{
"data": {
"id": 150015,
"accession_number": "1980.231",
"share_license_status": "CC0",
"tombstone": "Wild Boars in the Snow, c. 1872\u201377. Rosa Bonheur (French, 1822\u20131899). Oil on wood panel; unframed: 21 x 30.8 cm (8 1/4 x 12 1/8 in.). The Cleveland Museum of Art, Bequest of Noah L. Butkin, 1980.231",
"current_location": null,
"title": "Wild Boars in the Snow",
"creation_date": "c. 1872\u201377",
"creation_date_earliest": 1872,
"creation_date_latest": 1877,
"artists_tags": [
"female"
],
"culture": [
"France, 19th century"
],
"technique": "oil on wood panel",
"support_materials": [],
"department": "Modern European Painting and Sculpture",
"collection": "Mod Euro - Painting 1800-1960",
"type": "Painting",
"measurements": "Unframed: 21 x 30.8 cm (8 1/4 x 12 1/8 in.)",
"dimensions": {
"unframed": {
"height": 0.21,
"height_inch": 8,
"height_inch_fraction": 0.25,
"width": 0.308,
"width_inch": 12,
"width_inch_fraction": 0.125
}
},
"state_of_the_work": null,
"edition_of_the_work": null,
"copyright": null,
"inscriptions": [
{
"inscription": "Signed lower left: Rosa Bonheur\r\n",
"inscription_translation": null,
"inscription_remark": null,
"sortorder": null
}
],
"exhibitions": {
"current": [
{
"id": 304521,
"title": "Year in Review: 1980",
"description": "Year in Review: 1980. The Cleveland Museum of Art (organizer) (June 24-July 19, 1981).",
"opening_date": "1981-06-24T04:00:00"
},
{
"id": 310015,
"title": "Animals as Romantic Icons in French Art",
"description": "Animals as Romantic Icons in French Art. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 6-July 27, 1986).",
"opening_date": "1986-04-06T04:00:00"
}
],
"legacy": []
},
"provenance": [
{
"description": "Shepherd Gallery, New York. Bought in November 1976 by Noah L. Butkin, Cleveland. Bequeathed to the CMA on 19 December 1980.",
"citations": [],
"footnotes": null,
"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/Q60474419"
],
"internet_archive": [
"https://archive.org/details/clevelandart-1980.231-wild-boars-in-the-sn"
]
},
"citations": [
{
"citation": "Lee, Sherman E. \u201cThe Year in Review for 1980.\u201d The Bulletin of the Cleveland Museum of Art 68, no. 6 (June 1981): 163\u2013219.",
"page_number": "Reproduced: p. 168; Mentioned: p. 211, no. 24",
"url": "http://www.jstor.org/stable/25159730"
},
{
"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. 38-39, Vol. I, no. 13",
"url": ""
},
{
"citation": "Bonheur, Rosa. Rosa Bonheur. Lyon: FAGE editions, 2020.",
"page_number": "Reproduced: p. 37",
"url": ""
},
{
"citation": "Bonheur, Rosa, Sandra Buratti-Hasan, and Lei\u0308la Jarbouai. Rosa Bonheur (1822-1899). Paris : Muse\u0301e d'Orsay : Flammarion, 2022.",
"page_number": "Mentioned and reproduced: p. 244, fig. 232",
"url": ""
}
],
"url": "https://clevelandart.org/art/1980.231",
"images": {
"annotation": null,
"web": {
"url": "https://openaccess-cdn.clevelandart.org/1980.231/1980.231_web.jpg",
"width": "1263",
"height": "870",
"filesize": "212213",
"filename": "1980.231_web.jpg"
},
"print": {
"url": "https://openaccess-cdn.clevelandart.org/1980.231/1980.231_print.jpg",
"width": "3400",
"height": "2342",
"filesize": "1465694",
"filename": "1980.231_print.jpg"
},
"full": {
"url": "https://openaccess-cdn.clevelandart.org/1980.231/1980.231_full.tif",
"width": "7377",
"height": "5082",
"filesize": "112491868",
"filename": "1980.231_full.tif"
}
},
"alternate_images": [
{
"web": {
"url": "https://openaccess-cdn.clevelandart.org/1980.231/1980.231_alt0_web.jpg",
"width": "1263",
"height": "872",
"filesize": "960204"
},
"print": {
"url": "https://openaccess-cdn.clevelandart.org/1980.231/1980.231_alt0_print.jpg",
"width": "2048",
"height": "1414",
"filesize": "2521204"
},
"full": {
"url": "https://openaccess-cdn.clevelandart.org/1980.231/1980.231_alt0_full.tif",
"width": "2048",
"height": "1414",
"filesize": "8690628"
},
"annotation": ""
}
],
"creditline": "Bequest of Noah L. Butkin",
"image_credit": null,
"sketchfab_id": null,
"sketchfab_url": null,
"gallery_donor_text": null,
"athena_id": 150015,
"creators": [
{
"id": 1557,
"description": "Rosa Bonheur (French, 1822\u20131899)",
"extent": null,
"qualifier": null,
"role": "artist",
"biography": "The eldest of four children, Rosa Bonheur received drawing lessons in the studio of her father, Raymond Bonheur (1796-1849). From early on she pre-ferred to draw animals and went to the Jardin des Plantes in Paris to study and draw them. She first exhibited at the Salon of 1841. The family moved to the suburbs where Bonheur had an even more easy access to animals, and she visited slaughterhouses in order to study their anatomy. Her Salon submissions became increasingly successful, but her first major breakthrough occurred with Plowing in the Nivernais (Salon 1849, Mus\u00e9e National du Ch\u00e2teau, Fontainebleau). Based on Sand's rustic novel La mare au Diable (1846), the work represents a heroic depiction of rural life that Bonheur had elevated to the standards of a history painting. Her international reputation was established with The Horse Fair (Metropolitan Museum of Art, New York), presented at the Salon of 1853. She celebrated her final triumph at the 1855 Salon with Haymaking in the Auvergne (R. W. Norton Art Gallery, Shreveport, La.), after which she increasingly withdrew from public life. She mostly worked on her many commissions and shared her life with Nathalie Micas. The couple traveled extensively, and in 1859 Bonheur bought the Ch\u00e2teau de By in Thomery near Fontainebleau, where they lived in relative solitude. Bonheur had also little contact with the nearby group of Barbizon painters. The widespread appreciation for her work did not diminish, however, and in 1865 Empress Eug\u00e9nie visited her studio in order to award her a knighthood in the Legion of Honor, making her the first woman to carry that title. Nathalie Micas died in 1889, to Bonheur's great distress, but she soon befriended the American painter Anna Klumpke (1856-1942), with whom she would eventually live and who became her biographer. Even though Bonheur was appreciated in France, her principal collectors were in England and the United States. According to Albert Wolff, she was \"one of the three most highly priced French painters in America . . . the other two [were] Jules Breton [q.v.] and Meissonier [q.v.]\"1 Bonheur was one of the foremost animaliers, or animal painters, of her time and was also active as a sculptor. Her painting style changed little throughout her career, and her work found little esteem with more pro-gressive artists and critics. However, her unorthodox life as an independent and successful woman in a male-dominated society has recently generated great interest, especially among feminist art historians.\r\n1. Le Figaro (11 July 1890), 1.",
"name_in_original_language": null,
"birth_year": "1822",
"death_year": "1899",
"use_in_caption": true,
"include_extent": false,
"weight": 1
}
],
"legal_status": "accessioned",
"accession_date": "1980-12-19T00:00:00",
"sortable_date": 1872,
"date_added_to_oa": null,
"date_text": "c. 1872\u201377",
"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": true,
"impression": null,
"alternate_titles": [],
"is_highlight": false,
"updated_at": "2026-08-03 14:20:14.221000"
}
}