id: 140338 accession number: 1964.289 share license status: CC0 url: https://clevelandart.org/art/1964.289 updated: 2024-03-26 01:59:07.317000 Sunset on the River Oise, 1866. Charles François Daubigny (French, 1817–1878). Oil on wood panel; framed: 56.2 x 85.1 x 9 cm (22 1/8 x 33 1/2 x 3 9/16 in.); unframed: 40.1 x 69.1 cm (15 13/16 x 27 3/16 in.). The Cleveland Museum of Art, Severance and Greta Millikin Collection 1964.289 title: Sunset on the River Oise title in original language: series: series in original language: creation date: 1866 creation date earliest: 1866 creation date latest: 1866 current location: creditline: Severance and Greta Millikin Collection copyright: --- culture: France, 19th century technique: oil on wood panel department: Modern European Painting and Sculpture collection: Mod Euro - Painting 1800-1960 type: Painting find spot: catalogue raisonne: --- CREATORS * Charles François Daubigny (French, 1817–1878) - artist The son of a painter, Charles François Daubigny received his initial training from his father, Edmond François Daubigny (1789-1843), a student of Bertin (q.v.). Daubigny's uncle, Pierre, and his uncle's wife were also painters. In order to finance a trip to Italy, Daubigny began painting decorative panels for the Musée de Versailles. By 1835 he had earned enough money for the excursion and, accompanied by Henri Mignon, traveled through Rome, Florence, Pisa, and Genoa, studying the Italian country-side. Upon his return to Paris in 1836 Daubigny began working for Granet (q.v.) in the paintings restoration depart-ment of the Louvre. He made his Salon debut two years later and would regularly show there until 1868. During this time he also learned etching, and it became a good source of income while still allowing him time to paint. Daubigny began to travel often, to Normandy in 1842, to the forest of Fontainebleau and on to Burgundy in 1843. He became friends with Corot (q.v.), and the two artists painted together in Switzerland and the Dauphiné. In 1857 Daubigny bought a boat that he converted into a studio and used to explore the Oise, Marne, and Seine rivers. The boat allowed him freedom to choose the best viewpoints for his landscapes, an idea that Monet (q.v.) would adopt years later. Daubigny achieved some financial success, received the Legion of Honor in 1859, and a year later built a home and studio in Auvers. In 1861, however, he was criticized because his works were becoming darker and sketchier. He was, in fact, one of the earliest artists to become interested in capturing the changing quality of nature by using light, rapid brush strokes. While experimenting with painting, Daubigny continued his interest in printmaking. In 1862 he participated in an exhibit funded by Cadart, a print publisher and dealer. The exhibition concerned artists who considered printmaking a legitimate art in itself, not a medium for simple reproduction. Cadart became Daubigny's exclusive publisher. Along with Corot, Daubigny also experimented with the cliché verre technique. He continued to travel, in Brittany in 1867 and Spain in 1868-69. He was also supportive of other artists. As a member of the Salon jury of 1868, he was instrumental in having the works of Degas (q.v.), Morisot (q.v.), Pissarro (q.v.), Renoir (q.v.), Sisley (q.v.), Monet, and Frédéric Bazille (1841-1870) accepted. Daubigny moved to London in 1870 to escape the Franco-Prussian War. There he introduced Pissarro and Monet to Paul Durand-Ruel, his art dealer, who had opened a gallery in London. Daubigny returned to Paris after the war, traveling around the French countryside until the end of his life. --- measurements: Framed: 56.2 x 85.1 x 9 cm (22 1/8 x 33 1/2 x 3 9/16 in.); Unframed: 40.1 x 69.1 cm (15 13/16 x 27 3/16 in.) state of the work: edition of the work: support materials: inscriptions: inscription: Signed in lower right: Daubigny 1866. translation: remark: --- CURRENT EXHIBITIONS title: The Severance and Greta Millikin Collection opening date: 1990-07-05T04:00:00 The Severance and Greta Millikin Collection. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 5-September 2, 1990). title: La nascita dell'impressionismo opening date: 2000-09-09T00:00:00 La nascita dell'impressionismo. Casa dei Carraresi, 31100 Treviso, Italy (September 9, 2000-January 14, 2001). --- LEGACY EXHIBITIONS * {'description': 'London, Couper Gallery. Some Aspects of the 19th Century: De Géricault à Daubigny (1962-63), no. 12 (repr.).', 'opening_date': '1962-01-01T00:00:00'} * {'description': 'cma. Catalogue of the Severance and Greta Millikin Collection (1990), 94, no. 212.', 'opening_date': '1990-01-01T00:00:00'} * {'description': 'Treviso, Italy: Casa Dei Carreresi (organized by Linea d\'ombra srl in Conegliano, Italy) (9/9/00-1/14/01) "La nascita dell\'impressionismo" exh. cat. no. 81, p. 186.', 'opening_date': '2000-09-09T00:00:00'} --- PROVENANCE Irene [1868-1954] and Solomon R. Guggenheim [1861-1949], London date: Until 1962 footnotes: citations: (Guggenheim sale, Sotheby's, London, November 7, 1962 (lot 92), probably sold to the Couper Gallery) date: 1962 footnotes: *
The painting's title in the sale catalogue is "La Seine, près de Bonnières, coucher de soleil."
citations: (Couper Gallery, London) date: 1962-1963 footnotes: *
The price list accompanying the Guggenheim sale catalogue indicates that the buyer of the Daubigny was “J.G. Cooper.”  In 1963, the painting appears in the Couper Gallery exhibition Some Aspects of the 19th Century: de Géricault à Daubigny (no. 12); therefore, “J.G. Cooper” is likely an as yet unidentified individual connected to the Couper Gallery whose surname was misspelled in the price list. 

citations: (Galerie Claude Aubry, sold to Severance A. and Greta Millikin) date: Until 1963 footnotes: citations: Severance A. [1895-1985] and Greta Millikin [1903-1989], Cleveland, OH, given to the Cleveland Museum of Art date: 1963-1964 footnotes: citations: The Cleveland Museum of Art, Cleveland, OH date: 1964- footnotes: citations: --- fun fact: digital description: wall description: --- RELATED WORKS --- CITATIONS Severance Millikin, letter to Claude Aubry, July 3, 1963, in CMA curatorial file. page number: url: Severance Millikin, letter to Claude Aubry, July 3, 1963, in CMA curatorial file. page number: url: Sotheby's (Firm). Impressionist and Modern Paintings, Drawings and Sculpture. Nov. 7, 1962. page number: url: Couper Gallery. Some Aspects of the 19th Century: De Géricault À Daubigny. London: Couper Gallery, 1962. page number: url: Sotheby's (Firm). Impressionist and Modern Paintings, Drawings and Sculpture. Nov. 7, 1962. page number: url: Hellebranth, Robert. Charles-François Daubigny: 1817-1878. Morges: Matute, 1976. page number: url: Hellebranth, Robert. Charles-François Daubigny: 1817-1878. Morges: Matute, 1976. page number: url: 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. 182-183, Vol. I, no. 68 url: --- IMAGES web: https://openaccess-cdn.clevelandart.org/1964.289/1964.289_web.jpg print: https://openaccess-cdn.clevelandart.org/1964.289/1964.289_print.jpg full: https://openaccess-cdn.clevelandart.org/1964.289/1964.289_full.tif