{
    "data": {
        "id": 159309,
        "accession_number": "1996.1",
        "share_license_status": "CC0",
        "tombstone": "Sweet Melancholy, 1756. Joseph-Marie Vien (French, 1716\u20131809). Oil on canvas; framed: 86.4 x 76.2 x 6.5 cm (34 x 30 x 2 9/16 in.); unframed: 68 x 55 cm (26 3/4 x 21 5/8 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1996.1",
        "current_location": "216B French and German",
        "title": "Sweet Melancholy",
        "creation_date": "1756",
        "creation_date_earliest": 1756,
        "creation_date_latest": 1756,
        "artists_tags": [
            "male"
        ],
        "culture": [
            "France"
        ],
        "technique": "oil on canvas",
        "support_materials": [],
        "department": "European Painting and Sculpture",
        "collection": "P - French 18th Century",
        "type": "Painting",
        "measurements": "Framed: 86.4 x 76.2 x 6.5 cm (34 x 30 x 2 9/16 in.); Unframed: 68 x 55 cm (26 3/4 x 21 5/8 in.)",
        "dimensions": {
            "framed": {
                "height": 0.864,
                "height_inch": 34,
                "height_inch_fraction": 0.0,
                "width": 0.762,
                "width_inch": 30,
                "width_inch_fraction": 0.0,
                "depth": 0.065,
                "depth_inch": 2,
                "depth_inch_fraction": 0.5625
            },
            "unframed": {
                "height": 0.68,
                "height_inch": 26,
                "height_inch_fraction": 0.75,
                "width": 0.55,
                "width_inch": 21,
                "width_inch_fraction": 0.625
            }
        },
        "state_of_the_work": null,
        "edition_of_the_work": null,
        "copyright": null,
        "inscriptions": [
            {
                "inscription": "Signed lower right: \"jos. m. vien / 1756\"",
                "inscription_translation": null,
                "inscription_remark": null,
                "sortorder": null
            }
        ],
        "exhibitions": {
            "current": [
                {
                    "id": 222896,
                    "title": "More Light. Europe Around 1770. Art and Enlightenment",
                    "description": "<i>More Light. Europe Around 1770. Art and Enlightenment</i>. St\u00e4del Museum, Franfurt am Main, Germany (August 22, 1999-January 9, 2000).",
                    "opening_date": "1999-08-22T00:00:00"
                },
                {
                    "id": 205940,
                    "title": "A Voluptuous Taste: French Painting in the Age of Madame de Pompadour",
                    "description": "<i>A Voluptuous Taste: French Painting in the Age of Madame de Pompadour</i>. Mus\u00e9e des Beaux-Arts de Tours, Tours, France (October 11, 2008-January 12, 2009); Portland Art Museum, Portland, OR (organizer) (February 7-May 17, 2009).",
                    "opening_date": "2008-10-11T00:00:00"
                }
            ],
            "legacy": [
                {
                    "description": "Exhibited at the Salon of 1757. no. 31",
                    "opening_date": null
                }
            ]
        },
        "provenance": [
            {
                "description": "Madame Marie-Th\u00e9r\u00e8se Geoffrin [1699-1777], Paris, France",
                "citations": [],
                "footnotes": [
                    "<div><!--block-->Geoffrin, one of Vien\u2019s patrons and host of a salon that he frequently attended, purchased the painting directly from the artist for 400 livres, possibly at the Salon of 1757.&nbsp; &nbsp;</div>"
                ],
                "date": "Probably from 1757",
                "sortorder": 1
            },
            {
                "description": "Jean Louis Antoine le Vaillant de Damery, Chevalier de l\u2019Ordre Royal Militaire de St-Louis [1723-1803]",
                "citations": [],
                "footnotes": [
                    "<div><!--block-->Some versions of the painting\u2019s provenance list Damery followed by Durbarry, while they appear in the reverse order in others.&nbsp; Although this is not confirmed, it seems that Damery should appear first for the following reasons: 1) An engraving after the painting by Beauvarlet, published c. 1765, situates the painting in the Damery collection; 2) In all versions of this provenance, Conti is followed, directly or indirectly, by the Marquis de Saint-Marc; if the painting appeared in the November 18-19, 1803 sale of Damery\u2019s collection, Damery would fall between Conti and the Marquis in the provenance, which is the never the case; 3) This painting, a prominent titled work by Vien, is not listed by title in the 1803 Damery sale, which includes a lot containing works by Vien, some of which are named; 4) Pierre Remy came into posession of the the painting at the 1774 Dubarry sale, sold it to the Prince de Conti, and then auctioned off the Conti collection in 1777; that Remy acquired the painting at the Dubarry sale and is then associated with the painting for the next three years strongly suggests that Damery was not involved with the painting by this point. It is possible that Damery sold the painting in 1764, when he was forced to sell off part of his paintings collections for financial reasons. &nbsp;</div>"
                ],
                "date": "c. 1765",
                "sortorder": 2
            },
            {
                "description": "Comte Jean-Baptiste Dubarry [1723-1794], Toulouse, France",
                "citations": [],
                "footnotes": null,
                "date": "Until 1774",
                "sortorder": 3
            },
            {
                "description": "(Sale: Jean-Pierre-Baptiste Le Brun and Pierre Remy, Paris, Dubarry sale, Nov. 21, 1774, no. 93, probably bought in)",
                "citations": [],
                "footnotes": null,
                "date": "Nov. 21, 1774",
                "sortorder": 4
            },
            {
                "description": "(Pierre Remy, Paris, France)",
                "citations": [],
                "footnotes": [
                    "<div><!--block-->Remy, who is indicated as the buyer at the Dubarry sale by an annotation in the catalogue, presided over both the Dubarry and Prince de Conti auctions, and thus he was likely not the \"buyer\" of the painting. Rather, the painting was probably unsold or was bought in at the Dubarry sale, and thus the Vien remained with the auction house or with Remy, in his capacity as an agent, until the Prince de Conti somehow acquired it.&nbsp;</div>"
                ],
                "date": "1774-",
                "sortorder": 5
            },
            {
                "description": "Louis Fran\u00e7ois, 6th Prince de Conti [1717-1776], Paris, France",
                "citations": [],
                "footnotes": null,
                "date": "Until 1776",
                "sortorder": 6
            },
            {
                "description": "(Sale: Pierre Remy, Paris, France, Prince de Conti sale, April 17, 1777, no. 732, sold to Quenet)",
                "citations": [],
                "footnotes": null,
                "date": "April 17, 1777",
                "sortorder": 7
            },
            {
                "description": "Quenet, Paris, France",
                "citations": [],
                "footnotes": [
                    "<div><!--block-->According to the Getty Provenance Index, Quenet purchased several hundred objects at auctions in the 1770s and 1780s, but beyond this, nothing is known about his identity.</div>"
                ],
                "date": "1777-",
                "sortorder": 8
            },
            {
                "description": "Jean Paul Andr\u00e9 des Rasins, Marquis de Saint-Marc [1723-1818], Paris, France, by descent to his daughter, Marie de la Roze",
                "citations": [],
                "footnotes": null,
                "date": "Until 1818",
                "sortorder": 9
            },
            {
                "description": "Marie de la Roze",
                "citations": [],
                "footnotes": [
                    "<div><!--block-->Marie de la Roze (n\u00e9e de Saint-Marc) inherited the paintings in her father's collection, eventually putting them up for sale at H\u00f4tel Drouot in 1859.</div>"
                ],
                "date": "Probably 1818 - 1859",
                "sortorder": 10
            },
            {
                "description": "(Sale: H\u00f4tel Drouot, Paris, Marquis de Saint-Marc sale, Paris, Feb. 23, 1859, no. 17)",
                "citations": [],
                "footnotes": null,
                "date": "Feb. 23, 1859",
                "sortorder": 11
            },
            {
                "description": "(Wildenstein & Company, New York, NY, sold to a private collector, UK)",
                "citations": [],
                "footnotes": null,
                "date": "1955-1980",
                "sortorder": 12
            },
            {
                "description": "Private noble collection, UK, sold to Danny Katz and Simon Dickinson through William Thuillier",
                "citations": [],
                "footnotes": null,
                "date": "1980 - probably 1995",
                "sortorder": 13
            },
            {
                "description": "(William Thuillier, Paris, France, sold to Danny Katz and Simon Dickinson)",
                "citations": [],
                "footnotes": null,
                "date": "1995",
                "sortorder": 14
            },
            {
                "description": "(Danny Katz and Simon Dickinson, London, the latter bought out by the former)",
                "citations": [],
                "footnotes": [
                    "<div><!--block-->Katz and Dickinson purchased the painting from Thuillier; Katz then bought out Dickinson and sold the painting to Moatti and Kilgore within several days.</div>"
                ],
                "date": "1995",
                "sortorder": 15
            },
            {
                "description": "Danny Katz, London, sold to Emmanuel Moatti and Jack Kilgore",
                "citations": [],
                "footnotes": null,
                "date": "1995",
                "sortorder": 16
            },
            {
                "description": "(Emmanuel Moatti and Jack Kilgore, New York, NY, sold to the Cleveland Museum of Art)",
                "citations": [],
                "footnotes": null,
                "date": "1995-1996",
                "sortorder": 17
            },
            {
                "description": "The Cleveland Museum of Art, Cleveland, Ohio",
                "citations": [],
                "footnotes": null,
                "date": "1996-",
                "sortorder": 18
            }
        ],
        "find_spot": null,
        "related_works": [],
        "former_accession_numbers": [],
        "did_you_know": "Look closely\u2014three strands of pearls appear in this painting.",
        "early_education_description": null,
        "artlens_description": null,
        "description": "The chair, brazier, table, and the setting all show Vien's interest in bringing archaeological accuracy to a new level of precision. Yet his delicate handling and graceful palette derive squarely from 18th-century French painting. The gesture of the melancholic figure, with her head on her hand, has roots going back to the Renaissance. Nonetheless, the painting has a wistful rather than tragic tone. Indeed, images of women in interiors, contemplating a letter with longing or sadness, derive from earlier Dutch paintings of daily life, here transformed into an ancient context.",
        "external_resources": {
            "wikidata": [
                "https://www.wikidata.org/wiki/Q3208356"
            ],
            "internet_archive": [
                "https://archive.org/details/clevelandart-1996.1-sweet-melancholy"
            ]
        },
        "citations": [
            {
                "citation": "Exhibited at the Salon of 1757.",
                "page_number": "no. 31",
                "url": ""
            },
            {
                "citation": "Le Brun, Jean-Baptiste-Pierre, Jean-Baptiste Du Barry, and Pierre Remy. <em>Catalogue de tableaux originaux des bons maitres des trois ecoles, figures et bustes de marbre et de bronze, porcelaines et autres objets curieux qui composent le cabinet de M.L.C. de D</em>. 1774.",
                "page_number": "pp. 37-38, no. 93",
                "url": null
            },
            {
                "citation": "Pierre Remy (Firm). <em>Catalogue d'une riche collection de tableaux des mai\u0302tres les plus ce\u0301lebres des trois e\u0301coles: qui composent le cabinet de feu son Altesse Se\u0301renissime Monseigneur le Prince de Conti, prince du sang, &amp; grand prieur de France</em>. Paris: Muzier pe\u0300re, Pierre Remy, 1777.",
                "page_number": "pp. 199-200, no. 732",
                "url": null
            },
            {
                "citation": "H\u00f4tel Drouot, Eug\u00e8ne Escribe, and Charles Rouillard.  <em>Catalogue des 17 tableaux originaux de l\u2019\u00e9cole fran\u00e7aise et d\u2019un tableau de l\u2019\u00e9cole italienne composant la collection de feu M. le Marquis de Saint-Marc.  </em>Paris: Union des Arts, 1859.",
                "page_number": null,
                "url": null
            },
            {
                "citation": "Lejeune, The\u0301odore. <em>Guide the\u0301orique et pratique de l'amateur de tableaux, e\u0301tude sur les imitateurs et les copistes ... par The\u0301odore Lejeune. </em>Paris: Vve J. Renouard (-Gide), 1863.",
                "page_number": "p. 275",
                "url": ""
            },
            {
                "citation": "Lejeune, The\u0301odore. Guide the\u0301orique et pratique de l'amateur de tableaux E\u0301tudes sur les imitateurs et les copistes des mai\u0302tres de toutes les e\u0301coles dont les oeuvres forment la base ordinaire des galeries. 1. 1. Paris: Renouard, 1864.",
                "page_number": null,
                "url": null
            },
            {
                "citation": "Roy, E. \"Vien et son temps,\" <em>Revue du XIX siecle</em> (October 1, 1866).",
                "page_number": "p.92",
                "url": ""
            },
            {
                "citation": "La Roque, Louis de. <em>Peintres, sculpteurs et architectes</em> [montpellie\u0301rains]. 1877.",
                "page_number": "p. 52",
                "url": ""
            },
            {
                "citation": "Se\u0301gur, Pierre de. <em>Le Royaume de la rue Saint-Honore\u0301, Mme Geoffrin et sa fille, par Pierre de Se\u0301gur.</em> (15 janvier 1897.). Paris: C. Le\u0301vy, 1897.",
                "page_number": "p. 404",
                "url": ""
            },
            {
                "citation": "Saint-Aubin, Gabriel de, and E\u0301mile Dacier.<em> Catalogues de ventes et livrets de salons illustre\u0301s par Gabriel de Saint-Aubin</em>. Paris: Socie\u0301te\u0301 de reproduction des dessins de mai\u0302tres, 1910.",
                "page_number": "pp. 22, 27-8. no. 93",
                "url": ""
            },
            {
                "citation": "Mireur, Hippolyte. <em>Dictionnaire des ventes d'art faites en France et a\u0300 l'e\u0301tranger pendant les XVIIIme &amp; XIXme sie\u0300cles</em>. Paris: Maison D'E\u0301ditions d'\u0153uvres artistiques, Ch. de Vincenti, 1911.",
                "page_number": "p. 369",
                "url": ""
            },
            {
                "citation": "G. de Lastic Saint-Jal, \"La reine de la rue Sainte-Honore,\" <em>L Veil</em>, 33 (September 1957).",
                "page_number": "p. 53",
                "url": ""
            },
            {
                "citation": "Gaehtgens, Thomas W., and Jacques Lugand. <em>Joseph-Marie Vien: peintre du roi (1716-1809)</em>. Paris [France]: ARTHENA, 1988.",
                "page_number": "pp. 26, 76, 80, 161-62, no. 141, pi, X",
                "url": null
            },
            {
                "citation": "\"Vien, Vers un Nouveau Style\" <em>Connaissance de Arts</em> no. 446 (April 1989).",
                "page_number": "pp. 94-95",
                "url": ""
            },
            {
                "citation": "Peck, Amelia. <em>Period Rooms in the Metropolitan Museum of Art. </em>New York: Metropolitan Museum of Art, 1996.",
                "page_number": null,
                "url": null
            },
            {
                "citation": "Cleveland Museum of Art, \u201cThe Cleveland Museum of Art Acquires Major Works,\u201d March 18, 1996, Cleveland Museum of Art Archives.",
                "page_number": null,
                "url": "https://archive.org/details/cmapr4027"
            },
            {
                "citation": "<em>Cleveland Museum of Art Annual Report, 1996</em> (Cleveland: Cleveland Musuem of Art, 1997).",
                "page_number": "pp. 37, 48",
                "url": ""
            },
            {
                "citation": "Sta\u0308dtische Galerie im Sta\u0308delschen Kunstinstitut Frankfurt am Main. Mehr Licht: Europa um 1770 : Die bildende Kunst der Aufkla\u0308rung. Munich: Klinkhard &amp; Biermann, 1999.",
                "page_number": "pp. 25-26, no. 8",
                "url": ""
            },
            {
                "citation": "Clair, Jean. <em>Melancholie: Genie und Wahnsinn in der Kunst ; zu Ehren von Raymond Klibansky (1905-2005), dem grossen Gelehrten und Erforscher der Geschichte der Melancholie ; Galeries nationales du Grand Palais, Paris, (10. Okober 2005 bis 16. Januar) ; Neue Nationalgalerie, Berlin (17. Februar bis 7. Mai 2006)</em>. Ostfildern: Hatje Cantz, 2005.",
                "page_number": "p. 278, no. 6.",
                "url": ""
            },
            {
                "citation": "Rochebrune, Marie-Laure de, and Catherine Gougeon.<em> El gusto \"a la griega\": nacimiento del neoclasicismo france\u0301s.</em> Madrid: Patrimonio Nacional, 2007.",
                "page_number": "p. 99, fig, 70",
                "url": ""
            },
            {
                "citation": "Hunter-Stiebel, Penelope, Philippe Le Leyzour, Olivier Baumont, Noe\u0301mi Rime, Vincent Lievre-Picard, Olivier Baumont, Franc\u0327ois Bazola, Destouches, and Philibert Cardonne. <em>La Volupte\u0301 Du Gou\u0302t: French Painting in the Age of Madame De Pompadour.</em> Paris: Somogy, 2008.",
                "page_number": "cat. no. 54, 200-201",
                "url": ""
            },
            {
                "citation": "Roggeman, Anouchka. \"De la beaut\u00e9 au temps de la Pompadour\". <em>L'\u0153il ; Tour voir - Tout savoir - Tout l'Art!</em> no. 607, (Nov. 2008).",
                "page_number": "p. 100.",
                "url": ""
            },
            {
                "citation": "Mazur, Aneta. <em>Pod znakiem Saturna: topika melancholii w po\u0301z\u0301nej two\u0301rczos\u0301ci Elizy Orzeszkowej</em>. Opole: Wydawn. Uniwersytetu Opolskiego, 2010.",
                "page_number": "p. 377, nr 11",
                "url": ""
            },
            {
                "citation": "John Stephen Hallam, <em>Paris Salon Exhibitions: 1667-1880 (A History in Collage)</em>, 2012, (October 23, 2012).",
                "page_number": "",
                "url": "https://sites.google.com/a/plu.edu/paris-salon-exhibitions-1667-1880/"
            },
            {
                "citation": "Beauvarlet, \u201cLa douce m\u00e9lancolie,\u201d The British Museum, accessed Nov. 11, 2013.",
                "page_number": null,
                "url": "http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1435804&partId=1&searchText=beauvarlet+la+douce+melancolie&people=104168paGE=1."
            },
            {
                "citation": "Matthiesen Gallery, accessed Dec. 3, 2013, http://www.matthiesengallery.com/info.asp?Id_painting=432.",
                "page_number": null,
                "url": "http://www.matthiesengallery.com/info.asp?Id_painting=432"
            },
            {
                "citation": "Cleveland Museum of Art. <em>The CMA Companion: A Guide to the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2014.",
                "page_number": "Mentioned and reproduced: P. 194",
                "url": ""
            },
            {
                "citation": "Joseph Baillio, email to Victoria Sears Goldman, Feb. 18, 2014, in CMA curatorial file.",
                "page_number": null,
                "url": null
            },
            {
                "citation": "Bu\u0308ckling, Mareike. <em>Gefa\u0308hrliche Liebschaften Kunst und Sinnlichkeit im Rokoko</em>. Mu\u0308nchen, Germany: Hirmer, 2015.",
                "page_number": "Mentioned & reproduced: P. 36, abb. 36",
                "url": null
            },
            {
                "citation": "Nolan, Dennis. <em>Keepers of the Flame: Parrish, Wyeth, Rockwell and the Narrative Tradition.</em> Stockbridge: MA, 2018.",
                "page_number": "Mentioned: p. 153; Reproduced: p. 155",
                "url": null
            },
            {
                "citation": "Michel, Cecilia. \u201cPrologue: Les apories du discours th\u00e9orique: lumi\u00e8re et couleur dans la litt\u00e9rature artistique et la pratique des peintres. In <em>Lexicographie artistique: formes, usages et enjeux dans l'Europe modern, </em>11\u201325<em>. </em>Miche\u0300le-Caroline Heck, ed. Montpellier: Presses universitaires de la M\u00e9diterran\u00e9e, 2018.",
                "page_number": "Mentioned: p. 41; Reproduced: p. [42]",
                "url": null
            },
            {
                "citation": "Schneider, Marlen, Aude Virey-Wallon, and Philippe Bordes. <em>Belle comme Ve\u0301nus: le portrait historie\u0301 entre Grand Sie\u0300cle et Lumie\u0300res. </em>Collection Passages, Volume 59. Paris: Maison des sciences de l'homme, 2020.",
                "page_number": "Reproduced: p. 274, fig. 90",
                "url": ""
            },
            {
                "citation": "Ziskin, Rochelle. Private Salons and the Art World of Enlightenment Paris. <br>Leiden ; Boston : Brill,  2022.",
                "page_number": "Mentioned and reproduced: pp. 240-240, fig. 40",
                "url": ""
            }
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        "creditline": "Mr. and Mrs. William H. Marlatt Fund",
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                "biography": "Born and trained in Montpellier, Vien moved to Paris in 1740 where he quickly achieved success, largely with the support of Natoire and Boucher. Vien won the Grand Prix in 1743 which allowed him to study in Rome until 1750. He entered the Academy in 1754. In 1775 he became director of the French academy in Rome and served as first painter to Louis XVI for less than a year in 1789.\r\nIn the 1750s, Vien abandoned the Rococo style of Boucher and Natoire in favor of a Neoclassical mode. Besides taking up ancient or \"Greek\" subjects, his brushwork became smoother and harder, his palette increasingly cooler. Vien is considered on of the earliest Neo-classical painters and in that sense his career parallels that of Benjamin West in Britain. Vien's Neo-classicism was of supreme importance to the formation of the art of Jacques-Louis David, his pupil.",
                "name_in_original_language": null,
                "birth_year": "1716",
                "death_year": "1809",
                "use_in_caption": true,
                "include_extent": false,
                "weight": 1
            }
        ],
        "legal_status": "accessioned",
        "accession_date": "1996-03-04T00:00:00",
        "sortable_date": 1756,
        "date_added_to_oa": null,
        "date_text": "1756",
        "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": false,
        "impression": null,
        "alternate_titles": [],
        "is_highlight": false,
        "updated_at": "2026-08-22 11:53:16.864000"
    }
}