{
"data": {
"id": 130967,
"accession_number": "1953.649",
"share_license_status": "CC0",
"tombstone": "Notre Dame Seen from the Quai de la Tournelle, c. 1897/1902. Jean-Fran\u00e7ois Raffa\u00eblli (French, 1850\u20131924). Oil on fabric; framed: 85.5 x 101.5 x 9 cm (33 11/16 x 39 15/16 x 3 9/16 in.); unframed: 65 x 81.2 cm (25 9/16 x 31 15/16 in.). The Cleveland Museum of Art, Gift of Mrs. Myron E. Merry, 1953.649",
"current_location": null,
"title": "Notre Dame Seen from the Quai de la Tournelle",
"creation_date": "c. 1897/1902",
"creation_date_earliest": 1897,
"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: 85.5 x 101.5 x 9 cm (33 11/16 x 39 15/16 x 3 9/16 in.); Unframed: 65 x 81.2 cm (25 9/16 x 31 15/16 in.)",
"dimensions": {
"framed": {
"height": 0.855,
"height_inch": 33,
"height_inch_fraction": 0.6875,
"width": 1.015,
"width_inch": 39,
"width_inch_fraction": 0.9375,
"depth": 0.09,
"depth_inch": 3,
"depth_inch_fraction": 0.5625
},
"unframed": {
"height": 0.65,
"height_inch": 25,
"height_inch_fraction": 0.5625,
"width": 0.812,
"width_inch": 31,
"width_inch_fraction": 0.9375
}
},
"state_of_the_work": null,
"edition_of_the_work": null,
"copyright": null,
"inscriptions": [
{
"inscription": "Signed lower right: jfraffa\u00eblli [in two successive layers of paint, first dark gray and then yellowish gray]\r\n\r\n",
"inscription_translation": null,
"inscription_remark": null,
"sortorder": null
}
],
"exhibitions": {
"current": [],
"legacy": [
{
"description": "Possibly New York, American Art Galleries. Works of Jean-F. Raffa\u00eblli (1895), no. 4, Notre Dame of Paris.",
"opening_date": null
},
{
"description": "Possibly New York, Durand-Ruel Galleries. Catalogue of Paintings, Drypoints, and Etchings printed in Color. By Jean-Fran\u00e7ois Raffa\u00eblli (1899), no. 17, Notre-Dame of Paris; or no. 31, Notre Dame of Paris, the Embankments.",
"opening_date": null
},
{
"description": "Possibly Philadelphia, Pennsylvania Academy of the Fine Arts. Catalogue of Works of Jean-Fran\u00e7ois Raffa\u00eblli (1900), no. 10, Notre-Dame of Paris, the Embankments.",
"opening_date": "1900-01-01T00:00:00"
},
{
"description": "Possibly Paris, Galerie Georges Petit. Exposition J.-F. Raffa\u00eblli (1909), no. 60, Notre-Dame de Paris; no. 137, Notre-Dame de Paris, appartient \u00e0 M. Durand-Ruel; no. 186, Notre-Dame de Paris.",
"opening_date": "1909-01-01T00:00:00"
},
{
"description": "Cleveland, Kinney and Levan Building. The Cleveland Art Loan Exhibition under the Auspices of the Cleveland School of Art (1913), no. 140c, Notre Dame, Paris, lent by Mrs. H. E. Hayes (for sale).",
"opening_date": "1913-01-01T00:00:00"
},
{
"description": "CMA. French Paintings of the Later Nineteenth Century (1921), no cat.; lent by Ralph King.",
"opening_date": "1921-01-01T00:00:00"
}
]
},
"provenance": [
{
"description": "Mrs. H. E. Hayes, Cleveland, by 1913. Ralph King, Cleveland. Lent to the Cleveland Museum of Art, 27 September 1916-31 January 1919, and 4 June 1924-3 November 1924. Mrs. Myron E. Merry. Given to the CMA in 1953.",
"citations": [],
"footnotes": null,
"date": null,
"sortorder": null
}
],
"find_spot": null,
"related_works": [],
"former_accession_numbers": [
"1185.16",
"2062.21",
"1267.24"
],
"did_you_know": null,
"early_education_description": null,
"artlens_description": null,
"description": null,
"external_resources": {
"wikidata": [
"https://www.wikidata.org/wiki/Q60516419"
],
"internet_archive": []
},
"citations": [
{
"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. 511-512, Vol. II, no. 178",
"url": ""
}
],
"url": "https://clevelandart.org/art/1953.649",
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"width": "1116",
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"creditline": "Gift of Mrs. Myron E. Merry",
"image_credit": null,
"sketchfab_id": null,
"sketchfab_url": null,
"gallery_donor_text": null,
"athena_id": 130967,
"creators": [
{
"id": 1742,
"description": "Jean-Fran\u00e7ois Raffa\u00eblli (French, 1850\u20131924)",
"extent": null,
"qualifier": null,
"role": "artist",
"biography": "Jean-Fran\u00e7ois Raffa\u00eblli tried his hand at just about every kind of artistic expression. When he was eighteen years old, he sang in theaters and churches. After enrolling as a volunteer during the Franco-Prussian War (1870-71), he returned to the theater for a short time. Painter, sculptor, printmaker, and illustrator, he was equally competent in the practice of each of these different techniques, but painting remained his true passion. He was listed as a student in G\u00e9r\u00f4me's (q.v) workshop but spent most of his time in the Louvre studying the Old Masters. He began exhibiting his paintings at the Salon de la Soci\u00e9t\u00e9 des Artistes Fran\u00e7ais in 1870 before turning to that of the Soci\u00e9t\u00e9 Nationale des Beaux-Arts in 1891. In the meantime, with Degas' (q.v.) support, his works were accepted at the fifth and sixth impressionist exhibitions in 1880 and 1881, where he presented each time more than thirty-five works: paintings, watercolors, drawings, etchings, and drypoints. From 1894 to 1909, Raffa\u00eblli exhibited his prints in numerous one-person shows. In 1904 he was the founding president of the Soci\u00e9t\u00e9 de Gravure Originale en Couleurs. He also became known as an illustrator. His two most important contributions were his illustrations for the Goncourt brothers' Germinie Lacerteux (1864), and Les Types de Paris (1883), composed of texts by St\u00e9phane Mallarm\u00e9, Alphonse Daudet, \u00c9mile Zola, J. K. Huysmans, and Octave Mirbeau, among others. Raffa\u00eblli's predilection for images of the poor and the outcasts, his depictions of the downtrodden or humble workers such as street cleaners and coal men, was well suited to the themes addressed by naturalist writers such as Honor\u00e9 de Balzac and \u00c9mile Zola. The end of the 1880s marked a turning point in the evolution of Raffa\u00eblli's career. The artist concentrated on depicting mainly urban landscapes. Just like Henri Rousseau, le Douanier (q.v.), during the same period, he painted views of Paris suburbs in which figures held an ever decreasing importance. Views of Paris would begin to dominate his work in the mid-1890s. The artist almost exclusively chose to represent well-known monuments, such as Notre Dame, the Invalides, the Sainte-Chapelle, or locations like the Place Saint-Michel and Champs-Elys\u00e9es. He was perhaps seeking to cater to affluent (American) tourists who could afford the luxury of this type of postcard. In 1894-95, Raffa\u00eblli planned to visit the United States for a week in order to attend the opening of an exhibition of his works at the American Art Association in New York. The week evolved into five months during which he traveled all over the country, discovering a world that fascinated him. He gave lectures in English and became the \"traveling salesman of the ideal.\" He went back to New York at the end of 1899 to inaugurate an exhibition of his works at the Durand-Ruel Galleries and was a member of the jury for the Carnegie International Exhibition in Pittsburgh.1",
"name_in_original_language": null,
"birth_year": "1850",
"death_year": "1924",
"use_in_caption": true,
"include_extent": false,
"weight": 1
}
],
"legal_status": "accessioned",
"accession_date": "1953-12-15T00:00:00",
"sortable_date": 1897,
"date_added_to_oa": null,
"date_text": "c. 1897/1902",
"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": "2026-08-03 14:14:36.834000"
}
}