{
"data": {
"id": 156128,
"accession_number": "1991.59",
"share_license_status": "CC0",
"tombstone": "Singing Guitarist (recto); Reclining Woman Leaning on Her Arm (verso), 1855/60. Honor\u00e9 Daumier (French, 1808\u20131879). Pen and black ink over charcoal?; framing lines in red chalk; sheet: 33.9 x 21.5 cm (13 3/8 x 8 7/16 in.). The Cleveland Museum of Art, The Severance and Greta Millikin Purchase Fund, 1991.59",
"current_location": null,
"title": "Singing Guitarist (recto); Reclining Woman Leaning on Her Arm (verso)",
"creation_date": "1855/60",
"creation_date_earliest": 1855,
"creation_date_latest": 1860,
"artists_tags": [
"male"
],
"culture": [
"France, 19th century"
],
"technique": "pen and black ink over charcoal?; framing lines in red chalk",
"support_materials": [],
"department": "Drawings",
"collection": "DR - French",
"type": "Drawing",
"measurements": "Sheet: 33.9 x 21.5 cm (13 3/8 x 8 7/16 in.)",
"dimensions": {
"sheet": {
"height": 0.339,
"width": 0.215
}
},
"state_of_the_work": null,
"edition_of_the_work": null,
"copyright": null,
"inscriptions": [
{
"inscription": "recto: signed, lower left, in black charcoal?: hD\r\nverso: lower left, in graphite: 38 Daumier [sideways]",
"inscription_translation": null,
"inscription_remark": null,
"sortorder": null
}
],
"exhibitions": {
"current": [
{
"id": 311635,
"title": "French Drawings from the Collection",
"description": "French Drawings from the Collection. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 13, 1994-March 12, 1995).",
"opening_date": "1994-12-13T05:00:00"
},
{
"id": 203744,
"title": "Themes and Variations: Musical Drawings and Prints",
"description": "Themes and Variations: Musical Drawings and Prints. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 25-May 17, 2015).",
"opening_date": "2015-01-25T00:00:00"
}
],
"legacy": []
},
"provenance": [
{
"description": "Lousada (not stamped, not in Lugt) (according to Maison 1968, p. 115, no. 340). Croal Thompson, Barbizon House (not stamped, not in Lugt) (according to Maison 1958, p. 349). T.O. Falk (not stamped, not in Lugt) (according to Maison 1968, p. 115, no. 340). Private Collection, Oxford (according to Maison 1968, p. 115, no. 340). [Hobart and Maclean]",
"citations": [],
"footnotes": null,
"date": null,
"sortorder": null
}
],
"find_spot": null,
"related_works": [],
"former_accession_numbers": [],
"did_you_know": null,
"description": null,
"external_resources": {
"wikidata": [
"https://www.wikidata.org/wiki/Q79945142"
],
"internet_archive": [
"https://archive.org/details/clevelandart-1991.59-singing-guitarist-re"
]
},
"citations": [
{
"citation": "\"1992 Annual Report.\" The Bulletin of the Cleveland Museum of Art 80, no. 6 (1993): 215-95.",
"page_number": "Mentioned: p. 247",
"url": "https://www.jstor.org/stable/25161418"
}
],
"url": "https://clevelandart.org/art/1991.59",
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"creditline": "The Severance and Greta Millikin Purchase Fund",
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"athena_id": 156128,
"creators": [
{
"id": 1638,
"description": "Honor\u00e9 Daumier (French, 1808\u20131879)",
"extent": null,
"qualifier": null,
"role": "artist",
"biography": "Honor\u00e9 Daumier was eight years old when his father, a glazier and frame maker who had decided to pursue his poetic talents in Paris, sent for the wife and three sons he lad left behind in Marseilles. In Paris Daumier studied drawing with Alexandre Lenoir (1761-1839) and at the Acad\u00e9mie Suisse. Around 1825 he began a five-year apprenticeship with the publisher and lithographer Z\u00e9pherin Belliard (1798-?). The July revolution of 1830, which established Louis-Philippe as the constitutional monarch in France, coincided with Daumier's creation of satirical lithographs aimed at this new government. That same year he joined La Caricature, a political journal founded by the republican artist-publisher, Charles Philipon (1802-1862). Daumier's antimonarchist and liberal subjects that were printed in this paper eventually cost the journal censorship and the artist six months in jail (31 August 1832 to 14 February 1833) plus a 300-franc fine. His prison sentence did not deter him from producing political statements and, in fact, only fueled his rage. The subjects of his lithographs became much more aggressive. In 1835 he worked for Philipon's second publication, Le Charivari, a humorous political newspaper that published Daumier's satirical caricature until it, too, suffered censorship under the new government. Although Daumier may be best known for his graphic art, he was also a sculptor and a prolific painter. Sculpture became another medium to produce his infamous caricatures. His friend, Honor\u00e9 de Balzac, French novelist and editor of La Caricature, saw in these works the force of Michelangelo. In 1834 Daumier began experimenting with painting, both in oil and watercolor. Apart from his Salon entries of 1849 and 1850, his paintings, which totaled over three hundred, were painted primarily for his own pleasure and virtually unknown to the public until after his death in 1879.",
"name_in_original_language": null,
"birth_year": "1808",
"death_year": "1879",
"use_in_caption": true,
"include_extent": false,
"weight": 1
}
],
"legal_status": "accessioned",
"accession_date": "1991-06-24T00:00:00",
"sortable_date": 1855,
"date_added_to_oa": null,
"date_text": "1855/60",
"collapse_artists": false,
"on_loan": false,
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"record_type": "cover",
"conservation_statement": null,
"has_conservation_images": false,
"cover_accession_number": null,
"is_nazi_era_provenance": false,
"impression": null,
"alternate_titles": [],
"is_highlight": false,
"updated_at": "2026-03-27 00:03:35.624000"
}
}