch_fraction": 0.0625,
"width": 0.143,
"width_inch": 5,
"width_inch_fraction": 0.625
},
"sheet": {
"height": 0.36,
"height_inch": 14,
"height_inch_fraction": 0.1875,
"width": 0.274,
"width_inch": 10,
"width_inch_fraction": 0.8125
}
},
"state_of_the_work": "I/II",
"edition_of_the_work": "1884 Memorial Edition",
"copyright": null,
"inscriptions": [],
"exhibitions": {
"current": [
{
"id": 668924,
"title": "Manet & Morisot",
"description": "Manet & Morisot. Fine Arts Museum of San Francisco, Legion of Honor, San Francisco, CA (organizer) (October 11, 2025-February 15, 2026) https://www.famsf.org/exhibitions/manet-morisot; The Cleveland Museum of Art, Cleveland, OH (co-organizer) (March 29-July 5, 2026).",
"opening_date": "2025-10-11T04:00:00"
}
],
"legacy": []
},
"provenance": [
{
"description": "(Guy Mayer Estate, New York. sold to the Cleveland Museum of Art)",
"citations": [],
"footnotes": null,
"date": "?\u20131952",
"sortorder": 1
},
{
"description": "Cleveland Museum of Art, Cleveland, OH",
"citations": [],
"footnotes": null,
"date": "1952\u2013Present",
"sortorder": 2
}
],
"find_spot": null,
"related_works": [],
"former_accession_numbers": [],
"did_you_know": null,
"description": "Manet based this lithograph and the related composition in silhouette (at left) on a photograph of Berthe Morisot with a Bouquet of Violets (also on view in this gallery). None of the prints based on this portrait were printed in a commercial edition during Manet\u2019s lifetime. Their original purpose was personal and private.",
"external_resources": {
"wikidata": [
"https://www.wikidata.org/wiki/Q79911621"
],
"internet_archive": [
"https://archive.org/details/clevelandart-1952.445-portrait-of-berthe-m"
]
},
"citations": [
{
"citation": "Richards, Louise. \"Prints of Edouard Manet.\" The Bulletin of the Cleveland Museum of Art 44, no. 8 (October 1957): 187-191.",
"page_number": "Mentioned: p. 190",
"url": "https://www.jstor.org/stable/25142233"
},
{
"citation": "Pludermacher, Isolde. \"An Enigma in Painting: Manet's Portraits of Morisot.\" In Manet & Morisot. Emily Beeny, Heather Lemonedes Brown, Anne Higonnet, Kimberly A. Jones, Nicole R. Myers, et al., 167-181. San Francisco, New Haven: Fine Arts Museums of San Francisco; Yale University Press, 2025.",
"page_number": "Mentioned: p. 169; Reproduced: p. 95, pl. 17",
"url": ""
}
],
"catalogue_raisonne": "B\u00e9raldi IX.210.54; Moreau-N\u00e9laton 83; Gu\u00e9rin 77; Harris 73",
"url": "https://clevelandart.org/art/1952.445",
"images": {
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"date_created": "2025-07-23T15:03:07",
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"date_created": "2006-02-16T14:54:33",
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],
"creditline": "Dudley P. Allen Fund",
"image_credit": null,
"sketchfab_id": null,
"sketchfab_url": null,
"gallery_donor_text": "The Kelvin and Eleanor Smith Foundation Gallery",
"athena_id": 130020,
"creators": [
{
"id": 1796,
"description": "\u00c9douard Manet (French, 1832\u20131883)",
"extent": null,
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"role": "artist",
"biography": "Born into a wealthy family, \u00c9douard Manet was encouraged in his artistic curiosity by his uncle and often visited the Louvre with his college friend Antonin Proust. Initially, however, Manet wanted to pursue a naval career. It was not until he failed the entrance exams for the naval academy that he decided to pursue a career as an artist. In 1850 he entered the studio of Couture (q.v.), whose reputation had risen sharply after exhibiting his Romans of the Decadence (Salon 1847, Mus\u00e9e d'Orsay, Paris). Couture wanted to circumvent conventional academic training and combined traditional painting methods with new techniques-for example, allowing underpaint to form an intrinsic part of the final composition, which resulted in a sketchy appearance. Manet would absorb this technique into his work. He had no strict need to sell his artwork; rather, he longed for recognition as an artist. He responded to Charles Baudelaire's call to young artists to paint contemporary life rather than antiquity and take a distanced point of view, because, as Baudelaire stated in his article The Painter of Modern Life (published in Le Figaro, 1863), objectivity is more sincere and honest. In 1863 the Salon jury rejected more than half of the five thousand works submitted, including Manet's D\u00e9jeuner sur l'herbe (Mus\u00e9e d'Orsay, Paris). In response to the conservative jury of that year, Napoleon III, in an effort to appease the artists as well as discourage antigovernment sentiment, organized the Salon des Refus\u00e9s, which took place in the Palais des Champs-\u00c9lys\u00e9es two weeks after the opening of the official Salon. The painting caused a formidable succ\u00e8s de scandale both for its technique and subject matter. The majority of the people failed to understand that the artist wanted to translate the conventions of the Old Masters into a new idiom that would reflect contemporary society. Two years later the scandal was repeated when Manet's Olympia (Mus\u00e9e d'Orsay, Paris) was accepted into the Salon of 1865. This time the jury was more lenient because fewer academicians were among its members. Even though his work often received severe criticism, Manet continued to submit works to the Salon, which he felt was the only legitimate place to compete and prove himself as an artist. At the time of the Universal Exposition in Paris in 1867, Manet, following Courbet's (q.v.) lead set in 1855, organized his own pavilion next to the Exposition where he showed more than fifty paintings. \u00c9mile Zola, the French writer and critic who may have collaborated with Manet in writing the preface for his one-man exhibition, recognized his talent and modernity. Zola rejected academic painting of the day, including Alexandre Cabanel's (1823-1889) The Birth of Venus (Mus\u00e9e d'Orsay, Paris), which not only won the gold medal at the Salon of 1863 but was purchased by Napoleon III. Zola vehemently defended Manet against harsh criticism and exalted him as the greatest painter of the nineteenth century. Manet painted a portrait of Zola (Salon 1868, Mus\u00e9e d'Orsay, Paris) that reflected the artist's interest in Japanese prints as well as photography. By the 1870s Manet's palette had lightened and his brushwork became freer and more sketchy. These new features in his painting technique may have resulted from his contact with the younger impressionist group that began exhibiting as such in 1874. Although Manet was friendly with its members and sympathized with their goals, he never exhibited with them and continued to show his paintings at the official Salon. Manet was truly innovative in depicting subjects of urban life. However, during his lifetime he enjoyed little support, and it was not until the impressionists gained general recognition that Manet was acknowledged as a truly modern painter. Henri Matisse (1869-1954) would express his immense admiration for Manet as follows: \"He was the first to act by reflex, thus simplifying the painter's m\u00e9tier, . . . Manet was direct as could be.\"1 1. Matisse in L'Intransigeant (25 January 1932), cited in Manet 1832-1883, 18.",
"name_in_original_language": null,
"birth_year": "1832",
"death_year": "1883",
"use_in_caption": true,
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"weight": 1
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{
"id": 28934,
"description": "Auguste Clot (French, 1858\u20131936)",
"extent": "printed by",
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"role": "printer",
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"name_in_original_language": null,
"birth_year": "1858",
"death_year": "1936",
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{
"id": 68492,
"description": "Lemercier & Cie.",
"extent": "published by",
"qualifier": null,
"role": "publisher",
"biography": null,
"name_in_original_language": null,
"use_in_caption": true,
"include_extent": true,
"weight": 3
}
],
"legal_status": "accessioned",
"accession_date": "1952-11-29T00:00:00",
"sortable_date": 1872,
"date_added_to_oa": null,
"date_text": "about 1872\u201374; printed 1884",
"collapse_artists": false,
"on_loan": false,
"recently_acquired": false,
"record_type": "object",
"conservation_statement": null,
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"cover_accession_number": null,
"is_nazi_era_provenance": false,
"impression": null,
"alternate_titles": [],
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"updated_at": "2026-05-29 06:42:33.756000"
}
}