{
"data": {
"id": 139814,
"accession_number": "1963.573",
"share_license_status": "CC0",
"tombstone": "The Banks of the Marne at Charenton, c. 1895. Armand Guillaumin (French, 1841\u20131927). Oil on fabric; unframed: 32.3 x 40.1 cm (12 11/16 x 15 13/16 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. Lewis B. Williams from The Blair Trust, 1963.573",
"current_location": null,
"title": "The Banks of the Marne at Charenton",
"creation_date": "c. 1895",
"creation_date_earliest": 1890,
"creation_date_latest": 1900,
"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": "Unframed: 32.3 x 40.1 cm (12 11/16 x 15 13/16 in.)",
"dimensions": {
"unframed": {
"height": 0.323,
"height_inch": 12,
"height_inch_fraction": 0.6875,
"width": 0.401,
"width_inch": 15,
"width_inch_fraction": 0.8125
}
},
"state_of_the_work": null,
"edition_of_the_work": null,
"copyright": null,
"inscriptions": [
{
"inscription": "Signed lower left: Guillaumin \r\n",
"inscription_translation": null,
"inscription_remark": null,
"sortorder": null
}
],
"exhibitions": {
"current": [
{
"id": 304723,
"title": "Year in Review (1964)",
"description": "Year in Review (1964). The Cleveland Museum of Art, Cleveland, OH (organizer) (December 8, 1964-January 31, 1965).",
"opening_date": "1964-12-08T05:00:00"
}
],
"legacy": [
{
"description": "New York, Union League Club. (March 1915), owned by Durand-Ruel.",
"opening_date": "1915-03-01T00:00:00"
},
{
"description": "Arts Club of Chicago. (January 1920); returned to Durand-Ruel 1 March 1921.",
"opening_date": "1920-01-01T00:00:00"
},
{
"description": "New York, Durand-Ruel. Exhibition of Paintings by Armand Guillaumin (1922), no. 17, Bords de la Marne, Charenton.",
"opening_date": "1922-01-01T00:00:00"
},
{
"description": "Boston Art Club. (13 February 1924); returned to Durand-Ruel, 21 March 1924.",
"opening_date": "1924-02-01T00:00:00"
},
{
"description": "Columbus (Ohio) Gallery of Fine Arts. (May 1924); returned to Durand-Ruel, 9 July 1924.",
"opening_date": "1924-05-01T00:00:00"
},
{
"description": "Sent by Durand-Ruel to MM. Johnson and Guest, 410 South Michigan Blvd, Chicago (24 September -22 November 1924).",
"opening_date": "1924-09-24T00:00:00"
}
]
},
"provenance": [
{
"description": "Tadamasa Hayashi collection, Paris (see Guillaumin, no. 117). New York, American Art Galleries sale, Tadamasa Hayashi collection, 8-9 January 1913 (lot 122, repr.), Bords de la Marne. Bought by Durand-Ruel, New York (stock number 3604). Sold to Lewis B. Williams, Cleveland, 16 May 1927. Given to the CMA on 30 November 1963.",
"citations": [],
"footnotes": [],
"date": null,
"sortorder": null
}
],
"find_spot": null,
"related_works": [],
"former_accession_numbers": [],
"did_you_know": null,
"early_education_description": null,
"artlens_description": null,
"description": null,
"external_resources": {
"wikidata": [
"https://www.wikidata.org/wiki/Q60469079"
],
"internet_archive": [
"https://archive.org/details/clevelandart-1963.573-the-banks-of-the-mar"
]
},
"citations": [
{
"citation": "Henning, Edward B. \u201cAnnual Report for 1963.\u201d The Bulletin of the Cleveland Museum of Art 51, no. 6 (June 1964): 127\u201361.",
"page_number": "Mentioned: p. 135",
"url": "http://www.jstor.org/stable/25152003"
},
{
"citation": "\u201cYear in Review for 1964.\u201d The Bulletin of the Cleveland Museum of Art 51, no. 10 (December 1964): 236\u2013266.",
"page_number": "Mentioned: p. 263",
"url": "http://www.jstor.org/stable/25152021"
},
{
"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. 341-343, Vol. II, no. 119",
"url": ""
}
],
"url": "https://clevelandart.org/art/1963.573",
"images": {
"annotation": null,
"web": {
"url": "https://openaccess-cdn.clevelandart.org/1963.573/1963.573_web.jpg",
"width": "900",
"height": "724",
"filesize": "407477",
"filename": "1963.573_web.jpg"
},
"print": {
"url": "https://openaccess-cdn.clevelandart.org/1963.573/1963.573_print.jpg",
"width": "3400",
"height": "2736",
"filesize": "4923669",
"filename": "1963.573_print.jpg"
},
"full": {
"url": "https://openaccess-cdn.clevelandart.org/1963.573/1963.573_full.tif",
"width": "5161",
"height": "4153",
"filesize": "64336584",
"filename": "1963.573_full.tif"
}
},
"alternate_images": [
{
"web": {
"url": "https://openaccess-cdn.clevelandart.org/1963.573/1963.573_alt0_web.jpg",
"width": "900",
"height": "774",
"filesize": "322435"
},
"print": {
"url": "https://openaccess-cdn.clevelandart.org/1963.573/1963.573_alt0_print.jpg",
"width": "3400",
"height": "2923",
"filesize": "4205841"
},
"full": {
"url": "https://openaccess-cdn.clevelandart.org/1963.573/1963.573_alt0_full.tif",
"width": "7148",
"height": "6146",
"filesize": "131828548"
},
"date_created": "2025-11-11T15:39:39",
"annotation": ""
},
{
"web": {
"url": "https://openaccess-cdn.clevelandart.org/1963.573/1963.573_alt1_web.jpg",
"width": "900",
"height": "737",
"filesize": "348207"
},
"print": {
"url": "https://openaccess-cdn.clevelandart.org/1963.573/1963.573_alt1_print.jpg",
"width": "3400",
"height": "2783",
"filesize": "4280835"
},
"full": {
"url": "https://openaccess-cdn.clevelandart.org/1963.573/1963.573_alt1_full.tif",
"width": "5757",
"height": "4713",
"filesize": "81433084"
},
"date_created": "2025-11-11T15:43:45",
"annotation": ""
},
{
"web": {
"url": "https://openaccess-cdn.clevelandart.org/1963.573/1963.573_alt2_web.jpg",
"width": "900",
"height": "730",
"filesize": "287034"
},
"print": {
"url": "https://openaccess-cdn.clevelandart.org/1963.573/1963.573_alt2_print.jpg",
"width": "3400",
"height": "2759",
"filesize": "4530359"
},
"full": {
"url": "https://openaccess-cdn.clevelandart.org/1963.573/1963.573_alt2_full.tif",
"width": "5742",
"height": "4660",
"filesize": "80307988"
},
"date_created": "2025-11-11T15:45:21",
"annotation": ""
},
{
"web": {
"url": "https://openaccess-cdn.clevelandart.org/1963.573/1963.573_alt3_web.jpg",
"width": "1119",
"height": "893",
"filesize": "271743"
},
"print": {
"url": "https://openaccess-cdn.clevelandart.org/1963.573/1963.573_alt3_print.jpg",
"width": "3400",
"height": "2715",
"filesize": "4884973"
},
"full": {
"url": "https://openaccess-cdn.clevelandart.org/1963.573/1963.573_alt3_full.tif",
"width": "6680",
"height": "5334",
"filesize": "106915240"
},
"date_created": "2013-04-04T18:57:36",
"annotation": ""
},
{
"web": {
"url": "https://openaccess-cdn.clevelandart.org/1963.573/1963.573_alt4_web.jpg",
"width": "1102",
"height": "893",
"filesize": "287527"
},
"print": {
"url": "https://openaccess-cdn.clevelandart.org/1963.573/1963.573_alt4_print.jpg",
"width": "3400",
"height": "2757",
"filesize": "4866483"
},
"full": {
"url": "https://openaccess-cdn.clevelandart.org/1963.573/1963.573_alt4_full.tif",
"width": "7003",
"height": "5678",
"filesize": "119311012"
},
"date_created": "2013-04-04T19:06:54",
"annotation": ""
},
{
"web": {
"url": "https://openaccess-cdn.clevelandart.org/1963.573/1963.573_alt5_web.jpg",
"width": "1116",
"height": "893",
"filesize": "856618"
},
"print": {
"url": "https://openaccess-cdn.clevelandart.org/1963.573/1963.573_alt5_print.jpg",
"width": "1920",
"height": "1536",
"filesize": "1443131"
},
"full": {
"url": "https://openaccess-cdn.clevelandart.org/1963.573/1963.573_alt5_full.tif",
"width": "1920",
"height": "1536",
"filesize": "8850612"
},
"annotation": ""
}
],
"creditline": "Gift of Mr. and Mrs. Lewis B. Williams from The Blair Trust",
"image_credit": null,
"sketchfab_id": null,
"sketchfab_url": null,
"gallery_donor_text": null,
"athena_id": 139814,
"creators": [
{
"id": 1785,
"description": "Armand Guillaumin (French, 1841\u20131927)",
"extent": null,
"qualifier": null,
"role": "artist",
"biography": "Armand Guillaumin grew up in a working-class family and spent much of his childhood in Moulins. In 1857 he was sent to Paris to become a clerk in his uncle's lingerie shop. He quickly entered a municipal art school and three years later, hoping to find more time to pursue his interest in art, left his uncle's shop and took a position at the Paris-Orl\u00e9ans railway. His free time was still limited, however, and although he made studies of the workers and the landscape around the railway area, he continued to paint mainly on Sundays. In 1861 he enrolled at the Acad\u00e9mie Suisse, where he met C\u00e9zanne (q.v.) and Pissarro (q.v.), with whom he would later develop a solid friendship. He also came under the influence of Courbet (q.v.), using a dark palette to create strong outlines and thick impasto. Guillaumin exhibited at the Salon des Refus\u00e9s in 1863 and in many of the impressionist exhibitions. He could not live just by his painting and in 1868, after two years of unemployment, joined the Ponts et Chauss\u00e9es (Department of Bridges and Roads) of the city of Paris, soon working nights. He painted with Pissarro in Pontoise and with C\u00e9zanne at the home of Dr. Paul Gachet in Auvers. During the late 1880s Guillaumin's work became more subjective, and he began to use color more expressively, anticipating the Fauves. He became a friend of van Gogh (q.v.), and some of his works were sold by Theo van Gogh. In 1886 he married Marie-Josephine Gareton, a professor at a women's school, who supported him financially. After winning the state lottery in 1891, he was able to concentrate completely on his painting, traveling between Agay, Crozant, and Saint-Palais-sur-Mer throughout the year and even making a trip to Holland in 1903-4.",
"name_in_original_language": null,
"birth_year": "1841",
"death_year": "1927",
"use_in_caption": true,
"include_extent": false,
"weight": 1
}
],
"legal_status": "accessioned",
"accession_date": "1963-11-30T00:00:00",
"sortable_date": 1890,
"date_added_to_oa": null,
"date_text": "c. 1895",
"collapse_artists": false,
"on_loan": false,
"recently_acquired": false,
"record_type": "object",
"conservation_statement": "While examining the painting in normal illumination, localized areas of brushwork did not correspond to the landscape composition. A full X-radiograph, when rotated 90 degrees, confirmed the presence of a woman\u2019s portrait in the vertical position. The image in the X-radiograph depicts a three-quarter-length portrait of a woman, with distinguishing marks delineating the mouth, right eye, and a parted hairline. The darker area in the lower third of the composition defines her sloping shoulders. An infrared reflectogram (IRR) image also confirmed the presence of a portrait in the vertical position, captured with an Apollo IR camera with a spectral range of 900\u20131700nm.",
"has_conservation_images": true,
"cover_accession_number": null,
"is_nazi_era_provenance": false,
"impression": null,
"alternate_titles": [],
"is_highlight": false,
"updated_at": "2026-09-10 12:11:46.013000"
}
}