{
"data": {
"id": 134236,
"accession_number": "1956.718",
"share_license_status": "CC0",
"tombstone": "Claire Campbell, 1876. \u00c9douard Manet (French, 1832\u20131883). Pastel with oil on fine-weave canvas; unframed: 55.2 x 45.7 cm (21 3/4 x 18 in.). The Cleveland Museum of Art, The Fanny Tewksbury King Collection, 1956.718",
"current_location": "004 Special Exhibition Gallery",
"title": "Claire Campbell",
"creation_date": "1876",
"creation_date_earliest": 1876,
"creation_date_latest": 1876,
"artists_tags": [
"male"
],
"culture": [
"America"
],
"technique": "Pastel with oil on fine-weave canvas",
"support_materials": [
{
"description": "fabric, nailed to wooden stretcher",
"watermarks": []
}
],
"department": "Drawings",
"collection": "DR - French",
"type": "Drawing",
"measurements": "Unframed: 55.2 x 45.7 cm (21 3/4 x 18 in.)",
"dimensions": {
"unframed": {
"height": 0.552,
"height_inch": 21,
"height_inch_fraction": 0.75,
"width": 0.457,
"width_inch": 18,
"width_inch_fraction": 0.0
}
},
"state_of_the_work": null,
"edition_of_the_work": null,
"copyright": null,
"inscriptions": [
{
"inscription": "inscribed, lower left, in light gray pastel: Manet [partially underlined]; lower left, in light blue pastel: 1876",
"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": 200460,
"title": "Mary Cassatt and the Feminine Ideal in 19th-Century Paris",
"description": "Mary Cassatt and the Feminine Ideal in 19th-Century Paris. The Cleveland Museum of Art (organizer) (October 14, 2012-January 20, 2013).",
"opening_date": "2012-10-04T00:00:00"
},
{
"id": 283693,
"title": "Pure Color: Pastels from the Cleveland Museum of Art",
"description": "Pure Color: Pastels from the Cleveland Museum of Art. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 19, 2016-March 19, 2017).",
"opening_date": "2016-11-19T05:00:00"
},
{
"id": 324628,
"title": "Nineteenth-Century French Drawings from the Cleveland Museum of Art",
"description": "Nineteenth-Century French Drawings from the Cleveland Museum of Art. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 20-June 11, 2023).",
"opening_date": "2023-01-19T05:00:00"
},
{
"id": 668924,
"title": "Manet & Morisot",
"description": "Manet & Morisot. The Cleveland Museum of Art, Cleveland, OH (co-organizer) (March 29-July 5, 2026).",
"opening_date": "2025-10-11T04:00:00"
}
],
"legacy": [
{
"description": "Exposition des oeuvres de \u00c9douard Manet. \u00c9cole des Beaux-Arts, Paris (January 1884).",
"opening_date": null
},
{
"description": "Manet: Trente-cinq tableaux de la collection Pellerin. Moderne Galerie, Munich (1910); Paul Cassirer Gallery, Berlin (March 24 - April 24, 1910); Bernheim Jeune & Cie., Paris (June 1910).",
"opening_date": "1910-03-24T00:00:00"
},
{
"description": "Manet and the Post-Impressionists. Grafton Gallery, London (November 8, 1910 - January 15, 1911).",
"opening_date": "1910-11-08T00:00:00"
},
{
"description": "Exhibition of Paintings by Contemporary French Artists at the Galleries of M. Knoedler & Co. Knoedler & Co., New York (January 5 - 29, 1916).",
"opening_date": "1916-01-05T00:00:00"
},
{
"description": "Exhibition of Paintings by Edouard Manet, Berthe Morisot, and Pierre Auguste Renoir. Cleveland Museum of Art (December 9, 1924 - January 15, 1925).",
"opening_date": "1924-12-09T00:00:00"
}
]
},
"provenance": [
{
"description": "Claire Campbell",
"citations": [],
"footnotes": [
"Exposition des oeuvres de \u00c9douard Manet (Paris: \u00c9cole nationale des beaux-arts, 1884), no. 131.
"
],
"date": "1882 - at least 1884",
"sortorder": 1
},
{
"description": "Auguste Pellerin [1853\u20131929], Paris",
"citations": [],
"footnotes": [],
"date": "after 1884 - by 1910",
"sortorder": 2
},
{
"description": "(purchased jointly from him by Bernheim-Jeune, Paris; Paul Cassirer, Berlin; and Durand-Ruel, Paris)",
"citations": [],
"footnotes": [
"Manet: Trente-cinq tableaux de la collection Pellerin (Paris: Bernheim Jeune et Cie, 1910), no. 23.
"
],
"date": "1911",
"sortorder": 3
},
{
"description": "(transferred to Durand-Ruel, New York)",
"citations": [],
"footnotes": null,
"date": "1911 - 1916",
"sortorder": 4
},
{
"description": "(M. Knoedler & Co., New York)",
"citations": [],
"footnotes": [],
"date": "1916",
"sortorder": 5
},
{
"description": "(M. Knoedler & Co., sold to Mr. and Mrs. Ralph King, Cleveland, OH)",
"citations": [],
"footnotes": [],
"date": "1916",
"sortorder": 6
},
{
"description": "Ralph Thrall [1855\u20131926] and Fanny Tewksbury [1867\u20131949] King, Cleveland, given to the Cleveland Museum of Art, Cleveland, OH",
"citations": [],
"footnotes": null,
"date": "1916-1956",
"sortorder": 7
},
{
"description": "Cleveland Museum of Art, Cleveland, OH",
"citations": [],
"footnotes": [],
"date": "1956-",
"sortorder": 8
}
],
"find_spot": null,
"related_works": [],
"former_accession_numbers": [],
"did_you_know": "Edouard Manet almost always depicted the subjects of his pastel portraits against plain colored backgrounds, as seen in this work.",
"description": "During the late 1870s, Edouard Manet began to experience health problems that made it difficult for him to work in oil painting. Instead, he began to draw using pastel, a powdery medium that allowed him to render line and color with each stroke. This work is one of numerous portraits that Manet created around this time with the medium. It depicts Claire Campbell, a fashionable young British woman whose father published The Daily Telegraph, a British newspaper. Manet used the velvety texture of pastel to render the subject's skin and hair, limiting his palette to mostly neutral tones such as white, gray, and black.",
"external_resources": {
"wikidata": [
"https://www.wikidata.org/wiki/Q80026742"
],
"internet_archive": [
"https://archive.org/details/clevelandart-1956.718-claire-campbell"
]
},
"citations": [
{
"citation": "Exposition des oeuvres de E\u0301douard Manet. Exh. Cat. Paris: \u00c9cole nationale des Beaux-Arts, 1884.",
"page_number": "Mentioned: p. 62, no. 131",
"url": null
},
{
"citation": "Manet: trente-cinq tableaux de la collection Pellerin. Exh. Cat. Paris: Bernheim Jeune et Cie, 1910.",
"page_number": "Mentioned: no. 23",
"url": null
},
{
"citation": "Manet and the Post-Impressionists. Exh. Cat. London: Grafton Galleries, 1910.",
"page_number": "Mentioned: p. 30, no. 151",
"url": null
},
{
"citation": "Duret, Th\u00e9odore. Manet and the French Impressionists. trans. J.E. Crawford Flitch. Philadelphia: J.B. Lippincott, 1910.",
"page_number": "Mentioned: p. 264, no. 9",
"url": null
},
{
"citation": "Edouard Manet, Sammlung Pellerin, Paris. Exh. Cat. Berlin: Paul Cassirer: 1910.",
"page_number": "Mentioned: no. 32",
"url": null
},
{
"citation": "Waldmann, E. \"\u00c9douard Manet. Aus der Sammlung Pellerin.\" Kunst und Kunstler 8 (May 1910).",
"page_number": "Reproduced: p. 401",
"url": null
},
{
"citation": "Exhibition of Paintings by Contemporary French Artists at the Galleries of M. Knoedler & Co. Exh. Cat. New York: Knoedler, 1916.",
"page_number": "Mentioned: no. 48",
"url": "https://libmma.contentdm.oclc.org/digital/api/collection/p15324coll8/id/7135/download"
},
{
"citation": "\"Recent Changes in the Painting Galleries.\" The Bulletin of the Cleveland Museum of Art 5, no. 2/3 (1918): 22-27.",
"page_number": "Mentioned: p. 22",
"url": "www.jstor.org/stable/25136174"
},
{
"citation": "Milliken, William M. \"French Impressionists and Post-Impressionists at the Cleveland Museum of Art.\" The Arts 2 (November 1921): 68-70.",
"page_number": "Mentioned: p. 68",
"url": null
},
{
"citation": "Forthuny, Pascal. \"A propos de l'exposition des impressioninistes et post-impressionnistes fran\u00e7ais au mus\u00e9e de Cleveland,\" Bulletin de la vie artistique 3, no. 4 (1922): 94-95.",
"page_number": "Mentioned: p. 94",
"url": null
},
{
"citation": "Duret, Th\u00e9odore. Histoire de Edouard Manet et de son oeuvre. Paris: Bernheim-Jeune, 1926.",
"page_number": "Mentioned: p. 286, no. 9",
"url": null
},
{
"citation": "Moreau-N\u00e9laton, \u00c9tienne. Manet racont\u00e9 par lui-m\u00eame. Paris: Henri Laurens, 1926",
"page_number": "Mentioned: vol. II, p. 98, 136, 143, 146; Reproduced: vol. II, p. 130",
"url": null
},
{
"citation": "\u201cLists of Objects in the Exhibition.\u201d The Bulletin of the Cleveland Museum of Art 16, no. 9 (1929): 159\u201375.",
"page_number": "Mentioned: p. 161",
"url": "http://www.jstor.org/stable/25137248."
},
{
"citation": "Tabarant, A. Manet, histoire catalographique. Paris: \u00c9ditions Montaigne, 1931.",
"page_number": "Mentioned: p. 448, no. 4",
"url": null
},
{
"citation": "Blanche, Jacques Emile. \"Les Pastels de Manet.\" Formes 24 (April 1932): 254-55.",
"page_number": "Reproduced: between pp. 254 and 255",
"url": null
},
{
"citation": "Jamot, Paul and Georges Wildenstein. Manet. Paris: Beaux-Arts, 1932.",
"page_number": "Mentioned: vol. I, p. 182, no. 527",
"url": null
},
{
"citation": "Rey, Robert. Manet. trans. Eveline Byam Shaw. Paris: Hyperion, 1938.",
"page_number": "Reproduced: n.p.",
"url": null
},
{
"citation": "Rewald, John. Edouard Manet Pastels. Oxford: Cassirer, 1947.",
"page_number": "Mentioned: p. 48",
"url": null
},
{
"citation": "Tabarant, A. Manet et ses oeuvres. Paris: Gallimard, 1947.",
"page_number": "Mentioned: p. 277, 395, 492, 545",
"url": null
},
{
"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. 498",
"url": "https://archive.org/details/CMAHandbook1958/page/n91"
},
{
"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": "Venturi, Marcello. L'opera pittorica di Edouard Manet. Milan: Rizzoli, 1967.",
"page_number": "Mentioned and reproduced: no. 410",
"url": null
},
{
"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": "Rouart, Denis and Daniel Wildenstein. Edouard Manet, catalogue raisonn\u00e9. Lausanne: Biblioth\u00e8que des Arts, 1975.",
"page_number": "Mentioned and reproduced: p. 26, no. 70, frontispiece",
"url": null
},
{
"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. 211",
"url": "https://archive.org/details/CMAHandbook1978/page/n231"
},
{
"citation": "Robins, Anna Gruetzner. \"'Manet and the Post-Impressionists': A Checklist of Exhibits.\" Burlington Magazine 152 (December 2010): 782-93.",
"page_number": "Mentioned: p. 784",
"url": null
},
{
"citation": "Salsbury, Britany. Nineteenth-Century French Drawings: The Cleveland Museum of Art. Lewes, UK, Cleveland, Ohio: GILES; Cleveland Museum of Art, 2023.",
"page_number": "Mentioned and reproduced: p. 136-137, no. 24",
"url": ""
},
{
"citation": "Brown, Heather Lemonedes. \"Manet & Morisot Pastels.\" In Manet & Morisot. Emily Beeny, Heather Lemonedes Brown, Anne Higonnet, Kimberly A. Jones, Nicole R. Myers, et al., 209-221. San Francisco, New Haven: Fine Arts Museums of San Francisco; Yale University Press, 2025.",
"page_number": "Mentioned: p. 209-212, 219-221; Reproduced: p. 136, no. 54",
"url": ""
}
],
"catalogue_raisonne": "Rouart and Wildenstein 70",
"url": "https://clevelandart.org/art/1956.718",
"images": {
"annotation": null,
"web": {
"url": "https://openaccess-cdn.clevelandart.org/1956.718/1956.718_web.jpg",
"width": "741",
"height": "900",
"filesize": "179451",
"filename": "1956.718_web.jpg"
},
"print": {
"url": "https://openaccess-cdn.clevelandart.org/1956.718/1956.718_print.jpg",
"width": "2799",
"height": "3400",
"filesize": "3937897",
"filename": "1956.718_print.jpg"
},
"full": {
"url": "https://openaccess-cdn.clevelandart.org/1956.718/1956.718_full.tif",
"width": "11421",
"height": "13872",
"filesize": "475325580",
"filename": "1956.718_full.tif"
}
},
"alternate_images": [
{
"annotation": "",
"web": {
"url": "https://openaccess-cdn.clevelandart.org/alternate/1956.718/1956.718_alt0_web.jpg",
"width": "734",
"height": "893",
"filesize": "457579"
},
"print": {
"url": "https://openaccess-cdn.clevelandart.org/alternate/1956.718/1956.718_alt0_print.jpg",
"width": "1536",
"height": "1870",
"filesize": "1160855"
},
"full": {
"url": "https://openaccess-cdn.clevelandart.org/alternate/1956.718/1956.718_alt0_full.tif",
"width": "1536",
"height": "1870",
"filesize": "8620132"
}
},
{
"date_created": "2016-10-14T15:22:26",
"annotation": "",
"web": {
"url": "https://openaccess-cdn.clevelandart.org/alternate/1956.718/1956.718_alt1_web.jpg",
"width": "739",
"height": "900",
"filesize": "169515"
},
"print": {
"url": "https://openaccess-cdn.clevelandart.org/alternate/1956.718/1956.718_alt1_print.jpg",
"width": "2792",
"height": "3400",
"filesize": "2888664"
},
"full": {
"url": "https://openaccess-cdn.clevelandart.org/alternate/1956.718/1956.718_alt1_full.tif",
"width": "5581",
"height": "6796",
"filesize": "113814872"
}
},
{
"date_created": "2017-05-09T15:01:07",
"annotation": "",
"web": {
"url": "https://openaccess-cdn.clevelandart.org/alternate/1956.718/1956.718_alt2_web.jpg",
"width": "707",
"height": "900",
"filesize": "232750"
},
"print": {
"url": "https://openaccess-cdn.clevelandart.org/alternate/1956.718/1956.718_alt2_print.jpg",
"width": "2671",
"height": "3400",
"filesize": "3263842"
},
"full": {
"url": "https://openaccess-cdn.clevelandart.org/alternate/1956.718/1956.718_alt2_full.tif",
"width": "5291",
"height": "6736",
"filesize": "106950520"
}
}
],
"creditline": "The Fanny Tewksbury King Collection",
"image_credit": null,
"sketchfab_id": null,
"sketchfab_url": null,
"gallery_donor_text": "The Kelvin and Eleanor Smith Foundation Gallery",
"athena_id": 134236,
"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",
"use_in_caption": true,
"include_extent": false,
"weight": 1
}
],
"legal_status": "accessioned",
"accession_date": "1956-12-11T00:00:00",
"sortable_date": 1876,
"date_added_to_oa": null,
"date_text": "1876",
"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": [
"Mademoiselle Claire Campbell",
"Mlle. Claire Campbell"
],
"is_highlight": true,
"updated_at": "2026-05-01 06:49:30.698000"
}
}