{
"data": {
"id": 153388,
"accession_number": "1986.73",
"share_license_status": "CC0",
"tombstone": "View of Bordeaux, from the Quai des Chartrons, 1874. Eug\u00e8ne Boudin (French, 1824\u20131898). Oil on fabric; framed: 80.5 x 115.5 x 10 cm (31 11/16 x 45 1/2 x 3 15/16 in.); unframed: 54.7 x 89.5 cm (21 9/16 x 35 1/4 in.). The Cleveland Museum of Art, John L. Severance Fund and Gift of Mrs. Dudley S. Blossom Jr., 1986.73",
"current_location": null,
"title": "View of Bordeaux, from the Quai des Chartrons",
"creation_date": "1874",
"creation_date_earliest": 1874,
"creation_date_latest": 1874,
"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": "Framed: 80.5 x 115.5 x 10 cm (31 11/16 x 45 1/2 x 3 15/16 in.); Unframed: 54.7 x 89.5 cm (21 9/16 x 35 1/4 in.)",
"dimensions": {
"framed": {
"height": 0.805,
"height_inch": 31,
"height_inch_fraction": 0.6875,
"width": 1.155,
"width_inch": 45,
"width_inch_fraction": 0.5,
"depth": 0.1,
"depth_inch": 3,
"depth_inch_fraction": 0.9375
},
"unframed": {
"height": 0.547,
"height_inch": 21,
"height_inch_fraction": 0.5625,
"width": 0.895,
"width_inch": 35,
"width_inch_fraction": 0.25
}
},
"state_of_the_work": null,
"edition_of_the_work": null,
"copyright": null,
"inscriptions": [
{
"inscription": "Signed lower right: E. Boudin / Bordeaux 1874\r\n\r\n",
"inscription_translation": null,
"inscription_remark": null,
"sortorder": null
}
],
"exhibitions": {
"current": [
{
"id": 310034,
"title": "Year in Review for 1986",
"description": "Year in Review for 1986. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 4-March 15, 1987).",
"opening_date": "1987-02-04T05:00:00"
}
],
"legacy": [
{
"description": "Exposition des oeuvres d'Eug\u00e8ne Boudin. \u00c9cole des Beaux-Arts, Paris, France (1899).",
"opening_date": null
}
]
},
"provenance": [
{
"description": "(Boudin sale, H\u00f4tel Drouot, Paris, Feb. 28, 1877, no. 30) 1",
"citations": [],
"footnotes": [
"1 A painting titled \"Vue de Bordeaux\" that matches the dimensions of the Cleveland picture appears in this sale of works by Boudin.
"
],
"date": null,
"sortorder": 1
},
{
"description": "Aur\u00e9lien Scholl [1833-1902], Paris 1",
"citations": [],
"footnotes": [
"1 Scholl was the lender of the Cleveland picture to a Boudin exhibition at the \u00c9cole des Beaux-Arts in 1899.
"
],
"date": null,
"sortorder": 2
},
{
"description": "(Sale, H\u00f4tel Drouot, Paris, June 17, 1921 (no. 52), probably sold to Galerie Allard & No\u00ebl)",
"citations": [],
"footnotes": null,
"date": null,
"sortorder": 3
},
{
"description": "(Probably Galerie Allard & No\u00ebl, Paris) 1",
"citations": [],
"footnotes": [
"1 The annotated copy of this catalogue held by H\u00f4tel Drouot indicates that the buyer of the Boudin was \u201cAllard.\u201d This notation likely refers to Galerie Allard et No\u00ebl, Paris, which appears in the provenances of several other paintings by Boudin, including one currently in the Museum of Fine Arts, Boston (67.906). Schmit\u2019s Boudin catalogue raisonn\u00e9 lists \u201cG\u00e9rard, Paris\u201d following the 1921 sale in this painting\u2019s provenance. G\u00e9rard may refer to F\u00e9lix G\u00e9rard, a dealer who lent a Boudin to the 1899 exhibition in which the CMA painting appears. More likely, \u201cG\u00e9rard\u201d may be Raphael G\u00e9rard, a dealer who held a Boudin retrospective exhibition in 1937 and who bought and sold a number of works by the artist. Raphael G\u00e9rard also appears following Galerie Allard & No\u00ebl in the provenance of a Boudin currently at the MFA Boston. Although this connection between Allard & No\u00ebl and Raphael G\u00e9rard does strongly suggest that the Cleveland picture passed through the latter\u2019s hands, no primary documentation has been found that situates the painting with any dealer or collector by the name of G\u00e9rard. Following G\u00e9rard, Schmit includes Galerie Abels, Cologne, in the provenance, but again, thus far no confirmation that this dealer had the CMA painting has been located.
"
],
"date": null,
"sortorder": 4
},
{
"description": "(E. J. van Wisselingh & Co., Amsterdam) 1",
"citations": [],
"footnotes": [
"1 The CMA painting is no. 4 in the 1950 van Wisselingh & Co. exhibition, Mai\u0302tres franc\u0327ais XIXme et XXme sie\u0300cles. Following van Wisselingh, the Schmit catalogue raisonn\u00e9 lists dealer C. R. A. van Stolk, from Bergen, the Netherlands; no documentation of his involvement in the sale of the Cleveland Boudin has been found to date.
"
],
"date": null,
"sortorder": 5
},
{
"description": "Private collection, Washington, D.C., to Wildenstein & Co.",
"citations": [],
"footnotes": [],
"date": null,
"sortorder": 6
},
{
"description": "(Wildenstein & Co., New York, sold to Emily Blossom)",
"citations": [],
"footnotes": [],
"date": null,
"sortorder": 7
},
{
"description": "Emily Blossom [1913-1991], Cleveland, OH, given to the Cleveland Museum of Art",
"citations": [],
"footnotes": [],
"date": null,
"sortorder": 8
},
{
"description": "The Cleveland Museum of Art, Cleveland, OH",
"citations": [],
"footnotes": [],
"date": null,
"sortorder": 9
}
],
"find_spot": null,
"related_works": [],
"former_accession_numbers": [],
"did_you_know": "Pentimenti, the visible trace of earlier painting, appears among the diagonal rigging of the small ship at the left, indicating that the artist did not thoroughly work out his composition before beginning his picture and slightly changed the position of these lines while painting.",
"early_education_description": null,
"artlens_description": null,
"description": "In 1873, Boudin made his first visit to the important port city of Bordeaux as a guest of the resident art collector Arthur Bourges. Between 1874 and 1876, Boudin made paintings of the city's harbor and docks. This was an especially stimulating time in Boudin's career, as he was invited to exhibit in 1874 with the newly-founded Soci\u00e9t\u00e9 anonyme des artistes, soon to be known as the Impressionists. As in many of his views, Boudin concentrated here on the quais or working docks where goods were loaded and unloaded and sailors left in small dinghies for the larger vessels on which they worked. The low horizon line relegates much of the canvas to pure sky, but the soaring vertical and diagonal forms of the masts complement this horizontal thrust and open space. Many contemporaries greatly admired Boudin's ability to paint skies. Here, one can see the way in which he brushed on a tan color, then went over it, probably while it was still wet, with a thin but opaque application of white, to create a fresh, airy quality. For the darker areas representing water, Boudin laid in an olive-green tone.",
"external_resources": {
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"https://www.wikidata.org/wiki/Q60475908"
],
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"https://archive.org/details/clevelandart-1986.73-view-of-bordeaux-fro"
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"citations": [
{
"citation": "Joseph Baillio, letter to Roger Diederen, Sept. 9, 1996, in CMA curatorial file.",
"page_number": null,
"url": null
},
{
"citation": "Joseph Baillio, letter to Roger Diederen, Sept. 9, 1996, in CMA curatorial file.",
"page_number": null,
"url": null
},
{
"citation": "E.J. van Wisselingh & co. Mai\u0302tres franc\u0327ais XIXme et XXme sie\u0300cles, 17 juillet-9 septembre 1950. Amsterdam: E.J. Van Wisselingh & Co, 1950.",
"page_number": null,
"url": null
},
{
"citation": "Schmit, Robert. Euge\u0300ne Boudin, 1824-1898. Paris: Schmit, 1973.",
"page_number": null,
"url": null
},
{
"citation": "Ho\u0302tel Drouot. Tableaux modernes. June 17, 1921.",
"page_number": null,
"url": null
},
{
"citation": "Ho\u0302tel Drouot. Tableaux modernes. June 17, 1921.",
"page_number": null,
"url": null
},
{
"citation": "Exposition des oeuvres d'Euge\u0300ne Boudin, du 9 au 30 janvier 1899... [Paris], Ecole des beaux-arts. Paris (64 rue Amelot): Typ. Morris pe\u0300re & fils, 1899.",
"page_number": null,
"url": null
},
{
"citation": "Schmit, Robert. Euge\u0300ne Boudin, 1824-1898. Paris: Schmit, 1973.",
"page_number": null,
"url": null
},
{
"citation": "Ho\u0302tel Drouot. Tableaux modernes, aquarelles, dessins. Feb. 28, 1877.",
"page_number": null,
"url": null
},
{
"citation": "Coe, Nancy. The History of the Collecting of European Paintings and Drawings in the City of Cleveland. Thesis M.A. Oberlin College, 1955.",
"page_number": "Reproduced: v. 2, p. 6",
"url": null
},
{
"citation": "Schmit, Robert. Euge\u0300ne Boudin, 1824-1898. Paris, France: Schmit, 1973.",
"page_number": "Reproduced: p. 968, vol I",
"url": null
},
{
"citation": "Turner, Evan H. \"The Year in Review for 1986.\" The Bulletin of The Cleveland Museum of Art LXXIV, no.2 (February, 1987): 38-79.",
"page_number": "Reproduced: p. 53; Mentioned: p. 52, p. 62, no. 31",
"url": "https://www.jstor.org/stable/25159974"
},
{
"citation": "Chong, Alan. European & American Painting in the Cleveland Museum of Art: A Summary Catalogue. Cleveland, Ohio: Cleveland Museum of Art, 1993.",
"page_number": "Reproduced: p. 20",
"url": null
},
{
"citation": "D' Argencourt, Louis, 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: v. 1, p. 70-72",
"url": null
},
{
"citation": "Brady, Peter. The Spirit of Impressionism. London, United Kingdom: Richard Green, 2003.",
"page_number": "Reproduced: pl. 3",
"url": null
},
{
"citation": "Brady, Peter. The Spirit of Impressionism. London: Richard Green, 2003.",
"page_number": "Reproduced: pl. 3",
"url": null
},
{
"citation": "Suivre Les Nuages Le Pinceau \u00c0 La Main: Correspondances, 1861-1898 d\u2019Eug\u00e8ne Boudin. Edited by Laurent Manoeuvre and Archives Durand-Ruel. [Strasbourg]: L\u2019Atelier contemporain, Fran\u00e7ois-Marie Deyrolle \u00e9diteur, 2025.",
"page_number": "Reproduced: p. 31 color plate section",
"url": ""
}
],
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"creditline": "John L. Severance Fund and Gift of Mrs. Dudley S. Blossom Jr.",
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{
"id": 1568,
"description": "Eug\u00e8ne Boudin (French, 1824\u20131898)",
"extent": null,
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"role": "artist",
"biography": "Eug\u00e8ne Boudin is traditionally presented in literature as a self-taught artist, independent of the Parisian art world whose works, painted out of doors in a sketchy, light-hued style, foreshadowed impressionism.1 Recent scholarship has tempered this interpretation of the artist, but it conserves his importance to contemporaneous artistic concerns of modernity, the notion of \"finish,\" the relationship between the French city and countryside, and the marketing of art works.2 Raised by parents who worked on steamers, Boudin grew up in Le Havre on the Normandy coast. At the age of twenty, he and an associate established their own framing and stationery shop where they regularly served artists. In 1847 Boudin went to Paris to study art and made contacts with artists such as Couture (q.v.), who helped him win a three-year study grant in 1850 from the municipal council of Le Havre, and Constant Troyon (1810-1865). But it was along the Normandy coast, not in Paris, where Boudin first met painters Ribot (q.v.) in 1851, Monet (q.v.) in 1858, and Courbet (q.v.) in 1859 and art critic Charles Baudelaire in 1859 and painted in a coarse realist style. Boudin spent each winter, roughly November to May, in Paris, working in his studio. He spent the summer season, lasting from two to five months, making pictures on the Normandy coast or in the Breton landscape. In 1860 he began to paint scenes of fashionable society at the beach resorts of Trouville (The Beach at Trouville, Minneapolis Institute of Arts) and Deauville. At first his work attracted little critical notice, but Baudelaire praised his pastels in a review of the 1859 Salon where Boudin made his debut.4 By 1869 Boudin and his art came to be identified with the Normandy coast.5 After 1870 Boudin increasingly turned away from beach resort subjects to focus on port and harbor views and fisherfolk scenes. In 1881 Boudin entered into a business relationship with the important Parisian art dealer Durand-Ruel, who provided him with a regular income for the rights to his entire production. When Durand-Ruel mounted a one-person exhibition of Boudin's works in 1883, the artist enjoyed financial and critical triumph. Boudin sold his first picture to the French state in 1886 (A Squall, Mus\u00e9e de Morlaix) and his second two years later (The Russian Corvette in the Eure Reservoir, Mus\u00e9e d'Agen). In 1892 he was decorated with the Legion of Honor. Extremely productive until the end of his life, Boudin left more than four thousand paintings and seven thousand works on paper, some of which he or his family bequeathed to the French nation and art museums of Le Havre and Honfleur. The reputation that Boudin quietly established is nowhere better evidenced than in the fact that the retro-spective exhibition of his work (January 1898) was held at the \u00c9cole des Beaux-Arts in Paris, where Boudin never set foot and which had fought, and failed, to privilege history painting over landscape and genre.
1. By 1883 art critic Gustave Geffroy had already pronounced that Boudin \"is, together with Corot and Jongkind, one of the immediate precursors of Impressionism. He shows us that impenetrable black does not exist and that air is transparent.\" Cited in trans. in Hamilton 1992, 42.
2. See John House, \"Boudin's Modernity,\" in Hamilton 1992, 15-23.
3. Courbet first visited Le Havre in 1841, the year he moved to Paris from Ornans. He returned at the time of the 1858 Salon du Havre, to which he contributed, and again in 1859. He is reported to have bought some of Boudin's paintings. In 1865 the two painters socialized together and painted side by side at Trouville.
4. The artist exhibited no pastels in the Salon, but Baudelaire might have seen them in the artist's studio or elsewhere. 5. Jules Castagnary, Salon de 1869, cited in trans. in Hamilton 1992, 59.",
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"birth_year": "1824",
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"accession_date": "1986-11-19T00:00:00",
"sortable_date": 1874,
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"updated_at": "2026-06-02 11:23:17.811000"
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}