{"info": {"total": 9748, "parameters": {"skip": 0, "limit": 100, "q": "painting", "select": "accession_number,accession_number_sortable,cover_accession_number,department,department,gallery,collection,classification_type", "search": "painting"}}, "data": [{"id": 141639, "accession_number": "1965.233", "share_license_status": "CC0", "tombstone": "Twilight in the Wilderness, 1860. Frederic Edwin Church (American, 1826\u20131900). Oil on canvas; unframed: 101.6 x 162.6 cm (40 x 64 in.); framed: 124 x 185 x 13 cm (48 13/16 x 72 13/16 x 5 1/8 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1965.233", "current_location": "206 American Landscape", "title": "Twilight in the Wilderness", "creation_date": "1860", "creation_date_earliest": 1860, "creation_date_latest": 1860, "artists_tags": ["male"], "culture": ["United States"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Unframed: 101.6 x 162.6 cm (40 x 64 in.); Framed: 124 x 185 x 13 cm (48 13/16 x 72 13/16 x 5 1/8 in.)", "dimensions": {"framed": {"height": 1.24, "height_inch": 48, "height_inch_fraction": 0.8125, "width": 1.85, "width_inch": 72, "width_inch_fraction": 0.8125, "depth": 0.13, "depth_inch": 5, "depth_inch_fraction": 0.125}, "unframed": {"height": 1.016, "height_inch": 40, "height_inch_fraction": 0.0, "width": 1.626, "width_inch": 64, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed and dated lower right: \"F. E. CHURCH / -60-\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 300794, "title": "Year in Review: 1965", "description": "<i>Year in Review: 1965</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 27-November 14, 1965).", "opening_date": "1965-10-27T04:00:00"}, {"id": 316990, "title": "Frederic Edwin Church", "description": "<i>Frederic Edwin Church</i>. Smithsonian Institution, Washington, DC (organizer) (co-organizer) (February 2-March 13, 1966); Albany Institute of History and Art, Albany, NY (March 30-April 30, 1966); M. Knoedler & Co., Inc. (June 1-30, 1966).", "opening_date": "1966-03-30T05:00:00"}, {"id": 314043, "title": "Art of the United States: 1670-1966", "description": "<i>Art of the United States: 1670-1966</i>. Whitney Museum of American Art, New York, NY (organizer) (September 28-November 27, 1966).", "opening_date": "1966-09-28T04:00:00"}, {"id": 314948, "title": "Wilderness", "description": "<i>Wilderness</i>. Corcoran Gallery of Art, Washington, DC (organizer) (co-organizer) (October 9-November 14, 1971).", "opening_date": "1971-10-09T04:00:00"}, {"id": 302330, "title": "Heritage and Horizon: American Painting 1776 - 1976", "description": "<i>Heritage and Horizon: American Painting 1776 - 1976</i>. Buffalo AKG Art Museum, Buffalo, NY (organizer) (March 7-April 11, 1976); The Detroit Institute of Arts, Detroit, MI (May 2-June 13, 1976); The Toledo Museum of Art, Toledo, OH (July 4-August 15, 1976); The Cleveland Museum of Art, Cleveland, OH (September 8-October 10, 1976).", "opening_date": "1976-03-07T05:00:00"}, {"id": 315054, "title": "American Light: The Luminist Movement, 1850-1875", "description": "<i>American Light: The Luminist Movement, 1850-1875</i>. National Gallery of Art, Washington, DC (organizer) (co-organizer) (February 10-June 15, 1980).", "opening_date": "1980-02-10T05:00:00"}, {"id": 304561, "title": "Visions of Landscape: East and West", "description": "<i>Visions of Landscape: East and West</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 17-March 21, 1982).", "opening_date": "1982-02-17T05:00:00"}, {"id": 314070, "title": "A New World: Masterpieces of American Painting, 1760 - 1910", "description": "<i>A New World: Masterpieces of American Painting, 1760 - 1910</i>. Museum of Fine Arts, Boston, Boston, MA (organizer) (co-organizer) (September 7-November 13, 1983); Corcoran Gallery of Art, Washington, DC (December 7, 1983-February 12, 1984).", "opening_date": "1983-09-07T04:00:00"}, {"id": 315079, "title": "American Paradise: The World of the Hudson River School", "description": "<i>American Paradise: The World of the Hudson River School</i>. The Metropolitan Museum of Art, New York, NY (organizer) (co-organizer) (October 4, 1987-January 3, 1988).", "opening_date": "1987-10-04T04:00:00"}, {"id": 315091, "title": "Bilder Aus des Neuen Welt: Amerikanische Malerei des 18. und 19. Jahrhunderts (Paintings from the New World: American Paintings from the 18th and the 19th Century)", "description": "<i>Bilder Aus des Neuen Welt: Amerikanische Malerei des 18. und 19. Jahrhunderts (Paintings from the New World: American Paintings from the 18th and the 19th Century)</i>. Staatliche Museen zu Berlin, Nationalgalerie, Berlin, Germany (organizer) (November 17, 1988-February 12, 1989); Orangerie des Schlosses Charlottenburg, Berlin, Germany (November 17, 1988-February 12, 1989); Kunsthaus Z\u00fcrich, CH-8024 Z\u00fcrich, Switzerland (March 3-May 15, 1989).", "opening_date": "1988-11-17T05:00:00"}, {"id": 315126, "title": "Frederic Edwin Church", "description": "<i>Frederic Edwin Church</i>. National Gallery of Art (co-organizer) (October 8, 1989-January 28, 1990).", "opening_date": "1989-10-08T04:00:00"}, {"id": 311444, "title": "Object Lessons: Cleveland Creates an Art Museum", "description": "<i>Object Lessons: Cleveland Creates an Art Museum</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 7-September 8, 1991).", "opening_date": "1991-06-07T04:00:00"}, {"id": 221835, "title": "America. The New World in 19th-century Painting\r\nAmerica. Die Neue Welt in Bildern des 19. Jahrhunderts", "description": "<i>America. The New World in 19th-century Painting\r\nAmerica. Die Neue Welt in Bildern des 19. Jahrhunderts</i>. Belvedere, Wien, Austria (organizer) (March 17-June 20, 1999).", "opening_date": "1999-03-17T00:00:00"}, {"id": 221738, "title": "The American Sublime", "description": "<i>The American Sublime</i>. Tate Britain, London (organizer) (February 20-May 19, 2002); Pennsylvania Academy of Fine Arts, Museum of American Art, Philadelphia, PA (June 17-August 25, 2002); Minneapolis Institute of Art, Minneapolis, MN (September 22-November 17, 2002).", "opening_date": "2002-02-20T00:00:00"}, {"id": 179631, "title": "CMA Highlights", "description": "<i>CMA Highlights</i>. The Cleveland Museum of Art (organizer) (June 21-September 11, 2005).", "opening_date": "2005-06-21T00:00:00"}, {"id": 205195, "title": "Maine Sublime: Frederic Church\u2019s \u201cTwilight in the Wilderness\u201d", "description": "<i>Maine Sublime: Frederic Church\u2019s \u201cTwilight in the Wilderness\u201d</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 4, 2014-January 25, 2015).", "opening_date": "2014-10-04T00:00:00"}], "legacy": [{"description": "Goupil's Gallery, New York, June 1860.", "opening_date": "1860-01-01T04:56:02Z"}, {"description": "New York, Metropolitan Museum of Art and National Academy of Design, The New York Centennial Loan Exhibition of Paintings, Selected from the Private Art Galleries, (1876), no. 125, listed as being part of J. T. Johnston's collection.", "opening_date": "1876-01-01T04:56:02Z"}, {"description": "New York, Metropolitan Museum of Art, Paintings by Frederic E. Church, N. A., (28 May to 15 October1900), illustrated in catalogue as plate 6.", "opening_date": "1900-01-01T00:00:00"}, {"description": "Baltimore, The Municipal Art Society of Baltimore, Art Loan Exhibition, (1902), no. 89, listed as the property of Miss Garrett.", "opening_date": "1902-01-01T00:00:00"}, {"description": "Washington, D. C., National Collection of Fine Arts, Smithsonian Institution, Frederic Edwin Church, (12 February to 13 March 1966), no. 44; E18/ C56 W319. Exhibition traveled to the Albany Institute of History and Art (30 March through 30 April 1966), and, without Twilight in the Wilderness, to M. Knoedler and Company, New York (1 June through 30 June 1966).", "opening_date": "1966-02-12T00:00:00"}, {"description": "New York, Whitney Museum of American Art, Art of the United States: 1670-1966, (28 September to 27 November, 1966), no. 48, brief comments about the color in Twilight in the Wilderness by Lloyd Goodrich, p. 25, catalogue.", "opening_date": "1966-09-28T00:00:00"}, {"description": "Washington, D. C., The National Endowment for the Arts with the Corcoran Gallery of Art, Wilderness, (9 October to 14 November 1971), no. 69.", "opening_date": "1971-10-09T00:00:00"}, {"description": "Buffalo, New York, Albright-Knox Art Gallery, Heritage and Horizon: American Painting 1776-1976, (6 March to 11 April 1976), no. 10. Exhibition traveled to the Detroit Institute of Arts (5 May through 13 June 1976), The Toledo Museum of Art (4 July through 15 August 1976), and the Cleveland Museum of Art, (8 September through 10 October 1976).", "opening_date": "1976-03-06T00:00:00"}, {"description": "Washington, D. C., National Gallery of Art, American Light: The Luminist Movement, 1850-1875, (10 February through 15 June 1980), no. 204; includes the following remarks: in \"Design and Measurement in Luminist Art\", Lisa Andrus discusses the composition of and quality of light in Twilight in the Wilderness, p.36; Earl A. Powell's \"Luminism and the American Sublime\" describes Church's use of cadmium colors to achieve brilliant light in many of his paintings, including Twilight in the Wilderness; and Twilight's role in the development of the 19th century ideal of the sublime, p. 92; \"Church and Luminism: Light for America's Elect\" by David C. Huntington describes how Church's technique in Twilight in the Wilderness erases all evidence of the artist's touch, p. 170, illus. 167.", "opening_date": "1980-02-10T00:00:00"}, {"description": "Boston, Museum of Fine Arts, A New World: Masterpieces of American Painting, 1760- 1910, (7 September through 13 November 1983), no. 39.", "opening_date": "1983-09-07T00:00:00"}, {"description": "Also traveled to The Corcoran Gallery of Art, Washington, D. C. (7 December 1983- 12 February 1984) and, without Twilight in the Wilderness, to Grand Palais, Paris (16 March- 11 June 1984).", "opening_date": "1984-03-16T00:00:00"}, {"description": "New York, Metropolitan Museum of Art, American Paradise: The World of the Hudson River School, (4 October 1987 through 3 January 1988), pp.45, 251-4.", "opening_date": "1987-10-04T00:00:00"}, {"description": "Berlin, Staatliche Museen Preu\u00dfischer Kulturbesitz, Nationalgalerie, Orangerie des Schlosses Charlottenburg, Bilder Aus des Neuen Welt: Amerikanische Malerei des 18. und 19. Jahrhunderts, (22 November 1988 through 5 February 1989), no. 15. Exhibition traveled to Kunsthaus Zurich, (3 March - 15 May 1989).", "opening_date": "1989-03-03T00:00:00"}, {"description": "Washington, D. C., National Gallery of Art, Frederic Edwin Church, (8 October 1989 to 28 January 1990), no. 34, catalogue text by Franklin Kelly, pp. 58-59, 61-62, illus. p. 110, cat. 34.", "opening_date": "1989-10-08T00:00:00"}, {"description": "Vienna, Osterreichischen Galerie Belvedere, America: Die Neue Welt in Bildern des 19 Jahrunderts, (17 March through 20 June 1999), no. 45.", "opening_date": "1999-03-17T00:00:00"}, {"description": "London, The Tate Britain, American Sublime: Landscape Painting in the United States, 1820-1880, (21 February - 19 May 2002), no. 25; pp. 129-131, p. 55-6, illus. p. 115, 131; Exhibition traveled to the Pennsylvania Academy of Fine Arts, Philadelphia (17 June -25 August 2002) and Minneapolis Institute of Art (22 September- 17 November 2002).", "opening_date": "2002-02-21T00:00:00"}, {"description": "The Cleveland Museum of Art (06/21/2005 - 09/11/2005); \"CMA Highlights\"", "opening_date": "2005-06-21T00:00:00"}, {"description": "New York, Avery's Gallery, (1866). Also shown at Dusseldorf Gallery, New York, 1866. Both exhibitions held in connection with auction, according to The Round Table, 10 March 1866. (See reference above.)", "opening_date": null}, {"description": "New Haven, Connecticut, Yale College, Second Annual Exhibition of the Yale School of the Fine Arts, Founded as a Department of Yale College by the Late Augustus Russell Street of New Haven, Conn., (1870), no. 114, listed as the property of John T. Johnston.", "opening_date": null}, {"description": "New York, Metropolitan Museum of Art and National Academy of Design, The New York Centennial Loan Exhibition of Paintings, Selected from the Private Art Galleries, (1876), no. 125, listed as being part of J. T. Johnston's collection.", "opening_date": null}, {"description": "New York, Metropolitan Museum of Art, Paintings by Frederic E. Church, N. A., (28 May to 15 October1900), illustrated in catalogue as plate 6.", "opening_date": "1900-01-01T00:00:00"}, {"description": "Baltimore, The Municipal Art Society of Baltimore, Art Loan Exhibition, (1902), no. 89, listed as the property of Miss Garrett.", "opening_date": "1902-01-01T00:00:00"}, {"description": "Washington, D. C., National Collection of Fine Arts, Smithsonian Institution, Frederic Edwin Church, (12 February to 13 March 1966), no. 44; E18/ C56 W319. Exhibition traveled to the Albany Institute of History and Art (30 March through 30 April 1966), and, without Twilight in the Wilderness, to M. Knoedler and Company, New York (1 June through 30 June 1966).", "opening_date": "1966-02-12T00:00:00"}, {"description": "New York, Whitney Museum of American Art, Art of the United States: 1670-1966, (28 September to 27 November, 1966), no. 48, brief comments about the color in Twilight in the Wilderness by Lloyd Goodrich, p. 25, catalogue.", "opening_date": "1966-09-28T00:00:00"}, {"description": "Washington, D. C., The National Endowment for the Arts with the Corcoran Gallery of Art, Wilderness, (9 October to 14 November 1971), no. 69.", "opening_date": "1971-10-09T00:00:00"}, {"description": "Buffalo, New York, Albright-Knox Art Gallery, Heritage and Horizon: American Painting 1776-1976, (6 March to 11 April 1976), no. 10. Exhibition traveled to the Detroit Institute of Arts (5 May through 13 June 1976), The Toledo Museum of Art (4 July through 15 August 1976), and the Cleveland Museum of Art, (8 September through 10 October 1976).", "opening_date": "1976-03-06T00:00:00"}, {"description": "Washington, D. C., National Gallery of Art, American Light: The Luminist Movement, 1850-1875, (10 February through 15 June 1980), no. 204; includes the following remarks: in \"Design and Measurement in Luminist Art\", Lisa Andrus discusses the composition of and quality of light in Twilight in the Wilderness, p.36; Earl A. Powell's \"Luminism and the American Sublime\" describes Church's use of cadmium colors to achieve brilliant light in many of his paintings, including Twilight in the Wilderness; and Twilight's role in the development of the 19th century ideal of the sublime, p. 92; \"Church and Luminism: Light for America's Elect\" by David C. Huntington describes how Church's technique in Twilight in the Wilderness erases all evidence of the artist's touch, p. 170, illus. 167.", "opening_date": "1980-02-10T00:00:00"}, {"description": "Boston, Museum of Fine Arts, A New World: Masterpieces of American Painting, 1760- 1910, (7 September through 13 November 1983), no. 39.", "opening_date": "1983-09-07T00:00:00"}, {"description": "Also traveled to The Corcoran Gallery of Art, Washington, D. C. (7 December 1983- 12 February 1984) and, without Twilight in the Wilderness, to Grand Palais, Paris (16 March- 11 June 1984).", "opening_date": "1984-03-16T00:00:00"}, {"description": "Berlin, Staatliche Museen Preu\u00dfischer Kulturbesitz, Nationalgalerie, Orangerie des Schlosses Charlottenburg, Bilder Aus des Neuen Welt: Amerikanische Malerei des 18. und 19. Jahrhunderts, (22 November 1988 through 5 February 1989), no. 15. Exhibition traveled to Kunsthaus Zurich, (3 March - 15 May 1989).", "opening_date": "1989-03-03T00:00:00"}, {"description": "Washington, D. C., National Gallery of Art, Frederic Edwin Church, (8 October 1989 to 28 January 1990), no. 34, catalogue text by Franklin Kelly, pp. 58-59, 61-62, illus. p. 110, cat. 34.", "opening_date": "1989-10-08T00:00:00"}, {"description": "Vienna, Osterreichischen Galerie Belvedere, America: Die Neue Welt in Bildern des 19 Jahrunderts, (17 March through 20 June 1999), no. 45.", "opening_date": "1999-03-17T00:00:00"}, {"description": "London, The Tate Britain, American Sublime: Landscape Painting in the United States, 1820-1880, (21 February - 19 May 2002), no. 25; pp. 129-131, p. 55-6, illus. p. 115, 131; Exhibition traveled to the Pennsylvania Academy of Fine Arts, Philadelphia (17 June -25 August 2002) and Minneapolis Institute of Art (22 September- 17 November 2002).", "opening_date": "2002-02-21T00:00:00"}]}, "provenance": [{"description": "William T. Walters [1820-1894], Baltimore, MD, consigned to Samuel Putnam Avery for sale at Henry H. Leeds and Co.", "citations": [], "footnotes": ["<div><!--block-->Walters, a prominent collector and namesake of the Walters Art Museum, commissioned the painting from Church in 1860.&nbsp;</div>"], "date": "1860-1864", "sortorder": 1}, {"description": "(Henry H. Leeds and Co., New York, NY, Feb. 12-13, 1864)", "citations": [], "footnotes": ["<div><!--block-->Consigned to Samuel Putnam Avery by Walters, the painting seems to have been bought in by Avery at this sale and then put up for auction again in 1866.&nbsp;</div>"], "date": "1864", "sortorder": 2}, {"description": "(Samuel Putnam Avery [1822-1904], New York, NY)", "citations": [], "footnotes": ["<div><!--block-->After likely buying in the painting at the 1864 auction, Avery, a close associate of Walters, offered it for sale again in 1866.&nbsp;</div>"], "date": "1864-1866", "sortorder": 3}, {"description": "(Leeds and Minor at Old Dusseldorf Gallery, New York, NY, March 9, 1866, no. 174, sold to John Taylor Johnston)", "citations": [], "footnotes": ["<div><!--block-->This auction included \u201cthe entire collection of the foreign oil and water color paintings, consigned to Samuel P. Avery,\" \u201dto which will be added the celebrated picture by F.E. Church, Twilight in the Wilderness.\"&nbsp; As in the 1864 auction, here, too, Walters consigned the painting to Avery for sale.&nbsp;</div>"], "date": "1866", "sortorder": 4}, {"description": "John Taylor Johnston [1820-1893], New York, NY", "citations": [], "footnotes": [], "date": "1866-1876", "sortorder": 5}, {"description": "(Chickering Hall, John Taylor Johnston sale, Dec. 19-22, 1876, sold to John Work Garrett?)", "citations": [], "footnotes": ["<div><!--block-->According to Emily de Forest, Johnston's daughter and Robert de Forest's wife, the painting was purchased at this sale by Mary Garrett.&nbsp; Lockwood de Forest, Robert's brother, however, maintains it was purchased by John Work Garrett and then descended to his daughter, Mary.&nbsp;</div>"], "date": "1876", "sortorder": 6}, {"description": "John Work Garrett [1820-1884], Baltimore, MD, by descent to his daughter, Mary E. Garrett?", "citations": [], "footnotes": [], "date": "1876-probably 1884", "sortorder": 7}, {"description": "Mary E. Garrett [1854-1909], Baltimore, MD, sold to Robert de Forest", "citations": [], "footnotes": ["<div><!--block-->Mary Garrett was a close friend of the de Forests.&nbsp;</div>"], "date": "Probably 1884-at least 1902", "sortorder": 8}, {"description": "Robert de Forest [1848-1931], Parkers Point, CT, by descent to his brother, Lockwood de Forest", "citations": [], "footnotes": ["<div><!--block-->&nbsp;According to Robert's wife, Emily, he purchased the painting from Mary Garrett.&nbsp;</div>"], "date": "After 1902-1931", "sortorder": 9}, {"description": "Lockwood de Forest [1850\u20131932], Santa Barbara, CA, by descent to his son, Alfred Victor de Forest", "citations": [], "footnotes": [], "date": "1931-1932", "sortorder": 10}, {"description": "Alfred Victor de Forest [1888-1945], Marlborough, NH, by descent to his son, Taber de Forest", "citations": [], "footnotes": [], "date": "1932-1945", "sortorder": 11}, {"description": "Taber de Forest [1913\u20131978], Maine, sold to David Wilson McCoy", "citations": [], "footnotes": [], "date": "1945-early 1960s", "sortorder": 12}, {"description": "David Wilson McCoy [1916\u20132011], Lyme, CT, sold to Robert Paul Weimann, Jr., Ansonia, CT", "citations": [], "footnotes": [], "date": "1963", "sortorder": 13}, {"description": "Robert Paul Weimann, Jr. [1925\u20131978], Ansonia, CT, sold to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "c. 1963\u201365", "sortorder": 14}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1965-", "sortorder": 15}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "An image of this painting has a cameo in the Harrison Ford film <em>Clear and Present Danger</em>.", "early_education_description": null, "artlens_description": null, "description": "In his New York studio, Church painted this spectacular view of a blazing sunset over wilderness near Mount Katahdin in Maine, which he had sketched during a visit nearly two years earlier. Although Church often extolled the grandeur of American landscape in his work, this painting appears to have additional overtones. Created on the eve of the Civil War, the painting's subject can be interpreted as symbolically evoking the coming conflagration. Church's considerable technical skills and clever showmanship contributed to his fame as the premier artist of his generation. Rather than debut this painting in an annual exhibition with works by other artists as was the custom, Church instead exhibited it by itself at a prestigious art gallery. Coaxed by advance publicity and highly favorable press reviews, several hundred spectators flocked to admire it during its seven-week run.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q56879420"], "internet_archive": ["https://archive.org/details/clevelandart-1965.233-twilight-in-the-wild"]}, "citations": [{"citation": "<em>New York Herald</em> (June 8, 1860): 10.", "page_number": null, "url": null}, {"citation": "Lockwood de Forest, letter to Emily de Forest, Sept. 16, 1931, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Franklin W. Kelly, letter to William S. Talbot, Oct. 21, 1982, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "\"Art Exhibitions and Sales,\" <em>The Nation</em> 2 (March 15, 1866): 346.", "page_number": null, "url": null}, {"citation": "Franklin W. Kelly, letter to William S. Talbot, Oct. 21, 1982, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "\"Art Notes,\" <em>The Round Table</em> 3 (March 10, 1866): 151.", "page_number": null, "url": null}, {"citation": "\"Art Exhibitions and Sales,\u201d <em>The Nation</em> 2 (March 15, 1866): 346.", "page_number": null, "url": null}, {"citation": "Eleanor Harvey, email to Victoria Sears Goldman, April 8, 2013, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Auction Sales,\u201d<em> New York Times</em> (March 6, 1866): 6.", "page_number": null, "url": null}, {"citation": "\u201cArt Notes,\u201d <em>The Round Table</em> 3 (March 10, 1866): 151.", "page_number": null, "url": null}, {"citation": "Franklin W. Kelly, letter to William S. Talbot, May 5, 1982, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Franklin W. Kelly, letter to William S. Talbot, Oct. 21, 1982, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Harold Kirker, letter to Sherman Lee, July 10, 1969, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Emily de Forest, letter to Lockwood de Forest, Sept. 10, 1931, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Emily de Forest, letter to Lockwood de Forest, Sept. 10, 1931, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Lockwood de Forest, letter to Emily de Forest, Sept. 16, 1931, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Lockwood de Forest, letter to Emily de Forest, Sept. 16, 1931, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Emily de Forest, letter to Lockwood de Forest, Sept. 10, 1931, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Sander, Kathleen Waters. <em>Mary Elizabeth Garrett: Society and Philanthropy in the Gilded Age</em>. Baltimore, Md: Johns Hopkins University Press, 2008.", "page_number": null, "url": null}, {"citation": "Emily de Forest, letter to Lockwood de Forest, Sept. 10, 1931, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Lockwood de Forest, letter to Emily de Forest, Sept. 16, 1931, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Harold Kirker, letter to Sherman Lee, July 10, 1969, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Emily de Forest, letter to Lockwood de Forest, Sept. 10, 1931, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Lockwood de Forest, letter to Emily de Forest, Sept. 16, 1931, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Harold Kirker, letter to Sherman Lee, July 10, 1969, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Marion de Forest, letter to James H. Dempsey, Jr., June 6, 1982, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "William S. Talbot, letter to Kevin Avery, Oct. 27, 1986, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Marion de Forest, letter to James H. Dempsey, Jr., June 6, 1982, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Harold Kirker, letter to Sherman Lee, July 10, 1969, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Taber de Forest, letter to William S. Talbot, Jan. 12, 1970, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Harold Kirker, letter to William S. Talbot, Sept. 18, 1969, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Marion de Forest, letter to James H. Dempsey, Jr., June 6, 1982, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Taber de Forest, letter to William S. Talbot, Jan. 12, 1970, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Taber de Forest, letter to William S. Talbot, Jan. 12, 1970, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Coloquio Internacional de Historia del Arte Zacatecas, Zac. 1994, Gustavo Curiel, Renato Gonza\u0301lez Mello, Juana Gutie\u0301rrez Haces, and Universidad Nacional Auto\u0301noma de Me\u0301xico Instituto de Investigaciones Este\u0301ticas. <em>Arte, Historia E Identidad En Ame\u0301rica : Visiones Comparativas : XVII Coloquio Internacional de Historia Del Arte.</em> Me\u0301xico: UNAM, Instituto de Investigaciones Este\u0301ticas, 1994.", "page_number": "Mantioned p. 255.", "url": ""}, {"citation": "Albany Institute of History and Art, Tammis Kane Groft, and Mary Alice Mackay. <em>Albany Institute of History &amp; Art : 200 Years of Collecting. </em>1st ed. New York, [Lanham, Md.]: Hudson Hills Press in association with Albany Institute of History and Art, 1998.", "page_number": "Mentioned p. 102.", "url": ""}, {"citation": "Stebbins, Theodore E., Jr. <em>Rethinking American Art: Collectors, Critics, and the Changing Canon</em>. (Boston: Godine, 2025).", "page_number": "Mentioned pp. 16 and 73.", "url": ""}, {"citation": "Barringer, Tim, \"Anglo-American Sublime,\" <em>Magazine Antiques</em> 192 (November/December 2025).", "page_number": "Mentioned p. 114, 117; reproduced p. 117.", "url": ""}, {"citation": "Kornhauser, Elizabeth Mankin, T. J. Barringer, Dorothy Mahon, Christopher Riopelle, Shannon Vittoria, Metropolitan Museum of Art (New York, N.Y.), and National Gallery (Great Britain). <em>Thomas Cole\u2019s Journey : Atlantic Crossings</em>. New York: The Metropolitan Museum of Art, 2018.", "page_number": "Mentioned and reproduced p. 239.", "url": ""}, {"citation": "Avery, Kevin J., and Elizabeth Jacks. <em>Sanford R. Gifford in the Catskills. </em>Edited by Kate Menconeri. Catskill, N.Y.: Thomas Cole National Historic Site, 2017.", "page_number": "Mentioned, p. 15; reproduced, p. 14.", "url": ""}, {"citation": "O\u2019Keeffe, Georgia, Tate Modern (Gallery), Kunstforum Wien, and Art Gallery of Ontario. <em>Georgia O\u2019Keeffe.</em> Edited by Tanya Barson. New York: Abrams, 2016.", "page_number": "Mentioned and reproduced, p. 11.", "url": ""}, {"citation": "Mitchell, Mark D., <em>George Inness in Italy.</em> Philadelphia, Pa.: Philadelphia Museum of Art, 2011.", "page_number": "Mentioned, p. 21; reproduced, p. 22.", "url": ""}, {"citation": "Howat, John K., <em>Frederic Church. </em>New Haven: Yale University Press, 2005.", "page_number": "Mentioned, pp. 99-10; reproduced, cover (detail), p. 99.", "url": ""}, {"citation": "Kusserow, Karl, Alan C. Braddock, Miranda Belarde-Lewis, Teddy Cruz, Rachael Ziady DeLue, Mark Dion, Fonna Forman, et al. <em>Nature\u2019s Nation: American Art and Environment.</em> Princeton, NJ: Princeton University Art Museum, 2018.", "page_number": "Mentioned, p. 123.", "url": ""}, {"citation": "<em>Mizue</em> 820 (August 1973).", "page_number": "Reproduced, p. 39.", "url": ""}, {"citation": "\"Must This Mansion Be Destroyed?,\" <em>Life </em>60 (May 13, 1996).", "page_number": "Mentioned and reproduced p. 76.", "url": ""}, {"citation": "<em>Judy Ledgerwood: Twilight in the Wilderness, </em>exh. cat. (New York: Gray New York, 2025).", "page_number": "Mentioned p. 5.", "url": ""}, {"citation": "", "page_number": "", "url": ""}, {"citation": "Johnson, Victoria. <em>Glorious Country : How the Artist Frederic Church Brought the World to America and America to the World. (</em>New York: Scribner, 2026).", "page_number": "Mentioned pp.155-57, 164, 166, 271, 308; reproduced color plate 8-9.", "url": ""}, {"citation": "\"Mr. Church's Last Picture,\" <em>New York Times</em> (Jun. 7, 1860).", "page_number": null, "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 185", "url": "https://archive.org/details/CMAHandbook1966/page/n209"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 185", "url": "https://archive.org/details/CMAHandbook1969/page/n209"}, {"citation": "Talbot, William S. \u201cAmerican Visions of Wilderness.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 56, no. 4 (April 1969): 151\u2013166.", "page_number": "Mentioned and reproduced: p. 159-163, figs. 9-11", "url": "http://www.jstor.org/stable/25152270"}, {"citation": "National Endowment for the Arts, and Corcoran Gallery of Art. <em>Wilderness</em>. New York: Printed by Benson Litho; for sale by the Corcoran Gallery of Art, Washington, 1971.", "page_number": "Cat. No. 69", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 229", "url": "https://archive.org/details/CMAHandbook1978/page/n249"}, {"citation": "New York, Metropolitan Museum of Art, <em>American Paradise: The World of the Hudson River School,</em> (4 October 1987 through 3 January 1988).", "page_number": "pp. 45, 251-4.", "url": ""}, {"citation": "Carr, Gerald. \"Frederic Edwin Church and Mexico.\" In <em>Arte, Historia e Identidad en America: Visiones Comparativas, </em>edited by Gustavo Curiel. Mexico: Universidad Nacional Autonoma de Mexico, 1994.", "page_number": "Mentioned: p. 255", "url": null}, {"citation": "May, Sally Ruth. <em>Knockouts: a pocket guide.</em> Cleveland: Cleveland Museum of Art, 2001.", "page_number": "Reproduced: no. 48, p. 48 - 49", "url": ""}, {"citation": "Keck, Michaela. <em>Walking in the Wilderness: The Peripatetic Tradition in Nineteenth-Century American Literature and Painting</em>. Heidelberg: Winter, 2006.", "page_number": "p. 160, fig. 3.28", "url": null}, {"citation": "Adams, Henry. <em>What's American about American art?: a gallery tour in the Cleveland Museum of Art. </em>Cleveland: Cleveland Museum of Art, 2008.", "page_number": "Reproduced: fig. 8, p. 11; p. 74 - 75", "url": ""}, {"citation": "Cole, Mark, \"Picture Perfect\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 48 no. 8, October 2008", "page_number": "Mentioned & reproduced: p. 9", "url": "https://archive.org/details/CMAMM2008-08/page/8"}, {"citation": "Cole, Mark. \"New Spaces in the Cleveland Museum of Art.\" <em>American Art </em>24, no. 2 (Summer 2010)", "page_number": "Mentioned: p. 16; Reproduced: p. 16", "url": null}, {"citation": "Mitchell, Mark DeSaussure, and George Inness. <em>George Inness in Italy</em>. Philadelphia, PA: Philadelphia Museum of Art, 2011.", "page_number": "21. Reproduced: 22, fig. 7", "url": null}, {"citation": "Janson, H. W., Penelope J. E. Davies, and H. W. Janson. <em>Janson's History of Art: The Western Tradition.</em> Upper Saddle River, NJ: Prentice Hall, 2011.", "page_number": "Mentioned and reproduced: P. 834-835, fig. 24.10", "url": null}, {"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. 48; reproduced: P. 42-43", "url": ""}, {"citation": "Cole, Mark. \u201cTwilight in the Wilderness: A close look at an American masterpiece.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>54, no. 4 (July/August 2014): 4-5.", "page_number": "Reproduced: Cover, p. 5; Mentioned: p. 4, 5", "url": "https://archive.org/details/CMAMM2014-04"}, {"citation": "Raab, Jennifer. <em>Frederic Church: The Art and Science of Detail</em>. New Haven, CT : Yale University Press, 2015.", "page_number": "Mentioned and reproduced: P. 93, fig. 40", "url": null}, {"citation": "Sotheby's (Firm). <em>American Paintings, Works on Paper and Sculpture: The Collection of A. Alfred Taubman, Volume Three.</em> New York: Sotheby's, 2015.", "page_number": "Reproduced: P. 68", "url": null}, {"citation": "Avery, Kevin J. <em>Sanford R. Gifford in the Catskills.</em> Catskill, N.Y.: Thomas Cole National Historic Site, 2017.", "page_number": "Reproduced: p. 14, fig. 12", "url": null}, {"citation": "Fortenberry, Diane, ed.<em> The Art Museum.</em> London; New York: Phaidon Press, 2017.", "page_number": "Reproduced: P. 285, no. 4", "url": null}, {"citation": "Kornhauser, Elizabeth Mankin. \"Cole's Legacy.\" In <em>Thomas Cole's Journey: Atlantic Crossings. </em>Elizabeth Mankin Kornhauserand T. J. Barringer. New York: The Metropolitan Museum of Art, 2018.", "page_number": "Reproduced: p. 239, fig. 141", "url": null}, {"citation": "Christie' New York. <em>Post-War and Contemporary Art; Afternoon Session. May 15, 2018.<br></em>", "page_number": "Reproduced: p. 134", "url": null}, {"citation": "Crosman, Christopher B. <em>John Moore: After the Rain, October 24 - December 6, 2019.</em> New York: Hirschl and Adler Modern, 2019.", "page_number": "Reproduced: P. 10", "url": ""}, {"citation": "Green, Tyler. <em>Emerson's Nature and the Artists: Idea As Landscape, Landscape As Idea</em>. Munich: Prestel, 2021.", "page_number": "Reproduced: Frontispiece, P. 102, fig. 43; Mentioned: P. 102", "url": ""}, {"citation": "Neely, Evan Robert. <em>Political Economy, Race, and the Image of Nature in the United States, 1825-1878. </em>New York: Routledge, 2024.", "page_number": "Mentioned and Reproduced: p. 98", "url": ""}, {"citation": "Diaz, Eva. \"Decolonizing Site: Place-scape and Land-sense.\" In <em>Widening the Lens: Photography, Ecology, and the Contemporary Landscape, </em>edited by Dan Leers, 37-48. Pittsburgh: Carnegie Museum of Art, 2024.", "page_number": "Reproduced: p. 37", "url": ""}, {"citation": "Barringer, Tim. \"Anglo-American Sublime.\" <em>The Magazine Antiques</em> 192, n. 6 (November/December 2025): 112-117.", "page_number": "Mentioned: p. 114 ; Mentioned and reproduced: p. 117", "url": ""}, {"citation": "Johnson, Victoria. <em>Glorious Country, How the Artist Frederic Church Brought the World to America and America to the World.</em> New York: Scribner, 2026.", "page_number": "Mentioned: p. 154-57, 164-66, 271, 308; reproduced: color plate.", "url": ""}, {"citation": "Imhof, Michael. <em>Die Malerei der Romantik: von Friedrich bis Turner.</em> Petersberg, Deutschland: Michael Imhof Verlag, 2026.", "page_number": "Mentioned and reproduced: p. 806-809", "url": ""}, {"citation": "<em>Frederic Church: Global Artist,</em> edited by T. J. Barringer, Elizabeth Mankin Kornhauser, and Jennifer Raab. New Haven, London: Yale University Press; in association with The Olana Partnership, 2026.", "page_number": "Mentioned: pp. 21, 105, 201, 203, 204-05, 207-09, 236; reproduced: pp. 200 (detail), 202.", "url": ""}, {"citation": "Aboudrar, Bruno Nassim. <em>Occidentalismes: Peindre \u00c0 L\u2019Europ\u00e9enne Dans Le Monde: XVIe-XXe Si\u00e8cle.</em> Paris: Flammarion, 2026.", "page_number": "Reproduced: p. 165, fig. 117; Mentioned: p. 167", "url": ""}], "url": "https://clevelandart.org/art/1965.233", "images": {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/1965.233/1965.233_web.jpg", "width": "900", "height": "562", "filesize": "254485", "filename": "1965.233_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1965.233/1965.233_print.jpg", "width": "3400", "height": "2123", "filesize": "1604230", "filename": "1965.233_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1965.233/1965.233_full.tif", "width": "7673", "height": "4791", "filesize": "110309980", "filename": "1965.233_full.tif"}}, "alternate_images": [{"web": {"url": "https://openaccess-cdn.clevelandart.org/1965.233/1965.233_alt0_web.jpg", "width": "900", "height": "656", "filesize": "336550"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1965.233/1965.233_alt0_print.jpg", "width": "3400", "height": "2478", "filesize": "2517286"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1965.233/1965.233_alt0_full.tif", "width": "4336", "height": "3160", "filesize": "41147088"}, "annotation": ""}], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Baker & Hostetler LLP Gallery", "athena_id": 141639, "creators": [{"id": 2697, "description": "Frederic Edwin Church (American, 1826\u20131900)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1826", "death_year": "1900", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1965-09-11T00:00:00", "sortable_date": 1860, "date_added_to_oa": null, "date_text": "1860", "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": true, "updated_at": "2026-10-07 12:13:21.004000"}, {"id": 140161, "accession_number": "1964.160", "share_license_status": "Copyrighted", "tombstone": "A Woman's Work, 1912. John Sloan (American, 1871\u20131951). Oil on canvas; framed: 97.2 x 82.2 x 6.4 cm (38 1/4 x 32 3/8 x 2 1/2 in.); unframed: 80.3 x 65.4 cm (31 5/8 x 25 3/4 in.). The Cleveland Museum of Art, Gift of Amelia Elizabeth White, 1964.160", "current_location": "208 American Gilded Age and Realism", "title": "A Woman's Work", "creation_date": "1912", "creation_date_earliest": 1912, "creation_date_latest": 1912, "artists_tags": ["male"], "culture": ["United States"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 97.2 x 82.2 x 6.4 cm (38 1/4 x 32 3/8 x 2 1/2 in.); Unframed: 80.3 x 65.4 cm (31 5/8 x 25 3/4 in.)", "dimensions": {"framed": {"height": 0.972, "height_inch": 38, "height_inch_fraction": 0.25, "width": 0.822, "width_inch": 32, "width_inch_fraction": 0.375, "depth": 0.064, "depth_inch": 2, "depth_inch_fraction": 0.5}, "unframed": {"height": 0.803, "height_inch": 31, "height_inch_fraction": 0.625, "width": 0.654, "width_inch": 25, "width_inch_fraction": 0.75}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right: \"John Sloan -\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304723, "title": "Year in Review (1964)", "description": "<i>Year in Review (1964)</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 8, 1964-January 31, 1965).", "opening_date": "1964-12-08T05:00:00"}, {"id": 310260, "title": "American Cities: The Artist's View", "description": "<i>American Cities: The Artist's View</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 17, 1989-January 7, 1990).", "opening_date": "1989-10-17T04:00:00"}], "legacy": [{"description": "<em>Group Exhibition</em>. MacDowell Club, New York, NY (17-29 April 1913); see Elzea, pp. 116 and 449.", "opening_date": "1913-04-17T00:00:00"}, {"description": "<em>Exhibition of Paintings, Drawings and Etchings by John Sloan. </em>Kraushaar Galleries, New York, NY (19 March-7 April 1917); no. 11.", "opening_date": "1917-03-19T00:00:00"}, {"description": "<em>Exhibition of Paintings by George Luks, Augustus Vincent Tack and John Sloan</em>. Wisconsin Art Institute, Milwaukee, WI (March 1918).", "opening_date": "1918-03-01T00:00:00"}, {"description": "<em>Annual Exhibition of Paintings and Sculpture by Members of the Club</em>. Whitney Studio Club, New York, NY (20 March-20 April 1921).", "opening_date": "1921-03-20T00:00:00"}, {"description": "<em>Sculpture, Painting, and Crafts by Greenwich Village Artists</em>. Greenwich House, New York, NY (24 April-2 May 1922); no. 50; see Elzea's publication.", "opening_date": "1922-04-24T00:00:00"}, {"description": "<em>120th Annual Exhibition of the Pennsylvania Academy of the Fine Arts</em>. Pennsylvania Academy of the Fine Arts, Philadelphia, PA (8 February-29 March 1925); no. 236.", "opening_date": "1925-02-08T00:00:00"}, {"description": "<em>Annual Exhibition of Recent American Paintings</em>. Rhode Island School of Design, Providence, RI (13 October-9 November 1925); no. 23.", "opening_date": "1925-10-13T00:00:00"}, {"description": "<em>John Sloan: Paintings, Etchings, and Drawings.</em> Wanamaker Galleries, New York, NY (4 November-? December 1939); traveled to Wanamaker Galleries, Philadelphia, PA (8-29 January 1940); no. 41.", "opening_date": "1940-01-08T00:00:00"}, {"description": "<em>Then and Now</em>. Park Avenue Gallery, New York, NY (7-19 October 1940); see Elzea's publication.", "opening_date": "1940-10-07T00:00:00"}, {"description": "<em>John Sloan</em>. Martha White Memorial Gallery, Santa Fe, NM (15-29 August 1942); see Elzea's publication.", "opening_date": "1942-08-15T00:00:00"}, {"description": "<em>30th Annual Exhibition: Painters and Sculptors of the Southwest</em>. Museum of New Mexico, Santa Fe, NM (1 August-15 September 1943), cat. no. 173.", "opening_date": "1943-08-01T00:00:00"}, {"description": "<em>John Sloan: Paintings, Prints, Drawings</em>. Hood Museum of Art, Dartmouth College, Hanover, NH (2 October 1981-3 January 1982); traveled to Decordova and Dana Museum and Park, Lincoln, MA (23 January-7 March 1982); to Kalamazoo Institute of Arts, Kalamazoo, MI (18 March-2 May 1982); to Elvehjem Museum of Art, University of Wisconsin, Madison, WI (12 June-1 August 1982); to Dayton Art Institute, Dayton, OH (11 September-24 October 1982); to Memorial Art Gallery of the University of Rochester, Rochester, NY (6 November 1982-2 January 1983), cat. no. 15, pp. 17-20, 22, 52-53, illus. p. 53.", "opening_date": "1982-01-23T00:00:00"}, {"description": "<em>American Cities: The Artist's View</em>. The Cleveland Museum of Art, Cleveland, OH (17 October 1989-7 January 1990).", "opening_date": "1989-10-17T00:00:00"}, {"description": "<em>America in Art: Fifty Great Paintings Celebrating Fifty Years</em>. Santa Barbara Museum of Art, Santa Barbara, CA (6 June-11 August 1991) pp. 8-11, 98-99, illus. p. 99, no cat. no.", "opening_date": "1991-06-06T00:00:00"}, {"description": "<em>American Impressionism and Realism: The Painting of Modern Life, 1885-1915</em>. The Metropolitan Museum of Art, New York, NY (2 May-24 July 1994); to Los Angeles County Museum of Art, Los Angeles, CA (6 March-14 May 1995); pp. 286-291, illus. fig. no. 294.", "opening_date": "1994-05-02T00:00:00"}]}, "provenance": [{"description": "Sold c. 1939-1940 to Amelia White, Santa Fe.", "citations": [], "footnotes": [], "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "According to John Sloan's diary, this painting was made in March 1912 at his apartment on East 22nd Street, New York.", "early_education_description": null, "artlens_description": null, "description": "Trained as a journalist, the young Sloan explored social issues more vigorously than most of the painters of his time, portraying working-class urbanites engaged in ordinary activities. He observed this particular scene through a rear window of his Manhattan apartment. Perched on a narrow fire escape, a woman hangs fresh laundry to dry on clotheslines strung between tenements. As evidenced by the painting, the labors of American women at the turn of the 1900s were most often confined to the domestic realm.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60469154"], "internet_archive": []}, "citations": [{"citation": "John Butler Yeats, \"John Sloan's Exhibition,\" <em>The Seven Arts </em>2 (June 1917).", "page_number": "Mentioned p. 259.", "url": ""}, {"citation": "Sloan, John. <em>Gist of Art . </em>New York: 1944.", "page_number": "Reproduced: p.229", "url": null}, {"citation": "Sloan, John. <em>John Sloan</em>. New York, NY: American Artists Group, 1945.", "page_number": "Reproduced: p.45 (unpaginated)", "url": null}, {"citation": "Brooks, Van Wyck. <em>John Sloan: A Painter's Life</em>. London, United Kingdom: J.M. Dent &amp; Sons, Ltd., 1955.", "page_number": "Reproduced: Image reproductions between pp.182-183", "url": null}, {"citation": "\"Year in Review for 1964.\" <em>The Bulletin of The Cleveland Museum of Art (</em>December, 1964)", "page_number": "Mentioned: p.264; Reproduced: p.251, n.87", "url": null}, {"citation": "Sloan, John. <em>John Sloan's New York Scene from the Diaries, Notes, and Correspondence 1906-1913.</em> ed. Bruce St. John. New York, NY: Harper &amp; Row, 1965.", "page_number": "Mentioned: pp.609", "url": null}, {"citation": "Cleveland Museum of Art, \u201cOn Our Cover\u2026,\u201d January 7, 1965, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr1316"}, {"citation": "\"Reports of the Departments: Paintings.\" <em>The Bulletin of The Cleveland Museum of Ar</em>t (June, 1965).", "page_number": "Mentioned: pp.143-144", "url": null}, {"citation": "Cleveland Museum of Art. <em>Handbook of The Cleveland Museum of Ar</em>t Cleveland: Press of Western Reserve University, 1966.", "page_number": "Reproduced: p.191", "url": "https://archive.org/details/CMAHandbook1966/page/n215"}, {"citation": "Wade, Richard C., Howard B. Wilder, and Louise C. Wade.<em> A History of the United State</em>s. Boston, MA: Houghton Mifflin Company, 1966.", "page_number": "Mentioned and reproduced: p.484", "url": null}, {"citation": "\"Recent Acquisitions in the American Field.\" <em>Art in America</em> 54 (May-June, 1966).", "page_number": "Reproduced: p.46", "url": null}, {"citation": "Cleveland Museum of Art. <em>Handbook of The Cleveland Museum of Art. </em>Cleveland, OH: Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p.191", "url": "https://archive.org/details/CMAHandbook1969/page/n215"}, {"citation": "Time-Life Editors. <em>American Painting 1900-1970. </em>New York, NY: Time-Life Books, 1970.", "page_number": "Mentioned: p.13; Reproduced: p.12", "url": null}, {"citation": "St. John, Bruce. <em>John Sloan.</em> New York, NY: Praeger Publishers, 1971.", "page_number": "Reproduced: n.39", "url": null}, {"citation": "Holcomb III, Grant. <em>A Catalogue Raisonn\u00e9 of the Paintings of John Sloan. </em>Ph.D. Dissertation, University of Delaware, 1972.", "page_number": "Mentioned: pp.499-500; Reproduced: p.501", "url": null}, {"citation": "Price, Vincent. <em>The Vincent Price Treasury of American Art</em>. Waukesha, WI: Country Beautiful Corporation, 1972.", "page_number": "Reproduced: p.195", "url": null}, {"citation": "Adams, Celeste, Rita Myers, and Adele Z. Silver. <em>An Introduction to American Art in the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art, 1972.", "page_number": "Mentioned: p.16; Reproduced: p.17", "url": null}, {"citation": "\"A Check List: American Paintings and Water Colors of the Eighteenth, Nineteenth, and Early Twentieth Centuries in The Cleveland Museum of Art.\" <em>The Bulletin of the Cleveland Museum of Art </em>(January, 1973).", "page_number": "Mentioned: p.33", "url": null}, {"citation": "Sharp Young, Mahonri. <em>American Realists: Homer to Hopper.</em> New York, NY: Watson-Guptill Publications, 1977.", "page_number": "Mentioned: pp.161-162; Reproduced: p.168", "url": null}, {"citation": "Lucie-Smith, Edward, and Celestine Dars. <em>Work and Struggle: The Painter As Witness 1870-1914</em>. New York, NY: Paddington Press; Distributed by Grosset &amp; Dunlap,1977.", "page_number": "Reproduced: n.198", "url": null}, {"citation": "Johnson, Mark M. \"American Landscapes... Scenes as Divergent as the Land Itself.\" <em>Arts and Activities</em> 82, no. 4 (December 1977).", "page_number": "Mentioned: p.31; Reproduced: p.30", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of The Cleveland Museum of Art. </em>Cleveland, OH: Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p.238", "url": "https://archive.org/details/CMAHandbook1978/page/n258"}, {"citation": "Hills, Patricia. \"John Sloan's Images of Working Class Women: A Case Study of the Roles and Interrelationships of Politics, Personality, and Patrons in the Development of Sloan's Art, 1905-16.\" <em>Prospect </em>5 (October 1980).", "page_number": "Mentioned: p.175; Reproduced: p.214", "url": "https://www.academia.edu/37112545/_John_Sloans_Images_of_Working_Class_Women_A_Case_Study_of_the_Roles_and_Inter_Relationships_of_Politics_Personality_and_Patrons_in_the_Development_of_Sloans_Art_1905_1916_"}, {"citation": "Unger, Irwin. <em>These United States, The Question of Our Past. </em>Vol.<em> 2. </em>Boston, MA: Little, Brown and Co., 1982.", "page_number": "Mentioned and Reproduced: p.596", "url": null}, {"citation": "Silver, Adele Z. <em>The Cleveland Museum of Art: Guide to the Galleries. </em>Cleveland, OH: Cleveland Museum of Art, 1981.", "page_number": "Mentioned: p.84; Reproduced: p.85", "url": null}, {"citation": "\"In the Background: The Ashcan School.\" <em>The Great Artists, Their Lives, Works, and Inspiration: Hopper. </em>London: Marshall Cavendish Ltd., 1986. Vol.4, Part 88.", "page_number": "Reproduced: p.2812", "url": null}, {"citation": "Elzea, Rowland. <em>John Sloan's Oil Paintings: A Catalogue Raisonn\u00e9. </em>Newark, DE: University of Delaware Press, 1991.", "page_number": "Mentioned and Reproduced: pp.115-116", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of The Cleveland Museum of Art. </em>Cleveland, OH: Cleveland Museum of Art, 1991.", "page_number": "Reproduced: p.144", "url": null}, {"citation": "Chong, Alan. <em>European &amp; American Painting in The Cleveland Museum of Art: A Summary Catalogue. </em>Cleveland, OH: Cleveland Museum of Art, 1993.", "page_number": "Reproduced: p.224", "url": null}, {"citation": "Garraty, John A. <em>Story of America. </em>1994.", "page_number": null, "url": null}, {"citation": "Amon Carter Museum. \"American Impressionists, American Realists: In Search of the New\". Educational video (April 1994).", "page_number": null, "url": null}, {"citation": "Updike, John. \"Beyond the Picturesque.\"<em> The New York Review.</em> June 23,1994.", "page_number": "Mentioned: pp.21, 23; Reproduced: p.21", "url": null}, {"citation": "Loughery, John. <em>John Sloan: Painter and Rebel. </em>New York, NY: Henry Holt and Company, Inc., 1995.", "page_number": "Mentioned: p.347", "url": null}, {"citation": "<em>Elements of Literature, Grade 9. </em>New York, NY: Holt, Rinehart, and Winston, 2000.", "page_number": "Mentioned and Reproduced: p.T203", "url": null}, {"citation": "Perlman, Bennard B.<em> American Artists, Authors, and Collectors: The Walter Pach Letters 1906-1958</em>. Albany, NY: State University of New York Press, 2002.", "page_number": "Reproduced: p.379", "url": null}, {"citation": "Bender, Thomas. <em>The Unfinished City: New York and the Metropolitan Idea</em>. New York, NY: The New Press, 2002.", "page_number": "Mentioned: pp.110-111; Reproduced: p.111", "url": null}, {"citation": "Kramer, Karen and Alexandra Lerman.\"The Ballad of Greenwich Village.\"(New York, 2003?) independent documentary.", "page_number": null, "url": null}, {"citation": "Foa, Emma. <em>Artists in Their Time: Edward Hopper</em>. New York, NY: Franklin Watts, 2003.", "page_number": "Reproduced: p.7", "url": null}, {"citation": "Curry, David Park. <em>James Mcneill Whistler: Uneasy Pieces</em>. Richmond, VA: Virginia Museum of Fine Arts in association with Quantuck Lane Press, 2004.", "page_number": "Mentioned: pp.85-86; Reproduced: p.86, n.3.25", "url": null}, {"citation": "Updike, John. <em>Still Looking: Essays on American Art.</em> New York, NY: Alfred A. Knopf, 2005.", "page_number": "Mentioned: pp.110,118; Reproduced: p.111", "url": null}, {"citation": "Coyle, Heather Campbell and Joyce K. Schiller. <em>John Sloan's New York</em>. Wilmington, DE: Delaware Art Museum, 2007.", "page_number": "Mentioned: p.92; Reproduced: p.94", "url": null}, {"citation": "Cole, Mark, \"A Paramount Picture\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 47 no. 01, January 2007", "page_number": "Mentioned & reproduced: p. 9", "url": "https://archive.org/details/CMAMM2007-01/page/8"}, {"citation": "Adams, Henry. <em>What's American about American Art? A Gallery Tour in the Cleveland Museum of Art.</em> Cleveland, OH: Cleveland Museum of Art, 2008.", "page_number": "Mentioned: p.111; Reproduced: p.110", "url": null}, {"citation": "Pohl, Frances K.<em> Framing America: A Social History of American Art</em> . New York, NY: Thames and Hudson, 2008.", "page_number": "Mentioned: p.336; Reproduced: p.336, n.6.19", "url": null}, {"citation": "Dearinger, David B. <em>George Deem: The Art of Art History</em>. Boston, MA: The Boston Athenaeum, 2012.", "page_number": "Reproduced: p.33", "url": null}, {"citation": "Litt, Steven. \"Close Up.\" <em>The</em> <em>Plain Dealer,</em> September 23, 2012.", "page_number": "Mentioned and Reproduced: p.E6", "url": null}, {"citation": "Roehrl, Boris. <em>World History of Realism in Visual Arts, 1830-1990 </em>Hildesheim, Germany: Georg Olms Verlag, 2013.", "page_number": "Mentioned: p.131-132; Reproduced: p.132", "url": null}, {"citation": "Roehrl, Boris. <em>Realismus in der bildenden Kunst. Europa und Nordamerika 1830 bis 2000</em>. Berlin, Germany: Gebr. Mann Verlag, 2013.", "page_number": "Mentioned: pp.79-80; Reproduced: p.80", "url": null}, {"citation": "Griffin, Patrick.<em> America's Revolution</em>. New York and Oxford: Oxford University Press, 2013", "page_number": "Reproduced: p.44", "url": null}, {"citation": "Henretta, James A., Rebecca Edwards, and Robert O. Self. <em>America's History</em>. 7th ed. Boston, MA and New York, NY: Bedford/St. Martin's, 2014.", "page_number": "Mentioned and reproduced: p.583", "url": null}, {"citation": "Belasco, Susan and Link Johnson, eds. <em>The Bedford Anthology of American Literature: Beginnings to the Present</em>. Shorter Second Edition. Boston, MA and New York, NY: Bedford/St. Martin's, 2014.", "page_number": "Mentioned: p.1131; Reproduced: p.1130", "url": ""}, {"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. 55", "url": ""}, {"citation": "Friese-Oertmann, Sabine. <em>Arbeiter in Malerei und Fotografie des 19. Jahrhunderts: Deutschland, Gro\u00dfbritannien, USA.</em> Berlin: Reimer, 2017.", "page_number": "Reproduced: p 200, Abb.135", "url": null}, {"citation": "Slayton, Robert A. <em>Beauty in the City: The Ashcan Schoo</em>l. Albany, NY: Excelsior Editions, State University of New York Press, 2017.", "page_number": "Mentioned: pp.112-113; Reproduced: p.113, no.7.8", "url": null}, {"citation": "Fagg, John.<em> Re-Envisioning the Everyday: American Genre Scenes, 1905-1945.</em> University Park, Pennsylvania: The Pennsylvania State University Press, 2023.", "page_number": "Mentioned: p. 63-69, 76, 88; Reproduced: pl. 6", "url": ""}, {"citation": "Custer, Lee Ann, \"The Clean, Open Air of John Sloan's Tenement Paintings,\" <em>American Art </em>37 (Summer 2023)", "page_number": "Mentioned pp. 30-31, 40-46, 50; reproduced p. 40.", "url": ""}], "url": "https://clevelandart.org/art/1964.160", "images": {}, "alternate_images": [], "creditline": "Gift of Amelia Elizabeth White", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "The Cleveland Foundation Gallery", "athena_id": 140161, "creators": [{"id": 3285, "description": "John Sloan (American, 1871\u20131951)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1871", "death_year": "1951", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1964-10-30T00:00:00", "sortable_date": 1912, "date_added_to_oa": null, "date_text": "1912", "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": "2026-10-08 11:20:11.375000"}, {"id": 135238, "accession_number": "1958.25", "share_license_status": "CC0", "tombstone": "Paul Lafond and Alphonse Cherfils Examining a Painting, c. 1878\u201380. Edgar Degas (French, 1834\u20131917). Oil on wood panel; framed: 42.5 x 50 x 6 cm (16 3/4 x 19 11/16 x 2 3/8 in.); unframed: 27 x 34 cm (10 5/8 x 13 3/8 in.). The Cleveland Museum of Art, Bequest of Leonard C. Hanna Jr., 1958.25", "current_location": "222 Impressionism & Post-Impressionism", "title": "Paul Lafond and Alphonse Cherfils Examining a Painting", "creation_date": "c. 1878\u201380", "creation_date_earliest": 1873, "creation_date_latest": 1885, "artists_tags": ["male"], "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": "Framed: 42.5 x 50 x 6 cm (16 3/4 x 19 11/16 x 2 3/8 in.); Unframed: 27 x 34 cm (10 5/8 x 13 3/8 in.)", "dimensions": {"framed": {"height": 0.425, "height_inch": 16, "height_inch_fraction": 0.75, "width": 0.5, "width_inch": 19, "width_inch_fraction": 0.6875, "depth": 0.06, "depth_inch": 2, "depth_inch_fraction": 0.375}, "unframed": {"height": 0.27, "height_inch": 10, "height_inch_fraction": 0.625, "width": 0.34, "width_inch": 13, "width_inch_fraction": 0.375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed in upper left: Degas / a [sic] ses chers amis\r\n\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 338947, "title": "The Private Degas", "description": "<i>The Private Degas</i>. Whitworth Art Gallery, Manchester, United Kingdom of Great Britain and Northern Ireland (January 20-February 28, 1987); Fitzwilliam Museum, Cambridge CB2 1RB (March 17-May 3, 1987).", "opening_date": "1987-01-20T05:00:00"}, {"id": 216847, "title": "Faces of Impressionism: Portraits from American Collections", "description": "<i>Faces of Impressionism: Portraits from American Collections</i>. The Cleveland Museum of Art, Cleveland, OH (May 28-July 30, 2000).", "opening_date": "1999-10-10T00:00:00"}, {"id": 224301, "title": "Edgar Degas and the Italians in Paris", "description": "<i>Edgar Degas and the Italians in Paris</i>. Palazzo dei Diamanti, Ferrara (Galleria d'Arte Moderna et Contemporanea) (September 14-November 16, 2003); Royal Scottish Academy, Edinburgh, Scotland (December 12, 2003-February 29, 2004).", "opening_date": "2003-09-14T00:00:00"}, {"id": 282768, "title": "Degas and Rodin - Giants of Modernism", "description": "<i>Degas and Rodin - Giants of Modernism</i>. Von der Heydt-Museum, Wuppertal, Germany (organizer) (October 25, 2016-February 26, 2017).", "opening_date": "2016-10-25T04:00:00"}], "legacy": [{"description": "<em>Exposition Degas</em>. Galerie Georges Petit, Paris, France (1924).", "opening_date": "1924-01-01T00:00:00"}, {"description": "<em>Degas-Portraitiste Sculpteur</em>. Mus\u00e9e de l'Orangerie, Paris, France (1931).", "opening_date": "1931-01-01T00:00:00"}]}, "provenance": [{"description": "Alphonse Cherfils, Pau, France, by descent to his son, Christian Cherfils", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "Christian Cherfils, Pau, France", "citations": [], "footnotes": [], "date": null, "sortorder": 2}, {"description": "Marcel Gu\u00e9rin [1873-1948], Paris, France", "citations": [], "footnotes": [], "date": null, "sortorder": 3}, {"description": "(Wildenstein & Co., New York, NY, January 10, 1950, sold to Leonard C. Hanna, Jr.)", "citations": [], "footnotes": [], "date": "1950", "sortorder": 4}, {"description": "Leonard C. Hannah [1889-1957], Cleveland, OH, bequeathed to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1950-1958", "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1958-", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The gentlemen in this painting had close relationships with many Parisian artists and would go directly to their studios to purchase works that they wanted to exhibit or sell.", "early_education_description": null, "artlens_description": null, "description": "The upper left corner of this painting bears a dedication by Degas \"to his dear friends.\" The double portrait depicts Paul Lafond (left), future curator of the art museum at Pau, in southwestern France, and Alphonse Cherfils (right), an art collector and defender of the Impressionists. Through the influence of these friends, Degas's works were selected for the annual exhibitions of the Soci\u00e9t\u00e9 des Amis des Arts (Society of Friends of the Arts), and his painting, A Cotton Office (1873), was the first by the artist to be purchased by a museum. Since the painting held by the two men is probably by Degas, this intimate image commemorates both personal and business relationships.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60517762"], "internet_archive": ["https://archive.org/details/clevelandart-1958.25-paul-lafond-and-alph"]}, "citations": [{"citation": "Lafond, Paul. <em>Degas</em>. Paris, FR: H. Floury, 1918.", "page_number": "Reproduced: opp. title cover, vol. 2", "url": null}, {"citation": "Lemoisne, Paul-Andre\u0301. <em>Degas et son \u0153uvre.</em> Paris. FR: P. Brame et C.M. de Hauke, aux Arts et me\u0301tiers graphiques, 1947.", "page_number": "Reproduced: no. 647; vol 2", "url": null}, {"citation": "Cleveland Museum of Art. <em>In Memoriam: Leonard C. Hanna, Jr</em>. Cleveland: Cleveland Museum of Art, 1958.", "page_number": "Reproduced: no. 11", "url": null}, {"citation": "Francis, Henry S. \"Report for the Year 1958: Painting Department.\" <em>The Bulletin of the Cleveland Museum of Art XXXXVI</em>, no. 6 (June, 1959): 111-122.", "page_number": "Mentioned: p. 22", "url": null}, {"citation": "Boggs, Jean Sutherland. <em>Portraits by Degas</em>. Berkeley, CA: University of California Press, 1962.", "page_number": "Reproduced: p. 94, no. 2", "url": null}, {"citation": "Parry, Eugenia. <em>Degas Monotypes;</em> Essay, Catalogue &amp; Checklist. Cambridge, MA: Fogg Art Museum, Harvard University; distributed by New York Graphic Society, Greenwich, Conn, 1968.", "page_number": "Reproduced: under no. 53", "url": null}, {"citation": "Russoli, Franco and Fiorella Minervino. <em>L'opera completa di Degas</em>. Milano: IT Rizzoli, 1970.", "page_number": "Reproduced: no. 580", "url": null}, {"citation": "Reff, Theodore. Degas: <em>The Artist's Mind</em>. New York, NY: Metropolitan Museum of Art, 1976.", "page_number": "Reproduced: p. 85-86", "url": null}, {"citation": "Nathanson, Carol and Edward Olszewski. \"Degas's Angel of The Apocalypse.\" The Bulletin of the Cleveland Museum of Art LXVII, no. 10 (October, 1980): 243-255.", "page_number": "Reproduced: p. 252, fig. 21; Mentioned: p. 251", "url": null}, {"citation": "Brettell, Richard R., and Suzanne Folds McCullagh. <em>Degas in the Art Institute of Chicago</em>. Chicago, IL: Art Institute of Chicago, 1984.", "page_number": "Reproduced: p. 84", "url": null}, {"citation": "Sutton, Denys. <em>Edgar Degas, Life and Work</em>. New York, NY: Rizzoli, 1986.", "page_number": "Reproduced: p. 283", "url": null}, {"citation": "Kendall, Richard. <em>Degas by Himself: Drawings, Prints, Paintings, Writings. </em>London, UK: Macdonald Orbis, 1987.", "page_number": "Reproduced: p. 134", "url": null}, {"citation": "Thomson, Richard, and Edgar Degas. <em>The Private Degas</em>. New York, N.Y.: Thames and Hudson, 1987.", "page_number": "Referenced: cat. no. 59, p. 54, 140, Reproduced", "url": null}, {"citation": "Sutton, Denys, and Jean Adm\u00e9mar. \u201cLettres In\u00e9dites De Degas \u00c1 Paul Lafond Et Autres Documents.\u201d <em>Gazette Des Beaux Arts</em> 109, no. 129 (April 1987): 159\u201380.", "page_number": "Reproduced: p. 160", "url": null}, {"citation": "Brown, Marilyn R. \u201cDegas and a Cotton Office in New Orleans.\u201d <em>Burlington Magazine</em> 130 (March 1988): 216\u201321.", "page_number": "Reproduced: p. 219, fig. 38", "url": null}, {"citation": "Chong, Alan.<em> European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogue.</em> Cleveland, Ohio: Cleveland Museum of Art, 1993.", "page_number": "Reproduced: p. 58", "url": null}, {"citation": "Brown, Marilyn. <em>Degas and the Business of Art: A Cotton Office in New Orleans</em>. University Park, PA: Published for College Art Association by the Pennsylvania State University Press, 1994.", "page_number": "Reproduced: p. 109, fig. 31", "url": null}, {"citation": "Ives, Colta Feller, Susan Alyson Stein, and Julie A. Steiner. <em>The Private Collection of Edgar Degas: A Summary Catalogue</em>. New York, NY: Metropolitan Museum of Art, 1997.", "page_number": "Mentioned: p. 169; Reproduced: p. 170", "url": null}, {"citation": "Feigenbaum, Gail, and Jean Sutherland Boggs. <em>Degas and New Orleans: A</em> <em>French Impressionist in America. </em>New Orleans, LA: New Orleans Museum of Art, 1999.", "page_number": "Reproduced: p. 59, fig. 45", "url": null}, {"citation": "D' Argencourt, Louise, and Roger Diederen. <em>Catalogue of Paintings. Pt. 4. European Paintings of the 19th Centur</em>y. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: vol. 1, p. 78", "url": null}, {"citation": "Dumas, Ann. <em>Degas e gli italiani a Parigi: Ferrara, Palazzo dei Diamanti,</em> 14 settembre-16 novembre 2003. Ferrara, IT: Ferrara arte, 2003.", "page_number": "Mentioned: p. 222-223; Reproduced: no. 13", "url": null}, {"citation": "Pingeot, Anne. \"Rodin 1840-1917 und Degas (Bildhauer) 1834-1917: Umgang mit der Kunstkritik.\" In <em>Degas - Rodin: Wettlauf der Giganten der Moderne. </em>Gerhard Finckh, ed., 263-283. Wuppertal : Von der Heydt-Museum, 2016.", "page_number": "Reproduced: p. 269", "url": null}], "url": "https://clevelandart.org/art/1958.25", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1958.25/1958.25_web.jpg", "width": "1148", "height": "893", "filesize": "677044", "filename": "1958.25_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1958.25/1958.25_print.jpg", "width": "3400", "height": "2644", "filesize": "6110864", "filename": "1958.25_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1958.25/1958.25_full.tif", "width": "6000", "height": "4666", "filesize": "84019128", "filename": "1958.25_full.tif"}}, "alternate_images": [], "creditline": "Bequest of Leonard C. Hanna Jr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Nancy F. and Joseph P. Keithley Gallery", "athena_id": 135238, "creators": [{"id": 1759, "description": "Edgar Degas (French, 1834\u20131917)", "extent": null, "qualifier": null, "role": "artist", "biography": "Son of a Parisian banker, Edgar Degas enrolled in law school in 1853 following his father's wishes. But he had already shown an interest in art and had also registered to copy at the Louvre. In 1855 he entered the \u00c9cole des Beaux-Arts and became a student of Louis Lamothe (1822-1869), a former pupil of Ingres (q.v.). One year later Degas made the traditional journey to Italy, remaining there for three years. He visited family members in Naples and Florence and attended life classes at the Villa Medici in Rome. A visit to Normandy in 1861 may have introduced him to the racetrack. In Paris he continued to study at the Louvre, where he met Manet (q.v.) in 1862. Apart from his continuous interest in portraiture and history painting, Degas began to pay attention to subjects of modern life. Between 1865 and 1870, he exhibited at the Salon. At the time of the Franco-Prussian War, he enlisted in the artillery, but because of his poor eyesight he served (with Manet) in the infantry. After the war he traveled first to London and, in 1872-73, visited his uncle and brothers who had a cotton business in New Orleans. Degas participated in the first impressionist exhibition of 1874. He continued to exhibit with these artists until 1886 but never completely considered himself a member of the group, preferring to call himself a realist or naturalist. While many of the impressionists painted en plein air, Degas worked with models in his studio and, later in his career, from his imagination. In addition to painting, he experimented often with monotypes, engraving, pastels, sculpture, and photography. He traveled extensively-London, Naples, Spain, Morocco, and Switzerland-but continued to draw his subject matter from modern-day Paris. Other recurring themes would be the female nude and the ballet dancer. After the impressionist exhibition of 1886, Degas no longer participated in group shows. Instead he sold his works to private dealers such as Durand-Ruel and Ambroise Vollard. In the 1890s he began his own art collection, which, besides many works on paper, included paintings by such artists as Ingres, C\u00e9zanne (q.v.), Delacroix (q.v.), Gauguin (q.v.), and van Gogh (q.v.). His own art at the time became characterized by broader strokes of paint, charcoal, and pastel and the use of more vibrant colors, partly because of problems with his vision. His failing eyesight and poor health caused him to abandon his pursuit of art during the last years of his life.", "name_in_original_language": null, "birth_year": "1834", "death_year": "1917", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1958-11-29T00:00:00", "sortable_date": 1873, "date_added_to_oa": null, "date_text": "c. 1878\u201380", "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": "2026-09-09 19:14:04.200000"}, {"id": 173011, "accession_number": "2017.127", "share_license_status": "Copyrighted", "tombstone": "Sea Painting I, 1973\u201374. Brice Marden (American, 1938\u20132023). Oil and wax on canvas; unframed: 182.8 x 137.2 cm (71 15/16 x 54 in.). The Cleveland Museum of Art, Gift of Agnes Gund given in honor of the Cleveland Museum of Art\u2019s Centennial, 2017.127. \u00a9 Brice Marden / Artists Rights Society (ARS), New York", "current_location": null, "title": "Sea Painting I", "creation_date": "1973\u201374", "creation_date_earliest": 1973, "creation_date_latest": 1974, "artists_tags": ["male"], "culture": ["America"], "technique": "oil and wax on canvas", "support_materials": [], "department": "Contemporary Art", "collection": "Paintings", "type": "Painting", "measurements": "Unframed: 182.8 x 137.2 cm (71 15/16 x 54 in.)", "dimensions": {"unframed": {"height": 1.828, "height_inch": 71, "height_inch_fraction": 0.9375, "width": 1.372, "width_inch": 54, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Brice Marden / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "Signed, titled, and dated 1973\u201374 on reverse of the top panel;", "inscription_translation": null, "inscription_remark": null, "sortorder": 1}, {"inscription": "titled and dated on the reverse of the bottom panel.", "inscription_translation": null, "inscription_remark": null, "sortorder": 2}, {"inscription": "Written in black marker (verso): \nTop Panel: \nSEA PAINTING I \n2 PANELS 36\" X 54\" EACH\n72\" X 54\"\n1973-74\nB. Marden", "inscription_translation": null, "inscription_remark": null, "sortorder": 3}, {"inscription": "Written in black marker (verso): \nBottom Panel: \n72\" X 54\" \n1973-74\nB. Marden", "inscription_translation": null, "inscription_remark": null, "sortorder": 4}], "exhibitions": {"current": [{"id": 181802, "title": "The Persistence of Geometry: Form, Content and Culture in the Collection of the Cleveland Museum of Art", "description": "<i>The Persistence of Geometry: Form, Content and Culture in the Collection of the Cleveland Museum of Art</i>. Museum of Contemporary Art Cleveland (MOCA), Cleveland, OH (June 9-August 20, 2006).", "opening_date": "2006-06-09T00:00:00"}, {"id": 306886, "title": "Recent Acquisitions", "description": "<i>Recent Acquisitions</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 17-June 7, 2018).", "opening_date": "2018-03-17T04:00:00"}], "legacy": [{"description": "<em>New Paintings, Brice Marden. </em>Bykert Gallery, New York, NY (March 23\u2013April 17, 1974)", "opening_date": "1974-03-23T04:00:00Z"}, {"description": "<em>Continuing Abstraction in American Art. </em>Whitney Museum of American Art, New York, NY [Downtown Branch] (September 19\u2013November 1, 1974)", "opening_date": "1974-09-19T04:00:00Z"}, {"description": "<em>A Selection of American Art: The Skowhegan School 1946\u20131976. </em>Institute of Contemporary Art, Boston, MA (June 16\u2013September 5, 1976; Colby Museum of Art, Waterville, ME, (October 1\u201330, 1976)", "opening_date": "1976-06-16T04:00:00Z"}, {"description": "<em>American Art in Belgium</em>. Palais des Beaux-Arts, Brussels, Belgium (May 25\u2013August 28, 1977)", "opening_date": "1977-05-25T04:00:00Z"}, {"description": "<em>Bilderstreit: Iconoclasm \u2013 Appeal, Unity and Fragment in Art Since 1960</em>. The Rheinhallen, Cologne, Germany (April 8\u2013June 28, 1989)", "opening_date": "1989-04-08T04:00:00Z"}, {"description": "<em>In Quest of the Absolute</em>. Blumarts Inc., New York, NY (April 6\u2013June 8, 1996)", "opening_date": "1996-04-06T05:00:00Z"}, {"description": "<em>The Persistence of Geometry: Form, Content and Culture in the Collection of the Cleveland Museum of Art. </em>MOCA Cleveland, Cleveland, OH (June 9\u2013 August 20, 2006)", "opening_date": "2006-06-09T04:00:00Z"}]}, "provenance": [{"description": "Collection of the artist", "citations": [], "footnotes": null, "date": "1973\u2013?", "sortorder": 1}, {"description": "Bykert Gallery, New York, NY", "citations": [], "footnotes": [], "date": "?", "sortorder": 2}, {"description": "John Weber Gallery, New York, NY", "citations": [], "footnotes": null, "date": "?", "sortorder": 3}, {"description": "Collection Parasol Press, New York, NY", "citations": [], "footnotes": null, "date": "?", "sortorder": 4}, {"description": "Charles Kriwin, Brussels, BE", "citations": [], "footnotes": null, "date": "?", "sortorder": 5}, {"description": "John Weber Gallery, New York, NY", "citations": [], "footnotes": null, "date": "?", "sortorder": 6}, {"description": "Saatchi Collection", "citations": [], "footnotes": null, "date": "by 1984\u2013before 1991", "sortorder": 7}, {"description": "Gagosian Gallery, New York, NY", "citations": [], "footnotes": null, "date": "1990", "sortorder": 8}, {"description": "(Sotheby\u2019s, New York, NY, Sale #6164, Contemporary Art Part I, April 30, 1991, Lot 30)", "citations": [], "footnotes": null, "date": "April 30, 1991", "sortorder": 9}, {"description": "Agnes Gund, New York, NY", "citations": [], "footnotes": null, "date": "1991\u20132017", "sortorder": 10}, {"description": "Agnes Gund, New York, NY, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "2017", "sortorder": 11}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2017\u2013", "sortorder": 12}], "find_spot": null, "related_works": [], "former_accession_numbers": ["287.1993"], "did_you_know": "Later in his career, Marden dispensed with the wax technique used in <em>Sea Painting I</em> and developed a new method of mixing terpineol with oil to produce a pigment better suited to conveying the physicality of the canvas.", "early_education_description": null, "artlens_description": null, "description": "Brice Marden made his first monochromatic, single-panel painting in the winter of 1964. During the next 20 years, he created spare, abstract, often multipaneled paintings that won national acclaim. In <em>Sea Painting I</em>, two rectangular canvases were painted with a mixture of beeswax and oil\u2014known as encaustic\u2014creating a smooth, dense surface with a matte finish. <br><br>Marden tested the reductionist tendencies of Minimalism by reintroducing references to landscape into a seemingly abstract painting. Here, he used subtle tones of gray-green that suggest water and atmosphere. The sharp split of color alludes to the division between sky and ocean and a limitless view to the horizon.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60482570"], "internet_archive": []}, "citations": [{"citation": "Ellenzweig, Allen. <em>Selection of American Art: The Skowhegan School 1946\u20131976</em>. Boston:  Institute of Contemporary Art, 1976.", "page_number": "Reproduced:  P. 121", "url": ""}, {"citation": "Roque, Georges, Karel J. Geirlandt, and Monique Verken. <em>American Art in Belgium: [Exhibit Held at Palais Des Beaux-Arts De Bruxelles 25.5-28.8.1977]</em>. Bruxelles: Socie\u0301te\u0301 des expositions du Palais des beaux-arts, 1977.", "page_number": "Mentioned and reproduced, P. 133, no. 95; p. 166 reproduced.", "url": ""}, {"citation": "Saatchi Collection, and Peter Schjeldahl. <em>Art of Our Time: The Saatchi Collection, </em>vol. 1<em>.</em> London: Lund Humphries, 1985.", "page_number": "Mentioned: p. 7; Reproduced: Pl. 70.", "url": ""}, {"citation": "Gohr, Siegfried, and Johannes Gachnang. <em>Bilderstreit: Widerspruch, Einheit und Fragment in der Kunst seit 1960</em>. Ko\u0308ln: DuMont, 1989.", "page_number": "Catalogue No. 444; mentioned: p. 521", "url": ""}, {"citation": "Lewison, Jeremy, and Brice Marden. <em>Brice Marden: Prints, 1961\u20131991 : a Catalogue Raisonne\u0301</em>. London: Tate Gallery, 1992.", "page_number": "Reproduced:  P. 33", "url": ""}, {"citation": "Franz, Erich. <em>In Quest of the Absolute</em>. New York: Peter Blum, 1996.", "page_number": "Mentioned and reproduced in color:  p. 66\u201367.", "url": ""}, {"citation": "Sims, Lowery Stokes. <em>The Persistence of Geometry: Form, Content, and Culture in the Collection of the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2006.", "page_number": "Mentioned and reproduced: P. 75, no. 110.", "url": ""}, {"citation": "Th\u00fcring, Reto and Liebert, Emily. \u201cAcquisition Highlights: Contemporary Art.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 58, no. 2 (March/April 2018): 24-25.", "page_number": "Reproduced and Mentioned: P. 24", "url": "https://archive.org/details/CMAMM2018-02/page/n11/mode/2up"}, {"citation": "Griswold, William M. \u201cRecent Acquisitions (2013-20) at the Cleveland Museum of Art.\u201d <em>Burlington Magazine </em>163, no. 1414 (January 2021): 93\u2013104.", "page_number": "Mentioned and reproduced: P. 101, no. 16; mentioned: P. 93", "url": ""}], "url": "https://clevelandart.org/art/2017.127", "images": {}, "alternate_images": [], "creditline": "Gift of Agnes Gund given in honor of the Cleveland Museum of Art\u2019s Centennial", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 173011, "creators": [{"id": 9279, "description": "Brice Marden (American, 1938\u20132023)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1938", "death_year": "2023", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2017-09-11T00:00:00-04:00", "sortable_date": 1973, "date_added_to_oa": null, "date_text": "1973\u201374", "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": "2026-05-01 06:53:37.875000"}, {"id": 123365, "accession_number": "1943.60", "share_license_status": "Copyrighted", "tombstone": "Gray and Gold, 1942. John Rogers Cox (American, 1915\u20131990). Oil on canvas; framed: 116 x 152 x 12.5 cm (45 11/16 x 59 13/16 x 4 15/16 in.); unframed: 91.5 x 151.8 cm (36 x 59 3/4 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1943.60", "current_location": "226B American Modern", "title": "Gray and Gold", "creation_date": "1942", "creation_date_earliest": 1942, "creation_date_latest": 1942, "artists_tags": ["male"], "culture": ["United States"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 116 x 152 x 12.5 cm (45 11/16 x 59 13/16 x 4 15/16 in.); Unframed: 91.5 x 151.8 cm (36 x 59 3/4 in.)", "dimensions": {"framed": {"height": 1.16, "height_inch": 45, "height_inch_fraction": 0.6875, "width": 1.52, "width_inch": 59, "width_inch_fraction": 0.8125, "depth": 0.125, "depth_inch": 4, "depth_inch_fraction": 0.9375}, "unframed": {"height": 0.915, "height_inch": 36, "height_inch_fraction": 0.0, "width": 1.518, "width_inch": 59, "width_inch_fraction": 0.75}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower right:  John Rogers Cox 1942", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 318288, "title": "Artists for Victory", "description": "<i>Artists for Victory</i>. The Metropolitan Museum of Art, New York, NY (organizer) (co-organizer) (January 1-February 22, 1943).", "opening_date": "1943-01-01T04:00:00"}, {"id": 318291, "title": "54th Annual Exhibition of American Paintings and Sculpture", "description": "<i>54th Annual Exhibition of American Paintings and Sculpture</i>. The Art Institute of Chicago (organizer) (October 28-December 12, 1943).", "opening_date": "1943-10-28T04:00:00"}, {"id": 318296, "title": "Painting in the United States, 1944", "description": "<i>Painting in the United States, 1944</i>. Carnegie Museum of Art, Pittsburgh, PA (organizer) (co-organizer) (September 5-December 10, 1944).", "opening_date": "1944-09-05T04:00:00"}, {"id": 318697, "title": "Contemporary American Painting", "description": "<i>Contemporary American Painting</i>. Rhode Island School of Design (organizer) (February 6-28, 1946).", "opening_date": "1946-02-06T05:00:00"}, {"id": 318703, "title": "Museum's Choice", "description": "<i>Museum's Choice</i>. Addison Gallery of American Art, Andover, MA (organizer) (March 8-April 30, 1946).", "opening_date": "1946-03-08T05:00:00"}, {"id": 318494, "title": "The 50 Most Popular Paintings in the History of American Art", "description": "<i>The 50 Most Popular Paintings in the History of American Art</i>. The Dallas Museum of Art (organizer) (October 9-November 7, 1948).", "opening_date": "1948-10-09T05:00:00"}, {"id": 318497, "title": "Life in America", "description": "<i>Life in America</i>. Denver Art Museum, Denver, CO (organizer) (co-organizer) (March 4-April 30, 1951).", "opening_date": "1951-03-04T05:00:00"}, {"id": 318500, "title": "Centennial Exhibition", "description": "<i>Centennial Exhibition</i>. Joslyn Art Museum, Omaha, NE (organizer) (co-organizer) (May 11-July 4, 1954).", "opening_date": "1954-05-11T04:00:00"}, {"id": 318505, "title": "Illusion and Reality", "description": "<i>Illusion and Reality</i>. Santa Barbara Museum of Art, Santa Barbara, CA (organizer) (co-organizer) (June 15-July 22, 1956); Pasadena Museum of California Art (August 5-September 9, 1956); Museum of Fine Arts, Houston, Houston, TX (October 5-31, 1956); The Dallas Museum of Art, Dallas, TX (October 31-November 30, 1956).", "opening_date": "1956-08-05T04:00:00"}, {"id": 318547, "title": "20th Anniversary Special Exhibition: 60 Terre Haute Artists", "description": "<i>20th Anniversary Special Exhibition: 60 Terre Haute Artists</i>. Sheldon Swope Art Museum Inc., Terra Haute, IN (organizer) (November 4-December 2, 1962).", "opening_date": "1962-11-04T05:00:00"}, {"id": 318691, "title": "An Unfulfilled Dream: The Neglected Generation of American Scene Painters: 1930-1948", "description": "<i>An Unfulfilled Dream: The Neglected Generation of American Scene Painters: 1930-1948</i>. Wichita Art Museum, Wichita, KS (organizer) (May 2-June 14, 1981).", "opening_date": "1981-05-02T04:00:00"}, {"id": 318694, "title": "A Retrospective Exhibition of the Art of John Rogers Cox", "description": "<i>A Retrospective Exhibition of the Art of John Rogers Cox</i>. Sheldon Swope Art Museum Inc., Terra Haute, IN (organizer) (May 14-June 13, 1982).", "opening_date": "1982-05-14T04:00:00"}, {"id": 221943, "title": "Illusions of Eden: Visions of the American Heartland", "description": "<i>Illusions of Eden: Visions of the American Heartland</i>. Columbus Museum of Art, Columbus, OH (organizer) (February 18-April 30, 2000).", "opening_date": "2000-02-18T00:00:00"}], "legacy": [{"description": "Toronto, Art Gallery of Toronto (February 1945).", "opening_date": "1945-02-01T00:00:00"}, {"description": "Terre Haute, Indiana, Sheldon Swope Art Gallery (May 1945).", "opening_date": "1945-05-01T00:00:00"}, {"description": "Columbus, OH, Columbus Museum of Art, Illusions of Eden: Visions of the American Heartland (18 February - 30 April 2000) cat. ill. cover, pp. 94, 186, p. 271 ; traveled to Vienna, Austria, Museum of Modern Art/Ludwig Foundation Vienna (1 June - 15 August 2000); traveled to Budapest, Hungary, Ludwig Museum/Museum of Contemporary Art (25 September - 26 November 2000); did not travel to Madison, Wisconsin, Madison Art Center (24 February - 13 May 2001); did not travel to Sioux Falls, South Dakota, Washington Pavilion of Arts &amp; Science (June - August 2001).", "opening_date": "2000-02-18T00:00:00"}, {"description": "The Cleveland Museum of Art (03/01/2006 - 06/01/2006); \"American Icons: American Masterworks from the 1930s\"", "opening_date": "2006-03-01T00:00:00"}]}, "provenance": [{"description": "[Artists for Victory, Inc., New York, NY], by 1942", "citations": [], "footnotes": ["<div><!--block-->Purchased with income from the Mr. and Mrs. William H. Marlatt Fund, from Artists for Victory, Inc. The Artists for Victory exhibition, held at the Metropolitan Museum of Art in New York, was also mounted at the Cleveland Museum of Art, in 1943.</div>"], "date": "", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH, purchased in 1943", "citations": [], "footnotes": [], "date": "1943-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "A framed reproduction of this painting is displayed on the living room walls of a farmhouse in the sci-fi film <em>Looper</em>, starring Bruce Willis.", "early_education_description": null, "artlens_description": null, "description": "Cox painted <em>Gray and Gold</em> shortly after the United States joined the Second World War, and its image of amber waves of grain threatened by ominous storm clouds likely has symbolic overtones. The painting's foreground features an intersection of two dirt lanes, as well as a telephone pole emblazoned with political campaign posters. The artist seems to imply that American democracy is at a crossroads during this time of combat against the spread of fascism in Europe and Asia. Interestingly the work was inspired by the landscape around Cox's hometown of Terre Haute, Indiana, a location nicknamed \"The Crossroads of America\" due to the junction of major north-south and east-west national highways within its city limits. The museum purchased this painting out of a traveling exhibition entitled \"Artists for Victory,\" which consisted of works by artists who wanted to assist in the war effort. The exhibition opened at the Metropolitan Museum of Art in New York on the first anniversary of the bombing at Pearl Harbor.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60514906"], "internet_archive": []}, "citations": [{"citation": "<em>Artists for Victory: An Exhibition of Contemporary American Art, Paintings, Sculpture, Prints</em>. 2 vols. New York: Metropolitan Museum of Art, 1942.", "page_number": null, "url": null}, {"citation": "\"Victory Show Sales,\" <em>Art Digest </em>17 (April 1, 1943)", "page_number": "Mentioned p. 15", "url": ""}, {"citation": "Korkow, Cory. \u201cFour Curators, Four Favorites.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>62, no. 2 (2022): 29.", "page_number": "Reproduced and Mentioned: P. 29.", "url": ""}, {"citation": "Waker, Andrew, ed., <em>Joe Jones : Radical Painter of the American Scene, </em>exh. cat., Saint Louis Art Museum, 2010.", "page_number": "Mentioned p, 76; reproduced p. 75.", "url": ""}, {"citation": "Metropolitan Museum of Art.<em> Artists for Victory: An Exhibition of Contemporary American Art, A Picture Book of the Prize Winners. </em>New York, 1942.", "page_number": "Reproduced: fig. 15", "url": null}, {"citation": "Jewell, Edward Alden. \"Artists For Victory: Metropolitan Opens Tomorrow the Huge Contemporary American Survey.\" <em>The New York Times, </em>December 6, 1942.", "page_number": "Reproduced", "url": null}, {"citation": "\"Artists for Victory Score Victory in Metropolitan Exhibition,\" <em>Art Digest </em>17 no. 6 (December, 15 1942).", "page_number": "Mentioned: p. 6; Reproduced: p. 8", "url": null}, {"citation": "\"The Artists for Victory Exhibition: The Paintings,\" <em>Art News</em> 41 (January 1, 1943).", "page_number": "Mentioned: p. 8-9; Reproduced: p. 9", "url": null}, {"citation": "<em>Art News </em>41 (January 15, 1943).", "page_number": "Reproduced: p. 17", "url": null}, {"citation": "\"Cleveland Museum of Art Presents Paintings Selected from National Exhibition,\" <em>Cleveland Plain Dealer, </em>March 21, 1943.", "page_number": "Reproduced", "url": null}, {"citation": "\"Victory Show Sales.\" <em>Art Digest</em> 17 (April 1, 1943).", "page_number": "Mentioned: p.15", "url": ""}, {"citation": "Holme, Bryan. \"New York Commentary.\"<em> London Studio</em> (July 1943).", "page_number": "Reproduced: p. 28", "url": null}, {"citation": "West Virginia Pulp and Paper Company, <em>Westvaco Inspirations for Printers 1942-1943</em> (1943).", "page_number": "Mentioned: p. 143; Reproduced: cover", "url": null}, {"citation": "Cravens, Dargan &amp; Company Insurance Managers, Houston, Texas, Review 25 no. 5 (April 1944).", "page_number": "Reproduced: cover", "url": null}, {"citation": "\"State Artist's Work Displayed.\" <em>The Indianapolis Times, </em>October 18, 1944.", "page_number": "Reproduced", "url": null}, {"citation": "\"Grey and Gold by John Rogers Cox Voted Popular Prize,\" <em>The Carnegie Magazine</em> (December 1944).", "page_number": "Mentioned: p. 195-7; Reproduced: p. 195", "url": null}, {"citation": "\"Hoosier's Painting Carnegie Favorite.\" <em>Indianapolis Star, </em>December 5, 1944.", "page_number": null, "url": null}, {"citation": "\"Cox, Soldier-Artist, Wins Carnegie 'Popular'.\" <em>Art Digest </em>19 (December 15, 1944).", "page_number": "Mentioned: p. 9; Reproduced: p. 9", "url": null}, {"citation": "<em>Time Magazine</em> (December 18, 1944).", "page_number": "Mentioned: p. 50", "url": null}, {"citation": "<em>The Bulletin of the Cleveland Museum of Art</em> 32, no. 7(September 1945).", "page_number": "Mentioned: p. 138; Reproduced: p. 134", "url": null}, {"citation": "Burchfield, Louise. \"Two American Paintings.\" <em>The Bulletin of the Cleveland Museum of Art </em>32, no. 7 (September 1945): 137-139.", "page_number": "Reproduced: p. 134; Mentioned: p. 138", "url": "https://www.jstor.org/stable/25141226"}, {"citation": "Milliken, William M. \"Place of the Museum of Art in the Life of a City.\" <em>The Clevlander</em> (August 1946).", "page_number": "Reproduced: p. 6", "url": null}, {"citation": "\"The Popular Prize.\"<em> The Carnegie Magazine</em> 20 (December 1946).", "page_number": "Mentioned: p. 172-3", "url": null}, {"citation": "\"Cox Popular Choice of Carnegie Visitors.\" <em>Art Digest</em> 21 (December 15, 1946).", "page_number": "Mentioned: p. 9", "url": null}, {"citation": "Dallas Museum of Fine Arts, State Fair of Texas,<em> Famous American Paintings </em>(1948).", "page_number": "Reproduced", "url": null}, {"citation": "<em>Catalogue de Reproductions en Couleurs de la Peinture de 1860 a 1949.</em> Paris: Unesco, 1949.", "page_number": "Mentioned: p. 62-3; Reproduced: p. 63", "url": null}, {"citation": "<em>New York Times Book Review, </em>October 16, 1955.", "page_number": "Reproduced", "url": null}, {"citation": "\"Anniversary Year Exhibit to Open Sunday at Swope Gallery Preview.\" <em>The Terre Haute Sta</em>r, November 2, 1962.", "page_number": "Reproduced", "url": null}, {"citation": "Wahl, Charles William, M.D., \"Psychodynamics of Sexual Humor: Sex and the Salesman.\" <em>Medical Aspects of Human Sexuality</em> (August 1978).", "page_number": "Reproduced: p. 26-7, cover", "url": null}, {"citation": "Szymanski, Ronald, ed. <em>America in Literature: The Midwest. </em>New York: Charles Scribner's Sons, 1979.", "page_number": "Reproduced: cover", "url": null}, {"citation": "Sheldon Swope Art Gallery. \"The Sheldon Swope Art Gallery Newsletter.\" (May-July 1982).", "page_number": "Reproduced: fig. 2", "url": null}, {"citation": "Kinsman, Robert D. \"Art from Swope: Painting looks at forces of nature.\" <em>The Tribune-Star</em>- Terre Haute, May 16, 1982.", "page_number": "Mentioned: p. 12; Reproduced", "url": null}, {"citation": "Hubbard, Guy. \"Teaching Art with Art: Turbulent Skyscapes.\" <em>Arts &amp; Activities</em> 103, no. 3 (April 1988).", "page_number": "Mentioned: p. 26-7", "url": null}, {"citation": "\"A final tribute.\" <em>Tribune-Star, Terre Haute, </em>February 4, 1990.", "page_number": "Reproduced", "url": null}, {"citation": "Chong, Alan. <em>European and American Painting in the Cleveland Museum of Art: A Summary Catalogue. </em>Cleveland Museum of Art: Cleveland, 1993.", "page_number": "Reproduced: p. 46", "url": null}, {"citation": "Chaon, Dan. <em> Fitting Ends and Other Stories by Dan Chaon.</em> Evanston: Northwestern University Press,1995.", "page_number": "Reproduced: cover", "url": null}, {"citation": "Pai\u0308ni, Dominique, and Guy Cogeval. <em>Hitchcock and Art: Fatal Coincidences</em>. Montreal: The Montreal Museum of Fine Arts, 2000.", "page_number": "Mentioned: p. 341", "url": null}, {"citation": "Stearns, Robert. ed. <em>Illusions of Eden. Visions of the American Heartland. </em>Minneapolis: Arts Midwest, 2000.", "page_number": "Mentioned: p. 271; Reproduced: p. 94", "url": null}, {"citation": "Maciejunes, Nannette V. \"Visions of the American Heartland.\" <em>American Art Review </em>12, no. 2 (March-April 2000).", "page_number": "Mentioned: p. 114", "url": null}, {"citation": "\"Vienna and Budapest: Illusions of Eden.\" <em>The Burlington Magazine </em>(November 2000).", "page_number": "Mentioned: p. 719", "url": null}, {"citation": "<em>Academic Medicine: Journal of the Association of American Medical Colleges.</em> (August, 2001).", "page_number": "Reproduced: p. 761; cover", "url": null}, {"citation": "Dijkstra, Bram. <em>American Expressionism: Art and Social Change 1920-1950. </em>New York: Harry N. Abrams, 2003.", "page_number": "Mentioned: p. 188, 196", "url": null}, {"citation": "Norman, Bud. <em>The Things That Are Caesar\u2019s: A Comic Tale of Politics, Religion, and Other Impolite Topics. </em>Wichita: Affiliated Writers of America, 2003.", "page_number": "Reproduced: back cover", "url": null}, {"citation": "Martha Parrish &amp; James Reinish, Inc., <em>19th and 20th Century European and American Art </em>(gallery catalogue) (February, 2005).", "page_number": null, "url": null}, {"citation": "Chandler, Neal, ed. \"Silver Apples of the Moon: Art and Poetry.\" Cleveland: Cleveland State Poetry Center in association with Shaker Heights Public Library, 2006.", "page_number": "Reproduced: p. 53", "url": null}, {"citation": "Adams, Henry. <em>What's American about American Art? A Gallery Tour in the Cleveland Museum of Art.</em> Cleveland: Cleveland Museum of Art, 2008.", "page_number": "Mentioned: p. 141", "url": null}, {"citation": "Walker, Andrew, ed. <em>Joe Jones: Radical Painter of the American Scene. </em>Exh. cat. St. Louis: St. Louis Art Museum, 2010.", "page_number": "Mentioned: p. 76; Reproduced: p. 75", "url": null}, {"citation": "Perry, Dee. \"Personal Favorite.\" <em>Cleveland Art </em>50 (March/April 2010).", "page_number": "Mentioned: p. 10", "url": null}, {"citation": "\"Toward the Vision: The Cleveland Museum of Art.\" Museum publication booklet. 2012.", "page_number": "Reproduced: cover", "url": null}, {"citation": "Kash, Steve. \"Life As an Artist.\" <em>Tribune-Star</em>- Terre Haute, October 7, 2012.", "page_number": "Mentioned: p. D4", "url": null}, {"citation": "Cole, Mark. \"American Art of the 1930s to 1950s.\" <em>Cleveland Art</em> 54 (January/February 2014).", "page_number": "Mentioned: p. 21", "url": null}, {"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. 59", "url": ""}, {"citation": "Cleveland Museum of Art. <em>Museum Masters: 2016-17 Companion Guide.</em> [Cleveland, Ohio]: Cleveland Museum of Art, 2016.", "page_number": "Mentioned and reproduced: P. 23", "url": ""}, {"citation": "Daiss, Susan Dodge-Peters. \"Art at the Bedside: Reflections on Use of Visual Imagery in Hospital Chaplaincy.\" <em>Journal of Pastoral Care &amp; Counseling</em> 70, no. 1 (March 2016).", "page_number": "Reproduced: p.77", "url": null}, {"citation": "Eldredge, Charles C. W<em>e Gather Together: American Artists and the Harvest</em>. Oakland, California: University of California Press, 2021.", "page_number": "Mentioned and reproduced: P. 89, fig. 44", "url": ""}, {"citation": "Arizpe S., Lourdes, and Je\u0301ro\u0302me Duval-Hamel. Spicil\u00e8ge beaux-arts de l'art faber: quand les beaux-arts et les mondes \u00e9conomiques se rencontrent. <br>Arles : Actes Sud, 2023.", "page_number": "Mentioned: p. 60; Reproduced: p. 60, ill. 4, p. 91", "url": ""}], "url": "https://clevelandart.org/art/1943.60", "images": {}, "alternate_images": [], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Hammond Hemmelgarn Family Gallery", "athena_id": 123365, "creators": [{"id": 3077, "description": "John Rogers Cox (American, 1915\u20131990)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1915", "death_year": "1990", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1943-02-03T00:00:00", "sortable_date": 1942, "date_added_to_oa": null, "date_text": "1942", "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": true, "updated_at": "2026-10-16 11:51:23.918000"}, {"id": 136911, "accession_number": "1961.39", "share_license_status": "CC0", "tombstone": "View of Florence, 1837. Thomas Cole (American, born England,1801\u20131848). Oil on canvas; framed: 125.4 x 186.7 x 9.2 cm (49 3/8 x 73 1/2 x 3 5/8 in.); unframed: 99.5 x 160.4 cm (39 3/16 x 63 1/8 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1961.39", "current_location": "206 American Landscape", "title": "View of Florence", "creation_date": "1837", "creation_date_earliest": 1837, "creation_date_latest": 1837, "artists_tags": ["male"], "culture": ["United States"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 125.4 x 186.7 x 9.2 cm (49 3/8 x 73 1/2 x 3 5/8 in.); Unframed: 99.5 x 160.4 cm (39 3/16 x 63 1/8 in.)", "dimensions": {"framed": {"height": 1.254, "height_inch": 49, "height_inch_fraction": 0.375, "width": 1.867, "width_inch": 73, "width_inch_fraction": 0.5, "depth": 0.092, "depth_inch": 3, "depth_inch_fraction": 0.625}, "unframed": {"height": 0.995, "height_inch": 39, "height_inch_fraction": 0.1875, "width": 1.604, "width_inch": 63, "width_inch_fraction": 0.125}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right: \"T C\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 302039, "title": "Year in Review (1961)", "description": "<i>Year in Review (1961)</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 1-26, 1961).", "opening_date": "1961-11-01T05:00:00"}, {"id": 521017, "title": "Paintings and Drawings by Thomas Cole", "description": "<i>Paintings and Drawings by Thomas Cole</i>. The Baltimore Museum of Art, Baltimore, MD (organizer) (January 26-February 28, 1965).", "opening_date": "1965-01-26T05:00:00"}, {"id": 316697, "title": "Thomas Cole", "description": "<i>Thomas Cole</i>. Memorial Art Gallery of the University of Rochester, NY (organizer) (co-organizer) (February 14-March 23, 1969); Munson Museum of Art, Utica, NY (April 5-May 4, 1969); Albany Institute of History and Art, Albany, NY (May 9-June 20, 1969); Whitney Museum of American Art, New York, NY (June 30-September 1, 1969).", "opening_date": "1969-02-14T05:00:00"}, {"id": 301412, "title": "Florence and the Arts: Five Centuries of Patronage", "description": "<i>Florence and the Arts: Five Centuries of Patronage</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 13-September 19, 1971).", "opening_date": "1971-07-13T04:00:00"}, {"id": 445261, "title": "19th Century Americans in Italy", "description": "<i>19th Century Americans in Italy</i>. Spencer Museum of Art, Lawrence, KS (organizer) (November 3-December 3, 1972).", "opening_date": "1972-11-03T05:00:00"}, {"id": 287387, "title": "Thomas Cole's Journey: Atlantic Crossings", "description": "<i>Thomas Cole's Journey: Atlantic Crossings</i>. The Metropolitan Museum of Art, New York, NY (organizer) (January 29-May 13, 2018); National Gallery, London, London, United Kingdom of Great Britain and Northern Ireland (June 13-October 7, 2018).", "opening_date": "2018-01-29T05:00:00"}], "legacy": [{"description": "New York, National Academy of Design, Annual Exhibition (1837), cat. no. 39 as View of Florence.", "opening_date": null}, {"description": "Boston, Athenaeum, Annual Exhibition (1839), cat. no. 123, see The Boston Athenaeum: Art Exhibition Index, 1827-1874 (Boston, 1980), p. 38, listed under year 1839 as View on the Arno, Florence, owned by J. Mason.", "opening_date": "1980-01-01T00:00:00"}, {"description": "New York, Gallery of the American Art-Union, Exhibition of the Paintings of the Late Thomas Cole, At the Gallery of the American Art-Union (27 March 1848-?), cat. no. 33, catalogue reproduced as Appendix 1in Parry (1988), pp. 368-372.", "opening_date": "1988-01-01T00:00:00"}, {"description": "Boston, Atheneum, Annual Exhibition (1850), cat. no. 137, see The Boston Athenaeum: Art Exhibition Index, 1827-1874 (Boston, 1980), p. 38, listed under year 1850 as View on the Arno, Near Florence owned by T.P. Cushing.", "opening_date": "1980-01-01T00:00:00"}, {"description": "New York, New York Gallery of Fine Arts, (1 May 1854) cat. no. 61, p. 10, see Index to American Art Exhibition Catalogues.", "opening_date": null}, {"description": "Baltimore, The Baltimore Museum of Art, Thomas Cole: Paintings by an American Romanticist (26 January-28 February 1965), cat. no. 14.", "opening_date": "1965-01-26T00:00:00"}, {"description": "Rochester, Memorial Art Gallery, University of Rochester, Thomas Cole (14 February-23 March 1969); traveled to Utica, Munson-Williams-Proctor Institute (7 April-4 May 1969); Albany, Albany Institute of History and Art (9 May-20 June 1969); New York, Whitney Museum of American Art (30 June-1 September 1969), cat. no. 32, illus. p. 83.", "opening_date": "1969-02-14T00:00:00"}, {"description": "Lawrence, University of Kansas Museum of Art, The Arcadian Landscape: Nineteenth-Century American Painters in Italy (4 November-3 December 1972), cat. no. 12, illus.", "opening_date": "1972-11-04T00:00:00"}, {"description": "Boston, Museum of Fine Arts, A New World: Masterpieces of American Painting 1760-1910 (7 September-13 November 1983); traveled to Washington, D.C., The Corcoran Gallery of Art (7 December 1983-12 February 1984); did not go to Paris; cat. no. 29, pp. 229-230, illus. p. 229.", "opening_date": "1983-09-07T00:00:00"}, {"description": "Boston, Museum of Fine Arts, The Lure of Italy: American Artists and The Italian Experience, 1760-1914 (16 September-13 December 1992); traveled to Cleveland, The Cleveland Museum of Art (3 February-11 April 1993); Houston, Museum of Fine Arts (23 May-8 August 1993), cat. no. 76, illus. pp. 330-331, pp. 42-54.", "opening_date": "1992-09-16T00:00:00"}, {"description": "The Metropolitan Museum of Art, NY (1/29/2018 - 5/13/2018) and the National Gallery, London, UK (6/13/2018 - 10/7/2018):  \"Thomas Cole's Journey: Atlantic Crossings\"", "opening_date": "2018-01-29T00:00:00"}]}, "provenance": [{"description": "The Cleveland Museum of Art, Cleveland, Ohio", "citations": [], "footnotes": null, "date": "1961-", "sortorder": 1}, {"description": "(Victor Spark, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "1960-1961", "sortorder": 2}, {"description": "Francis Moro, New York, NY, sold to Victor Spark1", "citations": [], "footnotes": ["<div><!--block-->1Francis Moro and his brother, Tom, operated Paul Moro, Inc., a paintings conservation studio in New York City that had been founded by their father.&nbsp; Francis, who owned the Cole, cleaned and lined the painting with Tim, before selling it to Victor Spark in 1960.&nbsp; Francis also bought and sold paintings, and in 1966 he established Moro Galleries, Inc. &nbsp;</div>"], "date": "Until 1960", "sortorder": 3}, {"description": "Private collector, New York, NY, sold to Francis Moro1", "citations": [], "footnotes": ["<div><!--block-->1After purchasing the painting, this unknown collector brought it to Francis Moro for conservation, ultimately selling it to him. &nbsp;</div>"], "date": "?", "sortorder": 4}, {"description": "(Antique store, New York, NY, sold to a private collector)1", "citations": [], "footnotes": ["<div><!--block-->1The painting was displayed in the window of an unidentified antique store in New York City, where it was noticed and then purchased by an unknown collector.&nbsp;</div>"], "date": "?", "sortorder": 5}, {"description": "Henry James, Sr. [1811-1882], New York, NY1", "citations": [], "footnotes": ["<div><!--block-->1Henry James, Sr. owned the painting by 1854, when he was listed as its owner in a New York Gallery of Fine Arts exhibition on May 1st of that year.&nbsp; In his memoir of 1913, <em>A Small Boy and Others</em>, his son, novelist Henry James recalls the painting, which \"covered half a side of our front parlor\u201d of the family\u2019s brownstone on West 14th Street in Manhattan. &nbsp; He writes that, as of 1913, the painting was \"long ago lost to our sight;\" apparently, it was no longer in the possession of any member of the James family by this point.&nbsp; The painting\u2019s whereabouts from 1854 to circa 1960 remain unknown.&nbsp; In 1855, the James family moved to Europe, returning in 1859 to reside mainly in Newport, Rhode Island, where they lived until 1865, when Henry James, Sr. sold the 14th Street house and settled the family in Cambridge. The 14th Street house was sold to William Benton Greene [1819-1904], who had rented it while the James family resided elsewhere.&nbsp; Alfred Habegger, a noted Henry James scholar, suggested that the painting may have remained on the walls of the James home when they moved to Europe and that Greene \u201cinherited\u201d the painting with the house.</div>"], "date": "By 1854-?", "sortorder": 6}, {"description": "Edward James, New York, NY, probably to his brother, Henry James, S1", "citations": [], "footnotes": ["<div><!--block-->1Edward James lent the painting to an 1848 exhibition of works by Cole held at the American Art Union.&nbsp; Edward James was the uncle of novelist Henry James; he lived in Albany and is among the lesser known members of the James family.&nbsp; In some versions of the provenance of <em>View of Florence, </em>Edward James is followed by Thomas Parkman Cushing, who is then followed by Henry James, Sr. In her entry on <em>View of Florence </em>in the exhibition catalogue, <em>A Lost World: Masterpieces of American Painting , 1760-1910</em> (1983), Diana Strazdes situated the painting in the possession of Thomas Parkman Cushing in 1850, when he lent a Cole painting titled \u201cView on the Arno, near Florence\u201d to an exhibition at the Boston Athenaeum.&nbsp; It seems that Strazdes likely confused <em>View of Florence </em>with <em>View of the Arno, near Florence </em>(Worcester Art Museum, 1991.179), assigning the Cushing provenance to <em>View of Florence </em>which in fact it belongs to <em>View of the Arno. &nbsp;</em></div>"], "date": "By 1848-before 1854", "sortorder": 7}, {"description": "Jonathan Mason, Boston1", "citations": [], "footnotes": ["<div><!--block-->1Mason, Cole's friend and agent, is listed as the painting's owner in an 1839 exhibition at the Boston Athenaeum.</div>"], "date": "by 1839", "sortorder": 8}, {"description": "Possibly Mr. Hunt, Boston1", "citations": [], "footnotes": null, "date": "1838-1839?", "sortorder": 9}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Novelist Henry James grew up with this painting and described its foreground monk as his \u201cconstant friend.\u201d", "early_education_description": null, "artlens_description": null, "description": "Cole visited Italy in 1831 and made a small pencil sketch of this vista of Florence shortly before sunset. In his New York studio six years later, he transformed the drawing into this large oil painting, adding picturesque humans and goats to the foreground. Exhibiting <em>View of Florence</em> alongside a painting of the Catskill Mountains in New York in 1837, Cole set out to prove that he had mastered the very different landscapes of the Old and New Worlds.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q16934583"], "internet_archive": ["https://archive.org/details/clevelandart-1961.39-view-of-florence"]}, "citations": [{"citation": "Victor Spark, letter to Henry S. Francis, June 10, 1960, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "David Steinberg, letter to Alfred Habegger, May 16, 1994, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Victor D. Spark Papers, Series 4.2, Other Financial Records, 1930-1981, Box 17, Folder 6, Stock Books, 1958-1960, Archives of American Art, Smithsonian Institution.", "page_number": null, "url": null}, {"citation": "Victor D. Spark Papers, Series 4.2, Other Financial Records, 1930-1981, Box 17, Folder 6, Stock Books, 1958-1960, Archives of American Art, Smithsonian Institution.", "page_number": null, "url": null}, {"citation": "Frank Zuccari, email to Marcia Steele, June 26, 2014, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Frank Zuccari, email to Marcia Steele, June 26, 2014, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Frank Zuccari, email to Marcia Steele, June 26, 2014, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Alfred Habegger, email to Victoria Sears Goldman, March 20, 2013, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "David Steinberg, letter to Alfred Habegger, May 16, 1994, in CMA curatorial file", "page_number": null, "url": null}, {"citation": "James, Henry. <em>A Small Boy and Others</em>. New York: C. Scribner's Sons, 1913.", "page_number": null, "url": null}, {"citation": "Habegger, Alfred. <em>The Father: A Life of Henry James, Sr</em>. New York: Farrar, Straus, and Giroux, 1994.", "page_number": null, "url": null}, {"citation": "Alfred Habegger, email to Victoria Sears Goldman, March 20, 2013, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Perkins, Robert F., William J. Gavin, and Mary Margaret Shaughnessy. <em>The Boston Athenaeum Art Exhibition Index, 1827-1874</em>. Boston, Mass: The Library of the Boston Athenaeum, 1980.", "page_number": null, "url": null}, {"citation": "David Steinberg, letter to Alfred Habegger, May 16, 1994, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "William S. Talbot [?], notes on a telephone conversation with Howard S. Merritt, Oct. 1, 1982, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "T\u00f3ib\u00edn, Colm, Marc Simpson, Declan Kiely. <em>Henry James and American Painting.</em> University Park, Pennsylvania, New York, New York: The Pennsylvania State University Press ; The Morgan Library &amp; Museum, 2017.", "page_number": "Mentioned, pp. 50-52; reproduced, p. 51", "url": ""}, {"citation": "Novak, Barbara, Annette Blaugrund, Franklin Kelly. <em>Thomas Cole : The Artist as Architect.</em> New York, New York: The Monacelli Press, 2016.", "page_number": "Mentioned, pp. 24, 30; reproduced, pp. 26-27.", "url": ""}, {"citation": "Garlington, Aubrey S. <em>Society, Culture, and Opera in Florence, 1814-1830 : Dilettantes in an \u2018Earthly Paradise\u2019</em>. Aldershot, England: Ashgate, 2005.", "page_number": "Reproduced, cover and back cover (detail).", "url": ""}, {"citation": "Cleveland Museum of Art, \u201cRecent Acquisition Press Release,\u201d July 13, 1961, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr0771"}, {"citation": "Cole, Thomas, and Elizabeth Ourusoff. \u201cView of Florence from San Miniato.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 49, no. 1 (January 1962): 12\u201319.", "page_number": "Mentioned and reproduced: p. 12-19, fig. 1", "url": "http://www.jstor.org/stable/25142486"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 184", "url": "https://archive.org/details/CMAHandbook1966/page/n208"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 184", "url": "https://archive.org/details/CMAHandbook1969/page/n208"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 228", "url": "https://archive.org/details/CMAHandbook1978/page/n248"}, {"citation": "Adams, Henry. <em>What's American about American art?: a gallery tour in the Cleveland Museum of Art. </em>Cleveland: Cleveland Museum of Art, 2008.", "page_number": "Reproduced: p. 82 - 83", "url": ""}, {"citation": "Adrean, Louis V. and Goldman, Victoria Sears. \u201cProvenance Research.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>54, no. 6 (November/December 2014): 10-11.", "page_number": "Reproduced: p. 10; Mentioned: p. 11", "url": "https://archive.org/details/CMAMM2014-06"}, {"citation": "Simpson, Marc. \"I like ambiguities and detest great glares: Henry James and American Paintings.\" In <em>Henry James and American Painting.</em> 48-97. University Park, Pennsylvania: The Pennsylvania State University Press; New York, New York: The Morgan Library &amp; Museum, 2017.", "page_number": "Reproduced: p. 51, fig.1; Mentioned: P. 50-52", "url": null}, {"citation": "Kornhauser, Elizabeth Mankin. \"Italy: The Grand Tour.\" In <em>Thomas Cole's Journey: Atlantic Crossings</em>. Elizabeth Mankin Kornhauser and Tim Barringer, 179-193. New York : The Metropolitan Museum of Art, 2018.", "page_number": "Reproduced: p. 191, cat. 45; Mention: p. 191 & 193", "url": null}, {"citation": "Kornhauser, Elizabeth Mankin. \"Re-examining Thomas Cole.\"<em> The Magazine Antiques </em>185, no. 1 (January/February 2018): 140-147.", "page_number": "Mentioned, p. 146; reproduced, p. 140", "url": null}], "url": "https://clevelandart.org/art/1961.39", "images": {"annotation": "Oil painting from a viewpoint of the city of Florence, the sun setting over the mountains in the background, casting orange rooftops in golden light. On our left, a river cuts through the city. On our right rises the orange dome and bell tower of the Duomo, or cathedral. Left of the cathedral stands Palazzo Vecchio's castle-like structure with a single tower. In the foreground people and goats relax in front of the overlook's wall.", "web": {"url": "https://openaccess-cdn.clevelandart.org/1961.39/1961.39_web.jpg", "width": "900", "height": "554", "filesize": "160620", "filename": "1961.39_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1961.39/1961.39_print.jpg", "width": "3400", "height": "2093", "filesize": "2083307", "filename": "1961.39_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1961.39/1961.39_full.tif", "width": "7570", "height": "4659", "filesize": "105833740", "filename": "1961.39_full.tif"}}, "alternate_images": [{"web": {"url": "https://openaccess-cdn.clevelandart.org/1961.39/1961.39_alt0_web.jpg", "width": "900", "height": "554", "filesize": "125494"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1961.39/1961.39_alt0_print.jpg", "width": "3400", "height": "2093", "filesize": "1430133"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1961.39/1961.39_alt0_full.tif", "width": "15151", "height": "9328", "filesize": "424013540"}, "date_created": "2018-10-24T12:02:25", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1961.39/1961.39_alt1_web.jpg", "width": "900", "height": "559", "filesize": "94506"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1961.39/1961.39_alt1_print.jpg", "width": "3400", "height": "2110", "filesize": "1106868"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1961.39/1961.39_alt1_full.tif", "width": "7727", "height": "4795", "filesize": "111180064"}, "date_created": "2018-10-24T13:04:22", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1961.39/1961.39_alt2_web.jpg", "width": "1263", "height": "779", "filesize": "646464"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1961.39/1961.39_alt2_print.jpg", "width": "3400", "height": "2097", "filesize": "4569404"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1961.39/1961.39_alt2_full.tif", "width": "5000", "height": "3084", "filesize": "46283648"}, "annotation": ""}], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Baker & Hostetler LLP Gallery", "athena_id": 136911, "creators": [{"id": 2659, "description": "Thomas Cole (American, born England,1801\u20131848)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1801", "death_year": "1848", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1961-02-20T00:00:00", "sortable_date": 1837, "date_added_to_oa": null, "date_text": "1837", "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": ["View of Florence from San Miniato"], "is_highlight": false, "updated_at": "2026-10-13 20:43:54.296000"}, {"id": 110180, "accession_number": "1928.8", "share_license_status": "CC0", "tombstone": "The Race Track (Death on a Pale Horse), c. 1896\u20131908. Albert Pinkham Ryder (American, 1847\u20131917). Oil on canvas; framed: 84.5 x 102 x 6.5 cm (33 1/4 x 40 3/16 x 2 9/16 in.); unframed: 70.5 x 90 cm (27 3/4 x 35 7/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1928.8", "current_location": "207 American Realism", "title": "The Race Track (Death on a Pale Horse)", "creation_date": "c. 1896\u20131908", "creation_date_earliest": 1896, "creation_date_latest": 1908, "artists_tags": ["male"], "culture": ["United States"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 84.5 x 102 x 6.5 cm (33 1/4 x 40 3/16 x 2 9/16 in.); Unframed: 70.5 x 90 cm (27 3/4 x 35 7/16 in.)", "dimensions": {"framed": {"height": 0.845, "height_inch": 33, "height_inch_fraction": 0.25, "width": 1.02, "width_inch": 40, "width_inch_fraction": 0.1875, "depth": 0.065, "depth_inch": 2, "depth_inch_fraction": 0.5625}, "unframed": {"height": 0.705, "height_inch": 27, "height_inch_fraction": 0.75, "width": 0.9, "width_inch": 35, "width_inch_fraction": 0.4375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower left: \"A. P. Ryder\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 312517, "title": "The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition", "description": "<i>The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 26-October 4, 1936).", "opening_date": "1936-06-26T04:00:00"}, {"id": 312462, "title": "Exhibition of American Painting from 1860 Until Today", "description": "<i>Exhibition of American Painting from 1860 Until Today</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-October 4, 1937).", "opening_date": "1937-06-23T04:00:00"}, {"id": 312428, "title": "Expressionism and Related Movements", "description": "<i>Expressionism and Related Movements</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 26-February 28, 1939).", "opening_date": "1939-01-26T05:00:00"}, {"id": 312341, "title": "The Silver Jubilee Exhibition", "description": "<i>The Silver Jubilee Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-September 28, 1941).", "opening_date": "1941-06-23T04:00:00"}, {"id": 311898, "title": "35th Anniversary Exhibition", "description": "<i>35th Anniversary Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 20-September 30, 1951).", "opening_date": "1951-06-20T04:00:00"}, {"id": 314043, "title": "Art of the United States: 1670-1966", "description": "<i>Art of the United States: 1670-1966</i>. Whitney Museum of American Art, New York, NY (organizer) (September 28-November 27, 1966).", "opening_date": "1966-09-28T04:00:00"}, {"id": 302330, "title": "Heritage and Horizon: American Painting 1776 - 1976", "description": "<i>Heritage and Horizon: American Painting 1776 - 1976</i>. Buffalo AKG Art Museum, Buffalo, NY (organizer) (March 7-April 11, 1976); The Detroit Institute of Arts, Detroit, MI (May 2-June 13, 1976); The Toledo Museum of Art, Toledo, OH (July 4-August 15, 1976); The Cleveland Museum of Art, Cleveland, OH (September 8-October 10, 1976).", "opening_date": "1976-03-07T05:00:00"}, {"id": 443572, "title": "Kaleidoscope of American Painting, Eighteenth and Nineteenth Centuries", "description": "<i>Kaleidoscope of American Painting, Eighteenth and Nineteenth Centuries</i>. William Rockhill Nelson Gallery, Kansas City, MO (organizer) (December 1, 1977-January 22, 1978).", "opening_date": "1977-12-01T05:00:00"}, {"id": 188842, "title": "Conserving the Past for the Future", "description": "<i>Conserving the Past for the Future</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 4-May 6, 2001).", "opening_date": "2001-03-04T00:00:00"}, {"id": 184052, "title": "Cleveland Collects American Art of the Gilded Age", "description": "<i>Cleveland Collects American Art of the Gilded Age</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 23-May 18, 2003).", "opening_date": "2003-02-23T00:00:00"}], "legacy": [{"description": "New York, Metropolitan Museum of Art, Loan Exhibition of the Works of Albert P. Ryder (11 March - 14 April 1918), cat. no. 48, pl. 48.", "opening_date": "1918-03-11T00:00:00"}, {"description": "New York, The Metropolitan Museum of Art (1918\u20131924).", "opening_date": "1918-01-01T00:00:00"}, {"description": "New York, Anderson Galleries, American Art from the Collections of Members of the Associated Dealers in American Painting (8 - 26 February 1927).", "opening_date": "1927-02-08T00:00:00"}, {"description": "Cleveland, Ohio, Cleveland Museum of Art, Memorial Exhibition of Paintings by Thomas Eakins, Albert P. Ryder, and J. Alden Weir (1928).", "opening_date": "1928-01-01T00:00:00"}, {"description": "New York, The Museum of Modern Art, Sixth Loan Exhibition: Winslow Homer, Albert P. Ryder, Thomas Eakins (May 1930), no. 61, p. 61.", "opening_date": "1930-05-01T00:00:00"}, {"description": "New York, The Metropolitan Museum of Art, The Taste of Today in Masterpieces of Painting Before 1900 (10 July - 2 October 1932).", "opening_date": "1932-07-10T00:00:00"}, {"description": "Chicago, Art Institute of Chicago, The Century of Progress Exhibition (1 June - 1 November 1933), no. 475.", "opening_date": "1933-06-01T00:00:00"}, {"description": "Paris, Mus\u00e9e du Jeu de Paume, Trois Si\u00e8cles d'Art aux \u00c9tats-Unis (May - July 1938), no. 144.", "opening_date": "1938-05-01T00:00:00"}, {"description": "New York, The Museum of Modern Art, Art in Our Time: The Tenth Anniversary Exhibition of The Museum of Modern Art (April - October 1939), cat. no. 26, pl. 26.", "opening_date": "1939-04-01T00:00:00"}, {"description": "New York, M. Knoedler &amp; Co., Two American Romantics of the Nineteenth Century: Robert Loftin Newman 1827-1912, Albert Pinkham Ryder 1847 - 1917 (13 November - 2 December 1939), no. 9.", "opening_date": "1939-11-13T00:00:00"}, {"description": "Hartford, Connecticut, Wadsworth Atheneum, Night Scenes (15 February - 7 March 1940), no. 56.", "opening_date": "1940-02-15T00:00:00"}, {"description": "Pittsburgh, Carnegie Institute, Survey of American Painting (24 October - 15 December 1940), cat. no. 205 (not ill.)", "opening_date": "1940-10-24T00:00:00"}, {"description": "London, The Tate Gallery, American Painting: from the Eighteenth Century to the Present Day (Summer 1946), cat. no. 178.", "opening_date": "1946-01-01T00:00:00"}, {"description": "New York, Whitney Museum of American Art, Ryder Centenary Exhibition (18 October - 30 November 1947), no. 31, ill. p. 34.", "opening_date": "1947-10-18T00:00:00"}, {"description": "Philadelphia, Philadelphia Museum of Art, Diamond Jubilee Exhibition: Masterpieces of American Painting (4 November 1950 - 11 February 51); no. 62.", "opening_date": "1950-11-04T00:00:00"}, {"description": "New York, National Academy of Design, The American Tradition Exhibition of Paintings (3 December - 16 December1951), no. 120, ill. p. 44.", "opening_date": "1951-01-01T00:00:00"}, {"description": "Buffalo, New York, Albright Art Gallery, Expressionism in American Painting (10 May - 29 June 1952), no. 4, ill. p. 13.", "opening_date": "1952-05-10T00:00:00"}, {"description": "Frankfurt, St\u00e4delsches Kunstinstitut, Hundert Jahre Amerikanische Malerei 1800-1900, An Exhibition Circulated by the American Federation of Arts (14 March - 3 May 1953); traveled to M\u00fcnchen, Bayerische Staatsgemaldesammlungen (15 May - 28 June 1953); traveled to Hamburg, Kunstalle (18 July - 30 August 1953), cat. no. 78, p. 34, ill. p. 21.", "opening_date": "1953-03-14T00:00:00"}, {"description": "Rome, Galleria Nazionale d'Arte Moderna, Mostra di Pittura Americana del XIX Secolo (19 January - 7 February 1954), cat. no. 53, pl. 19.", "opening_date": "1954-01-19T00:00:00"}, {"description": "New York, Whitney Museum of American Art, American Painting in the Nineteenth Century (1954), cat. no. 53.", "opening_date": "1954-01-01T00:00:00"}, {"description": "Washington, D. C., The Corcoran Gallery, The American Muse (1959), cat. no. 63.", "opening_date": "1959-01-01T00:00:00"}, {"description": "Buffalo, New York, Albright-Knox Art Gallery, Heritage and Horizon: American Painting 1776 - 1976 (6 March - 11 April 1976), cat. no. 26; traveled to Detroit, Detroit Institute of Arts (5 May - 13 June 1976); traveled to Toledo, Toledo Museum of Art (4 July - 15 August 1976); traveled to Cleveland, Cleveland Museum of Art (8 September - 10 October 1976).", "opening_date": "1976-03-06T00:00:00"}, {"description": "Kansas City, Missouri, William Rockhill Nelson Gallery of Art, Kaleidoscope of American Painting, Eighteenth and Nineteenth Centuries (2 December 1977 - 22 January 1978), no. 37, ill. p. 34.", "opening_date": "1977-12-02T00:00:00"}, {"description": "Washington, D.C., National Museum of American Art, The Art of Albert Pinkham Ryder (6 April - 29 July 1990); traveled to Brooklyn, Brooklyn Museum of Art (14 September 1990 - 8 January 1991); exhibition catalog published for the NMAA by the Smithsonian Institution Press, Washington, 1989), p.l 98, fig 86, cat. no. 51, p. 275.", "opening_date": "1990-04-06T00:00:00"}]}, "provenance": [{"description": "Albert Pinkham Ryder [1847-1914], New York, NY, sold to Louis Lehmeier", "citations": [], "footnotes": null, "date": "c. 1896\u20131906", "sortorder": 1}, {"description": "Louis Lehmeier, returned to the artist", "citations": [], "footnotes": ["<div><!--block-->1It is unclear why Lehmeier, an acquaintance of Ryder, returned the painting to the artist.</div>"], "date": "1906\u2013by 1913", "sortorder": 2}, {"description": "Albert Pinkham Ryder, probably sold to Albert T. Sanden", "citations": [], "footnotes": null, "date": "After 1906\u2013by 1913", "sortorder": 3}, {"description": "Albert T. Sanden, New York, NY", "citations": [], "footnotes": ["<div><!--block-->1Sanden, one of Ryder's closest friends, owned 11 paintings by the artist, most of which he purchased directly from the artist.&nbsp; Since Lehmeier returned this painting to Ryder, it is probable that this painting was one of them.</div>"], "date": "By 1913\u20131924", "sortorder": 4}, {"description": "(Ferargil Galleries, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": ["<div><!--block-->1Thomas H. Russell of Ferargil Galleries wrote to Margaret Evans of the Butler Institute of American Art that they had just acquired a group of Ryder paintings, including \"The Race Track,\" known as the \"Sanden pictures.\"</div>"], "date": "1924", "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, Ohio", "citations": [], "footnotes": null, "date": "1928\u2013", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1931.27"], "did_you_know": "Counterclockwise horse racing in the United States was not standardized until the 1920s.", "early_education_description": null, "artlens_description": null, "description": "Ryder\u2019s subject was inspired by a horse race that took place in New York during 1888. One of the artist\u2019s friends wagered $500 on the race and then died by suicide after the horse lost. Medieval symbolism infuses the composition: death appears as a skeleton on horseback holding a scythe with which it cuts down the living, while a snake\u2014a sign of temptation and evil\u2014slithers in the foreground. An intense man, Ryder worked on the painting for several years and was deeply reluctant to part with it.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60513294"], "internet_archive": ["https://archive.org/details/clevelandart-1928.8-the-race-track-death"]}, "citations": [{"citation": "<em>The Art Digest</em> (Feb. 1, 1928):2.", "page_number": null, "url": null}, {"citation": "<em>The Art Digest</em> (Feb. 1, 1928): 2.", "page_number": null, "url": null}, {"citation": "Zachary Ross, \u201cLinked by Nervousness: Albert Pinkham Ryder and Dr. Albert T. Sanden,\u201d <em>American Art</em> 17.2 (Summer 2003): 86-96.", "page_number": null, "url": null}, {"citation": "Sophie G. Lehmaier, letter, June 26, 1947, Goodrich, Lloyd and Edith Havens Papers Relating to Albert Pinkham Ryder, #F32, Special Collections, University of Delaware Library.", "page_number": null, "url": null}, {"citation": "Davis, John and Michael Leja, <em>Art of the United States 1750-2000: Primary Sources.</em> (Chicago: University of Chicago Press, 2020).", "page_number": "Mentioned and reproduced, p. 219.", "url": ""}, {"citation": "Blakelock, Ralph Albert, Sheldon Memorial Art Gallery, New Jersey State Museum, and Nebraska Art Association. Ralph Albert Blakelock, 1847-1919 : [Exhibition] January 14-February 9, 1975, Sheldon Memorial Art Gallery, University of Nebraska, Lincoln, Nebraska [and] May 4-June 7, 1975, New Jersey State Museum, Trenton, New Jersey. [Lincoln]: [Nebraska Art Association], 1974.", "page_number": "Mentioned p. 13.", "url": ""}, {"citation": "Vincent, Glyn, and Ralph Albert Blakelock. The Unknown Night : The Madness and Genius of R.A. Blakelock, an American Painter. 1st ed. New York: Grove Press, 2003.", "page_number": "Mentioned p. 157.", "url": ""}, {"citation": "Gibran, Kahlil, Suheil B. Bushrui, Tania Sammons, and Telfair Museum of Art. <em>The Art of Kahlil Gibran at Telfair Museums.</em> Savannah, Georgia: Telfair Museum of Art, 2010.", "page_number": "Mentioned p. 14; reproduced p. 15.", "url": ""}, {"citation": "Kazarian, Choghakate. \"Unquicken the Pace: Albert Pinkham Ryder's Ripening Paintings.\" Ph.D. dissertation, Courtald Institute of Art, London, 2024.", "page_number": "Mentioned vol. 1, pp. 136-41, 155, 177, 179; illustrated, vol. 2, p. 49.", "url": ""}, {"citation": "Anderson, Sherwood. <em>Les Chevaux de L\u2019adolescence : Nouvelles. </em>Monaco: Rocher, 2006.", "page_number": "Reproduced, cover (detail).", "url": ""}, {"citation": "Novak, Barbara. <em>Voyages of the Self : Pairs, Parallels, and Patterns in American Art and Literature.</em> Oxford: Oxford University Press, 2007. Accessed December 29, 2025.", "page_number": "Mentioned, pp. 114, 128; reproduced, p. 115.", "url": ""}, {"citation": "Davis, John, Michael Leja. <em>Art of the United States, 1750-2000: Primary Sources. </em>Edited by Francesca Rose. Chicago, Illinois: Terra Foundation for American Art, 2020.", "page_number": "Mentioned and reproduced, p. 219.", "url": ""}, {"citation": "", "page_number": "Mentioned, p. 65; reproduced, p. 64-65.", "url": ""}, {"citation": "David Franklin, and C. Griffith Mann. <em>Treasures of the Cleveland Museum of Art. </em>Cleveland, OH, London: Cleveland Museum of Art ; in association with Scala Publishers, 2012.", "page_number": "Mentioned, p. 282; reproduced, p. 283.", "url": ""}, {"citation": "Grant, Simon, ed. <em>In My View: Personal Reflections on Art by Today\u2019s Leading Artists.</em> London: Thames &amp; Hudson, 2012.", "page_number": "Mentioned, p. 100-101; reproduced, p. 101", "url": ""}, {"citation": "Milliken, William M., \"Superb Art Display Marks Cleveland Museum's 20th Anniversary,\" <em>Art Digest</em> 10 (July 1, 1936).", "page_number": "Reproduced, p. 11.", "url": ""}, {"citation": "W. M. M. \u201c\u2018The Race Track,\u2019 or \u2018Death on a Pale Horse\u2019 by Albert Pinkham Ryder.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 15, no. 3 (March 1928): 65\u201371.", "page_number": "Mentioned: P. 65-71; Reproduced: P. 67", "url": "http://www.jstor.org/stable/25137113"}, {"citation": "Burroughs, Alan. <em>Limners and Likenesses; Three Centuries of American Painting.</em> Cambridge, Mass: Harvard University Press, 1936.", "page_number": "Mentioned: P. 155-156", "url": ""}, {"citation": "Cleveland Museum of Art. <em>Catalogue of an Exhibition of American Painting from 1860 until Today at the Cleveland Museum of Art.</em> [Cleveland]: [Printed by the Artcraft Printing Co.], 1937.", "page_number": "Mentioned: p. 37-38, no. 164; Reproduced: pl. V", "url": ""}, {"citation": "Milliken, William M. \u201cAmerican Painting from 1860 until Today.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 24, no. 6 (June 1937): 96\u201398.", "page_number": "Mentioned: P. 97", "url": "http://www.jstor.org/stable/25137854"}, {"citation": "Kent, Rockwell, ed. <em>World-Famous Paintings.</em> New York: Wise &amp; Co., Inc, 1939.", "page_number": "Reproduced: pl. 96", "url": null}, {"citation": "Francis, Henry. \"Loans to Important Exhibitions.\" <em>The Bulletin of the Cleveland Museum of Art </em>26, no. 7 (July 1939): 123", "page_number": "Mentioned: p. 123", "url": "https://www.jstor.org/stable/25138029"}, {"citation": "Milliken, William. \"Silver Jubilee Exhibition.\" <em>The Bulletin of the Cleveland Museum of Art </em>28, no.6 (June 1941): 88-108", "page_number": "Mentioned: p. 91", "url": "https://www.jstor.org/stable/25140932"}, {"citation": "<em>Paintings in the Cleveland Museum of Art.</em> [Cleveland]: The Cleveland Museum of Art, 1945.", "page_number": "Reproduced: p. 15", "url": "https://archive.org/details/CMAPaintings1945/page/n23"}, {"citation": "The Cleveland Museum of Art. <em>The Cleveland Museum of Art Handbook.</em> Cleveland, OH: The Cleveland Museum of Art, 1958.", "page_number": "Mentioned and Reproduced: cat. no. 542", "url": "https://archive.org/details/CMAHandbook1958/page/n100"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 188", "url": "https://archive.org/details/CMAHandbook1966/page/n212"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 188", "url": "https://archive.org/details/CMAHandbook1969/page/n212"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 233", "url": "https://archive.org/details/CMAHandbook1978/page/n253"}, {"citation": "Kitaj, R. B., and Timothy Hyman. \"A Return to London\" IN <em>Kitaj Paintings, Drawings, Pastels.</em> John Ashebury, Joe Shannon, Jane Livingston, 41. New York, N.Y.: Thames and Hudson, 1983.", "page_number": "Mentioned: p. 41", "url": null}, {"citation": "Cleveland Museum of Art. <em>Interpretations: Sixty-Five Works from the Cleveland Museum of Art</em>. Cleveland, Ohio: Cleveland Museum of Art, 1991.", "page_number": "Mentioned and Reproduced: no. 37", "url": ""}, {"citation": "Gardner, Helen, Richard G. Tansey and Fred S. Kleiner.<em> Gardner's Art Through the Ages</em>. Fort Worth: Harcourt Brace College Publishers, 1996.", "page_number": "Reproduced: p. 1009, fig. 26-87", "url": null}, {"citation": "Dijkstra, Bram. <em>American Expressionism: Art and Social Change, 1920-1950. </em>New York: H.N. Abrams, in association with the Columbus Museum of Art, 2003.", "page_number": "Mentioned and Reproduced: P. 67-68, fig. 18", "url": ""}, {"citation": "Novak, Barbara. <em>American Painting of the Nineteenth Century: Realism, Idealism, and the American Experience</em>. Oxford; New York: Oxford University Press, 2007.", "page_number": "Mentioned and Reproduced: P. 176-177, fig. 12.1", "url": ""}, {"citation": "Adams, Henry. <em>What's American About American Art?: A Gallery Tour in the Cleveland Museum of Art. </em>Cleveland: Cleveland Museum of Art, 2008.", "page_number": "Mentioned and reproduced: P. 10, fig. 4, 94-95", "url": ""}, {"citation": "Wilson, Kristina. <em>The Modern Eye: Stieglitz, MoMA, and the Art of the Exhibition, 1925-1934</em>. New Haven: Yale University Press, 2009.", "page_number": "Mentioned and Reproduced: P. 123", "url": ""}, {"citation": "Cleveland Museum of Art, David Franklin, and C. Griffith Mann. <em>Treasures from the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art, 2012.", "page_number": "Mentioned and reproduced: P. 282-283", "url": ""}, {"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. 53", "url": ""}, {"citation": "Kim, Miri. \"\"Right Matter in the Right Place\": The Paintings of Albert Pinkham Ryder.\" <em>Center 35: Record of Activities and Research Reports </em>(June 2014-May 2015): 112-115.", "page_number": "Mentioned: p. 114; reproduced: p. 112", "url": null}, {"citation": "Moore, John L., Esther Jun, Clodagh Keogh, William H. Robinson, Danni Shen, Enid Shomer, and Reto Thu\u0308ring. Demise: Rina Banerjee, Esperanza Corte\u0301s, Jae Rhim Lee, Brian Maguire, Paolo Pelosini, Levent Tuncer. 2018, 4.", "page_number": "Mentioned and reproduced: pp. 4-7.", "url": ""}, {"citation": "Arendsee, M., and M. Steinman-Arendsee. \"Take the CAN disability aesthetics tour, at the Cleveland Museum of art.\" <em>CAN Journal</em> (Winter 2019/20): 76-87.", "page_number": "Reproduced & mentioned: p. 80", "url": null}, {"citation": "McCree, J. Woodrow. Washington Irving's Critique of American Culture: Sketching a Vision of World Citizenship. 2021.", "page_number": "Mentioned and reproduced: p. 133, fig. 5.1", "url": ""}, {"citation": "Cleveland Museum of Art, and David Franklin. <em>The Cleveland Museum of Art.</em> London: Scala Arts &amp; Heritage Publishers Ltd, 2012.", "page_number": "Mentioned and Reproduced: P. 64-65", "url": ""}, {"citation": "Kazarian, Choghakate. \"Unquicken the Pace: Albert Pinkham Ryder\u2019s Ripening Paintings.\" PhD diss., Courtauld Institute of Art, 2024.", "page_number": "Reproduced: p. 49, Vol. II; Mentioned: p. 136-140, fig. 36, Vol. I", "url": ""}], "url": "https://clevelandart.org/art/1928.8", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1928.8/1928.8_web.jpg", "width": "900", "height": "711", "filesize": "190928", "filename": "1928.8_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1928.8/1928.8_print.jpg", "width": "3400", "height": "2685", "filesize": "3014421", "filename": "1928.8_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1928.8/1928.8_full.tif", "width": "14577", "height": "11511", "filesize": "503415724", "filename": "1928.8_full.tif"}}, "alternate_images": [{"web": {"url": "https://openaccess-cdn.clevelandart.org/1928.8/1928.8_alt0_web.jpg", "width": "900", "height": "743", "filesize": "202756"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1928.8/1928.8_alt0_print.jpg", "width": "3400", "height": "2807", "filesize": "2426444"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1928.8/1928.8_alt0_full.tif", "width": "7179", "height": "5926", "filesize": "127658884"}, "date_created": "2015-05-11T12:28:52", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1928.8/1928.8_alt1_web.jpg", "width": "900", "height": "781", "filesize": "201007"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1928.8/1928.8_alt1_print.jpg", "width": "3400", "height": "2952", "filesize": "2685028"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1928.8/1928.8_alt1_full.tif", "width": "6259", "height": "5435", "filesize": "102082984"}, "date_created": "2015-05-11T12:47:13", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1928.8/1928.8_alt2_web.jpg", "width": "1074", "height": "893", "filesize": "820469"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1928.8/1928.8_alt2_print.jpg", "width": "3400", "height": "2826", "filesize": "8179526"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1928.8/1928.8_alt2_full.tif", "width": "3829", "height": "3183", "filesize": "36605784"}, "date_created": "2008-08-13T14:38:31", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1928.8/1928.8_alt3_web.jpg", "width": "1136", "height": "893", "filesize": "799109"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1928.8/1928.8_alt3_print.jpg", "width": "3400", "height": "2673", "filesize": "7530476"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1928.8/1928.8_alt3_full.tif", "width": "7242", "height": "5694", "filesize": "123742276"}, "date_created": "2004-08-23T19:15:20", "annotation": ""}], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "The Payne Fund Gallery", "athena_id": 110180, "creators": [{"id": 3267, "description": "Albert Pinkham Ryder (American, 1847\u20131917)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1847", "death_year": "1917", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1928-01-06T00:00:00", "sortable_date": 1896, "date_added_to_oa": null, "date_text": "c. 1896\u20131908", "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": true, "updated_at": "2026-10-16 18:36:03.057000"}, {"id": 102578, "accession_number": "1921.1239", "share_license_status": "CC0", "tombstone": "Portrait of Dora Wheeler, 1882\u201383. William Merritt Chase (American, 1849\u20131916). Oil on canvas; framed: 180.6 x 188.6 x 11 cm (71 1/8 x 74 1/4 x 4 5/16 in.); unframed: 159.8 x 166.4 cm (62 15/16 x 65 1/2 in.). The Cleveland Museum of Art, Gift of Mrs. Boudinot Keith in memory of  Mr. and Mrs. J. H. Wade, 1921.1239", "current_location": "208 American Gilded Age and Realism", "title": "Portrait of Dora Wheeler", "creation_date": "1882\u201383", "creation_date_earliest": 1882, "creation_date_latest": 1883, "artists_tags": ["male"], "culture": ["United States"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 180.6 x 188.6 x 11 cm (71 1/8 x 74 1/4 x 4 5/16 in.); Unframed: 159.8 x 166.4 cm (62 15/16 x 65 1/2 in.)", "dimensions": {"framed": {"height": 1.806, "height_inch": 71, "height_inch_fraction": 0.125, "width": 1.886, "width_inch": 74, "width_inch_fraction": 0.25, "depth": 0.11, "depth_inch": 4, "depth_inch_fraction": 0.3125}, "unframed": {"height": 1.598, "height_inch": 62, "height_inch_fraction": 0.9375, "width": 1.664, "width_inch": 65, "width_inch_fraction": 0.5}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower right:  WM M. Chase [WM in monogram]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 312517, "title": "The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition", "description": "<i>The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 26-October 4, 1936).", "opening_date": "1936-06-26T04:00:00"}, {"id": 312462, "title": "Exhibition of American Painting from 1860 Until Today", "description": "<i>Exhibition of American Painting from 1860 Until Today</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-October 4, 1937).", "opening_date": "1937-06-23T04:00:00"}, {"id": 360895, "title": "Painting Today and Yesterday in the United States", "description": "<i>Painting Today and Yesterday in the United States</i>. Santa Barbara Museum of Art, Santa Barbara, CA (organizer) (June 5-September 1, 1941).", "opening_date": "1941-06-05T04:00:00"}, {"id": 520746, "title": "The First West Coast Retrospective Exhibition of Paintings by William Merritt Chase", "description": "<i>The First West Coast Retrospective Exhibition of Paintings by William Merritt Chase</i>. Art, Design & Architecture Museum, UC Santa Barbara, Santa Barbara, CA (organizer) (October 6-November 8, 1964); Museum of Contemporary Art, San Diego, La Jolla, CA (December 1-27, 1964); Fine Arts Museum of San Francisco, Legion of Honor, San Francisco, CA (January 10-February 7, 1965); Seattle Art Museum, Seattle, WA (March 3-April 4, 1965); The Gallery of Modern Art, New York, NY (April 27-May 30, 1965).", "opening_date": "1964-10-06T04:00:00"}, {"id": 302330, "title": "Heritage and Horizon: American Painting 1776 - 1976", "description": "<i>Heritage and Horizon: American Painting 1776 - 1976</i>. Buffalo AKG Art Museum, Buffalo, NY (organizer) (March 7-April 11, 1976); The Detroit Institute of Arts, Detroit, MI (May 2-June 13, 1976); The Toledo Museum of Art, Toledo, OH (July 4-August 15, 1976); The Cleveland Museum of Art, Cleveland, OH (September 8-October 10, 1976).", "opening_date": "1976-03-07T05:00:00"}, {"id": 309658, "title": "Portraiture: The Image of the Individual", "description": "<i>Portraiture: The Image of the Individual</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 22, 1983-January 22, 1984).", "opening_date": "1983-11-22T05:00:00"}, {"id": 215111, "title": "American Impressionism, Images \"of hope, of life, of promise\"", "description": "<i>American Impressionism, Images \"of hope, of life, of promise\"</i>. Worcester Art Museum, Worcester, MA (organizer) (October 4, 1997-January 4, 1998).", "opening_date": "1997-10-04T00:00:00"}, {"id": 207232, "title": "Candace Wheeler:  The Art and Enterprise of American Design, 1875-1900", "description": "<i>Candace Wheeler:  The Art and Enterprise of American Design, 1875-1900</i>. The Metropolitan Museum of Art, New York, NY (organizer) (October 10, 2001-January 6, 2002).", "opening_date": "2001-10-10T00:00:00"}, {"id": 184052, "title": "Cleveland Collects American Art of the Gilded Age", "description": "<i>Cleveland Collects American Art of the Gilded Age</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 23-May 18, 2003).", "opening_date": "2003-02-23T00:00:00"}, {"id": 224230, "title": "After Whistler: The Artist and His Influence on American Painting", "description": "<i>After Whistler: The Artist and His Influence on American Painting</i>. High Museum of Art, Atlanta, GA (organizer) (November 22, 2003-February 8, 2004); The Detroit Institute of Arts, Detroit, MI (March 13-June 6, 2004).", "opening_date": "2003-11-15T00:00:00"}, {"id": 179631, "title": "CMA Highlights", "description": "<i>CMA Highlights</i>. The Cleveland Museum of Art (organizer) (June 21-September 11, 2005).", "opening_date": "2005-06-21T00:00:00"}, {"id": 213635, "title": "Americans in Paris", "description": "<i>Americans in Paris</i>. National Gallery, London, London, United Kingdom of Great Britain and Northern Ireland (organizer) (February 22-May 21, 2006); Museum of Fine Arts, Boston, Boston, MA (June 25-September 24, 2006); The Metropolitan Museum of Art, New York, NY (October 16, 2006-January 28, 2007).", "opening_date": "2006-02-22T00:00:00"}, {"id": 213855, "title": "William Merritt Chase: A Modern Master", "description": "<i>William Merritt Chase: A Modern Master</i>. The Phillips Collection, Washington, DC (organizer) (June 4-September 11, 2016); Museum of Fine Arts, Boston, Boston, MA (October 9, 2016-January 16, 2017).", "opening_date": "2016-06-04T00:00:00"}], "legacy": [{"description": "<em>Salon.</em> Paris, France (1883).", "opening_date": "1883-01-01T04:56:02Z"}, {"description": "<em>Internationale Kunstausstellung</em>, Crystal Palace, Munich, Germany (1883).", "opening_date": "1883-01-01T04:56:02Z"}, {"description": "<em>Exhibition of Pictures, Studies, and Sketches by Mr. Wm. M. Chase under the Auspices of the American Art Association. </em>Boston Art Club, (November 13\u2013December 4, 1886), cat. 10, as Portrait of Miss Dora Wheeler.", "opening_date": "1886-11-13T05:00:00Z"}, {"description": "<em>Paintings by Mr. William M. Chase. </em>Moore's Art Galleries, New York, (March 2\u20133, 1887), cat. 115, [lent by Miss. Wheeler].", "opening_date": "1887-03-02T05:00:00Z"}, {"description": "<em>Chase Centennial Exhibition: Commemorating the Birth of William Merritt Chase</em>, <em>November 1, 1849.</em> John Herron Art Institute, Indianapolis (1949), no. 15, illus.", "opening_date": "1949-01-01T00:00:00"}, {"description": "<em>The 75th Anniversary Exhibition of Painting &amp; Sculpture by 75 Artists Associated with the Art Students League of New York. </em>Metropolitan Museum of Art, New York (1951), xiii, no. 6, p. 1, illus. p. 6.", "opening_date": "1951-01-01T00:00:00"}, {"description": "<em>150th Anniversary Exhibition. </em>Pennsylvania Academy of the Fine Arts, Philadelphia (15 January\u201313 March 1955); cat. no. 59, not illus.", "opening_date": "1955-01-15T00:00:00"}, {"description": "<em>American Portraiture in the Grand Manner: 1720-1920. </em>Los Angeles, Los Angeles County Museum of Art (1981\u201382), traveled to Smithsonian Institution, National Portrait Gallery.", "opening_date": "1981-01-01T05:00:00Z"}, {"description": "<em>William Merritt Chase: Portraits. </em>Akron, Akron Art Museum (1982).", "opening_date": "1982-01-01T00:00:00"}, {"description": "<em>William Merritt Chase, 1849-1916: A Leading Spirit in American Art.</em> University of Washington Henry Art Gallery, Seattle (1983).", "opening_date": "1983-01-01T00:00:00"}, {"description": "<em>In Pursuit of Beauty: Americans and the Aesthetic Movement. </em>Metropolitan Museum of Art, New York (1986\u201387)", "opening_date": "1986-01-01T05:00:00Z"}, {"description": "<em> American Impressionism and Realism: The Painting of Modern Life, 1885-1915. </em>The Metropolitan Museum of Art, New York (1994).", "opening_date": "1994-01-01T00:00:00"}, {"description": "<em>Dennis Miller Bunker: American Impressionist. </em>Museum of Fine Arts, Boston (1994).", "opening_date": "1994-01-01T00:00:00"}, {"description": "<em>Annual Exhibition</em>. Calumet Club, New York, NY (1884).", "opening_date": "1884-01-01T05:00:00Z"}, {"description": "<em>National Academy of Design, Society of American Artists Seventh Annual Exhibition</em>, New York, NY (May 26-June 21, 1884).", "opening_date": "1884-05-26T05:00:00Z"}, {"description": "<em>Inter-State Industrial Exposition of Chicago Twelfth Annual Exhibition</em>. Art Hall Gallery D, Chicago, IL (September 3-October 18,1884).", "opening_date": "1884-09-03T05:00:00Z"}, {"description": "<em>Portraits of American Women, from Romanticism to Surrealism. </em>Portraits, Inc., New York (December 5\u201329, 1945); cat. no. 15.", "opening_date": "1945-12-05T05:00:00Z"}, {"description": "<em>Survey of American Painting.</em> Pittsburgh, Carnegie Institute (1940), no. 155, pl. 49.", "opening_date": "1940-01-01T05:00:00Z"}, {"description": "<em>William Merritt Chase: A Retrospective Exhibition. </em>The Parrish Art Museum, Southampton, Long Island, New York (1957), illus. p. 47, no. 31.", "opening_date": "1957-01-01T05:00:00Z"}]}, "provenance": [{"description": "Dora Wheeler, later Mrs. Boudinot Keith [1856-1940], New York, NY, by donation to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1883-1921", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, Ohio", "citations": [], "footnotes": [], "date": "1921-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Chase and Wheeler worked together to raise money for constructing the Statue of Liberty's pedestal.", "early_education_description": null, "artlens_description": null, "description": "Dora Wheeler became Chase's first student when he returned from overseas study in Munich and set up a teaching studio in New York. At the time, few American artists accepted women as private pupils. After her course of study, Wheeler joined her mother in launching a successful decorating firm, one of the first businesses in the country to be operated entirely by women. For the firm, she designed luxurious textiles, and the embroidered silk tapestry that fills the background in her portrait references her occupational interest. Chase's portrait was awarded a gold medal at an international exhibition of contemporary art in Munich in 1883, and later that year was also shown in Paris. At some later point, the painting was acquired by the sitter, who subsequently donated it to the museum.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60503334"], "internet_archive": ["https://archive.org/details/clevelandart-1921.1239-portrait-of-dora-whe"]}, "citations": [{"citation": "Stein, Roger B. \"The Aesthetic Craze.\" <em>ARTnews </em>48, no. 8 (December 1986): 3 ;100-105.", "page_number": "Reproduced: P. 3; Mentioned and Reproduced: P. 100", "url": ""}, {"citation": "Connor, Holly Pyne, Newark Museum, McNay Art Museum, and Frick Art &amp; Historical Center. <em>Off the Pedestal : New Women in the Art of Homer, Chase, and Sargent.</em> Newark, N.J., New Brunswick, N.J.: Newark Museum ; Rutgers University Press, 2006.", "page_number": "Mentioned, pp. 40-41; reproduced, fig. 25.", "url": ""}, {"citation": "Van Hook, Bailey, \"Decorative Images of American Women: The Aristocratic Aesthetic of the Late Nineteenth Century,\" <em>Smithsonian Studies in American Art</em> 4 (Winter 1990).", "page_number": "Mentioned, p. 53.", "url": ""}, {"citation": "Dominic Green, \"The Body Electric,\" <em>Art &amp; Antiques</em> (Summer 2016).", "page_number": "Mentioned, p. 91; reproduced, p. 89.", "url": ""}, {"citation": "Judith H. Dobrzynski, \"Between Old and New,\" <em>Wall Street Journal</em>, August 11, 2016.", "page_number": "Mentioned and reproduced, p. D4.", "url": ""}, {"citation": "Brownell, W. C. \"American Pictures at the Salon.\" <em>The Magazine of Art </em>6 (1883): 492-501.", "page_number": "Mentioned: P. 494-495", "url": null}, {"citation": "Dumas, F. G., Henry Houssaye, and Ludovic Baschet. <em>[Paris salon de ...]</em>. Paris, France: Liepmannssohn ed Dufour, 1883.", "page_number": "Reproduced: no. 506", "url": null}, {"citation": "Internationale Kunstausstellung. <em>Illustrierter Katalog der internationalen Kunstausstellung im ko\u0308nigl. Glaspalaste in Mu\u0308nchen</em>. Munchen, Germany : Knorr &amp; Hirth, 1883-1937", "page_number": "Reproduced: p. 347", "url": null}, {"citation": "Society of American Artists. <em>Catalogue of the Exhibition</em>. New York, NY: [Society of American Artists], 1800.", "page_number": "Reproduced: no. 24", "url": null}, {"citation": "<em>Catalogue of the Art Hall of the Inter-State Industrial Exposition of Chicago, 1884 : Twelfth Annual Exhibition Open from September 3d until October 18th</em>. Chicago, IL: Rand, McNally, 1884.", "page_number": "Reproduced: no. 354", "url": null}, {"citation": "\"Mr. William M. Chase's Art.\" <em>The Art Interchange </em>12, no. 13 (June 19, 1884): 148.", "page_number": "Mentioned: P. 148", "url": null}, {"citation": "Pecht. \"A German Critic on American Art.\" <em>The Art Amateur</em> 11, no. 4 (1884): 76-79.", "page_number": "Mentioned: P. 78", "url": "www.jstor.org/stable/25628198"}, {"citation": "\"The Brush.\" <em>Chicago Tribune. </em>(September 14, 1884): 17.", "page_number": "Mentioned: P. 17", "url": null}, {"citation": "\"A Boston Estimate of a New York Painter.\" <em>The Art Interchange </em>17, no. 12 (December 4, 1886): 179.", "page_number": "Mentioned: P. 179", "url": null}, {"citation": "Wheeler, Candace. <em>Yesterdays in a Busy Life</em>. New York: Harper, 1918.", "page_number": "Mentioned: P. 253", "url": null}, {"citation": "J.C.G. \"Painting by Chase Given to Cleveland.\" <em>American Art News</em> 20, no. 15 (Jan. 21, 1922): 5.", "page_number": "Mentioned: P. 5", "url": "http://www.jstor.org/stable/25589899"}, {"citation": "Milliken, W. M. \u201cPortrait of Miss Dora Wheeler by William Merritt Chase.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 9, no. 3 (1922): 39\u201342.", "page_number": "Reproduced: P. 37", "url": null}, {"citation": "Cortissoz, Royal. <em>American Artists</em>. New York: C. Scribner's Sons, 1923.", "page_number": "Reproduced: P. 166", "url": null}, {"citation": "Whiting, Frederic. \"The Cleveland Museum of Art.\" <em>Art and Archaeology </em>16 (November 1923): 187-194.", "page_number": "Reproduced: P. 191.", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 1925.", "page_number": "Mentioned and Reproduced: 32", "url": "https://archive.org/details/CMAHandbook_80839/page/n34"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 1928.", "page_number": "Mentioned and Reproduced: p. 41", "url": "https://archive.org/details/CMAHandbook1928/page/n45"}, {"citation": "Cleveland Museum of Art. Catalogue of the Twentieth Anniversary Exhibition of the Cleveland Museum of Art: The Official Art Exhibit of the Great Lakes Exposition : June Twenty-Sixth to October Fourth 1936. [Cleveland, Ohio]: [Cleveland Museum of Art], 1936.", "page_number": "no. 379", "url": null}, {"citation": "Cleveland Museum of Art. <em>Catalogue of an Exhibition of American Painting from 1860 until Today at the Cleveland Museum of Art.</em> [Cleveland]: [Printed by the Artcraft Printing Co.], 1937.", "page_number": "Mentioned: p. 16, no. 30;Reproduced: pl. XIV, no. 30", "url": null}, {"citation": "Lane, James W. \u201cThis YEAR the CARNEGIE NATIONAL: Pittsburgh\u2019s Brilliant Survey of 160 Years of U.S. Painting.\u201d <em>ARTnews</em> 39, no. 4 (October 26, 1940): 7\u201318.", "page_number": "Mentioned and reproduced: P. 15-16", "url": null}, {"citation": "Saint-Gaudens, Homer. <em>The American Artist and His Times</em>. New York: Dodd, Mead &amp; Company, 1941.", "page_number": "Reproduced: P. 185, pl. 33", "url": null}, {"citation": "Cleveland Museum of Art, and Henry Sayles Francis. <em>Paintings in the Cleveland Museum of Art</em>. Picture Book, No. 1. Cleveland: Cleveland Museum of Art, 1945.", "page_number": "Reproduced: P. 14", "url": "https://archive.org/details/CMAPaintings1945/mode/2up"}, {"citation": "<em>Paintings in the Cleveland Museum of Art.</em> [Cleveland]: The Cleveland Museum of Art, 1945.", "page_number": "Reproduced: p. 14", "url": "https://archive.org/details/CMAPaintings1945/page/n22"}, {"citation": "Flexner, James Thomas. \"The Great Chase.\" <em>ARTnews </em>48, no. 8 (December 1949): 32-34; 60.", "page_number": "Reproduced: P. 33; Mentioned: P. 34", "url": null}, {"citation": "The Cleveland Museum of Art. <em>The Cleveland Museum of Art Handbook.</em> Cleveland, OH: The Cleveland Museum of Art, 1958.", "page_number": "Mentioned and Reproduced: cat. no. 538", "url": "https://archive.org/details/CMAHandbook1958/page/n99"}, {"citation": "Neumeyer, A. \"Chase, William Merritt.\" <em>Kindlers Malerei Lexikon: 1000 Malersignaturen, 1200 farbige Reproducktionen, 3000 schwarzweisse Reproduktionen in sechs Ba\u0308nden.</em> Zu\u0308rich : Kindler Verlag, 1964.", "page_number": "Mentioned: Band I, P. 730", "url": null}, {"citation": "University of California, Santa Barbara. Art Gallery. <em>The First West Coast Retrospective Exhibition of Paintings by William Merritt Chase, 1849-1916: An Exhibition Organized by the Art Gallery, University of California, Santa Barbara, in Cooperation with La Jolla Museum of Art, La Jolla; California Palace of the Legion of Honor, San Francisco; Seattle Art Museum, Seattle; with a Final Presentation at the Gallery of Modern Art Including the Huntington Hartford Collection, New York; 1964-1965</em>. Santa Barbara, Calif, 1964.", "page_number": "", "url": ""}, {"citation": "Francis, Henry. \"Portraits by Wheeler and Chase.\" <em>The Bulletin of The</em> <em>Cleveland Museum of Art</em> LII, no. 1 (January, 1965):19-22.", "page_number": "Reproduced: p. 20, fig. 2", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 188", "url": "https://archive.org/details/CMAHandbook1966/page/n212"}, {"citation": "Wittke, Carl Frederick. <em>The First Fifty Years: The Cleveland Museum of Art, 1916-1966.</em> [Cleveland]: John Huntington Art and Polytechnic Trust, Cleveland Museum of Art, 1966.", "page_number": "Mentioned: P. 88", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 188", "url": "https://archive.org/details/CMAHandbook1969/page/n212"}, {"citation": "Milgrome, David. <em>The Art of William Merrit Chase</em>. 1970.", "page_number": "Mentioned: p. 74-76; Reproduced: p. p. 206", "url": null}, {"citation": "Flexner, James Thomas. <em>Nineteenth Century American Painting</em>. New York, NY: Putnam, 1970.", "page_number": "Reproduced: p. 166; Mentioned: p. 171", "url": null}, {"citation": "Flexner, James Thomas. <em>Nineteenth Century American Painting</em>. New York: Putnam, 1970.", "page_number": "Reproduced: P. 166; mentioned: P. 171", "url": null}, {"citation": "Wilmerding, John, and R. Peter Mooz. <em>The Genius of American Painting</em>. London. United Kingdom: Weidenfeld &amp; Nicolson, 1973.", "page_number": "Mentioned: p. 165-167; Reproduced: p. 166", "url": null}, {"citation": "Albright-Knox Art Gallery, Detroit Institute of Arts, and Toledo Museum of Art. <em>Heritage and Horizon: American Painting, 1776-1976. </em>[Toledo]: Toledo Museum of Art, 1976.", "page_number": "Reproduced: P. 43", "url": null}, {"citation": "Pisano, Ronald G. \u201cTeaching Career of William Merritt Chase.\u201d <em>American Artist</em> 40 (May 1976): 26-33, 63-66..", "page_number": "Mentioned: P. 28; reproduced: P. 30", "url": null}, {"citation": "Young, Mahonri Sharp. <em>American Realists, Homer to Hopper</em>. New York, NY: Watson-Guptill Publications, 1977.", "page_number": "Reproduced: p. 100", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 233", "url": "https://archive.org/details/CMAHandbook1978/page/n253"}, {"citation": "Marling, Karal Ann. \"Portrait of the Artist as a Young Woman: Miss Dora Wheeler.\" <em>The Bulletin of the Cleveland Museum of Art</em> 65, no. 2 (1978): 47-57.", "page_number": "Reproduced: P. 46; mentioned: P. 47-48", "url": "http://www.jstor.org/stable/25159564"}, {"citation": "\"Les Chronique des Arts.\" <em>Gazette des Beaux-Arts</em> (November 1978): 27.", "page_number": "Reproduced: P. 27, fig. 31", "url": null}, {"citation": "Pisano, Ronald G. <em>William Merritt Chase</em>. New York, NY: Watson-Guptill, 1979.", "page_number": "Mentioned: p. 8, 29: Reproduced: p. 29", "url": null}, {"citation": "Quick, Michael, Marvin S. Sadik, and William H. Gerdts. <em>American Portraiture in the Grand Manner, 1720-1920</em>. Los Angeles, CA: Los Angeles County Museum of Art, 1981.", "page_number": "Mentioned: p. 68; Reproduced: p. 69", "url": null}, {"citation": "Ludwig, Horst. <em>Mu\u0308nchner Maler im 19. Jahrhundert</em>. Mu\u0308nchen, Germany: Bruckmann, 1981.", "page_number": "Mentioned: p. 173-174; Reproduced: p. 173", "url": null}, {"citation": "<em>William Merritt Chase: Portraits, Akron Art Museum, 5 June-29 August, 1982</em>. Akron, Ohio (70 E. Market St., Akron 44308): The Museum, 1982.", "page_number": "Mentioned: p. 10, 12-14; Reproduced: P. 13", "url": null}, {"citation": "Betsky, Celia. \"In the Artists Studio.\" <em>Portfolio</em> 4 (January-February 1982): 38-39.", "page_number": "Reproduced: P. 39", "url": null}, {"citation": "Bienenstock, Jennifer A. Martin. <em>The Formation and Early Years of the Society of American Artists, 1877-1884</em>. 1983.", "page_number": "Mentioned: p. 163-183, 316, 405-407", "url": null}, {"citation": "Johnston, Sona. <em>American Paintings, 1750-1900, from the Collection of the Baltimore Museum of Art</em>. Baltimore, MD: The Museum, 1983.", "page_number": "Reproduced:.p. 69", "url": null}, {"citation": "Pisano, Ronald G. <em>A Leading Spirit in American Art: William Merritt Chase, 1849-1916</em>. Seattle, WA: Henry Art Gallery, University of Washington, 1983.", "page_number": "Mentioned: p. 63,175; Reproduced: p. 16, 172", "url": null}, {"citation": "Boyle, Richard J. <em>American Impressionism</em>. Boston, MA: New York Graphic Society, 1974.", "page_number": "Mentioned: P. 182-206; Reproduced: p. 185", "url": null}, {"citation": "Bolger, Doreen. <em>In Pursuit of Beauty: Americans and the Aesthetic Movement</em>. New York, NY: Metropolitan Museum of Art, 1986.", "page_number": "Mentioned: p. 41, 406-407; Reproduced: p. 325", "url": null}, {"citation": "Simon, Robin. <em>The Portrait in Britain and America: With a Biographical Dictionary of Portrait Painters, 1680-1914</em>. Oxford, United Kingdom: Phaidon, 1987.", "page_number": "Mentioned: p. 32; Reproduced: p. 45", "url": null}, {"citation": "Fink, Lois Marie. <em>American Art at the Nineteenth-Century Paris Salons</em>. Washington, DC.: National Museum of American Art, Smithsonian Institution, 1990.", "page_number": "Mentioned: p. 240, 329; Reproduced: p. 266", "url": null}, {"citation": "Bryant, Keith L. <em>William Merritt Chase, a Genteel Bohemian</em>. Columbia, MO: University of Missouri Press, 1991.", "page_number": "Mentioned: p. 102-104, 136; Reproduced: p. 103", "url": null}, {"citation": "Hiesinger, Ulrich W. <em>Impressionism in America: The Ten American Painters</em>. Munich, Germany: Prestel, 1991.", "page_number": "Reproduced: p, 81", "url": null}, {"citation": "Butor, Michel, Jennifer Martin, Claude Massu, Sarah Nichols, Alexandra Parigoris, Denys Riout, and David Travis. <em>L'Art des Etats-Unis</em>. Paris, France: Citadelles &amp; Mazenod, 1992.", "page_number": "Mentioned: p. 209-210; Reproduced: p. 548", "url": null}, {"citation": "Chong, Alan. <em>European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogue</em>. Cleveland,OH: Cleveland Museum of Art, 1993.", "page_number": "Reproduced: p. 36", "url": null}, {"citation": ".Weinberg, H. Barbara, Doreen Bolger, and David Park Curry. <em>American Impressionism and Realism: The Painting of Modern Life, 1885-1915</em>. New York, NY: Metropolitan Museum of Art, 1994.", "page_number": "Mentioned: p. 38-41; Reproduced: p.", "url": null}, {"citation": "Hirshler, Erica E. <em>Dennis Miller Bunker: American Impressionist</em>. Boston, MA: Museum of Fine Arts Boston, 1994.", "page_number": "Mentioned and reproduced: p. 46-47", "url": null}, {"citation": "Fuller, Margaret, and Donna Dickenson. <em>Woman in the Nineteenth Century and Other Writings</em>. Oxford, NY: Oxford University Press, 1994.", "page_number": "Reproduced: cover", "url": null}, {"citation": "Baigell, Matthew. <em>A Concise History of American Painting and Sculpture</em>. New York, NY: IconEditions, 1996.", "page_number": "Mentioned and reproduced: p. 161", "url": null}, {"citation": "Van Hook, Bailey. <em>Angels of Art: Women and Art in American Society, 1876-1914</em>. University Park, PA: Pennsylvania State University Press, 1996.", "page_number": "Mentioned: p. 49-67; Reproduced: p. 65", "url": null}, {"citation": "Brigham, David R. American Impressionism: Paintings of Promise. Worcester, Mass: Worcester Art Museum, 1997.", "page_number": "pp. 25-26, illus. p. 53, Pl. 13", "url": null}, {"citation": "Brigham, David R. <em>American Impressionism: Paintings of Promise</em>. Worcester, MA: Worcester Art Museum, 1997.", "page_number": "Mentioned: p. 25-26; Reproduced: p. 53", "url": null}, {"citation": "Turner, Jane. <em>Encyclopedia of American Art Before 1914</em>. New York, NY: Grove's Dictionaries, 2000.", "page_number": "Reproduced: p. 90", "url": null}, {"citation": "Groseclose, Barbara S. <em>Nineteenth-Century American Art</em>. New York, NY: Oxford University Press, 2000.", "page_number": "Mentioned: p. 49-59; Reproduced: p. 55", "url": null}, {"citation": "Peck, Amelia, and Carol Irish. Candace Wheeler: The Art and Enterprise of American Design, 1875-1900. New York: Metropolitan Museum of Art, 2001.", "page_number": "cat. no. 47, illus. p. 175", "url": "http://libmma.contentdm.oclc.org/cdm/ref/collection/p15324coll10/id/48949"}, {"citation": "May, Sally Ruth, Jane Takac, and Barbara J. Bradley. <em>Knockouts: A Pocket Guide</em>. Cleveland, OH: Cleveland Museum of Art, 2001.", "page_number": "Mentioned: p. 50-51; Reproduced: p. 50", "url": null}, {"citation": "Merrill, Linda, and James McNeill Whistler. After Whistler: The Artist and His Influence on American Painting. Atlanta: High Museum of Art, 2003.", "page_number": "exh. cat no. 22, p.150-151", "url": null}, {"citation": "Tinterow, Gary, Genevie\u0300ve Lacambre, and Deborah L. Rolda\u0301n. <em>Manet/Vela\u0301zquez: The French Taste for Spanish Painting</em>. New York, NY: Metropolitan Museum of Art, 2003.", "page_number": "Reproduced: p. 290, fig. 10.34", "url": null}, {"citation": "Merrill, Linda, and James McNeill Whistler. <em>After Whistler: The Artist and His Influence on American Painting</em>. Atlanta, GA: High Museum of Art, 2003.", "page_number": "Mentioned and reproduced: p. 150-151", "url": null}, {"citation": "Merrill, Linda, and James McNeill Whistler. <em>After Whistler: The Artist and His Influence on American Painting</em>. Atlanta, GA: High Museum of Art, 2003.", "page_number": "Mentioned and reproduced: p. 150-151", "url": null}, {"citation": "Curry, David Park. <em>James Mcneill Whistler: Uneasy Pieces</em>. Richmond, VA: Virginia Museum of Fine Arts in association with Quantuck Lane Press, 2004.", "page_number": "Mentioned: p. 164-219; Reproduced: p. 197", "url": null}, {"citation": "Weber, Bruce, Sarah Kate Gillespie, and William Merritt Chase. <em>Chase Inside and Out: the Aesthetic Interiors of William Merritt Chase</em>. New York, NY: Berry-Hill Galleries, 2004.", "page_number": "Mentioned: p. 32-34; Reproduced: p. 33", "url": null}, {"citation": "Adler, Kathleen, Erica E. Hirshler, H. Barbara Weinberg, David Park Curry, Rodolphe Rapetti, and Christopher Riopelle. Americans in Paris, 1860-1900. London: National Gallery, 2006.", "page_number": "pp. 34, 236, plate 14", "url": null}, {"citation": "Adler, Kathleen, Erica E. Hirshler, H. Barbara Weinberg, David Park Curry, Rodolphe Rapetti, and Christopher Riopelle. <em>Americans in Paris, 1860-1900</em>. London, United Kingdom: National Gallery, 2006.", "page_number": "Mentioned: p. 34, 236; Reproduced: p. 35", "url": null}, {"citation": "Connor, Holly Pyne. <em>Off the Pedestal: New Women in the Art of Homer, Chase, and Sargent</em>. Newark, NJ.: Newark Museum, 2006.", "page_number": "Mentioned: p. 40, 43; Reproduced: p. 44", "url": null}, {"citation": "Brooklyn Museum, Teresa A. Carbone, Barbara Dayer Gallati, and Linda S. Ferber. <em>American Paintings in the Brooklyn Museum: Artists Born by 1876</em>. New York, NY: Brooklyn Museum, 2006.", "page_number": "Mentioned:  p. 362,369", "url": null}, {"citation": "Pisano, Ronald G., William Merritt Chase, and D. Frederick Baker. <em>The Complete Catalogue of Known and Documented Work by William Merritt Chase (1849-1916)</em>. New Haven, CT: Yale University Press, 2006.", "page_number": "Mentioned: p. 27, 50-51; Reproduced: p. 50", "url": null}, {"citation": "Goldin, Marco. <em>America!: storie di pittura dal nuovo mondo</em>. Treviso, Italy : Linea d\u2019ombra libri, 2007.", "page_number": "Reproduced: p. 380", "url": null}, {"citation": "Gallati, Barbara Dayer, and Ortrud Westheider. <em>High Society: American Portraits of the Gilded Age : Bucerius Kunst Forum, Hamburg, June 7-August 31, 2008</em>. Munich, Germany: Hirmer, 2008.", "page_number": "Reproduced: p. 48, fig. 2", "url": null}, {"citation": "Miller, Angela L., Janet Catherine Berlo, Bryan Jay Wolf, and Jennifer L. Roberts. <em>American Encounters: Art, History, and Cultural Identity</em>. Upper Saddle River, NJ: Pearson Education, Inc., 2008.", "page_number": "Reproduced: p. 48, fig. 2", "url": null}, {"citation": "Rudolph, William Keyse, A. Kate Sheerin, Chloe Barnett, and Julian Onderdonk. <em>Julian Onderdonk: American Impressionist</em>. New Haven, CT: Yale University Press, 2008.", "page_number": "Mentioned: p. 17-18; Reproduced: p. 18", "url": null}, {"citation": "Hirshler, Erica E., <em>Sargent's Daughters: The Biography of a Painting</em>. Boston, MA: MFA Publications, 2009.", "page_number": "Reperoduced: p. 111", "url": null}, {"citation": "Ringelberg, Kirstin. <em>Redefining Gender in American Impressionist Studio Paintings: Work Place/Domestic Space</em>. Surrey, UK, England: Ashgate, 2010.", "page_number": "Mentioned: p. 87-88; Reproduced:  p. 87", "url": null}, {"citation": "Reason, Akela, and Thomas Eakins. <em>Thomas Eakins and the Uses of History</em>. Philadelphia, PA: University of Pennsylvania Press, 2010.", "page_number": "Reproduced: p. 78, fig. 31", "url": null}, {"citation": "Marter, Joan M. <em>The Grove Encyclopedia of American Art</em>. New York, NY: Oxford University Press, 2011.", "page_number": "Mentioned and reproduced: p. 445-446", "url": null}, {"citation": "Pohl, Frances K. <em>Framing America: A Social History of American Art</em>. New York, NY: Thames &amp; Hudson, 2012.", "page_number": "Reproduced: p. 289, fig. 5.38", "url": null}, {"citation": "Marozeau, Maureen, and Matthieu de Sainte-Croix. <em>Art: 365 histoires pour e\u0301pater la galerie</em>. Paris, France: La Martinie\u0300re, 2012.", "page_number": "Mentioned and reproduced: p. 36-37", "url": null}, {"citation": "Major, Judith K. <em>Mariana Griswold Van Rensselaer: A Landscape Critic in the Gilded Age</em>. Charlottesville, VA: University of Virginia Press, 2013.", "page_number": "Reproduced: p. 31", "url": ""}, {"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. 50", "url": ""}, {"citation": "Hirshler, Erica E. <em>William Merritt Chas</em>e. Boston, Mass.: MFA Publications, Museum of Fine Arts, 2016.", "page_number": "Mentioned pp. 27-28; reproduced: pp. 24-25, 33.", "url": null}, {"citation": "Smithgall, Elsa. <em>William Merritt Chase: A Modern Master.</em> Washington, D.C.: The Phillips Collection; New Haven; London: in association with Yale University Press, 2016.", "page_number": "Reproduced: p. 103, pl. 16", "url": null}, {"citation": "Green, Dominic. \"The Body Eclectic.\" <em>Art &amp; Antiques</em>, (Summer 2016): 88-93.", "page_number": "Reproduced: p. 89", "url": null}, {"citation": "Smithgall, Elsa. \"William Merritt Chase: A Modern Master\". <em>American Art Review</em>. 28, no.4 (Aug. 2016): 48-55, 111-112.", "page_number": "Reproduced: p. 53", "url": null}, {"citation": "Carr, Carolyn Kinder. <em>Sara Tyson Hallowell: Pioneer Curator and Art Advisor in the Gilded Age. </em>Washington, D.C.: Smithsonian Institution Scholarly Press, 2009.", "page_number": "Mentioned and Reproduced: p. 41", "url": ""}, {"citation": "Adams, Henry. <em>What's American About American Art?: A Gallery Tour in the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art, 2008.", "page_number": "Mentioned and reproduced: p. 104-105", "url": null}], "url": "https://clevelandart.org/art/1921.1239", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1921.1239/1921.1239_web.jpg", "width": "939", "height": "893", "filesize": "175673", "filename": "1921.1239_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1921.1239/1921.1239_print.jpg", "width": "3400", "height": "3254", "filesize": "8163185", "filename": "1921.1239_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1921.1239/1921.1239_full.tif", "width": "5000", "height": "4786", "filesize": "71824808", "filename": "1921.1239_full.tif"}}, "alternate_images": [], "creditline": "Gift of Mrs. Boudinot Keith in memory of  Mr. and Mrs. J. H. Wade", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "The Cleveland Foundation Gallery", "athena_id": 102578, "creators": [{"id": 3071, "description": "William Merritt Chase (American, 1849\u20131916)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1849", "death_year": "1916", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1921-11-17T00:00:00", "sortable_date": 1882, "date_added_to_oa": null, "date_text": "1882\u201383", "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": ["Portrait of Miss Dora Wheeler"], "is_highlight": true, "updated_at": "2026-10-20 11:25:16.372000"}, {"id": 151904, "accession_number": "1927.1984", "share_license_status": "CC0", "tombstone": "The Biglin Brothers Turning the Stake, 1873. Thomas Eakins (American, 1844\u20131916). Oil on canvas; framed: 117 x 167 x 6.5 cm (46 1/16 x 65 3/4 x 2 9/16 in.); unframed: 101.3 x 151.4 cm (39 7/8 x 59 5/8 in.). The Cleveland Museum of Art, Hinman B. Hurlbut Collection, 1927.1984", "current_location": "207 American Realism", "title": "The Biglin Brothers Turning the Stake", "creation_date": "1873", "creation_date_earliest": 1873, "creation_date_latest": 1873, "artists_tags": ["male"], "culture": ["United States"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 117 x 167 x 6.5 cm (46 1/16 x 65 3/4 x 2 9/16 in.); Unframed: 101.3 x 151.4 cm (39 7/8 x 59 5/8 in.)", "dimensions": {"framed": {"height": 1.17, "height_inch": 46, "height_inch_fraction": 0.0625, "width": 1.67, "width_inch": 65, "width_inch_fraction": 0.75, "depth": 0.065, "depth_inch": 2, "depth_inch_fraction": 0.5625}, "unframed": {"height": 1.013, "height_inch": 39, "height_inch_fraction": 0.875, "width": 1.514, "width_inch": 59, "width_inch_fraction": 0.625}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower left:  EAKINS 73.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 312517, "title": "The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition", "description": "<i>The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 26-October 4, 1936).", "opening_date": "1936-06-26T04:00:00"}, {"id": 312462, "title": "Exhibition of American Painting from 1860 Until Today", "description": "<i>Exhibition of American Painting from 1860 Until Today</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-October 4, 1937).", "opening_date": "1937-06-23T04:00:00"}, {"id": 312341, "title": "The Silver Jubilee Exhibition", "description": "<i>The Silver Jubilee Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-September 28, 1941).", "opening_date": "1941-06-23T04:00:00"}, {"id": 311898, "title": "35th Anniversary Exhibition", "description": "<i>35th Anniversary Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 20-September 30, 1951).", "opening_date": "1951-06-20T04:00:00"}, {"id": 445590, "title": "Thomas Eakins: Retrospective Exhibition", "description": "<i>Thomas Eakins: Retrospective Exhibition</i>. Whitney Museum of American Art, New York, NY (organizer) (September 21-November 21, 1970).", "opening_date": "1970-09-21T04:00:00"}, {"id": 302330, "title": "Heritage and Horizon: American Painting 1776 - 1976", "description": "<i>Heritage and Horizon: American Painting 1776 - 1976</i>. Buffalo AKG Art Museum, Buffalo, NY (organizer) (March 7-April 11, 1976); The Detroit Institute of Arts, Detroit, MI (May 2-June 13, 1976); The Toledo Museum of Art, Toledo, OH (July 4-August 15, 1976); The Cleveland Museum of Art, Cleveland, OH (September 8-October 10, 1976).", "opening_date": "1976-03-07T05:00:00"}, {"id": 205372, "title": "Thomas Eakins: The Rowing Pictures", "description": "<i>Thomas Eakins: The Rowing Pictures</i>. National Gallery of Art (June 23-September 29, 1996); Yale University Art Gallery (organizer) (October 11, 1996-January 14, 1997); The Cleveland Museum of Art, Cleveland, OH (February 19-May 15, 1997).", "opening_date": "1996-06-23T00:00:00"}, {"id": 205787, "title": "Thomas Eakins, American Realist", "description": "<i>Thomas Eakins, American Realist</i>. Philadelphia Museum of Art, Philadelphia, PA (organizer) (September 30, 2001-January 6, 2002); Mus\u00e9e d'Orsay, Paris, France (February 3-May 12, 2002); The Metropolitan Museum of Art, New York, NY (June 10-September 15, 2002).", "opening_date": "2001-09-20T00:00:00"}, {"id": 184052, "title": "Cleveland Collects American Art of the Gilded Age", "description": "<i>Cleveland Collects American Art of the Gilded Age</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 23-May 18, 2003).", "opening_date": "2003-02-23T00:00:00"}, {"id": 224558, "title": "Time Stands Still: Muybridge and the Instantaneous Photography Movement", "description": "<i>Time Stands Still: Muybridge and the Instantaneous Photography Movement</i>. The Cleveland Museum of Art, Cleveland, OH (February 15-May 16, 2004).", "opening_date": "2004-02-15T00:00:00"}, {"id": 179631, "title": "CMA Highlights", "description": "<i>CMA Highlights</i>. The Cleveland Museum of Art (organizer) (June 21-September 11, 2005).", "opening_date": "2005-06-21T00:00:00"}, {"id": 216543, "title": "Manly Pursuits: The Sporting Images of Thomas Eakins", "description": "<i>Manly Pursuits: The Sporting Images of Thomas Eakins</i>. Los Angeles County Museum of Art, Los Angeles, CA (organizer) (July 25-October 23, 2010).", "opening_date": "2010-07-25T00:00:00"}], "legacy": [{"description": "Long Branch, NJ, unknown location (Summer, 1878) as Biglen Brothers turning the Stake-boat; see Thomas Eakins: The Rowing Pictures (Washington, D.C, 1996).", "opening_date": "1996-01-01T00:00:00"}, {"description": "Boston, Charitable Mechanics Association, 13th Exhibition (2 September-2 November 1878) as Turning the Stake; see Thomas Eakins: The Rowing Pictures (Washington, D.C, 1996).", "opening_date": "1996-01-01T00:00:00"}, {"description": "Philadelphia, Philadelphia Society of Artists, 2nd Annual Exhibition (1 November-6 December 1880) as Turning the Stake, A pair oared Race; see Thomas Eakins: The Rowing Pictures (Washington, D.C, 1996).", "opening_date": "1996-01-01T00:00:00"}, {"description": "St. Louis, Art Hall, 21st St. Louis Fair, (3-8 October 1881) as Turning the Stake-boat; see Thomas Eakins: The Rowing Pictures (Washington, D.C, 1996).", "opening_date": "1996-01-01T00:00:00"}, {"description": "Denver, National Mining and Industrial Exposition, 1st Annual Exposition (1 August-30 September 1882) as Biglen Brothers turning the Stake-boat; see Thomas Eakins: The Rowing Pictures (Washington, D.C, 1996).", "opening_date": "1996-01-01T00:00:00"}, {"description": "New York, The Metropolitan Museum of Art, Loan Exhibition of the Works of Thomas Eakins (5 November-3 December 1917), illus. cat. no. 3, pl. 3 as The Biglin Brothers Turning the Stake-Boat.", "opening_date": "1917-11-05T00:00:00"}, {"description": "Philadelphia, The Pennsylvania Academy of the Fine Arts, Memorial Exhibition of the Works of the Late Thomas Eakins (23 December 1917-13 January 1918), illus. cat. no. 33, listed p. 86.", "opening_date": "1917-12-23T00:00:00"}, {"description": "Philadelphia, Department of Fine Arts, Paintings, Sculpture, and Prints in the Department of Fine Arts Sesqui-centennial International Exposition (1926), listed cat. no. 360, p. 70.", "opening_date": "1926-01-01T00:00:00"}, {"description": "Cleveland, The Cleveland Museum of Art, Memorial Exhibition of Paintings by Thomas Eakins, Albert P. Ryder, and J. Alden Weir (15 December 1927-23 January 1928)", "opening_date": "1927-12-15T00:00:00"}, {"description": "Philadelphia, PA, Pennsylvania Museum of Art, Work of Thomas Eakins (March 1930) New York, The Museum of Modern Art, Sixth Loan Exhibition: Winslow Homer, Albert P. Ryder, Thomas Eakins (May, 1930), illus. cat. no. 94, listed p. 29.", "opening_date": "1930-03-01T00:00:00"}, {"description": "Los Angeles, Los Angeles Museum of History, Science, and Art, Olympic Competition and Exhibition of Art (30 July 30-31 August 1932), listed cat. no. 753, p. 51.", "opening_date": "1931-07-30T00:00:00"}, {"description": "New York, Whitney Museum of American Art, American Genre: The Social Scene in Paintings and Prints (26 March-29 April 1935) cat. no. 28, listed p. 16, not illus.", "opening_date": "1935-03-26T00:00:00"}, {"description": "Baltimore, The Baltimore Museum of Art, Thomas Eakins 1844-1916: A Retrospective Exhibition of His Paintings (1 December 1936-1 January 1937), illus. cat. no. 5.", "opening_date": "1936-12-01T00:00:00"}, {"description": "Detroit, Detroit Institute of Art, Eighteenth Annual Exhibition of American Art (2 April-3 May 1937) cat. no. 1, listed p. 8, not illus.", "opening_date": "1937-04-02T00:00:00"}, {"description": "New York, National Academy of Design, The Special World's Fair Exhibition (8 May-25 July 1939), listed cat. no.213.", "opening_date": "1939-05-08T00:00:00"}, {"description": "San Francisco, The California Palace of the Legion of Honor, Seven Centuries of Painting: A Loan Exhibition of Old and Modern Masters (29 December 1939 - 28 January 1940), illus. cat. no. L-153, listed p. 50.", "opening_date": "1939-12-29T00:00:00"}, {"description": "Detroit, The Detroit Institute of Arts, Five Centuries of Marine Painting (6 March-5 April 1942), listed no. 117, pp. 37-38, not illus.", "opening_date": "1942-03-06T00:00:00"}, {"description": "Philadelphia, Philadelphia Museum of Art, Thomas Eakins Centennial Exhibitions (8 April-14 May, 1944), illus. cat. no. 17, p. 123, listed p. 134.", "opening_date": "1944-04-08T00:00:00"}, {"description": "New York, M. Knoedler &amp; Company, A Loan Exhibition of the Works of Thomas Eakins 1844-1944, Commemorating the Centennial of His Birth (3 June-31 July 1944) illus. cat. no. 6.", "opening_date": "1944-06-03T00:00:00"}, {"description": "Boston, Museum of Fine Arts, Boston Sport in American Art (10 October-10 December 1944), listed cat. no. 26, p.11, not illus.", "opening_date": "1944-10-10T00:00:00"}, {"description": "Pittsburgh, Department of Fine Arts, Carnegie Institute, Thomas Eakins: Centennial Exhibition 1844-1944 (26 April-1 June 1945), illus. cat. no. 110.", "opening_date": "1945-04-26T00:00:00"}, {"description": "London, The Tate Gallery, American Painting: From the Eighteenth Century to the Present Day (June - July 1946), illus. cat. no. 70, listed p. 12.", "opening_date": "1946-06-01T00:00:00"}, {"description": "Saginaw Museum, Michigan, (2-28 November 1948), Thomas Eakins Centennial, no catalogue can be found for this show.", "opening_date": "1948-11-02T00:00:00"}, {"description": "New York, NY, The Century Association, Exhibition of Paintings by Thomas Eakins (10 January-18 February 1951) no catalogue can be found for this show.", "opening_date": "1951-01-10T00:00:00"}, {"description": "Akron, OH, Akron Art Institute, Masterpiece Series ( 30 December 1952-1 February 1953) no catalogue.", "opening_date": "1952-12-30T00:00:00"}, {"description": "New York, Wildenstein &amp; Co., Landmarks in American Art, 1670-1950 (26 February-28 March 1953), illus. cat. no. 25, pl. 25 as The Biglen Brothers Turning the Stake.", "opening_date": "1953-02-26T00:00:00"}, {"description": "Syracuse, Syracuse Museum of Fine Arts, 125 Years of American Art (16 September-11 October 1953), illus. cat . no. no. 18 as Turning the Stake Boat.", "opening_date": "1953-09-16T00:00:00"}, {"description": "Philadelphia, Pennsylvania Academy of Fine Arts, 150th Anniversary Exhibition (15 January-13 March 1955); listed p. 65, cat. no. 74, not illus.", "opening_date": "1955-01-15T00:00:00"}, {"description": "Washington, DC, National Gallery of Art, Smithsonian Institution, Thomas Eakins: A Retrospective Exhibition (8 October-12 November 1961); traveled to Chicago, The Art Institute of Chicago (1 December 1961-7 January 1962); to Philadelphia, Philadelphia Museum of Art (1 February-18 March 1962), illus. cat. no. 9, p. 43.", "opening_date": "1961-10-08T00:00:00"}, {"description": "New York, Whitney Museum of Art, Thomas Eakins: Retrospective Exhibition (22 September-21 November 1970), illus. cat. no. 10, p. 37, listed p. 69.", "opening_date": "1970-09-22T00:00:00"}, {"description": "Buffalo, Albright-Knox Art Gallery, Heritage and Horizon: American Painting 1776-1976 (6 March- 11 April 1976); traveled to Detroit, The Detroit Institute of Arts (5 May-13 June 1976); to Toledo, The Toledo Museum of Art (4 July-15 August 1976); to Cleveland, The Cleveland Museum of Art (8 September-10 October 1976), illus. cat. no. 22, illus.", "opening_date": "1976-03-06T00:00:00"}, {"description": "Philadelphia, Philadelphia Museum of Art, Thomas Eakins Exhibition: Artist of Philadelphia (29 May-1 August 1982); traveled to Boston, Museum of Fine Arts, Boston (22 September-28 November 1982), illus. cat. no. 18, p. 22, illus.", "opening_date": "1982-05-29T00:00:00"}, {"description": "Boston, Museum of Fine Arts, Boston A New World: Masterpieces of American Paintings 1760-1910 (7 September-13 November 1983); traveled to Washington, DC, Corcoran Gallery of American Art (7 December 1983-12 February 1984); to Paris, Grand Palais (16 March-11 June 1984) illus. cat. no. 58, p. 118, pp. 267-268, illus. p. 267.", "opening_date": "1983-09-07T00:00:00"}, {"description": "The Cleveland Museum of Art (06/21/2005 - 09/11/2005); \"CMA Highlights\"", "opening_date": "2005-06-21T00:00:00"}]}, "provenance": [{"description": "Susan MacDowell Eakins [1851-1938], Philadelphia, sold to the Cleveland Museum of Art", "citations": [], "footnotes": ["<div><!--block-->Ownership of Eakins' unsold works passed to his wife, Susan Macdowell Eakins, upon his death in 1916.</div>"], "date": "1916-1927", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1927-", "sortorder": 2}], "find_spot": null, "related_works": [{"id": 121189, "description": "The Biglin Brothers Turning the Stake, 1873. Thomas Eakins (American, 1844\u20131916). Graphite and brush and brown wash; sheet: 35.5 x 43.1 cm (14 x 16 15/16 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1942.1066", "relationship": null}], "former_accession_numbers": ["1955.27", "1984.1927"], "did_you_know": "Rowing was among the most popular spectator sports in the U.S. during the 1870s.", "early_education_description": null, "artlens_description": null, "description": "Eakins's painting celebrates athletic teamwork while commemorating an actual event, a famous rowing race that took place on the Schuylkill River in Philadelphia during May 1872. Throngs of spectators line the riverbank and watch as Barney and John Biglin negotiate the tricky turn around a stake marking the halfway point in the contest. Their competitors, seen in the middle distance at the right, lag behind. The Biglin brothers won the race, cementing their status as the most celebrated oarsmen of the era. Trained in the United States and France, Eakins spent almost his entire artistic career in his hometown of Philadelphia. He is renowned for the unsentimental realism in his paintings, whose compositions he developed through painstakingly prepared figure and perspective drawings.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117088141", "https://www.wikidata.org/wiki/Q60475307"], "internet_archive": ["https://archive.org/details/clevelandart-1927.1984-the-biglin-brothers"]}, "citations": [{"citation": "", "page_number": "", "url": ""}, {"citation": "Koja, Stephan, Nicolai Cikovsky, and \u00d6sterreichische Galerie Belvedere. <em>America : The New World in 19th-Century Painting. </em>Munich: Prestel, 1999.", "page_number": "Mentioned, p. 224.", "url": ""}, {"citation": "David Franklin, and C. Griffith Mann. <em>Treasures of the Cleveland Museum of Art. </em>Cleveland, OH, London: Cleveland Museum of Art ; in association with Scala Publishers, 2012.", "page_number": "Mentioned, p. 266; reprouced, p. 267.", "url": ""}, {"citation": "Davis, John, Jennifer A. Greenhill, and Jason David LaFountain, eds.<em> A Companion to American Art.</em> Chichester, West Sussex, UK: Wiley Blackwell, 2015.", "page_number": "Reproduced, p. 149.", "url": ""}, {"citation": "McFeely, William S. <em>Portrait : The Life of Thomas Eakins</em>. New York, NY: W.W. Norton, 2007.", "page_number": "Mentioned pp. 69-70, 87.", "url": ""}, {"citation": "Koehler, S. R. \u201cSecond Annual Exhibition of the Philadelphia Society of Artists(Opened November 1. Closed December 6).\u201d <em>The American Art Review</em> 2, no. 3 (January 1881): 103\u201315.", "page_number": "Mentioned: P. 110", "url": "https://doi.org/10.2307/20559774"}, {"citation": "Metropolitan Museum of Art (New York, N.Y.). <em>Loan Exhibition of the Works of Thomas Eakins, New York, November 5 to December 3, MCMXVII.</em> New York: The De Vinne press, 1917.", "page_number": "Mentioned: pg 1; Reproduced: cat. no. 3, pl. 3", "url": "https://archive.org/details/loanexhibitionof00metr_2/page/20/mode/2up"}, {"citation": "Burroughs, Alan. \"Catalogue of Work of Thomas Eakins (1869-1916).\" <em>The Arts</em> 5, no. 6 (June 1924): 328-335.", "page_number": "Mentioned: P. 329", "url": ""}, {"citation": "\u201cCatalogue of the Works of Thomas Eakins.\u201d <em>Bulletin of the Pennsylvania Museum</em> 25, no. 133 (March 1930): 17\u201333.", "page_number": "Mentioned: P. 19, no. 25", "url": "http://www.jstor.org/stable/3794383"}, {"citation": "M.M \"Exhibitions.\" <em>The International Studio </em>30 (June 1930): 70-74.", "page_number": "Mentioned: P. 70; Reproduced: P. 74", "url": ""}, {"citation": "Goodrich, Lloyd, and Thomas Eakins. <em>Thomas Eakins: His Life and Work</em>. New York, NY: Whitney Museum of American Art, 1933.", "page_number": "Mentioned: p. 37-47; Reproduced: pl. 8", "url": null}, {"citation": "Cahill, Holger, and Alfred H. Barr. <em>Art in America in Modern Times</em>. New York, NY:: Reynal &amp; Hitchcock,1934.", "page_number": "Mentioned: p. 79-81; Reproduced: p. 81", "url": null}, {"citation": "Cleveland Museum of Art. Catalogue of the Twentieth Anniversary Exhibition of the Cleveland Museum of Art: The Official Art Exhibit of the Great Lakes Exposition : June Twenty-Sixth to October Fourth 1936. [Cleveland, Ohio]: [Cleveland Museum of Art], 1936.", "page_number": "listed cat. no. 355, p. 132 as Turning Stake Boat, or Biglin Brothers Turning Stake Boat", "url": null}, {"citation": "Cleveland Museum of Art. <em>Catalogue of an Exhibition of American Painting from 1860 until Today at the Cleveland Museum of Art.</em> [Cleveland]: [Printed by the Artcraft Printing Co.], 1937.<br>Published as: <em>Turning Stake Boat</em>", "page_number": "Mentioned: p. 20, no. 56; Reproduced: pl. IX, no. 56", "url": null}, {"citation": "\"The Story of American Painting Is Retold in Cleveland Exhibition.\" <em>Art Digest </em>11, no. 19 (August 1937): 5-9.", "page_number": "Mentioned and reproduced: P. 6", "url": ""}, {"citation": "Sweeney, J. J. \"L'Art Contemporain aux Etats-Unis.\" <em>Cahiers d'Art </em>13 (1938): 45-57.", "page_number": "Mentioned: P. 50; Reproduced: P. 57", "url": ""}, {"citation": "Francis, Henry. \"Loans to Important Exhibitions.\" <em>The Bulletin of the Cleveland Museum of Art </em>26, no. 7 (July 1939): 123", "page_number": "Mentioned: p. 123", "url": "https://www.jstor.org/stable/25138029"}, {"citation": "McKinney, Roland Joseph, Aime\u0301e Crane, and Andre\u0301 Gloeckner. <em>Thomas Eakins</em>. New York, NY: Crown Publishers, 1942.", "page_number": "Mentioned: p. 9-22; Reproduced: p. 67", "url": null}, {"citation": "Richardson, E. P., and Robert Freund. <em>American Romantic Painting</em>. New York, NY: E. Weyhe, 1944.", "page_number": "Mentioned: p.5-22, 31-32; Reproduced: no. 231", "url": null}, {"citation": "Watkins, Franklin. \"Eakins.\" <em>ARTnews </em>63, no. 5 (April 15, 1944): 10-13.", "page_number": "Reproduced: P. 11", "url": ""}, {"citation": "Goodrich, Lloyd. \"Thomas Eakins Today.\" <em>Magazine of Art </em>37, no. 5 (May 1944): 162-166.", "page_number": "", "url": ""}, {"citation": "Ormsbee, Thomas H. \"Thomas Eakins, American Realist Painter.\" <em>American Collector: Biweekly for Dealers and Collectors </em>13, no. 6 (July 1944): 162-166.", "page_number": "Reproduced: P. 165.", "url": ""}, {"citation": "<em>Paintings in the Cleveland Museum of Art.</em> [Cleveland]: The Cleveland Museum of Art, 1945.", "page_number": "Reproduced: p. 13", "url": "https://archive.org/details/CMAPaintings1945/page/n21"}, {"citation": "O'Connor, Jr., John. \"Thomas Eakins, Consistent Realist.\" <em>Carnegie Magazine </em>19, no. 2 (April 1945): 35-39.", "page_number": "Reproduced: P. 39", "url": ""}, {"citation": "McHenry, Margaret. <em>Thomas Eakins Who Painted</em>. Oreland? PA: [Privately printed for the author], 1946.", "page_number": "Mentioned: p. 23-24, 155", "url": null}, {"citation": "Winchester, Alice. \"American Painting in London: A Comment On the Tate Gallery Exhibition.\" <em>The Magazine Antiques </em>51, no. 2 (February 1947): 100-108.", "page_number": "Reproduced: P. 105, fig. 44", "url": ""}, {"citation": "The Cleveland Museum of Art. <em>The Cleveland Museum of Art Handbook.</em> Cleveland, OH: The Cleveland Museum of Art, 1958.", "page_number": "Mentioned and Reproduced: cat. no. 541", "url": "https://archive.org/details/CMAHandbook1958/page/n100"}, {"citation": "Milliken, William Mathewson. <em>The Cleveland Museum of Art.</em> New York: H.N. Abrams, 1958.", "page_number": "Mentioned and reproduced: P. 60-61", "url": ""}, {"citation": "Porter, Fairfield. <em>Thomas Eakins</em>. New York: George Braziller,1959.", "page_number": "Reproduced: Pl. 11", "url": ""}, {"citation": "Grosser, Maurice. <em>Critic's Eye</em>. Indianapolis, IN: Bobbs-Merrill, 1962.", "page_number": "Reproduced: p. 166", "url": null}, {"citation": "Grosser, Maurice. <em>Critic's Eye</em>. Indianapolis: Bobbs-Merrill, 1962.", "page_number": "Mentioned: P. 166", "url": ""}, {"citation": "Kessler, Charles S. \"The Realism of Thomas Eakins.\" <em>Arts Magazine </em>36, no. 4 (January 1962): 16-22.", "page_number": "Mentioned and reproduced: P. 17-18", "url": ""}, {"citation": "Gracza, Margaret Young. <em>The Ship and the Sea in Art</em>. Minneapolis, MN: Lerner Publications Co, 1965.", "page_number": "Mentioned and Reproduced: p. 52", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 187", "url": "https://archive.org/details/CMAHandbook1966/page/n211"}, {"citation": "Schendler, Sylvan. <em>Eakins</em>. Boston, MA: Little, Brown, 1967.", "page_number": "Mentioned: p. 33-40, 284-285; Reproduced: p. 39, fig. 14", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 187", "url": "https://archive.org/details/CMAHandbook1969/page/n211"}, {"citation": "Hamilton, George Heard. <em>19th and 20th Century Art: Painting, Sculpture, Architecture</em>. New York: H.N. Abrams, 1970.", "page_number": "Reproduced: p. 112, fig. 97", "url": null}, {"citation": "Cleveland Museum of Art, and Berthold Fricke. <em>The Cleveland Museum of Art.</em> Hannover: Knorr &amp; Hirth, 1970.", "page_number": "Mentioned and reproduced: P. 68-69", "url": ""}, {"citation": "Adams, Celeste, Rita Myers, and Adele Z. Silver.<em> An Introduction to American Art in the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 1972.", "page_number": "Mentioned and reproduced: P. 12-13", "url": ""}, {"citation": "\u201cA Check List. American Paintings and Water Colors of the Eighteenth, Nineteenth, and Early Twentieth Centuries in the Cleveland Museum of Art.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 60, no. 1 (January 1973): 21\u201335.", "page_number": "Mentioned: P. 25, no. 57", "url": "http://www.jstor.org/stable/25152465"}, {"citation": "Parry, Ellwood C., and Maria Chamberlin-Hellman. \u201cThomas Eakins as an Illustrator, 1878-1881.\u201d <em>American Art Journal</em> 5, no. 1 (May 1973): 20\u201345.", "page_number": "Mentioned: P. 35", "url": "https://www.jstor.org/stable/1593941"}, {"citation": "Albright-Knox Art Gallery, Detroit Institute of Arts, and Toledo Museum of Art. <em>Heritage and Horizon: American Painting, 1776-1976 : </em>[Exhibition. [Toledo]: Toledo Museum of Art, 1976.", "page_number": "Mentioned and reproduced: No. 22", "url": ""}, {"citation": "Hirshhorn Museum and Sculpture Garden, and Phyllis D. Rosenzweig. <em>The Thomas Eakins Collection of the Hirshhorn Museum and Sculpture Garden</em>. Washington DC: Published for the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, by the Smithsonian Institution Press, 1977.", "page_number": "Mentioned and Reproduced: p. 50-51", "url": null}, {"citation": "Johnson, Mark M. \"American Landscapes.\" <em>Arts and Activities </em>82, no. 4 (December 1977): 28-33.", "page_number": "Mentioned: P. 31; Reproduced: P. 29, fig. 3", "url": ""}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 232", "url": "https://archive.org/details/CMAHandbook1978/page/n252"}, {"citation": "Johns, Elizabeth. \"Thomas Eakins: A Case for Reassessment.\" <em>Arts Magazine </em>53, no. 9 (May 1979): 130-133.", "page_number": "Mentioned: P. 131", "url": ""}, {"citation": "Johnson, Mark M. <em>Idea to Image: Preparatory Studies from the Renaissance to Impressionism.</em> Cleveland, Ohio: Cleveland Museum of Art, 1980.", "page_number": "Mentioned and reproduced: P. 44-45, fig. 50", "url": ""}, {"citation": "Weinberg, Barbara H. \"American Impressionism in Cosmopolitan Context.\" <em>Arts Magazine </em>(November 1980): 160-165.", "page_number": "Mentioned and reproduced: P. 163-164, fig. 8", "url": ""}, {"citation": "Silver, Adele Z. <em>Guide to the Galleries.</em> Cleveland, Ohio: Cleveland Museum of Art, 1981.", "page_number": "Mentioned and reproduced: P. 83-84, fig. 77", "url": ""}, {"citation": "Goodrich, Lloyd. <em>Thomas Eakin</em>s. Cambridge, Mass: Published for the National Gallery of Art [by] Harvard University Press, 1982.", "page_number": "Mentioned: P. 83, Vol. I; Reproduced: P. 86, fig. 29", "url": ""}, {"citation": "Wilmerding, John. \u201cPhiladelphia. Thomas Eakins.\u201d <em>The Burlington Magazine</em> 124, no. 954 (September 1982): 583\u201385.", "page_number": "Mentioned: P. 583; Reproduced: P. 585, fig. 40", "url": "http://www.jstor.org/stable/880963"}, {"citation": "Goodrich, Lloyd. \"The Art of Thomas Eakins.\" <em>Portfolio </em>4, no. 5 (September/October 1982): 60-65.", "page_number": "Mentioned and reproduced: P. 61-62", "url": ""}, {"citation": "Parry, Ellwood. \"The 'Exact, Uncompromising' Eye of Thomas Eakins.\" <br><em>ARTnews </em>81, no. 8 (October 1982): 80-83.", "page_number": "Mentioned: P. 82", "url": ""}, {"citation": "Rosenblum, Robert, and H. W. Janson. <em>19th Century Art</em>. New York: Abrams, 1984.", "page_number": "Mentioned: P. 357-358; Reproduced: P. 340, pl. 58", "url": ""}, {"citation": "Weinberg, H. Barbara. <em>The American Pupils of Jean-Le\u0301on Ge\u0301ro\u0302me. </em>Fort Worth, Tex: Amon Carter Museum, 1984.", "page_number": "Mentioned and reproduced: P. 41-42, fig. 27", "url": ""}, {"citation": "Johns, Elizabeth. \"Thomas Eakins: Strokes of Genius.\" <em>Art &amp; Antiques</em> (September 1984): 72-76.", "page_number": "Mentioned and reproduced: P. 74-75", "url": ""}, {"citation": "Milroy, Elizabeth. <em>Thomas Eakins' Artistic Training, 1860-1870. </em>Thesis, University of Pennsylvania, 1986.", "page_number": "Mentioned: P. 326; Reproduced: P. 418, fig. 57", "url": ""}, {"citation": "Hubbard, Roberta. \"Cleveland: A Cultural Campaign.\" <em>Horizon </em>29, no. 10 (December 1986): 16-24.", "page_number": "Reproduced: P. 16", "url": ""}, {"citation": "Fried, Michael. <em>Realism, Writing, Disfiguration: On Thomas Eakins and Stephen Crane. </em>Chicago: University of Chicago Press, 1987.", "page_number": "Mentioned and reproduced: P. 47-48, fig. 36", "url": ""}, {"citation": "Kimmerle, Constance. <em>Thomas Eakins' Exploration of the Mechanism and Laws of Human Expression and Understanding in Themes of Mental Effort and Creative Activity.</em> Thesis, Dissertation, University of Pennsylvania, 1989.", "page_number": "Mentioned: P. 369", "url": ""}, {"citation": "Miyazaki, Katsumi. <em>Insho\u0304-ha No Miryoku.</em> Kyo\u0304to: Do\u0304ho\u0304sha Shuppan, 1990.", "page_number": "Mentioned and reproduced: P. 71", "url": ""}, {"citation": "Griffin, Randall C. \u201cThomas Anshutz\u2019s \u2018The Ironworkers\u2019 Noontime\u2019: Remythologizing the Industrial Worker.\u201d <em>Smithsonian Studies in American Art</em> 4, no. 3/4 (Summer-Autumn 1990): 129\u201343.", "page_number": "Mentioned and reproduced: P. 139, fig. 13", "url": "http://www.jstor.org/stable/3109019"}, {"citation": "Cleveland Museum of Art. <em>Interpretations: Sixty-Five Works from the Cleveland Museum of Art</em>. Cleveland, Ohio: Cleveland Museum of Art, 1991.", "page_number": "Mentioned and reproduced: no. 31", "url": ""}, {"citation": "Weinberg, H. Barbara. <em>The Lure of Paris: Nineteenth-Century American Painters and Their French Teachers.</em> New York: Abbeville Press Publishers, 1991.", "page_number": "Mentioned and reproduced: P. 9-10, pl. 5", "url": ""}, {"citation": "Wilmerding, John. <em>American Views: Essays on American Art.</em> Princeton, N.J.: Princeton University Press, 1991.", "page_number": "Mentioned: P. 314; Reproduced: P. 316, fig. 214", "url": ""}, {"citation": "Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art</em>. Cleveland, Ohio: The Museum, 1991.", "page_number": "Reproduced; p. 32", "url": "https://archive.org/details/CMAHandbook1991/page/n147"}, {"citation": "Cleveland Museum of Art. <em>Masterpieces from East and West. </em>New York, NY: Rizzoli International, 1992.", "page_number": "Mentioned and reproduced: P. 145", "url": ""}, {"citation": "Homer, William Innes. <em>Thomas Eakins: His Life and Art. </em>New York: Abbeville Press, 1992.", "page_number": "Mentioned and reproduced: P. 61, fig. 50", "url": ""}, {"citation": "Chong, Alan. <em>European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogue</em>. Cleveland, Ohio: Cleveland Museum of Art, 1993.", "page_number": "Mentioned and reproduced: P. 71", "url": ""}, {"citation": "Wilmerding, John. <em>Thomas Eakins (1844-1916) and the Heart of American Life.</em> London: National Portrait Gallery, 1993.", "page_number": "Mentioned: P. 20, 69", "url": ""}, {"citation": "Griffin, Randall C. <em>Thomas Anshutz: Artist and Teach</em>er. Huntington, N.Y. : Heckscher Museum in association with the University of Washington Press, Seattle, 1994.", "page_number": "Mentioned: P. 46; Reproduced: P. 48, fig. 16", "url": ""}, {"citation": "\"1993 Annual Report.\" <em>The Bulletin of the Cleveland Museum of Art</em> 81, no. 6 (1994): 143-218.", "page_number": "Mentioned: p. 170", "url": "https://www.jstor.org/stable/25161457"}, {"citation": "Berger, Martin Andrew. <em>Determining Manhood: Constructions of Sexuality in the Art of Thomas Eakins.</em> Dissertation Yale University, 1995.", "page_number": "Mentioned: P. 32-37; Reproduced: P. 173, fig. 8", "url": ""}, {"citation": "Milroy, Elizabeth, and W. Douglass Paschall. <em>Guide to the Thomas Eakins Research Collection with a Lifetime Exhibition Record and Bibliography.</em> Philadelphia, Pa: Philadelphia Museum of Art, 1996.", "page_number": "Mentioned: P. 21, 23, 36", "url": ""}, {"citation": "Cooper, Helen A. Thomas Eakins: The Rowing Pictures. New Haven, Conn: Yale University Art Gallery, 1996.", "page_number": "illus. fig. no. 26, p. 51, listed p. 137", "url": null}, {"citation": "Distel, Anne. \"Yerres.\" In <em>Gustave Caillebotte: The Unknown Impressionist.</em> Anne Distel, 45-62. London: Royal Academy of Arts, in association with Ludion Press, Ghent, 1996.", "page_number": "Mentioned and reproduced: P. 48-49, fig. 5", "url": ""}, {"citation": "Baigell, Matthew.<em> A Concise History of American Painting and Sculpture.</em> New York: IconEditions, 1996.", "page_number": "Mentioned and reproduced: P. 139-140, fig. 137", "url": ""}, {"citation": "M\u00f8rstad, Erik. <em>Malerileksikon: Teknikker, motivtyper og estetikk. </em>Oslo: Ad Notam Gyldendal, 1996.", "page_number": "Reproduced: P. 283", "url": ""}, {"citation": "Werbel, Amy Beth. <em>Perspective in the Life and Art of Thomas Eakins.</em> Dissertation, Yale University, 1996.", "page_number": "Mentioned: P. 118; Reproduced: P. 244, fig. 58", "url": ""}, {"citation": "Cooper, Helen. \"The Rowing Pictures of Thomas Eakins.\" <em>The Magazine Antiques </em>150, no. 2 (August 1996): 166-177.", "page_number": "Mentioned: P. 173; Reproduced: P. 174-175", "url": ""}, {"citation": "Loos, Ted. \"Eakins's Shell Game.\" <em>Art &amp; Antiques </em>19, no. 10 (November 1996): 99-105.", "page_number": "Mentioned and reproduced: P. 102", "url": ""}, {"citation": "Masschelein-Currie, Christina. 1997. \u201cThomas Eakins under the Microscope: A Technical Study of the Rowing Paintings.\u201d <em>American Artist</em> 61, no. 654 ( January 1997): 12-19.", "page_number": "Mentioned and reproduced: P. 15-17, figs. 1-4, 7-9", "url": ""}, {"citation": "Foster, Kathleen A., and Mark Bockrath. <em>Thomas Eakins Rediscovered: Charles Bregler's Thomas Eakins Collection at the Pennsylvania Academy of the Fine Arts.</em> New Haven: Yale University Press, 1997.", "page_number": "Mentioned: P. 83, 125, 126, 143", "url": ""}, {"citation": "Berger, Martin A. \"Modernity and Gender in Thomas Eakins's Swimming.\" <em>American Art </em>11, no. 3 (Fall 1997): 32-47.", "page_number": "Reproduced: P. 36, fig. 3; Mentioned: P. 38", "url": ""}, {"citation": "Burns, Sara Lea. \"Thomas Eakins Exposed.\" <em>Nineteenth-Century Studies </em>13 (1999): 139-152.", "page_number": "Mentioned: P. 143; Reproduced: P. 145", "url": ""}, {"citation": "Groseclose, Barbara S.<em> Nineteenth-Century American Art.</em> Oxford: Oxford University Press, 2000.", "page_number": "Mentioned and reproduced: P. 103, no. 65", "url": ""}, {"citation": "Mishory, Alec. <em>Art History: An Introduction.</em> Tel-Aviv: Open University of Israel, 2000.", "page_number": "Reproduced: P. 83, no. 69", "url": ""}, {"citation": "Berger, Martin A. <em>Man Made: Thomas Eakins and the Construction of Gilded Age Manhood</em>. Berkeley, Calif: University of California Press, 2000.", "page_number": "Mentioned: P. 3, 23, 133 n. 51; Reproduced: Pl. 2", "url": ""}, {"citation": "Sewell, Darrel, Kathleen A. Foster, and Thomas Eakins. Thomas Eakins: [... on the Occasion of the Exhibition \"Thomas Eakins. American Realist\" ... Philadelphia Museum of Art, October 4, 2001, to January 6, 2002 ...]. [New Haven, Conn.]: Yale Univ. Press, 2001.", "page_number": "illus. pl. 6, p. 45, pp. 27-40, 390-391", "url": null}, {"citation": "Ledes, Allison Eckardt. \"Current and Coming: Eakins in Philadelphia.\" <em>The Magazine Antiques </em>160, no. 4 (October 2001): 398-400.", "page_number": "Mentioned: P. 400; Reproduced: P. 398", "url": ""}, {"citation": "Esten, John.<em> Thomas Eakins: The Absolute Male.</em> New York, NY: Universe Pub, 2002.", "page_number": "Reproduced: P. 39; mentioned: P. 78", "url": ""}, {"citation": "Esten, John, and Thomas Eakins. Thomas Eakins: The Absolute Male. New York, NY: Universe Pub, 2002.", "page_number": "Mentioned and reproduced: P. 61-63", "url": ""}, {"citation": "Homer, William Innes. <em>Thomas Eakins: His Life and Art</em>. New York: Abbeville Press, 2002.", "page_number": "Mentioned and reproduced: P. 61-63, fig. 50", "url": ""}, {"citation": "Pinelli, Orietta Rossi. \"Un Pittore a Bordo Ring.\" <em>Art e dossier </em>175 (February 2002): 36-43.", "page_number": "Reproduced: P. 39", "url": ""}, {"citation": "Cleveland Museum of Art. <em>American Painting</em>. Cleveland, Ohio: Cleveland Museum of Art, 2003.", "page_number": "Reproduced: P. 2", "url": ""}, {"citation": "Griffin, Randall C. <em>Homer, Eakins, and Anshutz: The Search for American Identity in the Gilded Age.</em> University Park, Pa: Pennsylvania State University, 2004.", "page_number": "Mentioned and reproduced: P. 50, fig. 19", "url": ""}, {"citation": "Rosenblum, Robert, and H. W. Janson. <em>19th-Century Art. </em>Upper Saddle River, N.J.: Prentice Hall, 2005.", "page_number": "Mentioned and reproduced: P. 364, fig. 350", "url": ""}, {"citation": "Adams, Henry. <em>Eakins Revealed: The Secret Life of an American Artist.</em> Oxford [England]: Oxford University Press, 2005.", "page_number": "Mentioned: P. 270, 243-244, 337; Reproduced: P. 192", "url": ""}, {"citation": "Updike, John. <em>Still Looking: Essays on American A</em>rt. New York: Knopf, 2005.", "page_number": "Mentioned: P. 76", "url": ""}, {"citation": "Burns, Sarah. \"Ordering the Artist's Body: Thomas Eakins's Acts of Self-Portrayal.\"<em> American Art </em>19, no. 1 (Spring 2005): 82-107.", "page_number": "Mentioned: P. 91", "url": ""}, {"citation": "Kirkpatrick, Sidney. <em>The Revenge of Thomas Eakin</em>s. New Haven: Yale University Press, 2006.", "page_number": "Reproduced: Pl. 5; Mentioned: P. 444, 146-147, 151-154, 160, 174, 187, 254", "url": ""}, {"citation": "Novak, Barbara. <em>Nature and Culture: American Landscape and Painting, 1825-1875.</em> New York, NY: Oxford University Press, 2007.", "page_number": "Mentioned and reproduced: P. 222, fig. 10.15", "url": ""}, {"citation": "Cooper, James F. \"Is Thomas Eakins a Great Artist?\" <em>American Arts Quarterly </em>24, no. 2 (Spring 2007): 2-9.", "page_number": "Mentioned: P. 3, 8", "url": ""}, {"citation": "Fonsmark, Anne-Birgitte, Dorothee Hansen, and Gry Hedin. <em>Gustave Caillebotte.</em> Ostfildern: Hatje Cantz, 2008.", "page_number": "Mentioned and reproduced: P. 112, fig. 4", "url": ""}, {"citation": "Adams, Henry. <em>What's American About American Art?: A Gallery Tour in the Cleveland Museum of Art.</em> Cleveland: Cleveland Museum of Art, 2008.", "page_number": "Mentioned and reproduced: P. 90-93", "url": ""}, {"citation": "\"Welcome Back!\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>48, no. 5 (May/June 2008): 5-6.", "page_number": "Mentioned: P. 6", "url": ""}, {"citation": "Cole, Mark, \"Picture Perfect\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 48 no. 8, October 2008", "page_number": "Mentioned and reproduced (detail), p. 8.", "url": "https://archive.org/details/CMAMM2008-08/page/8"}, {"citation": "Leja, Michael. \"Composite Images In a Hybrid Medium by Thomas Eakins and His Contemporaries.\" In <em>Shared Intelligence: American Painting and the Photograph.</em> Barbara Buhler Lynes, and Jonathan Weinberg, 28-41. Berkeley [Calif.]: University of California Press, 2011.", "page_number": "Mentioned and reproduced: P. 32-33", "url": ""}, {"citation": "Guttmann, Allen. S<em>ports and American Art from Benjamin West to Andy Warhol.</em> Amherst [Mass.]: University of Massachusetts Press, 2011.", "page_number": "Mentioned: P. 106; Reproduced: Pl. 17", "url": ""}, {"citation": "Fort, Ilene Susan. <em>Manly Pursuits: Writings on the Sporting Images of Thomas Eakins. </em>[Los Angeles]: Los Angeles County Museum of Art, 2011.", "page_number": "Mentioned: P. 66, 67, 227, 345-350; Reproduced: P. 43", "url": ""}, {"citation": "Franklin, David, and C. Griffith Mann. <em>Treasures from the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art, 2012.", "page_number": "Mentioned and reproduced: P. 266-267", "url": ""}, {"citation": "Corriveau, Bethany. \"The Art of Sport.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 52, no. 4 (July/August 2012): 24-25.", "page_number": "Mentioned and reproduced: p. 25", "url": "https://archive.org/details/CMAMM2012-04/page/24/mode/2up"}, {"citation": "\"Personal Favorite: Gloria Plevin.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>53, no. 4 (July/August 2013): 16.", "page_number": "Mentioned and reproduced: P. 16", "url": ""}, {"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. 49", "url": ""}, {"citation": "Davis, John, Jennifer A. Greenhill and Jason David LaFountain. <em>A Companion to American Art.</em> Malden, MA: Wiley- Blackwell, 2015.", "page_number": "Reproduced: p. 149, figure 9.2 Mention: p. 148", "url": null}, {"citation": "\"Personal Favorite: William Busta.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>55, no. 6 (November/December 2015): 12.", "page_number": "Mentioned and reproduced: P. 12", "url": "https://archive.org/details/CMAMM2015-06/page/12/mode/2up"}, {"citation": "Hendricks, Gordon. <em>The Life and Work of Thomas Eakins</em>. New York, NY: Grossman Publishers, 1974.", "page_number": "Mentioned: p. 65-86, 296-298, 335-336; Reproduced: pl. 12 and 13 (detail).", "url": null}, {"citation": "Lanouette, William. The Triumph of the Amateurs: The Rise, Ruin, and Banishment of Professional Rowing in the Gilded Age, Guilford, Connecticut : Lyons Press, 2021, 215", "page_number": "Mentioned: p. 215, Reproduced; second page of image section following p. 138", "url": ""}], "url": "https://clevelandart.org/art/1927.1984", "images": {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/1927.1984/1927.1984_web.jpg", "width": "1263", "height": "835", "filesize": "780656", "filename": "1927.1984_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1927.1984/1927.1984_print.jpg", "width": "3400", "height": "2247", "filesize": "5271592", "filename": "1927.1984_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1927.1984/1927.1984_full.tif", "width": "7164", "height": "4735", "filesize": "101799424", "filename": "1927.1984_full.tif"}}, "alternate_images": [{"web": {"url": "https://openaccess-cdn.clevelandart.org/1927.1984/1927.1984_alt0_web.jpg", "width": "1193", "height": "893", "filesize": "805436"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1927.1984/1927.1984_alt0_print.jpg", "width": "3400", "height": "2545", "filesize": "7465362"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1927.1984/1927.1984_alt0_full.tif", "width": "6668", "height": "4992", "filesize": "99887404"}, "date_created": "2011-06-27T18:03:53", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1927.1984/1927.1984_alt1_web.jpg", "width": "1180", "height": "893", "filesize": "803354"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1927.1984/1927.1984_alt1_print.jpg", "width": "3400", "height": "2574", "filesize": "7327788"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1927.1984/1927.1984_alt1_full.tif", "width": "6465", "height": "4896", "filesize": "94984952"}, "date_created": "2011-06-27T17:37:42", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1927.1984/1927.1984_alt2_web.jpg", "width": "1193", "height": "893", "filesize": "808645"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1927.1984/1927.1984_alt2_print.jpg", "width": "3400", "height": "2545", "filesize": "7276175"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1927.1984/1927.1984_alt2_full.tif", "width": "6668", "height": "4992", "filesize": "99888472"}, "date_created": "2011-06-27T17:45:38", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1927.1984/1927.1984_alt3_web.jpg", "width": "1193", "height": "893", "filesize": "795831"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1927.1984/1927.1984_alt3_print.jpg", "width": "3400", "height": "2545", "filesize": "7483128"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1927.1984/1927.1984_alt3_full.tif", "width": "6668", "height": "4992", "filesize": "99886904"}, "date_created": "2011-06-27T18:14:55", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1927.1984/1927.1984_alt4_web.jpg", "width": "1240", "height": "893", "filesize": "910498"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1927.1984/1927.1984_alt4_print.jpg", "width": "3400", "height": "2448", "filesize": "6362609"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1927.1984/1927.1984_alt4_full.tif", "width": "4556", "height": "3280", "filesize": "44874484"}, "date_created": "2008-06-23T15:28:22", "annotation": ""}], "creditline": "Hinman B. Hurlbut Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "The Payne Fund Gallery", "athena_id": 151904, "creators": [{"id": 4037, "description": "Thomas Eakins (American, 1844\u20131916)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1844", "death_year": "1916", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1927-12-20T00:00:00", "sortable_date": 1873, "date_added_to_oa": null, "date_text": "1873", "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": true, "updated_at": "2026-10-20 11:25:18.956000"}, {"id": 165157, "accession_number": "2007.158", "share_license_status": "Copyrighted", "tombstone": "Fulton and Nostrand, 1958. Jacob Lawrence (American, 1917\u20132000). Tempera on Masonite; unframed: 60.9 x 76.2 cm (24 x 30 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 2007.158. \u00a9 The Jacob and Gwendolyn Knight Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York.", "current_location": "226B American Modern", "title": "Fulton and Nostrand", "creation_date": "1958", "creation_date_earliest": 1958, "creation_date_latest": 1958, "artists_tags": ["male", "Black American Artists"], "culture": ["United States"], "technique": "tempera on Masonite", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Unframed: 60.9 x 76.2 cm (24 x 30 in.)", "dimensions": {"unframed": {"height": 0.609, "height_inch": 24, "height_inch_fraction": 0.0, "width": 0.762, "width_inch": 30, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 The Jacob and Gwendolyn Knight Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York.", "inscriptions": [{"inscription": "signed lower right \"Jacob Lawrence 58\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": [{"description": "Annual Exhibition: Sculpture, Paintings, Watercolors, Drawings, Whitney Museum of American Art, New York, November 19. 1958-January 4, 1959.", "opening_date": "1959-01-04T00:00:00"}, {"description": "American Sculpture and Painting: American National Exhibition in Moscow, The Pushkin Museum of Fine Arts, Moscow, July 25-September 5, 1959; Whitney Museum of American Art, New York, October 28-November 15, 1959.", "opening_date": "1959-07-25T00:00:00"}, {"description": "Between the Fairs: Twenty-Five Years of American Art, 1939-1964, Whitney Museum of American Art, New York, June 24-September 23, 1964.", "opening_date": "1964-06-24T00:00:00"}, {"description": "Contemporary Urban Visions, Wollman Hall, New School Art Center, New School for Social Research, New York, January 25-February 24, 1966.", "opening_date": "1966-01-25T00:00:00"}, {"description": "Crossing State Lines: Twentieth-Century Art from Private Collections in Westchester and Fairfield Counties, Neuberger Museum of Art, Purchase College, State University of New York, March 26-June 18, 1995.", "opening_date": "1995-03-26T00:00:00"}, {"description": "Jacob Lawrence Memorial Exhibition: Paintings, 1937-1999, DC Moore Gallery, New York, February 6-March 3, 2001.", "opening_date": "2001-02-06T00:00:00"}, {"description": "Syncopated Rhythms: 20th-Century African American Art from the George and Joyce Wein Collection, Boston University Art Gallery, November 18, 2005-January 22, 2006.", "opening_date": "2005-11-18T00:00:00"}]}, "provenance": [{"description": "(The Alan Stone Gallery, New York, NY,  sold to Alexander and Sylvian Rittmaster)", "citations": [], "footnotes": ["<div><!--block-->Jacob Lawrence sold the painting directly to the Alan Gallery in 1958.&nbsp;</div>"], "date": "1958", "sortorder": 1}, {"description": "Alexander [1916-1969] and Sylvian Rittmaster [1917-1978], Woodmere, NY", "citations": [], "footnotes": ["<div><!--block-->Although Slyvian Rittmaster died in 1978, the 1981 Sotheby Parke Bernet catalogue lists the painting as coming from their collection, hence listing the painting's dates with the Rittmasters as ending with 1981 rather than 1978.&nbsp;</div>"], "date": "1958-1981", "sortorder": 2}, {"description": "(Sotheby Park Bernet, New York, NY, May 29,1981, lot 182, sold to the Terry Dintenfass Gallery)", "citations": [], "footnotes": null, "date": "1981-1983?", "sortorder": 3}, {"description": "(Terry Dintenfass Gallery, New York, NY, sold to George and Joyce Wein)", "citations": [], "footnotes": [], "date": "1983", "sortorder": 4}, {"description": "George [b. 1925] and Joyce [1928-2005] Wein, New York, NY, consigned to the Michael Rosenfeld Gallery", "citations": [], "footnotes": [], "date": "1983-2007", "sortorder": 5}, {"description": "(Michael Rosenfeld Gallery, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "2007", "sortorder": 6}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2007-", "sortorder": 7}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Lawrence was teaching art at the Pratt Institute in Brooklyn when he created this painting.", "early_education_description": null, "artlens_description": null, "description": "Having moved to Harlem as a teenager, Lawrence would become the first major artist trained entirely within the neighborhood\u2019s African American community. Throughout his long career he believed art should be a quest for both self and social identity, a notion reflected in this work, one of his liveliest and largest paintings. Teeming with more than forty figures, it depicts the vibrant streetscape at the intersection of Fulton Street and Nostrand Avenue in Brooklyn, near where the artist lived at the time.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60480377"], "internet_archive": []}, "citations": [{"citation": "Frascina, Francis. \"Institutions, Culture, and America's 'Cold War Years': The Making of Greenberg's 'Modernist Painting',\" <em>Oxford Art Journal</em> 26 (2003).", "page_number": "Mentioned p. 84.", "url": ""}, {"citation": "Cleveland Museum of Art, David Franklin, and C. Griffith Mann. <em>Treasures of the Cleveland Museum of Art.</em> Cleveland, OH, London: Cleveland Museum of Art ; in association with Scala Publishers, 2012.", "page_number": "Mentioned, p. 322; reproduced p. 323.", "url": ""}, {"citation": "Annual Exhibition: Sculpture, Paintings, Watercolors, Drawings (New York: Whitney Museum of American Art, 1958).", "page_number": "Unpaginated, [8],[12]", "url": null}, {"citation": "\"Moscow to See Modern U.S. Art,\"<em> New York Times</em> (May 31, 1959).", "page_number": "P. 60", "url": null}, {"citation": "Baur, John I. H. <em>Between the Fairs: 25 Years of America Art, 1939-1964.</em> New York. Whitney Museum. Catalogues. 1962-64. New York: Published for the Whitney Museum of American Art by F.A. Praeger, 1964.", "page_number": "P. 88", "url": null}, {"citation": "Kramer,Hilton. \"In the Museums,\" <em>Art in America</em> 52 (April 1964).", "page_number": "P. 42", "url": null}, {"citation": "Illustration for Victor S. Navasky, \"With Malice Toward All,\" <em>New York Times Book Review </em>(February 27, 1966).", "page_number": "P. 4", "url": null}, {"citation": "Chwast, Seymour, and Steven Heller. <em>The Art of New York</em>. New York: H.N. Abrams, 1983.", "page_number": "P. 18, 76", "url": null}, {"citation": "Berman,Avis. \"Jacob Lawrence and the Making of Americans,\" <em>ARTnews</em> 83 (February 1984).", "page_number": "P. 82", "url": null}, {"citation": "Wheat, Ellen Harkins, Jacob Lawrence, and Patricia Hills. <em>Jacob Lawrence, American Painter.</em> Seattle: University of Washington Press in association with the Seattle Art Museum, 1986.", "page_number": "P. 107,129", "url": null}, {"citation": "Sotheby's (Firm). <em>American Impressionist &amp; 20th Century Paintings, Drawings, Watercolors &amp; Sculpture</em>. May 29, 1981. Lot 182.", "page_number": null, "url": null}, {"citation": "Glueck, Grace. <em>New York: The Painted City</em>. Salt Lake City: Peregrine Smith Books, 1992.", "page_number": "P. 54", "url": null}, {"citation": "Stern, Robert A.M. et al., <em>New York 1960 </em>(New York: Monacelli Press, 1995).", "page_number": "P. 1164", "url": null}, {"citation": "Richard J. Powell, \"Harmonizer of Chaos,\" in Peter T. Nesbett and Michelle DuBois, eds., Over the Line: The Art and Life of Jacob Lawrence (Seattle: University of Washington, 2000).", "page_number": "P. 148-49", "url": null}, {"citation": "Nesbett, Peter T. and Michelle DuBois, <em>Jacob Lawrence: Paintings, Drawings, and Murals (1935-1999)</em>: <em>A Catalogue Raisonn\u00e9.</em> Seattle: University of Washington, 2000.", "page_number": "P. 141", "url": null}, {"citation": "Wright, Gwendolyn. \"Permable Boundaries,\" in Peter Madsen and Richard Plunz, eds., <em>The Urban Lifeworld</em> (London: Routledge, 2002).", "page_number": "Reproduced p. 210", "url": null}, {"citation": "Kushner, Marilyn S.\"Exhibiting Art at the American National Exhibition in Moscow, 1959: Domestic Politics and Cultural Diplomacy,\" <em>Journal of Cold War Studies</em> 4 (Winter 2002), 24.", "page_number": "P. 24", "url": null}, {"citation": "Hills, Patricia, and Melissa Renn. Syncopated Rhythms: 20th-Century African American Art from the George and Joyce Wein Collection. Boston: Boston University Art Gallery, 2005.", "page_number": "P. 64-65", "url": null}, {"citation": "\"Harlem's Knights: Extraordinary $2 Million Bequest for Lawrence Scholars Program,\"<em> Parsons re:D</em> 22 (May 2005).", "page_number": "P. 22", "url": null}, {"citation": "<em>The Cleveland Museum of Art Annual Report </em>(July 1,2006- June 30, 2007).", "page_number": "P. 26-7, 32", "url": null}, {"citation": "Adams, Henry.<em> What's American About American Art?: A Gallery Tour in the Cleveland Museum of Art.</em> Cleveland: Cleveland Museum of Art, 2008.", "page_number": "P. 8,13, 144-145", "url": null}, {"citation": "Cole, Mark. \"Jacob Lawrence's Fulton and Nostrand,\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 48, no. 2 (February 2008): 6-7.", "page_number": "Mentioned and reproduced: p. 6-7", "url": "https://archive.org/details/CMAMM2008-02/page/6/mode/2up"}, {"citation": "Gordon, Margery. \"Eyes on the Prizes,\" <em>Art + Auction</em> 31 (February 2008).", "page_number": "Reproduced p. 117", "url": null}, {"citation": "Cole, Mark, \"Jacob Lawrence's Fulton and Nostrand\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 48 no. 2, February 2008", "page_number": "Mentioned & reproduced: p. 6", "url": "https://archive.org/details/CMAMM2008-02/page/6/mode"}, {"citation": "Cleveland Museum of Art, David Franklin, and C. Griffith Mann. <em>Treasures from the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art, 2012.", "page_number": "P. 322-23", "url": null}, {"citation": "Cole, Mark, Amy Sparks, and Rebecca Michaels.<em> African American Art: The Cleveland Museum of Art.</em> [Cleveland, Ohio]: Cleveland Museum of Art, 2013.", "page_number": "P. 3,18; Reproduced p. 22", "url": null}, {"citation": "Cole, Mark. \"American Art of the 1930s to 1950s,\" <em>Cleveland Art</em> 54 (January/February 2014).", "page_number": "P. 21", "url": null}, {"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. 62", "url": ""}, {"citation": "Cleveland Museum of Art. <em>Museum Masters: 2016-17 Companion Guide.</em> [Cleveland, Ohio]: Cleveland Museum of Art, 2016.", "page_number": "Mentioned and reproduced: P. 23", "url": ""}, {"citation": "\"Recommendations from Our Curators.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>61, no. 2 (Spring 2021): 31.", "page_number": "Reproduced and Mentioned: P. 31", "url": "https://archive.org/details/CMAMM2021-02/page/30/mode/2up"}, {"citation": "Kushner, Marilyn S., \"Exhibiting Art at the American National Exhibition in Moscow,\" <em>Journal of Cold War Studies </em>4 (Winter 2002).", "page_number": "P. 24", "url": ""}], "url": "https://clevelandart.org/art/2007.158", "images": {}, "alternate_images": [], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Hammond Hemmelgarn Family Gallery", "athena_id": 165157, "creators": [{"id": 4050, "description": "Jacob Lawrence (American, 1917\u20132000)", "extent": null, "qualifier": null, "role": "artist", "biography": "Jacob Lawrence (born 1917) has been a prominent artist since 1941 when, at age 24, he became the first African American to have a work in the permanent collection of the Museum of Modern Art in New York. His career, now spanning seven decades, has been devoted to documenting African-American life and history, from everyday scenes to the universal struggle for freedom, social justice, and human dignity. Moving to Harlem as a teenager in 1930, Lawrence was influenced by the artists, writers, and philosophers of the Harlem Renaissance-among them Romare Bearden, Langston Hughes, and W.E.B. DuBois-who fostered pride in African-American culture. Lawrence's subjects include the legendary abolitionist heroes Frederick Douglass, Harriet Tubman, and John Brown, and the story of the massive migration of African Americans from the rural South to the industrialized, urban North during the early decades of the 20th century. After thorough research, Lawrence chronicles the crucial events of each saga by creating a series of small paintings on paper in a modernist style of flat, brightly-colored forms.", "name_in_original_language": null, "birth_year": "1917", "death_year": "2000", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2007-06-04T00:00:00", "sortable_date": 1958, "date_added_to_oa": null, "date_text": "1958", "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": true, "updated_at": "2026-10-22 11:15:30.330000"}, {"id": 122351, "accession_number": "1942.647", "share_license_status": "CC0", "tombstone": "The Burning of the Houses of Lords and Commons, 16 October 1834, 1835. Joseph Mallord William Turner (British, 1775\u20131851). Oil on canvas; framed: 123.5 x 153.5 x 12 cm (48 5/8 x 60 7/16 x 4 3/4 in.); unframed: 92 x 123.2 cm (36 1/4 x 48 1/2 in.). The Cleveland Museum of Art, Bequest of John L. Severance, 1942.647", "current_location": "203B British Painting and Decorative Arts", "title": "The Burning of the Houses of Lords and Commons, 16 October 1834", "creation_date": "1835", "creation_date_earliest": 1835, "creation_date_latest": 1835, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 123.5 x 153.5 x 12 cm (48 5/8 x 60 7/16 x 4 3/4 in.); Unframed: 92 x 123.2 cm (36 1/4 x 48 1/2 in.)", "dimensions": {"framed": {"height": 1.235, "height_inch": 48, "height_inch_fraction": 0.625, "width": 1.535, "width_inch": 60, "width_inch_fraction": 0.4375, "depth": 0.12, "depth_inch": 4, "depth_inch_fraction": 0.75}, "unframed": {"height": 0.92, "height_inch": 36, "height_inch_fraction": 0.25, "width": 1.232, "width_inch": 48, "width_inch_fraction": 0.5}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 335856, "title": "Exhibition of the John L. Severance Collection", "description": "<i>Exhibition of the John L. Severance Collection</i>. The Cleveland Museum of Art, Cleveland, OH (November 12, 1942-March 14, 1943).", "opening_date": "1942-11-12T04:00:00"}, {"id": 361411, "title": "Turner in America: Oils, Water Colors, Drawings, and Some Engraved Works of Joseph Mallord William Turner", "description": "<i>Turner in America: Oils, Water Colors, Drawings, and Some Engraved Works of Joseph Mallord William Turner</i>. Indianapolis Museum of Art at Newfields, Indianapolis, IN (organizer) (November 12, 1955-December 25, 1995); Dayton Art Institute, Dayton, OH (January 1-31, 1956).", "opening_date": "1955-11-12T05:00:00"}, {"id": 300857, "title": "Art: The International Language", "description": "<i>Art: The International Language</i>. The Cleveland Museum of Art (October 2-November 4, 1956).", "opening_date": "1956-10-02T04:00:00"}, {"id": 703001, "title": "The Romantic Movement", "description": "<i>The Romantic Movement</i>. The Board of Trustees of the Tate Gallery, London, United Kingdom of Great Britain and Northern Ireland (organizer) (July 10-September 27, 1959).", "opening_date": "1959-07-10T04:00:00"}, {"id": 515827, "title": "Turner: Imagination and Reality", "description": "<i>Turner: Imagination and Reality</i>. The Museum of Modern Art, New York, NY (organizer) (March 23-June 19, 1966).", "opening_date": "1966-03-23T05:00:00"}, {"id": 302662, "title": "Turner Watercolors from The British Museum", "description": "<i>Turner Watercolors from The British Museum</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 27-November 27, 1977).", "opening_date": "1977-09-27T04:00:00"}, {"id": 304561, "title": "Visions of Landscape: East and West", "description": "<i>Visions of Landscape: East and West</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 17-March 21, 1982).", "opening_date": "1982-02-17T05:00:00"}, {"id": 311444, "title": "Object Lessons: Cleveland Creates an Art Museum", "description": "<i>Object Lessons: Cleveland Creates an Art Museum</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 7-September 8, 1991).", "opening_date": "1991-06-07T04:00:00"}, {"id": 380209, "title": "Turner", "description": "<i>Turner</i>. National Gallery of Australia (organizer) (March 16-June 10, 1996).", "opening_date": "1996-03-16T05:00:00"}, {"id": 223416, "title": "J. M. Turner", "description": "<i>J. M. Turner</i>. Museum Folkwang, 45128 Essen, Germany (organizer) (September 14, 2001-January 6, 2002).", "opening_date": "2001-09-14T00:00:00"}, {"id": 179631, "title": "CMA Highlights", "description": "<i>CMA Highlights</i>. The Cleveland Museum of Art (organizer) (June 21-September 11, 2005).", "opening_date": "2005-06-21T00:00:00"}, {"id": 222394, "title": "Masterpieces of European Painting from The Cleveland Museum of Art", "description": "<i>Masterpieces of European Painting from The Cleveland Museum of Art</i>. Frick Collection, New York, NY (organizer) (November 8, 2006-January 28, 2007).", "opening_date": "2006-11-08T00:00:00"}, {"id": 179662, "title": "Masterpieces of European Painting from the Cleveland Museum of Art", "description": "<i>Masterpieces of European Painting from the Cleveland Museum of Art</i>. Maltz Museum of Jewish Heritage, Beachwood, OH (March 29-July 8, 2007).", "opening_date": "2007-03-29T00:00:00"}, {"id": 177207, "title": "J.M.W. Turner", "description": "<i>J.M.W. Turner</i>. National Gallery of Art, Landover, MD (organizer) (October 1, 2007-January 6, 2008); The Dallas Museum of Art, Dallas, TX (February 10-May 25, 2008).", "opening_date": "2007-10-01T00:00:00"}, {"id": 306699, "title": "British Gallery Reinstallation  (June 2020)", "description": "<i>British Gallery Reinstallation  (June 2020)</i>. The Cleveland Museum of Art (organizer).", "opening_date": "2020-06-30T04:00:00"}, {"id": 406868, "title": "Turner's Modern World", "description": "<i>Turner's Modern World</i>. Kimbell Art Museum, Fort Worth, TX (organizer) (October 17, 2021-February 6, 2022) https://kimbellart.org/exhibition/turners-modern-world; Museum of Fine Arts, Boston, Boston, MA (March 27-July 10, 2022) https://www.mfa.org/exhibition/turners-modern-world.", "opening_date": "2021-10-17T04:00:00"}, {"id": 683135, "title": "Turner and Constable", "description": "<i>Turner and Constable</i>. Tate Britain, London (organizer) (November 27-April 12, 2025) https://www.tate.org.uk/whats-on/tate-britain/turner-and-constable.", "opening_date": "2025-11-27T05:00:00"}], "legacy": [{"description": "<em>The Burning of the Houses of Lords and Commons</em>. Royal Academy, London, United Kingdom (1835).", "opening_date": null}, {"description": "<em>Works of British Artists</em>. British Institution, London, United Kingdom (1836).", "opening_date": null}, {"description": "<em>National Exhibition of Works of Art</em>. Leeds, United Kingdom, lent by J. G. Marshall, Esg. (1868)", "opening_date": null}, {"description": "<em>Exhibition of works by the old master and deceased masters of the British school</em>. Royal Academy, London, United Kingdom, lent by Victor Marshall, Esg. (1883),", "opening_date": null}, {"description": "<em>Twentieth Anniversary Exhibition of the Cleveland Museum of Art. </em>Cleveland Museum of Art, Cleveland, OH, lent by the Estate of John L. Severance (June 26-October 4, 1936).", "opening_date": "1936-06-26T00:00:00"}]}, "provenance": [{"description": "Bought from the artist by John Garth Marshall [1765-1845], Headingly House, Leeds, United Kingdom, and by descent.", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "(Christie's, London, United Kingdom, April 28, 1888, under the name of Ponsford.", "citations": [], "footnotes": null, "date": "1888", "sortorder": 2}, {"description": "Descended in the Marshall family through Victor Marshall of Mark Coniston to James Marshall.", "citations": [], "footnotes": null, "date": null, "sortorder": 3}, {"description": "(Leicester Gallery, London, United Kingdom, 1920, sale; but returned to owner)", "citations": [], "footnotes": null, "date": "1920", "sortorder": 4}, {"description": "(Knoedler, London, United Kingdom, 1922, sold to  John L. Severance)", "citations": [], "footnotes": null, "date": "1922", "sortorder": 5}, {"description": "John L. Severance [1863-1936], Cleveland, OH, by bequest in 1936 to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1922-1936", "sortorder": 6}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1942-", "sortorder": 7}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Turner painted two versions of this event. Cleveland's painting views the fire downriver, from the southeast bank of the Thames, while the second version at the Philadelphia Museum of Art views the fire from directly across Westminster Bridge.", "early_education_description": null, "artlens_description": null, "description": "Fire consumed London\u2019s famous Houses of Parliament on the night of October 16, 1834, and people gathered along the banks of the river Thames to gaze in awe at the horrifying spectacle. Initially, a low tide made it difficult to pump water to land and hampered steamers towing firefighting equipment along the river. The blaze burned uncontrollably for hours.<br><br>J. M. W. Turner records the struggle as the boats in the lower-right corner head toward the flames. Although Turner based the painting on an actual event, he magnified the height of the flames, using the disaster as the starting point to express man\u2019s helplessness when confronted with the destructive powers of nature. Brilliant swathes of color and variable atmospheric effects border on abstraction.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60514853"], "internet_archive": ["https://archive.org/details/clevelandart-1942.647-the-burning-of-the-h"]}, "citations": [{"citation": "Morse, John D. <em>Old Master Paintings in North America: Over 3000 Masterpieces by 50 Great Artists</em>. New York, NY: Abbeville Press, 1979.", "page_number": "Reproduced: p. 280", "url": null}, {"citation": "Waagen, Gustav Friedrich. <em>Works of Art and Artists in England</em>. London, United Kingdom: J. Murray, 1838.", "page_number": "Reproduced: p. 152, vol. II", "url": null}, {"citation": "Royal Academy of Arts. <em>Exhibition of the Works of the Old Masters.</em> London, United Kingdom: Printed by Wm. Clowes and Sons, 1870.", "page_number": "Reproduced: no. 215", "url": null}, {"citation": "Thornbury, Walter. <em>Life of J.M.W. Turner, R.A., Founded on Letters and Papers Furnished by His Friends and Fellow-Academicians</em>. New York, NY: Holt, 1877.", "page_number": "Mentioned: p. 327, vol. I, p. 217, vol. II", "url": null}, {"citation": "Monkhouse, W. Cosmo. <em>The Turner Gallery; A Series of One Hundred and Twenty Engravings from the Works of the Late J.M.W. Turner, R.A</em>. New York, NY: D. Appleton and Company, 1879.", "page_number": "Reproduced: p. 118", "url": null}, {"citation": "Armstrong, Walter.<em>Turner</em>. London, United Kingdom: Agnew, 1902.", "page_number": "Mentioned: p. 117,120,146-147,236", "url": null}, {"citation": "Chignell, Robert. <em>J.M.W. Turner, R.A</em>. London, United Kingdom: Walter Scott Pub. Co, 1902.", "page_number": "Reproduced: p. 197", "url": null}, {"citation": "Ruskin, John, Edward Tyas Cook, and Alexander D. O. Wedderburn. <em>The Works of John Ruskin</em>. London, United Kingdom: George Allen, 1903.", "page_number": "Mentioned: p. 423-424, vol. 3; Reproduced: p. 389, vol. 12", "url": null}, {"citation": "Graves, Algernon. <em>The Royal Academy of Arts; A Complete Dictionary of Contributors and Their Work from Its Foundation in 1769 to 1904</em>. London, United Kingdom: H. Graves and Co, 1905.", "page_number": "Reproduced: p. 39", "url": null}, {"citation": "Graves, Algernon. <em>Century of Loan Exhibitions 1813-1912</em>. London, United Kingdom: Graves, 1913.", "page_number": "Mentioned: p. 1334. vol. 3, Reproduced: p. 1336", "url": null}, {"citation": "Hind, C. Lewis. <em>Turner's Golden Visions</em>. London, United Kingdom: T.C. &amp; E.C. Jack, 1925.", "page_number": "Reproduced: p. 183", "url": null}, {"citation": "Whitley, William T. <em>Art in England, 1821-1837</em>. Cambridge, United Kingdom: University Press, 1930.", "page_number": "Reproduced: p. 298", "url": null}, {"citation": "Cleveland Museum of Art. <em>Catalogue of the Twentieth Anniversary Exhibition of the Cleveland Museum of Art: The Official Art Exhibit of the Great Lakes Exposition : June Twenty-Sixth to October Fourth 1936</em>. Cleveland, OH: Cleveland Museum of Art, 1936.", "page_number": "no. 249", "url": null}, {"citation": "John Long Severance Art Collection Photographs: Furniture, Cleveland Museum of Art Archives.", "page_number": "Reproduced: p. 301", "url": "https://archive.org/details/SeveranceFurniture/page/n299/mode/1up"}, {"citation": "Finberg, A. J. <em>The Life of J.M.W. Turner, R.A</em>. Oxford, United Kingdom: Clarendon Press, 1939.", "page_number": "Reproduced: p. 500, no. 463, pl. 18", "url": null}, {"citation": "<em>Catalogue of the John L. Severance Collection: Bequest of John L. Severance, 1936.</em> [Cleveland, Ohio]: Cleveland Museum of Art, 1942.", "page_number": "Reproduced: p. [23], Plate IX, cat. no. 16; Mention: p. 25, cat. no. 16", "url": "https://archive.org/details/SeveranceBequest/page/n29"}, {"citation": "Francis, Henry. \"Department of Paintings.\" <em>The Bulletin of the Cleveland Museum of Art </em>29, no. 9 (November 1942): 132-136", "page_number": "Reproduced: p. 134; Mentioned: p. 136", "url": "https://www.jstor.org/stable/25141016"}, {"citation": "<em>Paintings in the Cleveland Museum of Art.</em> [Cleveland]: The Cleveland Museum of Art, 1945.", "page_number": "Reproduced: p. 20", "url": "https://archive.org/details/CMAPaintings1945/page/n28"}, {"citation": "Constable, W. G., and Henry Preston Rossiter. <em>An Exhibition of Paintings, Drawings and Prints by J.M.W. Turner, John Constable [and] R.P. Bonington. March 21 to April 28, 1946</em>. Bsoton, MA: Museum of Fine Arts, 1946.", "page_number": "Reproduced: no. 11", "url": null}, {"citation": "<em>An Exhibition of Paintings by J.M.W. Turner (1775-1851) to Commemorate the Centennial of His Death</em>. Toronto, Ontario: Art Gallery of Toronto, National Gallery of Canada, 1951.", "page_number": "Reproduced: no. 9", "url": null}, {"citation": "Berenson, Bernard. <em>Seeing and Knowing</em>. New York, NY: Macmillan, 1953.", "page_number": "Mentioned: p. 33; Reproduced: p. 48, no. 86", "url": null}, {"citation": "<em>Turner in America: Oils, Water Colors, Drawings, and Some Engraved Works of Joseph Mallord William Turner, English, 1775-1851</em>. Indianapolis, IN: Art Association of Indianapolis, 1955.", "page_number": "Reproduced: no. 38", "url": null}, {"citation": "The Cleveland Museum of Art. <em>The Cleveland Museum of Art Handbook.</em> Cleveland, OH: The Cleveland Museum of Art, 1958.", "page_number": "Mentioned and Reproduced: cat. no. 476", "url": "https://archive.org/details/CMAHandbook1958/page/n87"}, {"citation": "Arts Council of Great Britain. <em>The Romantic Movement: Fifth Exhibition to Celebrate the Tenth Anniversary of the Council of Europe, 10 July to 27 September 1959 [at] the Tate Gallery and the Arts Council Gallery, London</em>. London, United Kingdom: Arts Council of Great Britain, 1959.", "page_number": "Reproduced: no. 353, pl. 48", "url": null}, {"citation": "Rothenstein, John, and Martin Butlin. <em>Turner</em>. New York, NY: G. Braziller, 1964.", "page_number": "Mentioned: p. 48-50, 54; Reproduced: p, 64, opl. xvii", "url": null}, {"citation": "Birren, Faber. <em>History of Color in Painting, With New Principles of Color Expression</em>. New York, NY: Reinhold Pub. Corp, 1965.", "page_number": "Reproduced: p. 261, pl. xi; Mentioned: p. 185, 260", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 183", "url": "https://archive.org/details/CMAHandbook1966/page/n207"}, {"citation": "Lindsay, Jack. <em>J.M.W. Turner: His Life and Work; A Critical Biography</em>. Greenwich, CT: New York Graphic Society, 1966.", "page_number": "Mentioned and reproduced: p. 178-182, 187, 204", "url": null}, {"citation": "Gowing, Lawrence. <em>Turner: Imagination and Reality</em>. New York, NY. Museum of Modern Art,1966.", "page_number": "Mentioned: p. 45,59; Reproduced: no, 10", "url": null}, {"citation": "Arnason, H. H. <em>History of Modern Art: Painting, Sculpture, Architecture</em>. New York, NY: H.N. Abrams, 1968.", "page_number": "Reproduced: p. 16, pl. 2", "url": null}, {"citation": "Gatt, Giuseppe. <em>Turner: The Life and Work of the Artist Illustrated with 80 Colour Plates</em>. London, United Kingdom: Thames &amp; Hudson, 1968.", "page_number": "Mentioned: p. 33; Reproduced: pl. 49-50", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 183", "url": "https://archive.org/details/CMAHandbook1969/page/n207"}, {"citation": "Graves, Algernon. <em>The British Institution, 1806-1867; A Complete Dictionary of Contributors and Their Work from the Foundation of the Institution</em>. Bath, United Kingdom: Kingsmead Reprints, 1969.", "page_number": "Reproduced: p. 545", "url": null}, {"citation": "Gage, John. <em>Color in Turner; Poetry and Truth</em>. New York. NY: Praeger, 1969.", "page_number": "Mentioned: p. 117, 252; Reproduced on dust jacket", "url": null}, {"citation": "Reynolds, Graham. <em>Turner</em>. London, United Kingdom: Thames &amp; Hudson, 1969.", "page_number": "Mentioned: p. 81, 165; Reproduced: p. 214, pl. 142", "url": null}, {"citation": "Hirsh, Diana. <em>The World of Turner, 1775-1851</em>. New York, NY: Time-Life Books, 1969.", "page_number": "Mentioned and reproduced: p. 154-155", "url": null}, {"citation": "Blunden, Maria, Godfrey Blunden, and James Emmons. <em>Impressionists and Impressionism</em>. Geneva, Switzerland : Skira; New York, NY : Distributed in the United States by World Pub. Co., 1970.", "page_number": "Reproduced: p. 98", "url": null}, {"citation": "Munro, Thomas. <em>Form and Style in the Arts: An Introduction to Aesthetic Morphology</em>. Cleveland, OH: Press of Case Western Reserve University, 1970.", "page_number": "Reproduced: pl. II", "url": null}, {"citation": "Turner, J. M. W. <em>Ta\u0304na\u0304 = Turner</em>. Tokyo, Japan: Bijutsu shuppan-sha, 1970.", "page_number": "Reproduced: p. 5", "url": null}, {"citation": "<em>L'impressionnisme</em>. Paris, France: Re\u0301alite\u0301s, 1971.", "page_number": "Reproduced: p. 38", "url": null}, {"citation": "Valsecchi, Marco. <em>Landscape Painting of the 19th Century</em>. Greenwich, CT: New York Graphic Society, 1971.", "page_number": "Reproduced: p. 371, pl. 9", "url": null}, {"citation": "Clark, Kenneth. <em>The Romantic Rebellion: Romantic Versus Classic Art</em>. London, United Kingdom: Sotheby Parke Bernet Publications Ltd., 1973.", "page_number": "Reproduced: p. 256", "url": null}, {"citation": "Philadelphia Museum of Art, and George H. Marcus. <em>Treasures of the Philadelphia Museum of Art and the John G. Johnson Collection</em>. Philadelphia, PA: The Museum, 1973.", "page_number": "Reproduced: p. 73", "url": null}, {"citation": "Centraal Museum (Utrecht, Netherlands). <em>Landschap in Utrecht: Centraal Museum Utrecht, 18 september-3 november 1974</em>. [Utrecht]: [Centraal Museum], 1974.", "page_number": "Reproduced: p. 18", "url": null}, {"citation": "Tate Gallery. <em>Turner, 1775-1851</em>. London, United Kingdom: Tate Gallery Publications, 1974.", "page_number": "Reproduced: p. 142", "url": null}, {"citation": "Talbot, William S. \u201cJohn Constable: Branch Hill Pond, Hampstead Heath.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 61, no. 3 (March 1974): 97\u2013115.", "page_number": "Mentioned and reproduced: p. 104-105, fig. 5", "url": "http://www.jstor.org/stable/25152518"}, {"citation": "Herrmann, Luke. <em>Turner: Paintings, Watercolors, Prints &amp; Drawings</em>. Boston, MA: New York Graphic Society, 1975.", "page_number": "Reproduced: p. 42, pl. 133", "url": null}, {"citation": "Selz, Jean. <em>Turner</em>. New York, NY: Crown Publishers, 1975.", "page_number": "Reproduced: p. 59", "url": null}, {"citation": "Butlin, Martin, and Evelyn Joll. <em>The Paintings of J.M.W. Turner</em>. New Haven, CT: Published for the Paul Mellon Centre for Studies in British Art and the Tate Gallery by Yale University Press, 1977.", "page_number": "Reproduced: no. 364, vol. I and pl, 339, vol. 2", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 208", "url": "https://archive.org/details/CMAHandbook1978/page/n228"}, {"citation": "Honour, Hugh. <em>Romanticism</em>. New York, NY: Harper &amp; Row, 1979.", "page_number": "Mentioned: p. 97; Reproduced: p. 383, fig. 51", "url": null}, {"citation": "Thomas, David. <em>J.M.W. Turner</em>. London, United Kingdom: Medici Society, 1979.", "page_number": "Reproduced: p. 18", "url": null}, {"citation": "Wilton, Andrew. <em>J.M.W. Turner: His Art and Life</em>. New York, NY: Rizzoli, 1979.", "page_number": "Reproduced: p. 218, 364", "url": null}, {"citation": "Wilton, Andrew. <em>Turner and the Sublime</em>. London, United Kingdom: Published by British Museum Publications for the Art Gallery of Ontario, the Yale Center for British Art, the Trustees of the British Museum, 1980.", "page_number": "Reproduced: p. 97", "url": null}, {"citation": "Joll, Evelyn, Martin Butlin, and Gemma Verchi. <em>L'opera completa di Turner</em>. Milano, Italy: Rizzoli, 1982.", "page_number": "Reproduced: no. 377", "url": null}, {"citation": "Paulson, Ronald. <em>Book and Painting: Shakespeare, Milton, and the Bible : Literary Texts and the Emergence of English Painting</em>. Knoxville, TN: University of Tennessee Press, 1982.", "page_number": "Mentioned: p. 147; Reproduced: p. 149 p.", "url": null}, {"citation": "Gealt, Adelheid M. <em>Looking at Art: A Visitor's Guide to Museum Collections</em>. New York, NY: R.R. Bowker, 1983.", "page_number": "Mentioned: p. 367-368; Reproduced: pl. 10", "url": null}, {"citation": "Butlin, Martin, and Evelyn Joll. <em>The Paintings of J.M.W. Turner</em>. New Haven, CT: Published for the Paul Mellon Centre for Studies in British Art and the Tate Gallery by Yale University Press, 1984.", "page_number": "Mentioned: p. 208, vol. 1; Reproduced: p, 210, no. 364", "url": null}, {"citation": "Solender, Katherine. <em>Dreadful Fire!: Burning of the Houses of Parliament</em>. Cleveland, OH: Cleveland Museum of Art, 1984.", "page_number": "Reproduced: no. 12", "url": null}, {"citation": "Heffernan, James A. W. <em>The Re-Creation of Landscape: A Study of Wordsworth, Coleridge, Constable, and Turner</em>. Hanover, CT: Published for Dartmouth College by University Press of New England, 1984.", "page_number": "Mentioned: p. 24; Reproduced: p. 223, fig. 43", "url": null}, {"citation": "Cleaver, Dale G. <em>Art: An Introduction</em>. San Diego, CA: Harcourt Brace Jovanovich, 1985.", "page_number": "Reproduced: p. 281, fig. 17-5", "url": null}, {"citation": "Lindsay, Jack. <em>Turner: The Man and His Art</em>. London, United Kingdom: Granada, 1985.", "page_number": "Mentioned: p. 123-125; Reproduced: pl. 15", "url": null}, {"citation": "Dorment, Richard. <em>British Painting in the Philadelphia Museum of Art: From the Seventeenth Through the Nineteenth Century</em>. Philadelphia, PA: Philadelphia Museum of Art, 1986.", "page_number": "Mentioned: p. 396,398, 401; Reproduced: fig. 111-1", "url": null}, {"citation": "Kroeber, Karl. <em>British Romantic Art</em>. Berkeley, CA: University of California Press, 1986.", "page_number": "Mentioned: p. 168, 169; Reproduced: fig. 10", "url": null}, {"citation": "Larson, Dean M. <em>Studying with the Masters: Lessons from Rubens, Vela\u0301zquez, Turner, Degas, Monet, Sargent, Matisse</em>. New York, NY: Watson-Guptill Publications, 1986.", "page_number": "Reproduced: p. 48", "url": null}, {"citation": "Eitner, Lorenz. <em>An Outline of 19th Century European Painting: From David Through Ce\u0301zanne</em>. New York, NY: Harper &amp; Row, 1987.", "page_number": "Mentioned: p. 149, vol. 1; Reproduced: fig. 133", "url": null}, {"citation": "Gage, John. <em>J.M.W. Turner: A Wonderful Range of Mind</em>. New Haven, CT: Yale University Press, 1987.", "page_number": "Mentioned: p. 226; Reproduced: p. 233, no. 89, fig. 320", "url": null}, {"citation": "Kurtz, Bruce D. <em>Visual Imagination: An Introduction to Art</em>. Englewood Cliffs, NJ.: Prentice-Hall, 1987.", "page_number": "Reproduced: p. 178, fig. 7-19", "url": null}, {"citation": "Wilton, Andrew. <em>Turner in His Time</em>. New York, NY: H.N. Abrams, 1987.", "page_number": "Mentioned: p. 183-184; Reproduced: p. 206", "url": null}, {"citation": "Adams, Steven. <em>The Art of the Pre-Raphaelites</em>. Secaucus, NJ.: Chartwell Books, 1988.", "page_number": "Reproduced: p. 46", "url": null}, {"citation": "Robinson, Jeremy. <em>The Light Eternal: A Study of J.M.W. Turner</em>. London, United Kingdom: Crescent Moon, 1989.", "page_number": "Reproduced: p. 64", "url": null}, {"citation": "Ginzburg Carignani, Silvia. <em>Turner</em>. New York, NY: Arch Cape Press, 1990.", "page_number": "Reproduced: p. 17, fig. 43", "url": null}, {"citation": "Klien, Wolfgang. <em>Der Siegeszug der Landschaftsmalerei: eine Entwicklungsgeschichte der Landschaftsmalerei in Europa</em>. Hamburg, Germany: Jahn &amp; Ernst, 1990.", "page_number": "Reproduced: p. 71", "url": null}, {"citation": "Ferrier, Jean-Louis, and Sophie Monneret. <em>L'aventure de l'art au XIXe sie\u0300cle</em>. Paris. France: Hachette 1991.", "page_number": "Reproduced: p. 378", "url": null}, {"citation": "Mathes, Charles. <em>Treasures of American Museums</em>. New York, NY: Mallard Press, 1991.", "page_number": "Reproduced: p. 121, fig. 6", "url": null}, {"citation": "Meyer, Laure. <em>Les mai\u0302tres du paysage anglais: de la Renaissance a\u0300 nos jours</em>. Paris, France: Terrail, 1992.", "page_number": "Mentioned: p. 110; Reproduced: p. 112-113", "url": null}, {"citation": "Lyles, Anne. <em>Turner: the Fifth Decade: Watercolours 1830-1840</em>. London, United Kingdom: Tate Gallery, 1992.", "page_number": "Mentioned and reproduced: p. 71-73", "url": null}, {"citation": "Nagata, Yoshio. <em>Ta\u0304na\u0304 = William Turner</em>. To\u0304kyo\u0304, Japan: Asahi Shinbunsha, 1992.", "page_number": "Reproduced: pl. 50", "url": null}, {"citation": "Breuille, Jean-Philippe. <em>L'Art du XIXe sie\u0300cle: dictionnaire de peinture et de sculpture</em>. Paris, France: Larousse, 1993.", "page_number": "Reproduced: p. 719", "url": null}, {"citation": "Daniels, Stephen. <em>Fields of Vision: Landscape Imagery and National Identity in England and the United States</em>. Cambridge, United Kingdom: Polity, 1993.", "page_number": "Mentioned: p. 130, 132, 134; Reproduced: p. 136, fig. 8", "url": null}, {"citation": "Robinson, Michelle, and J. M. W. Turner. <em>J.M.W. Turner's The Burning of the Houses of Parliament, 16th October, 1834, an Allegory of Misrule</em>. [Place of publication not identified]: [publisher not identified], 1994.", "page_number": "Reproduced: p. 48", "url": null}, {"citation": "Kenner, Robert. <em>J.M.W. Turner</em>. New York, NY: H.N. Abrams, 1995.", "page_number": "Reproduced: p. 76", "url": null}, {"citation": "Egerton, Judy. <em>Turner, the Fighting Temeraire</em>. London, United Kingdom: National Gallery Publications, 1995.", "page_number": "Reproduced: p. 79", "url": null}, {"citation": "Liversidge, M. J. H., and Catharine Edwards. <em>Imagining Rome: British Artists and Rome in the Nineteenth Century</em>. London, United Kingdom: Merrell Holberton, 1996.", "page_number": "Reproduced: p. 51", "url": null}, {"citation": "Rosenthal, Michael. \"Turner in Australia.\" <em>Apollo: The International Magazine for Collectors</em> 144 (October 1996): 51.", "page_number": "Reproduced: p. 51", "url": null}, {"citation": "Lloyd, Michael. <em>Turner</em>. Canberra, Australia, ACT: National Gallery of Australia, 1996.", "page_number": "Mentioned: p. 87-99; Reproduced: p. 89, 231", "url": null}, {"citation": "Strasser, Rene\u0301. <em>Die Stadt als Landschaft</em>. Rorschach, Switzerland: E. Lo\u0308pfe-Benz AG, 1997.", "page_number": "Reproduced: p. 61", "url": null}, {"citation": "Suzuki, Haruo, and Chieko Hasegawa. <em>100 chefs-d'\u0153uvres du monde</em>. Tokyo, Japan: Kyuryudo, 1997.", "page_number": "Reproduced: p. 97, no. 45", "url": null}, {"citation": "Bailey, Anthony. <em>Standing in the Sun: A Life of J.M.W. Turner</em>. New York, NY: Harper Collins Publishers, 1998.", "page_number": "Mentioned: p. 288-299, 301, 333-335; Reproduced: 358-359", "url": null}, {"citation": "Rottmann, Carl, Christoph H. Heilmann, and Erika Ro\u0308diger-Diruf. <em>Landschaft als Geschichte: Carl Rottmann, 1797-1850, Hofmaler Ko\u0308nig Ludwigs I</em>. Mu\u0308nchen, Germany: Hirmer, 1998.", "page_number": "Reproduced: p. 43, pl. 9", "url": null}, {"citation": "Lammerhuber, Lois, and Alexander Smoltczyk. <em>Das Dach der Welt seine Geschichte, seine Magie, sein Gesicht und seine Sprache</em>. Baden, Germany: Ed. Lammerhuber, 1998.", "page_number": null, "url": null}, {"citation": "Marceau, Jo. <em>Art: A World History</em>. London, United Kingdom: Dorling Kindersley, 1997.", "page_number": "Reproduced: p. 462", "url": null}, {"citation": "Lambourne, Lionel. <em>Victorian Painting</em>. London, United Kingdom: Phaidon Press, 1999.", "page_number": "Mentioned: p. 22-23; Reproduced: no. 18", "url": null}, {"citation": "D'Argencourt, Louise and Roger Diederen. <em>The Cleveland Museum of Art Catalogue of Paintings: Part Four;European Paintings of the 19th Century.</em> Cleveland, OH: The Cleveland Museum of Art, 1999.", "page_number": "Reproduced: p. 213", "url": null}, {"citation": "Butlin, Martin, Luke Herrmann, and Evelyn Joll. <em>The Oxford Companion to J.M.W. Turner</em>. Oxford, United Kingdom: Oxford University Press, 2001.", "page_number": "Reproduced: pl. 21", "url": null}, {"citation": "Wilton, Andrew and Georg-W. Ko\u0308ltzsch. <em>William Turner: Licht und Farbe : eine Ausstellung in Zusammenarbeit mit Tate</em>. Ko\u0308ln, Germany: DuMont, 2001.", "page_number": "Reproduced: p. 248; Mentioned: p. 362", "url": null}, {"citation": "May, Sally Ruth, Jane Takac, and Barbara J. Bradley. <em>Knockouts: A Pocket Guide</em>. Cleveland, OH: Cleveland Museum of Art, 2001.", "page_number": "Mentioned: p. 47-48; Reproduced: p. 47", "url": null}, {"citation": "Meslay, Olivier. <em> l'incendie de la peinture</em>. Paris, France: Gallimard, 2004.", "page_number": "Mentioned and reproduced: p. 98-99", "url": null}, {"citation": "Adams, Laurie. <em>A History of Western Art</em>. Boston, MA: McGraw-Hill, 2004.", "page_number": "Reproduced: p. 407, fig. 22.14", "url": null}, {"citation": "Owen, Susan Margaret. <em>Rivers and the British Landscape</em>. Lancaste, United Kingdomr: Carnegie, 2005.", "page_number": "Reproduced: p. 163", "url": null}, {"citation": "Meslay, Olivier. <em>Turner: Life and Landscape</em>. New York, NY: Harry N. Abrams, 2005.", "page_number": "Mentioned and reproduced: p. 98-99", "url": null}, {"citation": "Iacono, Margaret. <em>Masterpieces of European Painting from the Cleveland Museum of Art</em>. New York, NY: The Frick Collection, 2006", "page_number": "Mentioned: p. 70-73; Reproduced: no. 14", "url": null}, {"citation": "Gage, John. <em>Colour in Art</em>. London, United Kingdom: Thames &amp; Hudson, 2006.", "page_number": "Reproduced: p. 74, fig. 64", "url": null}, {"citation": "Channing, Laurence, \"Personal and Professional\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 46 no. 10, December 2006", "page_number": "Mentioned & reproduced: p. 4", "url": "https://archive.org/details/CMAMM2006-10/page/4"}, {"citation": "Warrell, Ian and Franklin Kelly. <em>J.M.W. Turner</em>. London, United Kingdom: Tate Publishing, 2007.", "page_number": "Reproduced: p. 184, fig. 130", "url": null}, {"citation": "Gage, John, He\u0301le\u0300ne Tronc, and Odile Me\u0301ne\u0301gaux. <em>Turner</em>. Paris, France: Citadelles &amp; Mazenod, 2010", "page_number": "Mentioned: p. 356-357; Reproduced: fig. 282, front dust jacket", "url": null}, {"citation": "Oge\u0301e, Fre\u0301de\u0301ric. <em>Turner les paysages absolus</em>. Paris, France: Hazan, 2010.", "page_number": "Mentioned and reproduced: p. 186-187", "url": null}, {"citation": "Arnason, H. Harvard, and Elizabeth Mansfield. <em>History of Modern Art: Painting, Sculpture, Architecture, Photography</em>. Upper Saddle River, NJ: Pearson Prentice Hall, 2010.", "page_number": "Reproduced: p. 13, no. 1.15", "url": null}, {"citation": "Adams, Laurie. <em>A History of Western Art</em>. New York, NY: McGraw-Hill, 2011.", "page_number": "Reproduced: p. 411, fig. 22.15", "url": null}, {"citation": "Richter-Musso, Ines, Ortrud Westheider, James Hamilton, and Michael Philipp. <em>Turner and the Elements</em>. Munich, Germany: Hirmer, 2011.", "page_number": "Reproduced: p. 184, no. 7", "url": null}, {"citation": ".Buren, Daniel. <em>Revealed: Turner Contemporary Opens</em>. Margate, United Kingdom: Turner Contemporary, 2011.", "page_number": "Reproduced: p. 22", "url": null}, {"citation": "Vacha, John. \"Art Gets It's Due.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 51, no. 4 (July/August 2011): 7-9.", "page_number": "Mentioned and reproduced: p. 8", "url": "https://archive.org/details/CMAMM2011-04/page/6/mode/2up"}, {"citation": "Costello, Leo. <em>J.M.W. Turner and the Subject of History</em>. Farnham, Surrey, United Kingdom: Ashgate, 2012.", "page_number": "Reproduced: p. 95, fig. 2.17", "url": null}, {"citation": "<em>Treasures of the Cleveland Museum of Art</em>. London, United Kingdom: Scala Books, 2012.", "page_number": "Mentioned and reproduced: p. 228-229", "url": null}, {"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. 288", "url": ""}, {"citation": "Moyle, Franny, and J. M. W. Turner. <em>Turner: The Extraordinary Life and Momentous Times of J.M.W. Turner</em>. London : Viking, 2016.", "page_number": "Mentioned: p. 381; Reproduced: endpapers", "url": null}, {"citation": "Lapucci, Roberta &amp; Borgioli, Leonardo. \"Un inedito duplice bozetto di Joseph Mallallord William Turner.\" <em>Kermes: la rivista del restauro</em> 29, no.101/102 (Jan./June 2016).", "page_number": "Reproduced: p. 110; fig. 3", "url": null}, {"citation": "Cheshire, Lee. <em>London in Paint</em>. London, United Kingdom : Tate Publishing, 2017.", "page_number": "Mentioned & reproduced: P. 40", "url": null}, {"citation": "Sotheby's. \"Critical Reception.\" <em>Old Masters, Evening Sale</em>, July 5, 2017: 116-119.", "page_number": "Reproduced: p. 119, fig. 18", "url": null}, {"citation": "Hunter, Matthew C. \"Curve, Line, Circle, Slash, Cross: A Diagram of Liquid Intelligence.\" <em>Grey Room </em>69 (Fall 2017): 6-23.", "page_number": "Reproduced: p. 13", "url": ""}, {"citation": "\"A Bright New Welcome: The corridor in the museum's main entrance will be flooded with lights and color by Spencer Finch's<em> Color Test 2010 (9 Permutations</em>).\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 58. no. 2 (March/April 2018): 30-31.", "page_number": "Reproduced: P. 31 and Mentioned: P. 30", "url": "https://archive.org/details/CMAMM2018-02/page/n15/mode/2up"}, {"citation": "Ehrlich, Linda C. \"Turning Away from the Fire: A New Look at Films of Kore-eda Hirokazu.\"<em> Framework: The Journal of Cinema and Media 60, no. 1 (Spring 2019): 116-140. <br></em>", "page_number": "Reproduced: p. 118, fig. 2", "url": null}, {"citation": "\u201cReimaging the British Galleries: Our curators preview the new look of the space.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>vol. 59, no. 6 (November/December 2019): 5-7.", "page_number": "Reproduced and Mentioned: P. 5.", "url": ""}, {"citation": "Masello, David. \"Backlit: looking into Turner's light.\" <em>Fine Art Connoisseur </em>17, no. 1 (January/February 2020): 90-93.", "page_number": "Reproduced: p.92", "url": null}, {"citation": "Reynolds, Graham. <em>Turner</em>. [Place of publication not identified]: Thames &amp; Hudson, 2020.", "page_number": "Reproduced: P. 157; Mentioned: P. 156, no. 142", "url": null}, {"citation": "Faroult, Guillaume, Sophie Barthe\u0301le\u0301my, Sandra Buratti-Hasan, and Jenny Gaschke. Absolutely bizarre !: les dro\u0302les d'histoire de l'e\u0301cole de Bristol (1800-1840). 2020, 114.", "page_number": "Mentioned and reproduced: pp. 113-114, fig. 46.", "url": ""}, {"citation": "Arcangeli, Francesco, and Filippo Milani. Dal romanticismo all'informale. 2020, 183.", "page_number": "Mentioned: p. 192; reproduced: p. 183, No. 160.", "url": ""}, {"citation": "Ellcock, Stephen. <em>The Book of Change: Images to Inspire Revelations and Revolutions.</em> London: September Publishing, 2021.", "page_number": "Reproduced: p. 30Reproduced: p. 234", "url": ""}, {"citation": "Imhof, Michael, and J. M. W. Turner. William Turner: Leben und Werk. Petersberg : Michael Imhof Verlag, 2023.", "page_number": "Mentioned: p. 195; reproduced: pp. 192-193", "url": ""}, {"citation": "Hunter, Matthew C. \"The Sun is God: Turner, Angerstein, and Insurance.\" <em>Oxford Art Journal</em> 47, n. 1 (2024): 39-65.", "page_number": "Reproduced: front cover, p. 52 (fig. 8), 64 (fig. 11 detail); Mentioned: p. 51, 64", "url": ""}, {"citation": "Moorby, Nicola. <em>Turner and Constable: Art, Life, Landscape. </em>New Haven: Yale University Press, 2025.", "page_number": "Reproduced: Jacket cover", "url": ""}, {"citation": "Concannon, Amy, ed. <em>Turner &amp; Constable: Rivals and Originals. </em>London: Tate Publishing, 2025.", "page_number": "Mentioned and reproduced: p. 198-199, no. 162", "url": ""}, {"citation": "\u201cTurner versus Constable.\" <em>L\u2019Estampille, L\u2019objet d\u2019Art</em>, n. 628 (December 2025): 16.", "page_number": "Mentioned and reproduced: p. 16", "url": ""}, {"citation": "Imhof, Michael. <em>Die Malerei der Romantik: von Friedrich bis Turner.</em> Petersberg, Deutschland: Michael Imhof Verlag, 2026.", "page_number": "Mentioned and reproduced: p. 651, 653", "url": ""}, {"citation": "Lin, Savi. \u201cThe Eternal Dialogue Between Light and Shadow and Reality: the Rivalry Between Turner and Constable, Founders of the British Landscape Painting School.\u201d <em>Yi shu jia</em>, i. 610 (March 2026): 68-75.", "page_number": "Mentioned and reproduced: p. 74", "url": ""}], "url": "https://clevelandart.org/art/1942.647", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1942.647/1942.647_web.jpg", "width": "900", "height": "668", "filesize": "241680", "filename": "1942.647_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1942.647/1942.647_print.jpg", "width": "3400", "height": "2525", "filesize": "3069687", "filename": "1942.647_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1942.647/1942.647_full.tif", "width": "15155", "height": "11254", "filesize": "511692212", "filename": "1942.647_full.tif"}}, "alternate_images": [{"web": {"url": "https://openaccess-cdn.clevelandart.org/1942.647/1942.647_alt0_web.jpg", "width": "900", "height": "683", "filesize": "261878"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1942.647/1942.647_alt0_print.jpg", "width": "3400", "height": "2582", "filesize": "3465872"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1942.647/1942.647_alt0_full.tif", "width": "7594", "height": "5768", "filesize": "131435400"}, "date_created": "2017-01-23T10:45:49", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1942.647/1942.647_alt1_web.jpg", "width": "900", "height": "679", "filesize": "224408"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1942.647/1942.647_alt1_print.jpg", "width": "3400", "height": "2566", "filesize": "2916456"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1942.647/1942.647_alt1_full.tif", "width": "7681", "height": "5797", "filesize": "133608516"}, "date_created": "2017-01-23T10:51:33", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1942.647/1942.647_alt2_web.jpg", "width": "1205", "height": "893", "filesize": "790219"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1942.647/1942.647_alt2_print.jpg", "width": "3400", "height": "2519", "filesize": "6049467"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1942.647/1942.647_alt2_full.tif", "width": "5500", "height": "4075", "filesize": "67269068"}, "date_created": "2007-02-12T17:29:40", "annotation": ""}], "creditline": "Bequest of John L. Severance", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Ellen and Bruce Mavec Gallery", "athena_id": 122351, "creators": [{"id": 1280, "description": "Joseph Mallord William Turner (British, 1775\u20131851)", "extent": null, "qualifier": null, "role": "artist", "biography": "Joseph Mallord William Turner, the supreme landscape painter of the romantic era, had the exceptional good fortune to be the son of a Covent Garden barber and wigmaker who thoroughly supported his aspirations to paint pictures. As an adolescent, Turner colored engravings for the print sellers and apprenticed with architectural draftsman Thomas Malton (1726-1801). Although he entered the Royal Academy Schools in 1789, Turner's substantive artistic training came from his numerous self-conducted topographical drawing tours of the British Isles in the early 1790s and from his camaraderie with Thomas Girtin (1775-1802), with whom he copied the masterworks of landscape watercolorist John Robert Cozens (1752-1799) in the collection of Dr. Thomas Monro (1759-1833). Turner submitted his first oil painting, a seascape, for exhibition at the Royal Academy in 1796 and was elected an associate member three years later, at the earliest permissible age. Devoted to the academy's lofty mission, as it had been articulated by the recently deceased Sir Joshua Reynolds (1723-1792) in his annual lectures to the students of the academy, Turner would relish his election as a full academician in 1802 and would serve as professor of perspective from 1807 until 1837. His masterpieces of the early decades (and there seems an endless succession of works with title to that distinction) were either homages to past masters of landscape painting or entirely personal interpretations of the most extraordinary range of naturalistic effects and subjects. Whether it was The Fifth Plague of Egypt (1800, Indianapolis Museum of Art) and its amalgam of allusions to Nicolas Poussin (1594-1665) and Richard Wilson (1714-1782), The Dort Packet-Boat from Rotterdam Becalmed (1818, Yale Center for British Art, New Haven), with its overt tribute to Aelbert Cuyp (1620-1691), or The Fall of an Avalanche in the Grisons (1810, Tate Gallery, London), with its unprecedented invention of horrific naturalistic detail that challenged conventional notions of the sublime in art, the net effect of Turner's achievement was to elevate landscape painting to a status within the traditional hierarchy of genres that it had rarely enjoyed since the seventeenth century. Unlike Constable (q.v.), Turner was an indefatigable traveler abroad. His first visit to Switzerland in 1802 resulted in a spectacular series of exhibition watercolors that boldly established watercolor painting as a vital medium of original expression. A tour of Belgium, the Netherlands, and the Rhine in 1817 was followed by his first protracted stay in Italy in 1819. After 1820 summer excursions to France, Germany, Switzerland, Italy, and especially Venice were almost annual occurrences. Gradually, and primarily after the 1819 Italian sojourn, Turner's palette lightened. Traditional notions of chiaroscuro, of alternating bands of light and dark earth colors, yielded to compositions orchestrated in brighter hues, in which the various colors move across the painted surface almost at will, little respecting the forms they describe but in perfect balance.\r\nDuring the 1820s and early 1830s Turner committed vast amounts of his creative capital to the production of literary and travel illustrations. These kept an entire generation of engravers employed for several decades. Despite the tendency of his era to stigmatize reproductive engraving as an inferior instrument of artistic presentation, Turner was preoccupied with its processes and potential, acutely aware that, long after his pigments had faded, his reputation would be secure in the more durable brilliance of the engraver's deftly crafted reproductions. A second trip to Italy in 1828 may partially account for the heightened coloring of Ulysses Deriding Polyphemus (1828, National Gallery, London), which John Ruskin described as a pivotal picture in Turner's career. But there was very little falling off in either technical or thematic invention during the last decades of Turner's life. In major oils like Snow Storm-Steam Boat Off a Harbor's Mouth (1842, Tate Gallery, London) and Rain, Steam and Speed (1844, National Gallery, London) and no less measure in the series of elaborately finished Swiss watercolors executed on commission at the end of his life, natural forms occupy an uncertain place between concrete reality and total dissolution by light into the colors and images of what Monet (q.v.) admiringly called the \"exuberant romanticism of Turner's fancy.\" Perspective can be intentionally distorted and the color schemes can approach the brazenly artificial, yet somehow the fundamental truth of Turner's vision, his faith in the supreme forces of nature and in the artist's preeminence as the mediator of that experience, continues to persuade.", "name_in_original_language": null, "birth_year": "1775", "death_year": "1851", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1942-07-24T00:00:00", "sortable_date": 1835, "date_added_to_oa": null, "date_text": "1835", "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": ["Burning of the Houses of Parliament, 1834"], "is_highlight": true, "updated_at": "2026-07-24 11:49:01.386000"}, {"id": 138464, "accession_number": "1962.37", "share_license_status": "CC0", "tombstone": "Cupid and Psyche, 1817. Jacques-Louis David (French, 1748\u20131825). Oil on canvas; framed: 221 x 282 x 10 cm (87 x 111 x 3 15/16 in.); unframed: 184.2 x 241.6 cm (72 1/2 x 95 1/8 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1962.37", "current_location": "201 Neoclassical Painting & Sculpture", "title": "Cupid and Psyche", "creation_date": "1817", "creation_date_earliest": 1817, "creation_date_latest": 1817, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 221 x 282 x 10 cm (87 x 111 x 3 15/16 in.); Unframed: 184.2 x 241.6 cm (72 1/2 x 95 1/8 in.)", "dimensions": {"framed": {"height": 2.21, "height_inch": 87, "height_inch_fraction": 0.0, "width": 2.82, "width_inch": 111, "width_inch_fraction": 0.0, "depth": 0.1, "depth_inch": 3, "depth_inch_fraction": 0.9375}, "unframed": {"height": 1.842, "height_inch": 72, "height_inch_fraction": 0.5, "width": 2.416, "width_inch": 95, "width_inch_fraction": 0.125}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed in yellow in arm of the couch: L. David 1817 Bruxelles\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 302276, "title": "Year in Review - 1962", "description": "<i>Year in Review - 1962</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 24-November 25, 1962).", "opening_date": "1962-10-24T04:00:00"}, {"id": 304705, "title": "Neo-classicism: Style and Motif", "description": "<i>Neo-classicism: Style and Motif</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 23-October 31, 1964).", "opening_date": "1964-09-23T04:00:00"}, {"id": 515708, "title": "Fifteenth Anniversary Exhibition", "description": "<i>Fifteenth Anniversary Exhibition</i>. Minneapolis Institute of Art, Minneapolis, MN (organizer) (November 4, 1965-January 2, 1966).", "opening_date": "1965-11-04T05:00:00"}, {"id": 455290, "title": "The Age of Neoclassicism", "description": "<i>The Age of Neoclassicism</i>. Arts Council of Great Britain (organizer) (September 7-November 19, 1972).", "opening_date": "1972-09-07T04:00:00"}, {"id": 223677, "title": "Jacques-Louis David: Empire to Exile", "description": "<i>Jacques-Louis David: Empire to Exile</i>. J. Paul Getty Museum, Los Angeles, CA (February 1-April 24, 2005); Sterling and Francine Clark Art Institute, Williamstown, MA (organizer) (June 5-September 5, 2005).", "opening_date": "2005-02-01T00:00:00"}, {"id": 180662, "title": "CMA @ Oberlin (first rotation)", "description": "<i>CMA @ Oberlin (first rotation)</i>. Allen Memorial Art Museum, Oberlin, OH (January 31-April 3, 2006).", "opening_date": "2006-01-31T00:00:00"}, {"id": 222394, "title": "Masterpieces of European Painting from The Cleveland Museum of Art", "description": "<i>Masterpieces of European Painting from The Cleveland Museum of Art</i>. Frick Collection, New York, NY (organizer) (November 8, 2006-January 28, 2007).", "opening_date": "2006-11-08T00:00:00"}, {"id": 179662, "title": "Masterpieces of European Painting from the Cleveland Museum of Art", "description": "<i>Masterpieces of European Painting from the Cleveland Museum of Art</i>. Maltz Museum of Jewish Heritage, Beachwood, OH (March 29-July 8, 2007).", "opening_date": "2007-03-29T00:00:00"}, {"id": 673962, "title": "Jacques-Louis David", "description": "<i>Jacques-Louis David</i>. Mus\u00e9e du Louvre, Paris, France (organizer) (October 15, 2025-January 26, 2026) https://www.louvre.fr/en/exhibitions-and-events/exhibitions/jacques-louis-david.", "opening_date": "2025-10-15T04:00:00"}], "legacy": [{"description": "City Hall, Ghent, Belgium (1817). (According to Dowd 1956).", "opening_date": "1956-01-01T00:00:00"}, {"description": "<em>Au profit des hospices de Sainte-Gudule et des Ursuline</em>s. Mus\u00e9e Royal de Bruxelles, Bruxelles, Belgium (1817). (See Wildenstein and Wildenstein 1973).", "opening_date": "1973-01-01T00:00:00"}, {"description": "<em>Au profit des Grecs</em>. Galerie Lebrun, Paris, France (1826). (According to David, exh. cat., Orangerie des Tuileries, Paris, France (1948).", "opening_date": "1948-01-01T00:00:00"}, {"description": "<em>Gros, ses amis, ses \u00e9l\u00e8ves</em>. Petit Palais, Paris, France (1936).", "opening_date": "1936-01-01T00:00:00"}, {"description": "<em>David: Exposition en l'honneur du deuxi\u00e8me centenaire de sa naissance</em>. Orangerie des Tuileries, Paris, France (June-September, 1948).", "opening_date": "1948-06-01T00:00:00"}]}, "provenance": [{"description": "Giovanni Battista Comte de Sommariva [1760-1826], his sale February 18-23, 1839, sold to Dubois.", "citations": [], "footnotes": [], "date": "1839", "sortorder": 1}, {"description": "(Dubois, Paris, France, February 18-23, 1839, lot 1)", "citations": [], "footnotes": null, "date": "1839", "sortorder": 2}, {"description": "James Alexandre Comte de Pourtal\u00e8s [1776-1855], Paris. France.", "citations": [], "footnotes": [], "date": null, "sortorder": 3}, {"description": "Pourtal\u00e8s-Gorgier sale, Paris, France, March 27, 1865 (lot 242), ff 1,450 sold to Madame de Furtado, 1880.", "citations": [], "footnotes": [], "date": "1880", "sortorder": 4}, {"description": "Madame de Furtado [1821-1896], Paris, France", "citations": [], "footnotes": [], "date": "1880-?", "sortorder": 5}, {"description": "M. Eisenschitz ? (See distinguishing marks label)", "citations": [], "footnotes": null, "date": null, "sortorder": 6}, {"description": "Prince Murat by 1913. Princesse Murat. Murat sale, Palais Galli\u00e9ra, Paris, France, March 2, 1961 (lot 140), ff 245,000.", "citations": [], "footnotes": null, "date": null, "sortorder": 7}, {"description": "(Rosenberg & Stiebel, New York, NY sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "1962", "sortorder": 8}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1962", "sortorder": 9}], "find_spot": null, "related_works": [{"id": 162396, "description": "Cupid and Psyche, 1813. Jacques-Louis David (French, 1748\u20131825). Gray wash and pen and black ink with white paint and traces of black chalk ; sheet: 16.7 x 22.4 cm (6 9/16 x 8 13/16 in.). The Cleveland Museum of Art, Andrew R. and Martha Holden Jennings Fund, 2002.91", "relationship": "based on"}], "former_accession_numbers": [], "did_you_know": "Jacques-Louis David included two butterflies in this painting: one above the slumbering Psyche and the other on the base of the couple's bed frame.", "early_education_description": null, "artlens_description": null, "description": "David used the story of Cupid and Psyche to explore the conflict between idealized love and physical reality. Cupid, lover of the beautiful mortal Psyche, visited her nightly on the condition that she not know his identity. Cupid was usually depicted as an ideal adolescent, but here David presents him as an ungainly teenager smirking at his sexual conquest. David took inspiration from a number of ancient texts, including an obscure, recently published Greek poem by Moschus that describes Cupid as a mean-spirited brat with flashing eyes and curly hair.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q3201883"], "internet_archive": ["https://archive.org/details/clevelandart-1962.37-cupid-and-psyche"]}, "citations": [{"citation": "", "page_number": "", "url": ""}, {"citation": "Dibdin, Thomas Frognall, William Bulmer, William Nicol, R. H. Evans, Robert Triphook, and John Major. <em>A Bibliographical, Antiquarian and Picturesque Tour in France and Germany</em>. 1821.", "page_number": "Mentioned: vol. 2, p. 309-310", "url": null}, {"citation": "Blanc, Charles and Adolphe Narcisse Thibaudeau. <em>Le tre\u0301sor de la curiosite\u0301, tire\u0301 des catalogues de vente de tableaux, dessins, estampes, livres, marbres, bronzes, ivoires, terres cuites, vitraux, me\u0301dailles, armes, precelaines, meubles, e\u0301maux, laques et autres objets d'art</em>. Paris: Ve J. Renouard, 1857.", "page_number": "Mentioned: vol. 2, p. 437", "url": null}, {"citation": "Rosenthal, Le\u0301on. Louis David. Paris: Librairie de l'art ancien et moderne, 1904.", "page_number": "Mentioned: p. 139-140", "url": null}, {"citation": "Muse\u0301e du Petit Palais. <em>Exposition David et ses e\u0301le\u0300ves, 7 avril-9 juin, 1913, Palais des beaux-arts de la ville de Paris</em>. Paris: Impr. G. Petit, 1913.", "page_number": "Reproduced: no. 60", "url": null}, {"citation": "Gallatin, James. <em>A Great Peace Maker; The Diary of James Gallatin, Secretary to Albert Gallatin, 1813-1827</em>. New York, NY: C. Scribner's Sons, 1930.", "page_number": "Mentioned: p. 64; Reproduced: p. 67", "url": null}, {"citation": "Cantinelli, R. <em>Jacques-Louis David, 1748-1825</em>. Paris: Editions G. van Oest, 1930.", "page_number": "Reproduced: no. 143", "url": null}, {"citation": "Escholier, Raymond and Germaine Barnaud. <em>Gros, ses amis et ses e\u0301le\u0300ves</em>. Paris: Petit Palais, 1936.", "page_number": "Reproduced: p. 218", "url": null}, {"citation": "Kolma, Klaus. <em>David, son evolution et son style</em>. Paris: P. Lejay, 1940.", "page_number": "Mentioned: p. 94-95; Reproduced: p. 129, no. 149", "url": null}, {"citation": "Maret, Jacques. <em>David</em>. Monaco: Documents d'Art, 1943", "page_number": "Mentioned: p. 16; Reproduced: p. 94", "url": null}, {"citation": "Maurois, Andre\u0301 and Franc\u0327oise Gaston-Che\u0301rau. <em>J.-L. David</em>. Paris: E\u0301ditions du Dimanche, 1948.", "page_number": "Reproduced: no. 36", "url": null}, {"citation": "Florisoone, Michel. <em>David: exposition en l'honneur du deuxie\u0300me centenaire de sa naissance</em>. Paris: E\u0301ditions des Muse\u0301es Nationaux, 1948.", "page_number": "Reproduced: no. 72", "url": null}, {"citation": "Galerie Charpentier. <em>Figures nues d'e\u0301cloe franc\u0327aise; depuis les ma\u00eetres de Fontainebleau</em>: Paris: 1953.", "page_number": "Reproduced: p. 45", "url": null}, {"citation": "Cleveland Museum of Art, \u201cRecent Acquisition Press Release,\u201d June 13, 1962, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr0964"}, {"citation": "Francis, Henry S. \"Jacques Louis David 'Cupid and Psyche'.\" <em>Bulletin of the Cleveland Museum of Art, </em>vol. L (1963): 29-34.", "page_number": "Reproduced: p. 34", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland: Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 164", "url": "https://archive.org/details/CMAHandbook1966/page/n188"}, {"citation": "<em>Fiftieth Anniversary Exhibition, 1915-1965. November 4, 1965-January 2, 1966. </em>Minneapolis: Minneapolis Institute of Arts, 1966.", "page_number": "Reproduced: no. 20", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland: Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 164", "url": "https://archive.org/details/CMAHandbook1969/page/n188"}, {"citation": "Council of Europe, Royal Academy of Arts, Victoria and Albert Museum, and Arts Council of Great Britain. <em>The Age of Neo-Classicism </em>(catalogue of exhibition at the Royal Academy of Arts and the V&amp;A Museum). London: Arts Council of Great Britain, 1972.", "page_number": "Reproduced: no. 71", "url": null}, {"citation": "Verbraeken, Rene\u0301. <em>Jacques-Louis David juge\u0301 par ses contemporains et par la poste\u0301rite\u0301. Suivi de la liste des tableaux dont l'authenticite\u0301 est garantie par les e\u0301crits de l'artiste, des documents de son e\u0301poque, ou par leur appartenance a\u0300 ses descendants</em>. Paris: L. Laget, 1973.", "page_number": "Mentioned: p. 29,105-106,184; Reproduced: p. 186, pl. 65", "url": null}, {"citation": "Praz, Mario. <em>Gusto neoclassico</em>. Milan: Rizzoli, 1974.", "page_number": "Mentioned: p. 18, 123; Reproduced: p. 255, pl. 27", "url": null}, {"citation": "Heim Gallery. <em>Exhibition of French Drawings: Neo-Classicism</em>. London: Heim Gallery, 1975.", "page_number": "Reproduced: no. 26", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland: Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 202", "url": "https://archive.org/details/CMAHandbook1978/page/n222"}, {"citation": "Borowitz, Helen O. \"The Man Who Wrote to David.\" <em>The Bulletin of the Cleveland Museum of Art</em> 67, no. 8 (1980): 256-74.", "page_number": "Mentioned and reproduced: P. 263-264", "url": "http://www.jstor.org/stable/25159691"}, {"citation": "Lawrence, Mary. <em>Lovers: 100 Works of Art Celebrating Romantic Love, with Commentaries by the Distinguished and the Great</em>. New York, NY: A &amp; W Publishers, 1982.", "page_number": "Mentioned: p. 144-145; Reproduced: p. 145", "url": null}, {"citation": "Louise d'Argencourt, Roger Diederen, Alisa Luxenberg, Patrick Noon, William H. Robinson, Ann Tzeutschler Lurie. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P:194-202, Vol. I, no. 72", "url": null}, {"citation": "Laveissie\u0300re, Sylvain and Philippe Bordes. <em>Pierre-Paul Prud'hon: actes du colloque organise\u0301 au Muse\u0301e du Louvre par le Service culturel, le 17 novembre 1997</em>. Paris: Documentation franc\u0327aise, 2001.", "page_number": "Reproduced: fig. 19", "url": null}, {"citation": "May, Sally Ruth. <em>Knockouts: a pocket guide.</em> Cleveland: Cleveland Museum of Art, 2001.", "page_number": "Reproduced: no. 44, p. 46 - 47", "url": ""}, {"citation": "Cavicchioli, Sonia. <em>The Tale of Cupid and Psyche: An Illustrated History</em>. New York, NY: George Braziller, 2002.", "page_number": "Reproduced: p. 209, fig.148", "url": null}, {"citation": "Baur, Eva Gesine. <em>Meisterwerke der erotischen Kunst</em>. Cologne: Dumont, 2002.", "page_number": "Reproduced: p. 73, fig.4", "url": null}, {"citation": "Greer, Germainer. <em>The Beautiful Boy</em>. New York, NY: Rizzoli, 2003.", "page_number": "Reproduced: p. 84", "url": null}, {"citation": "Delaporte, Franc\u0327ois. <em>Anatomie des passions</em>. Paris: Presses Universitaires de France, 2003.", "page_number": "Reproduced: pl. 9", "url": null}, {"citation": "Pinelli, Antonio. <em>David</em>. Milan: 5 Continents, 2004.", "page_number": "Reproduced: pl. 46", "url": null}, {"citation": "Bordes, Philippe. <em>Jacques-Louis David: Empire to Exile</em>. New Haven: Yale University Press, 2005.", "page_number": "Mentioned: p. 231-232; Reproduced: no. 32", "url": null}, {"citation": "Muse\u0301e du Louvre. <em>Ru\u0304vuru Bijutsukan ten: 19-seiki Furansu kaiga : shin koten shugi kara roman shugi e </em>(Louvre: chefs-d'\u0153uvre de la peinture franc\u0327aise du XIXe\u0300me sie\u0300cle dans les collections du Louvre). Tokyo: Nihon Terebi Ho\u0304so\u0304mo\u0304, 2005.", "page_number": "Reproduced: p. 42", "url": null}, {"citation": "Iacono, Margaret. <em>Masterpieces of European Painting from the Cleveland Museum of Art</em>. New York, NY: Frick Collection, 2006.", "page_number": "Mentioned: p. 64-69; no. 13", "url": null}, {"citation": "Holm, Christiane. <em>Amor und Psyche: die Erfindung eines Mythos in Kunst, Wissenschaft und Alltagskultur (1765-1840)</em>. Munich: Deutscher Kunstverlag, 2006.", "page_number": "Mentioned: p. 20-21,115-116,192-194,251,159", "url": null}, {"citation": "Carrier, David. <em>Museum Skepticism: A History of the Display of Art in Public Galleries</em>. Durham, North Carolina: Duke University Press, 2006.", "page_number": "Reproduced: p. 72, fig.11", "url": null}, {"citation": "Johnson, Dorothy. <em>Jacques-Louis David: New Perspectives</em>. Newark: University of Delaware Press, 2006.", "page_number": "Reproduced: p. 30, pl. 14", "url": null}, {"citation": "Lampe, Issa. <em>Painting History Ex Patria: Empire, Exile and Memory in the Late Narrative Paintings of Jacques-Louis David (1817-1824)</em>. Ph.D. diss., Harvard University, 2006.", "page_number": "Reproduced: p. 265, fig. 4", "url": null}, {"citation": "Channing, Laurence, \"Personal and Professional\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 46 no. 10, December 2006", "page_number": "Mentioned & reproduced: p. 4", "url": "https://archive.org/details/CMAMM2006-10/page/4"}, {"citation": "Ledbury, Mark. <em>David After David: Essays on the Later Work</em>. Williamstown, MA: Sterling and Francine Clark Art Institute, 2007.", "page_number": "Reproduced: fig. 4", "url": null}, {"citation": "Allard, Se\u0301bastien and Marie-Claude Chaudonneret. <em>Le suicide de Gros: les peintres de l'Empire et la ge\u0301ne\u0301ration romantique</em>. Paris: Gourcuff Gradenigo, 2010.", "page_number": "Reproduced: p. 65", "url": null}, {"citation": "Johnson, Dorothy. <em>David to Delacroix: The Rise of Romantic Mythology</em>. Chapel Hill: University of North Carolina Press, 2011.", "page_number": "Reproduced: p. 14, fig. 5", "url": null}, {"citation": "Allard, Se\u0301bastien, Nadeije Laneyrie-Dagen, and Emmanuel Pernoud. <em>L'enfant dans la peinture</em>. Paris: Citadelles &amp; Mazenod, 2011.", "page_number": "Mentioned: p. 248-249; Reproduced: p. 249", "url": null}, {"citation": "Leniaud, Jean-Michel. <em>Napole\u0301on et les arts</em>. Paris: Citadelles &amp; Mazenod, 2012.", "page_number": "Reproduced: p. 402", "url": null}, {"citation": "<em>Treasures of the Cleveland Museum of Art</em>. Cleveland:Cleveland Museum of Art in association with Scala Publishers, 2012.", "page_number": "Reproduced: p. 226-227", "url": null}, {"citation": "Pomare\u0300de, Vincent, Valeria Merlini, and Daniela Storti. <em>Cupid and Psyche</em>. Soveria Mannelli, Italy: Rubbettino Editore, 2012.", "page_number": "Reproduced: p. 39, fig. 14", "url": null}, {"citation": "Cogeval, Guy. <em>Masculin masculin: l'homme nu dans l'art de 1800 a\u0300 nos jours</em>. Paris: Mus\u00e9e d'Orsay, 2013.", "page_number": "Reproduced: p. 15, fig. 5", "url": null}, {"citation": "Fried, Michael. <em>Another Light: Jacques-Louis David to Thomas Demand. </em>New Haven: Yale University Press, 2014.", "page_number": "Reproduced: p. 27", "url": null}, {"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. 287", "url": ""}, {"citation": "Langer, Laurent. \"James de Pourtales. Collectionneur de tableaux contemporains.\" In <em>Kunst &amp; Karriere: ein Kaleidoskop des Kunstbetriebs.</em> Ed. by Ba\u0308tschmann, Oskar, and Regula Kra\u0308henbu\u0308hl, 139-154. Zu\u0308rich: Schweizerisches Institut fu\u0308r Kunstwissenschaft, 2015.", "page_number": "Reproduced: p. 142, fig. 2", "url": null}, {"citation": "LeValley, Paul. Art Follows Nature: A Worldwide History of the Nude. <br>[Kissimmee, FL] : [Paul LeValley]; 2016.", "page_number": "Mentioned and reproduced: p. 157", "url": ""}, {"citation": "Guichard, Charlotte. <em>La griffe du peintre: la valeur de l'art (1730-1820).</em> Paris: \u00c9ditions du Seuil, 2018.", "page_number": "Reproduced and mentioned: p. 250-251, fig.75", "url": null}, {"citation": "Rosenberg, Pierre. \"David e Caravaggio.\" In <em>David E Caravaggio: La Crudelta\u0300 Della Natura, Il Profumo Dell\u2019ideale. </em>Fernando Mazzocca, ed., 13-40. Milano: Edizioni Gallerie d\u2019Italia: Skira, 2019.", "page_number": "Mentioned and reproduced: p. 36-37, figs. 29-30", "url": ""}, {"citation": "Arendsee, M. and M. Steinman-Arendsee. \"Take the CAN disability aesthetics tour, at the Cleveland Museum of art.\" CAN Journal (Winter 2019/20): 76-87.", "page_number": "Mentioned: p. 77", "url": null}, {"citation": "David, Jacques Louis, and Perrin Stein. <em>Jacques Louis David: Radical Draftsman.</em> 2022, 245.", "page_number": "Mentioned and reproduced, p. 245, fig. 140.", "url": ""}, {"citation": "De\u0301cimo, Marc. <em>E\u0301tant Donne\u0301 Marcel Duchamp: Palimpseste d'Une Oeuvre</em>. Dijon: Les Presses du re\u0301el, 2022.", "page_number": "Reproduced: P. 207, fig. 46", "url": ""}, {"citation": "Joseph, Wassil. <em>Franc\u0327ois Rude (1784-1855): Le Souffle Romantique.</em> Paris: Arthena, 2024.", "page_number": "Mentioned and reproduced: p. 470, fig. 313", "url": ""}, {"citation": "Allard, Sebastien, ed. <em>Jacques-Louis David.</em> Paris: Mus\u00e9e du Louvre, 2025.", "page_number": "Mentioned: p. 267; Reproduced: p. 270-271, fig. 160, p. 200, fig. 111", "url": ""}, {"citation": "Gobet, Aude.\u201cL'Exil \u00e0 Bruxelles.\u201d <em>Dossiers de l'Art</em> n. 332 (October 2025): 66-71.", "page_number": "Mentioned: p. 68, 70, 71 ; Reproduced: p. 69", "url": ""}, {"citation": "Gobet, Aude. \u201cJacques-Louis David: du chevalet \u00e0 l'ar\u00e8ne politique.\" <em>L\u2019Estampille, L\u2019objet d\u2019Art</em>, n. 628 (December 2025): 52.", "page_number": "Mentioned and reproduced: p. 52", "url": ""}], "url": "https://clevelandart.org/art/1962.37", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1962.37/1962.37_web.jpg", "width": "1180", "height": "893", "filesize": "695293", "filename": "1962.37_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1962.37/1962.37_print.jpg", "width": "3400", "height": "2574", "filesize": "5203435", "filename": "1962.37_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1962.37/1962.37_full.tif", "width": "5000", "height": "3785", "filesize": "56804216", "filename": "1962.37_full.tif"}}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Sarah S. and Alexander M. Cutler Gallery", "athena_id": 138464, "creators": [{"id": 1643, "description": "Jacques-Louis David (French, 1748\u20131825)", "extent": null, "qualifier": null, "role": "artist", "biography": "The founder and leading painter of the neoclassical movement in France, Jacques-Louis David was born in Paris to a prosperous family of artists and archi-tects. In 1766 he entered the Acad\u00e9mie Royale as the pupil of Joseph-Marie Vien (1716-1809). After several failed attempts, David won the Prix de Rome in 1774. The following year he left for Italy, where he studied antique art and envisioned replacing the frivolity of the rococo with an art of grandeur, simplicity, and moral virtue. After returning to Paris in 1780, he established his reputa-tion with three spectacular successes at the Salon: The Oath of the Horatii (1785, Mus\u00e9e du Louvre, Paris), The Death of Socrates (1787, Metropolitan Museum of Art, New York), and The Lictors Bring-ing Brutus the Bodies of His Sons (1789, Mus\u00e9e du Louvre, Paris). Widely interpreted as moral parables for contemporary political events, these archetypes of neoclassical aesthetics set the standard for academic painting of the next century. In the 1790s David joined the radical Jacobin Club and played an active role in the French Revolution. He allied himself with Robespierre, served a short term as president of the Convention, and voted for the execution of Louis XVI. He also placed his artistic talents at the service of the Revolution by creating paintings that glorified its martyrs and by organizing public festivals that celebrated the new political order. As the most prominent artist in the revolutionary ranks, he led the attack against the Acad\u00e9mie Royale that culminated in its abolish-ment in 1793. When the excesses of the Reign of Terror precipitated the fall of Robespierre in 1794, David was imprison-ed but spared execution. Authorities released him the following year due to ill health. Around 1798 David developed a new alliance with the brilliant young general of the Directory, Napol\u00e9on Bonaparte. David's painting The Intervention of the Sabine Women (1799, Mus\u00e9e du Louvre, Paris) coalesced perfectly with Napoleonic propaganda urging national reconciliation. After the coup d'\u00e9tat of 1799, Napol\u00e9on was named first consul and began supplying David with important commissions. Upon Napol\u00e9on's coronation in 1804, David was appointed first painter to the emperor. David's monumental painting The Coronation of Napol\u00e9on, or Le Sacre (1805-7, Mus\u00e9e du Louvre, Paris), introduced a less spartan, more colorful and emotive style. However, as seen in his life-size portrait Napol\u00e9on in His Study (1812, National Gallery of Art, Washington, D.C.), David increasingly searched to balance this new heroic-romanticism with an exacting realism. In 1816, following Napol\u00e9on's defeat at Waterloo and the restoration of the monarchy, David went into exile in Belgium. He spent the last nine years of his life in Brussels, painting mostly mythological subjects and portraits. David died of a stroke in 1825 and was denied burial in France.", "name_in_original_language": null, "birth_year": "1748", "death_year": "1825", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1962-02-17T00:00:00", "sortable_date": 1817, "date_added_to_oa": null, "date_text": "1817", "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": true, "updated_at": "2026-06-11 12:17:39.963000"}, {"id": 149112, "accession_number": "1977.43", "share_license_status": "Copyrighted", "tombstone": "Church Street El, 1920. Charles Sheeler (American, 1883\u20131965). Oil on canvas; framed: 60 x 67.5 x 6 cm (23 5/8 x 26 9/16 x 2 3/8 in.); unframed: 41 x 48.5 cm (16 1/8 x 19 1/8 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1977.43", "current_location": "226A American Modern", "title": "Church Street El", "creation_date": "1920", "creation_date_earliest": 1920, "creation_date_latest": 1920, "artists_tags": ["male"], "culture": ["United States"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 60 x 67.5 x 6 cm (23 5/8 x 26 9/16 x 2 3/8 in.); Unframed: 41 x 48.5 cm (16 1/8 x 19 1/8 in.)", "dimensions": {"framed": {"height": 0.6, "height_inch": 23, "height_inch_fraction": 0.625, "width": 0.675, "width_inch": 26, "width_inch_fraction": 0.5625, "depth": 0.06, "depth_inch": 2, "depth_inch_fraction": 0.375}, "unframed": {"height": 0.41, "height_inch": 16, "height_inch_fraction": 0.125, "width": 0.485, "width_inch": 19, "width_inch_fraction": 0.125}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right: \"Sheeler 1920\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 302666, "title": "Year in Review: 1977", "description": "<i>Year in Review: 1977</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 28, 1977-January 22, 1978).", "opening_date": "1977-12-28T05:00:00"}, {"id": 442371, "title": "American Realism, 1920 - 1940", "description": "<i>American Realism, 1920 - 1940</i>. Academy of Fine Arts, Berlin, Berlin 1000, Germany (organizer) (November 9-December 28, 1980).", "opening_date": "1980-11-09T05:00:00"}, {"id": 310243, "title": "The Precisionist Aesthetic in American Art", "description": "<i>The Precisionist Aesthetic in American Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 24-April 9, 1989).", "opening_date": "1989-01-24T05:00:00"}, {"id": 205796, "title": "Mad for Modernism: Earl Horter and His Collection", "description": "<i>Mad for Modernism: Earl Horter and His Collection</i>. Philadelphia Museum of Art (organizer) (March 7-May 16, 1999).", "opening_date": "1999-03-07T00:00:00"}, {"id": 226121, "title": "Der k\u00fchle Blick", "description": "<i>Der k\u00fchle Blick</i>. Kunsthalle der Hypo-Kulturstiftung, Munich, Germany (organizer) (June 1-September 2, 2001).", "opening_date": "2001-06-01T00:00:00"}, {"id": 177240, "title": "Charles Sheeler: Mediums and Messages", "description": "<i>Charles Sheeler: Mediums and Messages</i>. National Gallery of Art, Landover, MD (organizer) (May 7-September 4, 2006); The Art Institute of Chicago, Chicago, IL (October 15, 2006-January 7, 2007); Fine Arts Museums of San Francisco, de Young Museum, San Francisco, CA (February 10-May 6, 2007).", "opening_date": "2006-05-07T00:00:00"}, {"id": 176614, "title": "Youth and Beauty: Art of the American Twenties", "description": "<i>Youth and Beauty: Art of the American Twenties</i>. The Brooklyn Museum, Brooklyn, NY (organizer) (October 28, 2011-January 22, 2012); The Dallas Museum of Art, Dallas, TX (February 24-May 27, 2012); The Cleveland Museum of Art, Cleveland, OH (July 1-September 16, 2012).", "opening_date": "2011-10-28T00:00:00"}, {"id": 292179, "title": "The Cult of the Machine: Precision in American Art", "description": "<i>The Cult of the Machine: Precision in American Art</i>. Fine Arts Museums of San Francisco, de Young Museum, San Francisco, CA (March 24-August 12, 2018); The Dallas Museum of Art, Dallas, TX (September 16, 2018-January 6, 2019).", "opening_date": "2018-03-24T04:00:00"}], "legacy": [{"description": "New York, Whitney Studio Galleries, Exhibition of Selected Works by Charles Sheeler (1 March-31 March 1924).", "opening_date": "1924-03-01T00:00:00"}, {"description": "Cleveland, Cleveland Museum of Art, The Precisionist Aesthetic in American Art (24 January-9 April 1989)", "opening_date": "1989-01-24T00:00:00"}, {"description": "Philadelphia, The Philadelphia Museum of Art, Mad for Modernism: Earl Horter and His Collection, (7 March-16 May 1999), plate 78, p. 122, also included two footnotes concerning Sheeler and his relationship to Horter (p. 61), and pp. 173, 180-181, 184.", "opening_date": "1999-03-07T00:00:00"}, {"description": "New York, Whitney Museum of American Art, The American Century: Art &amp; Culture 1900-1950 (23 April-22 August 1999), cat. no. 273, illus. p. 148.", "opening_date": "1999-04-23T00:00:00"}, {"description": "Munich, Kunsthalle der Hypo-Kulturstiftung, Der k\u00fchle Blick: Realismus der Zwanzigerjahre in Europa und Amerika (1 June-2 September 2001), illus. p. 311.", "opening_date": "2001-06-01T00:00:00"}, {"description": "National Gallery of Art (5/7/2006-9/4/2006), Art Institute of Chicago (10/15/2006-1/7/2007), Fine Arts Museums of San Francisco, MH de Young Museum (2/10/2007-5/6/2007): \"Charles Sheeler: Mediums and Messages\"", "opening_date": "2006-05-07T00:00:00"}, {"description": "Brooklyn Museum of Art (10/28/2011 - 1/22/2012), Dallas Museum of Art (2/24/2012 - 5/27/2012), and Cleveland Museum of Art (7/1/2012 - 9/16/2012): \"Youth and Beauty: Art of the American Twenties\", Fig. 105, p. 143.", "opening_date": "2011-10-28T00:00:00"}, {"description": "<em>The Collection of Earl Horter.</em> Pennsylvania Museum of Art, Philadelphia, PA (February 17-1-March 13, 1934).", "opening_date": "1934-03-13T00:00:00"}, {"description": "<em>Modern Paintings from the Collection of Mr. Earl Horter of Philadelphia</em>. The Arts Club of Chicago, Chicago, IL (April 3 - April 26, 1934); no. 57", "opening_date": "1934-04-03T00:00:00"}, {"description": "<em>Charles Sheeler: Paintings, Drawings, Photographs</em>. Museum of Modern Art. New York, NY (1939), no. 11, listed p. 46.", "opening_date": "1939-01-01T00:00:00"}, {"description": "<em>Charles Sheeler.</em> National Collection of Fine Arts, Smithsonian Institution, Washington, DC (October 10-November 24 ,1968); Philadelphia Museum of Art, Philadelphia, PA (January 10-February 16, 1969); Whitney Museum of American Art, New York, NY (March 11-April 27,1969); no. 24, illus. p. 39,", "opening_date": "1969-01-10T00:00:00"}, {"description": "mentioned briefly in essays by both Martin Friedman (\"The Art of Charles Sheeler: Americana in a Vacuum\") p. 40, and Bartlett Hayes (\"Reminiscence\") p. 70.", "opening_date": null}, {"description": "Berlin, Academy of Fine Arts, America: Traum und Depression 1920-1940, (1980), pp. 109-137, illus. p. 89, pl. 8, cat. no. 292.", "opening_date": "1980-01-01T00:00:00"}, {"description": "San Francisco, San Francisco Museum of Modern Art, Images of America: Precisionist Painting and Modern Photography, (9 September-7 November 1982); traveled to Saint Louis, The Saint Louis Art Museum (6 December 1982-30 January 1983); Baltimore, The Baltimore Museum of Art (28 February-25 April 1983); Des Moines, Des Moines Art Center (23 May-17 July 1983); Cleveland, The Cleveland Museum of Art (15 August-9 October 1983), no. 92, plate 18 (also reproduced on cover),", "opening_date": "1982-09-09T00:00:00"}, {"description": "included essay by Karen Tsujimoto entitled \"Charles Sheeler: Precisionist Painter and Modern Photographer,\" (pp. 73-85, 172-173) which discusses the CMA painting.", "opening_date": null}, {"description": "Boston, Museum of Fine Arts, Charles Sheeler: Paintings and Drawings, (13 October 1987- 3 January 1988); traveled to New York, Whitney Museum of American Art (28 January-17 April 1988); Dallas, Dallas Museum of Art (15 May-10 July 1988), no. 16, p. 80,", "opening_date": "1988-01-28T00:00:00"}, {"description": "also included parts from essay by Carol Troyen and Erica E. Hirshler, \"From the Eyes Inward: Paintings and Drawings by Charles Sheeler,\" (pp. 9-11, 36-37), which point out the fact that the CMA painting was derived from Manhatta.", "opening_date": null}]}, "provenance": [{"description": "The Cleveland Museum of Art, Cleveland, Ohio", "citations": [], "footnotes": [], "date": "1977-", "sortorder": 1}, {"description": "(Robert Schoelkopf Gallery, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "-1977", "sortorder": 2}, {"description": "(Harold Diamond, New York, NY) 1", "citations": [], "footnotes": ["<div><!--block-->1 According to Andy Schoelkopf, Harold Diamond acquired the painting from Mrs. Horter, but because Diamond had little experience in selling Sheeler's works, he consigned the painting to Robert Schoelkopf to sell.&nbsp; Diamond most likely never&nbsp; owned the painting. Schoelkopf sold the painting rather quickly after a visit from Sherman Lee, who happened to see the painting soon after it was received from Diamond.&nbsp;</div>"], "date": "?", "sortorder": 3}, {"description": "Elizabeth Lentz Horter [1900-1985], South Langhorne, PA", "citations": [], "footnotes": [], "date": "Probably 1940-at least 1969", "sortorder": 4}, {"description": "Earl Horter [1880-1940], Philadelphia, PA 1", "citations": [], "footnotes": ["<div><!--block-->1Horter's ownership of this painting by 1934 is confirmed by an exhibition of his collection at the Philadelphia Museum of Art in that year.</div>"], "date": "By 1930-probably 1940", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Sheeler and his good friend, the poet William Carlos Williams, patronized speakeasies together during Prohibition.", "early_education_description": null, "artlens_description": null, "description": "Capturing the soaring heights of New York City, this painting is a dramatic bird's-eye view of Broadway and Wall Street, showing a conglomeration of buildings at left and center, and the Church Street elevated train at right. Sheeler based his composition on an image from the short movie <em>Manhatta</em> (1920-21), which he made with the photographer Paul Strand. One of the first avant-garde American films, <em>Manhatta</em> celebrates the dynamic metropolis through a series of carefully composed shots of Lower Manhattan. As typical with Sheeler's work, the artist simplified forms and eliminated textures in <em>Church Street El</em> to concentrate on rhythmic interplay of shapes and color, and patterns of light and shadow.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60473381"], "internet_archive": ["https://archive.org/details/clevelandart-1977.43-church-street-el"]}, "citations": [{"citation": "Robert Schoelkopf Gallery, expect notice, April 27, 1977, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Andy Schoelkopf, telephone conversation with Victoria Sears Goldman, April 16, 2013.", "page_number": null, "url": null}, {"citation": "Shoemaker, Innis H., Christa Clarke, and William S. Wierzbowski. <em>Mad for Modernism: Earl Horter and His Collection</em>. 1999.", "page_number": null, "url": null}, {"citation": "Cleveland Museum of Art, David Franklin, and C. Griffith Mann. <em>Treasures of the Cleveland Museum of Art.</em> Cleveland, OH, London: Cleveland Museum of Art ; in association with Scala Publishers, 2012.", "page_number": "Mentioned p. 304; reproduced p. 305.", "url": ""}, {"citation": "Miller, Angela L., Janet Catherine Berlo, Bryan Jay Wolf, Jennifer L. Roberts, Margaretta M. Lovell, David M. Lubin. <em>American Encounters : Art, History, and Cultural Identity. </em>St. Louis, Missouri: Washington University Libraries, 2008.", "page_number": "Mentioned, p. 456; reproduced, p. 457.", "url": ""}, {"citation": "\"Above the Turmoil of New York, a Painting by Charles Sheeler-Photograph.\" <em>Vanity Fair</em> 16, no. 2 (April 1921).", "page_number": "Reproduced: p. 47", "url": null}, {"citation": "\"Manhattan: The Proud and Passionate City- Photographs.\" <em>Vanity Fair</em> 18, no. 2 (April 1922).", "page_number": "Reproduced: p. 51", "url": null}, {"citation": "Watson, Forbes. \"Charles Sheeler.\" <em>The Arts</em> 3, no. 5 (May 1923).", "page_number": "Reproduced: p. 344", "url": null}, {"citation": "Rourke, Constance. <em>Charles Sheeler: Artist in the American Tradition</em>. New York: Harcourt, Brace and Company, 1938.", "page_number": "Mentioned: p. 89, 91, 94, 96, 106, 147, 180, 187; Reproduced: p. 53", "url": null}, {"citation": "Devree, Howard. \"Exhibition Reviews: Sheeler Complete.\" <em>Magazine of Art </em>32, no. 11 (November 1939).", "page_number": "Mentioned: p. 644-645; Reproduced: p. 645", "url": null}, {"citation": "Brown, Milton W. \"Cubist-Realism: An American Style.\" <em>Marsyas </em>3 (1943-1945).", "page_number": "Mentioned: p. 150; Reproduced: no. 5", "url": null}, {"citation": "Seeley, Carol. \"On the Nature of Abstract Painting in America.\" <em>Magazine of Art</em> 43, no. 5 (May 1950).", "page_number": "Reproduced: p. 167", "url": null}, {"citation": "Hayes, Jr., Bartlett H. \"An Appreciation.\" In <em>Charles Sheeler: A Retrospective Exhibition. </em>Los Angeles: The Galleries, 1954.", "page_number": "Mentioned: p. 9", "url": null}, {"citation": "Wight, Frederick S. \"Charles Sheeler.\" In <em>Charles Sheeler: A Retrospective Exhibition. </em>Los Angeles: The Galleries, 1954.", "page_number": "Mentioned: p. 25, 27, 36", "url": null}, {"citation": "Wight, Frederick S. \"Charles Sheeler.\" <em>Art in America</em> 42, no. 3 (October 1954).", "page_number": "Mentioned: p. 195", "url": null}, {"citation": "Brown, Milton. <em>American Painting From the Armory Show to the Depression. </em>Princeton: Princeton University Press, 1955.", "page_number": "Mentioned: p. 118; Reproduced: p. 120", "url": null}, {"citation": "Chanin, A.L. \"Sheeler: Purist Brush and Camera Eye.\" <em>ARTnews </em>54, no. 4 (June 1955).", "page_number": "Mentioned: p. 71-72", "url": null}, {"citation": "Wight, Frederick S. \"Charles Sheeler.\" In <em>New Art in America: Fifty Painters of the 20th Century,</em> edited by John I. H. Baur. New York: A. Praeger Publishers, 1957.", "page_number": "Reproduced: p. 97", "url": null}, {"citation": "Cohen, George Michael. \"Charles Sheeler.\" <em>American Artist </em>23, no. 1 (January 1959).", "page_number": "Mentioned: p. 34 ; Reproduced: p. 35", "url": null}, {"citation": "Craven, George M. \"Sheeler at Seventy-Five.\"<em> College Art Journal </em>18, no. 2 (Winter 1959).", "page_number": "Reproduced: p. 137; Mentioned: p. 138", "url": null}, {"citation": "Larkin, Oliver W. <em>Art and Life in America.</em> New York: Holt, Rinehart and Winston, 1960.", "page_number": "Mentioned: p. 389; Reproduced: p. 387", "url": null}, {"citation": "Raoul, Rosine. \"Letter From New York: The Armory Show and its Decade.\" <em>Apollo</em> (April 1963).", "page_number": "Mentioned: p. 335; Reproduced: p. 334, no. 3", "url": null}, {"citation": "Baur, John I. H. <em>Revolution and Tradition in Modern American Art. </em>Cambridge: Harvard University Press, 1966.", "page_number": "Reproduced: no. 73", "url": null}, {"citation": "The National Collection of Fine Arts. <em>Charles Sheeler</em>. Washington, D.C.: The Smithsonian Institution Press, 1968.", "page_number": "Mentioned: p. 15, 155; Reproduced: p. 39, no. 24", "url": null}, {"citation": "Friedman, Martin. \"The Art of Charles Sheeler: Americana in a Vacuum.\" In <em>Charles Sheeler. </em>Washington, D.C.: The Smithsonian Institution Press, 1968.", "page_number": "Mentioned: p. 40", "url": null}, {"citation": "Hayes, Bartlett. \"Reminiscence.\" In <em>Charles Sheeler.</em> Washington, D.C.: The Smithsonian Institution Press, 1968.", "page_number": "Mentioned: p. 70", "url": null}, {"citation": "Davidson, Abraham A. \"Charles Sheeler: Paintings and Photographs at the Whitney.\" <em>Arts Magazine </em>43, no. 5 (March 1969).", "page_number": "Mentioned: p. 40", "url": null}, {"citation": "Jaffe, Irma B. \"The Forming of the Avant-Garde, 1900-30. \" In <em>The Genius of American Painting</em>, edited by John Wilmerding. New York: William Morrow and Company, Inc., 1973.", "page_number": "Mentioned: p. 238,  Reproduced: p. 239", "url": null}, {"citation": "Davidson, Abraham A. <em>The Story of American Painting</em>. New York: Harry N. Abrams, 1974.", "page_number": "Reproduced: p. 132, no. 119; Mentioned: p. 132, 133", "url": null}, {"citation": "Friedman, Martin. <em>Charles Sheeler</em>. New York: Watson-Guptill Publications, 1975.", "page_number": "Mentioned: p. 36; Reproduced: p. 56", "url": null}, {"citation": "Heller, Nancy, and Julia Williams. \"Charles Sheeler: American Industry as Landscape.\" <em>American Artist</em> 40, no. 402 (January 1976).", "page_number": "Mentioned p. 62", "url": null}, {"citation": "Driscoll, John Paul. \"Books in Review: Martin Friedman, Charles Sheeler.\" <em>Art Journal</em> 36, no. 1 (Fall 1976).", "page_number": null, "url": null}, {"citation": "Arnason, H.H. <em>History of Modern Art: Painting, Sculpture, Architecture</em>. New York: Harry N. Abrams, Inc., 1977.", "page_number": "Mentioned: p. 428; Reproduced: p. 428, no. 689", "url": null}, {"citation": "Lee, Sherman E. \"The Year in Review.\" <em>The Bulletin of the Cleveland Museum of Art </em>65, no. 1 (January 1978).", "page_number": "Mentioned: p. 4", "url": null}, {"citation": "<em>Midwest Art History Society Newsletter, </em>October, 1978.", "page_number": "Reproduced: no. 5", "url": null}, {"citation": "Schulz, Bernhard. \"Made in America: Tecnik und Dingwelt in Prazisionismus.\" In <em>Amerika Traum und Depression 1920/40</em>. Berlin: Die Gesellschaft, 1980.", "page_number": "Reproduced: p. 89; Mentioned: p. 116, 534", "url": null}, {"citation": "Fillen-Yeh, Susan. \"Charles Sheeler: Industry, Fashion, and the Vanguard.\" <em>Arts Magazine</em> 54, no. 6 (February 1980).", "page_number": "Reproduced: p. 157, no. 13; Mentioned: p. 157", "url": null}, {"citation": "Fillin-Yeh, Susan. \"Charles Sheeler and the Machine Age.\" PhD diss., The City University of New York, 1981.", "page_number": "Mentioned: p. xiv, 152 note 58, 153, 206, 210-211, 249 note 18; Reproduced: p. 332, no. 80", "url": null}, {"citation": "Stewart, Patrick Leonard. \"Charles Sheeler, William Carlos Williams, and the Development of the Precisionist Aesthetic, 1917-1931.\" PhD diss., University of Delaware, 1981.", "page_number": "Mentioned: p. 33; Reproduced: p. 190, no. 8", "url": null}, {"citation": "Tsujimoto, Karen. <em>Images of Precisionist Painting: America and Modern Photography</em>. Seattle: University of Washington Press, 1982.", "page_number": "Mentioned: p. 74, 79, 80; Reproduced: no. 18", "url": null}, {"citation": "Menton, Seymour. <em>Magic Realism Rediscovered, 1918-1981</em>. Philadelphia: Art Alliance Press, 1982.", "page_number": "Mentioned: p. 78-79", "url": null}, {"citation": "Albright, Thomas. \"Precisionism's Ambivalent Modernism.\" <em>ARTnews</em> 82, no. 1 (January 1983).", "page_number": "Mentioned p. 88; Reproduced: p. 87", "url": null}, {"citation": "Ricciotti, Dominic. \"The Revolution in Urban Transport: Max Weber and Italian Futurism.\" <em>The American Art Journal</em> 16 (Winter 1984).", "page_number": "Mentioned: p. 61; Reproduced: 61, no. 13", "url": null}, {"citation": "Haskell, Barbara. <em>Ralston Crawford</em>. New York: Whitney Museum of American Art, 1985.", "page_number": "Mentioned: p. 14; Reproduced: p. 15, no. 4", "url": null}, {"citation": "Maroney, Jr., James H. <em>The Elite and Popular Appeal of the Art of Charles Sheeler. </em>New York: James Maroney, Inc., 1986.", "page_number": "Mentioned: p. 11", "url": null}, {"citation": "Wilson, Richard Guy, Dianne H. Pilgrim, and Dickran Tashjian. <em>The Machine Age in America 1918-1941</em>. New York: Harry N. Abrams, 1986.", "page_number": "Mentioned: p. 219; Reproduced: p. 219", "url": null}, {"citation": "Wheat, Ellen Harkins. <em>Jacob Lawrence: American Painter.</em> Seattle: Seattle Art Museum, 1986.", "page_number": "Reproduced: p. 45, no. 24", "url": null}, {"citation": "Schleier, Merrill. <em>The Skyscraper in American Art, 1890-1931. </em>New York: Da Capo Press, 1986.", "page_number": "Mentioned: p. 80", "url": null}, {"citation": "Tichi, Cecelia. <em>Shifting Gears: Technology, Literature, Culture in Modernist America.</em> Charlotte: The University of North Carolina Press, 1987.", "page_number": "Reproduced: p. 253", "url": null}, {"citation": "Stern, Robert A.M., Gregory Gilmart, and Thomas Messins. <em>New York 1930: Architecture and Urbanism Between the Two World Wars</em>. New York: Rizzoli International Publications, Inc., 1987.", "page_number": "Reproduced: p. 53", "url": null}, {"citation": "Baker, John. <em>Henry Lee McFee and Formalist Realism in American Still Life 1923-1936</em>. Cranbury: Associated University Presses, 1987.", "page_number": "Mentioned: p. 99; Reproduced: p. 99, no. 126", "url": null}, {"citation": "Hammer, Martin. \"Exhibition Reviews: New York, Whitney Museum, Charles Sheeler.\" <em>The Burlington Magazine</em> 130, no. 1019 (Feb 1988).", "page_number": "Mentioned: p. 164; Reproduced: p. 164, no. 107", "url": null}, {"citation": "Lubowsky, Susan. <em>George Ault.</em> New York: Whitney Museum of American Art, 1988.", "page_number": "Mentioned: p. 14; Reproduced: p. 14, no. 9", "url": null}, {"citation": "Ricciotti, Dominic. \"City Railways/Modernist Visions.\" In <em>The Railroad in American Art: Representations of Technological Change</em>. Japan: Toppan Printing Company, 1988.", "page_number": "Mentioned: p. 139-140, 143; Reproduced: p. 139, no. 106", "url": null}, {"citation": "Fillin- Yeh, Susan. \"Charles Sheeler's Rolling Power.\" In <em>The Railroad in American Art: Representations of Technological Change</em>, edited by Susan Danly and Leo Marx. Japan: Toppan Printing Company, 1988.", "page_number": "Mentioned: p. 158", "url": null}, {"citation": "Henry, Steven P. \"Exhibition: Charles Sheeler: Prints, Drawings, Photographs.\" <em>Dallas Museum of Art Bulletin</em> (Spring/Summer 1988).", "page_number": "Mentioned: p. 17; Reproduced: p. 16", "url": null}, {"citation": "Lynton, Norbert. <em>The Story of Modern Art</em>. Oxford: Phaidon, 1989.", "page_number": "Mentioned: p. 162-163; Reproduced: p. 164", "url": null}, {"citation": "Lucie-Smith, Edward. <em>Art Deco Painting</em>. Oxford: Phaidon, 1990.", "page_number": "Reproduced: p. 21, no. 11", "url": null}, {"citation": "Cleveland Museum of Art. <em>Handbook of The Cleveland Museum of Art. </em>Cleveland: Cleveland Museum of Art, 1991.", "page_number": "Reproduced: p. 146", "url": "https://archive.org/details/CMAHandbook1991"}, {"citation": "Hinson, Tom E. <em>Sixty-Five Works from the Cleveland Museum of Art. </em>Cleveland: Cleveland Museum of Art, 1991.", "page_number": "Mentioned: p. 38; Reproduced: p. 37", "url": null}, {"citation": "Lucic, Karen. <em>Charles Sheeler and the Cult of the Machine</em>. London: Reaktion Books, 1991.", "page_number": "Mentioned: p. 59-71; Reproduced: no. 33", "url": null}, {"citation": "Harnsberger, R. Scott, and David L. Henderson. <em>Ten Precisionist Artists: Annotated Bibliographies.</em> Westport: Greenwood Press, 1992.", "page_number": "Mentioned: p. 250, note 1080", "url": null}, {"citation": "Chong, Alan. <em>European and American Painting in The Cleveland Museum of Art: A Summary Catalogue,</em> Cleveland: Cleveland Museum of Art, 1993.", "page_number": "Reproduced: p. 222", "url": null}, {"citation": "Schmied, Wieland. \"Precisionsit View and American Scene: The 1920s.\" In <em>American Art in the 20th Century: Painting and Sculpture 1913-1993</em>, edited by Christos M. Joachimides and Norman Rosenthal. New York: Prestel, 1993.", "page_number": "Mentioned: 471; Reproduced: p. 55, no. 8", "url": null}, {"citation": "Benke, Britta. <em>Georgia O'Keeffe 1887-1986: Blumen in der W\u00fcste</em> K\u00f6ln: Benedikt Taschen Verlag, 1994.", "page_number": "Mentioned: p. 52; Reproduced: p. 52", "url": null}, {"citation": "Stavitsky, Gail. \"Reordering Reality: Precisionist Directions in American Art, 1915-1941.\" In <em>Precisionism in America 1915-1941: Reordering Reality. </em>New York: Harry N. Abrams, Inc., 1994.", "page_number": "Mentioned: p. 33, 35; Reproduced: p. 17, no. 5", "url": null}, {"citation": "Handy, Ellen. \"The Idea and the Fact: Painting, Photography, Film, Precisionists, and the Real World.\" In <em>Precisionism in America 1915-1941: Reordering Reality. </em>New York: Harry N. Abrams, Inc., 1994.", "page_number": "Mentioned: p. 42-45", "url": null}, {"citation": "Honour, Hugh, and John Fleming. <em>A World History of Art. </em>4th ed. London: Laurence King Publishing, 1995.", "page_number": "Mentioned: p. 751; Reproduced: p. 752", "url": null}, {"citation": "Turner, Evan H. Foreward to <em>Catalogue of Photography,</em> Tom E. Hinson. Cleveland: Cleveland Museum of Art, 1996.", "page_number": "Mentioned: p. XI", "url": null}, {"citation": "Hughes, Robert. <em>American Visions: The Epic History of Art in America. </em>New York: Alfred A. Knopf, Inc., 1997.", "page_number": "Mentioned: p. 383; Reproduced: p. 384, no. 228", "url": null}, {"citation": "Arnason, H.H., and Marla F. Prather. <em>History of Modern Art.</em> New York: Harry N. Abrams, 1998.", "page_number": "Mentioned:  p. 419; Reproduced: p. 411, no. 216", "url": null}, {"citation": "Shoemaker, Innis Howe, Christa Clarke, and William Wierzbowski. <em>Mad for Modernism: Earl Horter and His Collection</em>. Philadelphia: Philadelphia Museum of Art, 1999.", "page_number": "Mentioned: p. 36, 173, 184; Reproduced: p. 122, no. 78", "url": null}, {"citation": "Haskell, Barbara. <em>The American Century: Art &amp; Culture 1900-1950</em>. New York: Whitney Museum of Art, 1999.", "page_number": null, "url": null}, {"citation": "Brettell, Richard R. <em>Modern Art 1851-1929: Capitalism and Representation. </em>Oxford: Oxford Unviersity Press, 1999.", "page_number": "Reproduced: p. 43", "url": null}, {"citation": "May, Sally Ruth. <em>Knockouts: A Pocket Guide. </em>Cleveland: Cleveland Museum of Art, 2001.", "page_number": "Mentioned: p. 58, 118", "url": null}, {"citation": "Baldacci, Paolo, Jean Clair, Hajo Duchting, Claudia Gian Ferrari, Magdalena Holzhey, Christiane Lange, Gerd Roos, and Wieland Schmied. <em>Der kuhle Blick: Realismus der zwanziger Jahre</em>. New York: Prestel, 2001.", "page_number": "Mentioned: p. 310; Reproduced: p. 311", "url": null}, {"citation": "Honour, Hugh, and John Fleming. <em>A World History of Art. </em>6th ed<em>. </em>London: Laurence King Publishing, 2002.", "page_number": "Mentioned: p. 815", "url": null}, {"citation": "Haas, Karen E. \"Charles Sheeler and Film.\" <em>Magazine Antiques. </em>Nov 2002.", "page_number": "Mentioned: p. 122-129; Reproduced: p. 126, pl XI.", "url": null}, {"citation": "Cameron, Dan.<em> Living Inside the Grid.</em> New York: New Museum of Contemporary Art, 2003.", "page_number": "Reproduced: p. 19", "url": null}, {"citation": "Fontbona, Francesc. <em>El Modernisme. </em>Barcelona: Edicions l'isard, 2003.", "page_number": "Reproduced: p. 168", "url": null}, {"citation": "Solans, Piedad. \"Cosmolgias de la Ciudad.\" In La Ciudad Collage: La Coleccion del IVAM<em>, </em>edited by Institut Valencia d'Art Modern. Valencia: IVAM, 2004.", "page_number": "Reproduced: p. 41, no. 8", "url": null}, {"citation": "Charles, Brock. <em>Charles Sheeler: Across Media.</em> Washington, DC: National Gallery of Art, 2006.", "page_number": "Mentioned: p. 31, 48, 50-52, 116; Reproduced: p. 60", "url": null}, {"citation": "Weber, Bruce. <em>Paintings of New York, 1800-1850</em>. San Francisco: Pomegranate, 2005.", "page_number": "Reproduced: p. 107", "url": null}, {"citation": "Honour, Hugh, and John Fleming. <em>A World History of Art. </em>7th ed<em>. </em>London: Laurence King Publishing, Ltd., 2005.", "page_number": "Reproduced: p. 805, fig. 20.11", "url": null}, {"citation": "Brock, Charles. \"Charles Sheeler: Across Media.\" <em>American Art Review</em> 18, no. 3 (May-June 2006).", "page_number": "Mentioned: p. 165", "url": null}, {"citation": "Adams, Henry.<em> What's American about American Art? A Gallery Tour in the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2008.", "page_number": "Mentioned: p. 12, 129; Reproduced: p. 12, 128", "url": null}, {"citation": "Miller, Angela L., Janet C. Berlo, Bryan J. Wolf, and Jennifer L. Roberts. <em>American Encounters: Art, History and Cultural Identity. </em>Upper Saddle River: Pearson Education, Inc, 2012.", "page_number": "Reproduced: p. 14.7", "url": null}, {"citation": "Arnason, H.H. <em>History of Modern Art: Painting, Sculpture, Architecture, Photography. </em>6th ed. Upper Saddle River: Prentice Hall, 2010.", "page_number": "Mentioned: p. 376-377; Reproduced: p. 37", "url": null}, {"citation": "Carbone, Theresa A., ed. <em>Youth and Beauty: Art of the American Twenties. </em>New York: Skira Rizzolli Publications in association with the Brooklyn Museum, 2011.", "page_number": "Mentioned: p. 141-142  Reproduced: p. 143, no. 105", "url": null}, {"citation": "Franklin, David, and C. Griffith Mann. <em>Treasures from the Cleveland Museum of Art</em>. Cleveland: The Cleveland Museum of Art; London: Scala Publishers Ltd, 2012.", "page_number": "Mentioned: p. 304; Reproduced: p. 305", "url": null}, {"citation": "Troyen, Carol, and Jorge Santis. \"Red-Hot American Painters: The Ashcan School.\" In <em>Return to the Ashcan</em>. Fort Lauderdale: Museum of Art, 2012.", "page_number": "Reproduced: p. 26, no. 3", "url": null}, {"citation": "Cole, Mark. \"Youth and Beauty.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 52, no. 4 (July/August 2012): 4-5.", "page_number": "Mentioned and reproduced: p. 6", "url": "https://archive.org/details/CMAMM2012-04/page/n3/mode/2up"}, {"citation": "Jensen, Kirsten M. \"Painting Manhatta: Modernism, Urban Planning, and New York, 1920-1940.\" In<em> Industrial Sublime: Modernism and the Transformation of New York's Rivers, 1900-1940.</em> Yonkers: Hudson River Museum in association with Empire State Editions, 2013.", "page_number": "Reproduced: p. 74, fig. 32.", "url": null}, {"citation": "Bering, Kunibert, and Rolf Niehoff. <em>Bildkompetenz: eine kunstdidaktische Perspektive</em>. Oberhausen, Germany: Athena, 2013.", "page_number": "Reproduced: p. 139", "url": null}, {"citation": "Arnason, H. H. and Elizabeth Mansfield. <em>History of Modern Art: Painting, Sculpture, Architecture, Photography. </em>Boston: Pearson, 2013.", "page_number": "Mentioned & Reproduced: pp.352-353", "url": null}, {"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. 56", "url": ""}, {"citation": "Hiller, Susan. \"O'Keeffe as I see her, 1993.\" In <em>Georgia O'Keeffe</em>, edited by Tanya Barson. London: Tate Publishing, 2016.", "page_number": "Mentioned: p. 230", "url": null}, {"citation": "Maroney, Jr., James H. <em>Fresh Perspectives on Grant Wood, Charles Sheeler, and George Durrie. </em>Leicester, VT: Gala Books, Ltd, 2019.", "page_number": "Mentioned: p. 151-154, 170 ; Reproduced: p. 151", "url": null}, {"citation": "Maroney, James H. <em>Fresh Perspectives on Grant Wood, Charles Sheeler, and George H. Durrie</em>. Leicester, VT: Gala Books, Ltd., 2019.", "page_number": "Reproduced: p. 151", "url": null}, {"citation": "Troyen, Carol. \"To Truly Represent Our Age.\" In<em> The Immaculates: Paintings, Photographs and Prints, </em>Menconi &amp; Schoelkopf Fine Art, 6-19. New York, NY: Menconi + Schoelkopf, 2020.", "page_number": "Mentioned and reproduced: p. 8-9, fig. 5", "url": ""}, {"citation": "\u201cRecommendations from Our Curators.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>61, no. 2 (Spring 2021): 31.", "page_number": "Reproduced and Mentioned: P. 31.", "url": ""}], "url": "https://clevelandart.org/art/1977.43", "images": {}, "alternate_images": [], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Dr. Robert B. Benyo Trust Gallery", "athena_id": 149112, "creators": [{"id": 889, "description": "Charles Sheeler (American, 1883\u20131965)", "extent": null, "qualifier": null, "role": "artist", "biography": "Charles Sheeler American, 1883-1965\r\n\r\nPhiladelphia-born Charles Sheeler was a well-known precisionist painter and photographer. After studying at the School of Industrial Art in Philadelphia (1900-3), he spent the next three years as a student of painter William Merritt Chase at the Pennsylvania Academy of Fine Arts. Around 1910 he took up photography as a way to support himself.\r\n\tSheeler began as an architectural photographer, documenting buildings for Philadelphia architects, but was soon taking pictures of paintings and other works of art. He continued to paint (in 1913 a group of his works were exhibited in the famous Armory Show in New York) and to photograph, often using his photographs as the basis for paintings. In 1917 his photographs were included in a three-person show along with Paul Strand and Morton Schamberg at Marius de Zayas's Modern Gallery in New York.\r\n\tTwo years later Sheeler moved to New York and in 1920 collaborated with Paul Strand on the avant-garde film Manhatta (originally titled New York the Magnificent). In 1923 he began working as a staff photographer for Cond\u00e9 Nast publications. Four years later he received his most important commercial commission when Ford Motor Company hired him to photograph its River Rouge plant. A powerful series of images celebrating American industry resulted and were widely published. They also served as an inspiration for a number of his paintings.\r\n\tIn 1939 a small group of Sheeler's photographs were included in a retrospective of his work organized by the Museum of Modern Art, New York. Over the next decade he worked as staff photographer for the Metropolitan Museum of Art and focused primarily on painting in his own work, especially during the late 1940s and 1950s. In 1959, after suffering a stroke, Sheeler stopped painting and photographing; he died six years later from a second stroke. M.M.", "name_in_original_language": null, "birth_year": "1883", "death_year": "1965", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1977-05-10T00:00:00", "sortable_date": 1920, "date_added_to_oa": null, "date_text": "1920", "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": true, "updated_at": "2026-10-07 09:01:34.035000"}, {"id": 93014, "accession_number": "1917.1335", "share_license_status": "CC0", "tombstone": "View of Schroon Mountain, Essex County, New York, After a Storm, 1838. Thomas Cole (American, born England,1801\u20131848). Oil on canvas; framed: 132.5 x 193.5 x 13 cm (52 3/16 x 76 3/16 x 5 1/8 in.); unframed: 99.8 x 160.6 cm (39 5/16 x 63 1/4 in.). The Cleveland Museum of Art, Hinman B. Hurlbut Collection, 1917.1335", "current_location": "206 American Landscape", "title": "View of Schroon Mountain, Essex County, New York, After a Storm", "creation_date": "1838", "creation_date_earliest": 1838, "creation_date_latest": 1838, "artists_tags": ["male"], "culture": ["United States"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 132.5 x 193.5 x 13 cm (52 3/16 x 76 3/16 x 5 1/8 in.); Unframed: 99.8 x 160.6 cm (39 5/16 x 63 1/4 in.)", "dimensions": {"framed": {"height": 1.325, "height_inch": 52, "height_inch_fraction": 0.1875, "width": 1.935, "width_inch": 76, "width_inch_fraction": 0.1875, "depth": 0.13, "depth_inch": 5, "depth_inch_fraction": 0.125}, "unframed": {"height": 0.998, "height_inch": 39, "height_inch_fraction": 0.3125, "width": 1.606, "width_inch": 63, "width_inch_fraction": 0.25}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower left:  T. Cole / Catskill 1838.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 316645, "title": "A Century of American Landscape Painting 1800-1900", "description": "<i>A Century of American Landscape Painting 1800-1900</i>. Whitney Museum of American Art, New York, NY (organizer) (co-organizer) (January 19-February 25, 1938).", "opening_date": "1938-01-19T05:00:00"}, {"id": 316648, "title": "A Souvenir of Romanticism in America; or An Elegant Exposition of Taste and Fashion from 1812-to 1865", "description": "<i>A Souvenir of Romanticism in America; or An Elegant Exposition of Taste and Fashion from 1812-to 1865</i>. The Baltimore Museum of Art, Baltimore, MD (organizer) (co-organizer) (May 10-June 10, 1940).", "opening_date": "1940-05-10T04:00:00"}, {"id": 316653, "title": "Survey of American Painting", "description": "<i>Survey of American Painting</i>. Carnegie Museum of Art, Pittsburgh, PA (co-organizer) (October 24-December 15, 1940).", "opening_date": "1940-10-24T05:00:00"}, {"id": 316663, "title": "The Works of Thomas Cole, 1801-1848", "description": "<i>The Works of Thomas Cole, 1801-1848</i>. Albany Institute of History and Art, Albany, NY (organizer) (co-organizer) (November 1-December 15, 1941).", "opening_date": "1941-11-01T05:00:00"}, {"id": 316674, "title": "The Hudson River School and the Early American Landscape Tradition", "description": "<i>The Hudson River School and the Early American Landscape Tradition</i>. The Art Institute of Chicago, Chicago, IL (organizer) (co-organizer) (February 15-March 25, 1945); Whitney Museum of American Art, New York, NY (April 17-May 18, 1945).", "opening_date": "1945-02-15T04:00:00"}, {"id": 316680, "title": "Thomas Cole 1801-1848 One Hundred Years Later: A Loan Exhibition", "description": "<i>Thomas Cole 1801-1848 One Hundred Years Later: A Loan Exhibition</i>. Wadsworth Atheneum Museum of Art, Hartford, CT (organizer) (co-organizer) (November 12, 1948-January 2, 1949); Whitney Museum of American Art, New York, NY (January 8-30, 1949).", "opening_date": "1948-11-12T05:00:00"}, {"id": 355653, "title": "Exhibition of the Month: The Romantic Spirit", "description": "<i>Exhibition of the Month: The Romantic Spirit</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 29-May 5, 1952).", "opening_date": "1952-03-29T05:00:00"}, {"id": 316690, "title": "Arts of the Young Republic: The Age of William Dunlap", "description": "<i>Arts of the Young Republic: The Age of William Dunlap</i>. Ackland Art Museum, University of North Carolina, Chapel Hill, NC, Chapel Hill, NC (organizer) (co-organizer) (November 2-December 1, 1968).", "opening_date": "1968-11-02T05:00:00"}, {"id": 316697, "title": "Thomas Cole", "description": "<i>Thomas Cole</i>. Memorial Art Gallery of the University of Rochester, NY (organizer) (co-organizer) (February 14-March 23, 1969); Munson Museum of Art, Utica, NY (April 5-May 4, 1969); Albany Institute of History and Art, Albany, NY (May 9-June 20, 1969); Whitney Museum of American Art, New York, NY (June 30-September 1, 1969).", "opening_date": "1969-02-14T05:00:00"}, {"id": 302330, "title": "Heritage and Horizon: American Painting 1776 - 1976", "description": "<i>Heritage and Horizon: American Painting 1776 - 1976</i>. Buffalo AKG Art Museum, Buffalo, NY (organizer) (March 7-April 11, 1976); The Detroit Institute of Arts, Detroit, MI (May 2-June 13, 1976); The Toledo Museum of Art, Toledo, OH (July 4-August 15, 1976); The Cleveland Museum of Art, Cleveland, OH (September 8-October 10, 1976).", "opening_date": "1976-03-07T05:00:00"}, {"id": 304561, "title": "Visions of Landscape: East and West", "description": "<i>Visions of Landscape: East and West</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 17-March 21, 1982).", "opening_date": "1982-02-17T05:00:00"}, {"id": 314070, "title": "A New World: Masterpieces of American Painting, 1760 - 1910", "description": "<i>A New World: Masterpieces of American Painting, 1760 - 1910</i>. Museum of Fine Arts, Boston, Boston, MA (organizer) (co-organizer) (September 7-November 13, 1983); Corcoran Gallery of Art, Washington, DC (December 7, 1983-February 12, 1984).", "opening_date": "1983-09-07T04:00:00"}, {"id": 315079, "title": "American Paradise: The World of the Hudson River School", "description": "<i>American Paradise: The World of the Hudson River School</i>. The Metropolitan Museum of Art, New York, NY (organizer) (co-organizer) (October 4, 1987-January 3, 1988).", "opening_date": "1987-10-04T04:00:00"}, {"id": 316981, "title": "A Nation's Legacy: 150 Years of American Art from Ohio Collections", "description": "<i>A Nation's Legacy: 150 Years of American Art from Ohio Collections</i>. Columbus Museum of Art, Columbus, OH (organizer) (co-organizer) (January 19-March 15, 1992).", "opening_date": "1992-01-19T05:00:00"}, {"id": 316985, "title": "Landscape Into History", "description": "<i>Landscape Into History</i>. National Museum of American Art, Washington, DC (organizer) (co-organizer) (March 18-August 7, 1994); Wadsworth Atheneum Museum of Art, Hartford, CT (September 11-December 4, 1994); The Brooklyn Museum, Brooklyn, NY (January 8-March 25, 1995).", "opening_date": "1994-03-18T05:00:00"}], "legacy": [{"description": "<em>Thirteenth Annual Exhibition of the National Academy of Desig</em>n. National Academy of Design, New York, NY (April 23, 1838-?).", "opening_date": "1838-04-23T04:56:02Z"}, {"description": "<em>Dunlap Benefit Exhibition</em>. Stuyvesant Institute, New York, NY (November 19-December 1838).", "opening_date": "1838-11-19T04:56:02Z"}, {"description": "<em>January Exhibition of the Apollo Association for the Promotion of the Fine Arts in the United States. </em>Apollo Gallery, New York, NY (1839).", "opening_date": "1839-01-01T04:56:02Z"}, {"description": "<em>Exhibition of the Paintings of the Late Thomas Cole, At the Gallery of the American Art-Unio</em>n. Gallery of the American Art-Union. New York, NY (March 27 1848-?).", "opening_date": "1848-03-27T04:56:02Z"}, {"description": "<em>Maryland Historical Society, Second Annual Exhibition</em>. The Picture Gallery, Baltimore, MD (1849). Lent by J.S. Chapman.", "opening_date": "1849-01-01T04:56:02Z"}, {"description": "<em>The Inaugural Exhibition. </em>Cleveland Museum of Art, Cleveland, OH (June 6-September 20, 1916). Lent by the Holland Galleries.", "opening_date": "1916-06-06T00:00:00"}]}, "provenance": [{"description": "Dr. George Ackerly [d. 1842], New York, NY, to his daughter, Emma Ackerly1", "citations": [], "footnotes": ["<div><!--block-->1Ackerly was Cole's brother-in-law.</div><div><!--block--><br></div>"], "date": "1838", "sortorder": 2}, {"description": "Emma Ackerly", "citations": [], "footnotes": ["<div><!--block-->1 Although the painting is listed as for sale in the 1839 Apollo Association exhibition catalogue, it may not have sold, because in the 1848 Thomas Cole exhibition at the Gallery of the American Art Union, the owner is given as \u201cMrs. J. J. [sic] Chapman,\u201d the married name of Emma Ackerly.</div>", ""], "date": "By `839 - `847", "sortorder": 3}, {"description": "Jonathan G. and Emma Ackerly Chapman, sold to Nicholas Matthews1", "citations": [], "footnotes": ["<div><!--block-->1Chapman and Emma Ackerly married on April 20, 1847.11</div>"], "date": "1847-", "sortorder": 4}, {"description": "Nicholas M. Matthews [1858-1930], Baltimore, MD", "citations": [], "footnotes": null, "date": "Until 1914", "sortorder": 6}, {"description": "(American Art Association, Matthews collection sale, Feb. 17, 1914, no. 61, possibly sold to T. Austin)", "citations": [], "footnotes": null, "date": "1914", "sortorder": 7}, {"description": "Possibly T. Austin", "citations": [], "footnotes": ["<div><!--block-->According to <em>American Art Annual</em> (1914, vol. 11), the painting was purchased by T. Austin at the 1914 American Art Association sale of Matthews' collection. The painting then appears again in 1916 in the second Matthews collection sale, this time at Anderson Galleries, with no mention of any ownership by Austin.&nbsp; It is possible that it failed to sell in 1914, and was simply put up for sale again in 1916. That both the 1914 and 1916 sales situate the painting in the collection of Matthews calls into question the supposed purchase by Austin, as does the fact that the 1916 sale notes that the painting was purchased by Matthews \"from Mrs. J.G. Chapman, granddaughter of Mr. Cole,\" who appears prior to Matthews in the provenance.</div>", ""], "date": "1914-1916", "sortorder": 8}, {"description": "(Anderson Galleries, New York, NY, Matthews collection sale, Jan. 17, 1916, no. 55, sold to Holland Galleries)", "citations": [], "footnotes": ["<div><!--block-->1In the sale catalogue the painting is titled \"Catskill Mountains.</div>", ""], "date": "1916", "sortorder": 9}, {"description": "(Holland Galleries, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": ["<div><!--block-->1Several copies of the catalogue of the 1916 Matthews collection sale have handwritten notations indicating that Holland Galleries was the buyer.&nbsp; Additionally, shortly prior to CMA's acquisition of the painting, Holland Galleries lent it to the museum's inaugural exhibition in 1916.</div>"], "date": "1916-1917", "sortorder": 10}, {"description": "The Cleveland Museum of Art, Cleveland, Ohio", "citations": [], "footnotes": null, "date": "1917-", "sortorder": 11}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1335.1917"], "did_you_know": "Nicknamed \"Schroon Mountain\" by the artist, the peak's official name is Hoffman Mountain.", "early_education_description": null, "artlens_description": null, "description": "Championing the American wilderness, Cole declared, \"We are still in Eden,\" in his <em>Essay on American Scenery, </em>published two years before he painted this view of the Adirondacks. The artist sketched the scene in early summer, but when he created the painting in his studio, he rendered it in a dramatic blaze of fall colors. Such a choice likely had nationalistic overtones; he once proclaimed that autumn was \"one season where the American forest surpasses all the world in gorgeousness.\" <br><br>Cole included two Indigenous men in the painting\u2019s right foreground foliage. At this time, the Adirondacks remained home to many Native Americans long after most had been forcibly removed from land east of the Mississippi River. While continuing to live, hunt, and fish in the area, these Algonquian and Iroquoian peoples were compelled to significantly adapt their existence amid increasing White settlement and its attendant lumber, mining, and tourist industries.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q107556948", "https://www.wikidata.org/wiki/Q19900684"], "internet_archive": ["https://archive.org/details/clevelandart-1917.1335-view-of-schroon-moun"]}, "citations": [{"citation": "American Art Association. <em>Illustrated Catalogue of the Valuable Paintings by the Great and Little Masters of the Old and Modern Schools Formed by Mr. Nicholas M. Matthews of Baltimore</em>. New York: The Association, 1914.", "page_number": null, "url": null}, {"citation": "American Federation of Arts. <em>American Art Annual</em>. New York: MacMillan Co, 1898.", "page_number": null, "url": null}, {"citation": "<em>American Art Annual</em> 11 (1914): 481.", "page_number": null, "url": null}, {"citation": "Anderson Galleries, Inc. <em>Paintings by Old and Modern Masters</em>. 1916.", "page_number": null, "url": null}, {"citation": "Cleveland Museum of Art. <em>Catalogue of the Inaugural Exhibition June 6-September 20, 1916</em>. Cleveland: The Cleveland Museum of Art, 1916.", "page_number": null, "url": null}, {"citation": "Kornhauser, Elizabeth Mankin, T. J. Barringer, Dorothy Mahon, Christopher Riopelle, Shannon Vittoria, Metropolitan Museum of Art (New York, N.Y.), and National Gallery (Great Britain). <em>Thomas Cole\u2019s Journey : Atlantic Crossings.</em> New York: The Metropolitan Museum of Art, 2018.", "page_number": "Mentioned, p. 191-93; reproduced, frontispiece, p, 191.", "url": ""}, {"citation": "Menconi &amp; Schoelkopf Fine Art, and Jonathan Spies. <em>Menconi + Schoelkopf. </em>New York, NY: Menconi + Schoelkopf, 2019.", "page_number": "Mentioned, pp. 6-7.", "url": ""}, {"citation": "Cooper, Reid W. F., Luke Nicholson, and Jean-Fran\u00e7ois B\u00e9lisle. <em>Shifting Borders. </em>Newcastle, UK: Cambridge Scholars Pub., 2007.", "page_number": "Mentioned, p. 32; reproduced, p. 33.", "url": ""}, {"citation": "David Franklin, and C. Griffith Mann. <em>Treasures of the Cleveland Museum of Art. </em>Cleveland, OH, London: Cleveland Museum of Art ; in association with Scala Publishers, 2012.", "page_number": "Mentioned, p. 230; reproduced, p. 231.", "url": ""}, {"citation": "Kusserow, Karl, Alan C. Braddock, Miranda Belarde-Lewis, Teddy Cruz, Rachael Ziady DeLue, Mark Dion, Fonna Forman, et al.<em> Nature\u2019s Nation: American Art and Environment.</em> Princeton, NJ: Princeton University Art Museum, 2018.", "page_number": "Mentioned, p. 109.", "url": ""}, {"citation": "Hoffman, Charles Fenno. <em>New-York Mirror, </em>June 1838.", "page_number": "Mentioned: p. 367, 390", "url": null}, {"citation": "American Art-Union. <em>Exhibition of the Paintings of the Late Thomas Cole: At the Gallery of the American Art-Union</em>. New York, NY: Snowden &amp; Prall, 1848.", "page_number": "Reproduced: no. 75", "url": null}, {"citation": "<em>Catalogue of Paintings, Engravings, &amp;c. &amp;c. at Picture Gallery of the Maryland Historical Society: Second Annual Exhibition, 1849</em>. Baltimore, MD: Printed by J.D. Toy, 1849.", "page_number": "Reproduced: no. 199", "url": null}, {"citation": "\"The Matthews Sale.\" <em>American Art News. </em>12:20 (February 21, 1914).", "page_number": "Mentioned: p. 8", "url": null}, {"citation": "Cleveland Museum of Art. <em>Catalogue of the Inaugural Exhibition, June 6-September 20, 1916</em>. Cleveland, OH: Cleveland Museum of Art, 1916.", "page_number": "Reproduced: p. 125", "url": null}, {"citation": "\"Matthews Pictures Sold.\" <em>American Art News.</em> 14:16 (January 22, 1916).", "page_number": "Mentioned: p. 3, no. 55", "url": null}, {"citation": "\"Accessions.\" <em>The Bulletin of the Cleveland Museum of Art. </em>4:4 (April-May 1917).", "page_number": "Mentioned: p. 64-67", "url": "http://www.jstor.org/stable/25136092"}, {"citation": "Downes, William Howe. \"American Painters of Mountains.\" <em>The American Magazine of Art.</em> 25:4 (October, 1932).", "page_number": "Reproduced: p. 194", "url": null}, {"citation": "Francis, Henry S. \"Thomas Cole: Painter of the Catskill Mountains.\" <em>The Bulletin of The Cleveland Museum of Art.</em> 24:7 (July, 1937).", "page_number": "Reproduced: front cover; Mentioned: p. 113-116", "url": "http://www.jstor.org/stable/25137862"}, {"citation": "Kellner, Sydney. \"The Beginnings of Landscape Painting in America.\" <em>Art in America and Elsewhere: An Illustrated Quarterly Magazine.</em> 25 (October, 1938). p. 158-168.", "page_number": "Reproduced", "url": null}, {"citation": "Carnegie Institute, and Lloyd Goodrich. <em>A Century of American Landscape Painting, 1800 to 1900</em>. Pittsburgh, PA: Carnegie Institute, Department of Fine Arts 1939.", "page_number": "Mentioned: p. 33, cat. no. 59", "url": null}, {"citation": "Nathan, Walter L. \"Thomas Cole and the Romantic Landscape.\" <em>Romanticism in America: Papers Contributed to a Symposium Held at The Baltimore Museum of Art.</em> Edited by George Boas, p. 24-63. Baltimore: Johns Hopkins Press, 1940.", "page_number": "Mentioned: p. 45", "url": null}, {"citation": "Watson, Jane. \"News and Comment.\" <em>Magazine of Art.</em> 33 (May, 1940).", "page_number": "Reproduced: p. 310", "url": null}, {"citation": "Lane, James W. \"This Year the Carnegie National: Pittsburgh's Brilliant Survey of 160 Years of U.S. Painting.\" <em>The Art News.</em> 39:4 (26 October 1940). p. 7-18.", "page_number": "Reproduced: p. 11", "url": null}, {"citation": "Ault, George. \"Thomas Cole Exhibition at Albany Institute.\" <em>Ulster County News</em> (Kingston, NY), November 27, 1941.", "page_number": "Mentioned: p. 14", "url": null}, {"citation": "Lesley, Parker. \"Thomas Cole and the Romantic Sensibility.\" <em>The Art Quarterly.</em> 5:3 (Summer, 1942). p. 199-221.", "page_number": "Mentioned: p. 199-221", "url": null}, {"citation": "Frankenstein, Alfred. \"Thomas Cole: The Story of a New Local Purchase.\" <em>San Francisco Chronicle, </em>January, 1947.", "page_number": "Mentioned: p. 21", "url": null}, {"citation": "Francis, Henry. \"Two Pictures of the Hudson River School.\" <em>The Bulletin of the Cleveland Museum of Art </em>34, no. 3 (March 1947): 48.", "page_number": "Mentioned: p. 48", "url": "https://www.jstor.org/stable/25141350"}, {"citation": "Devree, Howard. \"Baroque to Modern: A Wide Range of Styles in the New Shows.\" <em>The New York Times</em>, January 16, 1949.", "page_number": "Reproduced: p. X9", "url": null}, {"citation": "The Cleveland Museum of Art. <em>The Cleveland Museum of Art Handbook.</em> Cleveland, OH: The Cleveland Museum of Art, 1958.", "page_number": "Mentioned and Reproduced: cat. no. 533", "url": "https://archive.org/details/CMAHandbook1958/page/n98"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 184", "url": "https://archive.org/details/CMAHandbook1966/page/n208"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 184", "url": "https://archive.org/details/CMAHandbook1969/page/n208"}, {"citation": "Talbot, William S. \u201cAmerican Visions of Wilderness.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 56, no. 4 (April 1969): 151\u2013166.", "page_number": "Mentioned and reproduced: p. 154, fig. 3", "url": "http://www.jstor.org/stable/25152270"}, {"citation": "Hamilton, George Heard. <em>19th and 20th Century Art: Painting, Sculpture, Architecture</em>. New York: H.N. Abrams, 1970.", "page_number": "Mentioned: p. 70-77; Reproduced: p. 76, fig. 60", "url": null}, {"citation": "Celeste, Adam, Rita Myers, and Adele Z. Silver. <em>An Introduction to American Art in The Cleveland Museum of Art. </em>Cleveland, OH: The Cleveland Museum of Art, 1972.", "page_number": "Mentioned: p. 7-10; Reproduced: p. 7", "url": null}, {"citation": "Cleveland Museum of Art. \"A Check List: American Paintings and Water Colors of the Eighteenth, Nineteenth, and Early Twentieth Centuries in The Cleveland Museum of Art.\" <em>The Bulletin of the Cleveland Museum of Art</em>. 60:1 (January, 1973). pp. 1-36.", "page_number": "Mentioned: p. 24, no. 39", "url": "http://www.jstor.org/stable/25152465"}, {"citation": "Talbot, William S. \"American Landscape Paintings in The Cleveland Museum of Art.\" <em>Antiques</em>. 104:5 (November, 1973). pp. 906-917.", "page_number": "Reproduced: p. 906, fig. 1", "url": null}, {"citation": "Barnett, Lincoln. <em>The Ancient Adirondacks.</em> New York: Time-Life Books, 1974.", "page_number": "Reproduced", "url": null}, {"citation": "Albright-Knox Art Gallery, Detroit Institute of Arts, and Toledo Museum of Art. <em>Heritage and Horizon: American Painting, 1776-1976</em>. Toledo, OH: Toledo Museum of Art, 1976.", "page_number": "Mentioned: p. [16]; Reproduced", "url": null}, {"citation": "Field, Marta. <em>\"</em>Kindred Spirits: George Arms and American Studies Since 1944.\" <em>New America. </em>3:2 (Summer/Fall, 1977).", "page_number": "Reproduced: p. 44", "url": null}, {"citation": "Johnson, Mark M. \"American Landscapes.\" <em>Arts and Activities. </em>82:4 (December, 1977). pp. 8-33.", "page_number": "Reproduced: p. 28, fig. 1", "url": null}, {"citation": "Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 228", "url": null}, {"citation": "Millhouse, Barbara Babcock. <em>American Wilderness: The Hudson River School of Painting</em>. Garden City, NY: Doubleday, 1978.", "page_number": "Reproduced: p. 46; Mentioned: pp. 41-47", "url": null}, {"citation": "Zakon, Ronnie L. \"The Romantic Vision.\" <em>The Romantic Vision: 19th Century American Landscape Painting in the Walker Art Center Permanent Collection. </em>Minneapolis, MN: Walker Art Center 1978. pp. 6-21.", "page_number": "Reproduced: p. 8, fig. 3", "url": null}, {"citation": "Powell, Earl A., III. \"Thomas Cole and the American Landscape Tradition: The Picturesque.\" <em>Arts Magazine.</em> 52 (March, 1978). pp. 110-117.", "page_number": "Reproduced: p. 113", "url": null}, {"citation": "Meservey, Anne Farmer. \"The Role of Art in American Life: Critics' Views of Native Art and Literature, 1830-1865.\" <em>The American Art Journal. </em>10:1 (May, 1978). pp. 72-89.", "page_number": "Reproduced: p. 84, fig. 10", "url": null}, {"citation": "Craven, Wayne. \"Thomas Cole and Italy.\" <em>The Magazine Antiques</em>. 114:5 (November, 1978). pp. 1014-1027.", "page_number": "Mentioned: p. 1014-1027", "url": null}, {"citation": "Moore, Janet Gaylord.<em> The Eastern Gate: An Invitation to the Arts of China and Japan</em>. Cleveland: Collins, 1979.", "page_number": "Mentioned: p. 19-26; Reproduced: p. 23", "url": null}, {"citation": "Cikovsky, Nicolai, Jr. \"'The Ravages of the Axe': The Meaning of the Tree Stump in Nineteenth-Century American Art.\" <em>The Art Bulletin.</em> 61:4 (December, 1979). pp. 611-626.", "page_number": "Mentioned:  p. 624; Reproduced: p. 624, fig. 22", "url": "www.jstor.org/stable/3049941"}, {"citation": "Wilmerding, John, and Lisa Fellows Andrus. <em>American Light: The Luminist Movement, 1850-1875: Paintings, Drawings, Photographs</em>. Washington, D.C.: National Gallery of Art, 1980.", "page_number": "Mentioned: p. 162-170, 181-183; Reproduced: illus. p. 164, fig. 200", "url": null}, {"citation": "Hobbs, Robert Carleton. <em>Robert Smithson: Sculpture</em>. Ithaca, NY: Cornell University Press, 1981.", "page_number": "Mentioned: p. 27-30; Reproduced: p. 28", "url": null}, {"citation": "Baigell, Matthew. <em>Thomas Cole</em>. New York: Watson-Guptill Publications, 1981.", "page_number": "Mentioned: p. 34-35, 58-59, 68-69, 76-77; Reproduced: p. 59, plate 20", "url": null}, {"citation": "Silver, Adele Z. <em>Guide to the Galleries: The Cleveland Museum of Art.</em> 2nd ed., revised. Cleveland, OH: Cleveland Museum of Art, 1981.", "page_number": "Mentioned: p. 80-82; Reproduced: p. 82, fig. 75", "url": null}, {"citation": "Czestochowski, Joseph S. <em>The American Landscape Tradition: A Study and Gallery of Paintings</em>. New York, NY: E.P. Dutton, 1982.", "page_number": "Mentioned: p. 7-11, 13-17, 49, 68-69, 154-168; Reproduced: pp. 68-69, fig. no. 53", "url": null}, {"citation": "Morse, Samuel Finley Breese. <em>Lectures on the Affinity of Painting with the Other Fine Arts</em>, edited by Nicolai Cikovsky. Columbia, MO: University of Missouri Press, 1983.", "page_number": "Mentioned: p. 19-33; Reproduced: fig. 13", "url": null}, {"citation": "Talbot, William S. \"Visions of Landscape: East and West.\" <em>The Bulletin of the Cleveland Museum of Art</em>. 70:3 (March, 1983). pp. 112-135.", "page_number": "Mentioned: p. 115-117; Reproduced: p. 115, fig. 4", "url": "http://www.jstor.org/stable/25159808"}, {"citation": "Creese, Walter L. <em>The Crowning of the American Landscape: Eight Great Spaces and Their Buildings</em>. Princeton, N.J.: Princeton University Press, 1985.", "page_number": "Mentioned: p. 71-76; Reproduced: p. 76, fig. 20", "url": null}, {"citation": "Kelly, Franklin. <em>Frederic Edwin Church and the North American Landscape, 1845-60</em>. Ph.D. dissertation, University of Delaware, 1985.", "page_number": "Mentioned: p. 9", "url": null}, {"citation": "Avery, Kevin J., Oswaldo Rodriguez Roque, John K. Howat, Doreen Bolger Burke, and Catherine Hoover Voorsanger. <em>American Paradise: The World of the Hudson River School</em>. New York, NY : Metropolitan Museum of Art : H.N. Abrams, 1987.", "page_number": "Mentioned: p. 134-136", "url": null}, {"citation": "Rodrigues Roque, Oswaldo. \"Realism and Idealism in Hudson River School Painting.\" <em>Antiques</em> 132:5 (November, 1987). pp. 1096-1109.", "page_number": "Mentioned: p. 1100", "url": null}, {"citation": "Parry, Ellwood C, III. <em>The Art of Thomas Cole: Ambition and Imagination</em>. Newark, NJ: University of Delaware Press, 1988.", "page_number": "Mentioned: p. 188-225, 389-391; Reproduced: p. 202, fig. 165", "url": null}, {"citation": "Roque, Oswaldo Rodriguez. \"The Exaltation of American Landscape Painting.\" <em>Nature Rightly Observed: Hudson River School Landscape Paintings from The Metropolitan Museum of Art. </em>Shizuoka-shi: Metoroporitan Bijutsukan Meisaku Nihon Jikk\u014d Iinkaii, 1988.", "page_number": "Mentioned: p. 18, 36-55, 182, 209-210; Reproduced: p. 18, fig. 11", "url": null}, {"citation": "Cikovsky, Nicolai, Jr. \"Thomas Cole (1801-1848) Schroon Lake.\" <em>American Paintings from the Manoogian Collection</em>. Washington, D.C.: National Gallery of Art, 1989.", "page_number": "Mentioned: p. 16-17", "url": null}, {"citation": "Vance, William L. <em>America's Rome.</em> New Haven, CT: Yale University Press, 1989.", "page_number": "Mentioned: p. 90-105; Reproduced: p. 104, fig. 35", "url": null}, {"citation": "Minks, Louise. <em>The Hudson River School</em>. New York: Crescent Books, 1989.", "page_number": "Mentioned: p. 6-18, 20; Reproduced: p. 25", "url": null}, {"citation": "Powell, Earl A. <em>Thomas Cole</em>. New York: H.N. Abrams, 1990.", "page_number": "Mentioned: p. 20-47, 72-83, 139; Reproduced: p. 72", "url": null}, {"citation": "Wilkins, David G., and Bernard Schultz. <em>Art Past/Art Present</em>. New York: Abrams, 1990.", "page_number": "Mentioned: p. 388-389; Reproduced: p. 388, fig. 421", "url": null}, {"citation": "Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art, 1991.", "page_number": "Reproduced: p. 126", "url": null}, {"citation": "Parry, Ellwood C., III. \"Les Montagnes dans L'Imaginaire de Thomas Cole.\" <em>La montagne et ses images du peintre d'Askre\u0301silas a\u0300 Thomas Cole. </em>Paris: E\u0301ditions du CTHS, 1991.", "page_number": "Mentioned: p. 383-415; Reproduced: p. 411, fig. 7", "url": null}, {"citation": "Cle\u0301ment, Jean-Paul. <em>Chateaubriand et le sentiment de la nature</em>. Cha\u0302tenay-Malabry: La Valle\u0301e aux loups, Maison de Chateaubriand, 1991.", "page_number": "Mentioned: p. 13-21; Reproduced: p. 16", "url": null}, {"citation": "Robertson, Bruce. \"Frederic A. Whiting: Founding the Museum with Art and Craft.\" <em>Object Lessons: Cleveland Creates an Art Museum</em>. Cleveland, OH: Cleveland Museum of Art, 1991.", "page_number": "Mentioned: p. 32-59; Reproduced: p. 47", "url": null}, {"citation": "Maciejunes, Nannette V., and Norma J. Roberts. <em>A Nation's Legacy: 150 Years of American Art from Ohio Collections</em>. Columbus, OH: Columbus Museum of Art, 1992.", "page_number": "Reproduced: p. 30, 174; Mentioned: p. 22", "url": null}, {"citation": "Truettner, William H., Alan Wallach, and Christine Stansell. <em>Thomas Cole: Landscape into History</em>. New Haven, CT: Yale University Press, 1994.", "page_number": "Reproduced: p. 69, fig. 84; Mentioned: p. 171", "url": null}, {"citation": "Marchetti, Francesca Castria, ed. <em>American Painting. </em>New York: Watson-Guptill Publications, 2002.", "page_number": "Mentioned: p. 44", "url": null}, {"citation": "Grabenhorst, T.N. \"A River Runs Through It: Master Artists of the Hudson.\" <em>The Compass: The Magazine of the Sea. </em>2 (2004).", "page_number": "Mentioned: p. 30-35; Reproduced: p. 34", "url": null}, {"citation": "Grabenhorst, T.N. \"A River Runs Through It: Master Artists of the Hudson,\" <em>The Compass: A Magazine of the Sea, no. 2 (</em>2004):30-35.", "page_number": "Reproduced: p. 34", "url": null}, {"citation": "Adams, Henry. <em>What's American about American art?: a gallery tour in the Cleveland Museum of Art. </em>Cleveland: Cleveland Museum of Art, 2008.", "page_number": "Reproduced: p. 62 - 65", "url": ""}, {"citation": "Cole, Mark. \"New Spaces in the Cleveland Museum of Art.\" <em>American Art </em>24 no. 2 (Summer 2010)", "page_number": "Reproduced: p. 16", "url": null}, {"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. 46", "url": ""}, {"citation": "Shepard, Paul, Jr. \"Paintings of the New England Landscape: A Scientist Looks at Their Geomorphology.\" <em>College Art Journal. </em>17:1 (Fall, 1957). pp. 30-43.", "page_number": "Reproduced: p. 36, fig. 5", "url": null}, {"citation": "Eliot, Alexander. <em>Three Hundred Years of American Painting</em>. New York: Time Inc, 1957.", "page_number": "Mentioned: pp. 70-74; Reproduced: p. 70", "url": null}, {"citation": "Goodrich, Lloyd. \"What is American in American Art?\" <em>Art in America.</em> 46 (Fall, 1958). pp. 19-33.", "page_number": "Reproduced: p. 23", "url": null}, {"citation": "\"Special Exhibitions.\" <em>The Bulletin of The Cleveland Museum of Art.</em> 45:1 (January 1962). pp. 3-12.", "page_number": "Reproduced", "url": "http://www.jstor.org/stable/25142482"}, {"citation": "McCoubrey, John W. <em>American Tradition in Painting</em>. New York: G. Braziller, 1963.", "page_number": "Reproduced: plate 22; Mentioned: pp. 22-31, 113-126", "url": null}, {"citation": "<em>American Literature.</em> eds. Andrew J. Porter and Henry L. Terrie, Jr. New York: Ginn and Company, 1964.", "page_number": "Reproduced: p. 204", "url": null}, {"citation": "<em>The Beauty of America in Great American Art: With Selections from the Writings of Renowned American Authors</em>. Waukesha, WI: Country Beautiful Foundation; New York: In association with W. Morrow, 1965.", "page_number": "Reproduced: pp. 38-39; Mentioned: pp. 37-39", "url": null}, {"citation": "Huntington, David Carew. <em>The Landscapes of Frederic Edwin Church: Vision of an American Era</em>. New York: G. Braziller, 1966.", "page_number": "Mentioned: p. 24-34, 200; Reproduced: fig. 4", "url": null}, {"citation": "Merritt, Howard S. \"'A Wild Scene' Genesis of a Painting.\" <em>The Baltimore Museum of Art Annual II: Studies on Thomas Cole, An American Romanticist. </em>Baltimore, MD: The Baltimore Museum of Art, 1967.", "page_number": "Mentioned: p. 7-40; Reproduced: p. 23, fig. 7", "url": null}, {"citation": "\"I Don't Know Art, But I Know What I Like.\" <em>The Ohio Bell Voice, </em>January, 1967.", "page_number": "Mentioned: p. 12-15; Reproduced: p. 13", "url": null}, {"citation": "Moore, Janet Gaylord. <em>The Many Ways of Seeing: An Introduction to the Pleasures of Art</em>. Cleveland, OH: World Pub. Co, 1968.", "page_number": "Mentioned: p. 117-120; Reproduced: p. 118", "url": null}, {"citation": "Talbot, William S. \"American Visions of Wilderness.\" <em>The Bulletin of the Cleveland Museum of Art</em>. 56:4 (April, 1969). p. 151-166.", "page_number": "Mentioned: p. 154-156; Reproduced: p. 154, fig. 3", "url": "http://www.jstor.org/stable/25152270"}, {"citation": "Talbot, William S. \"American Visions of Wilderness.\" <em>The Living Wilderness.</em> 33:108 (Winter, 1969). pp. 14-25.", "page_number": "Reproduced: p. 17, fig. 3", "url": null}, {"citation": "Prown, Jules David. <em>American Painting: From Its Beginnings to the Armory Show, vol. 1. </em>Geneva: Skira, distributed by World Publishing Company, 1969.", "page_number": "Mentioned: p. 64-75; Reproduced: p. 67", "url": null}], "url": "https://clevelandart.org/art/1917.1335", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1917.1335/1917.1335_web.jpg", "width": "1263", "height": "775", "filesize": "716717", "filename": "1917.1335_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1917.1335/1917.1335_print.jpg", "width": "3400", "height": "2086", "filesize": "5582485", "filename": "1917.1335_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1917.1335/1917.1335_full.tif", "width": "6280", "height": "3853", "filesize": "72628688", "filename": "1917.1335_full.tif"}}, "alternate_images": [{"web": {"url": "https://openaccess-cdn.clevelandart.org/1917.1335/1917.1335_alt0_web.jpg", "width": "1263", "height": "878", "filesize": "963680"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1917.1335/1917.1335_alt0_print.jpg", "width": "3400", "height": "2363", "filesize": "6856830"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1917.1335/1917.1335_alt0_full.tif", "width": "4598", "height": "3196", "filesize": "44127904"}, "date_created": "2008-08-13T15:16:11", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1917.1335/1917.1335_alt1_web.jpg", "width": "1263", "height": "596", "filesize": "484023"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1917.1335/1917.1335_alt1_print.jpg", "width": "3400", "height": "1604", "filesize": "3490124"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1917.1335/1917.1335_alt1_full.tif", "width": "6525", "height": "3078", "filesize": "60286068"}, "date_created": "2008-05-16T18:02:59", "annotation": ""}], "creditline": "Hinman B. Hurlbut Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Baker & Hostetler LLP Gallery", "athena_id": 93014, "creators": [{"id": 2659, "description": "Thomas Cole (American, born England,1801\u20131848)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1801", "death_year": "1848", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1917-02-14T00:00:00", "sortable_date": 1838, "date_added_to_oa": null, "date_text": "1838", "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": ["Schroon Mountain, The Adirondacks"], "is_highlight": false, "updated_at": "2026-10-20 11:25:15.140000"}, {"id": 164628, "accession_number": "2006.137", "share_license_status": "Copyrighted", "tombstone": "A Paramount Picture, 1934. Reginald Marsh (American, born France, 1898\u20131954). Tempera on Masonite; framed: 107.3 x 86.4 x 4.5 cm (42 1/4 x 34 x 1 3/4 in.); unframed: 90.8 x 70.5 cm (35 3/4 x 27 3/4 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 2006.137. \u00a9 Estate of Reginald Marsh / Art Students League, New York / Artists Rights Society (ARS), New York", "current_location": "226B American Modern", "title": "A Paramount Picture", "creation_date": "1934", "creation_date_earliest": 1934, "creation_date_latest": 1934, "artists_tags": ["male"], "culture": ["United States"], "technique": "tempera on Masonite", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 107.3 x 86.4 x 4.5 cm (42 1/4 x 34 x 1 3/4 in.); Unframed: 90.8 x 70.5 cm (35 3/4 x 27 3/4 in.)", "dimensions": {"framed": {"height": 1.073, "height_inch": 42, "height_inch_fraction": 0.25, "width": 0.864, "width_inch": 34, "width_inch_fraction": 0.0, "depth": 0.045, "depth_inch": 1, "depth_inch_fraction": 0.75}, "unframed": {"height": 0.908, "height_inch": 35, "height_inch_fraction": 0.75, "width": 0.705, "width_inch": 27, "width_inch_fraction": 0.75}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of Reginald Marsh / Art Students League, New York / Artists Rights Society (ARS), New York", "inscriptions": [], "exhibitions": {"current": [{"id": 224514, "title": "Swing Time:  Reginald Marsh and Thirties New York", "description": "<i>Swing Time:  Reginald Marsh and Thirties New York</i>. New-York Historical Society, New York, NY (organizer) (June 21-September 2, 2013).", "opening_date": "2013-06-21T00:00:00"}, {"id": 521173, "title": "Egyptomania: Fashion\u2019s Conflicted Obsession", "description": "<i>Egyptomania: Fashion\u2019s Conflicted Obsession</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 1, 2023-January 28, 2024).", "opening_date": "2023-04-01T04:00:00"}], "legacy": [{"description": "New-York Historical Society (6/21/2013 - 9/2/2013): \"Swing Time: Reginald Marsh and Thirties New York\"", "opening_date": "2013-06-21T00:00:00"}]}, "provenance": [{"description": "Senator William Benton; Marjorie and Charles Benton, Wilmette, IL", "citations": [], "footnotes": [], "date": "By 1973", "sortorder": 1}, {"description": "Merrill C. Berman, New York, NY", "citations": [], "footnotes": [], "date": "By 1996", "sortorder": 2}, {"description": "(D. Wigmore Fine Art, Inc. New York, NY sold to Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": [], "date": "By 2002", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2006-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Marsh kept meticulous records, indicating that he created this painting between September 5\u201324, 1934.", "early_education_description": null, "artlens_description": null, "description": "Contrasting the real lives of everyday people with the reel lives of movie stars, this painting portrays a working-class woman standing by a Times Square theater in front of a large poster advertising Cecil B. DeMille\u2019s blockbuster movie <em>Cleopatra</em>, starring Claudette Colbert in the title role. Enormously popular, such film spectacles offered escapist glamour, romance, and power amid the challenges of the Great Depression. Yet, despite the distraction of the city and its entertainments, the woman remains weary and essentially alone in the crowd.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60480344"], "internet_archive": []}, "citations": [{"citation": "Lant, Antonia, \"The Curse of the Pharaoh, or How Cinema Contracted Egyptomania,\" <em>October </em>59 (Winter 1992).<em><br></em>", "page_number": "Mentioned p. 112; Reproduced p. 111.", "url": null}, {"citation": "Lant, Antonia, \"The Curse of the Pharoah, or How Cinema Contracted Egyptomania,\" in Matthew Bernstein and Gaylyn Studlar, eds., V<em>isions of the East: Orientalism in Film </em>(New Brunswick, NJ: Rutgers University Press, 1997).", "page_number": "Mentioned, p. 93; Reproduced p. 92.", "url": ""}, {"citation": "Lant, Antonia, \"The Curse of the Pharaoh, or How Cinema Contracted Egyptomania,\" in Matthew Bernstein and Gaylyn Studlar, eds., <em>Visions of the East: Orientalism in Film </em>(New Brunswick, NJ: Rutgers University Press, 1997).", "page_number": "Mentioned p. 93; reproduced p. 92.", "url": ""}, {"citation": "\u201c\u2019Art of Today\u2019 Put on Exhibition at Albright Gallery, Buffalo.\u201d <em>The Art Digest </em>10 (January 15th, 1936).", "page_number": "Rerpoduced: p. 20", "url": null}, {"citation": "Goodrich, Lloyd. <em>Reginald Marsh. </em>New York: Harry N. Abrams Inc. Publishers, 1972.", "page_number": "Reproduced: p. 63", "url": null}, {"citation": "Sokol, David M. \u201cSolitude: Inner Visions in American Art.\u201d In <em>Solitude: Inner Visions in American Art</em> <em>September 25- December 30,1982. </em>Evanston: Terra Museum of American Art, 1982.", "page_number": "Mentioned: p. 13,15", "url": null}, {"citation": "Cohen, Marilyn. <em>Reginald Marsh\u2019s New York: Paintings, Drawings, Prints and Photographs. </em>New York: Whitney Museum of Art, 1983.", "page_number": "Mentioned: p. 52; Reproduced: inside front cover", "url": null}, {"citation": "Doss, Erika. \u201cImages of American Women in the 1930s: Reginald Marsh and <em>Paramount Picture.</em>\u201d <em>Woman\u2019s Art Journal </em>4 (Fall/Winter 1983).", "page_number": "Mentioned: p. 1,3", "url": null}, {"citation": "\u201cSpellbound in Darkness.\u201d In <em>Hollywood: Legend and Reality, </em>reproduction 17. Michael Webb, ed. Boston: Little, Brown and Company, in association with Smithsonian Institution Traveling Exhibition Service, 1986.", "page_number": "Mentioned: p. 17", "url": null}, {"citation": "Cohen, Marilyn Ann. \u201cReginald Marsh: An Interpretation of His Art.\u201d PhD. Diss., New York University, 1987.", "page_number": "Mentioned: p. 73,92,182", "url": null}, {"citation": "Todd, Ellen Wiley. \u201cSex for Sale: Reginald Marsh\u2019s Voluptuous Shopper.\u201d In <em>The \u2018New Woman\u2019 Revised: Painting and Gender Politics on Fourteenth Street. </em>Berkeley: University of California Press, 1993.", "page_number": "Mentioned: p. 200, 211-217,355-358", "url": null}, {"citation": "Berman, Avis. \u201cReginald Marsh: Eros and the City.\u201d In <em>Reginald Marsh\u2019s New York. </em>New York: D C Moore Gallery, 1996.", "page_number": "Mentioned: p. 1, 6-7", "url": null}, {"citation": "Charney, Leo. \u201cIn Order: Fragmentation in Film and Vaudeville.\u201d In <em>On the Edge of Your Seat: Popular Theater and Film in Early Twentieth-Century American Art, </em>107-123. Robert C. Allen, C. Lance Brockman, Leo Charney, Walter Murch, David Nasaw, Robert Silberman, Laural Weintraub, Sylvia Yount, and Rebecca Zurier. New Haven: Yale University Press, 2002.", "page_number": "Reproduced: p. 118", "url": null}, {"citation": "\u201cHighlights from the Collection.\u201d In D. Wigmore Fine Art, Inc. catalog, 2004.", "page_number": "Reproduced: p. 22", "url": null}, {"citation": "Litt, Steven. \u201cMuseum buys Marsh\u2019s \u2018Paramount\u2019.\u201d <em>Plain Dealer, </em>September 14, 2006.", "page_number": "Mentioned: p. F1, F4", "url": null}, {"citation": "Cole, Mark, \"A Paramount Picture\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 47 no. 01, January 2007", "page_number": "Mentioned & reproduced: p. 8", "url": "https://archive.org/details/CMAMM2007-01/page/8"}, {"citation": "\u201cAcquisitions.\u201d <em>The Cleveland Museum of Art Annual Report </em>July 1, 2006- June 30, 2007.", "page_number": "Mentioned: p. 25", "url": "https://ingallslibrary.on.worldcat.org/atoztitles/link?rft.issn=1922-2009"}, {"citation": "Cole, Mark. \u201cObjects of Desire: Collecting American Paintings at the Cleveland Museum of Art.\u201d In <em>What\u2019s American about American Art? A Gallery Tour in the Cleveland Museum of Art, </em>Henry Adams. Manchester: the Cleveland Museum of Art in association with Hudson Hills Press, 2008.", "page_number": "Mentioned: p. 13; Reproduced: p. 11", "url": null}, {"citation": "Adams, Henry. <em>What\u2019s American about American Art? A Gallery Tour in the Cleveland Museum of Art. </em>Manchester: The Cleveland Museum of Art in association with Hudson Hills Press, 2008.", "page_number": "Mentioned: p. 134-135", "url": null}, {"citation": "Cole, Mark. \u201cA Picture Finds Its Frame.\u201d <em>Cleveland Art </em>50 no. 4 (July/August 2010).", "page_number": "Mentioned: p. 26-27", "url": null}, {"citation": "Cole, Mark. \"A Picture Finds Its Frame.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 50, no. 4 (July/August 2010): 26-27.", "page_number": "Mentioned and reproduced: p. 26-27", "url": "https://archive.org/details/CMAMM2010-04/page/n25/mode/2up"}, {"citation": "Franklin, David. \u201cRecent Acquisitions (2005-11) at the Cleveland Museum of Art.\u201d <em>The Burlington Magazine </em>154, no. 1312 (July 2012).", "page_number": "Mentioned: p. 532", "url": null}, {"citation": "Bronfen, Elisabeth. \u201cAuf der Suche nach Kleopatra: Das Nachleben einer kulturellen Ikone.\u201d In <em>Kleopatra: Die Ewige Diva. </em>Italy: Alle Rechte vorbehalten, in association with Kunst-und Ausstellungshalle de Bundespreublik Deutschland, Bonn, 2013.", "page_number": "Mentioned: p. 8,18", "url": null}, {"citation": "Russeth, Andrew. \u201c\u2019Swing Time: Reginald Marsh and Thirties New York\u2019 at the New-York Historical Society.\u201d <em>Gallerist NY, </em>June 25, 2013.", "page_number": null, "url": null}, {"citation": "Russeth, Andrew. \u201c\u2019Swing Time: Reginald Marsh and Thirties New York\u2019 at the New-York Historical Society.\u201d <em>Observer, </em>June 25, 2013.", "page_number": null, "url": null}, {"citation": "The Cleveland Museum of Art. <em>The CMA Companion: A Guide to the Cleveland Museum of Art. </em>New York: Scala Arts Publishers, 2014.", "page_number": "Mentioned: p. 58", "url": null}, {"citation": "Doss, Erika. \u201cParamount Pictures: Reginald Marsh and the Image of the American Woman in the 1930s.\u201d <em>American Studies Exchange </em>(Fall 1982).", "page_number": "Mentioned: p. 3-12", "url": null}, {"citation": "Bovot, Jean-Luc. \"Le Cin\u00e9ma \u00c9gyptisant \u00c0 l'\u00c9poque de l'Art D\u00e9co.\" In <em>Art de\u0301co: \u00c9gyptomanie, </em>edited by Jean-Marcel Humbert, 167-179. Paris, France: Norma E\u0301ditions, 2022.", "page_number": "Reproduced: p. 175", "url": ""}], "url": "https://clevelandart.org/art/2006.137", "images": {}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Hammond Hemmelgarn Family Gallery", "athena_id": 164628, "creators": [{"id": 31614, "description": "Reginald Marsh (American, born France, 1898\u20131954)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1898", "death_year": "1954", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2006-09-05T00:00:00", "sortable_date": 1934, "date_added_to_oa": null, "date_text": "1934", "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": "2026-09-24 21:31:03.573000"}, {"id": 151543, "accession_number": "1983.88", "share_license_status": "CC0", "tombstone": "Calligraphy and Painting Party (\u66f8\u753b\u4f1a), 1880. Kawanabe Ky\u014dsai (Japanese, 1831\u20131889), and Others (Japanese). Hanging scroll; ink and color on paper; painting only: 139 x 69 cm (54 3/4 x 27 3/16 in.); including mounting: 221 x 97.5 cm (87 x 38 3/8 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1983.88", "current_location": "235A Japanese", "title": "Calligraphy and Painting Party", "title_in_original_language": "\u66f8\u753b\u4f1a", "creation_date": "1880", "creation_date_earliest": 1880, "creation_date_latest": 1880, "artists_tags": ["male"], "culture": ["Japan, Meiji period (1868\u20131912)"], "technique": "hanging scroll; ink and color on paper", "support_materials": [], "department": "Japanese Art", "collection": "ASIAN - Hanging scroll", "type": "Painting", "measurements": "Painting only: 139 x 69 cm (54 3/4 x 27 3/16 in.); Including mounting: 221 x 97.5 cm (87 x 38 3/8 in.)", "dimensions": {"painting only": {"height": 1.39, "height_inch": 54, "height_inch_fraction": 0.75, "width": 0.69, "width_inch": 27, "width_inch_fraction": 0.1875}, "including mounting": {"height": 2.21, "height_inch": 87, "height_inch_fraction": 0.0, "width": 0.975, "width_inch": 38, "width_inch_fraction": 0.375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Artist's signature and seal at lower left.\nSignature transcription: \u6708\u6e13. Romanization: Gekkei.\nSeal transcription: \u5b58\u767d. Romanization: Zonpaku", "inscription_translation": "Signature: Gekkei (lit. Moon Valley). \nSeal: Zonpaku (lit. Preserving White Space).", "inscription_remark": null, "sortorder": 1}], "exhibitions": {"current": [{"id": 309669, "title": "The Year in Review for 1983", "description": "<i>The Year in Review for 1983</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 22-April 8, 1984).", "opening_date": "1984-02-22T05:00:00"}, {"id": 310042, "title": "Images of the Mind", "description": "<i>Images of the Mind</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 7-August 30, 1987).", "opening_date": "1987-07-07T04:00:00"}, {"id": 310268, "title": "Scholar's Studio", "description": "<i>Scholar's Studio</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 19-December 17, 1989).", "opening_date": "1989-09-19T04:00:00"}, {"id": 197104, "title": "The Lure of Painted Poetry: Japanese and Korean Art", "description": "<i>The Lure of Painted Poetry: Japanese and Korean Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 15-August 21, 2011).", "opening_date": "2011-03-27T00:00:00"}, {"id": 705668, "title": "\u201cBunjin\u201d in Japanese Art", "description": "<i>\u201cBunjin\u201d in Japanese Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 21, 2026-June 20, 2027).", "opening_date": "2026-06-21T04:00:00"}], "legacy": [{"description": "<em>Later Japanese Art Gallery Rotation (Gallery 113)</em>. The Cleveland Museum of Art, Cleveland, OH (February 20-May 6, 2003).", "opening_date": "2003-02-20T00:00:00"}, {"description": "<em>Later Japanese Art Gallery Rotation (Gallery 113)</em>. The Cleveland Museum of Art, Cleveland, OH (August 26-December 2, 2003).", "opening_date": "2003-08-26T00:00:00"}]}, "provenance": [{"description": "(David Newman, New York, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "?\u20131983", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1983\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "One participant in this gathering appears to be taking a nap.", "early_education_description": null, "artlens_description": null, "description": "In this collaborative painting, artists create works in response to patrons\u2019 requests. Kawanabe Ky\u014dsai painted the figures and outlines of the screens and scrolls, and 10 <em>bunjin</em> completed them. Each calligraphy and painting has a signature. Physician and calligrapher Nakane Hanrei (\u4e2d\u6839\u534a\u5dba) (1831\u20131914) wrote \u201clongevity\u201d (\u58fd) with an enormous ink-filled brush. Painter Fukushima Ry\u016bho (\u798f\u5cf6\u67f3\u5703) (1820\u20131889) did the plum on the folding screen, while Matsuoka Kansui (\u677e\u5ca1\u74b0\u7fe0) (1818\u20131887) did the lotus; the two seem to be standing nearby, pointing others toward their accomplishment.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60475263"], "internet_archive": ["https://archive.org/details/clevelandart-1983.88-painting-party"]}, "citations": [{"citation": "Turner, Evan H. \u201cYear in Review for 1983.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 71, no. 2 (January 1984): 38\u201379.", "page_number": "Mentioned and Reproduced: pp. 39, 48, and 76, no. 229", "url": "https://www.jstor.org/stable/25159848"}, {"citation": "<em>Kawanabe Gyo\u0304sai ten: botsugo hyakunen kinen </em>\u6cb3\u934b\u6681\u658e\u5c55 : \u6ca1\u5f8c\u767e\u5e74\u8a18\u5ff5. Mito-shi \u6c34\u6236\u5e02: Ibaraki-ken Kindai Bijutsukan \u8328\u57ce\u770c\u8fd1\u4ee3\u7f8e\u8853\u9928, 1989.", "page_number": "Reproduced: 27", "url": ""}, {"citation": "Graham, Patricia J. \"Lifestyles of Scholar-Painters in Edo Japan.\" <em>The Bulletin of the Cleveland Museum of Art</em> 77, no. 7 (September 1990): 262\u2013283.", "page_number": "Reproduced: cover, p. 271; Mentioned: pp. 270\u2013272", "url": "https://www.jstor.org/stable/25161293"}, {"citation": "Clark, Timothy. <em>Demon of Painting: The Art of Kawanabe Ky\u014dsai</em>. London: Published for the Trustees of the British Museum by the British Museum Press, 1993.", "page_number": "Mentioned and Reproduced: p. 37, fig. 2.1", "url": ""}, {"citation": "<em>Kawanabe Kyo\u0304sai collected works </em>\u6cb3\u934b\u6681\u658e\u753b\u96c6. T\u014dky\u014d: Rikuy\u014dsha \u516d\u8000\u793e, 1994.", "page_number": "", "url": ""}, {"citation": "Grossman, Nancy, James T. Ulak, Marjorie Williams, and Laurence Channing. <em>Art of Japan: Masterpieces from the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 2005.", "page_number": "Mentioned and Reproduced: p. 117", "url": ""}, {"citation": "So\u0306n, Su\u0306ng-hye. <em>The Lure of Painted Poetry: Japanese and Korean Art</em>. Cleveland, OH: Cleveland Museum of Art, 2011.", "page_number": "Reproduced: cat. no. 9, pp. 22-23", "url": null}, {"citation": "\"'Bunjin' in Japanese Art.\" <em>Apollo Art Diary, Apollo Magazine</em>, June 19, 2026.", "page_number": "Reproduced", "url": ""}], "url": "https://clevelandart.org/art/1983.88", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1983.88/1983.88_web.jpg", "width": "452", "height": "893", "filesize": "376220", "filename": "1983.88_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1983.88/1983.88_print.jpg", "width": "1720", "height": "3400", "filesize": "4801348", "filename": "1983.88_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1983.88/1983.88_full.tif", "width": "3296", "height": "6513", "filesize": "64430840", "filename": "1983.88_full.tif"}}, "alternate_images": [{"web": {"url": "https://openaccess-cdn.clevelandart.org/1983.88/1983.88_alt0_web.jpg", "width": "393", "height": "893", "filesize": "304322"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1983.88/1983.88_alt0_print.jpg", "width": "1496", "height": "3400", "filesize": "4314977"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1983.88/1983.88_alt0_full.tif", "width": "2854", "height": "6485", "filesize": "55552276"}, "date_created": "2010-02-04T15:10:45", "annotation": ""}], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 151543, "creators": [{"id": 6187, "description": "Kawanabe Ky\u014dsai (Japanese, 1831\u20131889)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\u6cb3\u934b \u6681\u658e", "birth_year": "1831", "death_year": "1889", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 713787, "description": "Others (Japanese)", "extent": null, "qualifier": "and", "role": "artist", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1983-06-14T00:00:00", "sortable_date": 1880, "date_added_to_oa": null, "date_text": "1880", "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": ["Painting Party"], "is_highlight": false, "updated_at": "2026-10-14 15:33:32.645000"}, {"id": 170235, "accession_number": "2012.41", "share_license_status": "CC0", "tombstone": "The Artist's Studio, 1740s\u201350s. Johann Georg Platzer (Austrian, 1704\u20131761). Oil on copper; framed: 55.6 x 73.3 cm (21 7/8 x 28 7/8 in.); unframed: 41.9 x 60 cm (16 1/2 x 23 5/8 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund by exchange, 2012.41", "current_location": "215 French, German, and Dutch", "title": "The Artist's Studio", "creation_date": "1740s\u201350s", "creation_date_earliest": 1740, "creation_date_latest": 1759, "artists_tags": ["male"], "culture": ["Austria"], "technique": "oil on copper", "support_materials": [], "department": "European Painting and Sculpture", "collection": "Paintings", "type": "Painting", "measurements": "Framed: 55.6 x 73.3 cm (21 7/8 x 28 7/8 in.); Unframed: 41.9 x 60 cm (16 1/2 x 23 5/8 in.)", "dimensions": {"framed": {"height": 0.556, "height_inch": 21, "height_inch_fraction": 0.875, "width": 0.733, "width_inch": 28, "width_inch_fraction": 0.875}, "unframed": {"height": 0.419, "height_inch": 16, "height_inch_fraction": 0.5, "width": 0.6, "width_inch": 23, "width_inch_fraction": 0.625}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower left \"JG Platzer\"; inscribed on print lower center left \"Spranger\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": [{"description": "<em>Delikatesse der Malerei: Meisterwerke von Johann Georg Platzer.</em> Alte Galerie am Landesmuseum Joanneum, Graz (September 19, 2007 - January 13, 2008).", "opening_date": "2007-09-19T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Look closely\u2014there are 12 paintings within this painting!", "early_education_description": null, "artlens_description": null, "description": "Johann Georg Platzer specialized in small, highly detailed paintings scaled for a connoisseur\u2019s cabinet. At the center of this composition is an idealized portrait of the artist himself, clad in a fur-lined robe and holding a painting for the inspection of a visiting connoisseur. This work makes a statement about painting as a noble and intellectual pursuit, and the importance of rigorous training and practice: the artist at the easel is surrounded by a studio teeming with live models, pupils, assistants, and inspiring examples of art from earlier eras. The paintings on the wall, easel, and floor not only reference great artists of the past, but together present an allegory of the five senses.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60480966"], "internet_archive": ["https://archive.org/details/clevelandart-2012.41-the-artist-s-studio"]}, "citations": [{"citation": "Becker, Ulrich. <em>Delikatesse der Malerei: Meisterwerke von Johann Georg Platzer.</em> Alte Galerie am Landesmuseum Joanneum, 19. September 2007-13. Ja\u0308nner 2008. Graz: Landesmuseum Joanneum, 2007.", "page_number": "Reproduced: p. [138]; pp.144-145. cat. #36", "url": null}, {"citation": "Krapf, Michael. J<em>ohann Georg Platzer: der Farbenzauberer des Barock 1704-1761. </em>Wien: Brandst\u00e4tte, 2014.", "page_number": "Reproduced: pp. 116-117; 314, cat. #128", "url": null}, {"citation": "Schaefer, Iris, Anna Bungenberg, and Caroline von Saint-George. Entdeckt!: Maltechniken von Martini bis Monet. 2021, 101.", "page_number": "Mentioned: p. 101 and 113; Reproduced: p. 101, Abb. 116 and p. 113, Abb. 135.", "url": ""}], "url": "https://clevelandart.org/art/2012.41", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2012.41/2012.41_web.jpg", "width": "1263", "height": "887", "filesize": "238893", "filename": "2012.41_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2012.41/2012.41_print.jpg", "width": "3400", "height": "2388", "filesize": "1581309", "filename": "2012.41_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2012.41/2012.41_full.tif", "width": "6277", "height": "4410", "filesize": "83068064", "filename": "2012.41_full.tif"}}, "alternate_images": [{"web": {"url": "https://openaccess-cdn.clevelandart.org/2012.41/2012.41_alt0_web.jpg", "width": "1263", "height": "890", "filesize": "212629"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2012.41/2012.41_alt0_print.jpg", "width": "3400", "height": "2396", "filesize": "1788918"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2012.41/2012.41_alt0_full.tif", "width": "6613", "height": "4662", "filesize": "92512832"}, "date_created": "2012-04-02T18:33:06", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/2012.41/2012.41_alt1_web.jpg", "width": "1147", "height": "893", "filesize": "260917"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2012.41/2012.41_alt1_print.jpg", "width": "3400", "height": "2646", "filesize": "2067110"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2012.41/2012.41_alt1_full.tif", "width": "6332", "height": "4928", "filesize": "93635668"}, "date_created": "2012-04-02T18:49:26", "annotation": ""}], "creditline": "Mr. and Mrs. William H. Marlatt Fund by exchange", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Samuel Rosenthal Family Gallery", "athena_id": 170235, "creators": [{"id": 62091, "description": "Johann Georg Platzer (Austrian, 1704\u20131761)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1704", "death_year": "1761", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2012-06-04T00:00:00", "sortable_date": 1740, "date_added_to_oa": null, "date_text": "1740s\u201350s", "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": "2026-08-03 14:25:49.981000"}, {"id": 135382, "accession_number": "1958.39", "share_license_status": "CC0", "tombstone": "The Red Kerchief (Femme \u00e0 la capeline rouge), c. 1868\u201373. Claude Monet (French, 1840\u20131926). Oil on fabric; framed: 128.3 x 105.7 x 14.6 cm (50 1/2 x 41 5/8 x 5 3/4 in.); unframed: 99 x 79.8 cm (39 x 31 7/16 in.). The Cleveland Museum of Art, Bequest of Leonard C. Hanna Jr., 1958.39", "current_location": "222 Impressionism & Post-Impressionism", "title": "The Red Kerchief", "title_in_original_language": "Femme \u00e0 la capeline rouge", "creation_date": "c. 1868\u201373", "creation_date_earliest": 1868, "creation_date_latest": 1873, "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: 128.3 x 105.7 x 14.6 cm (50 1/2 x 41 5/8 x 5 3/4 in.); Unframed: 99 x 79.8 cm (39 x 31 7/16 in.)", "dimensions": {"framed": {"height": 1.283, "height_inch": 50, "height_inch_fraction": 0.5, "width": 1.057, "width_inch": 41, "width_inch_fraction": 0.625, "depth": 0.146, "depth_inch": 5, "depth_inch_fraction": 0.75}, "unframed": {"height": 0.99, "height_inch": 39, "height_inch_fraction": 0.0, "width": 0.798, "width_inch": 31, "width_inch_fraction": 0.4375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Not signed\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 343629, "title": "Claude Monet - Seasons and Moments", "description": "<i>Claude Monet - Seasons and Moments</i>. The Museum of Modern Art (March 7-May 15, 1960); Los Angeles County Museum of Art (June 14-August 7, 1960).", "opening_date": "1960-03-07T05:00:00"}, {"id": 338832, "title": "Paintings by Monet", "description": "<i>Paintings by Monet</i>. The Art Institute of Chicago, Chicago, IL (organizer) (March 15-May 11, 1975).", "opening_date": "1975-03-15T04:00:00"}, {"id": 343615, "title": "Hommage a Claude Monet", "description": "<i>Hommage a Claude Monet</i>. Mus\u00e9e du Louvre, Paris, France (February 9-May 5, 1980).", "opening_date": "1980-02-09T05:00:00"}, {"id": 310025, "title": "Creativity in Art and Science, 1860-1960", "description": "<i>Creativity in Art and Science, 1860-1960</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 16-November 8, 1987).", "opening_date": "1987-09-16T04:00:00"}, {"id": 343621, "title": "Claude Monet: 1840-1926", "description": "<i>Claude Monet: 1840-1926</i>. The Art Institute of Chicago, Chicago, IL (organizer) (July 14-November 26, 1995).", "opening_date": "1995-07-04T04:00:00"}, {"id": 213923, "title": "Impressionists in Winter: Effets de Neige", "description": "<i>Impressionists in Winter: Effets de Neige</i>. The Phillips Collection, Washington, DC (organizer) (September 19, 1998-January 3, 1999); Fine Arts Museum of San Francisco, Yerba Buena Gardens, CA (January 30-May 2, 1999); The Brooklyn Museum, Brooklyn, NY (May 27-August 29, 1999).", "opening_date": "1998-09-19T00:00:00"}, {"id": 216847, "title": "Faces of Impressionism: Portraits from American Collections", "description": "<i>Faces of Impressionism: Portraits from American Collections</i>. The Baltimore Museum of Art (organizer) (October 10, 1999-January 30, 2000); Museum of Fine Arts, Houston (March 25-May 7, 2000); The Cleveland Museum of Art, Cleveland, OH (May 28-July 30, 2000).", "opening_date": "1999-10-10T00:00:00"}, {"id": 227545, "title": "Monet's Garden", "description": "<i>Monet's Garden</i>. Kunsthaus Z\u00fcrich, CH-8024 Z\u00fcrich, Switzerland (organizer) (October 29, 2004-March 13, 2005).", "opening_date": "2004-10-29T00:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. Beijing World Art Museum (May 26-August 27, 2006); Mori Art Center (September 16-November 26, 2006); Seoul Art Center, South Korea (December 22, 2006-March 28, 2007); Seoul Olympic Museum of Art, South Korea (April 7-May 20, 2007); Vancouver Art Gallery, Vancouver, Canada (June 9-September 16, 2007); The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008); Frist Art Museum, Nashville, TN (February 15-June 1, 2008); Utah Museum of Fine Arts, Salt Lake City, UT (June 22-September 21, 2008); The Detroit Institute of Arts, Detroit, MI (October 12, 2008-January 18, 2009).", "opening_date": "2006-05-27T00:00:00"}, {"id": 216795, "title": "Becoming Edvard Munch: Influence, Anxiety, and Myth", "description": "<i>Becoming Edvard Munch: Influence, Anxiety, and Myth</i>. The Art Institute of Chicago, Chicago, IL (organizer) (February 14-April 26, 2009).", "opening_date": "2009-02-14T00:00:00"}, {"id": 220678, "title": "Claude Monet", "description": "<i>Claude Monet</i>. Galeries Nationales du Grand Palais, 75008 Paris, France (September 20, 2010-January 24, 2011).", "opening_date": "2010-09-20T00:00:00"}, {"id": 213320, "title": "Lend-Back - Painting the Modern Garden", "description": "<i>Lend-Back - Painting the Modern Garden</i>. Allen Memorial Art Museum, Oberlin, OH (organizer) (August 27, 2015-January 3, 2016).", "opening_date": "2015-08-27T00:00:00"}, {"id": 213583, "title": "Monet: The Early Years", "description": "<i>Monet: The Early Years</i>. Kimbell Art Museum, Fort Worth, TX (organizer) (October 16, 2016-January 29, 2017); Fine Arts Museum of San Francisco, Legion of Honor, San Francisco, CA (February 25-May 29, 2017).", "opening_date": "2016-10-16T00:00:00"}, {"id": 304929, "title": "Claude Monet", "description": "<i>Claude Monet</i>. Albertina, Wien, Austria (organizer) (September 21, 2018-January 6, 2019) https://www.albertina.at/en/exhibitions/monet/.", "opening_date": "2018-09-21T04:00:00"}], "legacy": [{"description": "<em>Claude Monet: Exposition r\u00e9trospective.</em> Mus\u00e9e de l'Orangerie, Paris, France (1931).", "opening_date": "1931-01-01T00:00:00"}, {"description": "<em>Claude Monet de 1865 \u00e0 1888.</em> Durand-Ruel, Paris, France (1935).", "opening_date": "1935-01-01T00:00:00"}, {"description": "<em>Five Centuries of History Mirrored in Five Centuries of French Art.</em> World's Fair (Pavillon de la France), New York, NY (1939).", "opening_date": "1939-01-01T00:00:00"}, {"description": "<em>A Loan Exhibition of Paintings by Claude Monet.</em> Wildenstein &amp; Co., New York, NY (1945).", "opening_date": "1945-01-01T00:00:00"}]}, "provenance": [{"description": "Michel Monet [1878-1966] Giverny, France, bequeathed from the artist's estate to his son, 1931", "citations": [], "footnotes": [], "date": "1931-1939", "sortorder": 1}, {"description": "Edouard Molyneux [1891-1974] Paris, France, 1939", "citations": [], "footnotes": [], "date": "1939-1948", "sortorder": 2}, {"description": "(Carroll Carstairs Gallery, New York, NY, September 16, 1948, sold to Leonard C. Hanna, Jr.)", "citations": [], "footnotes": [], "date": "1948", "sortorder": 3}, {"description": "Leonard C. Hanna, Jr. [1889-1958], Cleveland, OH, bequeathed to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1948-1958", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1958-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Madame Monet\u2019s red cape draws the viewer\u2019s attention beyond the glass of the French doors capturing her glance, a brief moment frozen in time. This painting was very special to Monet and he kept it with him for his entire life.", "early_education_description": null, "artlens_description": null, "description": "This painting depicts Monet's first wife, Camille, outside on a snowy day passing by the French doors of their home at Argenteuil. Her face is rendered in a radically bold Impressionist technique of mere daubs of paint quickly applied, just as the snow and trees are defined by broad, broken strokes of pure white and green.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q50772913"], "internet_archive": ["https://archive.org/details/clevelandart-1958.39-the-red-kerchief"]}, "citations": [{"citation": "Becker, Christoph. <em>Monet's Garden</em>. Ostfildern-Ruit, Germany: Hatje Cantz, 2004.", "page_number": "Reproduced: p. 25, fig. 9", "url": null}, {"citation": "Geffroy, Gustave. <em>Claude Monet, sa vie, son \u0153uvre</em>. Paris, FR: G. Cre\u0300s et cie, 1922.", "page_number": "Reproduced: opp. p. 140", "url": null}, {"citation": "Trevise, Duc de. \"Le Pelerinage de Giverny.\" <em>Revue de l'Art Ancien et Moderne </em>51 (January-May 1927: 42-50.", "page_number": "Reproduced: p. 45", "url": null}, {"citation": "Fels, Florent. \"Claude Monet or the Fading Luminary.\" <em>Formes; An International Art Review </em>15 (May 1931<em>)</em>: 74b-75.", "page_number": "Reproduced: p. 74c", "url": null}, {"citation": "Malingue, Maurice. <em>Claude Monet.</em> Monaco: Les Documents d'art, 1943.", "page_number": "Reproduced: p. 63", "url": null}, {"citation": "Rewald, John. <em>The History of Impressionism</em>. New York, NY: Museum of Modern Art, 1946.", "page_number": "Reproduced: p. 207", "url": null}, {"citation": "Reuterswa\u0308rd, Oscar. <em>Monet: En konstna\u0308rshistorik.</em> Stockholm: Bonniers, 1948.", "page_number": "Reproduced: p. 51", "url": null}, {"citation": "<em>Catalogue de reproductions en couleurs de la peinture de 1860 a\u0300 ... = Catalogue of colour reproductions of painting from 1860 to ... = Cata\u0301logo de reproducciones en color de la pintura de 1860 a</em>. Paris, France: Unesco, 1949.", "page_number": "Reproduced: p. 234", "url": null}, {"citation": "Besson, George. <em>Claude Monet (1840-1926)</em>. Paris: Braun, 1949.", "page_number": "Reproduced: pl. 28", "url": null}, {"citation": "Coe, Nancy. <em>The History of the Collecting of European Paintings and Drawings in the City of Cleveland</em>. Thesis M.A. Oberlin College, 1955.", "page_number": "Reproduced: vol. 2, p. 75", "url": null}, {"citation": "Cleveland Museum of Art.<em> In Memoriam: Leonard C. Hanna, Jr. </em>Cleveland: The Cleveland Museum of Art, 1958.", "page_number": "Reproduced: no. 23", "url": null}, {"citation": "<em>The Bulletin of the Cleveland Museum of Art XLVI </em>no.6<em>.</em> (June, 1959): 123.", "page_number": "Reproduced: p. 123", "url": null}, {"citation": "Museum of Modern Art (New York, N.Y.), and William Chapin Seitz. <em>Claude Monet: Seasons and Moments</em>. New York. Museum of Modern Art. Catalogues. 1959-1963. 1960.", "page_number": "Mentioned: cat. no. 13", "url": null}, {"citation": "Gimpel, Rene\u0301. <em>Journal d'un Collectionneur, Marchand de Tableaux</em>. [Paris]: Calmann-Le\u0301vy, 1963.", "page_number": "Reproduced: opp. p 78", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 174", "url": "https://archive.org/details/CMAHandbook1966/page/n198"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 174", "url": "https://archive.org/details/CMAHandbook1969/page/n198"}, {"citation": "Arnason, H. H. \"Motherwell: The Window and the Wall.\" <em>ARTnews</em> 68 (Summer 1969): 48-50.", "page_number": "Reproduced: p. 50; mentioned: p. 48", "url": null}, {"citation": "Isaacson, Joel. <em>Monet: Le Dejeuner Sur L'herbe</em>. London, United Kingdom: Allen Lane the Penguin Press, 1972.", "page_number": "Reproduced: p. 14", "url": null}, {"citation": "Bortolatto, Luigina Rossi. <em>L'opera Completa Di Claude Monet, 1870-1889</em>. Milano: Rizzoli, 1972.", "page_number": "Reproduced: no. 77", "url": null}, {"citation": "Tsuji, Kunio, Yoshiaki Inui, and Shu\u0304ji Takashina. <em>Mone to insho\u0304ha = Monet et l'impressionnisme.</em> To\u0304kyo\u0304: Chu\u0304o\u0304 Ko\u0304ronsha, 1972.", "page_number": "Reproduced: no. 33", "url": null}, {"citation": "Champa, Kermit Swiler. <em>Studies in Early Impressionism</em>. New Haven, CT: Yale University Press, 1973.", "page_number": "Reproduced: p.31 fig. 40", "url": null}, {"citation": "Rewald, John. <em>The History of Impressionism.</em> New York, NY: Museum of Modern Art, 1973.", "page_number": "Reproduced: p. 251", "url": null}, {"citation": "Nordenfalk, Carl Adam Johan. \"Outdoors-Indoors: A 2000-Year-Old Space Problem in Western Art.\" In <em>Proceedings of the American Philosophical Society</em> 117, no. 4 (1973): 253-54, fig. 31.", "page_number": "Reproduced: p. 253-254, fig. 31", "url": null}, {"citation": "Wildenstein, Daniel. <em>Claude Monet: biographie et catalogue raisonne\u0301</em>. Lausanne, Switzerland: La Bibliothe\u0300que des arts, 1974.", "page_number": "Reproduced: p. 257", "url": null}, {"citation": "Monet, Claude, and Susan Wise. <em>Paintings by Monet: [Exhibition] March 15 Through May 11, 1975, the Art Institute of Chicago</em>. Chicago: Art Institute of Chicago, 1975.", "page_number": "Mentioned and Reproduced: cat. no. 26, p 24", "url": null}, {"citation": "House, John. <em>Monet</em>. Oxford, United Kingdom: Phaidon; New York, NY, Dutton, 1977.", "page_number": "Reproduced: no. 18", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 216", "url": "https://archive.org/details/CMAHandbook1978/page/n236"}, {"citation": "House, John. \"The New Monet Catalogue.\" <em>The Burlington Magazine</em> 120, no. 907 (1978): 678-39.", "page_number": "Mentioned: p. 680", "url": null}, {"citation": "\"Hommage a Monet.\" <em>Le Petit Journal des Grandes Expositions</em> 88 (1980): fig. 25.", "page_number": "Reproduced: fig. 25", "url": null}, {"citation": "Monet, Claude, He\u0301le\u0300ne Adhe\u0301mar, Anne Distel, and Sylvie Patin. <em>Hommage a\u0300 Claude Monet (1840-1926): 1980, anne\u0301e du patrimoine, Grand Palais, 8 fe\u0301vrier - 5 mai 1980</em>. Paris: E\u0301ditions de la Re\u0301union des muse\u0301e nationaux, Ministe\u0300re de la culture et de la communication, 1980.", "page_number": "Mentioned and Reproduced: cat. no. 25", "url": null}, {"citation": "\"Grand Palais, Paris; Exposition.\" <em>L'\u0152il </em>297 (April, 1980): 74.", "page_number": "Reproduced: p. 74", "url": null}, {"citation": "House, John. <em>Monet</em>. Oxford, United Kingdom: Phaidon, NY, 1981.", "page_number": "Reproduced: no. 8", "url": null}, {"citation": "Borowitz, Helen O. \"The Rembrandt and Monet of Marcel Proust.\" <em>The Bulletin of the Cleveland Museum of Art LXX, </em>no. 2. (February, 1983):90.", "page_number": "Reproduced: p. 90, fig. 16", "url": null}, {"citation": "Keller, Horst. <em>Claude Monet</em>. Mu\u0308nchen, Germany: Bruckmann, 1985.", "page_number": "Reproduced: plate 44", "url": null}, {"citation": "Kijima, Shunsuke, Kimio Nakayama, Yoshiaki To\u0304no, Makoto O\u0304oka, and Katsunori Miyauchi. <em>Mone = Monet.</em> To\u0304kyo\u0304, Japan: Shu\u0304eisha, 1985.", "page_number": "Reproduced: p. 6", "url": null}, {"citation": "Stuckey. Charles F. <em>Monet: A Retrospective</em>. New York, NY: 1985.", "page_number": "Reproduced: p. 75, plate 27", "url": null}, {"citation": "Taillandier, Yvon. <em>Monet.</em> New York, NY: Crown, 1987.", "page_number": "Reproduced: p. 40", "url": null}, {"citation": "Henning, Edward B. <em>Creativity in Art and Science</em>, 1860-1960. [Cleveland, Ohio]: Published by the Cleveland Museum of Art in cooperation with Indiana University Press, 1987.", "page_number": "Mentioned and Reproduced: p. 95, cat. no. 2", "url": null}, {"citation": "Sagner-Du\u0308chting, <em>Karin. Claude Monet 1840-1926: ein Fest fu\u0308r die Augen.</em> Ko\u0308ln, Germany: Benedikt Taschen Verlag, 1990.", "page_number": "Reproduced: p. 68", "url": null}, {"citation": "Cleveland Museum of Art. <em>Masterpieces from East and West.</em> New York, NY: Rizzoli International, 1992.", "page_number": "Reproduced: p. 7-8", "url": null}, {"citation": "Chong, Alan. <em>European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogue</em>. Cleveland, Ohio: Cleveland Museum of Art, 1993.", "page_number": "Reproduced: p. 158", "url": null}, {"citation": "Taylor, John Russell, <em>Claude Monet: Impressions of France : from Le Havre to Giverny.</em> London, United Kingdom: Collins &amp; Brown, 1995.", "page_number": "Reproduced: p. 70", "url": null}, {"citation": "Tucker, Paul Hayes. <em>Claude Monet: Life and Art.</em> New Haven, CT: Yale University Press, 1995.", "page_number": "Mentioned: p. 66-68, Reproduced: pl. 75", "url": null}, {"citation": "Stuckey, Charles F., Claude Monet, and Sophia Shaw. <em>Claude Monet: 1840-1926</em>. New York: Thames and Hudson, 1995.", "page_number": "Mentioned and Reproduced cat. no. 24, p. 244", "url": null}, {"citation": "Pelfrey, Robert H. <em>Art and Mass Media</em>. Dubuque, Iowa: Kendall/Hunt, 1996.", "page_number": "Reproduced: p. 165, fig. 7.3", "url": null}, {"citation": "Wildenstein, Daniel, <em>Monet</em>. Ko\u0308ln, Germany: Taschen, 1996.", "page_number": "Reproduced: p. 90, vol. 1; p. 257, vol. 2", "url": null}, {"citation": "Weiss, Susanne. <em>Claude Monet: ein distanzierter Blick auf Stadt und Land</em> : <em>Werke 1859-1889</em>. Berlin, Germany: Reimer, 1997.", "page_number": "Reproduced: p. 55, fig. 15", "url": null}, {"citation": "Moffett, Charles S. <em>Impressionists in Winter: Effets De Neige</em>. Washington, D.C.: Phillips Collection in collaboration with Philip Wilson Publishers, 1998.", "page_number": "Reproduced: cat. no. 6", "url": null}, {"citation": "Sallis, John. <em>Shades--of Painting at the Limit</em>. Bloomington, IN: Indiana University Press, 1998.", "page_number": "Reproduced: p. 52, fig. 4", "url": null}, {"citation": "Pittman, Dianne W. <em>Bazille: Purity, Pose, and Painting in the 1860s</em>. University Park, PA: Pennsylvania State University, 1998.", "page_number": "Reproduced: p. 207, p. 209, fig. 131", "url": null}, {"citation": "D Argencourt, Louise and Roger Diederen. <em>The Cleveland Museum of Art: Catalogue of Paintings, Part Four; European Paintings of the 19th Century.</em> Cleveland, OH: Cleveland Museum of Art, 1999.", "page_number": "Reproduced: p. 155", "url": null}, {"citation": "Museum of Fine Arts, Boston. Mone, Runowa\u0304ru to insho\u0304ha no fu\u0304kei: kaikan kinen dai ikkai kikakuten = <em>Monet, Renoir, and the impressionist landscape.</em> [Japan]: Nagoya Bosuton Bijutsukan, 1999.", "page_number": "Reproduced: p. 28, fig. 28", "url": null}, {"citation": "Johnston, Sona, Susan Bollendorf, and John House. <em>Faces of Impressionism: Portraits from American Collections</em>. Baltimore, Md: Baltimore Museum of Art in association with Rizzoli International, 1999.", "page_number": "Reproduced: p. 126-127", "url": null}, {"citation": "Wildenstein, Daniel. <em>Monet, or, The Triumph of Impressionism.</em> Ko\u0308ln, Germany: Taschen, 1999.", "page_number": "Reproduced: p. 90, cat. no. 257", "url": null}, {"citation": "Johnston, Sona.<em> Faces of Impressionism: Portraits from American Collections</em>. New York, NY : Rizzoli, 1999.", "page_number": "Reproduced: p. 127, cat. no. 44", "url": null}, {"citation": "Knight, Lynne. <em>Snow Effects: Poems on Impressionists in Winter</em>. Concord, CA: Small Poetry Press, 2000.", "page_number": "Reproduced: p. 24", "url": null}, {"citation": "Jiminez, Jill Berk, and Joanna Banham. <em>Dictionary of Artists' Models.</em> London, United Kingdom: Fitzroy Dearborn, 2001.", "page_number": "Reproduced: p. 167", "url": null}, {"citation": "<em>Norio Shimada, and Keiko Sakagami. Kuro\u0304do Mone meigashu\u0304: hikari to kaze no kiseki</em>. To\u0304kyo\u0304, Japan: Nihon Bijutsu Kyo\u0304iku Senta\u0304, 2001.", "page_number": "Reproduced: p. 123", "url": null}, {"citation": "Clancy, John I. <em>Impressionism: Historical Overview and Bibliography.</em> New York, NY: Nova Science Publishers, 2003.", "page_number": "Reproduced: p. 20", "url": null}, {"citation": "Burgess, Margaret, \"The Colorful Mr. Hanna\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 45 no. 09, November 2005", "page_number": "Mentioned & reproduced: p.7", "url": "https://archive.org/details/CMAMM2005-09/page/6/"}, {"citation": "Borzello, Frances. <em>At Home: The Domestic Interior in Art.</em> London, United Kingdom: Thames &amp; Hudson, 2006.", "page_number": "Reproduced: p. 65", "url": null}, {"citation": "Lambert, Ste\u0301phane.<em> L'adieu au paysage: les nymphe\u0301as de Claude Monet</em>. Paris, France: Diffe\u0301rence, 2008.", "page_number": "Reproduced: fig. 12", "url": null}, {"citation": "Baillio, Joseph. <em>Claude Monet, 1840-1926</em>:<em> Paris, Galeries Nationales, Grand Palais, September 22, 2010-January 24, 2011</em>. Paris: Re\u0301union des muse\u0301es nationaux, 2010.", "page_number": "Reproduced: p. 103, Mentioned: p. 254-255", "url": null}, {"citation": "Braschi, Cecilia. \"1840-1926. Monet, une Vie Dediee a la Peinture.\" <em>Dossier de l'Art </em>177 (September 2010): 2-23.", "page_number": "Reproduced: p. 21", "url": null}, {"citation": "Marchesseau, Daniel. <em>Monet au Muse\u0301e Marmottan et dans les collections suisses ; Estampes japonaises, Fondation Claude Monet, Giverny. </em>Martigny, Switzerland: Fondation Pierre Gianadda, 2011.", "page_number": "Reproduced: p. 201, fig. 24", "url": null}, {"citation": "Franklin, David and C. Griffith Mann. <em>Treasures from the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art, London, United Kingdom, Scala Publishers Ltd., 2012.", "page_number": "Reproduced: p. 262-3", "url": null}, {"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. 289", "url": ""}, {"citation": "\u201cA Walking Tour: The entire new museum wing by wing, with curators calling out a few favorite works in the collection.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 54, no. 1 (January/February 2014): 8-33.", "page_number": "Reproduced and Mentioned: p. 20", "url": "https://archive.org/details/CMAMM2014-01"}, {"citation": "Patin, Sylvie. <em>Monet's Private Picture Gallery at Giverny: Paintings by Monet and His Friends.</em> Montreuil, France: Gourcuff Gradenigo; Giverny: \u00c9ditions Claude Monet Giverny: Fondation Claude Monet, 2016.", "page_number": "Reproduced: P. 12, 14, 16-17, 23", "url": null}, {"citation": "Cleveland Museum of Art. <em>Museum Masters: 2016-17 Companion Guide.</em> [Cleveland, Ohio]: Cleveland Museum of Art, 2016.", "page_number": "Mentioned and Reproduced: P. 22", "url": ""}, {"citation": "Cachorro Fernandez, Emilio. \"Habitaciones con Vistas. Pulsion Escopica A Traves de la Ventana\". Archivo espan\u0303ol de arte 88, issue 350 (April-June 2015): 157-172.", "page_number": "Reproduced: p. 170, fig. 6", "url": null}, {"citation": "Shackelford, George T. M., et. al. <em>Monet: The Early Years.</em> Fort Worth, TX: Kimball Art Museum, 2016.", "page_number": "Mention: p. 107; 202 Reproduced: cover; p. 106, cat. 12", "url": null}, {"citation": "Bortolatto, Luigina Rossi. <em>Tout l'\u0153uvre peint de Monet, 1870-1889.</em> Paris: Flammarion, 1981.", "page_number": "Reproduced: P. 93, fig. 78", "url": null}, {"citation": "Widaur, Heinz. \"From Pleinairism to Impressionism.\" In <em>Claude Monet: A Floating World.</em> Heinz Widauer and Dieter Buchhart, eds., 55-79. Vienna: The Albertina Museum, 2018.", "page_number": "Mentioned and reproduced: p. 76-79, cat. 24", "url": null}, {"citation": "Michael, Cora. \"Gauguin in the the Buckeye and Hoosier States: Portrait of Teuraheimata and its Midwestern Collectors.\" In <em>Paul Gauguin: Teuraheimata a Potoru, a Rediscovery, </em>11-19. New York: Jill Newhouse Gallery; [Akron, Ohio]: Thomas French Fine Art, 2019.", "page_number": "Mentioned: P. 14", "url": ""}, {"citation": "Shackelford, George T. M. <em>Monet: the Late Years.</em> Fort Worth, Texas: Kimbell Art Museum; San Francisco: Fine Arts Museums of San Francisco, New Haven; London: Distributed by Yale University Press, 2019.", "page_number": "Reproduced: P. 15, 29", "url": null}, {"citation": "Rubin, James Henry. Monet. 2020, 54.", "page_number": "Mentioned and reproduced; pp. 53-54, fig. 37.", "url": ""}, {"citation": "Dombrowski, Andre\u0301. <em>Monet's Minutes: Impressionism and the Industrialization of Time. </em>New Haven; London: Yale University Press, 2023.", "page_number": "Mentioned and reproduced: p. 21-22, fig. 11", "url": ""}, {"citation": "Dombrowski, Andre. \"Reflexions sur le Manieres de 'Saisir' et de 'Fixer' une Impression en 1874.\" <em>Revue de L'Art </em>223 (January 2024): 32-41.", "page_number": "Mentioned and reproduced: p. 37-38, fig. 3, Cover", "url": ""}, {"citation": "Siegel, Harmon. <em>Painting with Monet</em>. Princeton, New Jersey: Princeton University Press, 2024.", "page_number": "Mentioned and reproduced: p. 207-209, figs. 7.5, 7.6, and 7.7", "url": ""}, {"citation": "Wullschla\u0308ger, Jackie. <em>Monet: The Restless Vision. </em>New York: Alfred A. Knopf, 2024.", "page_number": "Reproduced: p. 106, plate 12; Mentioned: p. 149", "url": ""}, {"citation": "Man\u0153uvre, Laurent. \u201c1870-1888: Une Nouvelle Peinture.\u201d <em>Dossier de l'art</em>, n. 336 (April/May 2026): 22-29.", "page_number": "Reproduced: p. 26", "url": ""}], "url": "https://clevelandart.org/art/1958.39", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1958.39/1958.39_web.jpg", "width": "723", "height": "900", "filesize": "242663", "filename": "1958.39_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1958.39/1958.39_print.jpg", "width": "2732", "height": "3400", "filesize": "3767988", "filename": "1958.39_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1958.39/1958.39_full.tif", "width": "11652", "height": "14500", "filesize": "506893484", "filename": "1958.39_full.tif"}}, "alternate_images": [{"web": {"url": "https://openaccess-cdn.clevelandart.org/1958.39/1958.39_alt0_web.jpg", "width": "720", "height": "893", "filesize": "471772"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1958.39/1958.39_alt0_print.jpg", "width": "2742", "height": "3400", "filesize": "6551534"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1958.39/1958.39_alt0_full.tif", "width": "4033", "height": "5000", "filesize": "60526808"}, "date_created": "2006-04-11T15:09:16", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1958.39/1958.39_alt1_web.jpg", "width": "717", "height": "893", "filesize": "459830"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1958.39/1958.39_alt1_print.jpg", "width": "2731", "height": "3400", "filesize": "6598773"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1958.39/1958.39_alt1_full.tif", "width": "4016", "height": "5000", "filesize": "60271236"}, "date_created": "2006-04-10T19:40:23", "annotation": ""}], "creditline": "Bequest of Leonard C. Hanna Jr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Nancy F. and Joseph P. Keithley Gallery", "athena_id": 135382, "creators": [{"id": 1844, "description": "Claude Monet (French, 1840\u20131926)", "extent": null, "qualifier": null, "role": "artist", "biography": "Claude Monet spent his youth in Le Havre in Normandy, where his father worked as a wholesale grocer. By the age of sixteen, he had exhibited some of his caricatures in an art supply store, leading to his acquaintance with Boudin (q.v.). It was Boudin who first encouraged him to paint out of doors. In 1859 Monet traveled to Paris, where he saw Boudin's salon debut and met Constant Troyon (1810-1865). A year later he joined the Acad\u00e9mie Suisse, where he was introduced to Pissarro (q.v.), but his studies were interrupted in 1861 when he was drafted for a seven-year stint in the military. His family would pay for his release from military duties only if he gave up painting. Finding this unacceptable, Monet served for one year in Algeria before an early return to France to convalesce after a severe illness. In 1862 he met Jongkind (q.v.), another important influence on the young painter's development. Monet's father then allowed him to pursue his art career in Paris, where he entered the studio of the Swiss painter Charles Gleyre (1806-1874). He studied with Gleyre until 1864 and befriended Fr\u00e9d\u00e9ric Bazille (1841-1870), Renoir (q.v.), and Sisley (q.v.), with whom he painted in the forest of Fontainebleau (D\u00e9jeuner sur l'herbe, 1865, two fragments in Mus\u00e9e d'Orsay, Paris). Monet first exhibited at the Salon of 1865 and would do so again in 1866, 1868, and 1880. In 1868 he shared a studio with Bazille and Renoir but was soon forced to leave Paris to escape his creditors. He took his mistress, Camille Doncieux, and their son, Jean, to F\u00e9camp, then \u00c9tretat, and finally Saint-Michel. There Renoir provided hospitality, and the two also painted at the boating and bathing center of La Grenouill\u00e8re on the Seine. In 1870 Monet married Camille and, to escape the Franco-Prussian War, left for London, where he remained for nine months and met Durand-Ruel, his first dealer. In the summer of 1871 he visited the Netherlands and then settled in Argenteuil, to the west of Paris. He converted a boat into a studio, as Daubigny (q.v.) had done before him, allowing him to explore different viewpoints for his landscapes. He assisted in the organization of the First Impressionist Exhibition in 1874, partly because Durand-Ruel's worsened business situation had prevented the dealer from buying his art. The following year he participated in the H\u00f4tel Drouot sale with Morisot (q.v.), Renoir, and Sisley. In 1878 Monet and his wife moved to V\u00e9theuil with the Hosched\u00e9s, who had previously commissioned some works. Camille died the following year, and, while Ernest Hosched\u00e9 spent most of his time in Paris trying to settle his precarious financial situation, Monet stayed behind with Ernest's wife, Alice. In 1881 he moved with her and her children to Poissy and within two years was living at Giverny, where he would remain for the rest of his life. He painted some of his famous scenes-the haystack and poplar series, for example- in 1890-91. Ernest Hosched\u00e9 died in 1891, and Monet married Alice the following year. At Giverny, Monet explored the themes of his garden and water lilies. He continued to travel, going to Norway in 1895, making three trips to London from 1899 through 1901, and taking Alice to Venice in 1908. The final years of his life were mainly spent working on his Great Decorations, large paintings of a water lily pond designed for two oval rooms at the Paris Orangerie. Monet is generally considered the most typical exponent of impressionism.", "name_in_original_language": null, "birth_year": "1840", "death_year": "1926", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1958-11-29T00:00:00", "sortable_date": 1868, "date_added_to_oa": null, "date_text": "c. 1868\u201373", "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": ["La Capeline Rouge-Madame Monet"], "is_highlight": true, "updated_at": "2026-10-20 11:25:18.817000"}, {"id": 92937, "accession_number": "1922.1133", "share_license_status": "CC0", "tombstone": "Stag at Sharkey's, 1909. George Bellows (American, 1882\u20131925). Oil on canvas; framed: 110 x 140.5 x 8.5 cm (43 5/16 x 55 5/16 x 3 3/8 in.); unframed: 92 x 122.6 cm (36 1/4 x 48 1/4 in.). The Cleveland Museum of Art, Hinman B. Hurlbut Collection, 1922.1133", "current_location": "208 American Gilded Age and Realism", "title": "Stag at Sharkey's", "creation_date": "1909", "creation_date_earliest": 1909, "creation_date_latest": 1909, "artists_tags": ["male"], "culture": ["United States"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 110 x 140.5 x 8.5 cm (43 5/16 x 55 5/16 x 3 3/8 in.); Unframed: 92 x 122.6 cm (36 1/4 x 48 1/4 in.)", "dimensions": {"framed": {"height": 1.1, "height_inch": 43, "height_inch_fraction": 0.3125, "width": 1.405, "width_inch": 55, "width_inch_fraction": 0.3125, "depth": 0.085, "depth_inch": 3, "depth_inch_fraction": 0.375}, "unframed": {"height": 0.92, "height_inch": 36, "height_inch_fraction": 0.25, "width": 1.226, "width_inch": 48, "width_inch_fraction": 0.25}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed upper left:  Geo Bellows, / Copyrighted 190[9]; inscribed on back:  Geo Bellows / 146 E. 19th St. N.Y. / \"Club Night\" / 67.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 616736, "title": "Second Exhibition of Contemporary American Painting", "description": "<i>Second Exhibition of Contemporary American Painting</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 8-July 10, 1922).", "opening_date": "1922-06-08T00:00:00"}, {"id": 315560, "title": "Memorial Exhibition of the Work of George Bellows", "description": "<i>Memorial Exhibition of the Work of George Bellows</i>. The Metropolitan Museum of Art (organizer) (co-organizer) (October 12-November 22, 1925).", "opening_date": "1925-10-12T05:00:00"}, {"id": 354980, "title": "The George Wesley Bellows Memorial Exhibition", "description": "<i>The George Wesley Bellows Memorial Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 16-March 22, 1926).", "opening_date": "1926-02-16T05:00:00"}, {"id": 315582, "title": "The George Bellows Exhibition", "description": "<i>The George Bellows Exhibition</i>. Columbus Museum of Art, Columbus, OH (organizer) (co-organizer) (January 22-March 1, 1931).", "opening_date": "1931-01-22T05:00:00"}, {"id": 315601, "title": "Olympic Competition and Exhibition of Art", "description": "<i>Olympic Competition and Exhibition of Art</i>. Natural History Museum of Los Angeles, Los Angeles, CA (organizer) (co-organizer) (July 30, 1932-August 31, 1931).", "opening_date": "1932-07-30T04:00:00"}, {"id": 315604, "title": "American Painting & Sculpture 1862-1932", "description": "<i>American Painting & Sculpture 1862-1932</i>. Museum of Modern Art, NY (organizer) (co-organizer) (October 31, 1932-January 31, 1933).", "opening_date": "1932-10-31T05:00:00"}, {"id": 315608, "title": "Century of Progress: Exhibition of Paintings and Sculpture", "description": "<i>Century of Progress: Exhibition of Paintings and Sculpture</i>. Art Institute of Chicago (organizer) (co-organizer) (June 1-November 1, 1933).", "opening_date": "1933-06-01T04:00:00"}, {"id": 315619, "title": "A Loan Exhibition of American Paintings Since 1900", "description": "<i>A Loan Exhibition of American Paintings Since 1900</i>. William Rockhill Nelson Gallery (co-organizer) (December 10, 1933-January 31, 1934).", "opening_date": "1933-12-10T05:00:00"}, {"id": 312517, "title": "The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition", "description": "<i>The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 26-October 4, 1936).", "opening_date": "1936-06-26T04:00:00"}, {"id": 312462, "title": "Exhibition of American Painting from 1860 Until Today", "description": "<i>Exhibition of American Painting from 1860 Until Today</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-October 4, 1937).", "opening_date": "1937-06-23T04:00:00"}, {"id": 315639, "title": "Trois Si\u00e8cles d'art aux Etats-Unis", "description": "<i>Trois Si\u00e8cles d'art aux Etats-Unis</i>. Galerie national du Jeu de Paume, Paris, France (organizer) (co-organizer) (May 24-July 31, 1938).", "opening_date": "1938-05-24T04:00:00"}, {"id": 315643, "title": "Life in America: A Special Loan Exhibition of Paintings Held During the Period of the New York World's Fair", "description": "<i>Life in America: A Special Loan Exhibition of Paintings Held During the Period of the New York World's Fair</i>. The Metropolitan Museum of Art, New York, NY (organizer) (co-organizer) (April 24-October 29, 1939).", "opening_date": "1939-04-24T05:00:00"}, {"id": 315650, "title": "An Exhibition of Great Paintings in Aid of the Canadian Red Cross and of Small Pictures by Members of The Ontario Society of Artists", "description": "<i>An Exhibition of Great Paintings in Aid of the Canadian Red Cross and of Small Pictures by Members of The Ontario Society of Artists</i>. Art Gallery of Ontario, Ontario M5T 1G4, Canada (organizer) (co-organizer) (November 15-December 15, 1940).", "opening_date": "1940-11-15T05:00:00"}, {"id": 312341, "title": "The Silver Jubilee Exhibition", "description": "<i>The Silver Jubilee Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-September 28, 1941).", "opening_date": "1941-06-23T04:00:00"}, {"id": 315655, "title": "Sport in American Art", "description": "<i>Sport in American Art</i>. Museum of Fine Arts, Boston, Boston, MA (organizer) (co-organizer) (October 10-December 10, 1944).", "opening_date": "1944-10-10T04:00:00"}, {"id": 315676, "title": "George Bellows: Paintings, Drawings, and Prints", "description": "<i>George Bellows: Paintings, Drawings, and Prints</i>. The Art Institute of Chicago, Chicago, IL (organizer) (co-organizer) (January 31-March 10, 1946).", "opening_date": "1946-01-31T05:00:00"}, {"id": 315679, "title": "American Paintings: From the Eighteenth Century to the Present Day", "description": "<i>American Paintings: From the Eighteenth Century to the Present Day</i>. Tate Modern, London, United Kingdom of Great Britain and Northern Ireland (organizer) (co-organizer) (June 1-July 31, 1946).", "opening_date": "1946-06-01T04:00:00"}, {"id": 315684, "title": "Sport in Art", "description": "<i>Sport in Art</i>. Buffalo AKG Art Museum, Buffalo, NY (organizer) (co-organizer) (January 24-February 22, 1948).", "opening_date": "1948-01-24T05:00:00"}, {"id": 315689, "title": "The Ring and the Glove", "description": "<i>The Ring and the Glove</i>. Addison Gallery of American Art, Andover, MA (co-organizer) (September 17-November 14, 1948).", "opening_date": "1948-09-17T04:00:00"}, {"id": 315693, "title": "Milestones of American Painting in Our Century", "description": "<i>Milestones of American Painting in Our Century</i>. Montr\u00e9al Museum of Fine Arts, Montreal, Quebec, Canada (March 15-April 15, 1948); Colorado Springs Fine Arts Center, CO (May 5-June 25, 1948); The Institute of Contemporary Art, Boston, Boston, MA (organizer) (co-organizer) (January 20-March 1, 1949); Fine Arts Museums of San Francisco, de Young Museum, San Francisco, CA (July 10-August 25, 1949); Los Angeles County Museum of Art, Los Angeles, CA (September 7-October 16, 1949); The Cleveland Museum of Art, Cleveland, OH (November 3-December 18, 1949).", "opening_date": "1949-01-20T05:00:00"}, {"id": 315703, "title": "Aspects of New York City Life", "description": "<i>Aspects of New York City Life</i>. The Century Association (organizer) (co-organizer) (March 1-April 30, 1950).", "opening_date": "1950-03-01T05:00:00"}, {"id": 311898, "title": "35th Anniversary Exhibition", "description": "<i>35th Anniversary Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 20-September 30, 1951).", "opening_date": "1951-06-20T04:00:00"}, {"id": 315706, "title": "Exhibition of Sporting Art", "description": "<i>Exhibition of Sporting Art</i>. The Century Association (organizer) (co-organizer) (January 13-March 28, 1954).", "opening_date": "1954-01-13T05:00:00"}, {"id": 300857, "title": "Art: The International Language", "description": "<i>Art: The International Language</i>. The Cleveland Museum of Art (October 2-November 4, 1956).", "opening_date": "1956-10-02T04:00:00"}, {"id": 315754, "title": "George Bellows: A Retrospective Exhibition", "description": "<i>George Bellows: A Retrospective Exhibition</i>. National Gallery of Art (organizer) (co-organizer) (January 19-February 24, 1957).", "opening_date": "1957-01-19T05:00:00"}, {"id": 315758, "title": "Paintings by George Bellows", "description": "<i>Paintings by George Bellows</i>. Columbus Museum of Art, Columbus, OH (organizer) (co-organizer) (March 21-April 21, 1957).", "opening_date": "1957-03-21T05:00:00"}, {"id": 315762, "title": "Four Centuries of American Art", "description": "<i>Four Centuries of American Art</i>. Minneapolis Institute of Arts, MN (organizer) (co-organizer) (November 27, 1963-January 19, 1964).", "opening_date": "1963-11-27T05:00:00"}, {"id": 315769, "title": "200 Years of American Painting", "description": "<i>200 Years of American Painting</i>. Saint Louis Art Museum, St. Louis, MO (organizer) (co-organizer) (April 1-May 31, 1964).", "opening_date": "1964-04-01T05:00:00"}, {"id": 315773, "title": "Triumph of Realism: An Exhibition of European and American Realist Paintings 1850-1910", "description": "<i>Triumph of Realism: An Exhibition of European and American Realist Paintings 1850-1910</i>. The Brooklyn Museum, Brooklyn, NY (organizer) (co-organizer) (October 3-November 19, 1967).", "opening_date": "1967-10-03T04:00:00"}, {"id": 315797, "title": "The Painters' America: Rural and Urban Life, 1810-1910", "description": "<i>The Painters' America: Rural and Urban Life, 1810-1910</i>. Whitney Museum of American Art, New York, NY (organizer) (co-organizer) (September 18-November 10, 1974); Museum of Fine Arts, Houston, Houston, TX (December 5, 1974-January 19, 1975); Oakland Museum of California, Oakland, CA (February 10-March 30, 1975).", "opening_date": "1974-09-18T04:00:00"}, {"id": 302330, "title": "Heritage and Horizon: American Painting 1776 - 1976", "description": "<i>Heritage and Horizon: American Painting 1776 - 1976</i>. Buffalo AKG Art Museum, Buffalo, NY (organizer) (March 7-April 11, 1976); The Detroit Institute of Arts, Detroit, MI (May 2-June 13, 1976); The Toledo Museum of Art, Toledo, OH (July 4-August 15, 1976); The Cleveland Museum of Art, Cleveland, OH (September 8-October 10, 1976).", "opening_date": "1976-03-07T05:00:00"}, {"id": 315829, "title": "George Wesley Bellows: Paintings, Drawings, and Prints", "description": "<i>George Wesley Bellows: Paintings, Drawings, and Prints</i>. Columbus Museum of Art, Columbus, OH (organizer) (co-organizer) (April 1-May 8, 1979); Virginia Museum of Fine Arts, Richmond, VA (June 29-August 5, 1979); Des Moines Art Center, Des Moines, IA (September 17-October 28, 1979); Worcester Art Museum, Worcester, MA (November 16-December 28, 1979).", "opening_date": "1979-04-01T05:00:00"}, {"id": 315863, "title": "Bellows: The Boxing Pictures", "description": "<i>Bellows: The Boxing Pictures</i>. National Gallery of Art (organizer) (co-organizer) (September 5, 1982-January 2, 1983).", "opening_date": "1982-09-05T04:00:00"}, {"id": 316624, "title": "The Paintings of George Bellows", "description": "<i>The Paintings of George Bellows</i>. Whitney Museum of American Art, New York, NY (February 16-May 10, 1992); Columbus Museum of Art, Columbus, OH (October 11, 1992-January 3, 1993); Amon Carter Museum, Fort Worth, TX (February 20-May 9, 1993).", "opening_date": "1992-02-16T05:00:00"}, {"id": 316631, "title": "Metropolitan Lives: The Ashcan Artists and Their New York, 1897-1917", "description": "<i>Metropolitan Lives: The Ashcan Artists and Their New York, 1897-1917</i>. National Museum of American Art, Washington, DC (co-organizer) (November 17, 1995-March 17, 1996).", "opening_date": "1995-11-17T05:00:00"}, {"id": 218347, "title": "The American Century: Art and Culture 1900-2000 (Part 1: 1900-1950)", "description": "<i>The American Century: Art and Culture 1900-2000 (Part 1: 1900-1950)</i>. Whitney Museum of American Art, New York, NY (organizer) (April 22-September 5, 1999).", "opening_date": "1999-04-22T00:00:00"}, {"id": 179631, "title": "CMA Highlights", "description": "<i>CMA Highlights</i>. The Cleveland Museum of Art (organizer) (June 21-September 11, 2005).", "opening_date": "2005-06-21T00:00:00"}, {"id": 177291, "title": "George Bellows (1882-1925)", "description": "<i>George Bellows (1882-1925)</i>. National Gallery of Art, Landover, MD (organizer) (June 10-October 8, 2012); The Metropolitan Museum of Art, New York, NY (November 13, 2012-February 18, 2013); Royal Academy of Arts, London, United Kingdom of Great Britain and Northern Ireland (March 16-June 9, 2013).", "opening_date": "2012-06-10T00:00:00"}, {"id": 222001, "title": "George Bellows and the American Experience", "description": "<i>George Bellows and the American Experience</i>. Columbus Museum of Art, Columbus, OH (organizer) (August 23, 2013-January 4, 2014).", "opening_date": "2013-08-23T00:00:00"}, {"id": 200468, "title": "Stag at Sharkey\u2019s: George Bellows and the Art of Sports", "description": "<i>Stag at Sharkey\u2019s: George Bellows and the Art of Sports</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 14-September 18, 2016).", "opening_date": "2016-05-14T00:00:00"}], "legacy": [{"description": "Columbus, The Columbus Gallery of Fine Arts, The George Bellows Exhibition (22 January-1 March 1931), see Bulletin of The Columbus Gallery of Fine Arts (January, 1931), vol. 1, no. 1, cat. no. 269, illus. p. I, 15.", "opening_date": "1931-01-22T00:00:00"}, {"description": "Chicago, The Art Institute of Chicago, Century of Progress: Exhibition of Paintings and Sculpture (1 June-1 November 1933), illus. cat. no. 434, listed p. 60.", "opening_date": "1933-06-01T00:00:00"}, {"description": "Cleveland, The Cleveland Museum of Art, The Twentieth Anniversary Exhibition of The Cleveland Museum of Art; The Official Art Exhibit of The Great Lakes Exposition (26 June-4 October 1936)", "opening_date": "1936-06-26T00:00:00"}, {"description": "New York, Whitney Museum of American Art, New York Realists, 1900-1914 (9 February-5 March 1937), cat. no. 8, illus., listed p. 12.", "opening_date": "1937-02-09T00:00:00"}, {"description": "Philadelphia, The Philadelphia Museum, Art in the United States: Painting, Sculpture, Prints, Crafts (20 June-13 September 1942), illus.", "opening_date": "1942-06-20T00:00:00"}, {"description": "Buffalo, The Buffalo Fine Arts Academy, Albright Art Gallery, Sport in Art (24 January-22 February 1948), no. 5.", "opening_date": "1948-01-24T00:00:00"}, {"description": "Andover, MA, Addison Gallery of American Art, Phillips Academy, The Ring and the Glove (17 September-14 November 1948), see Bellows: The Boxing Pictures p. 76: the exhibition originated at the Museum of the City of New York, Stag was only shown at Addison and did not appear in the catalogue.", "opening_date": "1948-09-17T00:00:00"}, {"description": "Boston, Institute of Contemporary Art, Milestones of American Painting in Our Century (20 January-1 March 1949); traveled to: Montreal, Art Association of Montreal (15 March-15 April 1949); Colorado Springs, Colorado Springs Fine Arts Center (5 May-25 June 1949); San Francisco, M. H. de Young Museum (10 July-25 August 1949); Los Angeles, Los Angeles County Museum (7 September-16 October 1949); Cleveland, The Cleveland Museum of Art (3 November-18 December 1949); cat. no. 3, listed p. 29, pp. 38-39, illus. p. 39.", "opening_date": "1949-01-20T00:00:00"}, {"description": "Boston, The Institute of Contemporary Art; traveled to: Louisville, J. B. Speed Memorial Gallery; San Francisco, M. H. de Young Musuem; Buffalo, Albright Gallery; Montreal, Art Association of Montreal; Cleveland, The Cleveland Museum of Art; notes that the exhibition toured from 1 January-31 December, but does not give specific dates.", "opening_date": null}, {"description": "New York, The Century Association, Aspects of New York City Life (1 March-30 April 1950), listed in catalogue.", "opening_date": "1950-03-01T00:00:00"}, {"description": "New York, The Century Association, Exhibition of Sporting Art (13 January-28 March 1954), listed in catalogue.", "opening_date": "1954-01-13T00:00:00"}, {"description": "Columbus, The Columbus Gallery of Fine Arts, Paintings by George Bellows (21 March-21 April 1957), cat. no. 11, illus. front cover.", "opening_date": "1957-03-21T00:00:00"}, {"description": "Brooklyn, The Brooklyn Museum, Triumph of Realism: An Exhibition of European and American Realist Paintings 1850-1910 (3 October-19 November 1967), see Bellows: The Boxing Pictures p. 76: not in catalogue and did not go on tour.", "opening_date": "1967-10-03T00:00:00"}, {"description": "New York, Whitney Museum of American Art, The Painters' America: Rural and Urban Life, 1810-1910 (20 September-10 November 1974); traveled to: Houston, The Museum of Fine Arts (5 December 1974-19 January 1975); Oakland, The Oakland Museum (10 February-30 March 1975), cat. no. 6, illus. p. 132, fig. 154.", "opening_date": "1974-09-20T00:00:00"}, {"description": "Buffalo, Albright-Knox Art Gallery, Heritage and Horizon: American Painting 1776-1976 (6 March-11 April 1976); traveled to: Detroit, The Detroit Institute of Arts (5 May-13 June 1976); Toledo, The Toledo Museum of Art (4 July-15 August 1976); Cleveland, The Cleveland Museum of Art (8 September-10 October 1976); cat. no. 38, illus.", "opening_date": "1976-03-06T00:00:00"}, {"description": "Washington, D.C., National Gallery of Art, Bellows: The Boxing Pictures (5 September-2 January 1983), illus. cat. no. 2, plate 4, also included E. A. Carmean, Jr.'s essay \"Bellows: The Boxing Paintings,\" pp. 27-47, illus. in article p. 32, fig. 28; listed p. 74 with small illus.", "opening_date": "1983-09-05T00:00:00"}, {"description": "Los Angeles, Los Angeles County Museum of Art, The Paintings of George Bellows (16 February-10 May 1992); traveled to: New York, Whitney Museum of American Art (5 June-30 August 1992); Columbus, Columbus Museum of Art (11 October 1992-3 January 1993); Fort Worth, Amon Carter Museum (20 February-9 May 1993); illus. figs. 16, 17 in Michael Quick's essay \"Technique and Theory: The Evolution of George Bellows' Painting Style,\" and fig. 9 in Marianne Doezema's \"The 'Real' New York;\" cat. not numbered.", "opening_date": "1992-02-16T00:00:00"}, {"description": "Washington, D. C., National Museum of American Art, Metropolitan Lives: The Ashcan Artists and Their New York, 1897-1917 (17 November 1995-17 March 1996), illus. fig. 179, p. 164, also included pp. 46-48, 81-88, 156-158, 163-171, 208-210, 215-217, 220, 223. (Not in CMA library: OCLC 921076645)", "opening_date": "1995-11-17T00:00:00"}, {"description": "New York, Whitney Museum of American Art, The American Century: Art &amp; Culture 1900-1950 (23 April-22 August 1999)", "opening_date": "1999-04-23T00:00:00"}, {"description": "The Cleveland Museum of Art (06/21/2005 - 09/11/2005); \"CMA Highlights\"", "opening_date": "2005-06-21T00:00:00"}, {"description": "National Gallery of Art, Washington, DC (6/10/2012 - 10/8/2012),Metropolitan Museum of Art, NY (11/13/2012 - 2/18/2013), and the Royal Academy of Arts, London, UK (3/16/2013): \"George Bellows (1882-1925)\", ex. cat. no. 17, p, 82, detail on cover and inside cover. (Not in CMA library: OCLC 801141298)", "opening_date": "2012-06-10T00:00:00"}, {"description": "Philadelphia, The Pennsylvania Academy of the Fine Arts, The One Hundred and Fifth Annual Exhibition of The Pennsylvania Academy of the Fine Arts (23 January-20 March 1910), cat. no. 323, listed p. 37 as Club Night.", "opening_date": "1910-01-23T00:00:00"}, {"description": "New York, Galleries 29-31 West Thirty-Fifth St., Exhibition of Independent Artists (1-27 April 1910), cat. no 20 as Club Night.", "opening_date": "1910-04-01T00:00:00"}, {"description": "New York, Madison Gallery, (early 1911), see Bellows: The Boxing Pictures p. 75.", "opening_date": "1911-01-01T00:00:00"}, {"description": "Syracuse, Syracuse Museum of Fine Arts, Summer Exhibition of Paintings by American Artists (10 May-1 October 1911), no. 1 as Club Night; see Bulletin of Syracuse Museum of Fine Arts (October, 1911.", "opening_date": "1911-05-10T00:00:00"}, {"description": "Chicago, Marshall Filed (1911), see Bellows: The Boxing Pictures p. 75.", "opening_date": "1911-01-01T00:00:00"}, {"description": "Curtis Studios (1911), see Bellows: The Boxing Pictures p. 75.", "opening_date": "1911-01-01T00:00:00"}, {"description": "Cedar Rapids, IA, The Cedar Rapids Art Association, Art Gallery, Public Library, Iowa, Fifth Annual Art Exhibition (5-14 February 1913), no. 2.", "opening_date": "1913-02-05T00:00:00"}, {"description": "Rochester, NY, Rochester Industrial Exposition (7-19 September 1914), no. 6 as Club Night; see Bellows: The Boxing Pictures p. 75.", "opening_date": "1914-09-07T00:00:00"}, {"description": "Chicago, The Art Institute of Chicago, Paintings by George Bellows (10 December 1914-3 January 1915), no. 16 as Club Night; see Bulletin of The Art Institute of Chicago (1 January 1915), vol. IX, no. 1, p. 2-4, 8.", "opening_date": "1914-12-10T00:00:00"}, {"description": "Detroit, Detroit Museum of Art, Exhibition of Paintings by George Bellows (6-29 January 1915), no. 16 as Club Night; see Bulletin of The Detroit Museum of Art (January, 1915), vol. IX, no. 1, pp. 2, 4.", "opening_date": "1915-01-06T00:00:00"}, {"description": "Los Angeles, Los Angeles Museum of History, Science, and Art, Paintings by George Bellows (7-28 February 1915), no. 16 as Club Night.", "opening_date": "1915-02-07T00:00:00"}, {"description": "Minneapolis, The Minneapolis Institute of Art, Paintings by Lester D. Boronda; Paintings by George Bellows (4-31 May 1915), no. 37 as Club Night; see Bulletin of The Minneapolis Institute of Arts (May, 1915), vol. IV, no. 5, p. 46.", "opening_date": "1915-05-04T00:00:00"}, {"description": "Muskegon, MI, Hackley Art Gallery, Exhibition of Oil Paintings by George Bellows (9 June-August 1915), as Club Night.", "opening_date": "1915-06-01T00:00:00"}, {"description": "Worcester, MA, Worcester Art Museum, Exhibition of Paintings by George Bellows, New York City (5-26 September 1915), no. 13 as Club Night.", "opening_date": "1915-09-05T00:00:00"}, {"description": "Cincinnati, Cincinnati Art Museum, Special Exhibition of Paintings by Mr. George Bellows (October, 1915), no. 4 as Club Night.", "opening_date": "1915-10-01T00:00:00"}, {"description": "New York, Sponsored by The Junior Art Patrons of America, Fine Arts Building, First Retrospective Exhibition of American Art (7-21 May 1921), cat. no. 10, listed p. 13, not illus.", "opening_date": "1921-05-07T00:00:00"}]}, "provenance": [{"description": "(Marie Sterner, New York, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": ["<div><!--block-->Marie Sterner, owner of the Marie Sterner Gallery in New York, was Bellows' dealer.</div>"], "date": "By 1922", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1922-", "sortorder": 2}], "find_spot": null, "related_works": [{"id": 103801, "description": "A Stag at Sharkey's, 1916. George Bellows (American, 1882\u20131925). Lithograph; image: 26.7 x 20 cm (10 1/2 x 7 7/8 in.). The Cleveland Museum of Art, Gift of Charles T. Brooks, 1921.909", "relationship": null}], "former_accession_numbers": ["1059.1922", "1133.1922"], "did_you_know": "George Bellows was raised in Columbus, Ohio, and attended Ohio State University where he played baseball and basketball.", "early_education_description": null, "artlens_description": null, "description": "Bellows was no stranger to Sharkey\u2019s Athletic Club, a raucous saloon with a backroom boxing ring, located near his studio. Founded by Tom \u201cSailor\u201d Sharkey, an ex-fighter who had also served in the US Navy, the club attracted men seeking to watch or participate in matches. Because public boxing was illegal in New York at the time, a private event had to be arranged in order for a bout to take place. Participation was usually limited to members of a particular club, but whenever an outsider competed, he was given temporary membership and known as a \u201cstag.\u201d Although boxing had its share of detractors who considered it uncouth at best or barbaric at worst, its proponents\u2014among them President Theodore Roosevelt\u2014regarded it a healthy manifestation of manliness. Around the time Bellows painted <em>Stag at Sharkey\u2019s, </em>boxing was moving from a predominantly working-class enterprise to one with greater genteel appeal. For some contemporaries, boxing was a powerful analogy for the notion that only the strongest and fittest would flourish in modern society.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q3425144"], "internet_archive": ["https://archive.org/details/clevelandart-1922.1133-stag-at-sharkey-s"]}, "citations": [{"citation": "Rihn, Andrew. \"On Bellows and Rodin: Stag Fights, Explosions, and Spectatorship,\" <em>Cleveland Review of Books, </em>November 4, 2022.", "page_number": "https://www.clereviewofbooks.com/writing/on-bellows-and-rodin-stag-fights-explosions-and-spectatorship", "url": ""}, {"citation": "Saggese, Jordana Moore. Heavyweight : Black Boxers and the Fight for Representation. Durham: Duke University Press, 2024.", "page_number": "Mentioned, pp. 184-85, 197, 202, 214-16, 223; reproduced, p. 186.", "url": ""}, {"citation": "Schjeldahl, Peter, \"Young and Gifted,\" <em>New Yorker</em>, June 25, 2012.", "page_number": "Mentioned pp. 78-79; reproduced p. 78.", "url": ""}, {"citation": "Lopez, Jonathan, \"Packing a Punch,\" <em>Art and Antiques </em>(June 2012).", "page_number": "Mentioned pp. 24-25; reproduced p. 40.", "url": ""}, {"citation": "", "page_number": "", "url": ""}, {"citation": "Wolfe, M. Melissa, ed. <em>George Bellows Revisited : New Considerations of the Painter\u2019s Oeuvre</em>. (Newcastle upon Tyne: Cambridge Scholars Publishing, 2016).", "page_number": "Mentioned pp. 9-10, 103; reproduced p. 7.", "url": ""}, {"citation": "Davidson, Susan, ed. <em>Art in America : 300 Years of Innovation</em>. (London: Merrell, 2007).", "page_number": "Mentioned p. 30; reproduced p. 32.", "url": ""}, {"citation": "Wallraf-Richartz-Gesellschaft in K\u00f6ln, and Wallraf-Richartz-Museum--Fondation Corboud. <em>Es War Einmal in Amerika : 300 Jahre US-Amerikanische Kunst.</em> Edited by Barbara Schaefer and Anita Hachmann. K\u00f6ln: Wienand Verlag : Wallraf-Richartz-Museum &amp; Fondation Corboud, 2018.", "page_number": "Mentioned, p. 168-69; reproduced, p. 168.", "url": ""}, {"citation": "Raspe, Becky, \"Curator Corner,\" <em>Canvas</em> (Fall 2018).", "page_number": "Mentioned and reproduced, p. 46.", "url": ""}, {"citation": "Kelly, Grace V., \"Ohio-Born Artists Hold Front Rank in Museum's U.S. Painting Exhibition,\" <em>Plain Dealer, </em>Women's Magazine and Amusement Section.", "page_number": "Mentioned, p. 14-C.", "url": ""}, {"citation": "Wallach, Alan. <em>Trouble in Paradise : Twenty-Four Essays on the Social History of American Art</em>. Leiden: Brill, 2025.", "page_number": "Mentioned p. 325; reproduced p. 327.", "url": ""}, {"citation": "Milliken, William M. \"The Second Exhibition of Contemporary American Painting.\" <em>The Bulletin of the Cleveland Museum of Art.</em> 9:6 (June, 1922). 95-102.", "page_number": "Mentioned: p. 95-96; Reproduced: p. 106", "url": "https://www.jstor.org/stable/25136578"}, {"citation": "Glasier, Jessie C. \"Museum Gets Prize-Winning Canvases: Bellows Subject, Kent Landscape Are Acquisitions.\" <em>The Plain Dealer </em>(Cleveland, OH), June 18, 1922.", "page_number": "Reproduced: p. 3", "url": null}, {"citation": "\"Cleveland Museum Acquires Typical Pictures by Bellows and Kent.\" <em>American Art News.</em> 20:37 (24 June 1922). pp. 1-10.", "page_number": "Reproduced: p. 6", "url": null}, {"citation": "Milliken, William M. \"Two Examples of Modern Painting: The Maine Coast, by Rockwell Kent.\" <em>The Bulletin of the Cleveland Museum of Art.</em> 9:10 (December, 1922). pp. 171-175.", "page_number": "Reproduced: front cover", "url": null}, {"citation": "<em>Memorial Exhibition of the Work of George Bellows. </em>New York, NY: Metropolitan Museum of Art, 1925.", "page_number": "Mentioned: p. 18, 24; Reproduced: p. 48", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 1925.", "page_number": "Reproduced: p. 36", "url": "https://archive.org/details/CMAHandbook_80839/page/n38"}, {"citation": "Cortissoz, Royal. \"Paintings and Prints by George Bellows: The Memorial Exhibition at the Metropolitan.\" <em>New York Herald Tribune</em> (New York, NY), October 11, 1925.", "page_number": null, "url": null}, {"citation": "T. S. \u201cBellows\u2019 Lithographs.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 13, no. 2 (February 1926): 32\u201333, 37.", "page_number": "Mentioned: p. 32-33; Reproduced: p. 37", "url": "http://www.jstor.org/stable/25136902"}, {"citation": "Isham, Samuel, and Royal Cortissoz. <em>The History of American Painting</em>. New York, NY: Macmillan Company, 1927.", "page_number": "Mentioned: p. 576-579; Reproduced: p. 568", "url": null}, {"citation": "Mather, Frank Jewett, Charles Rufus Morey, and W. J. Henderson. <em>The Pageant of America: The American Spirit in Art</em>. New Haven, CT: Yale University Press, 1927.", "page_number": "Mentioned: p. 138-139, 153-154; Reproduced: p. 153, fig. 249", "url": null}, {"citation": "\"Un Artiste Americain.\" <em>L'illustration.</em> 85 (September, 1927). pp. 308-31.", "page_number": "Reproduced: p. 310", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 1928.", "page_number": "Reproduced: p. 44", "url": "https://archive.org/details/CMAHandbook1928/page/n48"}, {"citation": "Bellows, Emma S. <em>The Paintings of George Bellows</em>. New York, NY: A.A. Knopf, 1929.", "page_number": "Mentioned: p. VIII-XI; Reproduced: fig. 20", "url": null}, {"citation": "Kelly, Grace V. \"'Stag at Sharkey's.\" <em>The Plain Dealer </em>(Cleveland, OH), May 9, 1929.", "page_number": "Mentioned: p. 24", "url": null}, {"citation": "Eggers, George W. <em>George Bellows</em>. New York: Whitney Museum of American Art, 1931.", "page_number": "Mentioned: p. 7-18; Reproduced: p. 42-43", "url": null}, {"citation": "Neuhaus, Eugen. <em>The History &amp; Ideals of American Art</em>. Stanford University, CA: Stanford University Press; London: Oxford University Press, 1931.", "page_number": "Reproduced: p. 339-340", "url": null}, {"citation": "Clark, Edna Maria. <em>Ohio Art and Artists</em>. Richmond, VA: Garrett &amp; Massie, 1932.", "page_number": "p. 205-210", "url": null}, {"citation": "<em>American Painting &amp; Sculpture, 1862-1932</em>. New York, NY: Museum of Modern Art, 1932.", "page_number": "Mentioned: p. 25", "url": null}, {"citation": "<em>Olympic Competition and Exhibition of Art: Catalogue of the Exhibition at the Los Angeles Museum of History, Science and Art</em>: Los Angeles, CA: Neuner Printing &amp; Lithograph Co., 1932.", "page_number": "Mentioned: p. 50; Reproduced: illus. section", "url": null}, {"citation": "Mechlin, Leila. \"The Olympic Art Exhibition.\" <em>The American Magazine of Art.</em> 25:3 (September, 1932). p. 136-150.", "page_number": "Mentioned: p. 148", "url": null}, {"citation": "\"Art's Progress in America for 100 Years Shown at World's Fair.\" <em>The Art Diges</em>t. 8:16 (15 May 1933). p. 28-29.", "page_number": "Mentioned: p. 28-29; Reproduced: 29", "url": null}, {"citation": "Frankfurter, Alfred M. \"Art in the Century of Progress.\" <em>The Fine Arts.</em> 20:2 (June, 1933). p. 7-8, 59-61.", "page_number": "Mentioned: p. 7-8, 59-61; Reproduced: p. 44", "url": null}, {"citation": "\"A Stag at Sharkey's.\" <em>Chicago Tribune</em> (Chicago, IL), October 22, 1933.", "page_number": "Reproduced:", "url": null}, {"citation": "\"The Picture of the Week.\" <em>The Plain Dealer </em>(Cleveland, OH), November 12 1933.", "page_number": "Reproduced", "url": null}, {"citation": "Pollak, Frances M., and Greta A. Cornell. \"George Wesley Bellows-Painter and Graver.\" <em>The Index of Twentieth Century Artists</em>. 1:6 (March, 1934). p. 92-93.", "page_number": "Mentioned: p. 92-93", "url": null}, {"citation": "Gardner, Helen. <em>Art Through the Ages: An Introduction to Its History &amp; Significance</em>. New York: Harcourt, Brace and Company, 1936.", "page_number": "Mentioned: p. 687", "url": null}, {"citation": "Burroughs, Alan. <em>Limners and Likenesses; Three Centuries of American Painting</em>. Cambridge, MA: Harvard University Press, 1936.", "page_number": "Mentioned: p. 206-211.", "url": null}, {"citation": "<em>Catalogue of the Twentieth Anniversary Exhibition of the Cleveland Museum of Art: The Official Art Exhibit of the Great Lakes Exposition.</em> Cleveland, Ohio: Artcraft Printing Company, 1936.", "page_number": "Mentioned: p. 129-130", "url": null}, {"citation": "<em>Catalogue of an Exhibition of American Painting from 1860 Until Today at the Cleveland Museum of Art</em>. Cleveland, OH: Artcraft Printing Co., 1937.", "page_number": "Mentioned: p. 11-12, no. 5", "url": null}, {"citation": "<em>Trois sie\u0300cles d'art aux E\u0301tats-Unis: exposition organise\u0301e en collaboration avec le Museum of Modern Art, New-York</em>. Paris, France: E\u0301ditions des muse\u0301es nationaux, 1938.", "page_number": "Reproduced: illus. fig. 28", "url": null}, {"citation": "\"Bellows (1882-1925).\" <em>Life, </em>31 October 1938.", "page_number": "Reproduced", "url": null}, {"citation": "<em>Life in America: A Special Loan Exhibition of Paintings Held During the Period of the New York World's Fair, April 24 to October 29</em>. New York, NY: [Scribner Press], 1939.", "page_number": "Mentioned and Reproduced: p. 211", "url": null}, {"citation": "Francis, Henry. \"Loans to Important Exhibitions.\" <em>The Bulletin of the Cleveland Museum of Art </em>26, no. 7 (July 1939): 123", "page_number": "Mentioned: p. 123", "url": "https://www.jstor.org/stable/25138029"}, {"citation": "Stites, Raymond S. <em>The Arts and Man</em>. New York, NY: Whittlesey House; London: McGraw-Hill Book Company, Inc., 1940.", "page_number": "Mentioned: p. 804-806; Reproduced: p. 806", "url": null}, {"citation": "<em>An Exhibition of Great Paintings in Aid of the Canadian Red Cross and of Small Pictures by Members of the Ontario Society of Artists</em>. Toronto, Canada: The Art Gallery of Toronto, 1940.", "page_number": "Reproduced: p. 24", "url": null}, {"citation": "McB[ride], H[enry]. \"As to the Style in Art.\" <em>The Sun</em> (New York, NY), January 6, 1940.", "page_number": null, "url": null}, {"citation": "Francis, Henry Sayles. \"The Lithographs of George Wesley Bellows.\" <em>Print Collector's Quarterly. </em>27 (April, 1940). p. 138-165.", "page_number": null, "url": null}, {"citation": "Milliken, William M. \"Silver Jubilee Exhibition.\" <em>The Bulletin of the Cleveland Museum of Art</em> 28, no. 6 (1941): 88-111.", "page_number": "Mentioned: p. 89; Reproduced: p. 111", "url": "https://www.jstor.org/stable/25140932"}, {"citation": "\"Cleveland Offers the Evidence for the First 25 Years.\" <em>ARTnews.</em> 40:11 (September, 1941). p. 13-25.", "page_number": "Mentioned: p. 13, 25; Reproduced: p. 25", "url": null}, {"citation": "Boswell, Peyton. <em>George Bellows</em>. New York, NY: Crown Publishers, 1942.", "page_number": "Mentioned: p. 9-30; Reproduced: p. 37", "url": null}, {"citation": "Walker, John, and Macgill James. <em>Great American Paintings from Smibert to Bellows, 1729-1924</em>. London: Oxford University Press, 1943.", "page_number": "Mentioned: p. 1, 17-20; Reproduced: p. 21, fig. 101", "url": null}, {"citation": "Boswell, Peyton. \"Bellows' First Patron.\" <em>Art Digest.</em> 18 (15 January 1943).", "page_number": null, "url": null}, {"citation": "<em>Sport in American Art</em>. Boston, MA: Museum of Fine Arts, Boston, 1944.", "page_number": "Mentioned: p. 8", "url": null}, {"citation": "Edgell, George H. \"Pursuit of Pleasure in Paint: Boston Presents the First Exhibition of 'Sport in American Art.'\" <em>ARTnews.</em> 43:12 (1-14 October, 1944). p. 13-26.", "page_number": "Mentioned: p. 13-14, 26; Reproduced: p. 15", "url": null}, {"citation": "<em>Paintings in the Cleveland Museum of Art. </em>[Cleveland]: The Cleveland Museum of Art, 1945.", "page_number": "Reproduced: p. 15", "url": "https://archive.org/details/CMAPaintings1945/page/n23"}, {"citation": "Tunis, John R. \"Painter of the Prize Ring Drama: The National Gallery Honors George Bellows, Who Captured Not Only the Color, But Also the Cruelty of the Prize Ring.\" <em>The New York Times Magazine</em> (New York, NY), 7 January 1945.", "page_number": "Mentioned: p. 18; Reproduced: p. 19", "url": null}, {"citation": "Sweet, Frederick A. \"Bellows 23 Years after Dempsey-Firpo.\" <em>ARTnews.</em> 44:19 (January, 1946). p. 12-28.", "page_number": "Mentioned: p. 12-13, 27-28", "url": null}, {"citation": "<em>American Painting: From the Eighteenth Century to the Present Day</em>. London, England: The Tate Gallery, 1946.", "page_number": "Mentioned: p. 9", "url": null}, {"citation": "<em>George Bellows: Paintings, Drawings and Prints</em>. Chicago, IL: The Art Institute of Chicago, 1946.", "page_number": "Mentiond: p. 37", "url": null}, {"citation": "Bulliet, C. J. \"First Full View of George Bellows for Chicago.\"<em> Art Digest. </em>21 (1 February 1946).", "page_number": "Mentioned: p. 8", "url": null}, {"citation": "\"George W. Bellows: An American Master of Realistic Painting Comes Into His Own With Big Memorial Show.\" <em>Life,</em> March 25, 1946.", "page_number": "Mentioned: p. 75-83; 1917 lithograph Reproduced: p. 76-77", "url": null}, {"citation": "Rich, Daniel Catton. \"Bellows Revalued.\" <em>Magazine of Art. </em>39 (April, 1946): p. 145-147.", "page_number": "Mentioned: p. 145-147", "url": null}, {"citation": "\"American Art: From the XVIIIth Century to the Present Day: Pictures Now on Exhibition at the Tate Gallery.\" <em>The Illustrated London News,</em> June 22, 1946.", "page_number": "Mentioned: p. 688-689; Reproduced: p. 688", "url": null}, {"citation": "Sutton, Denys. \"La Peinture Am\u00e9ricaine \u00e0 la Tate Gallery.\" <em>Gazette des Beaux-Arts</em>, June 28, 1946.", "page_number": null, "url": null}, {"citation": "Winchester, Alice. \"American Painting in London: A Comment on The Tate Gallery Exhibition.\" <em>Antiques. </em>51:2 (February, 1947). p. 100-127.", "page_number": "Mentioned: p. 100-101, 108, 127", "url": null}, {"citation": "Dame, Lawrence.\"Regarding Art: The Stags on Ropes.\" <em>Boston Herald,</em> October 17, 1948.", "page_number": null, "url": null}, {"citation": "Gardner, Helen. <em>Art Through the Ages</em>. 3rd edition. New York: Harcourt, Brace and Co, 1949.", "page_number": "Mentioned: p. 395-396; Reproduced: p. 395", "url": null}, {"citation": "\"Revolt in Boston: Shootin' Resumes in the Art World.\" <em>Life,</em> February 21, 1949.", "page_number": "Reproduced: p. 85", "url": null}, {"citation": "<em>Catalogue de reproductions en couleurs de la peinture de 1860 a\u0300 1949</em>. Paris: UNESCO, 1949.", "page_number": "Mentioned: p. 44-45; Reproduced: p. 45", "url": null}, {"citation": "Rowland, Benjamin, Jr. \"American Painting Since 1900.\" <em>Phoenix</em>. 4 (April 1949). p. 85-111.", "page_number": "Reproduced: p. 91", "url": null}, {"citation": "Robb, David M. <em>The Harper History of Painting: The Occidental Tradition</em>. New York: Harper, 1951.", "page_number": "Mentioned: p. 892-896; Reproduced: p. 894, fig. 494", "url": null}, {"citation": "Bazin, Germain. <em>History of Modern Painting</em>. New York: Hyperion Press; distributed by Macmillan, 1951.", "page_number": "Mentioned: p. 285, 287; Reproduced: p. 290", "url": null}, {"citation": "\"Pittura Americana Moderna.\" <em>Sele arte</em>. Firenze: Studio italiano di storia dell'arte, 1952.", "page_number": "Mentioned: p. 13-16; Reproduced: p. 13", "url": null}, {"citation": "Brown, Milton W. <em>American Painting: From the Armory Show to the Depression.</em> Princeton, NJ: Princeton University Press, 1955.", "page_number": "Mentioned: p. 33-36, 167-172; Reproduced: p. 34", "url": null}, {"citation": "Morris, Charles W. <em>Varieties of Human Value</em>. Chicago, IL: University of Chicago Press, 1956.", "page_number": "Mentioned: p. 144-162; Reproduced: fig. 77", "url": null}, {"citation": "Craven, Thomas. <em>The Rainbow Book of Art</em>. Cleveland: World Pub. Co, 1956.", "page_number": "Mentioned: p. 236-237; Reproduced: p. 233", "url": null}, {"citation": "Schulberg, Budd. <em>The Harder They Fall</em>. 2nd edition. New York: Random House Publishing, 1956.", "page_number": "Reproduced: cover", "url": null}, {"citation": "Eliot, Alexander. <em>Three Hundred Years of American Painting</em>. New York: Time Inc, 1957.", "page_number": "Mentioned: p. 284, 289-293; Reproduced: p. 290", "url": null}, {"citation": "<em>George Bellows: A Retrospective Exhibition</em>. Washington, DC: National Gallery of Art, 1957.", "page_number": "Reproduced: p. 47", "url": null}, {"citation": "<em>Paintings by George Bellows at Columbus Gallery of Fine Arts. </em>Columbus, OH: The Columbus Gallery of Fine Arts, 1957.", "page_number": "Reproduced: cover", "url": null}, {"citation": "Huth, John F. \"An Artist at Ohio.\" <em>Pictorial Magazine</em>, <em>The Plain Dealer </em>(Cleveland, OH), January 20, 1957.", "page_number": "Reproduced: p. 18; Mentioned; pp. 18-19", "url": null}, {"citation": "The Cleveland Museum of Art. <em>The Cleveland Museum of Art Handbook.</em> Cleveland, OH: The Cleveland Museum of Art, 1958.", "page_number": "Mentioned and Reproduced: cat. no. 550", "url": "https://archive.org/details/CMAHandbook1958/page/n102"}, {"citation": "Milliken, William Mathewson. <em>The Cleveland Museum of Art Collections</em>. Cleveland, OH: Cleveland Museum of Art, 1960.", "page_number": "Mentioned: p. 40-42", "url": null}, {"citation": "Munro, Eleanor C. <em>The Golden Encyclopedia of Art: Painting, Sculpture, Architecture, and Ornament, from Prehistoric Times to the Twentieth Century</em>. New York: Golden Press, 1961.", "page_number": "Reproduced: p. 243", "url": null}, {"citation": "<em>The Fireside Book of Boxing. </em>Edited by Wilfred Charles Heinz. New York: Simon And Schuster, 1961.", "page_number": "Reproduced: front cover", "url": null}, {"citation": "Chase, Alice Elizabeth. <em>Famous Paintings: An Introduction to Art</em>. New York: Platt &amp; Munk, 1962.", "page_number": "Reproduced: p. 54-55", "url": null}, {"citation": "Selvig, Forrest, ed. <em>Four Centuries of American Art</em>. Minneapolis, MN: The Minneapolis Institute of Arts, 1963.", "page_number": "Reproduced: p. 23", "url": null}, {"citation": "Bazin, Germain. <em>Kindlers Malerei Lexikon: 1000 Malersignaturen, 1200 farbige Reproducktionen, 3000 schwarzweisse Reproduktionen in sechs Ba\u0308nden</em>. Zurich: Kindler Verlag, 1964.", "page_number": "Mentioned: p. 302-303; Reproduced: p. 302.", "url": null}, {"citation": "<em>200 Years of American Painting, April 1-May 31, 1964</em>. St. Louis, MO: City Art Museum of St. Louis, 1964.", "page_number": "Mentioned and Reproduced: p. 35", "url": null}, {"citation": "Seaver, Edwin. \"The Sand Cart, George Bellows (American School 1882-1925).\" <em>Book-of-the-Month-Club News</em>, 1965.", "page_number": null, "url": null}, {"citation": "Morgan, Charles H. <em>George Bellows, Painter of America</em>. New York: Reynal, 1965.", "page_number": "Mentioned: p. 9, 69, 98-102, 124-127, 197-199, 217-221, 254-255; Reproduced: pp. 320, 321", "url": null}, {"citation": "Laver, James. <em>The Age of Optimism: Manners and Morals 1848-1914</em>. London: Weidenfeld &amp; Nicolson, 1966.", "page_number": "Reproduced", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 190", "url": "https://archive.org/details/CMAHandbook1966/page/n214"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 190", "url": "https://archive.org/details/CMAHandbook1969/page/n214"}, {"citation": "Brown, Milton W. <em>American Painting: From the Armory Show to the Depression.</em> Princeton, NJ: The University Press, 1972.", "page_number": "Reproduced: P. 34", "url": ""}, {"citation": "\u201cA Check List. American Paintings and Water Colors of the Eighteenth, Nineteenth, and Early Twentieth Centuries in the Cleveland Museum of Art.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 60, no. 1 (January 1973): 21\u201335.", "page_number": "Mentioned and reproduced: p. 22, no. 15", "url": "http://www.jstor.org/stable/25152465"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 236", "url": "https://archive.org/details/CMAHandbook1978/page/n256"}, {"citation": "<em>George Wesley Bellows: Paintings, Drawings, and Prints</em>. Columbus, OH: Columbus Museum of Art, 1979.", "page_number": "Reproduced: p. 23", "url": null}, {"citation": "Kitaj, R. B., and Timothy Hyman. \"A Return to London\" IN <em>Kitaj Paintings, Drawings, Pastels.</em> John Ashebury, Joe Shannon, Jane Livingston, 41. New York, N.Y.: Thames and Hudson, 1983.", "page_number": "Mentioned: p. 41", "url": null}, {"citation": "Ohio Historical Society, and Ohio History Connection. Timeline: A Publication of the Ohio Historical Society. [Columbus, Ohio]: The Society, 1984.", "page_number": "20", "url": null}, {"citation": "Salwen, Peter. <em>Upper West Side Story: A History and Guide. </em>New York: Abbeville Press Publishers, 1989.", "page_number": "Referenced: p. 181-182, 202", "url": null}, {"citation": "Haskell, Barbara. <em>The American Century: Art &amp; Culture, 1900-1950</em>. New York, NY: Whitney Museum of American Art, 1999.", "page_number": "Mentioned and Reproduced: p. 92-93", "url": null}, {"citation": "Adams, Henry. <em>What's American about American art?: a gallery tour in the Cleveland Museum of Art. </em>Cleveland: Cleveland Museum of Art, 2008.", "page_number": "Reproduced: p. 46 - 47", "url": ""}, {"citation": "Vacha, John. \"Art Gets It's Due.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 51, no. 4 (July/August 2011): 7-9.", "page_number": "Mentioned and reproduced: p. 9", "url": "https://archive.org/details/CMAMM2011-04/page/6/mode/2up"}, {"citation": "Christie, Manson &amp; Woods International Inc. American Art. New York: Christie's, December 5, 2013 .", "page_number": null, "url": null}, {"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. 54", "url": ""}, {"citation": "Fagg, John. \"George Bellows.\" <em>Print Quarterly.</em> 31:1 (March 2014). 107-111.", "page_number": "Reproduced: p. 110, fig. 106.", "url": null}, {"citation": "Gillies, Max. \"Exploring Ohio's Art.\" <em>Fine Art Connoisseur. </em>11:5 (September/October 2014).", "page_number": "Reproduced: p. 100", "url": null}, {"citation": "Milan, Wardell, Cay Sophie Rabinowitz, Alvin Hall, Carter E. Foster, and Leslie Hewitt. <em>Wardell Milan: Between Late Summer and Early Fall</em>. New York, NY : Osmos Books, 2015.", "page_number": "Reproduced: P. 37", "url": null}, {"citation": "Brock, Charles. \"George Bellows: Reviews and Reflections.\" In <em>George Bellows Revisited: New Considerations of the Painter's Oeuvre.</em> Melissa M. Wolfe, ed. Newcastle upon Tyne, UK: Cambridge Scholars Publishing, 2016.", "page_number": "Reproduced: p. 7, fig. 1.1. Mentioned 9, 10, 103, 105.", "url": null}, {"citation": "Cole, Mark. \"This Sporting Life: The work of artist (and athlete) George Bellows.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 56, no. 3 (May/June 2016): 13.", "page_number": "Reproduced and Mentioned: p. 13", "url": "https://archive.org/details/CMAMM2016-03"}, {"citation": "Boylan, Alexis L. <em>Ashcan Art, Whiteness, and the Unspectacular Man.</em> New York: Bloomsbury Academic, 2017.", "page_number": "Reproduced: pl. 4", "url": null}, {"citation": "Slayton, Robert A. <em>Beauty in the City: The Ashcan School. </em>Albany: Excelsior Editions, State University of New York Press, 2017.", "page_number": "Reproduced: p. 143, fig. 8.13", "url": null}, {"citation": "Corbett, David Peters. Die Ashcan School: Lebensbilder der New Yorker und iher Stadt. In <em>Es war einmal in Amerika: 300 Jahre US-Amerikanische Kunst, 164-171. </em>Barbara Schaefer and Anita Hachmann, 2018.", "page_number": "Reproduced; p. 168, abb. 13", "url": null}, {"citation": "Johnston, April Nehring. <em>The Making of Cleveland's Artist: The Aesthetic and Cultural Politics of Boundary Crossing in the Industrial Landscape Paintings of Carl Gaertner, 1923-1952.</em> Thesis, Washington University, 2019.", "page_number": "Mentioned: P. 24", "url": null}, {"citation": "Sublette, J. Mark. <em>Maynard Dixon's American West: Along the Distant Mesa</em>. Tucson, AZ: Mark Sublette Medicine Man Gallery, 2018.", "page_number": "Mentioned and reproduced: p. 267, fig. 318", "url": null}, {"citation": "\"Punch drunk.\" <em>Christie's magazine</em> (November/December 2019): 108-117.", "page_number": "Mentioned p. 113-114; Reproduced p. 116-117", "url": null}, {"citation": "Santos, Guillermo. \"Jonathan Barbieri y Los Santos Bebedores.\" In <em>La Pierde Almas: Historia de Una Cantina, </em>edited by Jonathan Barbieri, 33-41. [Santa Mar\u00eda del Tule, Oaxaca, M\u00e9xico]: Quarentena Ediciones, 2021.", "page_number": "Mentioned and reproduced: p. 37", "url": ""}, {"citation": "Guttmann, Allen. \"Representation.\" In <em>A Cultural History of Sport, </em>edited by Mike Huggins, 187-215.London, UK: Bloomsbury Academic, 2021.", "page_number": "Mentioned and reproduced: p. 196, fig. 8.4", "url": ""}, {"citation": "Pearson, Harry. \"Competitive streaks.\"<em> Apollo</em> 193, no. 698 (June 2021): 60-65.", "page_number": "Reproduction p.60, fig. 1; mentioned p. 64", "url": ""}, {"citation": "Cueff, Alain. <em>Ciels d'Ame\u0301rique 1801-2001</em>. Paris: Belles Lettres, 2023.", "page_number": "Mentioned and reproduced: P. 175-176, fig. 63", "url": ""}], "url": "https://clevelandart.org/art/1922.1133", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1922.1133/1922.1133_web.jpg", "width": "1194", "height": "893", "filesize": "152341", "filename": "1922.1133_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1922.1133/1922.1133_print.jpg", "width": "3400", "height": "2542", "filesize": "1240178", "filename": "1922.1133_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1922.1133/1922.1133_full.tif", "width": "10552", "height": "7890", "filesize": "249794924", "filename": "1922.1133_full.tif"}}, "alternate_images": [{"web": {"url": "https://openaccess-cdn.clevelandart.org/1922.1133/1922.1133_alt0_web.jpg", "width": "1196", "height": "893", "filesize": "182971"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1922.1133/1922.1133_alt0_print.jpg", "width": "3400", "height": "2538", "filesize": "1713738"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1922.1133/1922.1133_alt0_full.tif", "width": "7763", "height": "5795", "filesize": "134982796"}, "date_created": "2013-06-20T19:16:59", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1922.1133/1922.1133_alt1_web.jpg", "width": "1130", "height": "893", "filesize": "836713"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1922.1133/1922.1133_alt1_print.jpg", "width": "3400", "height": "2688", "filesize": "7342730"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1922.1133/1922.1133_alt1_full.tif", "width": "4347", "height": "3437", "filesize": "44865824"}, "date_created": "2009-12-09T01:50:06", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1922.1133/1922.1133_alt2_web.jpg", "width": "1199", "height": "893", "filesize": "815482"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1922.1133/1922.1133_alt2_print.jpg", "width": "3400", "height": "2533", "filesize": "6988238"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1922.1133/1922.1133_alt2_full.tif", "width": "4783", "height": "3564", "filesize": "51160904"}, "date_created": "2009-11-13T16:25:47", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1922.1133/1922.1133_alt3_web.jpg", "width": "1130", "height": "893", "filesize": "807664"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1922.1133/1922.1133_alt3_print.jpg", "width": "3400", "height": "2688", "filesize": "7087105"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1922.1133/1922.1133_alt3_full.tif", "width": "4347", "height": "3437", "filesize": "44865488"}, "date_created": "2008-08-13T14:09:15", "annotation": ""}], "creditline": "Hinman B. Hurlbut Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "The Cleveland Foundation Gallery", "athena_id": 92937, "creators": [{"id": 3005, "description": "George Bellows (American, 1882\u20131925)", "extent": null, "qualifier": null, "role": "artist", "biography": "An accomplished athlete, George Bellows (1882\u20131925) was an especially appropriate artist to address the subject of sports. Born and raised in Columbus, Ohio, he played baseball and basketball as a youth, developing sufficient ability to letter in both at Ohio State University. According to some accounts, scouts for the Cincinnati Reds took notice of his shortstop talents. However, Bellows\u2019s first love, art, ultimately intervened, and after his junior year he relocated to New York to study painting. In a remarkably short period he became the leading artist of his generation, a reputation fueled through boxing subjects such as <em>Stag at Sharkey\u2019s.</em> In his later years he developed recreational passions for tennis and billiards, which he routinely played with friends. Bellows\u2019s life was cut short at the age of 42, due to complications after his appendix ruptured.", "name_in_original_language": null, "birth_year": "1882", "death_year": "1925", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1922-06-09T00:00:00", "sortable_date": 1909, "date_added_to_oa": null, "date_text": "1909", "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": ["Club Night"], "is_highlight": true, "updated_at": "2026-10-20 11:25:15.110000"}, {"id": 125104, "accession_number": "1946.83", "share_license_status": "CC0", "tombstone": "Frieze of Dancers, c. 1895. Edgar Degas (French, 1834\u20131917). Oil on fabric; framed: 103 x 233.5 x 7 cm (40 9/16 x 91 15/16 x 2 3/4 in.); unframed: 70 x 200.5 cm (27 9/16 x 78 15/16 in.). The Cleveland Museum of Art, Gift of the Hanna Fund, 1946.83", "current_location": "222 Impressionism & Post-Impressionism", "title": "Frieze of Dancers", "creation_date": "c. 1895", "creation_date_earliest": 1890, "creation_date_latest": 1900, "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: 103 x 233.5 x 7 cm (40 9/16 x 91 15/16 x 2 3/4 in.); Unframed: 70 x 200.5 cm (27 9/16 x 78 15/16 in.)", "dimensions": {"framed": {"height": 1.03, "height_inch": 40, "height_inch_fraction": 0.5625, "width": 2.335, "width_inch": 91, "width_inch_fraction": 0.9375, "depth": 0.07, "depth_inch": 2, "depth_inch_fraction": 0.75}, "unframed": {"height": 0.7, "height_inch": 27, "height_inch_fraction": 0.5625, "width": 2.005, "width_inch": 78, "width_inch_fraction": 0.9375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed in lower right: Degas\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 355543, "title": "Exhibition of the Month: Art is Long", "description": "<i>Exhibition of the Month: Art is Long</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 14-June 7, 1948).", "opening_date": "1948-04-14T05:00:00"}, {"id": 300857, "title": "Art: The International Language", "description": "<i>Art: The International Language</i>. The Cleveland Museum of Art (October 2-November 4, 1956).", "opening_date": "1956-10-02T04:00:00"}, {"id": 360867, "title": "Masterpieces Recalled: Benefit for League for Emotionally Disturbed Children", "description": "<i>Masterpieces Recalled: Benefit for League for Emotionally Disturbed Children</i>. Rosenberg & Co., New York, NY (organizer) (February 6-March 2, 1957).", "opening_date": "1957-02-06T05:00:00"}, {"id": 301477, "title": "In Memoriam: Leonard C. Hanna, Jr.", "description": "<i>In Memoriam: Leonard C. Hanna, Jr.</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 4-April 7, 1958).", "opening_date": "1958-03-04T05:00:00"}, {"id": 518812, "title": "\"Masterpieces\" Memorial Exhibition of Adele R. Levy", "description": "<i>\"Masterpieces\" Memorial Exhibition of Adele R. Levy</i>. Wildenstein & Co., New York, NY (April 6-May 7, 1961).", "opening_date": "1961-04-06T05:00:00"}, {"id": 310025, "title": "Creativity in Art and Science, 1860-1960", "description": "<i>Creativity in Art and Science, 1860-1960</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 16-November 8, 1987).", "opening_date": "1987-09-16T04:00:00"}, {"id": 398992, "title": "Degas: Beyond Impressionism", "description": "<i>Degas: Beyond Impressionism</i>. The Art Institute of Chicago (September 28, 1996-January 12, 1997).", "opening_date": "1996-05-22T04:00:00"}, {"id": 224558, "title": "Time Stands Still: Muybridge and the Instantaneous Photography Movement", "description": "<i>Time Stands Still: Muybridge and the Instantaneous Photography Movement</i>. The Cleveland Museum of Art, Cleveland, OH (February 15-May 16, 2004).", "opening_date": "2004-02-15T00:00:00"}, {"id": 184132, "title": "Masterworks from The Phillips Collection", "description": "<i>Masterworks from The Phillips Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 20-May 29, 2005).", "opening_date": "2005-02-20T00:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008).", "opening_date": "2006-05-27T00:00:00"}, {"id": 174875, "title": "Edgar Degas: A Strange New Beauty", "description": "<i>Edgar Degas: A Strange New Beauty</i>. The Museum of Modern Art, New York, NY (organizer) (March 22-July 24, 2016).", "opening_date": "2016-03-22T00:00:00"}, {"id": 292699, "title": "Artlens Exhibition 2017", "description": "<i>Artlens Exhibition 2017</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 24, 2017-May 29, 2019).", "opening_date": "2017-06-24T04:00:00"}], "legacy": [{"description": "<em>Degas</em>. Orangerie des Tuileries, Paris, France (1937).", "opening_date": "1937-01-01T00:00:00"}, {"description": "<em>Honderd Jaar Fransche Kunst.</em> Stedelijk Museum, Amsterdam, Netherlands (1938).", "opening_date": "1938-01-01T00:00:00"}, {"description": "Art Institute of Chicago, Chicago, IL (October 1941-October 1942).", "opening_date": "1941-10-01T00:00:00"}, {"description": "<em>Works by Edgar Degas</em>. The Cleveland Museum of Art, Cleveland, OH (February 5 to March 9, 1947).", "opening_date": "1947-02-05T00:00:00"}]}, "provenance": [{"description": "(Durand-Ruel, Paris, France, acquired from the artist and sold to Paul Cassirer the same day)", "citations": [], "footnotes": [], "date": "September 19,1904", "sortorder": 1}, {"description": "(Paul Cassirer, Berlin Germany, sold to Max Liebermann)", "citations": [], "footnotes": [], "date": "November 21, 1904", "sortorder": 2}, {"description": "Max Liebermann [1847-1935], Berlin, Germany, deposited to the Kunsthaus Z\u00fcrich", "citations": [], "footnotes": [], "date": "1904-May 9, 1933", "sortorder": 3}, {"description": "Kunsthaus Z\u00fcrich, Switzerland", "citations": [], "footnotes": null, "date": "1933-1935", "sortorder": 4}, {"description": "Kathe Riezler, Max Leibermann's daughter, [1885-1952] Berlin, Germany and New York, NY, by inheritance (on loan to the Art Institute of Chicago, October 1941-October 1942).", "citations": [], "footnotes": null, "date": "1935-1946", "sortorder": 5}, {"description": "(Paul Rosenberg & Co., New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "-1946", "sortorder": 6}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1946-", "sortorder": 7}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The ballet is a subject Degas returned to again and again over the course of his career. Rather than public performances, he often depicted dancers behind the curtain, practicing, waiting, or, as in this painting, lacing up their shoes.", "early_education_description": null, "artlens_description": null, "description": "This painting may depict a single dancer seen from four different viewpoints. The young woman is placed in an undefined setting, surrounded by mere wisps of color, applied so spontaneously that the paint ran and dripped. Degas even added the circles in the foreground with his thumb. Such audacity, while acceptable in a small sketch, must have shocked the artist's contemporaries when presented on a six-foot canvas. Equally radical is the idea of combining multiple views of a single figure. Degas's unusual presentation may have been inspired by the photographs of Eadweard Muybridge (1830-1904)", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60515361"], "internet_archive": ["https://archive.org/details/clevelandart-1946.83-frieze-of-dancers"]}, "citations": [{"citation": "Meier-Graefe, Julius. <em>Degas: ein Beitrag zur Entwicklungsgeschichte der modernen Malerei</em>. Mu\u0308nchen: R. Piper, 1920.", "page_number": "Reproduced: pl. 62", "url": null}, {"citation": "Frances, Henry S. \"Degas' Frieze of Dancers entitled Danseuses ajustant leurs chaussons.\" <em>Bulletin of The Cleveland Museum of Art XXXIII</em>, no. 6 (June, 1946) 87-94.", "page_number": "Reproduced: p. 89-91", "url": null}, {"citation": "Milliken, William M. \"Report for the Year 1946.\" <em>Bulletin of The Cleveland Museum of Art XXXIVI</em>, no. 6 (June, 1947) 127-139.", "page_number": "Mentioned: p. 128", "url": null}, {"citation": "Browse, Lillian. <em>Degas Dancers</em>. London: Faber and Faber, 1949.", "page_number": "Reproduced: no. 115, p. 376", "url": null}, {"citation": "Venturi, Lionello. <em>Impressionists and Symbolists: Manet, Degas, Monet, Pissarro, Sisley, Renoir, Cezanne, Seurat, Gauguin, Van Gogh, Toulouse-Lautrec</em>. New York, NY: Scribner, 1950.", "page_number": "Mentioned: p. 41-42; Reproduced: fig. 36", "url": null}, {"citation": "Cleveland Museum of Art, \u201cCleveland Owned Paintings Will Go to France,\u201d April 20, 1955, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr4556"}, {"citation": "Cabanne, Pierre. <em>Edgar Degas</em>. Paris: Editions Pierre Tisne\u0301, 1957.", "page_number": "Reproduced: pl. 124", "url": null}, {"citation": "The Cleveland Museum of Art. <em>The Cleveland Museum of Art Handbook.</em> Cleveland: Cleveland Museum of Art, 1958.", "page_number": "Mentioned and Reproduced: cat. no. 506", "url": "https://archive.org/details/CMAHandbook1958/page/n93"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland: Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 173", "url": "https://archive.org/details/CMAHandbook1966/page/n197"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland: Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 173", "url": "https://archive.org/details/CMAHandbook1969/page/n197"}, {"citation": "Russoli, Franco and Fiorella Minervino. <em>L'opera completa di Degas</em>. Milan: Rizzoli, 1970.", "page_number": "Reproduced: no. 1093, Mentioned: p. 1893-1898", "url": null}, {"citation": "Hu\u0308ttinger, Eduard. <em>Degas</em>. New York, NY: Crown Publishers, 1988.", "page_number": "Reproduced: p. 90", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland: Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 214", "url": "https://archive.org/details/CMAHandbook1978/page/n234"}, {"citation": "Ikegami, Chu\u0304ji Ikegami. <em>Doga</em>. Tokyo: K\u014ddansha, 1980.", "page_number": "Reproduced: pl. 49; Mentioned: p. 121", "url": null}, {"citation": "Roberts, Keith and Helen Langdon. <em>Degas</em>. Oxford, United Kingdom: Phaidon, 1982.", "page_number": "Reproduced: fig. 37", "url": null}, {"citation": "Vaizey, Marina. <em>The Artist As Photographer</em>. London: Sidgwick &amp; Jackson, 1982.", "page_number": "Reproduced: fig. 29", "url": null}, {"citation": "Shackelford, George T. M. <em>Degas, the Dancers</em>. Washington, DC: National Gallery of Art, 1984.", "page_number": "Reproduced: p. 105-106", "url": null}, {"citation": "Larson, Dean M. <em>Studying with the Masters: Lessons from Rubens, Vela\u0301zquez, Turner, Degas, Monet, Sargent, Matisse</em>. New York, NY: Watson-Guptill Publications, 1986.", "page_number": "Reproduced: p. 65", "url": null}, {"citation": "Sutton, Denys. <em>Edgar Degas, Life and Work</em>. New York, NY: Rizzoli, 1986.", "page_number": "Mentioned: p. 183; Reproduced: p. 192", "url": null}, {"citation": "Kendall, Richard. <em>Degas by Himself: Drawings, Prints, Paintings, Writings</em>. London: Macdonald Orbis, 1987.", "page_number": "Reproduced: p. 266-267", "url": null}, {"citation": "Thomson, Richard. <em>The Private Degas</em>. New York, NY: Thames and Hudson, 1987", "page_number": "Reproduced: p. 86-87", "url": null}, {"citation": "Henning, Edward B. <em>Creativity in Art and Science, 1860-1960.</em> [Cleveland, Ohio]: Published by the Cleveland Museum of Art in cooperation with Indiana University Press, 1987.", "page_number": "Mentioned and reproduced: P. 99, no. 6", "url": ""}, {"citation": "Loyrette, Henri. <em>Degas</em>. Paris: Fayard, 1991.", "page_number": null, "url": null}, {"citation": "Eberle, Matthias. <em>Max Liebermann, 1847-1935: Werkverzeichnis der Gema\u0308lde und O\u0308lstudien.</em> Mu\u0308nchen: Hirmer, 1995.", "page_number": "Reproduced: p. 542", "url": null}, {"citation": "Natter, Tobias G.and Julius H. Schoeps. <em>Max Liebermann und die franzo\u0308sischen Impressionisten</em>. Du\u0308sseldorf: DuMont, 1997.", "page_number": "Reproduced: p. 24, 203-294; Mentioned, p. 224, 239, 240, 252", "url": null}, {"citation": "Bilski, Emily D. <em>Berlin Metropolis: Jews and the New Culture, 1890-1918</em>. Berkeley: University of California Press, 1999.", "page_number": "Reproduced: fig. 21, p. 35", "url": null}, {"citation": "Louise d'Argencourt, Roger Diederen, Alisa Luxenberg, Patrick Noon, William H. Robinson, Ann Tzeutschler Lurie. <em>European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art 1999.", "page_number": "I:218-221.", "url": null}, {"citation": "Rubin, Susan Goldman. <em>Degas and the Dance: The Painter and the Petits Rats, Perfecting Their Art</em>. New York, NY: Harry Abrams, 2002.", "page_number": "Reproduced: p. 2-3", "url": null}, {"citation": "Burgess, Margaret, \"The Colorful Mr. Hanna\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 45 no. 09, November 2005", "page_number": "Mentioned & reproduced: p. 5", "url": "https://archive.org/details/CMAMM2005-09/page/4"}, {"citation": "Rosenblum, Naomi. <em>A World History of Photography</em>. New York, NY: Abbeville Press Publishers, 2007.", "page_number": "Reproduced: p. 255, fig. 301", "url": null}, {"citation": "Echte, Bernhard, and Petra Cordioli. <em>Kunstsalon Bruno &amp; Paul Cassirer: die Ausstellungen 1898-1901</em>. Wa\u0308denswil, Switzerland: Nimbus, Kunst und Bu\u0308cher, 2011.", "page_number": "Mentioned: vol 5, p. 564-565", "url": null}, {"citation": "Kostenevich, A. G. <em>Impressionism: Sensation &amp; Inspiration: Highlights from the Hermitage</em>. Amsterdam, Netherlands: Museumshop Hermitage Amsterdam, 2012.", "page_number": "Reproduced: p. 88", "url": null}, {"citation": "<em>Treasures of the Cleveland Museum of Art</em>. London: Scala Books, 2012.", "page_number": "Reproduced: p. 278-279", "url": null}, {"citation": "Thomson, Richard. <em>Art of the Actual: Naturalism and Style in Early Third Republic France, 1880-1900</em>. New Haven: Yale University Press, 2012.", "page_number": "Mentioned and reproduced: p. 243-245, fig. 178", "url": ""}, {"citation": "Faass, Martin, and Annegret Janda. <em>Verlorene Scha\u0308tze: die Kunstsammlung von Max Liebermann</em>. Berlin: Liebermann-Villa am Wannsee: Nicolai, 2013.", "page_number": "Mentioned: p. 23; Reproduced: p. 131, fig. 41", "url": null}, {"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. 293", "url": ""}, {"citation": "DeVonyar, Jill. \"Frieze of Dancers.\" In <em>Degas: A Strange New Beauty. </em>Jodi Hauptman, 202-226. New York: The Museum of Modern Art, 2016.", "page_number": "Reproduced: p. 202-203, fig. 153", "url": null}, {"citation": "Bonafoux, Pascal. <em>Les 100 tableaux qui racontent Degas</em>. Vanves: Ch\u00eane, 2017.", "page_number": "Reproduced: p. 170-171", "url": null}, {"citation": "Barbe-Gall, Franc\u0327oise, and Edgar Degas. Pourquoi Degas est Degas. Paris: E\u0301ditions Le Deuxie\u0300me Horizon, 2019.", "page_number": "Mentioned and reproduced: pp. 84-85", "url": ""}, {"citation": "Arendsee, M., and M. Steinman-Arendsee. \"Take the CAN disability aesthetics tour, at the Cleveland Museum of Art.\" <em>CAN Journal </em>(Winter 2019/20): 76-87.", "page_number": "Mentioned: p. 81", "url": null}, {"citation": "Degas, Edgar, Adriano Pedrosa, Fernando Oliva, and Sofia Borges. Degas: Dance, Politics and Society. 2021, 196-197.", "page_number": "Reproduced: pp. 196-197, fig. 136.", "url": ""}, {"citation": "Kisiel, Marine. <em>La Peinture Impressionniste et la De\u0301coration</em>. Paris: Le Passage, 2021.", "page_number": "Mentioned: P. 228; Reproduced: P. 230-231, ill. 214", "url": ""}, {"citation": "<em>Paintings in the Cleveland Museum of Art: Picture Book No. 4 .</em> [Cleveland]: The Cleveland Museum of Art, 1952.", "page_number": "Reproduced: p. 36, 38", "url": "https://archive.org/details/CMAPaintings1952"}, {"citation": "Salsbury, Britany. \u201cReconsidering Degas: Common themes in depicting women's labor.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>63, no. 4 (2023): 8-9.", "page_number": "Reproduced and Mentioned: P. 8", "url": "https://archive.org/details/CMAMM2023-04/page/8/mode/2up"}], "url": "https://clevelandart.org/art/1946.83", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1946.83/1946.83_web.jpg", "width": "900", "height": "314", "filesize": "96599", "filename": "1946.83_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1946.83/1946.83_print.jpg", "width": 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"gallery_donor_text": "Nancy F. and Joseph P. Keithley Gallery", "athena_id": 125104, "creators": [{"id": 1759, "description": "Edgar Degas (French, 1834\u20131917)", "extent": null, "qualifier": null, "role": "artist", "biography": "Son of a Parisian banker, Edgar Degas enrolled in law school in 1853 following his father's wishes. But he had already shown an interest in art and had also registered to copy at the Louvre. In 1855 he entered the \u00c9cole des Beaux-Arts and became a student of Louis Lamothe (1822-1869), a former pupil of Ingres (q.v.). One year later Degas made the traditional journey to Italy, remaining there for three years. He visited family members in Naples and Florence and attended life classes at the Villa Medici in Rome. A visit to Normandy in 1861 may have introduced him to the racetrack. In Paris he continued to study at the Louvre, where he met Manet (q.v.) in 1862. Apart from his continuous interest in portraiture and history painting, Degas began to pay attention to subjects of modern life. Between 1865 and 1870, he exhibited at the Salon. At the time of the Franco-Prussian War, he enlisted in the artillery, but because of his poor eyesight he served (with Manet) in the infantry. After the war he traveled first to London and, in 1872-73, visited his uncle and brothers who had a cotton business in New Orleans. Degas participated in the first impressionist exhibition of 1874. He continued to exhibit with these artists until 1886 but never completely considered himself a member of the group, preferring to call himself a realist or naturalist. While many of the impressionists painted en plein air, Degas worked with models in his studio and, later in his career, from his imagination. In addition to painting, he experimented often with monotypes, engraving, pastels, sculpture, and photography. He traveled extensively-London, Naples, Spain, Morocco, and Switzerland-but continued to draw his subject matter from modern-day Paris. Other recurring themes would be the female nude and the ballet dancer. After the impressionist exhibition of 1886, Degas no longer participated in group shows. Instead he sold his works to private dealers such as Durand-Ruel and Ambroise Vollard. In the 1890s he began his own art collection, which, besides many works on paper, included paintings by such artists as Ingres, C\u00e9zanne (q.v.), Delacroix (q.v.), Gauguin (q.v.), and van Gogh (q.v.). His own art at the time became characterized by broader strokes of paint, charcoal, and pastel and the use of more vibrant colors, partly because of problems with his vision. His failing eyesight and poor health caused him to abandon his pursuit of art during the last years of his life.", "name_in_original_language": null, "birth_year": "1834", "death_year": "1917", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1946-02-07T00:00:00", "sortable_date": 1890, "date_added_to_oa": null, "date_text": "c. 1895", "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": "2026-10-15 11:29:43.569000"}, {"id": 140408, "accession_number": "1964.351", "share_license_status": "CC0", "tombstone": "Peregrine Falcons (Duck Hawks), c. 1827. John James Audubon (American, born Haiti, 1785\u20131851). Oil on canvas; framed: 74.9 x 101 x 10.2 cm (29 1/2 x 39 3/4 x 4 in.); unframed: 64.5 x 91.5 cm (25 3/8 x 36 in.). The Cleveland Museum of Art, Gift of the American Foundation for the Maud E. and Warren H. Corning Botanical Collection, 1964.351", "current_location": "205 Federal American", "title": "Peregrine Falcons (Duck Hawks)", "creation_date": "c. 1827", "creation_date_earliest": 1822, "creation_date_latest": 1832, "artists_tags": ["male"], "culture": ["United States"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 74.9 x 101 x 10.2 cm (29 1/2 x 39 3/4 x 4 in.); Unframed: 64.5 x 91.5 cm (25 3/8 x 36 in.)", "dimensions": {"framed": {"height": 0.749, "height_inch": 29, "height_inch_fraction": 0.5, "width": 1.01, "width_inch": 39, "width_inch_fraction": 0.75, "depth": 0.102, "depth_inch": 4, "depth_inch_fraction": 0.0}, "unframed": {"height": 0.645, "height_inch": 25, "height_inch_fraction": 0.375, "width": 0.915, "width_inch": 36, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 304723, "title": "Year in Review (1964)", "description": "<i>Year in Review (1964)</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 8, 1964-January 31, 1965).", "opening_date": "1964-12-08T05:00:00"}, {"id": 444613, "title": "Work of John James Audubon", "description": "<i>Work of John James Audubon</i>. Cleveland Museum of Natural History, Cleveland, OH (organizer) (April 30-June 30, 1974).", "opening_date": "1974-04-30T04:00:00"}, {"id": 302330, "title": "Heritage and Horizon: American Painting 1776 - 1976", "description": "<i>Heritage and Horizon: American Painting 1776 - 1976</i>. Buffalo AKG Art Museum, Buffalo, NY (organizer) (March 7-April 11, 1976); The Detroit Institute of Arts, Detroit, MI (May 2-June 13, 1976); The Toledo Museum of Art, Toledo, OH (July 4-August 15, 1976); The Cleveland Museum of Art, Cleveland, OH (September 8-October 10, 1976).", "opening_date": "1976-03-07T05:00:00"}, {"id": 304413, "title": "Science within Art", "description": "<i>Science within Art</i>. The Cleveland Museum of Art (organizer) (February 13-April 20, 1980); Beck Center for the Arts, Lakewood, OH (June 1-July 1, 1980).", "opening_date": "1980-02-13T05:00:00"}, {"id": 304550, "title": "A Cleveland Bestiary", "description": "<i>A Cleveland Bestiary</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 15-December 16, 1981).", "opening_date": "1981-10-15T04:00:00"}, {"id": 228212, "title": "John James Audubon:  American Artist and Naturalist", "description": "<i>John James Audubon:  American Artist and Naturalist</i>. Cleveland Museum of Natural History (organizer) (February 10-April 29, 2007).", "opening_date": "2007-02-10T00:00:00"}], "legacy": [{"description": "Liverpool, England, Liverpool Royal Academy, Audubon Exhibition (1827), possibly no. 188 as Two Hawks Seizing on Ducks.", "opening_date": null}, {"description": "Cleveland, Natural Science Museum (1964); indefinite loan.", "opening_date": "1964-01-01T00:00:00"}, {"description": "Cleveland, The Cleveland Museum of Natural History, John James Audubon (30 April-31 June 1974); case D.", "opening_date": "1974-04-30T00:00:00"}, {"description": "Buffalo, Albright-Knox Art Gallery, Heritage and Horizon: American Paintings 1776-1976 (6 March-11 April 1976); traveled to Detroit, Detroit Institute of Arts (5 May-13 June 1976); to Toledo, Toledo Museum of Art (4 July-15 August 1976); Cleveland, The Cleveland Museum of Art (8 September-10 October 1976); illu. cat. no. 7 as Duck Hawks.", "opening_date": "1976-03-06T00:00:00"}, {"description": "Cleveland, The Cleveland Museum of Art, Science Within Art (13 February-20 April 1980), illus. cat. no. 13, p. 28, pp. 28-29 as Duck Hawks.", "opening_date": "1980-02-13T00:00:00"}, {"description": "Cleveland, The Cleveland Museum of Art, A Cleveland Bestiary (14 October-15 December 1981) illus. cat. no. 36, p. 42; listed p. 62, no, 36 as Duck Hawks.", "opening_date": "1981-10-14T00:00:00"}, {"description": "New York, Grey Art Gallery and Study Center, John James Audubon &amp; His Sons (26 April - 5 June 1982) illus. cat. no. 31, p. 69 as Duck Hawks by John James Audubon (they attribute it to the artist himself, not his sons).", "opening_date": "1982-04-26T00:00:00"}, {"description": "Cleveland Musuem of Natural History, Cleveland, OH (February 10, 2007 - April 29, 2007): \"John James Audubon: American Artist and Naturalist\"", "opening_date": "2007-02-10T00:00:00"}]}, "provenance": [{"description": "John James Audubon [1785-1851], New York, NY, by descent to his wife, Lucy Bakewell Audubon", "citations": [], "footnotes": null, "date": "c. 1827-", "sortorder": 1}, {"description": "Lucy Bakewell Audubon [1787-1874], New York, NY, by descent to her son, John Woodhouse Audubon", "citations": [], "footnotes": null, "date": "?", "sortorder": 2}, {"description": "John Woodhouse Audubon [1812-1862], New York, NY, by descent to his daughter, Lucy A. Williams", "citations": [], "footnotes": null, "date": "?", "sortorder": 3}, {"description": "Lucy Audubon Williams [1838-1909], Greenburgh, Westerchester, NY, probably by descent to her grandson, Charles F. Edwards", "citations": [], "footnotes": null, "date": "?", "sortorder": 4}, {"description": "Charles F. Edwards [1878-1954], Chicago, IL and Alameda, CA, by descent to his sister, Margaret McCormick", "citations": [], "footnotes": null, "date": "?", "sortorder": 5}, {"description": "Mrs. H.V. (Margaret) McCormick, Long Island, NY and Staten Island, NY, sold to Kennedy Galleries", "citations": [], "footnotes": [], "date": "?", "sortorder": 6}, {"description": "(Kennedy Galleries, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "by 1964", "sortorder": 7}, {"description": "The Cleveland Museum of Art, Cleveland, Ohio", "citations": [], "footnotes": [], "date": "1964-", "sortorder": 8}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Clocked at speeds more than 240 mph, peregrine falcons are the world's fastest animals.", "early_education_description": null, "artlens_description": null, "description": "A vigorous portrayal of two peregrine falcons with their fresh duck prey, John James Audubon's painting relates to his groundbreaking <em>Birds of America</em> publication that sought to depict every species of native North American bird posed in action with elements of their habitats. Based on his artistic and scientific successes, Audubon became the premier naturalist in the United States. After his death, he continued to be associated with bird and nature conservation, and several organizations devoted to such causes were named in his honor. However, in recent years, as Audubon's slaveholding and looting of Indigenous graves has become more widely acknowledged, an increasing number of these groups are changing their names.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60469243"], "internet_archive": ["https://archive.org/details/clevelandart-1964.351-peregrine-falcons-du"]}, "citations": [{"citation": "Invoice from Kennedy Galleries, Oct. 20, 1964, Director Files, Sherman Lee, Box 36, File 10: Kennedy Galleries, Ingalls Library, the Cleveland Museum of Art, Cleveland, OH", "page_number": null, "url": null}, {"citation": "Henry Sayles Francis, letter to Sherman Lee, Oct. 2, 1964, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Martha G. Thomas, letter to Charles E. Winters, Sept. 29, 1992, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Martha G. Thomas, letter to Charles E. Winters, Sept. 29, 1992, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Martha G. Thomas, letter to Charles E. Winters, Sept. 29, 1992, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Martha G. Thomas, letter to Charles E. Winters, Sept. 29, 1992, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "William Talbot, letter to Richard J. Koke, Feb. 16, 1977, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "William Talbot, letter to Richard J. Koke, Feb. 16, 1977, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Martha G. Thomas, letter to Charles E. Winters, Sept. 29, 1992, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "William Talbot, letter to Richard J. Koke, Feb. 16, 1977, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Martha G. Thomas, letter to Charles E. Winters, Sept. 29, 1992, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Kathman, Barbara A. <em>A Cleveland Bestiary</em>. Cleveland, OH; Cleveland Museum of Art, 1981.", "page_number": "Reproduced: p. 42; Mentioned: p. 41, p. 62", "url": null}, {"citation": "Adams, Henry. <em>What's American about American art?: a gallery tour in the Cleveland Museum of Art. </em>Cleveland: Cleveland Museum of Art, 2008.", "page_number": "Reproduced: p. 56 - 57", "url": ""}, {"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. 45", "url": ""}], "url": "https://clevelandart.org/art/1964.351", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1964.351/1964.351_web.jpg", "width": "1263", "height": "892", "filesize": "892020", "filename": "1964.351_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1964.351/1964.351_print.jpg", "width": "3400", "height": "2400", "filesize": "6321024", "filename": "1964.351_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1964.351/1964.351_full.tif", "width": "5000", "height": "3529", "filesize": "52961248", "filename": "1964.351_full.tif"}}, "alternate_images": [], "creditline": "Gift of the American Foundation for the Maud E. and Warren H. Corning Botanical Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Walter and Jean Kalberer Foundation Gallery", "athena_id": 140408, "creators": [{"id": 2694, "description": "John James Audubon (American, born Haiti, 1785\u20131851)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1785", "death_year": "1851", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1964-10-31T00:00:00", "sortable_date": 1822, "date_added_to_oa": null, "date_text": "c. 1827", "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": "2026-10-08 11:20:11.400000"}, {"id": 94979, "accession_number": "1915.534", "share_license_status": "CC0", "tombstone": "Nathaniel Hurd, c. 1765. John Singleton Copley (American, born The Thirteen Colonies, 1738\u20131815). Oil on canvas; framed: 90.5 x 78 x 6.5 cm (35 5/8 x 30 11/16 x 2 9/16 in.); unframed: 76.2 x 64.8 cm (30 x 25 1/2 in.). The Cleveland Museum of Art, Gift of the John Huntington Art and Polytechnic Trust, 1915.534", "current_location": "204 Colonial American", "title": "Nathaniel Hurd", "creation_date": "c. 1765", "creation_date_earliest": 1760, "creation_date_latest": 1770, "artists_tags": ["male"], "culture": ["United States"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 90.5 x 78 x 6.5 cm (35 5/8 x 30 11/16 x 2 9/16 in.); Unframed: 76.2 x 64.8 cm (30 x 25 1/2 in.)", "dimensions": {"framed": {"height": 0.905, "height_inch": 35, "height_inch_fraction": 0.625, "width": 0.78, "width_inch": 30, "width_inch_fraction": 0.6875, "depth": 0.065, "depth_inch": 2, "depth_inch_fraction": 0.5625}, "unframed": {"height": 0.762, "height_inch": 30, "height_inch_fraction": 0.0, "width": 0.648, "width_inch": 25, "width_inch_fraction": 0.5}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 317001, "title": "Inaugural Exhibition", "description": "<i>Inaugural Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (co-organizer) (June 6-September 20, 1916).", "opening_date": "1916-06-06T05:00:00"}, {"id": 312517, "title": "The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition", "description": "<i>The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 26-October 4, 1936).", "opening_date": "1936-06-26T04:00:00"}, {"id": 312341, "title": "The Silver Jubilee Exhibition", "description": "<i>The Silver Jubilee Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-September 28, 1941).", "opening_date": "1941-06-23T04:00:00"}, {"id": 705378, "title": "Silver and American Tradition", "description": "<i>Silver and American Tradition</i>. Milwaukee Art Museum, Milwaukee, WI (organizer) (February 13-March 19, 1953).", "opening_date": "1953-02-13T05:00:00"}, {"id": 304248, "title": "Style, Truth and the Portrait", "description": "<i>Style, Truth and the Portrait</i>. The Cleveland Museum of Art, Cleveland, OH (October 1-November 19, 1963).", "opening_date": "1963-10-01T04:00:00"}, {"id": 520707, "title": "Four Centuries of American Masterpieces", "description": "<i>Four Centuries of American Masterpieces</i>. 1964 New York World's Fair, New York, NY (May 1-October 18, 1964).", "opening_date": "1964-05-01T04:00:00"}, {"id": 520960, "title": "John Singleton Copley: A Retrospective Exhibition", "description": "<i>John Singleton Copley: A Retrospective Exhibition</i>. National Gallery of Art, Washington, D.C. (organizer) (September 18-October 31, 1965); The Metropolitan Museum of Art, New York, NY (November 20, 1965-January 2, 1966); Museum of Fine Arts, Boston, Boston, MA (January 22-March 6, 1966).", "opening_date": "1965-09-18T04:00:00"}, {"id": 444647, "title": "The Face of Liberty", "description": "<i>The Face of Liberty</i>. Amon Carter Museum, Fort Worth, TX (organizer) (December 23, 1975-February 8, 1976).", "opening_date": "1975-12-23T05:00:00"}, {"id": 417433, "title": "John Singleton Copley's America", "description": "<i>John Singleton Copley's America</i>. Museum of Fine Arts, Boston (June 7-August 27, 1995); The Metropolitan Museum of Art (organizer) (September 26, 1995-January 7, 1996); Museum of Fine Arts, Houston (February 4-April 28, 1996).", "opening_date": "1995-06-07T04:00:00"}, {"id": 222076, "title": "Nathaniel Hurd", "description": "<i>Nathaniel Hurd</i>. Memorial Art Gallery of the University of Rochester, NY (November 22, 1999-April 10, 2000).", "opening_date": "1999-11-22T00:00:00"}, {"id": 180609, "title": "CMA @ Oberlin - American Portraits", "description": "<i>CMA @ Oberlin - American Portraits</i>. Allen Memorial Art Museum, Oberlin, OH (August 29-December 17, 2006).", "opening_date": "2006-08-29T00:00:00"}], "legacy": [{"description": "Cleveland, Cleveland Museum of Art, The Inaugural Exhibition (6 June-20 September, 1916); cat. p. 255.", "opening_date": "1916-06-06T00:00:00"}, {"description": "Boston, Museum of Fine Arts, Boston, One Hundred Colonial Portraits (19 June-21 September 1930), cat. no. 50.", "opening_date": "1930-06-19T00:00:00"}, {"description": "Cleveland, Cleveland Museum of Art, Catalogue of the Twentieth Anniversary Exhibition of the Cleveland Museum of Art: The Official Art Exhibit of the Great Lakes Exposition (26 June-4 October, 1936), illus. plate II, cat. no. 23, pp. 21-22.", "opening_date": "1936-06-26T00:00:00"}, {"description": "New York, Metropolitan Museum of Art, An Exhibition of Paintings by John Singleton Copley: In Commemoration of the Two-Hundredth Anniversary of His Birth (22 December, 1936-14 February, 1937), illus. 16.", "opening_date": "1936-12-22T00:00:00"}, {"description": "Baltimore, Baltimore Museum of Art, Two Hundred Years of American Painting, (15 January-28 February, 1938), no. 2.", "opening_date": "1938-01-15T00:00:00"}, {"description": "New Haven, Yale University Gallery of Fine Arts, Masterpieces of New England Silver 1650-1800, (18 June-10 September, 1939), ill. no. 224, p. 94.", "opening_date": "1939-06-18T00:00:00"}, {"description": "Flint, Mich., Flint Institute of Arts, Art Marches On: The Opening and Dedicating Exhibition of the New Flint Institute of Arts (14 November-31 December, 1941), illus no. 53, p. 30.", "opening_date": "1941-11-14T00:00:00"}, {"description": "Oberlin, Ohio, The Dudley P. Allen Memorial Art Museum, The Arts in the Americas in the Eighteenth Century (1946), cat. no. 1 (see Bulletin of the Allen Memorial Art Museum, Oberlin College, vol. III, no. 3 (May, 1946).", "opening_date": "1946-05-01T00:00:00"}, {"description": "Dallas, The Dallas Museum of Fine Arts, Survey of American Painting from 1700 to the Present (5 October - 3 November 1946); cat. 200 Years of American Painting.", "opening_date": "1946-10-05T00:00:00"}, {"description": "Denver, The Denver Art Museum, American Heritage: An Exhibitions of Paintings and Crafts 1770-1790 (7 March-11 April 1948), ill. p. 9.", "opening_date": "1948-03-07T00:00:00"}, {"description": "Denver, The Denver Art Museum, Portraiture Through the Ages (9 January - 15 February 1950).", "opening_date": "1950-01-09T00:00:00"}, {"description": "Houston, Museum of Fine Arts, Houston, George Washington's World (15 January - 14 February 1954), cat. no. 5.", "opening_date": "1954-01-15T00:00:00"}, {"description": "Boston, Museum of Fine Arts, Boston, Colonial Silversmiths, Masters and Apprentices (13 November - 30 December 1956).", "opening_date": "1956-11-13T00:00:00"}, {"description": "Jewett Art Center, Wellesley College, Massachusetts, Four Boston Masters (10 April-11 May, 1959), cat. no. 8, repr. p. 25; traveled to Boston, Museum of Fine Arts (19 May - 26 June 1959).", "opening_date": "1959-04-10T00:00:00"}, {"description": "Cleveland, The Cleveland Museum of Art, Style, Truth and the Portrait (1 October -10 November, 1963), ill. cat. no. 29.", "opening_date": "1963-10-01T00:00:00"}, {"description": "New York, The Gallery at The Better Living Center, New York World's Fair, Four Centuries of American Masterpieces (22 May-18 October 1964), p. 18, illus. p. 18; (arranged by the Skowhegan School of Painting and Sculpture).", "opening_date": "1964-05-22T00:00:00"}, {"description": "Washington, DC, National Gallery of Art, John Singleton Copley, 1738-1815 (18 September - 31 October 1965), pp. 45-9, illus. p. 47; traveled to New York, Metropolitan Museum of Art (20 November 1965 - 2 January 1966); traveled to Boston, Museum of Fine Arts (22 January - 6 February 1966).", "opening_date": "1965-09-18T00:00:00"}, {"description": "Fort Worth, Amon Carter Museum of Western Art, The Face of Liberty: Founders of the United States (23 December 1975 - 8 February 1976), illus. colorplate 16.", "opening_date": "1975-12-23T00:00:00"}, {"description": "Cleveland, The Cleveland Museum of Art, Silver in American Life (24 June - 16 August 1981); exhibited in gallery but not in catalogue.", "opening_date": "1981-06-24T00:00:00"}, {"description": "Boston, Museum of Fine Arts, John Singleton Copley in America (7 June - 27 August 1995), traveled to New York, Metropolitan Museum of Art (26 September 1995 - 7 January 1996), traveled to Houston, Museum of Fine Arts (4 February - 28 April 1996), did not travel to Milwaukee, Milwaukee Art Museum; cat. no. 21, p. 57, 93, 119, 208-11, 248, 300, 312.", "opening_date": "1995-06-07T00:00:00"}, {"description": "Rochester, New York, Memorial Art Gallery of the University of Rochester, ABOUT FACE: Copley's Portrait of Nathaniel Hurd, Colonial Silversmith and Engraver, (1 November 1999-1 March 2000), see Porticus journal.", "opening_date": "1999-11-01T00:00:00"}]}, "provenance": [{"description": "Benjamin Hurd [1739-1781], Halifax, Nova Scotia, by descent to his son, John Hurd", "citations": [], "footnotes": [], "date": "-1781", "sortorder": null}, {"description": "John Hurd, Halifax, Nova Scotia, by descent to his two daughters", "citations": [], "footnotes": [], "date": "1781-", "sortorder": null}, {"description": "Daughters of John Hurd [d. by 1860], Halifax, Nova Scotia, to Mrs. Thomas Barry", "citations": [], "footnotes": [], "date": "-by 1860", "sortorder": null}, {"description": "Mrs. Thomas Barry [d. 1869], Halifax, Nova Scotia, by gift to Walter Wesselhoeft", "citations": [], "footnotes": [], "date": "By 1860-1869", "sortorder": null}, {"description": "Walter Wesselhoeft [1838-1920], Cambridge, MA, consigned to the Copley Gallery", "citations": [], "footnotes": [], "date": "1869-1915", "sortorder": null}, {"description": "(Copley Gallery, Boston, MA, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "1915", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, Ohio", "citations": [], "footnotes": [], "date": "1915-", "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": ["350.1915"], "did_you_know": "The artist Copley\u2019s in-laws were consignees for the cargo dumped during the Boston Tea Party.", "early_education_description": null, "artlens_description": null, "description": "Hurd was a prominent silversmith and engraver in Boston, and the warm gaze and unforced smile in his portrait by Copley suggest the friendship between the two artists. Hurd's open-collared shirt, as well as the rakishly tilted turban that covers his shaved head in place of a ceremonial powdered wig, create an air of informality that is unusual for a portrait of this time.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60502218"], "internet_archive": ["https://archive.org/details/clevelandart-1915.534-nathaniel-hurd"]}, "citations": [{"citation": "David Franklin, and C. Griffith Mann. <em>Treasures of the Cleveland Museum of Art. </em>Cleveland, OH, London: Cleveland Museum of Art ; in association with Scala Publishers, 2012.", "page_number": "Mentioned, p. 220; reproduced, p. 221.", "url": ""}, {"citation": "Lange, Amanda E., \"We Are Family: Heraldic Decorative Arts in Early America,\" <em>Historic Deerfield</em> 14 (Autumn 2013).", "page_number": "Mentioned, p. 3; reproduced, p. 4.", "url": ""}, {"citation": "Perkins, Augustus Thorndike. <em>A Sketch of the Life and a List of Some of the Works of John Singleton Copley</em>. Boston: Priv. Print, 1873.", "page_number": "Mentioned: p. 17, 75-6", "url": null}, {"citation": "Bayley, Frank W. <em>The Life and Works of John Singleton Copley: Founded on the Work of Augustus Thorndike Perkins</em>. Boston, MA: Taylor Press, 1915.", "page_number": "Mentioned: p. 151-152", "url": null}, {"citation": "W. H. D. \"The Fine Arts: Fine Portrait by Copley.\" <em>The Boston Transcript, </em>October, 1915.", "page_number": null, "url": null}, {"citation": "<em>The American Art News. </em>14:23 (March 11, 1916): 1-10.", "page_number": "Reproduced: p. 5", "url": null}, {"citation": "\"Clevel'd Gets Early Am'ns.\" <em>The American Art News. </em>14:24 (March 18, 1916): 1-8.", "page_number": "Mentioned: p. 1", "url": null}, {"citation": "\"The Inauguration.\" <em>The Bulletin of the Cleveland Museum of Art</em>. 3:2 (July, 1916): 1-24.", "page_number": "Reproduced: opposite p. 1", "url": null}, {"citation": "Bell, Hamilton. \"Early American Portraits at the Cleveland Museum of Art.\" <em>The American Magazine of Art</em>. 7:12 (October, 1916).", "page_number": "Mentioned: p. 484-5; Reproduced: p. 485", "url": null}, {"citation": "Cleveland Museum of Art. <em>An Appreciation of Copley's \"Nathaniel Hurd\": John Huntington Collection</em>. Cleveland, OH: Cleveland Museum of Art, 1918.", "page_number": null, "url": null}, {"citation": "\"Special Exhibition Cabinet.\" <em>The Bulletin of the Cleveland Museum of Art</em>. 5:1. (January 1918).", "page_number": "Mentioned: p. 3", "url": "www.jstor.org/stable/25136158"}, {"citation": "Dunlap, William. <em>A History of the Rise and Progress of the Arts of Design in the United States</em>. 1. Boston: C.E. Goodspeed &amp; Co, 1918.", "page_number": "Mentioned: p. 172-4; Reproduced: opposite p. 173", "url": null}, {"citation": "\"Report of the Museum's Second Year.\" <em>The Bulletin of the Cleveland Museum of Art</em> 5, no. 6/7 (1918): 69-79.", "page_number": "Mentioned: p. 71", "url": "www.jstor.org/stable/25136208"}, {"citation": "Clearwater, Alphonso Trumpbour, and C. Louise Avery. <em>American Silver of the 17th and 18th Centuries: A Study Based on the Clearwater Collection. </em>New York: Metropolitan Museum of Art, 1920.", "page_number": "Reproduced: fig. 101", "url": null}, {"citation": "\"Early Portrait Study by Copley.\" <em>Art News. </em>22:19 (February 16, 1923).", "page_number": "Reproduced: p. 9", "url": null}, {"citation": "L. P. \"Portrait of Nathaniel Hurd by Copley.\" <em>The Bulletin of the Cleveland Museum of Art</em>. 10:3 (March 1923).", "page_number": "Mentioned: p. 39-40", "url": null}, {"citation": "\"When Copley Portrayed an Early Craftsman.\" <em>Art News.</em> (June 9, 1923).", "page_number": "Reproduced: p. 4", "url": null}, {"citation": "National Collection of Fine Arts (U.S.), Washington Loan Exhibition Committee. <em>Exhibition of Early American Paintings, Miniatures and Silver</em>. Washington, D.C.: National Gallery of Art, 1925.", "page_number": "Reproduced: p. 80", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 1925.", "page_number": "Mentioned: p. 7-8; Reproduced: p. 8", "url": "https://archive.org/details/CMAHandbook_80839/page/n10"}, {"citation": "Dow, George Francis. <em>The Arts &amp; Crafts in New England, 1704-1775; Gleanings from Boston Newspapers Relating to Painting, Engraving, Silversmiths, Pewterers, Clockmakers, Furniture, Pottery, Old Houses, Costume, Trades and Occupations, &amp; C...</em> Topsfield, MA: Wayside Press, 1927.", "page_number": "Mentioned: p. 8; Reproduced: frontispiece", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 1928.", "page_number": "Reproduced: p. 8", "url": "https://archive.org/details/CMAHandbook1928/page/n12"}, {"citation": "<em>Handbook of the Cleveland Museum of Art. </em>Cleveland: Cleveland Museum of Art, 1928.", "page_number": "Reproduced: p. 8", "url": "https://archive.org/details/CMAHandbook1928#page=12"}, {"citation": "Bayley, Frank W. <em>Five Colonial Artists of New England: Joseph Badger, Joseph Blackburn, John Singleton Copley; Robert Feke, John Smibert</em>. Boston, MA: Privately Printed, 1929.", "page_number": "Reproduced: fig. 229", "url": null}, {"citation": "Bolton, Theodore and Harry Lorin Binsse. \"John Singleton Copley.\" <em>The Antiquarian. </em>15:6 (December, 1930).", "page_number": "Reproduced: p. 80-81", "url": null}, {"citation": "Stark, Harold. <em>Art in America from 1600 to 1865; An Illustrated Guide for a National Radio Broadcast from February 3 to May 19, 1934</em>. Chicago, IL: University of Chicago Press, 1934.", "page_number": "Reproduced: p. 19", "url": null}, {"citation": "Cahill, Holger, and Alfred H. Barr, Jr., eds. <em>Art in America: A Complete Survey</em>. New York, NY: Reynal &amp; Hitchcock, 1935.", "page_number": "Mentioned: p. 17; Reproduced: p. 18", "url": null}, {"citation": "Milliken, William. \"Special Number for the 20th Anniversary Exhibition of the Cleveland Museum of Art: Official Art Exhibit of the Great Lakes Exposition.\" <em>The Art News.</em> (June 13, 1936).", "page_number": "Reproduced: p. 14", "url": null}, {"citation": "Burroughs, Louise. \"John Singleton Copley.\" <em>Bulletin of the Metropolitan Museum of Art.</em> 31:12 (December 1936).", "page_number": "Mentioned: p. 254", "url": null}, {"citation": "Frankfurter, Alfred M. \"J. S. Copley, American Master.\" <em>Art News.</em> 35:13 (December 26, 1936).", "page_number": "Reproduced: p. 12", "url": null}, {"citation": "Jewell, Edward Alden. \"Copley: Metropolitan Opens Bicentennial Show.\" <em>The New York Times, </em>December 27, 1936.", "page_number": "Mentioned: p. 9", "url": null}, {"citation": "Parker, Barbara Neville, and Anne Bolling Wheeler. <em>John Singleton Copley; American Portraits in Oil, Pastel, and Miniature</em>. Boston, MA: Museum of Fine Arts, 1938.", "page_number": "Reproduced: p. 118-9, pl. 61A", "url": null}, {"citation": "French, Hollis. <em>Jacob Hurd and His Sons Nathaniel &amp; Benjamin: Silversmiths 1702-1781. </em>Cambridge, MA: Riverside Press for the Walpole Society, 1939.", "page_number": "Reproduced: frontispiece; Mentioned: pp. 138-40", "url": null}, {"citation": "Francis, Henry. \"Loans to Important Exhibitions.\" <em>The Bulletin of the Cleveland Museum of Art </em>26, no. 7 (July 1939): 123", "page_number": "Mentioned: p. 123", "url": "https://www.jstor.org/stable/25138029"}, {"citation": "Hagen, Oskar. <em>The Birth of the American Tradition in Art</em>. New York: Charles Scribner's Sons, 1940.", "page_number": "Reproduced: p. 89; Mentioned: pp. 102-105", "url": null}, {"citation": "Foote, Helen S. \"A Collection of Early American Silver Gift of Hollis French.\" <em>The</em> <em>Bulletin of the Cleveland Museum of Art.</em> 27:9 (November, 1940).", "page_number": "Mentioned: p. 135", "url": null}, {"citation": "Flint Institute of Arts. <em>Art Marches on!: The Opening and Dedicating Exhibition of the New Flint Institute of Arts</em>. Flint, MI: The Institute, 1941.", "page_number": "Reproduced and Mentioned: p. 30, fig. 50", "url": null}, {"citation": "Milliken, William. \"Silver Jubilee Exhibition.\" <em>The Bulletin of the Cleveland Museum of Art </em>28, no.6 (June 1941): 88-108", "page_number": "Mentioned: p. 88", "url": "https://www.jstor.org/stable/25140932"}, {"citation": "\"Cleveland's First 25 Years.\" <em>ARTnews. </em>40:11 (September, 1941).", "page_number": "Mentioned: p. 13, 25; Reproduced: p. 13", "url": null}, {"citation": "Walker, John, and Macgill James. <em>Great American Paintings from Smibert to Bellows, 1729-1924</em>. London: Oxford University Press, 1943.", "page_number": "Reproduced: no. 10", "url": null}, {"citation": "\"Cleveland Museum.\" <em>Life</em> (September 20, 1943).", "page_number": "Reproduced: p. 68", "url": null}, {"citation": "King, Winnifred. \"Their Hands.\" <em>The Christian Science Monitor. </em>November 20, 1943.", "page_number": null, "url": null}, {"citation": "Adams, James Truslow. <em>Album of American History</em>. volume 1. New York, NY: Charles Scribner's Sons, 1944.", "page_number": "Reproduced: p. 345", "url": null}, {"citation": "<em>Paintings in the Cleveland Museum of Art.</em> [Cleveland]: The Cleveland Museum of Art, 1945.", "page_number": "Reproduced: p. 12", "url": "https://archive.org/details/CMAPaintings1945/page/n20"}, {"citation": "\"The Arts in America in the Eighteenth Century.\" <em>Bulletin of the Allen Memorial Art Museum, Oberlin College</em>. 3:3 (May, 1946).", "page_number": "Mentioned: p. 67, 90, 99; Reproduced: p. 66", "url": null}, {"citation": "Phillips, John Marshall. <em>American Silver</em>. New York, NY: Chanticleer Press, 1949.", "page_number": "Mentioned: p. 82-6; Reproduced: p. 83", "url": null}, {"citation": "Barker, Virgil. <em>American Painting: History and Interpretation</em>. New York, NY: The Macmillan Company, 1950.", "page_number": "Mentioned: p. 144, 147-8; Reproduced: p. 145", "url": null}, {"citation": "\"A bird's-eye view of early American painting.\" <em>Antiques.</em> 62 (November 1952).", "page_number": "Reproduced: p. 402", "url": null}, {"citation": "Milliken, William Mathewson. <em>The Cleveland Museum of Art</em>. New York: H.N. Abrams, 1958.", "page_number": "Mentioned: p. 60", "url": null}, {"citation": "The Cleveland Museum of Art. <em>The Cleveland Museum of Art Handbook.</em> Cleveland, OH: The Cleveland Museum of Art, 1958.", "page_number": "Mentioned and Reproduced: cat. no. 529", "url": "https://archive.org/details/CMAHandbook1958/page/n96"}, {"citation": "\"Portraits of American Craftsmen.\" <em>Antiques. </em>76. (October 1959).", "page_number": "Reproduced: p. 321", "url": null}, {"citation": "Larkin, Oliver W. <em>Art and Life in America</em>. New York, NY: Holt, Rinehart and Winston, 1960.", "page_number": "Reproduced: pl. 1", "url": null}, {"citation": "<em>Kindlers Malerei Lexicon</em>. volume 1. Zurich, Switzerland: 1964.", "page_number": "Reproduced: p. 776", "url": null}, {"citation": "Museum of Fine Arts, Saint Petersburg. <em>Inaugural Exhibition, February 7 Through March 7, 1965</em>. Saint Petersburg, FL: 1965.", "page_number": null, "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 161", "url": "https://archive.org/details/CMAHandbook1966/page/n184"}, {"citation": "Prown, Jules David. <em>John Singleton Copley: In America 1738-1774</em>. Cambridge, MA: Harvard University Press, 1966.", "page_number": "Mentioned: p. 52-55; Reproduced: no. 177", "url": null}, {"citation": "Wright, Louis B., George B. Tatum, John W. McCoubrey, and Robert C. Smith. <em>The Arts In America: The Colonial Period</em>. New York, NY: Charles Scribner's Sons, 1966.", "page_number": "Reproduced: p. 204", "url": null}, {"citation": "Wilson, Patricia Boyd. <em>The Christian Science Monitor.</em> January 19, 1966.", "page_number": null, "url": null}, {"citation": "Myers, Bernard S. <em>Art and Civilization</em>. New York: McGraw-Hill Book Company, 1967.", "page_number": "Mentioned: p. 319-320; Reproduced: p. 319", "url": null}, {"citation": "Cirker, Hayward, and Blanche Cirker. <em>Dictionary of American Portraits: 4045 Pictures of Important Americans from Earliest Times to the Beginning of the Twentieth Century</em>. New York, NY: Dover Publications, Inc., 1967", "page_number": "Reproduced: p. 322", "url": null}, {"citation": "McLanathan, Richard B. K. <em>The American Tradition in the Arts</em>. New York: Harcourt, Brace &amp; World, 1968.", "page_number": "Mentioned: p. 91-2", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 161", "url": "https://archive.org/details/CMAHandbook1969/page/n184"}, {"citation": "Plate, Robert. <em>John Singleton Copley: America's First Great Artist. </em>New York, NY: David McKay Co, 1969.", "page_number": "Mentioned: p. 27, 48", "url": null}, {"citation": "Novak, Barbara. <em>American Painting of the Nineteenth Century: Realism, Idealism, and the American Experience</em>. New York, NY: Praeger Publishers, 1969.", "page_number": "Mentioned: p. 24-5; Reproduced: p. 24", "url": null}, {"citation": "Glubok, Shirley, and Gerard Nook. The Art of Colonial America. New York, NY: The Macmillan Company, 1970.", "page_number": "Reproduced: p. 25", "url": null}, {"citation": "Mooz, Ralph Peter. \"The Art of Robert Feke.\" Ph.D. dissertation, University of Pennsylvania, 1970.", "page_number": "Mentioned: p. 177", "url": null}, {"citation": "Lee, Sherman E. Introduction to <em>The Cleveland Museum of Art</em>. Hannover: Knorr &amp; Hirth, 1970.", "page_number": "Mentioned: p. 64; Reproduced: no. 29", "url": null}, {"citation": "Neumeyer, Alfred. \"Nordamerikanische Kunst.\" <em>Die Kunst des 18</em>. <em>Jahrhunderts</em>. ed. Harald Keller. Berlin: Propylaen Verlag, 1971.", "page_number": "Reproduced: p. 431, pl. 68", "url": null}, {"citation": "Fales, Martha Gandy. <em>Early American Silver</em>. New York: E.P. Dutton &amp; Co, 1973.", "page_number": "Mentioned: p. 94, 239, 319", "url": null}, {"citation": "Adler, Mortimer Jerome, ed. <em>The Revolutionary Years: Britannica's Book of the American Revolution</em>. Chicago, IL: Encyclopedia Britannica, Inc., 1976.", "page_number": "Reproduced: p. 245", "url": null}, {"citation": "Wilmerding, John. <em>American Art</em>. Harmondsworth, England: Penguin Books, 1976.", "page_number": "Mentioned: p. 38", "url": null}, {"citation": "Montgomery, Charles F., and Patricia E. Kane. <em>American Art, 1750-1800: Towards Independence</em>. Boston, MA: Published for Yale University Art Gallery, New Haven, and the Victoria and Albert Museum, London, by the New York Graphic Society, 1976.", "page_number": "Reproduced: p. 132", "url": null}, {"citation": "\"American Image.\" <em>Plain Dealer</em>. Section 5 - 8. (January 18, 1976).", "page_number": "Mentioned and Reproduced: Section 5 - 8", "url": null}, {"citation": "Brown, Milton W. <em>American Art to 1900: Painting, Sculpture, Architecture</em>. New York: H.N. Abrams, 1977.", "page_number": "Mentioned: p. 101-2; Reproduced: no. 164, p. 102", "url": null}, {"citation": "Johnson, Mark M. \"Portrait Painting - An Image of Man.\" <em>Arts and Activities. </em>82 (September 1977).", "page_number": "Mentioned: p. 34; Reproduced: p. 36", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 198", "url": "https://archive.org/details/CMAHandbook1978/page/n218"}, {"citation": "Ward, Barbara McLean, and Gerald W. R. Ward, eds. <em>Silver in American Life: Selections from the Mabel Brady Garvan and Other Collections at Yale University.</em> New York: American Federation of Arts, 1979.", "page_number": "Mentioned and Reproduced: p. 76", "url": null}, {"citation": "Boros, Ethel. \"Early American Silver.\" <em>Plain Dealer.</em> (September 22, 1979).", "page_number": "Mentioned: p. 34-5; Reproduced: p. 34", "url": null}, {"citation": "Emlen, Robert P. \"Wedding Silver for the Browns: A Rhode Island Family Patronizes a Boston Goldsmith.\" <em>The American Art Journal</em>. 56:2 (Spring 1984).", "page_number": "Reproduced: p. 8", "url": null}, {"citation": "Janson, H. W. <em>History of Art</em>. Third edition. New York, NY: Prentice Hall &amp; Harry Abrams, 1986.", "page_number": "Mentioned: p. 20; Reproduced: p. 21", "url": null}, {"citation": "Buchanan, Penelope D. \"John Singleton Copley: Portrait of Nathaniel Hurd.\" <em>Art Education</em>. 40:1 (January 1987).", "page_number": "Mentioned: p. 27-8; Reproduced: p. 28", "url": null}, {"citation": "<em>Handbook of The Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 1991.", "page_number": "Reproduced: p. 114", "url": null}, {"citation": "Turner, Evan H., ed. <em>Object Lessons: Cleveland Creates an Art Museum</em>. Cleveland, OH: Cleveland Museum of Art, 1991.", "page_number": "Mentioned: p. 45; Reproduced: p. 46", "url": null}, {"citation": "Chong, Alan. <em>European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogue</em>. Cleveland, OH: Cleveland Museum of Art, 1993.", "page_number": "Reproduced: p. 43", "url": null}, {"citation": "Kissick, John. <em>Art, Context and Criticism</em>. Madison, WI: Brown &amp; Benchmark, 1993.", "page_number": "Reproduced: p. 352", "url": null}, {"citation": "Cunningham, Lawrence S., and John J. Reich. <em>Culture and Values: a Survey of the Western Humanities</em>. Second edition. Fort Worth, IN: Holt, Rinehart, and Winston, 1994.", "page_number": "Reproduced: p. 282", "url": null}, {"citation": "Janson, H. W. <em>History of Art</em>. Fifth edition. New York, NY: Prentice Hall &amp; Harry Abrams, 1995.", "page_number": "Reproduced: p. 42, pl. 26", "url": null}, {"citation": "Barratt, Carrie Rebora. <em>John Singleton Copley in America</em>. New York: Metropolitan Museum of Art, distributed by H.N. Abrams, 1995.", "page_number": "Reproduced: p. 209", "url": null}, {"citation": "Kissick, John. <em>Art, Context and Criticism</em>. Second edition. Madison, WI: Brown &amp; Benchmark, 1996.", "page_number": "Reproduced: p. 382", "url": null}, {"citation": "Kane, Patricia E., Francis Hill Bigelow, John Marshall Phillips, and Jeannine J. Falino. <em>Colonial Massachusetts Silversmiths and Jewelers: A Biographical Dictionary Based on the Notes of Francis Hill Bigelow &amp; John Marshall Phillips</em>. New Haven, CT: Yale University Art Gallery, 1997.", "page_number": "Reproduced: p. 615", "url": null}, {"citation": "Rather, Susan. \"Carpenter, Tailor, Shoemaker, Artist: Copley and Portrait Painting around 1770.\" <em>The Art Bulletin.</em> 79:2 (June 1997).", "page_number": "Mentioned: p. 284-5; Reproduced: p. 285", "url": null}, {"citation": "Ohlig, Rudolf, and Hildegard Hogen. <em>Der Glanz der Residenzen: Renaissance und Barock in Europa, Schwarzafrika und Altamerika</em>. Leipzig: F.A. Brockhaus, 1998.", "page_number": "Reproduced: p. 424", "url": null}, {"citation": "Ward, Gerald W. R. \"Nathaniel Hurd.\" <em>American National Biography,</em> v. 2. ed. Garraty, John A., and Mark C. Carnes. New York, NY: Oxford University Press, 1999.", "page_number": "Mentioned; p. 556-7", "url": null}, {"citation": "Fortune, Brandon Brame, and Deborah Jean Warner. <em>Franklin and His Friends: Portraying the Man of Science in Eighteenth-Century America</em>. Washington, D.C.: Smithsonian National Portrait Gallery, 1999.", "page_number": "Reproduced: p. 62, fig. 4-14", "url": null}, {"citation": "May, Sally Ruth, Jane Takac, and Barbara J. Bradley. <em>Knockouts: A Pocket Guide</em>. Cleveland, OH: Cleveland Museum of Art, 2001.", "page_number": "Reproduced: p. 44", "url": null}, {"citation": "Kammen, Michael et al. Seeing America: Painting and Sculpture from the Collection of the Memorial Art Gallery of the University of Rochester. Rochester, N.Y.: University of Rochester Press, 2006.", "page_number": "Reproduced: p. 22", "url": null}, {"citation": "Cole, Mark, \"Two by Copley\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 46 no. 08, October 2006", "page_number": "Mentioned & reproduced: p. 7", "url": "https://archive.org/details/CMAMM2006-08/page/6"}, {"citation": "Adams, Henry. <em>What's American about American art?: a gallery tour in the Cleveland Museum of Art. </em>Cleveland: Cleveland Museum of Art, 2008.", "page_number": "Reproduced: p. 40 - 41", "url": ""}, {"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. 44", "url": ""}, {"citation": "Ward, Gerald W. R. <em>Paul Revere: Sons of Liberty Bowl. </em>Boston: MFA Publications, Museum of Fine Arts, Boston, 2016.", "page_number": "Mentioned p. 12; reproduced: p. 11", "url": null}, {"citation": "Rather, Susan. <em>The American School: Artists and Status in the Late-Colonial and Early National Era</em>. New Haven, CT : Yale University Press, 2016.", "page_number": "Mentioned & Reproduced: pp. 41-42, fig. 30", "url": null}, {"citation": "Ripley, Elizabeth. <em>Copley; A Biography</em>. Philadelphia: J. B. Lippincott Company, 1967.", "page_number": "Mentioned: p. 24; Reproduced: p. 25", "url": null}, {"citation": "Corey Phelon Geske, \u201cTheoria to practica and Congregational Independency: From John Singleton Copley's portraiture of \u2018Liberty,\u2019 Rev. Jonathan Mayhew identified, to Rev. Lemuel Haynes's Liberty Further Extended, c. 1776,\u201d Granville History Digital Collection, accessed July 18, 2023, Mentioned pp. 49-55; reproduced pp. 50-51. <u>https://granvillehistory.omeka.net/items/show/1531</u>", "page_number": "", "url": ""}, {"citation": "Manca, Joseph. \"John Singleton Copley's Portrait of Reverend Joseph Sewall: New England and Transatlantic Contexts.\" <em>Historical Journal of Massachusetts </em>51, no.2 (Summer 2023): 30-59.", "page_number": "Mentioned p.51; Reproduced p.50, (fig.11)", "url": ""}, {"citation": "Filstrup, Chris, and Jane Merrill. <em>The Turban: A History from East to West.</em> London, UK: Reaktion Books, 2025.", "page_number": "Mentioned and reproduced: p. 112-114", "url": ""}], "url": "https://clevelandart.org/art/1915.534", "images": {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/1915.534/1915.534_web.jpg", "width": "748", "height": "893", "filesize": "402404", "filename": "1915.534_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1915.534/1915.534_print.jpg", "width": "2849", "height": "3400", "filesize": "5904910", "filename": "1915.534_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1915.534/1915.534_full.tif", "width": "4609", "height": "5500", "filesize": "76080612", "filename": "1915.534_full.tif"}}, "alternate_images": [{"web": {"url": "https://openaccess-cdn.clevelandart.org/1915.534/1915.534_alt0_web.jpg", "width": "752", "height": "893", "filesize": "432453"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1915.534/1915.534_alt0_print.jpg", "width": "2865", "height": "3400", "filesize": "6309012"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1915.534/1915.534_alt0_full.tif", "width": "5406", "height": "6416", "filesize": "104088368"}, "date_created": "2009-12-08T19:20:36", "annotation": ""}], "creditline": "Gift of the John Huntington Art and Polytechnic Trust", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Leigh and Mary Carter Gallery", "athena_id": 94979, "creators": [{"id": 2409, "description": "John Singleton Copley (American, born The Thirteen Colonies, 1738\u20131815)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1738", "death_year": "1815", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1916-01-10T00:00:00", "sortable_date": 1760, "date_added_to_oa": null, "date_text": "c. 1765", "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": "2026-10-20 11:25:15.215000"}, {"id": 125249, "accession_number": "1947.209", "share_license_status": "CC0", "tombstone": "The Large Plane Trees (Road Menders at Saint-R\u00e9my), 1889. Vincent van Gogh (Dutch, 1853\u20131890). Oil on fabric; framed: 104.5 x 124.5 x 7.6 cm (41 1/8 x 49 x 3 in.); unframed: 73.4 x 91.8 cm (28 7/8 x 36 1/8 in.). The Cleveland Museum of Art, Gift of the Hanna Fund, 1947.209", "current_location": null, "title": "The Large Plane Trees (Road Menders at Saint-R\u00e9my)", "creation_date": "1889", "creation_date_earliest": 1889, "creation_date_latest": 1889, "artists_tags": ["male"], "culture": ["Netherlands"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 104.5 x 124.5 x 7.6 cm (41 1/8 x 49 x 3 in.); Unframed: 73.4 x 91.8 cm (28 7/8 x 36 1/8 in.)", "dimensions": {"framed": {"height": 1.045, "height_inch": 41, "height_inch_fraction": 0.125, "width": 1.245, "width_inch": 49, "width_inch_fraction": 0.0, "depth": 0.076, "depth_inch": 3, "depth_inch_fraction": 0.0}, "unframed": {"height": 0.734, "height_inch": 28, "height_inch_fraction": 0.875, "width": 0.918, "width_inch": 36, "width_inch_fraction": 0.125}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 312052, "title": "Work by Vincent Van Gogh", "description": "<i>Work by Vincent Van Gogh</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 3-December 12, 1948).", "opening_date": "1948-11-03T04:00:00"}, {"id": 338462, "title": "Van Gogh: Paintings and Drawings", "description": "<i>Van Gogh: Paintings and Drawings</i>. The Metropolitan Museum of Art, New York, NY (October 21, 1949-January 15, 1950); The Art Institute of Chicago, Chicago, IL (February 1-April 15, 1950).", "opening_date": "1949-10-21T05:00:00"}, {"id": 300437, "title": "Four Modes of Composition", "description": "<i>Four Modes of Composition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 10-October 27, 1954).", "opening_date": "1954-09-10T04:00:00"}, {"id": 301477, "title": "In Memoriam: Leonard C. Hanna, Jr.", "description": "<i>In Memoriam: Leonard C. Hanna, Jr.</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 4-April 7, 1958).", "opening_date": "1958-03-04T05:00:00"}, {"id": 338466, "title": "Van Gogh in St. Remy and Auvers", "description": "<i>Van Gogh in St. Remy and Auvers</i>. The Metropolitan Museum of Art, New York, NY (organizer) (November 25, 1986-March 22, 1987).", "opening_date": "1986-11-25T05:00:00"}, {"id": 310025, "title": "Creativity in Art and Science, 1860-1960", "description": "<i>Creativity in Art and Science, 1860-1960</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 16-November 8, 1987).", "opening_date": "1987-09-16T04:00:00"}, {"id": 338459, "title": "Vincent van Gogh", "description": "<i>Vincent van Gogh</i>. Van Gogh Museum, 1070 AJ Amsterdam, Netherlands (March 30-July 29, 1990).", "opening_date": "1990-03-30T05:00:00"}, {"id": 441657, "title": "Vincent van Gogh 1990", "description": "<i>Vincent van Gogh 1990</i>. Kr\u00f6ller-M\u00fcller Museum (co-organizer) (March 30-July 29, 1990); Rijksmuseum Vincent van Gogh, Amsterdam, Netherlands (organizer) (co-organizer) (March 30-July 29, 1990).", "opening_date": "1990-03-30T05:00:00"}, {"id": 184132, "title": "Masterworks from The Phillips Collection", "description": "<i>Masterworks from The Phillips Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 20-May 29, 2005).", "opening_date": "2005-02-20T00:00:00"}, {"id": 223479, "title": "Right Under the Sun: Painting in Provence from Classicism to Modernism (1750-1920)", "description": "<i>Right Under the Sun: Painting in Provence from Classicism to Modernism (1750-1920)</i>. Montr\u00e9al Museum of Fine Arts, Montreal, Quebec, Canada (organizer) (September 22, 2005-January 8, 2006).", "opening_date": "2005-05-14T00:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. Beijing World Art Museum (May 26-August 27, 2006); Mori Art Center (September 16-November 26, 2006); Seoul Art Center, South Korea (December 22, 2006-March 28, 2007); Seoul Olympic Museum of Art, South Korea (April 7-May 20, 2007); Vancouver Art Gallery, Vancouver, Canada (June 9-September 16, 2007); The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008); The Detroit Institute of Arts, Detroit, MI (October 12, 2008-January 18, 2009).", "opening_date": "2006-05-27T00:00:00"}, {"id": 211379, "title": "Van Gogh: Up Close", "description": "<i>Van Gogh: Up Close</i>. Philadelphia Museum of Art, Philadelphia, PA (January 26-May 6, 2012); National Gallery of Canada, Ottawa, Ont.,, Canada (organizer) (May 25-September 2, 2012).", "opening_date": "2012-01-26T00:00:00"}, {"id": 213656, "title": "Van Gogh Repetitions", "description": "<i>Van Gogh Repetitions</i>. The Phillips Collection, Washington, DC (organizer) (October 12, 2013-February 2, 2014); The Cleveland Museum of Art, Cleveland, OH (March 2-May 26, 2014).", "opening_date": "2013-10-12T00:00:00"}, {"id": 448164, "title": "There\u2019s Nothing like the Real Thing: Van Gogh at the Cleveland Museum of Art", "description": "<i>There\u2019s Nothing like the Real Thing: Van Gogh at the Cleveland Museum of Art</i>. The Cleveland Museum of Art (organizer) (September 17-December 5, 2021).", "opening_date": "2021-09-17T04:00:00"}, {"id": 538102, "title": "Vincent van Gogh: Poets and Lovers", "description": "<i>Vincent van Gogh: Poets and Lovers</i>. National Gallery, London, London, United Kingdom of Great Britain and Northern Ireland (organizer) (September 14, 2024-January 19, 2025) https://www.nationalgallery.org.uk/exhibitions/van-gogh-poets-and-lovers.", "opening_date": "2024-09-14T04:00:00"}, {"id": 674074, "title": "The Gustave Fayet Collection: Icons of Modern Art", "description": "<i>The Gustave Fayet Collection: Icons of Modern Art</i>. Fondation Louis Vuitton, Paris, France (organizer) (October 9, 2026-March 8, 2027).", "opening_date": "2026-10-09T04:00:00"}], "legacy": [{"description": "<em>Soci\u00e9t\u00e9 des Artistes Ind\u00e9pendants</em>.Pavillon de la Ville de Paris, Paris, France (1890).", "opening_date": null}, {"description": "<em>Exposition Vincent van Gogh. Boulevard \u00e0 St-R\u00e9my</em>, Provence, France:1889-90. Galerie Bernheim Jeune, Paris, France (1901).", "opening_date": "1901-01-01T00:00:00"}, {"description": "<em>Quelques oeuvres de Vincent van Gogh</em>. Galerie Druet, Paris, France (1908).", "opening_date": "1908-01-01T00:00:00"}, {"description": "<em>Exhibition of French Painting of the Nineteenth and Twentieth Centuries</em>. Fogg Art Museum, Cambridge, MA (1929).", "opening_date": "1929-01-01T00:00:00"}, {"description": "<em>C\u00e9zanne, Gauguin, Seurat, Van Gogh.</em> Museum of Modern Art, New York, NY (1929).", "opening_date": "1929-01-01T00:00:00"}, {"description": "<em>Retrospective Exhibition of Landscape Painting</em>. Wadsworth Atheneum, Hartford, CT (1931).", "opening_date": "1931-01-01T00:00:00"}, {"description": "<em>Exhibition of Masters of French 19th Century Painting</em>. New Burlington Galleries,London, United Kingdom (1936).", "opening_date": "1936-01-01T00:00:00"}]}, "provenance": [{"description": "Theo van Gogh [1857-1891], Paris, France", "citations": [], "footnotes": null, "date": "1890", "sortorder": 1}, {"description": "Julien Leclercq [1865-1901] Paris, France (see document b1533 v/1962 in the archive of the Van Gogh Museum", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "(Schuffenecker Brothers, Paris, France, sold to Gustave Fayet, Igny, France)", "citations": [], "footnotes": null, "date": null, "sortorder": 3}, {"description": "Gustave Fayet [1865-1925], Igny, France", "citations": [], "footnotes": [], "date": null, "sortorder": 4}, {"description": "Gilbert E. Fuller, Boston, MA", "citations": [], "footnotes": [], "date": "1929-1931", "sortorder": 5}, {"description": "(Paul Rosenberg, New York, NY, July 18, 1947, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": null, "sortorder": 6}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1947-", "sortorder": 7}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Van Gogh sometimes created what he called \"repetitions,\" in which he painted the same subject and composition again. This painting has a repetition, currently in the Phillips Collection in Washington, DC. Conservation research has shown that the Cleveland painting is the first version.", "early_education_description": null, "artlens_description": null, "description": "Like <em>Two Poplars in the Alpilles near Saint-R\u00e9my</em> (on view nearby), Vincent van Gogh painted this autumnal landscape while living in a psychiatric hospital near Saint-R\u00e9my in southern France where he was treated for severe depression. Understanding that painting from nature eased his symptoms, Van Gogh\u2019s physician permitted the artist to paint landscapes outside. Van Gogh described this painting in a letter to his brother Theo: \u201cThe last study I did is a view of the village, where they were at work under some enormous plane trees\u2014repairing the pavements. . . . There are heaps of sand, stones, and the gigantic trunks\u2014the leaves yellowing and here and there you can get a glimpse of a house front and small figures.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q26221185"], "internet_archive": ["https://archive.org/details/clevelandart-1947.209-the-large-plane-tree"]}, "citations": [{"citation": "Meyer-Riefstahl, R. \"Vincent Van Gogh-II. Van Gogh's Style in Relation to Nature.\" <em>The Burlington Magazine for Connoisseurs </em>18, no. 93 (December 1910): 155-62.", "page_number": "Reproduced: p. 160, pl. III", "url": null}, {"citation": "<em>Voln\u00e9 Sm\u011bry: M\u011bs\u00ed\u010dn\u00edk Um\u011blecky</em> nos. 1-5 (1911): 108.", "page_number": "Reproduced: p. 108", "url": null}, {"citation": "Coquiot, Gustave. <em>... Vincent van Gogh; avec 24 reproductions hors-texte des \u0153uvres de Vincent van Gogh</em>. Paris, FR: Ollendorff, 1923", "page_number": "Reproduced: opp. p. 216", "url": null}, {"citation": "Grey, Roch. <em>Vincent Van Gogh</em>. Rome: Valori Plastici, 1924.", "page_number": "Reproduced: pl. 21", "url": null}, {"citation": "Fels, Florent. <em>Van Gogh</em>. Paris: Librairie Stock, 1924.", "page_number": "Reproduced: pl. 9", "url": null}, {"citation": "Goulinat, J. G. \"Les Collections Gustave Fayet.\" <em>L'Amour de l'Art</em> 132 (1925): 129-142.", "page_number": "Reproduced: p. 132", "url": null}, {"citation": "Faure, E\u0301lie. <em>Histoire de l'art</em>. Paris, FR: G. Cre\u0300s, 1926.", "page_number": "Reproduced: p. 447, vol. 4", "url": null}, {"citation": "Leroy, Edgar. \"Le S\u00e9jour de Vincent van Gogh \u00e0 l'Asile de Saint-R\u00e9my-de-Provence.\"<em> Aesculape</em> 16, no. 7 (July 1926): 180-186.", "page_number": "Reproduced: p. 181", "url": null}, {"citation": "Doiteau, Victor, and Edgard Leroy. <em>La folie de Vincent van Gogh</em>. Paris, FR: Aesculape, 1928.", "page_number": "Reproduced: opp. p. 80", "url": null}, {"citation": "de LaFaille, J. B. <em>L'oeuvre de Vincent van Gogh, catalogue raisonne\u0301</em>. Paris, FR: et Bruxelles: Les E\u0301ditions G. van Oest, 1928.", "page_number": "Mentioned: no. 657, vol. 1; Reproduced: no. 657, vol. 2", "url": null}, {"citation": "Gogh, Vincent van. <em>Further Letters of Vincent Van Gogh to His Brother, 1886-1889</em>. London, UK: Constable &amp; Co, 1929.", "page_number": "Mentioned: p. 418, letter 618; p.424, letter 621", "url": null}, {"citation": "Wilenski, R. H. <em>French Painting</em>. Boston, MA: Hale, Cushman &amp; Flint, 1931.", "page_number": "Reproduced: p. 297", "url": null}, {"citation": "Art Institute of Chicago. <em>Catalogue of a Century of Progress Exhibition of Prints: The Art Institute of Chicago, June 1 to November 1, 1933.</em> [Chicago]: Art Institute of Chicago, 1933.", "page_number": "Mentioned: p. 54, no. 381", "url": null}, {"citation": "Uhde, Wilhelm. <em>Vincent Van Gogh</em>. Vienna, Austria: Phaidon Press, 1936.", "page_number": "Reproduced: Pl. 89", "url": null}, {"citation": "Scherjon,W. and W. Jos. de Gruyter. <em>Vincent Van Gogh's Great Period, Arles, St. Re\u0301my and Auvers Sur Oise (Complete Catalogue)</em>. Amsterdam (Holland): \"De Spieghel\", Ltd, 1937.", "page_number": "Reproduced: p. 272; no. 77", "url": null}, {"citation": "La Faille, J. Bernard de, Charles Terrasse, Prudence Montagu-Pollock, and Andre\u0301 Gloeckner. <em>Vincent Van Gogh</em>. New York, N.Y.: French and European Publications [etc.], 1939.", "page_number": "Reproduced: no. 667", "url": null}, {"citation": "Nordenfalk, Carl. \"Van Gogh and Sweden.\" <em>Konsthistorisk Tidskrift</em> 15 (December 1946): 89-96.", "page_number": "Mentioned: p. 92", "url": null}, {"citation": "Zervos, Christian. \"Vincent Van Gogh.\" <em>Cahiers d'Art</em> 22 (1947): 159-266.", "page_number": "Reproduced: p. 254", "url": null}, {"citation": "Francis, H.S. \"Les Paveurs, by Vincent van Gogh.\" <em>The Bulletin of the</em> <em>Cleveland Museum of Art XXXV</em>, no 4 (April 1948): 57-63.", "page_number": "Reproduced: p. 61-62", "url": null}, {"citation": "<em>The Bulletin of the Cleveland Museum of Art </em>XXXV, no. 6 (June 1948): 121", "page_number": "Reproduced: cover", "url": null}, {"citation": "Gogh, Vincent van. <em>Work by Vincent Van Gogh: Catalogue of a Loan Exhibition at the Cleveland Museum of Art, November 3 Through December 12 1948</em>. [Cleveland, Ohio]: Cleveland Museum of Art, 1948.", "page_number": "Mentioned and Reproduced: cat. no. 25", "url": null}, {"citation": "Levine, Jack. \"Homage to Vincent.\" <em>ARTnews</em> 47 (December 1948): 26-30.", "page_number": "Mentioned: p. 26; reproduced: p. 28-29", "url": null}, {"citation": "\"The Year's Best: 1948.\" <em>ARTnews</em> 47 (January 1949): 40-41.", "page_number": "Mentioned: p. 40", "url": null}, {"citation": "<em>ARTnews Annual 1949.</em> New York, N.Y.: Newsweek, Inc, 1949. P. 72-73.", "page_number": "Mentioned and reproduced: p. 72-73", "url": null}, {"citation": "Metropolitan Museum of Art (New York, N.Y.). <em>Van Gogh, Paintings and Drawings; A Special Loan Exhibition, the Metropolitan Museum of Art, the Art Institute of Chicago, 1949-1950</em>. New York: Metropolitan Museum. 1949-50. 1949.", "page_number": "Mentioned and Reproduced: cat. no. 123", "url": null}, {"citation": "Schapiro, Meyer. <em>Vincent Van Gogh</em>. New York, NY: H.N. Abrams, 1950.", "page_number": "Reproduced: p. 112", "url": null}, {"citation": "Leymarie, Jean. <em>Van Gogh</em>. [Paris]: P. Tisne\u0301, 1951.", "page_number": "Mentioned and reproduced: p. 128, no. 123", "url": null}, {"citation": "<em>Paintings in the Cleveland Museum of Art: Picture Book No. 4 .</em> [Cleveland]: The Cleveland Museum of Art, 1952.", "page_number": "Reproduced: p. 40", "url": "https://archive.org/details/CMAPaintings1952"}, {"citation": "Hanson, Lawrence, and Elisabeth Hanson. <em>Passionate Pilgrim; The Life of Vincent Van Gogh.</em> New York: Random House, 1955.", "page_number": "Mentioned: p. 264; reproduced: between p. 178-179", "url": null}, {"citation": "Rewald, John. <em>Post-Impressionism: From Van Gogh to Gauguin</em>. New York, NY: Museum of Modern Art, 1956.", "page_number": "Reproduced: p. 357", "url": null}, {"citation": "Huyghe, Rene\u0301. <em>L'Art et l'Homme.</em> Paris: Larousse, 1957.", "page_number": "Reproduced: vol. 3, p. 403", "url": null}, {"citation": "The Cleveland Museum of Art. <em>The Cleveland Museum of Art Handbook.</em> Cleveland, OH: The Cleveland Museum of Art, 1958.", "page_number": "Mentioned and Reproduced: cat. no. 513", "url": "https://archive.org/details/CMAHandbook1958/page/n95"}, {"citation": "Cleveland Museum of Art. <em>In Memoriam: Leonard C. Hanna, Jr.</em> Cleveland: The Cleveland Museum of Art. 1958.", "page_number": "Reproduced: no. 53", "url": null}, {"citation": "Milliken, William Mathewson. <em>The Cleveland Museum of Art</em>. New York: H.N. Abrams, 1958.", "page_number": "Mentioned and reproduced: p. 55", "url": null}, {"citation": "Elgar, Frank.<em> Van Gogh, A Study of His Life and Work.</em> New York: Praeger, 1958.", "page_number": "Mentioned and reproduced: no. 188", "url": null}, {"citation": "Henning, Edward B. \"From Turner to Gaston.\" <em>Apollo: A Journal of the Arts </em>78 (December 1963): 481-488.", "page_number": "Reproduced: p. 484; mentioned: p. 486-487", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 178", "url": "https://archive.org/details/CMAHandbook1966/page/n202"}, {"citation": "Bourniquel, Camille. <em>Van Gogh</em>. Paris, FR] Hachette, 1968.", "page_number": "Reproduced: p. 211", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 178", "url": "https://archive.org/details/CMAHandbook1969/page/n202"}, {"citation": "Gaunt, William. <em>The Impressionists.</em> London, UK: Thames &amp; Hudson, 1970.", "page_number": "Reproduced: p. 142", "url": null}, {"citation": "Nakayama, Kimio. <em>Gogh</em>. Tokyo, Japan: [Shueisha], 1970.", "page_number": "Reproduced: p. 132; no. 56; vol. 8", "url": null}, {"citation": "De la Faille, J.-B. <em>The Works of Vincent Van Gogh; His Paintings and Drawings.</em> Amsterdam: Meulenhoff International, 1970.", "page_number": "Reproduced: no. 657", "url": null}, {"citation": "Lecaldano, Paolo. <em>L'opera pittorica completa di Van Gogh e i suoi nessi grafici.</em> Milan, IT: Rizzoli,1971.", "page_number": "Reproduced: no. 754; vol. 2", "url": null}, {"citation": "Lubin, Albert J. <em>Stranger on the Earth; A Psychological Biography of Vincent Van Gogh.</em> New York, NY: Holt, Rinehart Winston, 1972.", "page_number": "Reproduced: p. 93; pl. 23", "url": null}, {"citation": "Gatto, Joseph A. <em>Cities</em>. Worcester, MA: Davis Publications, 1977.", "page_number": "Reproduced: p. 78", "url": null}, {"citation": "Gogh, Vincent van, Jean Leymarie, and V. W. van Gogh.<em> Letters of Vincent van Gogh, 1886-1890: A Facsimile Edition.</em> London: Scolar Press, 1977.", "page_number": "Mentioned: v. 2, no. 618, p. 1/4; mentioned: v. 2, no. 621, p. 2/4", "url": null}, {"citation": "Hulsker, Jan. <em>The Complete Van Gogh: Paintings, Drawings, Sketches.</em> New York, NY: H.N. Abrams, 1980.", "page_number": "Reproduced: p. 426; no. 428", "url": null}, {"citation": "Canaday, John. <em>Mainstreams of Modern Art.</em> New York, NY: Holt, Rinehart and Winston, 1981.", "page_number": "Reproduced: p. 357; fog. 418", "url": null}, {"citation": "Schapiro, Meyer. <em>Vincent Van Gogh</em>. Norwalk, CT: Easton Press, 1983.", "page_number": "Reproduced: p. 110", "url": null}, {"citation": "Barrielle, Jean-Franc\u0327ois. <em>La vie et l'\u0153uvre de Vincent van Gogh.</em> Paris, FR: ACR, 1984.", "page_number": null, "url": null}, {"citation": "Pickvance, Ronald. <em>Van Gogh in Saint-Re\u0301my and Auvers</em>. New York: Metropolitan Museum of Art, 1986.", "page_number": "Mentioned: cat. no. 44, p. 304, 307", "url": null}, {"citation": "Henning, Edward B. <em>Creativity in Art and Science</em>, 1860-1960. [Cleveland, Ohio]: Published by the Cleveland Museum of Art in cooperation with Indiana University Press, 1987.", "page_number": "Mentioned and Reproduced: p.106", "url": null}, {"citation": "Robinson, William. \u201cGeorge Hendrik Breitner and the Emergence of Dutch Modernism.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 81, no. 2 (1994): 27-43.", "page_number": "Mentioned and Reproduced: p. 32", "url": "https://www.jstor.org/stable/25161441"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 306-309, Vol. I, no. 109", "url": ""}, {"citation": "Grossvogel, Jill. <em>Claude-Emile Schuffenecker: Catalogue Raisonne\u0301.</em> San Francisco: Alan Wofsy Fine Arts, 2000.", "page_number": "Mention: p. 45", "url": null}, {"citation": "May, Sally Ruth. <em>Knockouts: a pocket guide.</em> Cleveland: Cleveland Museum of Art, 2001.", "page_number": "Reproduced: no. 51, p. 51", "url": ""}, {"citation": "Hughes, Robert. <em>The Portable Van Gogh</em>. New York, NY: Universe, 2002.", "page_number": "Reproduced: p. 344", "url": null}, {"citation": "Schapiro, Meyer. <em>Vincent Van Gogh.</em> New York, NY: Harry N. Abrams, Publishers, 2003.", "page_number": "Mentioned: p. 110-111", "url": null}, {"citation": "Stokstad, Marilyn, David Cateforis, and Stephen Addiss. <em>Art History</em>. Upper Saddle River, NJ: Pearson/Prentice Hall, 2005.", "page_number": "Reproduced: fig 28", "url": null}, {"citation": "Cogeval, Guy, and Marie-Paule Vial. <em>Right under the sun: landscape in Provence from classicism to modernism (1750-1920).</em> Montre\u0301al: Montreal Museum of Fine Arts, 2005.", "page_number": "Reproduced: p. 143; no. 186", "url": null}, {"citation": "Corty, Axelle. \u201cLa Face Cach\u00e9e Du Soleil.\u201d <em>Connaissance Des Arts</em>, no. 627 (May 2005): 42\u201355.", "page_number": "Mentioned and reproduced: p. 46-47", "url": null}, {"citation": "Burgess, Margaret B., \"Side by Side\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 45 no. 05, May/June 2005", "page_number": "Mentioned & reproduced: p. 6-7", "url": "https://archive.org/details/CMAMM2005-05/page/6"}, {"citation": "\"L'Oeil sur les Expositions.\" <em>Oeil</em> (June 2005): 16-37.", "page_number": "Reproduced: p. 34", "url": null}, {"citation": "Bailey, Martin. \"Vincent van Cloth.\" The Art Newspaper XVI, no. 183 (September 2007): 3.", "page_number": "Mentioned: p. 3", "url": null}, {"citation": "Ligon, Scott. <em>Digital Art Revolution: Creating Fine Art with Photoshop.</em> New York, NY: Watson-Guptill, 2010.", "page_number": "Mentioned: p. 31", "url": null}, {"citation": "Franklin, David and C. Griffith Mann. <em>Treasures from the Cleveland Museum of Art.</em> Cleveland, OH: Cleveland Museum of Art, 2012.", "page_number": "Reproduced: p. 272-273", "url": null}, {"citation": "Hubert, Jean-Christophe. <em>Sur les traces de Van Gogh.</em> Waterloo, Belgium: Avant-Propos, 2012.", "page_number": "Reproduced: p. 118; fig. 478", "url": null}, {"citation": "Robinson, William H., Eliza Rathbone, Marcia Steele, and H. Travers Newton. \"The Road Menders.\" In <em>Van Gogh Repetitions</em>, 140-153. New Haven, CT: Yale University Press, 2013.", "page_number": "Reproduced: p. 140, 142, cat. no. 26", "url": null}, {"citation": "Rathbone, Eliza E., William H. Robinson, and Marcia Steele. <em>Van Gogh Repetitions</em>. New Haven, CT: Yale University Press, 2013.", "page_number": "Reproduced: 0. 142; Mentioned: p. 140-153", "url": null}, {"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. 292", "url": ""}, {"citation": "Fensom, Sarah E. \"Hitting Repeat\" <em>Art &amp; Antiques</em> 37, issue 3 (March 2014): 54-56.", "page_number": "Reproduced: p. 55", "url": null}, {"citation": "Homburg, Cornelia. \"What Van Gogh Did Next.\" <em>The Art Newspaper</em> 23, no. 257 (May 2014): 67, 76.", "page_number": "Reproduced: p. 76", "url": null}, {"citation": "Blanc, Jan. <em>Van Gogh: ni Dieu ni mai\u0302tre.</em> Paris: Citadelles &amp; Mazenod, 2017.", "page_number": "Reproduced: p. 304-305", "url": null}, {"citation": "Bailey, Martin. <em>Starry Night: Van Gogh at the Asylum</em>. London, England: White Lion Publishing, 2018.", "page_number": "Mentioned and Reproduced: p. 95-96", "url": null}, {"citation": "Uitert, Evert van, Vincent van Gogh, Louis van Tilborgh, and Sjraar van Heugten. <em>Vincent van Gogh</em>. Milan: Arnoldo Mondadori Arte, 1990.", "page_number": "Mentioned and Reproduced: cat. no. 109, p. 31", "url": null}, {"citation": "Mettais, Vale\u0301rie. <em>Van Gogh: The Essential Paintings</em>. Munich: Prestel, 2023.", "page_number": "Mentioned and reproduced: p. 36-37, booklet", "url": ""}, {"citation": "Homburg, Cornelia, Christopher Riopelle, Renske Cohen Tervaert, Julien Domercq, Michael Glover, Cindy Kang, et al. <em>Van Gogh: Poets &amp; Lovers.</em> London: National Gallery Global, 2024.", "page_number": "Mentioned and reproduced: p. 30-31, 220-221, 222, no. 15", "url": ""}], "url": "https://clevelandart.org/art/1947.209", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1947.209/1947.209_web.jpg", "width": "900", "height": "718", "filesize": "341961", "filename": "1947.209_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1947.209/1947.209_print.jpg", "width": "3400", "height": "2713", "filesize": "4467246", "filename": "1947.209_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1947.209/1947.209_full.tif", "width": "14395", "height": "11486", "filesize": "496057452", "filename": "1947.209_full.tif"}}, "alternate_images": [{"web": {"url": "https://openaccess-cdn.clevelandart.org/1947.209/1947.209_alt0_web.jpg", "width": "675", "height": "900", "filesize": "460726"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1947.209/1947.209_alt0_print.jpg", "width": "2550", "height": "3400", "filesize": "6466828"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1947.209/1947.209_alt0_full.tif", "width": "12000", "height": "16000", "filesize": "576034188"}, "date_created": "2017-08-03T13:49:24", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1947.209/1947.209_alt1_web.jpg", "width": "675", "height": "900", "filesize": "464857"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1947.209/1947.209_alt1_print.jpg", "width": "2550", "height": "3400", "filesize": "6637123"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1947.209/1947.209_alt1_full.tif", "width": "12000", "height": "16000", "filesize": "576034368"}, "date_created": "2017-08-03T14:00:04", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1947.209/1947.209_alt2_web.jpg", "width": "1093", "height": "893", "filesize": "280996"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1947.209/1947.209_alt2_print.jpg", "width": "3400", "height": "2777", "filesize": "2387451"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1947.209/1947.209_alt2_full.tif", "width": "5674", "height": "4635", "filesize": "78917884"}, "date_created": "2009-01-29T14:30:00", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1947.209/1947.209_alt3_web.jpg", "width": "1123", "height": "893", "filesize": "384230"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1947.209/1947.209_alt3_print.jpg", "width": "3400", "height": "2703", "filesize": "3592134"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1947.209/1947.209_alt3_full.tif", "width": "8427", "height": "6701", "filesize": "169441568"}, "date_created": "2006-04-12T16:28:35", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1947.209/1947.209_alt4_web.jpg", "width": "1116", "height": "893", "filesize": "379383"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1947.209/1947.209_alt4_print.jpg", "width": "3400", "height": "2720", "filesize": "3587917"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1947.209/1947.209_alt4_full.tif", "width": "8481", "height": "6787", "filesize": "172715220"}, "date_created": "2006-04-12T16:28:35", "annotation": ""}], "creditline": "Gift of the Hanna Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 125249, "creators": [{"id": 1779, "description": "Vincent van Gogh (Dutch, 1853\u20131890)", "extent": null, "qualifier": null, "role": "artist", "biography": "The son of a clergyman, Vincent van Gogh was sent to The Hague at the age of sixteen to become an apprentice at Goupil &amp; Co., an art dealer with whom his uncle was affiliated. In August 1872 van Gogh began his extensive correspondence with his younger brother Theo, who would join the Brussels branch of the firm the following year. Vincent was transferred to the London offices in 1873 and two years later to the Paris office, but he despised the art trade and was dismissed in 1876. He then taught briefly at a boarding school in Ramsgate and Isleworth, and, back in the Netherlands, worked in a bookshop in Dordrecht before moving to Amsterdam to study theology. In little more than a year he had left the university and entered missionary school, failing again. Still intent on entering the ministry, he moved to the Borinage in Belgium and became a lay evangelist to the miners. Van Gogh finally decided to become an artist in August 1880 and started copying works by Millet (q.v.), the painter of peasant life. With his brother's financial help, he briefly joined the Academy in Brussels. The following year he returned to The Hague, where he received some artistic training from his cousin by marriage, Anton Mauve (1838-1888). There van Gogh met Sien Hoornik, a pregnant prostitute with a five-year-old daughter, with whom he lived briefly. Unable to marry her because of his family's disapproval, he moved in November 1883 from The Hague to the province of Drenthe, a popular place for artists, where he painted and drew laborers and peasants. Feeling terribly lonely, he visited his parents in December 1884 in Nuenen, and it was there that he finally decided to become a painter of peasant life. Van Gogh completed The Potato Eaters (Van Gogh Museum, Amsterdam) in April 1885 and sent it to his brother in Paris. On 25 November he moved to Antwerp, where he reveled in the work of Rubens and first came to know Japanese prints. Van Gogh traveled to Paris in March 1886 and lived with Theo. Under the influence of the impressionists, and works by Monticelli (q.v.), his palette changed to more intense and vibrant colors. He began to associate with \u00c9mile Bernard (1868-1941), Henri de Toulouse-Lautrec (1864-1901), Degas (q.v.), Gauguin (q.v.), Pissarro (q.v.), and Seurat (q.v.) and started collecting some of their paintings as well as Japanese prints. He moved to Arles in February 1888. Apart from paintings, he also made some drawings because it was a cheaper medium. Theo encouraged him to submit to the Salon des Ind\u00e9pendants. In May Vincent rented a room in the Yellow House, even though he could hardly afford to do so, and continued to send his work to his brother. In June he became intrigued with the subject of the wheat harvest and painted The Sower (Kr\u00f6ller-M\u00fcller Museum, Otterlo). On 23 October 1888, Gauguin arrived in Arles, at a time when van Gogh was having trouble with his eyesight. Gauguin encouraged him to paint from memory, which resulted in Memory of the Garden in Etten (Hermitage, St. Petersburg). The artists, however, had many disagreements, and during a dramatic quarrel on 23 December van Gogh mutilated his ear. He was taken into a hospital in Arles, and Gauguin left for Paris. Van Gogh recovered rapidly and was dismissed on 7 January 1889. In February his neighbors objected to his presence in the Yellow House, and he had to return to the hospital. In April Theo married Johanna Gesina Bonger, who would eventually safeguard most of Vincent's oeuvre. Aware of his mental problems, at the end of April van Gogh checked himself into the asylum of Saint-Paul-de-Mausole in Saint-R\u00e9my, where he was treated by Dr. Peyron. His condition was stable, and he was allowed to work in a makeshift studio. He worked in the garden (Irises, J. Paul Getty Museum, Los Angeles) and painted the fields he could see from his window. Under supervision he painted in the countryside, rendering cypresses and olive trees. Starry Night (Museum of Modern Art, New York) also stems from this period. From July through September he suffered from a severe depression that prevented him from working. He resumed his work from October through December, painting well-known Proven\u00e7al works and adapting prints after Delacroix (q.v.), Millet, and Rembrandt (1606-1669). In January 1890 he exhibited five works with Les XX in Brussels, selling one of them. After a visit to Arles at the end of February, he became ill again but continued to work. He finally left the asylum, and visited Theo in Paris on his way to Auvers, where he arrived on 20 May. He became close friends with Dr. Gachet and rented a room at the inn of the Ravoux family. He painted the village, portraits, and the surrounding wheat fields. On 27 July 1890, during an episode of depression, van Gogh shot himself in the chest and died two days later.", "name_in_original_language": null, "birth_year": "1853", "death_year": "1890", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1947-07-18T00:00:00", "sortable_date": 1889, "date_added_to_oa": null, "date_text": "1889", "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": ["Les Paveurs (The Road Menders, Boulevard de St.-R\u00e9my, Arles)", "Road Menders", "The Road Menders at Arles", "The Road Menders at St. Remy"], "is_highlight": true, "updated_at": "2026-10-09 05:01:27.841000"}, {"id": 141935, "accession_number": "1965.474", "share_license_status": "CC0", "tombstone": "Samuel Williams, c. 1817. Washington Allston (American, 1779\u20131843). Oil on canvas; framed: 172.5 x 142.5 x 14 cm (67 15/16 x 56 1/8 x 5 1/2 in.); unframed: 142.2 x 111.8 cm (56 x 44 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1965.474", "current_location": "205 Federal American", "title": "Samuel Williams", "creation_date": "c. 1817", "creation_date_earliest": 1812, "creation_date_latest": 1827, "artists_tags": ["male"], "culture": ["United States"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 172.5 x 142.5 x 14 cm (67 15/16 x 56 1/8 x 5 1/2 in.); Unframed: 142.2 x 111.8 cm (56 x 44 in.)", "dimensions": {"framed": {"height": 1.725, "height_inch": 67, "height_inch_fraction": 0.9375, "width": 1.425, "width_inch": 56, "width_inch_fraction": 0.125, "depth": 0.14, "depth_inch": 5, "depth_inch_fraction": 0.5}, "unframed": {"height": 1.422, "height_inch": 56, "height_inch_fraction": 0.0, "width": 1.118, "width_inch": 44, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 300917, "title": "Golden Anniversary of Acquisitions", "description": "<i>Golden Anniversary of Acquisitions</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 10-October 16, 1966).", "opening_date": "1966-09-10T04:00:00"}, {"id": 444326, "title": "A Cloudy Symbol: Washington Allston in Retrospect", "description": "<i>A Cloudy Symbol: Washington Allston in Retrospect</i>. Lowe Art Museum, Miami, FL (organizer) (March 6-April 13, 1975).", "opening_date": "1975-03-06T04:00:00"}, {"id": 442407, "title": "\"A Man of Genius\": The Art of Washington Allston", "description": "<i>\"A Man of Genius\": The Art of Washington Allston</i>. Museum of Fine Arts, Boston, Boston, MA (organizer) (December 11, 1979-February 3, 1980); Pennsylvania Academy of the Fine Arts, Philadelphia, PA (February 28-April 27, 1980).", "opening_date": "1979-12-11T05:00:00"}], "legacy": [{"description": "Boston, The Athenaeum Gallery: Annual Exhibition (1835), no. 60", "opening_date": null}, {"description": "Boston, Harding's Gallery, Exhibition of Pictures Painted by Washington Allston, (1839) no. 34", "opening_date": null}, {"description": "Boston, The Athenaeum Gallery, Annual Exhibition (1850), no. 62", "opening_date": null}, {"description": "Boston, Museum of Fine Arts, Catalogue of Works of Art Exhibited: Pt. 2, Paintings, Drawings, Engravings, and Decorative Art, (1881) no. 203", "opening_date": null}, {"description": "Detroit, Detroit Institute of Arts, Washington Allston (1948), no. 110", "opening_date": "1948-01-01T00:00:00"}, {"description": "Detroit, Detroit Institute of Arts, Collection in Progress (1955), no. 4", "opening_date": "1955-01-01T00:00:00"}, {"description": "United States Information Agency, Tour of South America (1956-57), no. 5", "opening_date": "1956-01-01T00:00:00"}, {"description": "United States Information Agency, Tour of Greece and Israel (1958), no. 8", "opening_date": "1958-01-01T00:00:00"}, {"description": "Milwaukee, Milwaukee Art Center, American Painting 1760-1960, (3 March - 3 April1960), p. 16.", "opening_date": "1960-01-01T00:00:00"}, {"description": "Tucson, University of Arizona Art Gallery, American Painting 1765-1963, (1964), illus. pg. 17, cat. no, 2.", "opening_date": "1964-01-01T00:00:00"}, {"description": "Cleveland, Cleveland Museum of Art, Golden Anniversary Acquisitions, (1966), cat. no. 54", "opening_date": "1966-01-01T00:00:00"}, {"description": "Coral Gables, Lowe Art Museum, The Paintings of Washington Allston, (6 March - 13 April 1975) cat. no, 17, discussed in text on pg. 9.", "opening_date": "1975-03-06T00:00:00"}, {"description": "Boston, Museum of Fine Arts, \"Man of Genius\" The Art of Washington Allston (1779-1843), (1979) fig. 48, p. 71, discussed in text on pg. 86.", "opening_date": "1979-01-01T00:00:00"}]}, "provenance": [{"description": "Timothy Williams, Boston; Mrs. W. Pratt; Theodore Lyman, Brookline, Mass.; Mr. and Mrs. Lawrence A. Fleischman, Detroit; Kennedy Galleries, New York", "citations": [], "footnotes": [], "date": null, "sortorder": 1}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Allston experimented with painting recipes, even attempting to mix his pigment colors with skimmed milk.", "early_education_description": null, "artlens_description": null, "description": "Allston\u2019s portrait of his London banker and business agent explores the experience of reverie. Williams looks off absently, perhaps inspired by the pictures in the book he holds. With its view of an Italianate landscape beyond the columns of this invented setting, the painting seemingly invites viewers to join the sitter in dreaming about faraway places.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60483468"], "internet_archive": ["https://archive.org/details/clevelandart-1965.474-samuel-williams"]}, "citations": [{"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 161", "url": "https://archive.org/details/CMAHandbook1966/page/n185"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 161", "url": "https://archive.org/details/CMAHandbook1969/page/n185"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 200", "url": "https://archive.org/details/CMAHandbook1978/page/n220"}, {"citation": "Adams, Henry. <em>What's American about American art?: a gallery tour in the Cleveland Museum of Art. </em>Cleveland: Cleveland Museum of Art, 2008.", "page_number": "Reproduced: p. 48 - 49", "url": ""}], "url": "https://clevelandart.org/art/1965.474", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1965.474/1965.474_web.jpg", "width": "702", "height": "893", "filesize": "359390", "filename": "1965.474_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1965.474/1965.474_print.jpg", "width": "2674", "height": "3400", "filesize": "6245724", "filename": "1965.474_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1965.474/1965.474_full.tif", "width": "7016", "height": "8920", "filesize": "187782928", "filename": "1965.474_full.tif"}}, "alternate_images": [], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Walter and Jean Kalberer Foundation Gallery", "athena_id": 141935, "creators": [{"id": 2706, "description": "Washington Allston (American, 1779\u20131843)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1779", "death_year": "1843", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1965-11-06T00:00:00", "sortable_date": 1812, "date_added_to_oa": null, "date_text": "c. 1817", "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": "2026-10-07 12:13:21.079000"}, {"id": 124089, "accession_number": "1944.90", "share_license_status": "CC0", "tombstone": "Portrait of a Woman, 1635 or earlier. Rembrandt van Rijn (Dutch, 1606\u20131669), and Studio. Oil on wood; framed: 97.8 x 83.8 x 6.4 cm (38 1/2 x 33 x 2 1/2 in.); unframed: 77.5 x 64.8 cm (30 1/2 x 25 1/2 in.). The Cleveland Museum of Art, The Elisabeth Severance Prentiss Collection, 1944.90", "current_location": "213 Dutch Painting", "title": "Portrait of a Woman", "creation_date": "1635 or earlier", "creation_date_earliest": 1630, "creation_date_latest": 1635, "artists_tags": ["gender unknown", "male"], "culture": ["Netherlands"], "technique": "oil on wood", "support_materials": [], "department": "European Painting and Sculpture", "collection": "P - Netherlandish-Dutch", "type": "Painting", "measurements": "Framed: 97.8 x 83.8 x 6.4 cm (38 1/2 x 33 x 2 1/2 in.); Unframed: 77.5 x 64.8 cm (30 1/2 x 25 1/2 in.)", "dimensions": {"framed": {"height": 0.978, "height_inch": 38, "height_inch_fraction": 0.5, "width": 0.838, "width_inch": 33, "width_inch_fraction": 0.0, "depth": 0.064, "depth_inch": 2, "depth_inch_fraction": 0.5}, "unframed": {"height": 0.775, "height_inch": 30, "height_inch_fraction": 0.5, "width": 0.648, "width_inch": 25, "width_inch_fraction": 0.5}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed at right center: \"Rembrandt. f. 1635.\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 312517, "title": "The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition", "description": "<i>The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 26-October 4, 1936).", "opening_date": "1936-06-26T04:00:00"}, {"id": 300448, "title": "Dutch Painting, The Golden Age", "description": "<i>Dutch Painting, The Golden Age</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 5-February 27, 1955).", "opening_date": "1955-01-05T05:00:00"}, {"id": 304248, "title": "Style, Truth and the Portrait", "description": "<i>Style, Truth and the Portrait</i>. The Cleveland Museum of Art, Cleveland, OH (October 1-November 19, 1963).", "opening_date": "1963-10-01T04:00:00"}, {"id": 311444, "title": "Object Lessons: Cleveland Creates an Art Museum", "description": "<i>Object Lessons: Cleveland Creates an Art Museum</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 7-September 8, 1991).", "opening_date": "1991-06-07T04:00:00"}, {"id": 441860, "title": "Rembrandt: His Teachers and Pupils", "description": "<i>Rembrandt: His Teachers and Pupils</i>. Kawamura Memorial Museum of Art, Sakura City, Japan (organizer) (June 13-August 2, 1992).", "opening_date": "1992-06-13T04:00:00"}, {"id": 226545, "title": "Rembrandt Rembrandt", "description": "<i>Rembrandt Rembrandt</i>. Kyoto National Museum, Kyoto, Japan (organizer) (November 3, 2002-January 13, 2003).", "opening_date": "2002-11-03T00:00:00"}, {"id": 179662, "title": "Masterpieces of European Painting from the Cleveland Museum of Art", "description": "<i>Masterpieces of European Painting from the Cleveland Museum of Art</i>. Maltz Museum of Jewish Heritage, Beachwood, OH (March 29-July 8, 2007).", "opening_date": "2007-03-29T00:00:00"}, {"id": 214325, "title": "Rembrandt in America", "description": "<i>Rembrandt in America</i>. The Cleveland Museum of Art, Cleveland, OH (February 19-May 28, 2012); Minneapolis Institute of Art, Minneapolis, MN (June 24-September 16, 2012).", "opening_date": "2011-10-30T00:00:00"}], "legacy": [{"description": "Exhibition of Hals and Rembrandt, Los Angeles County Museum, Los Angeles, CA (November 1947- January 1948).", "opening_date": "1947-11-01T00:00:00"}, {"description": "Old Masters, Dayton Art Institute, Dayton, OH March-April 1948).", "opening_date": "1948-03-01T00:00:00"}, {"description": "Haggin Memorial Galleries, Stockton, California, 1948.", "opening_date": "1948-01-01T00:00:00"}, {"description": "Benefit Exhibition of Paintings by Rembrandt, Wildenstein &amp; Co., 1950.", "opening_date": "1950-01-01T00:00:00"}, {"description": "Masterpiece Series, Akron Art Institute, April 14- May 17, 1953.", "opening_date": "1953-04-14T00:00:00"}, {"description": "Man and His Years, Baltimore Museum of Art, 1954, p. 15, no. 81.", "opening_date": "1954-01-01T00:00:00"}, {"description": "Chiba, Japan, Kawamura Memorial Museum of Art, 1992: cat. no. ?.", "opening_date": "1992-01-01T00:00:00"}, {"description": "Three Hundred Paintings by Old Masters. Sedelmeyer Gallery, Paris, France (1898).", "opening_date": null}, {"description": "Austellung von Weken Alter Kunst aus dem Privatbesitz der Mitglieder des K. Friderich Museums-- Vereins, Kaiser Friedrich Museum, Berlin, Germany (January 27-March 4, 1906).", "opening_date": "1906-01-27T00:00:00"}]}, "provenance": [{"description": "Capo de Lista family collection (?) (Padua, Italy)", "citations": [], "footnotes": [], "date": null, "sortorder": null}, {"description": "Barbini-Breganze coll., Venice (1847) cat. no. 204;", "citations": [], "footnotes": [], "date": null, "sortorder": null}, {"description": "St\u00e4delsches Kunstinstitut (Frankfurt am Main, Germany) (inv. no. 927), 1847 to 1882;", "citations": [], "footnotes": [], "date": null, "sortorder": null}, {"description": "sold, Paris, May 5, 1882, no. 30;", "citations": [], "footnotes": [], "date": null, "sortorder": null}, {"description": "Charles Sedelmeyer (Paris, France);", "citations": [], "footnotes": [], "date": null, "sortorder": null}, {"description": "Karl von der Heydt (Berlin, Germany) (1906);", "citations": [], "footnotes": [], "date": null, "sortorder": null}, {"description": "A.B. Antik (Stockholm, Sweden)", "citations": [], "footnotes": [], "date": null, "sortorder": null}, {"description": "consigned to Knoedler & Co. (New York, and London, England, 1919);", "citations": [], "footnotes": [], "date": null, "sortorder": null}, {"description": "sold to Elisabeth Severance Prentiss (Cleveland, Ohio), in exchange for John Hoppner, Portrait of Mrs. Jermingham and Herman Kricheldorf, Still-Life with Lobster, 1919, upon her death, held in trust by the estate", "citations": [], "footnotes": [], "date": null, "sortorder": null}, {"description": "Estate of Elisabeth Severance Prentiss, by bequest to the Cleveland Museum of Art, 1944.", "citations": [], "footnotes": [], "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This painting is probably a pendant to a portrait of a man that is now at the Kawamura Memorial Museum of Art in Japan. Both were cut down from their original rectangular shape.", "early_education_description": null, "artlens_description": null, "description": "At the age of 25, Rembrandt moved from his hometown of Leiden to the bustling city of Amsterdam. Within a few years he had become one of the city\u2019s most successful portrait painters, creating remarkably vivid likenesses that seemed to express the personality and soul of the sitter. Here, Rembrandt used smooth, fluid brushstrokes to recreate the soft texture of the woman\u2019s skin. In contrast, thicker, more textured strokes draw attention to the lavish display of her lace collar and gold jewelry\u2014details sure to please a wealthy client. The extraordinary demand at that time for a portrait by Rembrandt meant that in many cases (including, probably, this painting) he called upon assistants to help complete the work.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q21475059"], "internet_archive": ["https://archive.org/details/clevelandart-1944.90-portrait-of-a-woman"]}, "citations": [{"citation": "Parthey, G. <em>Deutscher Bildersaal: Verzeichniss der in Deutschland vorhandenen Oelbilder verstorbener Maler aller Schulen, in alphabetischer Folge zusammengestellt.</em> Berlin, Germany: Nicolaische, 1863.", "page_number": "Reproduced: p. 339, vol. II", "url": null}, {"citation": "De Ris, L. Cl\u00e9ment. \"Le Mus\u00e9e de Frankfort-sur-le-Mein.\" <em>Revue Universelle des Arts </em>XIX (1864): 344-353.", "page_number": "Mentioned: p. 347", "url": null}, {"citation": "Vosmaer, Carel. <em>Rembrandt, Sa Vie et Ses Oeuvres.</em> La Haye: M. Nijhoff, 1877.", "page_number": "Mentioned: p. 508", "url": null}, {"citation": "Bode, Wilhelm von. <em>Studien zur Geschichte der Holla\u0308ndischen Malerei.</em> Braunschweig: F. Vieweg und Sohn, 1883.", "page_number": "Reproduced: p. 405", "url": null}, {"citation": "Dutuit, Euge\u0300ne. <em>L'\u0153uvre Complet de Rembrandt.</em> Paris: A. Le\u0301vy, 1883.", "page_number": "Mentioned: p. 29", "url": null}, {"citation": "Bode, Wilhelm von. <em>The Complete Work of Rembrandt, History, Description and Heliographic Reproduction of All the Master's Pictures, with a Study of His Life and His Art.</em> Paris: C. Sedelmeyer, 1897.", "page_number": null, "url": null}, {"citation": "Bode, Wilhelm von, C. Hofstede de Groot, and Florence Simmonds. <em>The Complete Work of Rembrandt, History, Description and Heliographic Reproduction of All the Master's Pictures, with a Study of His Life and His Art. </em>Paris: C. Sedelmeyer, 1897.", "page_number": "Reproduced: Vol. II, no. 117; mentioned: Vol. II, p. 11", "url": null}, {"citation": "Sedelmeyer, Charles. <em>Illustrated Catalogue of 300 Paintings by Old Masters of the Dutch, Flemish, Italian, French, and English Schools</em>, Paris, France: [Printed for Ch. Sedelmeyer by Lahure], 1898.", "page_number": "Reproduced: p. 142, no. 125", "url": null}, {"citation": "Wurzbach, Alfred von. <em>Niederla\u0308ndisches Ku\u0308nstler-Lexikon; auf Grund archivalischer Forschungen bearbeitet.</em> Wien, Austria: Halm und Goldmann, 1906.", "page_number": "Reproduced: p. 413, vol. II", "url": null}, {"citation": "Hofstede de Groot, C. P. <em>A Catalogue Raisonne\u0301 of the Works of the Most Eminent Dutch Painters of the Seventeenth Century.</em> London, United Kingdom: Macmillan and Co, 1908.", "page_number": "Reproduced: p. 387, no. 846, vol. VI", "url": null}, {"citation": "Rosenberg, Adolf, and Wilhelm Reinhold Valentiner. <em>Rembrandt; des Meisters Gema\u0308lde,</em> Stuttgart, Germany: Deutsche Verlags-Anstalt, 1909.", "page_number": "Reproduced: no. 207", "url": null}, {"citation": "Voss, Hermann. \"Ausstellung von bildnissen des XV bis XVIII, Jahrhunderts aus dem Privatbesitz der Mitglieder des Kaiser Friedrich-Museum-Vereines zu Berlin.\" <em>Der Cicerone: Halbmonatsschrift fu\u0308r die Interessen des Kunstforschers und Sammlers </em>I (1909): 287-290.", "page_number": "Mentioned: p. 287", "url": null}, {"citation": "Rosenberg, Adolf. <em>The Work of Rembrandt Reproduced in Over Five Hundred Illustrations.</em> New York, NY: Brentano's, 1913.", "page_number": "Reproduced: p. 207", "url": null}, {"citation": "Bangel, Rud. \"Die Kunst suf dem Internationalen Markt II\" <em>Der Cicerone: Halbmonatsschrift fu\u0308r die Interessen des Kunstforschers und Sammlers </em>VI (1914): 44-51.", "page_number": "Mentioned: p. 46", "url": null}, {"citation": "Errera, Isabelle.<em> Re\u0301pertoire des peintures date\u0301es, par Isabella Errera. </em>Bruxelles, Belgium: G. van Oest &amp; cie, 1920.", "page_number": "Reproduced: p. 210, vol. 1", "url": null}, {"citation": "Meldrum, David Storrar. <em>Rembrandt's Paintings, With an Essay on His Life and Work</em>. London: Methuen and Co. Ltd, 1923.", "page_number": "Reproduced: p. 190, pl. CLX", "url": null}, {"citation": "Valentiner, Wilhelm Reinhold. <em>Rembrandt Paintings in America.</em> New York, NY: S.W. Frankel, 1931.", "page_number": "Reproduced: pl. 56", "url": null}, {"citation": "Bredius, Abraham. <em>The Paintings of Rembrandt.</em> Vienna, Austria: Phaidon-Verlag, 1936.", "page_number": "Reproduced: p. 14, no. 350", "url": null}, {"citation": "Cleveland Museum of Art. <em>Catalogue of the Twentieth Anniversary Exhibition of the Cleveland Museum of Art: The Official Art Exhibit of the Great Lakes Exposition : June Twenty-Sixth to October Fourth 1936.</em> [Cleveland, Ohio]: [Cleveland Museum of Art], 1936.", "page_number": "Mentioned: p. 91-92, no. 229; Reproduced: pl. XLIX", "url": null}, {"citation": "Milliken, William M. \"Twentieth Anniversary Exhibition of the Cleveland Museum of Art.\" <em>ARTnews </em>34 (June 13, 1936): 6-14.", "page_number": "Mentioned: p. 12", "url": null}, {"citation": "<em>Catalogue of the Elisabeth Severance Prentiss Collection : Bequest of Elisabeth Severance Prentiss, 1944.</em> [Cleveland]: The Cleveland Museum of Art, 1944.", "page_number": "Reproduced: p. [18], Plate VI, cat. no. 12; Mentioned: p. 27, cat. no. 12", "url": "https://archive.org/details/Prentiss/page/n31"}, {"citation": "Francis, Henry S. \"\"Paintings in the Prentiss Bequest.\" <em>The Bulletin of the Cleveland Museum of Art XXXI, </em>no. 6 (June 1944): 87-89.", "page_number": "Mentioned: p. 88; Reproduced: p. 95", "url": null}, {"citation": "<em>Paintings in the Cleveland Museum of Art.</em> [Cleveland]: The Cleveland Museum of Art, 1945.", "page_number": "Reproduced: p. 22", "url": "https://archive.org/details/CMAPaintings1945/page/n30"}, {"citation": "Francis, Henry Sayles. <em>Paintings in the Cleveland Museum of Art</em>. no. 1, 1945.", "page_number": "Reproduced: p. 22", "url": null}, {"citation": "Comstock, H. \"Prentiss Collection.\" <em>The Connoisseur </em>115 (March 1945): 43.", "page_number": "Mentioned and Reproduced: p. 43", "url": null}, {"citation": "Francis, Henry. \"Rembrandt's 'Portrait of a Young Student.'\" <em>The Bulletin of the Cleveland Museum of Art </em>37, no. 9 (November 1950): 191-193.", "page_number": "Mentioned: p. 193", "url": "https://www.jstor.org/stable/25141663"}, {"citation": "The Cleveland Museum of Art. <em>The Cleveland Museum of Art Handbook.</em> Cleveland, OH: The Cleveland Museum of Art, 1958.", "page_number": "Mentioned and Reproduced: cat. no. 448", "url": "https://archive.org/details/CMAHandbook1958/page/n82"}, {"citation": "Saisselin, Re\u0301my G. S<em>tyle, Truth, and the Portrait</em>. [Cleveland]: Cleveland Museum of Art, 1963.", "page_number": "Reproduced: no. 16", "url": null}, {"citation": "Gimpel, Rene\u0301. Journal d'un collectionneur, marchand de tableaux. [Paris]: Calmann-Le\u0301vy, 1963.", "page_number": "Mentioned: p. 236", "url": null}, {"citation": "Saisselin, Re\u0301my G. <em>Style, Truth, and the Portrait</em>. [Cleveland]: Cleveland Museum of Art, 1963.", "page_number": "Mentioned: cat. no. 16", "url": null}, {"citation": "Bauch, Kurt. <em>Rembrandt Gema\u0308lde.</em> Berlin, Germany: W. de Gruyter, 1966.", "page_number": "Reproduced: no, 485, Listed: p. 25", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 123", "url": "https://archive.org/details/CMAHandbook1966/page/n147"}, {"citation": "Gerson, H., and Gary Schwartz. <em>Rembrandt Paintings</em>. Amsterdam, Netherlands: Reynal &amp; Co, 1968.", "page_number": "Mentioned: p. 294-295, and 495", "url": null}, {"citation": "Bredius, Abraham and H. Gerson. <em>The Complete Edition of the Paintings [of] Rembrandt.</em> London, United Kingdom: Phaidon, 1969.", "page_number": "Reproduced: p. 274", "url": null}, {"citation": "<em>L'opera pittorica completa di Rembrandt.</em> Milano, Italy: Rizzoli, 1969.", "page_number": "Reproduced: p. 169", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 123", "url": "https://archive.org/details/CMAHandbook1969/page/n147"}, {"citation": "<em>Rembrandt After Three Hundred Years: A Symposium, Rembrandt and His Followers.</em> Chicago, IL: Art Institute of Chicago, 1973.", "page_number": "Mentioned: p. 34-35", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 158", "url": "https://archive.org/details/CMAHandbook1978/page/n178"}, {"citation": "Morse, John D. <em>Old Master Paintings in North America: Over 3000 Masterpieces by 50 Great Artists</em>. New York, NY: Abbeville Press, 1979.", "page_number": "Reproduced: p. 232", "url": null}, {"citation": "Bruyn, J., Ernst van de Wetering, C. J. van Nes, and Murray Pearson. <em>A Corpus of Rembrandt Paintings.</em> The Hague, Netherlands: M. Nijhoff Publishers, 1982.", "page_number": "Mentioned and Reproduced: p. 661-667", "url": null}, {"citation": "D' Argencourt, Louise and Roger Diederen. <em>The Cleveland Museum of Art: Catalogue of Painting, Part Three.</em> Cleveland, OH: The Cleveland Museum of Art, 1982.", "page_number": "Reproduced: p. 112", "url": null}, {"citation": "The Cleveland Museum of Art. <em>The Cleveland Museum of Art Catalogue of Paintings, Part 3: European Paintings of the 16th, 17th, and 18th Centuries</em>. Cleveland, OH: The Cleveland Museum of Art, 1982.", "page_number": "Mentioned: p. 256-258; Reproduced: p. 257", "url": null}, {"citation": "Levey, Santina M. <em>Lace: A History</em>. London, United Kingdom: Victoria and Albert Museum, 1983.", "page_number": "Reproduced: pl. 140", "url": null}, {"citation": "Schwartz, Gary.<em> Rembrandt: zijn leven, zijn schilderijen : een nieuwe biografie met alle beschikbare schilderijen in klur afgebeeld</em>. Maarssen, Netherlands: Uitgeverij Gary Schwartz, 1984.", "page_number": "Reproduced: p. 164", "url": null}, {"citation": "Schwartz, Gary. <em>Rembrandt: His Life, His Paintings</em>, New York, N.Y: Viking, 1985.", "page_number": "Reproduced: p. 165", "url": null}, {"citation": "Sutton, Peter C. A <em>Guide to Dutch Art in America.</em> Washington, D.C.: Netherlands-American Amity Trust, 1986.", "page_number": "Mentioned: p. 66", "url": null}, {"citation": "Guillaud, Jacqueline, and Maurice Guillaud. <em>Rembrandt, the Human Form and Spirit.</em>. Paris, France: Guillaud Editions, 1986.", "page_number": "Reproduced: p. 292, fig. 345", "url": null}, {"citation": "<em>Rembrandt: Portrait of a Man in a Broad-brimmed Hat, Portrait of a Woman</em> = Renburanto : fu\u0304fu no sho\u0304zo\u0304. Chiba-ken Sakura-shi: Kawamura Kinen Bijutsukan, 1992.", "page_number": "Mentioned and Reproduced: p. 3, 6, 8, 9", "url": null}, {"citation": "<em>Renburanto: kare to shi to deshitachi ten</em>. Tokyo, Japan: Tokyo Shinbun, 1992.", "page_number": "Reproduced: p. 31, cat. 8", "url": null}, {"citation": "Van Thiel, P. J. J. \"De Rembrandt-tentoonstelling Van 1898.\" <em>Bulletin Van Het Rijksmuseum</em> 40, no. 1 (1992): 11-93.", "page_number": "Reproduced: p. 78", "url": null}, {"citation": "Cleveland Museum of Art, and Alan Chong. <em>European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogue</em>. Cleveland, OH: Cleveland Museum of Art, 1993.", "page_number": "Reproduced: p. 193", "url": null}, {"citation": "Tu\u0308mpel, Christian, Astrid Tu\u0308mpel, Ivan Gaskell, and Christian Tu\u0308mpel. <em>Rembrandt: All Paintings in Colour.</em> Antwerp, Belgium: Fonds Mercator, 1993.", "page_number": "Reproduced: p. 93", "url": null}, {"citation": "<em>20 Stories</em>: Kawamura Kinen Bijutsukan gaidobukku. Chiba-ken Sakura-shi: Kawamura Kinen Bijutsukan, 1994.", "page_number": "Reproduced: p. 3", "url": null}, {"citation": "Giltaij,Jeroen and Shinji Hata. <em>Rembrandt Rembrandt</em>. Hakko\u0304, Japan: Shiboruto zaidan, 2002.", "page_number": "Mentioned: p. 92-93; Reproduced: p. 93", "url": null}, {"citation": "Bleker, E. J.,and A. A. H. Bleker-Poot. <em>Rembrandt en de Blekerfamilie. </em>Lochem, Netherlands: Silverborgh B.V., 2005.", "page_number": "Mentioned: p. 107, vol. 1", "url": null}, {"citation": "Bleker, E. J.,and A. A. H. Bleker-Poot. <em>Rembrandt en de Blekerfamilie. </em>Lochem, Netherlands: Silverborgh B.V., 2005.", "page_number": "Mentioned: p. 335, vol 2", "url": null}, {"citation": "Kawamura Kinen Bijutsukan. <em>Kawamura Memorial Museum of Art</em>. Tokyo: DIC Corporation, 2008.", "page_number": "Reproduced: vol. 1, p. 18, fig. 1", "url": null}, {"citation": "Yoder, Dean. \"Mapping Rembrandt.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 52, no. 2 (March/April 2012): 4-5.", "page_number": "Mentioned and reproduced: p. 4-5", "url": "https://archive.org/details/CMAMM2012-02/page/n3/mode/2up"}, {"citation": "Ribbens, Arjen. \"De Kunstdetective Twijfelt Niet: 'Dit is Maria van Aelst,'\" <em>NRC Handelsblad </em>(January 16, 2020).", "page_number": "", "url": "https://www.nrc.nl/nieuws/2020/01/16/de-kunstdetective-twijfelt-niet-dit-is-maria-van-aelst-a3986982"}, {"citation": "Giltaij, Jeroen, and Rembrandt Harmenszoon van Rijn. Het grote Rembrandt boek: alle 684 schilderijen. Zwolle : WBOOKS, 2022.", "page_number": "Mentioned and reproduced: p. 246, no. 384", "url": ""}], "url": "https://clevelandart.org/art/1944.90", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1944.90/1944.90_web.jpg", "width": "738", "height": "900", "filesize": "146308", "filename": "1944.90_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1944.90/1944.90_print.jpg", "width": "2789", "height": "3400", "filesize": "1504189", "filename": "1944.90_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1944.90/1944.90_full.tif", "width": "5738", "height": "6995", "filesize": "120451340", "filename": "1944.90_full.tif"}}, "alternate_images": [{"web": {"url": "https://openaccess-cdn.clevelandart.org/1944.90/1944.90_alt0_web.jpg", "width": "900", "height": "675", "filesize": "195713"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1944.90/1944.90_alt0_print.jpg", "width": "3400", "height": "2550", "filesize": "2237083"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1944.90/1944.90_alt0_full.tif", "width": "7743", "height": "5807", "filesize": "134927656"}, "date_created": "2015-04-06T15:14:58", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1944.90/1944.90_alt1_web.jpg", "width": "786", "height": "900", "filesize": "213787"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1944.90/1944.90_alt1_print.jpg", "width": "2969", "height": "3400", "filesize": "2962828"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1944.90/1944.90_alt1_full.tif", "width": "5385", "height": "6166", "filesize": "99640152"}, "date_created": "2014-05-19T14:11:47", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1944.90/1944.90_alt2_web.jpg", "width": "797", "height": "900", "filesize": "225709"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1944.90/1944.90_alt2_print.jpg", "width": "3010", "height": "3400", "filesize": "1407904"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1944.90/1944.90_alt2_full.tif", "width": "6000", "height": "6777", "filesize": "122015696"}, "date_created": "2014-05-19T11:26:40", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1944.90/1944.90_alt3_web.jpg", "width": "760", "height": "900", "filesize": "337232"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1944.90/1944.90_alt3_print.jpg", "width": "2872", "height": "3400", "filesize": "2950794"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1944.90/1944.90_alt3_full.tif", "width": "6000", "height": "7104", "filesize": "127904992"}, "date_created": "2013-07-16T09:20:17", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1944.90/1944.90_alt4_web.jpg", "width": "1193", "height": "893", "filesize": "737931"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1944.90/1944.90_alt4_print.jpg", "width": "3400", "height": "2545", "filesize": "6548363"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1944.90/1944.90_alt4_full.tif", "width": "6668", "height": "4992", "filesize": "99891328"}, "date_created": "2011-05-06T16:47:10", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1944.90/1944.90_alt5_web.jpg", "width": "1193", "height": "893", "filesize": "157406"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1944.90/1944.90_alt5_print.jpg", "width": "3400", "height": "2545", "filesize": "1283271"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1944.90/1944.90_alt5_full.tif", "width": "6668", "height": "4992", "filesize": "99889132"}, "date_created": "2011-05-06T16:47:10", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1944.90/1944.90_alt6_web.jpg", "width": "737", "height": "893", "filesize": "396200"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1944.90/1944.90_alt6_print.jpg", "width": "2806", "height": "3400", "filesize": "1986067"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1944.90/1944.90_alt6_full.tif", "width": "3859", "height": "4676", "filesize": "54164980"}, "date_created": "2007-01-22T20:06:07", "annotation": ""}], "creditline": "The Elisabeth Severance Prentiss Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "The Harold C. Schott Foundation Gallery", "athena_id": 124089, "creators": [{"id": 2520, "description": "Rembrandt van Rijn (Dutch, 1606\u20131669)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1606", "death_year": "1669", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 61762, "description": "Studio", "extent": null, "qualifier": "and", "role": "artist", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1944-03-17T00:00:00", "sortable_date": 1630, "date_added_to_oa": null, "date_text": "1635 or earlier", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": "The oak panel is in remarkably good condition without any planar distortions. The top, bottom, and side edges on the reverse of the panel have been chamfered, but not along the curved portion, indicating that the panel was originally a rectangular format, a conclusion that has not been questioned to date. <br><br>The panel was prepared by first applying a thin, continuous layer of chalk ground (identified as calcium carbonate) to lightly fill the wood grain of the panel. This initial chalk ground was then covered with a warm yellow-brown color of thin priming or primuesel layer composed of a mixture of lead white, chalk, and earth pigments, bound in oil. Layers of paint were then built up in a manner similar to other paintings on wood panel by Rembrandt from this period. After the priming layer was laid down, translucent dark brown washes were first applied to work out the general forms of the portrait. Next, a neutral, grayish-green monochromatic paint, sometimes referred to as dead coloring, was thinly applied as a base for the successive build up for the more textured and opaque layers of the sitter\u2019s face. Areas of shadow in the face, under the lips, around the nose, under the eyebrows, and along the proper left side of the face were intentionally left in reserve by Rembrandt to preserve a rich translucency that he would exploit in the final stages of painting. The X-radiograph reveals Rembrandt's use of lead white to build up impasto. More thickly applied areas of lead white block more X-rays, appearing lighter.<br><br>Subtle glazes in the sitter\u2019s face were abraded from an early varnish removal before entering the collection. Past restoration attempts to correct these damages in the uppermost paint layers were not successful. Therefore, in 2013, an in-depth conservation treatment was designed to address passages where glazes had been stripped away. Inpainting was carried out in a systematic manner, rebuilding the paint layers and glazes in the order that the artist would have applied them. One of the key strategies behind the recent inpainting was to preserve the artist\u2019s intended use of the warm underlayer that was left in reserve for rich shadows and soft transitions.", "has_conservation_images": true, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Portrait of a Lady"], "is_highlight": false, "updated_at": "2026-05-29 06:23:57.210000"}, {"id": 143466, "accession_number": "1967.4", "share_license_status": "Copyrighted", "tombstone": "Relational Painting Tondo No. 12, 1949. Fritz Glarner (American, born Switzerland, 1899\u20131972). Oil on masonite panel; framed: 46.5 x 45.5 x 6.5 cm (18 5/16 x 17 15/16 x 2 9/16 in.); diameter: 34.3 cm (13 1/2 in.). The Cleveland Museum of Art, Contemporary Collection of The Cleveland Museum of Art, 1967.4", "current_location": null, "title": "Relational Painting Tondo No. 12", "creation_date": "1949", "creation_date_earliest": 1949, "creation_date_latest": 1949, "artists_tags": ["male"], "culture": ["United States"], "technique": "oil on masonite panel", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 46.5 x 45.5 x 6.5 cm (18 5/16 x 17 15/16 x 2 9/16 in.); Diameter: 34.3 cm (13 1/2 in.)", "dimensions": {"framed": {"height": 0.465, "height_inch": 18, "height_inch_fraction": 0.3125, "width": 0.455, "width_inch": 17, "width_inch_fraction": 0.9375, "depth": 0.065, "depth_inch": 2, "depth_inch_fraction": 0.5625}, "diameter": {"height": 0.343, "height_inch": 13, "height_inch_fraction": 0.5}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right: Glarner 49 \r\nWritten on back: Tondo No. 12 Paris 1949", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301129, "title": "Year in Review: 1967", "description": "<i>Year in Review: 1967</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 29-December 31, 1967).", "opening_date": "1967-11-29T05:00:00"}, {"id": 445092, "title": "Mondrian and American Abstraction", "description": "<i>Mondrian and American Abstraction</i>. Museum of Contemporary Art, Chicago, Chicago, IL (organizer) (March 31-May 13, 1973).", "opening_date": "1973-03-31T05:00:00"}, {"id": 181802, "title": "The Persistence of Geometry: Form, Content and Culture in the Collection of the Cleveland Museum of Art", "description": "<i>The Persistence of Geometry: Form, Content and Culture in the Collection of the Cleveland Museum of Art</i>. Museum of Contemporary Art Cleveland (MOCA), Cleveland, OH (June 9-August 20, 2006).", "opening_date": "2006-06-09T00:00:00"}], "legacy": [{"description": "MOCA Cleveland (6/9/2006 - 8/20/2006):  \"The Persistence of Geometry: Form, Content and Culture in the Collection of the Cleveland Museum of Art\", no. 86, p. 121, color repr. p. 33.", "opening_date": "2006-06-09T00:00:00"}]}, "provenance": [{"description": "G. David Thompson (1899\u20131965), Pittsburgh, PA.", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "[B.C. Holland Gallery, Chicago]", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, Ohio, purchased in 1967.", "citations": [], "footnotes": null, "date": null, "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Fritz Glarner painted a large mural for the Dag Hammarskj\u00f6ld Library at the United Nations Headquarters in New York City.", "early_education_description": null, "artlens_description": null, "description": "During the mid-1900s, Swiss-born American artist Fritz Glarner launched a series of geometric abstractions that he called Relational Paintings. These works feature blocks and wedges of solid color with varying width. Occasionally the artist used a round format, as is the case here. He labeled these paintings tondos, an Italian term describing a circular work of art.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60469876"], "internet_archive": []}, "citations": [{"citation": "\u201cYear in Review.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 54, no. 10 (December 1967): 302\u2013346.", "page_number": "Mentioned: p. 346, no. 135; Reproduced: p. 329", "url": "http://www.jstor.org/stable/25152183"}, {"citation": "Diller, Burgoyne, Leon Polk Smith, and Edward B. Henning. \u201cTwo New Paintings in the Neo-Plastic Tradition.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 62, no. 4 (April 1975): 106\u2013119.", "page_number": "Mentioned and reproduced: p. 106-107, fig. 2", "url": "http://www.jstor.org/stable/25152584"}, {"citation": "Neet, Jane. \u201cMondrian\u2019s \u2018Chrysanthemum.\u2019\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 74, no. 7 (September 1987): 282\u2013303.", "page_number": "Mentioned and reproduced: p. 286, fig. 6", "url": "http://www.jstor.org/stable/25159997"}, {"citation": "Sims, Lowery Stokes. <em>The Persistence of Geometry: Form, Content, and Culture in the Collection of the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2006.", "page_number": "Mentioned and reproduced: P. 32-33, no. 86", "url": ""}], "url": "https://clevelandart.org/art/1967.4", "images": {}, "alternate_images": [], "creditline": "Contemporary Collection of The Cleveland Museum of Art", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 143466, "creators": [{"id": 3450, "description": "Fritz Glarner (American, born Switzerland, 1899\u20131972)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1899", "death_year": "1972", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1968-01-12T00:00:00", "sortable_date": 1949, "date_added_to_oa": null, "date_text": "1949", "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": "2026-10-06 20:50:19.085000"}, {"id": 124245, "accession_number": "1945.24", "share_license_status": "Copyrighted", "tombstone": "La Vie, 1903. Pablo Picasso (Spanish, 1881\u20131973). Oil on canvas; framed: 239 x 170 x 10 cm (94 1/8 x 66 15/16 x 3 15/16 in.); unframed: 196.5 x 129.2 cm (77 3/8 x 50 7/8 in.). The Cleveland Museum of Art, Gift of the Hanna Fund, 1945.24. \u00a9 Estate of Pablo Picasso / Artists Rights Society (ARS), New York", "current_location": "223 20th Century Avant-Garde", "title": "La Vie", "creation_date": "1903", "creation_date_earliest": 1903, "creation_date_latest": 1903, "artists_tags": ["male", "Latine and Hispanic Artists"], "culture": ["Spain"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 239 x 170 x 10 cm (94 1/8 x 66 15/16 x 3 15/16 in.); Unframed: 196.5 x 129.2 cm (77 3/8 x 50 7/8 in.)", "dimensions": {"framed": {"height": 2.39, "height_inch": 94, "height_inch_fraction": 0.125, "width": 1.7, "width_inch": 66, "width_inch_fraction": 0.9375, "depth": 0.1, "depth_inch": 3, "depth_inch_fraction": 0.9375}, "unframed": {"height": 1.965, "height_inch": 77, "height_inch_fraction": 0.375, "width": 1.292, "width_inch": 50, "width_inch_fraction": 0.875}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of Pablo Picasso / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "Signed upper left: \"Picasso\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301477, "title": "In Memoriam: Leonard C. Hanna, Jr.", "description": "<i>In Memoriam: Leonard C. Hanna, Jr.</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 4-April 7, 1958).", "opening_date": "1958-03-04T05:00:00"}, {"id": 518205, "title": "Picasso", "description": "<i>Picasso</i>. Tate Britain, London (July 5-September 18, 1960).", "opening_date": "1960-07-05T04:00:00"}, {"id": 515796, "title": "Picasso and the Theatre", "description": "<i>Picasso and the Theatre</i>. Mus\u00e9e des Augustins, Toulouse, France (organizer) (June 22-September 15, 1965).", "opening_date": "1965-06-22T04:00:00"}, {"id": 516237, "title": "Hommage a Pablo Picasso, Peintures", "description": "<i>Hommage a Pablo Picasso, Peintures</i>. Galeries Nationales du Grand Palais, 75008 Paris, France (November 20, 1966-February 12, 1967).", "opening_date": "1966-11-20T05:00:00"}, {"id": 442780, "title": "Pablo Picasso: A Retrospective", "description": "<i>Pablo Picasso: A Retrospective</i>. The Museum of Modern Art, New York, NY (organizer) (May 22-September 16, 1980).", "opening_date": "1980-05-22T04:00:00"}, {"id": 442184, "title": "Pablo Picasso", "description": "<i>Pablo Picasso</i>. The National Museum of Modern Art, Tokyo, Tokyo, Japan (organizer) (co-organizer) (April 2-May 29, 1983); Kyoto Municipal Museum of Art, Kyoto, Japan (co-organizer) (June 10-July 24, 1983).", "opening_date": "1983-04-02T05:00:00"}, {"id": 442154, "title": "Pablo Picasso: Fruhwerk und Blaue Periode (Pablo Picasso: Early Work and the Blue Period)", "description": "<i>Pablo Picasso: Fruhwerk und Blaue Periode (Pablo Picasso: Early Work and the Blue Period)</i>. Kunstmuseum Bern, Bern, Switzerland (organizer) (December 6, 1984-February 17, 1985).", "opening_date": "1984-12-06T05:00:00"}, {"id": 177096, "title": "Picasso:  The Early Years, 1892-1906", "description": "<i>Picasso:  The Early Years, 1892-1906</i>. National Gallery of Art (organizer) (March 30-July 27, 1997); Museum of Fine Arts, Boston (September 10, 1997-January 4, 1998).", "opening_date": "1997-03-30T00:00:00"}, {"id": 218074, "title": "Picasso: The Artist's Studio", "description": "<i>Picasso: The Artist's Studio</i>. Wadsworth Atheneum Museum of Art, Hartford, CT (organizer) (June 7-September 23, 2001); The Cleveland Museum of Art, Cleveland, OH (October 28, 2001-January 6, 2002).", "opening_date": "2001-06-07T00:00:00"}, {"id": 179631, "title": "CMA Highlights", "description": "<i>CMA Highlights</i>. The Cleveland Museum of Art (organizer) (June 21-September 11, 2005).", "opening_date": "2005-06-21T00:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. Vancouver Art Gallery, Vancouver, Canada (June 9-September 16, 2007); The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008); Frist Art Museum, Nashville, TN (February 15-June 1, 2008); Utah Museum of Fine Arts, Salt Lake City, UT (June 22-September 21, 2008); The Detroit Institute of Arts, Detroit, MI (October 12, 2008-January 18, 2009).", "opening_date": "2006-05-27T00:00:00"}, {"id": 220287, "title": "Picasso: Tradici\u00f3n y Vanguardia", "description": "<i>Picasso: Tradici\u00f3n y Vanguardia</i>. Museo Nacional del Prado, Madrid, Spain (organizer) (June 5-September 17, 2006).", "opening_date": "2006-06-05T00:00:00"}, {"id": 206339, "title": "Barcelona & Modernity: Picasso, Gaud\u00ed, Mir\u00f3, Dal\u00ed (1868-1939)", "description": "<i>Barcelona & Modernity: Picasso, Gaud\u00ed, Mir\u00f3, Dal\u00ed (1868-1939)</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 15, 2006-January 7, 2007); The Metropolitan Museum of Art, New York, NY (co-organizer) (March 4-June 3, 2007).", "opening_date": "2006-10-15T00:00:00"}, {"id": 200271, "title": "Picasso and the Mysteries of Life: La Vie", "description": "<i>Picasso and the Mysteries of Life: La Vie</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 12, 2012-April 21, 2013); Museu Picasso, Barcelona, Spain (October 10, 2013-January 19, 2014).", "opening_date": "2012-12-12T05:00:00"}, {"id": 218167, "title": "Lend-Back:  Painting the Modern Garden", "description": "<i>Lend-Back:  Painting the Modern Garden</i>. Wadsworth Atheneum Museum of Art, Hartford, CT (organizer) (September 11-December 7, 2015).", "opening_date": "2015-09-11T00:00:00"}, {"id": 291274, "title": "Picasso: Blue and Rose", "description": "<i>Picasso: Blue and Rose</i>. Mus\u00e9e d'Orsay, Paris, France (organizer) (September 18, 2018-January 6, 2019); Fondation Beyeler, CH-4125 Riehen/Basel, Switzerland (February 3-June 16, 2019).", "opening_date": "2018-09-18T04:00:00"}, {"id": 317581, "title": "Picasso and Paper", "description": "<i>Picasso and Paper</i>. Royal Academy of Arts, London, United Kingdom of Great Britain and Northern Ireland (organizer) (co-organizer) (January 25-August 2, 2020) https://www.royalacademy.org.uk/exhibition/picasso-and-paper; The Cleveland Museum of Art, Cleveland, OH (co-organizer) (December 8, 2024-March 23, 2025).", "opening_date": "2024-12-08T05:00:00"}], "legacy": [{"description": "<em>The Art of the Third Republic: French Painting 1870-1940, </em>Worcester Art Museum, Worcester, MA (February 22 - March 16, 1941).", "opening_date": "1941-02-22T05:00:00Z"}, {"description": "<em>Picasso: Forty Years of His Art, </em>Museum of Modern Art, New York. (November 15, 1939 - January 7, 1940).", "opening_date": "1939-11-15T05:00:00Z"}, {"description": "<em>Picasso, </em>Kunsthaus Z\u00fcrich (September 11-October 30, 1932).", "opening_date": "1932-09-11T04:00:00Z"}, {"description": "<em>Exposition Picasso</em>, Galeries Georges Petit, Paris (June 16-July 30, 1932).", "opening_date": "1932-06-16T04:00:00Z"}, {"description": "<em>Thirty Years of Pablo Picasso, </em>Reid and Lef\u00e8vre Gallery (June 1931).", "opening_date": "1931-06-01T04:00:00Z"}, {"description": "<em>Erste Sonderausstellung in Berlin, </em>Galerien Thannhauser (January 9- mid-February 1927).", "opening_date": "1927-01-09T05:00:00Z"}]}, "provenance": [{"description": "Sebasti\u00e0 Junyent [1865-1908], Barcelona, Spain (acquired from Picasso along with The Old Jews in 1904 for 500 pesetas)", "citations": [], "footnotes": [], "date": "1904", "sortorder": 1}, {"description": "(Ambroise Vollard, Paris, France)", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "(Justin K. Thannhauser [1892-1976], Munich/Berlin/Lucerne, acquired by 1926)", "citations": [], "footnotes": [], "date": "1926", "sortorder": 3}, {"description": "(Reid & Lefevre, London, United Kingdom, by 1931, shared with Thannhauser)", "citations": [], "footnotes": null, "date": "1931", "sortorder": 4}, {"description": "(Etienne Bignou, Paris,France, by 1932, shared with Thannhauser and Reid & Lefevre)", "citations": [], "footnotes": [], "date": "1932", "sortorder": 5}, {"description": "Rhode Island School of Design, Providence, RI, 1937", "citations": [], "footnotes": null, "date": "1937", "sortorder": 6}, {"description": "(Theodore Schempp [1904-1988], New York, NY,1944)", "citations": [], "footnotes": [], "date": "1944", "sortorder": 7}, {"description": "(Jacques Seligmann and Company, New York, NY,1944)", "citations": [], "footnotes": null, "date": "1944-1945", "sortorder": 8}, {"description": "(Jacques Seligmann and Company, New York, NY, 1945 sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "1945", "sortorder": 9}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1945-", "sortorder": 10}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Picasso began drawing as a child and studying at an art school at age eleven. He later remarked that \"art is a lie that makes us realize the truth.\"", "early_education_description": null, "artlens_description": null, "description": "The subject of this painting has been interpreted variously as a realistic portrayal of a working-class couple facing the challenges of poverty and as a symbolic representation of the cycle of life, with the infant representing childhood, the couple representing youth, and the draped woman representing age. In 1901, depressed by the suicide of his friend, the poet and painter Carles Casagemas, Pablo Picasso began the melancholic paintings of his Blue Period (1901\u20134). Twenty-one years old and struggling to support himself, he restricted his palette to cool colors suggestive of night, mystery, dreams, and death. His interest in themes of suffering and social alienation culminated in this painting.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q1799228"], "internet_archive": []}, "citations": [{"citation": "\"Pablo Ruiz Picasso.\" <em>El Liberal </em>(June 4, 1903): 2.", "page_number": "Mentioned: p. 2", "url": ""}, {"citation": "Sch\u00fcrer, Oskar. \"Picassos Klassizismus,\" in <em>Die Kunst f\u00fcr Alle</em>, 27 (Munich, April 1926).", "page_number": "Reproduced: p. 204.", "url": null}, {"citation": "<em>The Arts</em>, 9. no. 2 (February 1927)", "page_number": "Reproduced frontispiece, p. 60 in bound edition.", "url": null}, {"citation": "<em>Erste Sonderausstellung in Berlin</em>. Berlin: Galerien Thannhauser, 1927.", "page_number": "Reproduced: p. 117, cat. 175", "url": null}, {"citation": "Zervos, Christian. \"Picasso: Oeuvres in\u00e9dites anciennes.\" <em>Cahiers d'art</em>, 3 (1928).", "page_number": "Reproduced: p. 109.", "url": null}, {"citation": "Gaunt, William. \"Picasso and the Cul-de-sac of Modern Painting.\" <em>Atelier </em>1, no. 3 (June 1931): 410-416.", "page_number": "Reproduced: p. 411", "url": ""}, {"citation": "Lefevre Gallery. <em>Thirty Years of Pablo Picasso : June 1931</em>. London: Alex. Reid &amp; Lefevre Ltd., 1931.", "page_number": "Mentioned and reproduced: cat. 3", "url": ""}, {"citation": "Earp, T.W. \"The Picasso Exhibition.\" <em>Apollo </em>14, no. 79 (July 1931): 40-42.", "page_number": "Mentioned and reproduced: p. 40.", "url": ""}, {"citation": "<em>Exposition Picasso</em>. Paris: Galerie Georges Petit, 1932.", "page_number": "Reproduced:  no. 17.", "url": null}, {"citation": "Zervos, Christian. <em>Pablo Picasso, Vol. 1: Oeuvres de 1895 \u00e0 1906</em>. Paris: \u00c9ditions Cahiers d'art, 1, 1932.", "page_number": "Mentioned: p. 179; Reproduced: plate 83", "url": ""}, {"citation": "George, Waldemar. \"The Picasso Exhibition.\" <em>Formes </em>25 (May 1932): 268-271.", "page_number": "Reproduced", "url": ""}, {"citation": "\"Modern Recognition.\" <em>The Art News </em>30, no. 39 (August 13, 1932): 8.", "page_number": "Reproduced: on cover.", "url": ""}, {"citation": "<em>Pablo Picasso : Kleiner Katalog : 11. September Bis 30. Oktober 1932, Kunsthaus Zu\u0308rich.</em> Zu\u0308rich: Kunsthaus, 1932.", "page_number": "Mentioned: p.2. no. 18 (as Das Leben)", "url": ""}, {"citation": "\"Art Throughout America: Providence: A Newly Acquired Picasso of the Blue Period.\" <em>The Art News </em>36, no. 11 (December 11, 1937): 16.", "page_number": "Mentioned: p. 16.", "url": ""}, {"citation": "\"When Picasso was Blue.\" <em>The Art Digest </em>12, no. 6 (December 15, 1937): 5.", "page_number": "Mentioned and Reproduced: p. 5", "url": ""}, {"citation": "Daly, D. \"La Vie, Picasso.\" <em>Bulletin of the Rhode Island School of Design </em>26, no. 1 (January 1938): 2-3.", "page_number": "Mentioned: p. 2-3; Reproduced: on cover", "url": ""}, {"citation": "Barr, Alfred H., Jr., Picasso: <em>Forty Years of His Art</em>. New York: Museum of Modern Art, 1939.", "page_number": "Reproduced: cat. no. 19.", "url": null}, {"citation": "Worcester Art Museum. <em>The Art of the Third Republic; French Painting 1870-1940.</em> [Worcester, Mass.]: [Printed by the Davis Press], 1941.", "page_number": "Mentioned and reproduced: no. 34", "url": ""}, {"citation": "Slatkin, Charles E. <em>The Enjoyment of Art in America: A Survey of the Permanent Collections of Painting, Sculpture, Ceramics, and Decorative Arts in American and Canadian Museums. </em>Philadelphia and New York: J.B. Lippincott Company, 1942.", "page_number": "", "url": ""}, {"citation": "<em>Paintings in the Cleveland Museum of Art.</em> Cleveland: Cleveland Museum of Art, 1945.", "page_number": "Reproduced: p. [6]", "url": "https://archive.org/details/CMAPaintings1945/page/n14"}, {"citation": "Francis, Henry. \"Picasso's 'La Vie.'\" <em>The Bulletin of the Cleveland Museum of Art </em>32, no. 6 (June 1945): 88, 93-94.", "page_number": "Reproduced: p. 82; Mentioned: p. 88, 93-94", "url": "https://www.jstor.org/stable/25141213"}, {"citation": "Barr, Alfred H., Jr.,<em> Picasso:</em> <em>Fifty</em> <em>Years of His Art</em>. New York: Museum of Modern Art, 1946.", "page_number": "Mentioned and reproduced: p. 26-27", "url": null}, {"citation": "M. Knoedler &amp; Co. <em>Picasso Before 1907: Loan Exhibition for the Benefit of The Public Education Association. </em>New York: Knoedler Galleries, 1947.", "page_number": "Mentioned and Reproduced: cat. 17", "url": ""}, {"citation": "<em>Picasso \"L'atelier:\" Paintings of 1956</em>. Lucerne: Galerie Rosengart, 1957.", "page_number": "Reproduced: p. 91, no. 25", "url": null}, {"citation": "The Cleveland Museum of Art. <em>The Cleveland Museum of Art Handbook.</em> Cleveland: Cleveland Museum of Art, 1958.", "page_number": "Mentioned and reproduced: cat. no. 521", "url": "https://archive.org/details/CMAHandbook1958/page/n96"}, {"citation": "<em>In Memoriam: Leonard C. Hanna, Jr.</em> Cleveland: Cleveland Museum of Art, 1958.", "page_number": "Mentioned and reproduced: no. 68", "url": ""}, {"citation": "Blunt, Anthony, and Phoebe Pool. <em>Picasso, the Formative Years; a Study of His Sources.</em> [Greenwich]: New York Graphic Society, 1962.", "page_number": "Mentioned: p. 20-21", "url": ""}, {"citation": "Milhau, Denis. <em>Picasso et Le the\u0301a\u0302tre.</em> Toulouse: Muse\u0301e des Augustins, 1965.", "page_number": "Mentioned: p. 41-42, cat. 1", "url": ""}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland: Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 196", "url": "https://archive.org/details/CMAHandbook1966/page/n220"}, {"citation": "Daix, Pierre, Georges Boudaille, and Joan Rosselet. <em>Picasso, 1900-1906: Catalogue raisonn\u00e9 de l'oeuvre peint</em>. Neuchatel: Ides et Calends, 1966-88.", "page_number": "Mentioned: 58-60, 64, and 222; Reproduced: p. 222-223, IX.13", "url": ""}, {"citation": "Sutton, Denys and Paolo Lecaldano. <em>The Complete Painting of Picasso: Blue and Rose Periods</em>. New York: Harry N. Abrams, Inc., 1968.", "page_number": "Mentioned and reproduced: p. 94, cat. 89, plate XIII", "url": ""}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland: Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 195", "url": "https://archive.org/details/CMAHandbook1969/page/n219"}, {"citation": "Hennig, Edward B. \"Pablo Picasso: Fan, Salt Box, and Melon.\" <em>The Bulletin of the Cleveland Museum of Art </em>56, no. 8 (October 1969): 273-286.", "page_number": "Mentioned and reproduced: p. 276, fig. 6", "url": "https://www.jstor.org/stable/25152288"}, {"citation": "Henning, Edward B. \u201cPablo Picasso: Bouteille, Verre, et Fourchette.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 59, no. 7 (September 1972): 195\u2013203.", "page_number": "MEntioned and reproduced: p. 196-197, fig. 3", "url": "http://www.jstor.org/stable/25152438"}, {"citation": "Penrose, Roland, John Golding, and Daniel Henry Kahnweiler. <em>Picasso, 1881-1973</em>. London: Elek, 1973.", "page_number": null, "url": null}, {"citation": "Reff, Theodore. \"Love and Death in Picasso's Early Work.\" <em>Artforum </em>11, no. 9 (May 1973): 64-73.", "page_number": "Mentioned and reproduced: p. 66, fig. 5", "url": ""}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland: Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 241", "url": "https://archive.org/details/CMAHandbook1978/page/n261"}, {"citation": "McCully, Marilyn and Robert McVaugh. \"New Light on Picasso's <em>La Vie.</em>\" <em>The Bulletin of the Cleveland Museum of Art </em>65 (February 1978): 67-71.", "page_number": "Mentioned: p. 67-71; Reproduced: p. 66", "url": "https://www.jstor.org/stable/25159566"}, {"citation": "Palau i Fabre, Josep. <em>Picasso, the Early Years, 1881-1907</em>. New York: Rizzoli, 1981.", "page_number": "Mentioned: p. 339-341, and 541; Reproduce, p. 341, no. 882", "url": ""}, {"citation": "Gedo, Mary Mathews. \"The Archaeology of a Painting: A Visit to the City of the Dead Beneath Picasso's <em>La Vie.</em>\" <em>Arts </em>56, no. 3 (November 1981): 116-129.", "page_number": "Reproduced: 116, fig. 1", "url": ""}, {"citation": "Henning, Edward B. \u201cNew Paintings by Four Artists from Britain.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 69, no. 10 (December 1982): 311\u2013323.", "page_number": "Mentioned and reproduced: p. 320-321, fig. 18", "url": "http://www.jstor.org/stable/25159795"}, {"citation": "Kitaj, R. B., and Timothy Hyman. \"A Return to London.\" <em>Kitaj Paintings, Drawings, Pastels.</em> John Ashebury, Joe Shannon, Jane Livingston, 41. New York, NY: Thames and Hudson, 1983.", "page_number": "Mentioned: p. 41", "url": null}, {"citation": "McCully, Marilyn and Ju\u0308rgen Glaesemer. <em>Der Junge Picasso: Fr\u00fchwerk Und Blaue Periode.</em> Bern: Kunstmuseum, 1984.", "page_number": "Mentioned: p.166-176 and p. 283-293; Reproduce: p. 169, p. 283 and p. 293, kat. 194", "url": ""}, {"citation": "Spies, Werner. <em>Kontinent Picasso: Ausgewa\u0308hlte Aufsa\u0308tze aus zwei Jahrzehnten.</em> Mu\u0308nchen: Prestel, 1988.", "page_number": "Mentioned and reproduced: p. 105-106, abb. 105", "url": ""}, {"citation": "Lurie, Ann Tzeutschler, and Bruce F. Miller. \u201cDelacroix\u2019s Abandoned Portrait of Maurice Sand.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 76, no. 3 (March 1989): 78\u201387.", "page_number": "Mentioned: p. 79; Reproduced: p. 82-83, figs. 4, 5", "url": "http://www.jstor.org/stable/25160065"}, {"citation": "Robinson, William H. \"Puvis De Chavannes's <em>Summer</em> and the Symbolist Avant-Garde.\" <em>The Bulletin of the Cleveland Museum of Art</em> 78, no. 1 (1991): 2-27.", "page_number": "Mentioned: p. 16", "url": "https://www.jstor.org/stable/25161310"}, {"citation": "Boggs, Jean Sutherland, Brigitte Le\u0301al, and Marie-Laure Bernadac. <em>Picasso and Things: The Still Lifes of Picasso</em>. Cleveland: Cleveland Museum of Art, 1992.", "page_number": "Reproduced: P. 344", "url": ""}, {"citation": "Daix, Pierre. <em>Picasso: Life and Art</em>. New York: Icon Editions, 1993.", "page_number": null, "url": null}, {"citation": "Gedo, Mary Mathews. <em>Looking at Art from the Inside Out : The Psychoiconographic Approach to Modern Art.</em> Cambridge: Cambridge University Press, 1994.", "page_number": "Discussed: p. 87-118; Reproduced, p. 89, fig. 28", "url": ""}, {"citation": "Daix, Pierre. <em>Dictionnaire Picasso</em>. Paris: R. Laffont, 1995.", "page_number": "Reproduced: p. 628-629, pl. 1", "url": null}, {"citation": "Asahi Shinbunsha. <em>Pikaso: 20-seiki no kyosho\u0304o</em>. Tokyo: Asahi Shinbunsha, 1995.", "page_number": "Reproduced:  fig. 8", "url": null}, {"citation": "Chipp, Herschel, Alan Wofsy, and Fernand Mourlot. <em>Picasso's paintings, watercolors, drawings and sculpture: a comprehensive illustrated catalogue, 1885-1973</em>. San Francisco: Alan Wofsy Fine Arts, 1995.", "page_number": "Reproduced: p. 24, fig. 1903-071", "url": null}, {"citation": "McCully, Marilyn and Natasha Staller. <em>Picasso: the Early Years, 1892-1906</em>. Washington, DC: National Gallery of Art, 1997.", "page_number": "Reproduced: p. 6, 190", "url": null}, {"citation": "Fukaya, Katsunori. <em>Pikaso ten: kaikan 10-shu\u0304nen kinen </em>(Pablo Picasso: 10th anniversary). Japan: Chu\u0304nichi Shinbunsha, 1998.", "page_number": "Reproduced: p. 19, no. 11", "url": null}, {"citation": "Spieler, Reinhard and Hans Belting. <em>Max Beckmann: Bildwelt und Weltbild in den Triptychen</em>. Cologne: DuMont, 1998.", "page_number": "Reproduced: p. 93, no. 15", "url": null}, {"citation": "Arnason, H. Harvard and Marla Prather. <em>History of Modern Art: Painting, Sculpture, Architecture, Photography</em>. New York, NY: Harry N. Abrams, 1998.", "page_number": "Reproduced: p. 165, pl. 87", "url": null}, {"citation": "Warncke, Carsten-Peter, Ingo F. Walther, and Michael Hulse. <em>Pablo Picasso: 1881-1973</em>. Cologne: Taschen, 1998.", "page_number": "Reproduced: p. 39", "url": null}, {"citation": "M\u00f8rstad, Erik. \"Jung og Picasso - Henderson og Pollock: Jungianismen som billedanalytisk verkt\u00f8y.\" <em>Kunst og Kultur </em>81, no. 1 (1998): 18-59.", "page_number": "Mentioned: p. 30; Reproduced, p. 36, ill. 3", "url": ""}, {"citation": "Kosinski, Dorothy M. <em>The Artist and the Camera: Degas to Picasso</em>. Dallas: Dallas Museum of Art, 1999.", "page_number": "Reproduced: p. 300, fig. 146", "url": null}, {"citation": "Richardson, John, and Marilyn McCully. <em>A Life of Picasso</em>. New York: Random House, 1991.", "page_number": "I:269-279.", "url": null}, {"citation": "Hunter, Sam, John M. Jacobus, and Daniel Wheeler. <em>Modern Art: Painting, Sculpture, Architecture</em>. New York, NY: Harry N. Abrams, 2000", "page_number": "Reproduced: p. 134, no. 222", "url": null}, {"citation": "<em>Picasso: Museo Nacional de Colombia: mayo 13-agosto 11, Bogota\u0301, 2000</em>. Bogota\u0301, Colombia: Museo Nacional de Colombia, 2000.", "page_number": "Reproduced: p. 139", "url": null}, {"citation": "Le\u0301al, Brigitte, Christine Piot, and Marie-Laure Bernadac. <em>The Ultimate Picasso</em>. New York, NY: Harry N. Abrams, 2000.", "page_number": "Reproduced: p. 69, no. 133", "url": null}, {"citation": "Cox, Neil. <em>Cubism</em>. London: Phaidon, 2000.", "page_number": "Mentioned: p. 34-35, reproduced: fig. 15", "url": null}, {"citation": "Solender, Katherine, \"From Peacocks to Picasso\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 40 no. 09, November 2000", "page_number": "Mentioned & reproduced: p. 8-9", "url": "https://archive.org/details/CMAMM2000-09/page/8"}, {"citation": "FitzGerald, Michael C., and William H. Robinson. <em>Picasso: The Artist's Studio</em>. Hartford: Wadsworth Atheneum Museum of Art and Yale University Press, 2001.", "page_number": "Mentioned: p. 98-99; p. 19, 22, 24, 63-87; Reproduced pp. 62, 98", "url": null}, {"citation": "Clair, Jean. <em>Picasso E\u0301rotique</em>. Munich: Prestel, 2001.", "page_number": "Reproduced: p. 91, fig. 5", "url": null}, {"citation": "To\u0304kyo\u0304 Sho\u0304ko\u0304 Kaigisho. <em>Kara\u0304 ko\u0304dine\u0304shon no kiso: kara\u0304 ko\u0304dine\u0304ta\u0304 kentei shiken 3-kyu\u0304 ko\u0304shiki tekisuto </em>(Introduction to color coordination). Tokyo: To\u0304kyo\u0304 Sho\u0304ko\u0304 Kaigisho, 2001", "page_number": "Reproduced: p. 28", "url": null}, {"citation": "May, Sally Ruth, Jane Takac, and Barbara J. Bradley. <em>Knockouts: A Pocket Guide</em>. Cleveland: Cleveland Museum of Art, 2001.", "page_number": "Mentioned: p. 54-55; Reproduced: p. 54", "url": null}, {"citation": "Lemoine, Serge. <em>From Puvis De Chavannes to Matisse and Picasso: Toward Modern Art</em>. Milan: Bompiani, 2002.", "page_number": "Reproduced: p. 41, fig. 19", "url": null}, {"citation": "Andersen, Wayne V. <em>Picasso's Brothel: Les Demoiselles D'Avignon</em>. New York, NY: Other Press, 2002", "page_number": "Reproduced: p. 192, fig. 19", "url": null}, {"citation": "Oca\u00f1a, Mar\u00eda Teresa. <em>Picasso joven</em>. La Corun\u0303a: Fundacio\u0301n Pedro Barrie\u0301 de la Maza, Conde de Fenosa, 2002.", "page_number": "Reproduced: p. 72", "url": null}, {"citation": "<em>Sekai bijutsukan no tabi</em>. Tokyo: Sho\u0304gakukan, 2002.", "page_number": "Reproduced: p. 310", "url": null}, {"citation": "Meyer, Richard. <em>Representing the Passions: Histories, Bodies, Visions</em>. Los Angeles: Getty Research Institute, 2003.", "page_number": "Reproduced: p. 236, fig. 10", "url": null}, {"citation": "Becht-Jo\u0308rdens, Gereon and Peter Matthias Wehmeier. <em>Picasso und die christliche Ikonographie: Mutterbeziehung und ku\u0308nstlerische Position</em>. Berlin: Reimer, 2003.", "page_number": "Reproduced: cover and fig. 1", "url": null}, {"citation": "Senzoku, Nobuyuki. <em>Seiyo\u0304 kaiga meisaku hyakuissen</em>. Tokyo: Sho\u0304gakukan, 2003.", "page_number": "Reproduced: p. 182, fig.100", "url": null}, {"citation": "<em>Picasso in Istanbul</em>. Istanbul, Turkey: Sabanci University, Sakip Sabanci Museum, 2005.", "page_number": "Reproduced: p. 19, fig. 2", "url": null}, {"citation": "Lara Elizondo, Lupina. <em>Referencias de Picasso en Me\u0301xico: ocho pintores (1900-1950): Angel Za\u0301rraga, Diego Rivera, Carlos Me\u0301rida, Manuel Rodri\u0301guez Lozano, Alfonso Michel, Rufino Tamayo, Francisco Gutie\u0301rrez, Federico Cantu\u0301</em>. Me\u0301xico, DF: Qualitas Compan\u0303i\u0301a de Seguros, 2005.", "page_number": "Reproduced: p. 53", "url": null}, {"citation": "Burgess, Margaret, \"The Colorful Mr. Hanna\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 45 no. 09, November 2005", "page_number": "Mentioned & reproduced: 6", "url": "https://archive.org/details/CMAMM2005-09/page/6"}, {"citation": "Berggruen, Olivier and Max Hollein. <em>Picasso und das Theater</em>. Ostfildern, Germany: Hatje Cantz, 2006.", "page_number": "Reproduced: p. 28, fig. 1", "url": null}, {"citation": "Adams, Laurie. <em>The Making and Meaning of Art</em>. Upper Saddle River, New Jersey: Pearson Prentice Hall, 2006.", "page_number": "Reproduced: p. 147, fig. 8.2", "url": null}, {"citation": "Serraler, Francisco Calvo and Carmen Gime\u0301nez. <em>Picasso : Tradition and Avant-Garde</em>. Madrid: Museo Nacional del Prado; Museo Nacional Centro de Arte Reina Sofi\u0301a, 2006.", "page_number": "Mentioned: p. 76-89; Reproduced: p. 77, cat. 1", "url": ""}, {"citation": "Robinson, William H., Jordi Falga\u0300s, and Carmen Belen Lord. <em>Barcelona and Modernity: Picasso, Gaudi\u0301, Miro\u0301, Dali\u0301</em>. Cleveland: Cleveland Museum of Art in association with Yale University Press, 2006.", "page_number": "Mentioned: p. 135; Reproduced p. 134", "url": null}, {"citation": "Calvo Serraller, Francisco. <em>Picasso: tradicio\u0301n y vanguardia: gui\u0301a antolo\u0301gica de la exposicio\u0301n, </em>Madrid: Fundacio\u0301n Amigos del Museo del Prado, 2006.", "page_number": "Mentioned: p. 8-9; Reproduced: p. 9", "url": null}, {"citation": "Robinson, William H., Laurence Channing, Barbara J. Bradley, and Margaret Burgess. <em>Monet to Dali\u0301: Impressionist and Modern Masterworks from the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2007.", "page_number": null, "url": null}, {"citation": "Seki, Naoko. <em>Pikaso</em>. Tokyo, Japan: Sho\u0304gakukan, 2006.", "page_number": "Reproduced: p. 51", "url": null}, {"citation": "Hall, James. <em>The Sinister Side: How Left-Right Symbolism Shaped Western Art</em>. Oxford, UK: Oxford University Press, 2008.", "page_number": "Reproduced: p. 333, fig.37", "url": null}, {"citation": "Duchting, Hajo. <em>Pablo Picasso</em>. London: Prestel, 2008.", "page_number": "Reproduced: p. 6", "url": null}, {"citation": "Yu\u0304ki, Masako. <em>Pikaso egakareta koi: yattsu no koigokoro de yomitoku pikaso no miryoku</em>. Tokyo: Sho\u0304gakukan, 2008.", "page_number": "Reproduced: p. 21", "url": null}, {"citation": "Tinterow, Gary, Susan Alyson Stein, Magdalena Dabrowski, et al. <em>Picasso in the Metropolitan Museum of Art</em>. New York: Metropolitan Museum of Art, 2010.", "page_number": "Reproduced: p. 63, fig. 22.4", "url": null}, {"citation": "Arnason, H. Harvard and Elizabeth Mansfield. <em>History of Modern Art: Painting, Sculpture, Architecture, Photography</em>. Upper Saddle River, New Jersey: Pearson Prentice Hall, 2010.", "page_number": "Reproduced: p. 160, no. 8.2", "url": null}, {"citation": "Giedion, Sigfried, Gotthard Jedlicka, and Piet Meyer. <em>Pablo Picasso in Zu\u0308rich--1932</em>. Bern, Switzerland: Meyer, 2010.", "page_number": "Reproduced: p. 80, Abb.15", "url": null}, {"citation": "Cox, Neil. <em>The Picasso Book</em>. London: Tate Publishing, 2010.", "page_number": "Reproduced: p. 10, fig. 2; Mentioned: p. 273-274", "url": null}, {"citation": "Galassi, Susan Grace and Marilyn McCully. <em>Picasso's Drawings, 1890-1921: Reinventing Tradition</em>. New Haven: Yale University Press, 2011.", "page_number": "Reproduced: p. 100, fig. 51", "url": null}, {"citation": "<em>The Picasso Project: Picasso's Paintings, Watercolors, Drawings and Sculpture: A Comprehensive Illustrated Catalogue, 1885-1973: The Blue Period, 1902-1904, Barcelona and Paris</em>. San Francisco: Alan Wofsy Fine Arts, 2011.", "page_number": "Mentioned and reproduced: p. 124, no. 1903-071", "url": ""}, {"citation": "Robinson, William H. <em>Picasso and the Mysteries of Life: La Vie</em>. Cleveland: Cleveland Museum of Art, 2012.", "page_number": "Reproduced: p. 31", "url": null}, {"citation": "Zuffi, Stefano. <em>Colour in Art</em>. Antwerpen, Belgium: Ludion, 2012.", "page_number": "Reproduced: p. 139", "url": null}, {"citation": "<em>Treasures of the Cleveland Museum of Art</em>. London: Scala Books, 2012.", "page_number": "Reproduced: p. 292-293", "url": null}, {"citation": "Ramon, Artur. <em>Nada es bello sin el azar: quince episodios sobre pintura</em>. Barcelona: Elba, 2012.", "page_number": "Reproduced: p. 137, fig. 44", "url": null}, {"citation": "Robinson, William. \"The Mysteries of Life.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 52, no. 6 (November/December 2012): 10.", "page_number": "Mentioned and Reproduced: p. 10", "url": "https://archive.org/details/CMAMM2012-06/page/n9/mode/2up"}, {"citation": "Valle\u0300s, Eduard and Isabel Cendoya. <em>Yo Picasso: self-portraits</em>. Barcelona: Ajuntament de Barcelona, Institut de Cultura: Museu Picasso, 2013.", "page_number": "Reproduced: p. 80, fig. 6, 7", "url": null}, {"citation": "Andral, Jean-Louis, Marilyn McCully, Michael Raeburn, et al. <em>Picasso dans la collection Nahmad</em>. Paris: E\u0301ditions Hazan, 2013.", "page_number": "Reproduced: p. 273-274, fig. 4; Mentioned: p. 419", "url": null}, {"citation": "Bozal Ferna\u0301ndez, Valeriano. <em>Historia de la pintura y la escultura del siglo XX en Espan\u0303a</em>. Madrid: Machado Grupo de Distribucion, 2013.", "page_number": "Reproduced: p. 45", "url": null}, {"citation": "<em>The Art Newspaper 23</em>, no. 252 (December 2013).", "page_number": "Reproduced: p. 32", "url": null}, {"citation": "Gual, Male\u0301n, Reyes Jime\u0301nez, and William H. Robinson. <em>Journey Through the Blue: La Vie. </em>Barcelona: Museu Picasso, 2013.", "page_number": "p. 103, cat. no. 20", "url": null}, {"citation": "Castan\u0303o, Antonia, Maria Teresa Ocan\u0303a, Neil Cox, Brigitte Le\u0301al, Valeriano Bozal Ferna\u0301ndez, Christopher Green. <em>Picasso en el taller</em>. Madrid: Fundaci\u00f3n MAPFRE, Instituto de Cultura, 2014.", "page_number": "Reproduced: p. 15, fig. 3", "url": null}, {"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. 294-295", "url": ""}, {"citation": "Steele, Marcia. \"A Life Before <em>La Vie</em>: A recent cleaning of Picasso's masterpiece provided a unique opportunity for further research.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 54, no. 1 (January/February 2014): 6-7.", "page_number": "Reproduced and Mentioned: p. 6-7", "url": "https://archive.org/details/CMAMM2015-06"}, {"citation": "Steele, Marcia. \u201cA Life Before <em>La Vie</em>.\u201d  <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>54, no. 1 (January/February 2014): 6-7.", "page_number": "Reproduced: p. 7;  Mentioned: p. 6, 7", "url": "https://archive.org/details/CMAMM2014-01"}, {"citation": "Pratesi, Ludovico. \"Le Sfide del Grande Transfiguratore.\" <em>Art e dossier</em>, no. 316 (December 2014).", "page_number": "Mentioned: p. 30-35; Reproduced: p. 31", "url": null}, {"citation": "\"Avec le Bleu une Histoire qui Dure.\" <em>Beaux arts magazine,</em> no. 368 (Fevrier 2015).", "page_number": "Mentioned: p. 52-53; Reproduced: p. 52", "url": null}, {"citation": "Valle\u0300s, Eduard. <em>Picasso: obra catalana</em>. Barcelona: Enciclop\u00e8dia Catalana, 2015.", "page_number": "Reproduced: p. 236-237", "url": null}, {"citation": "Rogla\u0301n, Mark A.<em> Spanish Art in America</em>. Madrid: Ediciones El Viso 2016.", "page_number": "Reproduced: p. 82", "url": null}, {"citation": "Mu\u0308ller, Markus. \"The Many Metamorphoses of the Minotaur.\" In <em>Pablo Picasso</em>. Munich: Hirmer, 2016.", "page_number": "Reproduced: p. 14, fig. 4", "url": null}, {"citation": "Jones, Caroline A. <em>The Global Work of Art: World's Fairs, Biennials, and the</em> <em>Aesthetics of Experience.</em> Chicago: University of Chicago Press, 2016.", "page_number": "Mentioned and reproduced: p. 58-59, fig. 2.8", "url": null}, {"citation": "Cleveland Museum of Art. <em>Museum Masters: 2016-17 Companion Guide.</em> [Cleveland, Ohio]: Cleveland Museum of Art, 2016.", "page_number": "Mentioned and reproduced: P. 46-47", "url": ""}, {"citation": "Kisters, Sandra.<em> The Lure of the Biographical: On the (Self-)Representation of Modern Artists.</em> Amsterdam: Valiz, 2017.", "page_number": "Reproduced: p. 57, n.171", "url": null}, {"citation": "Koldehoff, Stefan. \"Marketing Modernism: The Thannhauser Gallery and Its Clients.\" <em>Marketing Van Gogh</em>. Stefan Koldehoff, and Chris Stolwijk, eds., 56-81. Brussels: Mercatorfonds; Amsterdam: Van Gogh Museum, 2017.", "page_number": "Reproduced: p. 61, fig. 43", "url": null}, {"citation": "Jime\u0301nez-Blanco, Mari\u0301a Dolores. <em>Antes, Desde y Despue\u0301s del Cubismo: Picasso, Gris, Blanchard, Gargallo y Gonza\u0301lez, y Vuelta a Picasso.</em> Boadilla del Monte (Madrid): Machado Libros, 2017.", "page_number": "Reproduced: p. 97, fig. 1", "url": null}, {"citation": "Saragoza, Florence, and Pablo Picasso. Picasso et la maternite\u0301. 2017.", "page_number": "Mentioned and reproduced: pp. 22-23", "url": ""}, {"citation": "Rynck, Patrick de and Jon Thompson. <em>Understanding Painting: From Giotto to Warhol</em>. New York: Ludion, distributed by Abrams, 2018.", "page_number": "Reproduced: p. 237", "url": null}, {"citation": "Tasseau, Verane, and Jean-Louis Andral. <em>Pablo Picasso en 15 questions.</em> [Vanves] : Hazan, 2018.", "page_number": "Mentioned and reproduced: P. 28-31", "url": null}, {"citation": "Moore, John L., Esther Jun, Clodagh Keogh, William H. Robinson, Danni Shen, Enid Shomer, and Reto Thu\u0308ring. Demise: Rina Banerjee, Esperanza Corte\u0301s, Jae Rhim Lee, Brian Maguire, Paolo Pelosini, Levent Tuncer. 2018, 6.", "page_number": "Mentioned and reproduced: pp. 4-6.", "url": ""}, {"citation": "Bernardi, Claire, Stephanie Molins, and E\u0301milia Philippot. <em>Picasso: Bleu et Rose.</em> Vanves: Hazan: M'O, 2018.", "page_number": "Mentioned and reproduced: P. 20-21", "url": ""}, {"citation": "Faerna, Jose\u0301 Mari\u0301a. <em>Picasso</em>. Barcelona: Poli\u0301grafa, 2018.", "page_number": "Reproduced: P. 25", "url": ""}, {"citation": "Lloyd, Christopher. <em>Picasso and the Art of Drawing.</em> London: Modern Art Press, 2018.", "page_number": "Reproduced: p. 44, fig. 25", "url": null}, {"citation": "Betard, D. \"Picasso en bleu, en rose et en chefs-d'oeuvre,\" <em>Beaux arts magazine</em>, 411 (Sept. 2018).", "page_number": "Mentioned: p. 78-86; Reproduced: p. 81", "url": null}, {"citation": "Toscano, F. \"Becoming Picasso.\" <em>Modern Painters</em> (Sept. 2018).", "page_number": "Mentioned: p. 104-110; Reproduced: p. 107", "url": null}, {"citation": "De Micci, L. \"L'alba del Genio e Blu e Rosa.\" <em>Il giornale dell'arte</em> 36, no. 389 (Sept. 2018).", "page_number": "Mentioned: p. 39-40", "url": null}, {"citation": "Toscano, Frank. \"Becoming Picasso: A major exhibition at the Musee d'Orsay looks at six formative years early last century, now known as his Blue and Rose periods.\" <em>Modern painters : a quarterly journal of the fine arts 30, no. 8 (September 2018): 105-110</em>", "page_number": "Mentioned; p. 107", "url": ""}, {"citation": "Le Bon, Laurent, Claire Bernardi, Stephanie Molins, et al. <em>Picasso, Bleu et Rose.</em> Vanves: Hazan, 2018.", "page_number": "Mentioned and reproduced: p. 180-182", "url": null}, {"citation": "Bouvier, Rapha\u00ebl, ed. <em>Picasso: The Blue and Rose Periods.</em> Riehen/Basel: Fondation Beyeler, 2019.", "page_number": "Mentioned and reproduced: P. 118-119; 122-123", "url": null}, {"citation": "Picasso, Pablo. <em>Bijiasuo: yi wei tian cai de dan sheng = Picasso: Birth of a Genius.</em> \u5317\u4eac\u5e02: \u6587\u5316\u85dd\u8853\u51fa\u7248\u793e, 2019.", "page_number": "Reproduced: P. 219, 225", "url": ""}, {"citation": "Michael, Cora. \"Gauguin in the the Buckeye and Hoosier States: Portrait of Teuraheimata and its Midwestern Collectors.\" In <em>Paul Gauguin: Teuraheimata a Potoru, a Rediscovery, </em>11-19. New York: Jill Newhouse Gallery; [Akron, Ohio]: Thomas French Fine Art, 2019.", "page_number": "Mentioned: P. 14", "url": ""}, {"citation": "Bouvier, Raphae\u0308l. <em>Le Jeune Picasso: Pe\u0301riodes Bleue et Rose.</em> Riehen/Ba\u0302le, Suisse : Fondation Beyler ; Berlin : Hatje Cantz, 2019.", "page_number": "Reproduced: P. 22, 27", "url": ""}, {"citation": "Berggruen, Olivier. \"Painting as Drama: Picasso's Late Paintings.\" In <em>Picasso: The Late Work: from the Collection of Jacqueline Picasso.</em> Ortrud Westheider, and Michael Philipp, eds. Munich: Prestel, 2019.", "page_number": "Mentioned and reproduced: P. 29-31", "url": null}, {"citation": "Ormiston, Rosalind. <em>Picasso</em>. Munich; London; New York: Prestel, 2020.", "page_number": "Mentioned and reproduced: P. 50-51", "url": null}, {"citation": "Planas, Claustre Raffart. \"Early Works and the Blue Period.\" In <em>Picasso and Paper</em>. William H. Robinson, et al., 62-79. London: Royal Academy of Arts, 2020.", "page_number": "Reproduced: P. 75, cat. no. 48", "url": ""}, {"citation": "McCully, Marilyn. \"Picasso in the Studio.\" In <em>Picasso: Painting the Blue Period.</em> Kenneth Brummel, and Susan Behrends Frank, eds., 10-23. New York: DelMonico Books \u00b7 D.A.P.; Toronto, Ontario, Canada: Art Gallery of Ontario, 2021.", "page_number": "Mentioned and reproduced: P. 18-19, fig. 16", "url": ""}, {"citation": "Frank, Susan Behrends. \"Chronology.\" In <em>Picasso: Painting the Blue Period.</em> Kenneth Brummel, and Susan Behrends Frank, eds., 294-321. New York: DelMonico Books \u00b7 D.A.P.; Toronto, Ontario, Canada: Art Gallery of Ontario, 2021.", "page_number": "Mentioned and reproduced: P. 306-307, fig. 13", "url": ""}, {"citation": "Michels, Stefanie. <em>Leipziger Schule und Kritischer Realismus: die Sammlung Fritz P. Mayer</em>. Mu\u0308nchen: Hirmer, 2022.", "page_number": "Reproduced: P. 50", "url": ""}, {"citation": "Arn, Jackson. \"From God to 10,000 hours.\" <em>Art in America</em> 110, no.5 (June/July 2022): 42-47", "page_number": "Mentioned and reproduced: p.46", "url": ""}, {"citation": "Conzen, Ina. <em>Picasso</em>. Mu\u0308nchen: C.H.Beck, 2023.", "page_number": "Mentioned and reproduced: P. 20, fig. 5", "url": ""}, {"citation": "Gue\u0301gan, Ste\u0301phane. <em>Picasso: Les Chefs-d\u2019\u0152uvre</em>. Paris: \u00c9ditions El Viso, 2023.", "page_number": "Reproduced: p. 2, 67, no. 22", "url": ""}, {"citation": "Lahuerta, Juan Jose\u0301. <em>Being an Artist : Julio Gonz\u00e1lez. </em>Valencia: Institut Valenci\u00e0 d\u2019Art Modern, 2023.", "page_number": "Mentioned and reproduced: p. 40-41, fig. 54", "url": ""}, {"citation": "Rafart i Planas, Claustre. <em>Picasso Barcelona: A Cartography.</em> Translated by Jofre Homedes and Mark Waudby. Barcelona, Spain: Museu Picasso, Editorial Tenov, Barcelona City Council, 2023.", "page_number": "Reproduced: p. 122", "url": ""}, {"citation": "Maldonado, Guitemie. \"Picasso: Trajectoire d'un Geant.\" <em>Dossiers de l'Art</em> 307, no. 4 (2023): 10-27.", "page_number": "Mentioned and reproduced: P. 12-13", "url": ""}, {"citation": "McPherson, Heather. <em>Picturing the Artist's Studio, from Delacroix to Picasso. </em>London: Lund Humphries, 2024.", "page_number": "Mentioned: p. 101; Reproduced: p. 103, fig. 74", "url": ""}], "catalogue_raisonne": "Zervos I.179; Sutton/Lecaldano 89; Daix, Boudaille, Rosselet IX.13; Palau i Fabre: 882; PP 1903-071", "url": "https://clevelandart.org/art/1945.24", "images": {}, "alternate_images": [], "creditline": "Gift of the Hanna Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Michael J. Horvitz Family Gallery", "athena_id": 124245, "creators": [{"id": 2160, "description": "Pablo Picasso (Spanish, 1881\u20131973)", "extent": null, "qualifier": null, "role": "artist", "biography": "Pablo Ruiz Picasso (1881-1973), the most prolific and influential artist of the 20th century, shifted the emphasis of art from its traditional concern with beauty toward radical innovation. The son of an art teacher, Picasso demonstrated remarkable talents as a child and entered the royal art academy in Madrid at age sixteen. Less than a year later, he abandoned his studies and soon joined several avant-garde artist and anarchist groups in Barcelona and Paris. After passing through a succession of stylistic periods, most notably the Blue (1901-1904) and Rose (1904-1906) Periods, he collaborated with Georges Braque (1882-1963) in 1908 to invent Cubism, a revolutionary method of restructuring pictorial space. Picasso remained active until his death in 1973. Although his art still appears radical, many of his works are over one hundred years old. Cubism, perhaps the most important development in 20th-century art, was invented around 1908 by Pablo Picasso (1881-1973) and Georges Braque (1882-1963). The most revolutionary aspect of the style was not its obvious emphasis on geometric form; rather, it was the introduction of a radically new approach to configuring pictorial space. Since the Renaissance, artists had used various methods to create the illusion of distant space receding behind the canvas surface. The Cubists rejected that idea and collapsed space by compressing foreground, middle ground, and background into a continuous web of overlapping, intersecting planes. During the 1910s, other painters and sculptors embraced or adapted Cubism to their own ends. This revolutionary approach inspired a host of related movements and continues to influence the visual language of artists, architects, and designers throughout the world.", "name_in_original_language": null, "birth_year": "1881", "death_year": "1973", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1945-02-21T00:00:00", "sortable_date": 1903, "date_added_to_oa": null, "date_text": "1903", "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": ["Life"], "is_highlight": false, "updated_at": "2026-08-03 14:12:49.433000"}, {"id": 149665, "accession_number": "1979.57", "share_license_status": "CC0", "tombstone": "Ruin by the Sea, 1881. Arnold B\u00f6cklin (Swiss, 1827\u20131901). Oil on fabric; framed: 132.1 x 102.9 x 8.3 cm (52 x 40 1/2 x 3 1/4 in.); unframed: 111 x 82 cm (43 11/16 x 32 5/16 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1979.57", "current_location": "219 19th Century European", "title": "Ruin by the Sea", "creation_date": "1881", "creation_date_earliest": 1881, "creation_date_latest": 1881, "artists_tags": ["male"], "culture": ["Switzerland"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 132.1 x 102.9 x 8.3 cm (52 x 40 1/2 x 3 1/4 in.); Unframed: 111 x 82 cm (43 11/16 x 32 5/16 in.)", "dimensions": {"framed": {"height": 1.321, "height_inch": 52, "height_inch_fraction": 0.0, "width": 1.029, "width_inch": 40, "width_inch_fraction": 0.5, "depth": 0.083, "depth_inch": 3, "depth_inch_fraction": 0.25}, "unframed": {"height": 1.11, "height_inch": 43, "height_inch_fraction": 0.6875, "width": 0.82, "width_inch": 32, "width_inch_fraction": 0.3125}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower left: A B \r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304412, "title": "Year in Review: 1979", "description": "<i>Year in Review: 1979</i>. The Cleveland Museum of Art (organizer) (February 13-March 9, 1980).", "opening_date": "1980-02-13T05:00:00"}, {"id": 304561, "title": "Visions of Landscape: East and West", "description": "<i>Visions of Landscape: East and West</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 17-March 21, 1982).", "opening_date": "1982-02-17T05:00:00"}, {"id": 191818, "title": "Object in Focus: Ruin by the Sea by Arnold B\u00f6cklin", "description": "<i>Object in Focus: Ruin by the Sea by Arnold B\u00f6cklin</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 9-March 14, 1999).", "opening_date": "1999-02-09T00:00:00"}, {"id": 223530, "title": "Hitchcock and Art: Fatal Coincidences", "description": "<i>Hitchcock and Art: Fatal Coincidences</i>. Montr\u00e9al Museum of Fine Arts, Montreal, Quebec, Canada (organizer) (November 16, 2000-March 18, 2001); Centre national d'art et de culture Georges Pompidou, Paris cedex O4, France (June 6-September 24, 2001).", "opening_date": "2000-11-16T00:00:00"}], "legacy": [{"description": "Basel, Kunsthalle. Erinnerung an die Ausstellung Schweizerischer K\u00fcnstler (1883), 3, 4, Ruine am Meer (repr.).", "opening_date": null}, {"description": "Berlin, K\u00f6nigliche Akademie der K\u00fcnste. Ausstellung von Wercken Arnold B\u00f6cklins zur Feier seines 70. Geburtstages (1897-98), no. 74.", "opening_date": null}, {"description": "Darmstadt, Mathildenh\u00f6he. Arnold B\u00f6cklin 1827-1901 (1977), no. 65 (repr.); private collection, Z\u00fcrich.", "opening_date": "1977-01-01T00:00:00"}, {"description": "London, Fischer Fine Art Ltd. 1860-1910 Paintings, Drawings, Sculpture (1979), unpaginated, Ruine am Meer (1881) (repr.).", "opening_date": "1979-01-01T00:00:00"}, {"description": "Cleveland, Ohio:  The Cleveland Museum of Art; February 9 - March 14, 1999.  \"Object in Focus:  Ruin by the Sea by Arnold B\u00f6cklin.\"", "opening_date": "1999-02-09T00:00:00"}, {"description": "Montreal, Quebec: The Montreal Museum of Fine Arts (11/16/00 - 4/16/01); Paris: Centre Georges Pompidou (6/6/01 - 9/30/01) \"Hitchcock and Art: Fatal Coincidences\" repr. p. 315.", "opening_date": "2000-11-16T00:00:00"}]}, "provenance": [{"description": "C. Wetter-R\u00fcsch, St. Gallen, by 1893. Hermann Nabel, Berlin 1897. Kunsthandel Eduard Schulte, Berlin 1902. E. Junghanns, Schramberg. Paul Landenberger Jr., Schramberg. Z\u00fcrich sale, Max G. Bollag, 23 March 1933 (lot 107), Ruine am Meer, reproduced. Private collection, Z\u00fcrich. Fischer Fine Art, London. Purchased by the cma on 17 August 1979.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Who used to live in this crumbling villa on a lonely shore? B\u00f6cklin's eerie painting seems to beg the question of the building's history and the circumstances of its ruin. Haunted by the past, this scene also contains premonitions of future peril.", "early_education_description": null, "artlens_description": null, "description": "The dark, ruined villa in this painting is made especially mysterious by the strange cypress trees tossed by the wind. A nervous green light flickers through the scene. Influenced by German Romantic art of the early 1800s, B\u00f6cklin was preoccupied with dreamlike images suggestive of death.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q19930785"], "internet_archive": ["https://archive.org/details/clevelandart-1979.57-ruin-by-the-sea"]}, "citations": [{"citation": "Lee, Sherman E. \"The Year in Review for 1979.\" <em>The Bulletin of the Cleveland Museum of Art</em> 67, no. 3 (1980): 58-99.", "page_number": "Reproduced: cat. no. 19, p. 74; Mentioned: p. 61", "url": "https://www.jstor.org/stable/25159667"}, {"citation": "Henning, Edward B. \u201c\u2018Metaphysical Interior\u2019: An Early Painting by Giorgio de Chirico.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 70, no. 4 (April 1983): 138\u2013146.", "page_number": "Mentioned and reproduced: p. 138-139, fig. 3", "url": "http://www.jstor.org/stable/25159811"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 34-37, Vol. I, no. 12", "url": ""}, {"citation": "Arendsee, M., and M. Steinman-Arendsee. \"Take the CAN disability aesthetics tour, at the Cleveland Museum of art.\" <em>CAN Journal</em> (Winter 2019/20): 76-87.", "page_number": "Mentioned: p.84; Reproduced: p. 85", "url": null}], "url": "https://clevelandart.org/art/1979.57", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1979.57/1979.57_web.jpg", "width": "656", "height": "893", "filesize": "369514", "filename": "1979.57_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1979.57/1979.57_print.jpg", "width": "2498", "height": "3400", "filesize": "5722020", "filename": "1979.57_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1979.57/1979.57_full.tif", "width": "4282", "height": "5829", "filesize": "74910864", "filename": "1979.57_full.tif"}}, "alternate_images": [], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Norma and Alfred Lerner Gallery", "athena_id": 149665, "creators": [{"id": 2775, "description": "Arnold B\u00f6cklin (Swiss, 1827\u20131901)", "extent": null, "qualifier": null, "role": "artist", "biography": "In 1845 Arnold B\u00f6cklin enrolled for two years at the D\u00fcsseldorf academy in the landscape class of Johann Wilhelm Schirmer (1807-1863). B\u00f6cklin traveled to Brussels and Antwerp, where he admired Flemish paintings, and then continued his studies with the landscape painter Alexandre Calame (1810-1864) in Geneva. In Paris during the tumultuous February and June Revolutions of 1848, B\u00f6cklin copied Old Master paintings at the Louvre. Couture's (q.v.) Romans of the Decadence (1847, Mus\u00e9e d'Orsay, Paris) made a strong impression on him, as did Corot's (q.v.) atmospheric treat-ment of landscapes. After a short stay in Basel, B\u00f6cklin moved to Rome in 1850 and married Angela Pascucci three years later. In 1857 he returned via Basel to Hannover, where he decorated the dining room in the Wedekind mansion (1858). He hoped this commission would relieve his financial burdens, but Wedekind was far from pleased with the result. B\u00f6cklin's first major success occurred when he exhibited Pan in the Reeds (Bayerische Staatsgem\u00e4ldesammlungen, Munich) in 1859 in Munich. King Ludwig I bought the work, and soon after B\u00f6cklin started teaching in Weimar (1860-62). In Munich he met Baron von Schack, who became one of his most important supporters. From 1862 through 1866 he lived in Rome and while there was in touch with Anselm Feuerbach (1829-1880) and Hans von Mar\u00e9es (1837-1887). The trio formed the nucleus of the late-nineteenth-century \"Deutschr\u00f6mer\" (German Romans) who continued a tradition of German artists working in Italy using a classical vocabulary. B\u00f6cklin moved repeatedly, living in Basel (1866-71), Munich (1871-74), Florence (1874-85), and Zurich (1885-92) until he finally settled in Florence in 1892. In Basel he painted the murals for the Museum an der Augustinergasse (1868-70); Jacob Burckhardt's criticism of these works ended their close friendship. At the end of his career he had built a solid reputation and was praised as a distinctively German artist. His seven-tieth birthday was celebrated with exhibitions in Basel and Berlin. With other movements such as impressionism and modernism taking over, however, the esteem for his art soon diminished after his death in 1901. Except for the attention of artists like Giorgio de Chirico (1888-1978) and other surrealists, recognition of B\u00f6cklin's work did not reappear until the second half of the twentieth century. (For a self-portrait of B\u00f6cklin, see Blanche, fig. 11a.)", "name_in_original_language": null, "birth_year": "1827", "death_year": "1901", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1979-08-17T00:00:00", "sortable_date": 1881, "date_added_to_oa": null, "date_text": "1881", "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": "2026-07-15 12:51:58.217000"}, {"id": 147017, "accession_number": "1972.48", "share_license_status": "CC0", "tombstone": "Branch Hill Pond, Hampstead, 1828. John Constable (British, 1776\u20131837). Oil on canvas; framed: 89 x 105.5 x 11.5 cm (35 1/16 x 41 9/16 x 4 1/2 in.); unframed: 60.6 x 78.1 cm (23 7/8 x 30 3/4 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1972.48", "current_location": "203A British Painting and Decorative Arts", "title": "Branch Hill Pond, Hampstead", "creation_date": "1828", "creation_date_earliest": 1828, "creation_date_latest": 1828, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 89 x 105.5 x 11.5 cm (35 1/16 x 41 9/16 x 4 1/2 in.); Unframed: 60.6 x 78.1 cm (23 7/8 x 30 3/4 in.)", "dimensions": {"framed": {"height": 0.89, "height_inch": 35, "height_inch_fraction": 0.0625, "width": 1.055, "width_inch": 41, "width_inch_fraction": 0.5625, "depth": 0.115, "depth_inch": 4, "depth_inch_fraction": 0.5}, "unframed": {"height": 0.606, "height_inch": 23, "height_inch_fraction": 0.875, "width": 0.781, "width_inch": 30, "width_inch_fraction": 0.75}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 301752, "title": "Year in Review: 1972", "description": "<i>Year in Review: 1972</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 27-March 18, 1973).", "opening_date": "1973-02-27T05:00:00"}, {"id": 304561, "title": "Visions of Landscape: East and West", "description": "<i>Visions of Landscape: East and West</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 17-March 21, 1982).", "opening_date": "1982-02-17T05:00:00"}, {"id": 181714, "title": "CMA @ Oberlin (second rotation)", "description": "<i>CMA @ Oberlin (second rotation)</i>. Allen Memorial Art Museum, Oberlin, OH (April 3-June 5, 2006).", "opening_date": "2006-04-03T00:00:00"}, {"id": 306699, "title": "British Gallery Reinstallation  (June 2020)", "description": "<i>British Gallery Reinstallation  (June 2020)</i>. The Cleveland Museum of Art (organizer).", "opening_date": "2020-06-30T04:00:00"}], "legacy": [{"description": "<em>A Century of Progress Exhibition of Paintings and Sculpture</em>. Art Institute of Chicago, Chicago, IL (1933).", "opening_date": "1933-01-01T00:00:00"}, {"description": "<em>Autumn Exhibition</em>. Leggatt Brothers, London, United Kingdom (1961).", "opening_date": "1961-01-01T00:00:00"}, {"description": "<em>English Painting 1750-1850</em>. Leggatt Brothers, London, United Kingdom (1963).", "opening_date": "1963-01-01T00:00:00"}, {"description": "<em>Englische Malerei der grossen Zeit</em> . Kunsthaus Z\u00fcrich, Z\u00fcrich, Switzerland (October 8-November 6, 1966).", "opening_date": "1966-10-08T00:00:00"}, {"description": "<em>La Pittura Inglese de Hogarth a Turner</em>. Palazzo Venezia, Rome, Italy (November 21-December 20, 1966).", "opening_date": "1966-11-21T00:00:00"}]}, "provenance": [{"description": "Painted by the artist for Henry Hebbert [1783-1864], London, United Kingdom, by descent to his son, Henry Hebbert", "citations": [], "footnotes": [], "date": "1828-1864", "sortorder": 1}, {"description": "Henry Hebbert [1814-1893], London, United Kingdom", "citations": [], "footnotes": [], "date": "1864-1894", "sortorder": 2}, {"description": "Cyrus McCormick Jr. [1859-1936], Chicago, IL, .", "citations": [], "footnotes": [], "date": "1894", "sortorder": 5}, {"description": "(Hirschl and Adler Galleries, New York, NY, 1958 sold to Leggatt Brothers)", "citations": [], "footnotes": [], "date": "1958-1959", "sortorder": 6}, {"description": "(Leggatt Brothers, London, United Kingdom, 1959.", "citations": [], "footnotes": [], "date": "1959", "sortorder": 7}, {"description": "Earl of Inchcape, London, United Kingdom by 1966.", "citations": [], "footnotes": [], "date": "by 1966", "sortorder": 8}, {"description": "(E. V. Thaw & Co., New York. NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "1972", "sortorder": 9}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1972-", "sortorder": 10}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In 1820, Constable found a retreat in Hampstead where he completed 100 studies of cloud formations, referring to the process as \"skying.\"", "early_education_description": null, "artlens_description": null, "description": "<br>An amateur meteorologist, John Constable was most at home painting meticulously observed cloud formations, weather conditions, and natural light effects. He believed an accurate rendering of these constantly shifting elements could convey his vision of the vitality and magnificence of the English countryside. Working from the summerhouse he rented at Hampstead from 1819\u201326, Constable painted a landscape focusing more on the dark rain clouds than on the laborers in the foreground, keeping the details of their backbreaking work at a picturesque distance.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60472321"], "internet_archive": ["https://archive.org/details/clevelandart-1972.48-branch-hill-pond-ham"]}, "citations": [{"citation": "Lee, Sherman E. \u201cThe Year in Review for 1972.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 60, no. 3 (1973): 63\u2013115.", "page_number": "Reproduced: p. 79; Mentioned: p. 109, no. 116", "url": "http://www.jstor.org/stable/25093732"}, {"citation": "Talbot, William S. \u201cJohn Constable: Branch Hill Pond, Hampstead Heath.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 61, no. 3 (March 1974): 97\u2013115.", "page_number": "Reproduced: p. 98-101; Mentioned: p. 97, 100", "url": "http://www.jstor.org/stable/25152518"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 208", "url": "https://archive.org/details/CMAHandbook1978/page/n228"}, {"citation": "\"Visions of Landscape East and West.\" <em>Asia</em> Vol. 4, No. 5 (January/February 1982): pp. 24-29.", "page_number": "Reproduced: p. 27", "url": null}, {"citation": "Talbot, William S. \u201cVisions of Landscape: East and West.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 70, no. 3 (1983): 112\u201335.", "page_number": "Mentioned and Reproduced: p. 116-117, fig. 5", "url": "http://www.jstor.org/stable/25159808"}, {"citation": "Cormack, Malcolm.<em> Constable</em>. Oxford: Phaidon, 1986.", "page_number": "Reproduced: p. 173, fig. 168", "url": null}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 143-145, Vol. I, no. 54", "url": ""}, {"citation": "Wiles, Stephanie, \"British Invasion\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 46 no. 04, April 2006", "page_number": "Mentioned & reproduced: p. 8-9", "url": "https://archive.org/details/CMAMM2006-04/page/8"}], "url": "https://clevelandart.org/art/1972.48", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1972.48/1972.48_web.jpg", "width": "1155", "height": "893", "filesize": "759286", "filename": "1972.48_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1972.48/1972.48_print.jpg", "width": "3400", "height": "2629", "filesize": "5756024", "filename": "1972.48_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1972.48/1972.48_full.tif", "width": "4627", "height": "3578", "filesize": "49697516", "filename": "1972.48_full.tif"}}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Paul J. and Edith Ingalls Vignos Gallery", "athena_id": 147017, "creators": [{"id": 1536, "description": "John Constable (British, 1776\u20131837)", "extent": null, "qualifier": null, "role": "artist", "biography": "With Turner (q.v.), his exact contemporary, John Constable defined the parameters of genius for a generation of romantic landscape painters. The son of a prosperous miller and gentleman farmer, he entered into his profession late and was basically self-taught. Between 1796 and 1799 Constable had the advice of several artists and connoisseurs influential in the London art scene, primarily that of Sir George Beaumont (1753-1827), John Thomas Smith (1766-1833), and Joseph Farington (1747-1821). With the grudging consent of his parents, he entered the Royal Academy schools in 1799, the same year Turner was elected an associate member. (Twenty years would elapse before the academy conceded Constable that gesture of recognition.) He emerged publicly as a mature and focused painter of naturalistic landscapes in 1802 with the exhibition of his first oil painting at the Royal Academy.1 Shortly afterward he moved to his family home in East Bergholt with the intention of getting \"a pure and unaffected representation of the scenes that may employ me.\" The tours of 1806 produced an important body of Lake District material, especially studies in watercolor and in graphite, a medium Constable employed with unrivaled ability even at this early date. In 1808 he began a period of intense plein-air oil sketching and by 1814 was painting finished pictures like the magnificent Stour Valley and Dedham Village (Museum of Fine Arts, Boston) or Wivenhoe Park, Essex (National Gallery of Art, Washington D.C.)2 entirely out of doors. The Stour River, Flatford Mill, and Dedham Vale were the subjects to which he returned repeatedly with brilliant success. With his bride, Maria Bicknell, the artist moved permanently to London in 1816. His repertoire of subjects would expand to include Brighton, Salisbury, and Hampstead Heath, and both his practice and his fortunes also evolved in a significant new direction when he began his six-foot pictures of Suffolk landscape painted in the London studio. The scale of such works as The White Horse (1819, Frick Collection, New York)3 undoubtedly contributed to his successful bid for associate membership in the Royal Academy that year. With Sir Thomas Lawrence (1769-1830) and Bonington (q.v.), Constable created a sensation at the 1824 Paris Salon, where he exhibited The Hay Wain (National Gallery, London) and View on the Stour near Dedham (Huntington Art Gallery, San Marino),4 although French artists had known and admired his work since 1820. After the death of his wife in 1828 and his election as full academician in 1829, Constable turned toward consolidating his reputation through writing, lecturing, and the medium of printmaking. He published English Landscape (1830-32) in collaboration with the mezzotint engraver David Lucas, but it was commercially unsuccessful. He never ceased to work from nature, but the later masterworks Salisbury Cathedral from the Meadows (1831, National Gallery, London), The Opening of Waterloo Bridge (1832, Tate Gallery, London), and Arundel Mill and Castle (1837, Toledo Museum of Art)5 are pictures in which an expressionistic use of the medium struggles against an ever-increasing imaginative formalization of natural motifs.\r\n1. Probably Edge of the Wood (Art Gallery of Ontario); see Reynolds 1996, no. 2.1.\r\n2. Reynolds 1996, no. 15.1; Reynolds 1984, no. 17.4.\r\n3. Reynolds 1984, no. 2:19.1.\r\n4. Reynolds 1984, no. 21.1; Reynolds 1984, 22.1.\r\n5. Reynolds 1984, no. 31.1; Reynolds 1984, no. 32.1; Reynolds 1984, no. 37.1.", "name_in_original_language": null, "birth_year": "1776", "death_year": "1837", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1972-06-12T00:00:00", "sortable_date": 1828, "date_added_to_oa": null, "date_text": "1828", "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": ["Branch Hill Pond, Hampstead Heath"], "is_highlight": false, "updated_at": "2026-05-29 07:32:23.035000"}, {"id": 163769, "accession_number": "2005.181", "share_license_status": "Copyrighted", "tombstone": "Go Down Death, 1934. Aaron Douglas (American, 1899\u20131979). Oil on Masonite; framed: 124.5 x 94 x 3.8 cm (49 x 37 x 1 1/2 in.); unframed: 121.9 x 91.5 cm (48 x 36 in.). The Cleveland Museum of Art, John L. Severance Fund and Gift of Prof. and Mrs. David C. Driskell, 2005.181. Art \u00a9 Heirs of Aaron Douglas/Licensed by VAGA, New York, NY", "current_location": "226A American Modern", "title": "Go Down Death", "creation_date": "1934", "creation_date_earliest": 1934, "creation_date_latest": 1934, "artists_tags": ["Black American Artists", "male"], "culture": ["United States"], "technique": "oil on Masonite", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 124.5 x 94 x 3.8 cm (49 x 37 x 1 1/2 in.); Unframed: 121.9 x 91.5 cm (48 x 36 in.)", "dimensions": {"framed": {"height": 1.245, "height_inch": 49, "height_inch_fraction": 0.0, "width": 0.94, "width_inch": 37, "width_inch_fraction": 0.0, "depth": 0.038, "depth_inch": 1, "depth_inch_fraction": 0.5}, "unframed": {"height": 1.219, "height_inch": 48, "height_inch_fraction": 0.0, "width": 0.915, "width_inch": 36, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "Art \u00a9 Heirs of Aaron Douglas/Licensed by VAGA, New York, NY", "inscriptions": [{"inscription": "signed \"A. Douglas\" lower right corner in purple paint", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 215369, "title": "Aaron Douglas and the Harlem Renaissance", "description": "<i>Aaron Douglas and the Harlem Renaissance</i>. Spencer Museum of Art, Lawrence, KS (organizer) (September 8-December 2, 2007); Frist Art Museum, Nashville, TN (January 19-April 13, 2008); National Museum of American Art, Washington, DC (May 9-August 3, 2008); Schomburg Center for Research in Black Culture, New York, NY (August 30-November 30, 2008).", "opening_date": "2007-09-08T00:00:00"}, {"id": 200463, "title": "The Jazz Age: American Style in the 1920s", "description": "<i>The Jazz Age: American Style in the 1920s</i>. Cooper Hewitt, Smithsonian Design Museum, New York, NY (April 7-August 20, 2017); The Cleveland Museum of Art, Cleveland, OH (organizer) (September 30, 2017-January 14, 2018).", "opening_date": "2017-04-07T00:00:00"}], "legacy": [{"description": "<em>Two Centuries of Black American Art</em>. Los Angeles County Museum of Art, Los Angeles, CA (September 30-November 21, 1976); High Museum of Art, Atlanta, GA (January 8-February 20, 1977); Museum of Fine Arts, Dallas, TX (March 30-May 15, 1977); The Brooklyn Museum, Brooklyn, NY(June 25-August 21, 1977).", "opening_date": "1976-09-30T00:00:00"}, {"description": "<em>Hidden Heritage: Afro-American Art, 1800-1950</em>. Bellevue Art Museum, Bellevue, WA (September 14-November 10, 1985); Bronx Museum of the Arts, The Bronx, NY (January 14-March 10, 1986); California Afro-American Museum, Los Angeles, CA (April 7-June 2, 1986); Wadsworth Atheneum, Hartford, CT (July 4-August 31, 1986); Mint Museum of Art, Charlotte, NC (September 22-November 17, 1986); San Antonio Museum of Art, San Antonio, TX (December 15, 1986-February 9, 1987); Toledo Museum of Art, Toledo, OH (March 8-May 3, 1987).", "opening_date": "1985-09-14T00:00:00"}, {"description": "<em>Harlem Renaissance: Art of Black America.</em> Studio Museum in Harlem, Harlem, NY (February 12-August 30, 1987); Mary and Leigh Block Museum of Art, Northwestern University, Evanston, IL (April 7-June 5, 1988); High Museum of Art, Alanta, GA (June 28-September 4, 1988); Bowdoin College Museum of Art, Brunswick, ME (September 24-November 20, 1988); Lyndon Baines Johnson Library and Museum, University of Texas, Austin, TX (January 14-February 26, 1989); Virginia Museum of the Fine Arts (March 27-May 21, 1989); Cheekwood Museum of Art, Nashville, TN (June 17-August 6, 1989); New York State Museum, Albany, NY (August 29-October 29, 1989).", "opening_date": "1987-02-12T00:00:00"}, {"description": "<em>Narratives of African American Art and Identity: The Davide C. Driskill Collection</em>. The Art Gallery, University of Maryland, College Park, MD (October 22- December 19, 1998); African American Museum, Dallas, TX (March 13- June 19, 1999); Colby College Museum of Art, Waterville, ME (July 21- October 17, 1999); The Fine Arts Museum of San Francisco, San Francisco, CA (November 20, 1999- February 12, 2000); The High Museum of Art, Atlanta, GA (June 20- September 10, 2000); Newark Museum, Newark, NJ (October 25, 2000- February 25, 2001); Cincinnati Art Museum, Cincinnati, OH (March 17- May 14, 2001); Virginia Museum of Fine Arts, Richmond, VA (July 8- September 30, 2001); Naples Museum of Art, Naples, FL (October 15, 2001- January 13, 2002), FL; Mint Museum of Art, Charlotte, NC (April 23-October 25, 2002).", "opening_date": "1998-10-22T00:00:00"}]}, "provenance": [{"description": "Collection of the artist", "citations": [], "footnotes": null, "date": "until 1977", "sortorder": 2}, {"description": "Dr. and Mrs. David C. Driskell, Hyattsville, MD", "citations": [], "footnotes": null, "date": "1977-2005", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2005-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Douglas founded the art department at Fisk University, where he also created many celebrated murals.", "early_education_description": null, "artlens_description": null, "description": "The leading painter of the Harlem Renaissance, Douglas based this painting on an illustration he made for <em>God\u2019s Trombones: Seven Negro Sermons in Verse</em> (1927), a book by noted author and civil rights advocate James Weldon Johnson. Its subject tells the story of a winged angel of death who races through the heavens on horseback to rescue a woman from a life of suffering.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60480297"], "internet_archive": []}, "citations": [{"citation": "Driskell, David, C. <em>Two Centuries of Black American Art </em>Los Angeles County Museum of Art, and New York: Alfred A. Knopf, 1976.", "page_number": "Mentioned: p. 153", "url": null}, {"citation": "Driskell, David C. <em>Hidden Heritage: Afro-American Art, 1800-1950.</em> San Francisco, Calif: The Association, 1985.", "page_number": "Cat. no. 50", "url": null}, {"citation": "Driskell, David C. <em>Hidden Heritage: Afro-American Art, 1800\u20131950. </em>Bellevue Art Museum, Washington: Art Museum Association of America, 1985, second printing 1987.", "page_number": "Mentioned: p. 41,94", "url": null}, {"citation": "Campbell, Mary Schmidt. et al., <em>Harlem Renaissance: Art of Black America. </em>New York: Abrams, 1987.", "page_number": "Mentioned: p. 110, 130; Reproduced: color plate 33", "url": null}, {"citation": "Gips, Terry. <em>Narratives of African American Art and Identity: The David C. Driskell Collection.</em> San Francisco, Calif: Pomegranate, 1998.", "page_number": "Cat. no. 14", "url": null}, {"citation": "Holland, Juanita Marie. <em>Narratives of African American Art and Identity: The David C. Driskell Collection. </em>San Francisco: Pomegranate, 1998.", "page_number": "Reproduced: frontispiece, p. 81, n. 14; Mentioned: p. 81, 183", "url": null}, {"citation": "McAleer,Bernard. \u201cAfter Hours: An Inspiring Heritage.\u201d <em>The Network Journal </em>8, no. 4 (January 31, 2001)", "page_number": "Mentioned: p. 34", "url": null}, {"citation": "Litt, Steven. \"Museum buys work by important black painter.\" <em>The Plain Dealer, </em>December 22, 2005.", "page_number": "Mentioned: p. F-1, F-3; Reproduced: p. F-3", "url": null}, {"citation": "\"Mark Cole.\" <em>Cleveland Art </em>46, no. 3 (March 2006)", "page_number": "Mentioned: p. 2, 10", "url": null}, {"citation": "Earle, Susan, ed. <em>Aaron Douglas: African American Modernist. </em>New Haven: Yale University Press, 2007.", "page_number": "Reproduced: p. 172, n. 73", "url": null}, {"citation": "Adams, Henry. <em>What's American about American art?: a gallery tour in the Cleveland Museum of Art. </em>Cleveland: Cleveland Museum of Art, 2008.", "page_number": "Reproduced: fig. 15, p. 13", "url": ""}, {"citation": "Cole, Mark. \"Jacob Lawrence's <em>Fulton and Nostrand.\" Cleveland Art </em>48 (February 2008).", "page_number": "Reproduced: p. 7; Mentioned: p. 7", "url": null}, {"citation": "Gordon, Margery. \"Eyes on the Prizes.\" <em>Art &amp; Auction </em>31 (February 2008)", "page_number": "Reproduced: p. 117; Mentioned: p. 117", "url": null}, {"citation": "Cole, Mark, \"Jacob Lawrence's Fulton and Nostrand\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 48 no. 2, February 2008", "page_number": "Mentioned & reproduced: p. 7", "url": "https://archive.org/details/CMAMM2008-02/page/6"}, {"citation": "McIntyre, Dianna. \"A Personal Favorite.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 51, no. 2 (March/April 2011): 8.", "page_number": "Mentioned: p. 8; Reproduced: p. 8", "url": "https://archive.org/details/CMAMM2011-02/page/8/mode/2up"}, {"citation": "Cole, Mark. <em>African American Art, The Cleveland Museum of Art. </em>Cleveland: Cleveland Museum of Art, 2013.", "page_number": "Mentioned: p. 16", "url": null}, {"citation": "Anderson, Nancy. \u201cAaron Douglas/The Judgment Day/1939.\u201d In <em>American Paintings, 1900\u20131945, NGA Online Editions.</em>", "page_number": "Reproduced: p. 7", "url": null}, {"citation": "Smith, Roberta. \"A Show's Secret Star: Art Deco steps out incognito with plenty of company in a design exhibition.\" <em>The New York Times, </em>April 7, 2017.", "page_number": "Mentioned: p. C19", "url": null}], "url": "https://clevelandart.org/art/2005.181", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund and Gift of Prof. and Mrs. David C. Driskell", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Dr. Robert B. Benyo Trust Gallery", "athena_id": 163769, "creators": [{"id": 7876, "description": "Aaron Douglas (American, 1899\u20131979)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1899", "death_year": "1979", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2005-12-05T00:00:00", "sortable_date": 1934, "date_added_to_oa": null, "date_text": "1934", "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": "2026-09-24 21:31:02.447000"}, {"id": 155783, "accession_number": "1991.110", "share_license_status": "CC0", "tombstone": "The Power of Music, 1847. William Sidney Mount (American, 1807\u20131868). Oil on canvas; framed: 67 x 78 x 7.5 cm (26 3/8 x 30 11/16 x 2 15/16 in.); unframed: 43.4 x 53.5 cm (17 1/16 x 21 1/16 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1991.110", "current_location": "207 American Realism", "title": "The Power of Music", "creation_date": "1847", "creation_date_earliest": 1847, "creation_date_latest": 1847, "artists_tags": ["male"], "culture": ["United States"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 67 x 78 x 7.5 cm (26 3/8 x 30 11/16 x 2 15/16 in.); Unframed: 43.4 x 53.5 cm (17 1/16 x 21 1/16 in.)", "dimensions": {"framed": {"height": 0.67, "height_inch": 26, "height_inch_fraction": 0.375, "width": 0.78, "width_inch": 30, "width_inch_fraction": 0.6875, "depth": 0.075, "depth_inch": 2, "depth_inch_fraction": 0.9375}, "unframed": {"height": 0.434, "height_inch": 17, "height_inch_fraction": 0.0625, "width": 0.535, "width_inch": 21, "width_inch_fraction": 0.0625}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower left:  Wm S. MOUNT. / 1847", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 218308, "title": "William Sidney Mount:  American Genre Painter", "description": "<i>William Sidney Mount:  American Genre Painter</i>. New-York Historical Society (August 14-October 25, 1998); Frick Art Museum, Pittsburgh, PA (November 20, 1998-January 10, 1999); Amon Carter Museum (February 5-April 4, 1999).", "opening_date": "1998-08-14T00:00:00"}, {"id": 206205, "title": "American Stories: Paintings of Everyday Life 1765-1915", "description": "<i>American Stories: Paintings of Everyday Life 1765-1915</i>. The Metropolitan Museum of Art, New York, NY (organizer) (October 5, 2009-January 24, 2010); Los Angeles County Museum of Art, Los Angeles, CA (February 28-May 23, 2010).", "opening_date": "2009-10-05T00:00:00"}], "legacy": [{"description": "<em>The Force of Music.</em> National Academy, Annual Exhibition, New York, NY (1847).", "opening_date": null}, {"description": "<em>The Washington Exhibition in Aid of the New York Gallery of the Fine Arts</em>. Art Union Gallery, New York, NY (1853).", "opening_date": null}, {"description": "<em>Exhibition of the Industry of All Nations in the Picture Gallery of the Crystal Palace</em>. Crystal Palace, New York, NY (1853).", "opening_date": null}, {"description": "<em>Metropolitan Fair</em>. U.S. Sanitary Commission. New York, NY (1864).", "opening_date": null}, {"description": "<em>World's Columbian Exposition: Retrospective Exhibit of American Painting</em>. The Art Palace, Chicago, IL (1893).", "opening_date": null}, {"description": "<em>Centennial Exhibition 1825 - 1925</em>. National Academy of Design, New York, NY (April 1-April 24, 1925); Corcoran Gallery, Washington DC (October 17, 1925 - November 15, 1925); Grand Central Art Galleries, Inc., New York, NY (December 1, 1925-January 3, 1926).", "opening_date": "1925-04-01T00:00:00"}, {"description": "<em>American Genre: The Social</em> <em>Scene in Painting and Prints</em>. Whitney Museum of American Art, New York, NY (March - April 1935).", "opening_date": "1935-03-01T00:00:00"}, {"description": "<em>Life in America.</em> Metropolitan Museum of Art, New York, NY (1939).", "opening_date": "1939-01-01T00:00:00"}, {"description": "<em>Exhibition of Drawings and Paintings by William Sidney Mount 1807 - 1868</em>. Brooklyn Museum of Art, Brooklyn, NY (January - March 1942).", "opening_date": "1942-01-01T00:00:00"}, {"description": "<em>A Loan Exhibition of Paintings, Sketches, Manuscripts, Memorabilia</em> (of the Mount Family). Suffolk Museum at Stony Brook, Long Island, NY (1947).", "opening_date": "1947-01-01T00:00:00"}, {"description": "<em> American Classics of the Nineteenth Century.</em> Carnegie Institute of Art, Pittsburgh, PA (October - December 1957).", "opening_date": "1957-10-01T00:00:00"}, {"description": "<em>A Hundred Years Ago</em>. American Federation of the Arts, New York, NY (November 1958 - November 1959).", "opening_date": "1958-11-01T00:00:00"}, {"description": "<em>The Portrayal of the Negro in American Painting</em>. Bowdoin College Museum of Art, Brunswick, ME (1964).", "opening_date": "1964-01-01T00:00:00"}, {"description": "<em>Twice as Natural: 19th Century American Genre</em>. Finch College Art Museum, New York, NY (1974)..", "opening_date": "1974-01-01T00:00:00"}, {"description": "<em>Selected Acquisitions</em>. Cleveland Museum of Art, Cleveland, OH (January 28 - April 26 1992).", "opening_date": "1992-04-26T00:00:00"}]}, "provenance": [{"description": "The Cleveland Museum of Art, Cleveland, Ohio", "citations": [], "footnotes": [], "date": "1991-", "sortorder": 1}, {"description": "(James H. Maroney, Jr., Leicester, VT, and Christie's, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "1990-1991", "sortorder": 2}, {"description": "The Century Association, New York, NY", "citations": [], "footnotes": ["<div><!--block-->The Board of Management meeting minutes from January 8, 1881 confirm that the Century Association purchased the painting in 1880 for $500.&nbsp; Because there are no extant financial records or sales receipts from that time period in the Century Association's archives, the identity of the seller is not recorded.&nbsp; However, it can reasonably be assumed that it was Gideon Lee, Jr., as he was a member of the club and no additional names have been associated with this provenance.&nbsp;</div>"], "date": "1880-1990", "sortorder": 3}, {"description": "Gideon Lee, Jr. [1824-1894], Carmel, NY?", "citations": [], "footnotes": [], "date": "1870-1880", "sortorder": 4}, {"description": "Mrs. Gideon Lee [d. 1870], Geneva, NY, probably by descent to her stepson, Gideon Lee, Jr.", "citations": [], "footnotes": ["<div><!--block-->After Charles Leupp's death in 1859, the painting was returned to Mrs. Lee.</div>"], "date": "1859-1870", "sortorder": 5}, {"description": "Charles M. Leupp [1807-1859], New York, NY", "citations": [], "footnotes": ["<div><!--block-->The circumstances surrounding Leupp's acquisition of this painting, as well as its return to Mrs. Lee, his mother-in-law, after his death are unclear.&nbsp; Leupp,a founder of The Century Association, greatly admired the painting; Mount recalled that in the spring of 1847 Leupp \"stood a long time looking at it until I began to think I had made a failure and observed to him, \u2018If you think this picture will not suit Mrs. Lee, I will paint her another with pleasure.\u2019 \u2018Why man,\u2019 he said, \u2018I only wish the picture belonged to me.\u2019\u201d&nbsp; By at least 1856, the painting did go to Leupp; in that year <em>The Crayon</em> listed it as part of his collection.&nbsp;</div>"], "date": "-1859", "sortorder": 6}, {"description": "Laura (Mrs. Gideon) Lee [1800-1870], Geneva, NY, to her son-in-law, Charles M. Leupp", "citations": [], "footnotes": ["<div><!--block-->Although the painting was ostensibly commissioned by Laura Lee, wife of Gideon Lee, a former mayor of New York City, Leupp, her son-in-law, seems to have controlled the commission.</div>"], "date": "1847-", "sortorder": 7}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Mount was an accomplished fiddle player and even patented a new design for the instrument.", "early_education_description": null, "artlens_description": null, "description": "Set in rural Long Island before the Civil War, Mount's complex painting presents an African American laborer listening intently to a fiddle tune enjoyed by white men. While a love of music unites the figures in a bond of shared humanity, the two races occupy different spaces--one inside, one outside, both separated by a barn door--effectively symbolizing the pronounced divisions in America at the time.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q16708949"], "internet_archive": ["https://archive.org/details/clevelandart-1991.110-the-power-of-music"]}, "citations": [{"citation": "Board of Management Minutes, Jan. 8, 1881, Century Association Archives, New York, NY.", "page_number": null, "url": null}, {"citation": "Bruce Robertson, \u201c\u2019The Power of Music\u2019: A Painting by William Sidney Mount,\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 79.2 (Feb. 1992): 38-62.", "page_number": null, "url": null}, {"citation": "Bruce Robertson, \u201c\u2019The Power of Music\u2019: A Painting by William Sidney Mount,\u201d T<em>he Bulletin of the Cleveland Museum of Art</em> 79.2 (Feb. 1992): 38-62.", "page_number": null, "url": null}, {"citation": "Fagg, John. <em>Re-Envisioning the Everyday: American Genre Scenes, 1905-1945.</em> 2023.", "page_number": "Mentioned, p. 145-46; reproduced p. 146.", "url": ""}, {"citation": "Stebbins, Theodore E., Jr. <em>Rethinking American Art: Collectors, Critics, and the Changing Canon</em>. (Boston: Godine, 2025).", "page_number": "Mentioned pp. 83-84.", "url": ""}, {"citation": "\"Clubs and Societies.\" <em>The American Art Review</em>. Vol.2. First Division. Boston: Dana Estes and Charles E. Lauriat, 1881.", "page_number": "Mentioned: p.40", "url": "https://www.jstor.org/stable/20559754"}, {"citation": "The Department of Fine Arts, Chicago.<em> World's Columbian Exposition: Revised Catalogue</em>. Exh. Cat. Chicago, IL: W.B. Conkey Co.,1893.", "page_number": "Mentioned: p.32", "url": null}, {"citation": "Weitenkampf, Frank. \"American Life in American Art.\" <em>The Century Illustrated Monthly Magazine</em> 79 (November 1920-April 1921). New York, NY: Scribner &amp; Co.; The Century Co, 1920.", "page_number": "Mentioned: p.159; Reproduced: p.158", "url": ""}, {"citation": "\"Mount Homestead Famous Landmark.\"<em> New York Times</em>, December 25, 1923.", "page_number": "Mentioned: p.22", "url": ""}, {"citation": "Mather, Frank Jewett, Charles Rufus Morey, and W. J. Henderson. <em>The American Spirit in Art</em>. New Haven, CT: Yale University Press, 1927", "page_number": "Reproduced: p. 40, no. 64", "url": null}, {"citation": "Isham, Samuel, Royal Cortissoz, and Henry Meier. <em>The History of American Painting</em>. New York, NY: Macmillan Co, 1927.", "page_number": "Reproduced: p.206", "url": ""}, {"citation": "Burroughs, Alan. <em>Limners and Likenesses; Three Centuries of American Painting</em>. Cambridge, MA: Harvard University Press, 1936.", "page_number": "Mentioned: p. 192", "url": null}, {"citation": "American Federation of Arts.<em> Magazine of Art Index</em> 32, nos.1-2 (January-December 1939). Washington, D.C.: American Federation of Arts, 1939.", "page_number": "Reproduced: p.330", "url": ""}, {"citation": "The Metropolitan Museum of Art. <em>Life in America: A Special Loan Exhibition of Paintings Held During the Period of the New York World's Fair.</em> Exh. Cat. New York, NY: The Metropolitan Museum of Art, 1939.", "page_number": "Mentioned: pp.79-80, no.110 (as \"Music Hath Charms\"); Reproduced: p.80", "url": "libmma.contentdm.oclc.org/digital/collection/p15324coll10/id/138674"}, {"citation": "Locke, Alain. <em>The Negro in Art; A Pictorial Record of the Negro Artist and of the Negro Theme in Art</em>. Washington, D.C.: Associates in Negro Folk Education, 1940.", "page_number": "Reproduced: p.162 (as \"Music Hath Charms\")", "url": null}, {"citation": "Brooklyn Museum. <em>Catalogue of an Exhibition of Drawings and Paintings by William Sidney Mount 1807-1868</em>. Exh. Cat. New York, NY: Brooklyn Museum, 1942.", "page_number": "Mentioned: p.23", "url": null}, {"citation": "Cowdrey, Mary Bartlett, and Hermann Warner Williams. <em>William Sidney Mount, 1807-1868, an American Painter</em>. New York, NY: Pub. for the Metropolitan Museum of Art by Columbia University Press, 1944.", "page_number": "Mentioned: pp.21-22; Reproduced: fig.40", "url": null}, {"citation": "\"Met Spurs Interest in Mount.\" <em>New York World-Telegram</em>, February 3, 1945.", "page_number": "Reproduced", "url": ""}, {"citation": "\"William Sidney Mount: Painter Made Long Island His Italy.\"<em> Life Magazine</em>, July 25, 1945.", "page_number": "Reproduced: p.66", "url": ""}, {"citation": "Goodrich, Lloyd. \"The Study of Nineteenth-Century Art.\" <em>Art in America</em> 33, no.4 (October 1945).", "page_number": "Reproduced: p.223", "url": ""}, {"citation": "Suffolk Museum. <em>The Mount Brothers. A Loan Exhibition of Paintings, Sketches, Manuscripts, Memorabilia, Henry Smith Mount, A.N.A., 1802-1841, Shepard Alonzo Mount, N.A., 1804-1868, William Sidney Mount, N.A., 1807-1868.</em> August 23 to September 28, 1947, the Suffolk Museum at Stony Brook, Long Island, New York. [Stony Brook], Long Island, NY: The Museum, 1947.", "page_number": "Mentioned: p.45", "url": ""}, {"citation": "Larkin, Oliver W. <em>The University Prints, Student Series H: American Art [Painting and Sculpture]</em>. Winchester, MA: University Prints, 1956.", "page_number": "Reproduced: p. H 259", "url": null}, {"citation": "Carnegie Institute. <em>American Classics of the Nineteenth Century</em>. Exh. Cat. The Carnegie Institute, Pittsburgh, PA: The Carnegie Institute, 1957.", "page_number": "Mentioned: p.16 (unpaginated)", "url": null}, {"citation": "Larkin, Oliver W. <em>Art and Life in America</em>. New York, NY: Holt, Rinehart and Winston, 1960.", "page_number": "Mentioned and reproduced: p.217", "url": null}, {"citation": "Pierson Jr., William H., and Martha Davidson, eds.<em> Arts of the United States: A Pictorial Survey</em>. New York, NY: McGraw-Hill Book Company, Inc., 1960.", "page_number": "Reproduced: p.318", "url": ""}, {"citation": "Flexner, James Thomas. <em>That Wilder Image: The Painting of America's Native School from Thomas Cole to Winslow Homer</em>. Boston, MA: Little, Brown, 1962.", "page_number": "Mentioned: p.32; Reproduced: p.33", "url": null}, {"citation": "Richardson, E. P. <em>A Short History of Painting in America; The Story of 450 Years</em>. New York, NY: Crowell, 1963.", "page_number": "Mentioned: p.134 (as \"Music Hath Charms\")", "url": null}, {"citation": "Bowdoin College.<em> The Portrayal of the Negro in American Painting.</em> Exh. Cat. Brunswick, MA: Bowdoin College Museum of Art, 1964.", "page_number": "Mentioned: p.37", "url": null}, {"citation": "Green, Samuel M. <em>American Art, a Historical Survey</em>. New York, NY: Ronald Press, 1966.", "page_number": "Mentioned: pp.270-271", "url": null}, {"citation": "McLanathan, Richard B. K. <em>The American Tradition in the Arts</em>. New York, NY: Harcourt, Brace &amp; World, 1968.", "page_number": "Mentioned: pp.311-312; Reproduced: p.311", "url": ""}, {"citation": "Novak, Barbara. <em>American Painting of the Nineteenth Century: Realism, Idealism, and the American Experience</em>. New York, NY: Praeger, 1969.", "page_number": "Reproduced: p. 106; Mentioned: p. 107-108", "url": null}, {"citation": "Prown, Jules David, and Barbara Rose. <em>American Painting: From Its Beginnings to the Armory Show</em>. Geneva, Switzerland: Skira, 1969.", "page_number": "Mentioned: pp.82-83", "url": null}, {"citation": "Lynes, Russell. <em>The Art-Makers of Nineteenth-Century America</em>. New York, NY: Atheneum, 1970.", "page_number": "Mentioned: p.240 (as \"Music Hath Charms\")", "url": null}, {"citation": "Flexner, James Thomas. \"Fitz Hugh Lane is the hero, <em>American Painting of the Nineteenth Century</em>: Review.\" <em>New York Times</em>, Jan 25, 1970.", "page_number": "Mentioned: p.244", "url": ""}, {"citation": "Davidson, Marshall B. <em>The American Heritage History of the Writers' America</em>. New York, NY: American Heritage Pub. Co, 1973", "page_number": "Reproduced: p. 115", "url": null}, {"citation": "Davidson, Marshall B. <em>The American Heritage History of the Artists' America</em>. New York, NY: American Heritage Publishing Co., 1973.", "page_number": "Reproduced: p. 115", "url": ""}, {"citation": "Finch College, and Robert H. Luck.<em> Twice As Natural: 19th Century American Genre Painting.</em> Exh. Cat. New York, NY: Finch College Museum of Art, 1973.", "page_number": "Mentioned: p.17", "url": null}, {"citation": "Hills, Patricia. <em>The Painters' America: Rural and Urban Life, 1810-1910</em>. New York, New York: Praeger, 1974.", "page_number": "Mentioned: p.26; Reproduced: p.28", "url": null}, {"citation": "Parry, Ellwood. <em>The Image of the Indian and the Black Man in American Art, 1590-1900</em>. New York, NY: G. Braziller, 1974.", "page_number": "Mentioned: p.86", "url": null}, {"citation": "Frankenstein, Alfred V. and Alan Buechner. <em>William Sidney Mount</em>. New York, NY: Harry N. Adams, 1975.", "page_number": "Mentioned: pp.30,49,118,152,153,157,(as \"force of music\"),160,236, 249, 379, 471; Reproduced: p.159, no.56", "url": null}, {"citation": "Adams, Karen M. \"The Black Image in the Paintings of William Sidney Mount.\" <em>The American Art Journal</em> 7, No.2 (November 1975): 42-59.", "page_number": "Mentioned: p.49; Reproduced: p.50", "url": "https://www.jstor.org/stable/1593998"}, {"citation": "Taylor, Joshua C. <em>America As Art</em>. Washington D.C: Published for the National Collection of Fine Arts by the Smithsonian Institution Press, 1976.", "page_number": "Reproduced: p. 55", "url": null}, {"citation": "Brown, Milton W. <em>American Art to 1900: Painting, Sculpture, Architecture</em>. New York, NY: H.N. Abrams, 1977.", "page_number": "Mentioned: p.345 (as \"Music Hath Charms\"); Reproduced: p.346 (as \"Music Hath Charms\")", "url": null}, {"citation": "Callow, James T. \"American art in the collection of Charles M. Leupp.\" <em>Antiques</em> 118 (November 1980).", "page_number": "Mentioned: p.1003; Reproduced: frontispiece and p.1002", "url": null}, {"citation": "Chirico, Robert. F. \"Some Reflections on Sound and Silence in the Visual Arts.\" <em>Arts Magazine</em> 56, no.8 (April 1982):101-105.", "page_number": "Mentioned: pp.102-103, 105; Reproduced: p.102", "url": ""}, {"citation": "Cassedy, David C., Gail Shrott, and Janice Gray Armstrong. <em>William Sidney Mount, Annotated Bibliography and Listings of Archival Holdings of the Museums at Stony Brook</em>. Stony Brook, NY: The Museums, 1983", "page_number": "Mentioned: p.28, 65-67; Reproduced: p.67", "url": null}, {"citation": "Martha V. Pike. \"Catching the Tune: Music and William Sidney Mount.\" In <em>Catching the Tune: Music and William Sidney Mount</em>, edited by Janice Gray Armstrong. Stony Brook, NY: The Museums at Stony Brook, 1984.", "page_number": "Mentioned: pp.11-12; Reproduced: p.14", "url": null}, {"citation": "Smith, Jessie Carney. <em>Images of Blacks in American Culture: A Reference Guide to Information Sources</em>. New York, NY: Greenwood Press, 1988.", "page_number": "Mentioned: p. 23", "url": null}, {"citation": "McElroy, Guy C., Henry Louis Gates, and Christopher C. French. <em>Facing History: The Black Image in American Art, 1710-1940</em>. San Francisco, CA: Bedford Arts, 1990.", "page_number": "Mentioned: p.19", "url": null}, {"citation": "Boime, Albert. <em>The Art of Exclusion: Representing Blacks in the Nineteenth Century</em>. Washington D.C.: Smithsonian Institution Press, 1990.", "page_number": "Mentioned: pp.92-93; Reproduced: p.91", "url": null}, {"citation": "Glueck, Grace. \"The Century Club's Hard Decision to Raise Cash by Selling a Painting.\"<em> The New York Times</em>, October 20, 1990.", "page_number": "Mentioned and reproduced: p.11", "url": ""}, {"citation": "Berry, Wendell. <em>Outstanding in the Field: A Catalogue of American Paintings for the Nineties, Hard Times Call for Hard Choices, Plus Some Food for Thought ... an Essay Entitled The Pleasures of Eating, by Wendell Berry</em>. Leicester, VT: James Maroney, Inc, 1991.", "page_number": "Mentioned: p.11-13; Reproduced: p.11", "url": null}, {"citation": "Johns, Elizabeth. <em>American Genre Painting: The Politics of Everyday Life</em>. New Haven, CT: Yale University Press, 1991.", "page_number": "Mentioned: p.119-123; Reproduced: pl.14", "url": null}, {"citation": "The Century Association. 1991. <em>The Century Yearbook. </em>New York: The Century Association.", "page_number": null, "url": null}, {"citation": "Vogel, Carol. \"The Art Market: Painting sold for Century's renovation.\" <em>The New York Times</em>, November 29, 1991.", "page_number": "Mentioned and reproduced: p.C30", "url": ""}, {"citation": "Cullinan, Helen. \"Art museum pays $4 million for 'Music.'\" <em>The Plain Dealer</em>, November 30, 1991.", "page_number": "Mentioned and reproduced (unpaginated)", "url": ""}, {"citation": "Robertson, Bruce. \"The Power of Music: A Painting by William Sydney Mount.\" <em>The Bulletin of The Cleveland Museum of Art </em>79, no. 2 (February 1992): 38-62.", "page_number": "Mentioned: pp.38-62; Reproduced: p.38", "url": "https://www.jstor.org/stable/25161349"}, {"citation": "Turner, Evan H. \"Selected 1991 Acquisitions.\" <em>The Bulletin of the Cleveland Museum of Art</em> 79, no. 2 (1992): 63-83.", "page_number": "Mentioned: p. 64-65, 76", "url": "https://www.jstor.org/stable/25161350"}, {"citation": "Bruce Robertson, \u201c\u2019The Power of Music\u2019: A Painting by William Sidney Mount,\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 79.2 (Feb. 1992): 38-62.", "page_number": "Mentioned: pp.38-62; Reproduced: front cover and p.38", "url": "https://www.jstor.org/stable/i25161347"}, {"citation": "The Cleveland Museum of Art. \"Exhibitions: Selected Acquisitions.\" <em>News &amp; Calendar</em> (Feb.1992).", "page_number": "Mentioned and reproduced: p.3 (unpaginated mailer)", "url": ""}, {"citation": "<em>Gazette des beaux-arts</em> 119, no.134 (March 1992).", "page_number": "Reproduced: p.73", "url": ""}, {"citation": "Patterson, Jerry E. \"The Grand Acquisitors.\" <em>Town &amp; Country</em> (August 1992).", "page_number": "Mentioned: p.109", "url": ""}, {"citation": "Chong, Alan. <em>European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogue</em>. Cleveland, OH: The Cleveland Museum of Art, 1993.", "page_number": "Reproduced: p. 162", "url": null}, {"citation": "Moffatt, Frederick C. \"Barnburning and Hunkerism: William Sidney Mount's <em>Power of Music</em>.\" <em>Winterthur Portfolio</em> 29, no.1 (Spring 1994).", "page_number": "Mentioned: pp.19-42; Reproduced: pp.21, 33", "url": "journals.uchicago.edu/doi/pdf/10.1086/496642"}, {"citation": "Fred L. Emerson Gallery, and Whitney Museum of American Art at Philip Morris. <em>The Art of Music: American Paintings &amp; Musical Instruments, 1770-1910: An Exhibition</em>. Clinton, N.Y.: The Gallery, Hamilton College, 1984.", "page_number": "Mentioned: p.46; Reproduced: p.47", "url": ""}, {"citation": "Gay, Peter. <em>The Naked Heart</em>. The Bourgeois Experience: Victoria to Freud. Vol. IV. New York: NY: W.W. Norton &amp; Company, 1995.", "page_number": "Mentioned: pp.11-12; Reproduced (unpaginated)", "url": ""}, {"citation": "Christman, Margaret C. S., Alan Fern, and Robert V. Remini.<em> 1846: Portrait of the Nation</em>. Washington, D.C.: Smithsonian Institution Press, 1996.", "page_number": "Mentioned: p.159; Reproduced: p.163", "url": ""}, {"citation": "Kelly, Franklin, and Robert Wilson Torchia. <em>American Paintings of the Nineteenth Century</em>. Washington D.C.: National Gallery of Art, 1996.", "page_number": "Mentioned and reproduced: p.79", "url": ""}, {"citation": "Johnson, Deborah J., William Sidney Mount, and Elizabeth Johns. <em>William Sidney Mount: Painter of American Life</em>. New York, NY: American Federation of Arts, 1998.", "page_number": "Mentioned: pp.61-62; Reproduced: p.60", "url": null}, {"citation": "Robertson, Bruce. \"Who's sitting at the table?: William Sidney Mount's <em>After Dinner</em> 1834.\"<em> The Yale Journal of Criticism</em> 11, no.1 (1998).", "page_number": "Mentioned: pp.108-109; Reproduced: p.107", "url": ""}, {"citation": "William Reese Company.<em> Illustrated Americana &amp; American Art</em>. New Haven, CT: Wm Reese Co, 1990.", "page_number": "Mentioned and reproduced: item no.60", "url": ""}, {"citation": "Davis, John. \"Eastman Johnson's <em>Negro Life at the South</em> and Urban Slavery in Washington D.C.\" <em>The Art Bulletin</em> 80, no.1 (March 1998).", "page_number": "Mentioned: p.81; Reproduced: p.82", "url": "https://www.jstor.org/stable/3051254"}, {"citation": "Cotter, Holland. \"A Young and Uninnocent America.\" <em>The New York Times</em>, August 14, 1998.", "page_number": "Mentioned: Section E, p.36", "url": "nytimes.com/1998/08/14/arts/art-review-a-young-and-uninnocent-america.html"}, {"citation": "Amon Carter Museum. \"Exhibitions. William Sidney Mount: Painter of American Life.\"<em> Amon Carter Museum Program</em> (September 1998-February 1999).", "page_number": "Reproduced: p. 21", "url": null}, {"citation": "Koja, Stephan, and Nicolai Cikovsky. <em>America: The New World in 19th-Century Painting</em>. Munich, Germany: Prestel, 1999.", "page_number": "Reproduced: p. 110", "url": null}, {"citation": "Turner, Jane Shoaf. <em>Encyclopedia of American Art Before 1914</em>. New York, NY: Grove's Dictionaries, 1999.", "page_number": "Mentioned: p.325", "url": ""}, {"citation": "Koja, Stephan, and Nicolai Cikovsky. <em>America, Die Neue Welt in Bildern Des 19. Jahrhunderts</em>. Munich: Prestel, 1999.", "page_number": "Reproduced: p.110", "url": ""}, {"citation": "Hitchcock, H. Wiley, and Kyle Gann. <em>Music in the United States: A Historical Introduction</em>. Upper Saddle River, NJ: Prentice Hall, 2000.", "page_number": "Reproduced: cover", "url": null}, {"citation": "Voorsanger, Catherine Hoover, and John K. Howat. <em>Art and the Empire City: New York, 1825-1861</em>. New York, NY: Metropolitan Museum of Art, 2000.", "page_number": "Mentioned: p.209; Reproduced: p.208", "url": "books.google.com/books?id=j8dzQHVdv9oC&printsec=frontcover#v=onepage&q&f=true"}, {"citation": "Cikovsky, Nicolai. <em>A Connecticut Place: Weir Farm, an American Painter's Rural Retreat</em>. Wilton, Connecticut: Weir Farm Trust in collaboration with the National Park Service, Weir Farm National Historic Site, 2000.", "page_number": "Mentioned: pp.49-50; Reproduced: p.49", "url": null}, {"citation": "Cikovsky, Nicolai. <em>A Connecticut Place: Weir Farm, an American Painter's Rural Retreat</em>. Wilton, CT: Weir Farm Trust in collaboration with the National Park Service, Weir Farm National Historic Site, 2000.", "page_number": "Mentioned and Reproduced: p.49", "url": null}, {"citation": "May, Sally Ruth, Jane Takac, and Barbara J. Bradley. <em>Knockouts: A Pocket Guide</em>. Cleveland, OH: Cleveland Museum of Art, 2001.", "page_number": "Reproduced: p. 48", "url": null}, {"citation": "Kleinman, Craig, Nicholas M. Evans, Scott Gac, and David W. Stowe. <em>Special Issue: Noting the Nation: Words and Music in Nineteenth-Century America</em>. ATQ 16, no. 3. Kingston, RI: University of Rhode Island, 2002.", "page_number": "Mentioned: p.143; Reproduced: front cover", "url": null}, {"citation": "Wilmerding, John. <em>Signs of the Artist: Signatures and Self-Expression in American Paintings</em>. New Haven, CT: Yale University Press, 2003.", "page_number": "Reproduced: p.80", "url": null}, {"citation": "Craven, Wayne.<em> American Art: History and Culture</em>. New York, NY: McGraw-Hill, 2003.", "page_number": "Mentioned: p.225", "url": ""}, {"citation": "Chandler, Neal. <em>Silver Apples of the Moon: Art and Poetry</em>. Shaker Heights, OH: Shaker Heights Public Library, 2006.", "page_number": "Reproduced: p.66", "url": ""}, {"citation": "Muther, Richard. <em>The History of Modern Painting</em>. London, UK: J.M. Dent &amp; Co, 1907", "page_number": "Reproduced: p.291", "url": null}, {"citation": "Novak, Barbara. <em>American Painting of the Nineteenth Century: Realism, Idealism, and the American Experience</em>. Oxford, UK: Oxford University Press, 2007.", "page_number": "Mentioned: pp.107-108; Reproduced: p.106", "url": null}, {"citation": "Davies, Penelope J. E., and H. W. Janson. <em>Janson's History of Art: The Western Tradition</em>. Seventh Edition. Upper Saddle River, NJ: Pearson Education, 2007.", "page_number": "Mentioned: pp.837-838; Reproduced: p.837", "url": ""}, {"citation": "McIntosh, DeCourcy E. \"American genre prints in the service of French commerce.\" <em>Antiques</em> 171, no. 4 (April 2007).", "page_number": "Mentioned: pp.104-105; Reproduced: p.105", "url": ""}, {"citation": "Greenhill, Jennifer A. \"The View from Outside: Rockwell and Race in 1950.\"<em> American Art</em> 21, no.2 (Summer 2007).", "page_number": "Mentioned: pp.73-74; Reproduced: p.73", "url": ""}, {"citation": "Adams, Henry. <em>What's American About American Art?: A Gallery Tour in the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art, 2008.", "page_number": "Reproduced: p. 12. fig. 13, cover", "url": null}, {"citation": "Yale University, David G. McCullough, Jon Butler, and Helen A. Cooper. <em>Life, Liberty, and the Pursuit of Happiness: American Art from the Yale University Art Gallery</em>. New Haven, CT: Yale University Art Gallery in association with Yale University Press, 2008.", "page_number": "Mentioned: pp.22, 141; Reproduced: p.23", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Cleveland Museum of Art Members Magazine </em>48 (May/June 2008). Cleveland, OH: The Cleveland Museum of Art, 2008.", "page_number": "Mentioned: p.6", "url": ""}, {"citation": "Gillespie, Sarah Kate. \"The Devil Went Down to Brooklyn: William Moore Davis and the Legend of 'Martense's Lane.'\" <em>Magazine Antiques</em> 174, no.5 (November 2008).", "page_number": "Mentioned: pp.134-135; Reproduced: p.133", "url": ""}, {"citation": "Weinberg, Barbara H., and Carrie Rebora Barratt. <em>American Stories: Paintings of Everyday Life, 1765-1915</em>. New York, NY: Metropolitan Museum of Art, 2009", "page_number": "Mentioned: pp.xiv, 39, 68, 173; Reproduced: pp.xiii, 68", "url": null}, {"citation": "Burns, Sarah, and John Davis. <em>American Art to 1900: A Documentary History</em>. Berkeley, CA: University of California Press, 2009.", "page_number": "Mentioned: pp.312,316", "url": ""}, {"citation": "Weinberg, H. Barbara, and Carrie Rebora Barratt. \"American Stories: Paintings of Everyday Life.\" <em>American Art Review</em> 21, no.5 (Sept.-Oct. 2009).", "page_number": "Mentioned: p.75; Reproduced: p.72", "url": ""}, {"citation": "The Metropolitan Museum of Art. \"American Stories: Paintings of Everyday Life, 1765-1915: Artist Kara Walker Discusses 'The Power of Music.'\" Podcast, November 9, 2009.", "page_number": "Mentioned.", "url": ""}, {"citation": "Stoodley, Sheila Gibson. \"Narrative Paintings of the 18th and 19th Centuries Show How the Lives of Ordinary Americans Were the Stuff of History.\" <em>Art &amp; Antiques Magazine</em> 33, no.1 (January 2010).", "page_number": "Mentioned: pp.68, 71-73; Reproduced: p.66", "url": ""}, {"citation": "Cleveland Museum of Art. <em>Cleveland Museum of Art Members Magazin</em>e. Cleveland, OH: The Cleveland Museum of Art (March/April 2010).", "page_number": "Mentioned and reproduced: p.10", "url": "archive.org/details/CMAMM2010-02/page/n9/mode/2up"}, {"citation": "Sotheby's (Firm). <em>American Paintings, Drawings &amp; Sculpture</em>. New York: Sotheby's, December 2, 2010.", "page_number": "Mentioned: p.34", "url": ""}, {"citation": "Marter, Joan M. <em>The Grove Encyclopedia of American Art</em>. Oxford, UK: Oxford University Press, 2011.", "page_number": "Mentioned: p.372", "url": ""}, {"citation": "<em>Treasures of the Cleveland Museum of Art</em>. London, UK: Scala Books, 2012.", "page_number": "Mentioned and reproduced: p. 234-235", "url": null}, {"citation": "Galpin, Amy. <em>Behold, America!: Art of the United States from Three San Diego Museums</em>. San Diego, CA: San Diego Museum of Art, 2012.", "page_number": "Mentioned: p.74", "url": null}, {"citation": "Brownlee, Peter John. <em>American Encounters: Genre Painting and Everyday Life</em>. Chicago, IL: Terra Foundation for American Art, 2012.", "page_number": "Reproduced: p. 35, fig. 20", "url": null}, {"citation": "Bindman, David and Henry Louis Gates, Jr., eds. <em>The Image of the Black in Western Art, Vol. IV: From the American Revolution to World War I, Part 2: Black Models and White Myths</em>. Cambridge, MA: Harvard University Press, 2012.", "page_number": "Mentioned: pp.73-75; Reproduced: p.73", "url": ""}, {"citation": "Cleveland Museum of Art, David Franklin, and C. Griffith Mann. <em>Treasures from the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 2012.", "page_number": "Mentioned: p.234; Reproduced: p.235", "url": ""}, {"citation": "Brownlee, Peter John, Sarah Burns, Diane Dillon, Daniel Greene, Scott Manning Stevens, and Adam Goodheart.<em> Home Front: Daily Life in the Civil War North</em>. Chicago, IL: The University of Chicago Press, 2013.", "page_number": "Mentioned: pp.131-134; Reproduced: p.132", "url": ""}, {"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. 47", "url": ""}, {"citation": "Davis, John, Jennifer A. Greenhill, and Jason David LaFountain. <em>A Companion to American Art</em>. Malden, MA: Wiley Blackwell, 2015.", "page_number": "Mentioned: pp.321, 419", "url": ""}, {"citation": "Dini, Jane.<em> Dance: American Art, 1830-1960</em>. Detroit Institute of Arts. New Haven, CT: Distributed by Yale University Press, 2016.", "page_number": "Mentioned: pp.46, 49; Reproduced: p.46", "url": ""}, {"citation": "Hill, Constance Valis. \"In the Eye of the Beholder: The Black Presence in the Art of American Dance.\" In <em>Dance: American Art, 1830-1960,</em> Jane Dini, ed., 29-49. New Haven; London: Yale University Press. 2016.", "page_number": "Mention, p. 46, 49 Reproduced: p. 46, fig. 9", "url": null}, {"citation": "Tani, Ellen Y., and Amanda Cachia. <em>Second Sight: The Paradox of Vision in Contemporary Art.</em> Brunswick, ME: Bowdoin College Museum of Art; New York, NY: Scala Arts &amp; Heritage Publishers Inc., 2018.", "page_number": "Mentioned: pp.26-27; Reproduced: p.27", "url": null}, {"citation": "McCree, J. Woodrow. Washington Irving's Critique of American Culture: Sketching a Vision of World Citizenship. 2021.", "page_number": "Reproduced: p. 154, fig. 6.1", "url": ""}, {"citation": "The Cleveland Museum of Art. \"American Painting.\" Cleveland, OH: The Cleveland Museum of Art, (no date).", "page_number": "Mentioned and reproduced: unpaginated brochure", "url": ""}, {"citation": "\"Exhibition at the National Academy Second Saloon.\" <em>The Literary World</em> no.18 (June 5, ?).", "page_number": "Mentioned: p.419", "url": ""}, {"citation": "Berlin, Ira, and Leslie M. Harris, eds. <em>Slavery in New York</em>. New York, NY: The New Press, 2005.", "page_number": "Mentioned: pp.165-166; Reproduced: p.162", "url": ""}, {"citation": "Kirkpatrick, Katherine, and Vivian Nicholson-Mueller. <em>The Art of William Sidney Mount: Long Island People of Color on Canvas. </em>Charleston, SC : The History Press, 2022.", "page_number": "Mentioned: P. 31, 39, 73, 77, 91, 96-97; Reproduced: Plates, back cover, P. 97", "url": ""}, {"citation": "Brown, Laaren. \"Highlights of the Collection.\" In <em>Views of America: The Diplomatic Reception Rooms at the U.S. Department of State, </em>edited by United States Department of State, 95-214. New York, NY: Rizzoli Electa, 2025.", "page_number": "Mentioned: p. 190-193", "url": ""}], "url": "https://clevelandart.org/art/1991.110", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1991.110/1991.110_web.jpg", "width": "1106", "height": "893", "filesize": "207550", "filename": "1991.110_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1991.110/1991.110_print.jpg", "width": "3400", "height": "2745", "filesize": "1826461", "filename": "1991.110_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1991.110/1991.110_full.tif", "width": "5422", "height": "4379", "filesize": "71253756", "filename": "1991.110_full.tif"}}, "alternate_images": [{"web": {"url": "https://openaccess-cdn.clevelandart.org/1991.110/1991.110_alt0_web.jpg", "width": "1029", "height": "893", "filesize": "816274"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1991.110/1991.110_alt0_print.jpg", "width": "3400", "height": "2952", "filesize": "7259431"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1991.110/1991.110_alt0_full.tif", "width": "3787", "height": "3288", "filesize": "37399304"}, "date_created": "2008-08-13T15:12:27", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1991.110/1991.110_alt1_web.jpg", "width": "1102", "height": "893", "filesize": "773960"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1991.110/1991.110_alt1_print.jpg", "width": "3400", "height": "2755", "filesize": "6244920"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1991.110/1991.110_alt1_full.tif", "width": "4621", "height": "3744", "filesize": "51933356"}, "annotation": ""}], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "The Payne Fund Gallery", "athena_id": 155783, "creators": [{"id": 2876, "description": "William Sidney Mount (American, 1807\u20131868)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1807", "death_year": "1868", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1991-09-23T00:00:00", "sortable_date": 1847, "date_added_to_oa": null, "date_text": "1847", "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": true, "updated_at": "2026-10-07 12:13:22.612000"}, {"id": 109245, "accession_number": "1927.393", "share_license_status": "CC0", "tombstone": "Elizabeth Shewell West and Her Son, Raphael, c. 1770. Benjamin West (American, born The Thirteen Colonies, 1738\u20131820). Oil on canvas; framed: 88 x 87.5 x 9 cm (34 5/8 x 34 7/16 x 3 9/16 in.); unframed: 66.5 x 66.3 cm (26 3/16 x 26 1/8 in.). The Cleveland Museum of Art, The Charles W. Harkness Gift, 1927.393", "current_location": "204 Colonial American", "title": "Elizabeth Shewell West and Her Son, Raphael", "creation_date": "c. 1770", "creation_date_earliest": 1765, "creation_date_latest": 1775, "artists_tags": ["male"], "culture": ["United States"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 88 x 87.5 x 9 cm (34 5/8 x 34 7/16 x 3 9/16 in.); Unframed: 66.5 x 66.3 cm (26 3/16 x 26 1/8 in.)", "dimensions": {"framed": {"height": 0.88, "height_inch": 34, "height_inch_fraction": 0.625, "width": 0.875, "width_inch": 34, "width_inch_fraction": 0.4375, "depth": 0.09, "depth_inch": 3, "depth_inch_fraction": 0.5625}, "unframed": {"height": 0.665, "height_inch": 26, "height_inch_fraction": 0.1875, "width": 0.663, "width_inch": 26, "width_inch_fraction": 0.125}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 312517, "title": "The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition", "description": "<i>The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 26-October 4, 1936).", "opening_date": "1936-06-26T04:00:00"}, {"id": 304248, "title": "Style, Truth and the Portrait", "description": "<i>Style, Truth and the Portrait</i>. The Cleveland Museum of Art, Cleveland, OH (October 1-November 19, 1963).", "opening_date": "1963-10-01T04:00:00"}, {"id": 515741, "title": "The American Portrait", "description": "<i>The American Portrait</i>. Westmoreland Museum of American Art, Greensburg, PA (organizer) (September 14-October 31, 1965).", "opening_date": "1965-09-14T04:00:00"}, {"id": 516052, "title": "American Masters", "description": "<i>American Masters</i>. Kalamazoo Institute of Arts, Kalamazoo, MI (organizer) (September 14-October 19, 1966).", "opening_date": "1966-09-14T04:00:00"}, {"id": 180609, "title": "CMA @ Oberlin - American Portraits", "description": "<i>CMA @ Oberlin - American Portraits</i>. Allen Memorial Art Museum, Oberlin, OH (August 29-December 17, 2006).", "opening_date": "2006-08-29T00:00:00"}], "legacy": [{"description": "London, The Royal Academy of Arts, (1770), see Algernon Graves, The Royal Academy of Arts: A Complete Dictionary of Contributors and Their Work from its Foundation in 1769 to 1904 p. 212, no. 198.", "opening_date": "1904-01-01T00:00:00"}, {"description": "Cleveland, The Cleveland Museum of Art, The Twentieth Anniversary Exhibtion of The Cleveland Museum of Art; The Official Great Lakes Exposition (26 January-4 October 1936), no. 53, p. 30.", "opening_date": "1936-01-26T00:00:00"}, {"description": "Philadelphia, Pennsylvania Museum of Art, Benjamin West 1738-1820 (1938), cat. no. 18, not illus.", "opening_date": "1938-01-01T00:00:00"}, {"description": "Akron, Akron Art Institute, 40 American Painters: A Survey of American Painting from Colonial to Modern Times, fo the Opening of the Institute (December, 1945), illus. cat. no. 2.", "opening_date": "1945-12-01T00:00:00"}, {"description": "Charlotte, NC, Mint Museum of Art, 10th Anniversary Exhibition (October, 1946), cat. no. 12, not illus.", "opening_date": "1946-10-01T00:00:00"}, {"description": "Dayton, Dayton Art Institute, The Artist and His Family (3 March-April, 1950), cat. no. 38.", "opening_date": "1950-03-01T00:00:00"}, {"description": "Cleveland, The Cleveland Museum of Art, Style, Truth, and the Portrait (1 October-10 November 1963) cat. no. 46, illus.", "opening_date": "1963-10-01T00:00:00"}, {"description": "Greensburg, PA, The Westmoreland Country Museum of Art, The American Portrait (19 September-31 October 1965)", "opening_date": "1965-09-19T00:00:00"}, {"description": "Kalamazoo, MI, Kalamazoo Art Center, Paintings by American Masters: Fifth Anniversary Exhibition (14 September-19 October 1966), illus. p. 6.", "opening_date": "1966-09-14T00:00:00"}]}, "provenance": [{"description": "The Cleveland Museum of Art, Cleveland, Ohio", "citations": [], "footnotes": [], "date": "1927-", "sortorder": 1}, {"description": "Edward S. Harkness [1874-1940], New York, NY, to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1916-1927", "sortorder": 2}, {"description": "Mary Warden Harkness [1864-1916], New York, NY, by bequest to her brother-in-law Edward S. Harkness", "citations": [], "footnotes": ["<div><!--block-->Mary Warden Harkness's will states: \u201cI give and bequeath to my husband\u2019s brother, Edward S. Harkness, the paintings described as follows, for his life, and upon his death I give and bequeath the same to the Art Museum of Cleveland, at Cleveland, Ohio, to be known as The Charles W. Harkness Gift.\u201d</div>"], "date": "1916", "sortorder": 3}, {"description": "Charles W. Harkness [1860-1916], New York, NY, by bequest to his wife Mary Warden Harkness1", "citations": [], "footnotes": ["<div><!--block-->1The Knoedler inventory cards document the sale of the painting (stock no. F 411) to Harkness in November 1911.</div>"], "date": "1911-1916", "sortorder": 4}, {"description": "(M. Knoedler & Co., New York, NY, sold to Charles W. Harkness)", "citations": [], "footnotes": [], "date": "Until 1911", "sortorder": 5}, {"description": "Henry J. Pfungst [1844-1917], Cleveland Square, London", "citations": [], "footnotes": [], "date": "?", "sortorder": 6}, {"description": "Castle Smith, London", "citations": [], "footnotes": [], "date": "By 1909", "sortorder": 7}, {"description": "Grandson of Benjamin West, Jr., to his widow", "citations": [], "footnotes": [], "date": "Probably 1848-", "sortorder": 9}, {"description": "Benjamin West, Jr. [1772-1848], to his grandson", "citations": [], "footnotes": [], "date": "1820-by 1848", "sortorder": 10}, {"description": "Benjamin West [1738-1820], London, to his son, Benjamin West, Jr.", "citations": [], "footnotes": [], "date": "c. 1770-1820", "sortorder": 11}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Born in colonial America, West eventually became a court painter to George III of England.", "early_education_description": null, "artlens_description": null, "description": "West was the first American artist to study in Italy, where he spent three years before permanently settling in London. He so admired the artistic ideals of the Italian Renaissance master Raphael that he named his eldest son after him, and he imitated Raphael\u2019s celebrated Madonna of the Chair when composing this tender double portrait of his wife and child.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60513099"], "internet_archive": ["https://archive.org/details/clevelandart-1927.393-elizabeth-shewell-we"]}, "citations": [{"citation": "The Bequests of Mary Warden Harkness,\" <em>Bulletin of the Cleveland Museum of Art</em> 15 (February 1928): 43-50.", "page_number": null, "url": null}, {"citation": "Benjamin West, Series IV. Inventory cards, 1859-1971, M. Knoedler &amp; Co. Records, box 127, Getty Research Institute.", "page_number": null, "url": null}, {"citation": "<em>The Connoisseur</em> (Feb. 1909): 115", "page_number": null, "url": null}, {"citation": "<em>The Connoisseur</em> (Feb. 1909): 115", "page_number": null, "url": null}, {"citation": "<em>The Connoisseur</em> (Feb. 1909): 115", "page_number": null, "url": null}, {"citation": "<em>The Connoisseur </em>(Feb. 1909): 115", "page_number": null, "url": null}, {"citation": "<em>The Connoisseur </em>(Feb. 1909): 115", "page_number": null, "url": null}, {"citation": "W.M.B. Berger Charitable Trust, and Denver Art Museum. 600 Years of British Painting : The Berger Collection. Denver, [Chailey]: Denver Art Museum ; [Vine House] (distributor), 1999.", "page_number": "Mentioned p. 272.", "url": ""}, {"citation": "\"Bequest of Mrs. Charles W. Harkness.\" <em>The Bulletin of the Cleveland Museum of Art</em> 4, no. 4 (1917): 63.", "page_number": "Mentioned: p. 63", "url": "http://www.jstor.org/stable/25136090"}, {"citation": "F. A. W. \u201cThe Bequests of Mary Warden Harkness: A Tribute and an Accounting.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 15, no. 2, pt. 2 (February 1928): 41\u201350.", "page_number": "Reproduced: p. 41; Mentioned: p. 43", "url": "http://www.jstor.org/stable/25137106"}, {"citation": "W. M. M. \u201cPaintings in the Harkness Gift.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 15, no. 2, pt. 2 (February 1928): 51\u201357.", "page_number": "Mentioned: p. 51", "url": "http://www.jstor.org/stable/25137107"}, {"citation": "<em>Paintings in the Cleveland Museum of Art.</em> [Cleveland]: The Cleveland Museum of Art, 1945.", "page_number": "Reproduced: p. 13", "url": "https://archive.org/details/CMAPaintings1945/page/n21"}, {"citation": "The Cleveland Museum of Art. <em>The Cleveland Museum of Art Handbook.</em> Cleveland, OH: The Cleveland Museum of Art, 1958.", "page_number": "Mentioned and Reproduced: cat. no. 532", "url": "https://archive.org/details/CMAHandbook1958/page/n98"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 160", "url": "https://archive.org/details/CMAHandbook1966/page/n184"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 160", "url": "https://archive.org/details/CMAHandbook1969/page/n184"}, {"citation": "\u201cA Check List. American Paintings and Water Colors of the Eighteenth, Nineteenth, and Early Twentieth Centuries in the Cleveland Museum of Art.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 60, no. 1 (January 1973): 21\u201335.", "page_number": "Mentioned and reproduced: p. 35, no. 185", "url": "http://www.jstor.org/stable/25152465"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 198", "url": "https://archive.org/details/CMAHandbook1978/page/n218"}, {"citation": "Adams, Henry. <em>What's American about American art?: a gallery tour in the Cleveland Museum of Art. </em>Cleveland: Cleveland Museum of Art, 2008.", "page_number": "Reproduced: p. 42 - 43", "url": ""}, {"citation": "Franklin, David. <em>Director's Choice: The Cleveland Museum of Art.</em> London: Scala Arts &amp; Heritage Publishers Ltd., 2012.", "page_number": "Mentioned, p. 49; reproduced, front cover (detail) and p. 48.", "url": ""}, {"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. 44", "url": ""}, {"citation": "Klein, Shana. \"Bound and Boarded: Policing Native Motherhood in US Art and Culture.\" <em>The Art Bulletin</em> 106, n. 2 (June 2024): 119-143.", "page_number": "Mentioned and reproduced: p. 124, fig. 5", "url": ""}], "url": "https://clevelandart.org/art/1927.393", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1927.393/1927.393_web.jpg", "width": "890", "height": "893", "filesize": "515554", "filename": "1927.393_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1927.393/1927.393_print.jpg", "width": "3387", "height": "3400", "filesize": "6602921", "filename": "1927.393_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1927.393/1927.393_full.tif", "width": "3626", "height": "3640", "filesize": "39621584", "filename": "1927.393_full.tif"}}, "alternate_images": [], "creditline": "The Charles W. Harkness Gift", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Leigh and Mary Carter Gallery", "athena_id": 109245, "creators": [{"id": 2553, "description": "Benjamin West (American, born The Thirteen Colonies, 1738\u20131820)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1738", "death_year": "1820", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1927-12-20T00:00:00", "sortable_date": 1765, "date_added_to_oa": null, "date_text": "c. 1770", "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": ["Mrs. West with Raphael West", "Mrs. West and Her Son Raphael"], "is_highlight": true, "updated_at": "2026-10-17 11:22:14.024000"}, {"id": 103366, "accession_number": "1921.428", "share_license_status": "CC0", "tombstone": "Elizabeth Beltzhoover Mason, c. 1803\u20135. Gilbert Stuart (American, born The Thirteen Colonies, 1755\u20131828). Oil on canvas; framed: 90 x 78 x 8 cm (35 7/16 x 30 11/16 x 3 1/8 in.); unframed: 73.8 x 61 cm (29 1/16 x 24 in.). The Cleveland Museum of Art, Gift from J. H. Wade, 1921.428", "current_location": "204 Colonial American", "title": "Elizabeth Beltzhoover Mason", "creation_date": "c. 1803\u20135", "creation_date_earliest": 1798, "creation_date_latest": 1810, "artists_tags": ["male"], "culture": ["United States"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 90 x 78 x 8 cm (35 7/16 x 30 11/16 x 3 1/8 in.); Unframed: 73.8 x 61 cm (29 1/16 x 24 in.)", "dimensions": {"framed": {"height": 0.9, "height_inch": 35, "height_inch_fraction": 0.4375, "width": 0.78, "width_inch": 30, "width_inch_fraction": 0.6875, "depth": 0.08, "depth_inch": 3, "depth_inch_fraction": 0.125}, "unframed": {"height": 0.738, "height_inch": 29, "height_inch_fraction": 0.0625, "width": 0.61, "width_inch": 24, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 312517, "title": "The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition", "description": "<i>The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 26-October 4, 1936).", "opening_date": "1936-06-26T04:00:00"}, {"id": 312341, "title": "The Silver Jubilee Exhibition", "description": "<i>The Silver Jubilee Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-September 28, 1941).", "opening_date": "1941-06-23T04:00:00"}, {"id": 311898, "title": "35th Anniversary Exhibition", "description": "<i>35th Anniversary Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 20-September 30, 1951).", "opening_date": "1951-06-20T04:00:00"}, {"id": 700602, "title": "American Portraits", "description": "<i>American Portraits</i>. Akron Art Museum, Akron, OH (organizer) (February 23-March 18, 1956).", "opening_date": "1956-02-23T05:00:00"}, {"id": 206136, "title": "Gilbert Stuart", "description": "<i>Gilbert Stuart</i>. The Metropolitan Museum of Art, New York, NY (organizer) (October 18, 2004-January 16, 2005); National Gallery of Art, Landover, MD (March 27-July 31, 2005).", "opening_date": "2004-10-18T00:00:00"}, {"id": 180609, "title": "CMA @ Oberlin - American Portraits", "description": "<i>CMA @ Oberlin - American Portraits</i>. Allen Memorial Art Museum, Oberlin, OH (August 29-December 17, 2006).", "opening_date": "2006-08-29T00:00:00"}], "legacy": [{"description": "<em>American Painting Before 1865. </em>Washington County Museum of Fine Arts (September 4-26, 1927).", "opening_date": "1927-09-04T04:00:00Z"}, {"description": "<em>Comparisons, </em>Art Gallery of Toronto (January 11-February 3, 1957).", "opening_date": "1957-01-11T05:00:00Z"}, {"description": "Houston, Museum of Fine Arts, Houston, George Washington's World (15 January - 14 February 1954).", "opening_date": "1954-01-15T05:00:00Z"}]}, "provenance": [{"description": "The Cleveland Museum of Art, Cleveland, Ohio", "citations": [], "footnotes": [], "date": "1921-", "sortorder": 1}, {"description": "(Frank W. Bayley, Boston, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "1921", "sortorder": 2}, {"description": "Louisa Mason Terry [1844-1921], Washington, DC, consigned to Frank W. Bayley for sale1", "citations": [], "footnotes": ["<div><!--block-->Sometimes referred to as Louise, Louisa Terry was married to Rear Admiral Silas Wright Terry [c. 1841-1911]. From 1909 until 1921, the painting was on loan to the Corcoran Gallery of Art, Washington DC.</div>"], "date": "1899-1921", "sortorder": 3}, {"description": "Margaret Augusta Cowan Mason [1821-1899], Hagerstown, MD, by descent to her daughter, Louisa Mason Terry1", "citations": [], "footnotes": ["<div><!--block-->1While not generally included in this painting\u2019s provenance, George C. Mason\u2019s <em>The Life and Works of Gilbert Stuart</em>, published in 1879, situates the painting in the collection of \u201cMrs. J. Thompson [sic] Mason\u201d at the time.</div>"], "date": "1873-1899", "sortorder": 4}, {"description": "Judge John Thomson Mason, Jr. [1815-1873], Hagerstown, MD, by descent to his wife, Margaret Augusta Cowan Mason", "citations": [], "footnotes": null, "date": "1836-1873", "sortorder": 5}, {"description": "Elizabeth Beltzhoover Mason [1781-1836] and John Thomson Mason [1765-1824], Montpelier, Clear Spring, MD, by descent to their son, Judge John Thomson Mason, Jr.", "citations": [], "footnotes": null, "date": "c. 1803/1805 - 1836", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Stuart also painted a portrait of George Washington, now immortalized on the dollar bill.", "early_education_description": null, "artlens_description": null, "description": "The sitter\u2019s high-waisted dress, pearl necklace, and elegant hairstyle of cascading ringlets reflect the height of fashion around 1800. Her gaze is assured: her chin is tilted upward but her eyes peer down with confidence. Mason\u2019s husband was a prosperous lawyer, an influential figure in President Thomas Jefferson\u2019s administration, and a plantation owner in Maryland. According to an inventory from 1807, the couple enslaved approximately 185 people, ranging from the newborn Abraham to 79-year-old Rachel. The family\u2019s wealth afforded Mason the opportunity to be painted by Gilbert Stuart, a much sought-after portraitist.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60503339"], "internet_archive": ["https://archive.org/details/clevelandart-1921.428-elizabeth-beltzhoove"]}, "citations": [{"citation": "Washington County Museum of Fine Arts. <em>American Painting Before 1865: An Exhibition September 4th to 26th, 1937</em>. Hagerstown, MD: The Museum,", "page_number": null, "url": null}, {"citation": "Park, Lawrence, John Hill Morgan, and Royal Cortissoz. <em>Gilbert Stuart; An Illustrated Descriptive List of His Works</em>. New York: W.E. Rudge, 1926.", "page_number": null, "url": null}, {"citation": "Washington County Museum of Fine Arts. <em>American Painting Before 1865: An Exhibition September 4th to 26th, 1937</em>. Hagerstown, MD: The Museum, 1937.", "page_number": null, "url": null}, {"citation": "Park, Lawrence. \u201cPortrait of Mrs. John Thomson Mason by Gilbert Stuart,\u201d <em>The Bulletin of the Cleveland Museum of Art</em>, vol. 8, no. 19 (Dec. 1921): 154-155.", "page_number": null, "url": null}, {"citation": "Mason, George C. <em>The Life and Works of Gilbert Stuart</em>. New York: C. Scribner's Sons, 1879.", "page_number": null, "url": null}, {"citation": "Mason, George C. <em>The Life and Works of Gilbert Stuart</em>. New York: C. Scribner's Sons, 1879.", "page_number": null, "url": null}, {"citation": "Park, Lawrence, John Hill Morgan, and Royal Cortissoz. <em>Gilbert Stuart; An Illustrated Descriptive List of His Works</em>. New York: W.E. Rudge, 1926.", "page_number": null, "url": null}, {"citation": "Washington County Museum of Fine Arts. <em>American Painting Before 1865: An Exhibition September 4th to 26th, 1937</em>. Hagerstown, MD: The Museum, 1937.", "page_number": null, "url": null}, {"citation": "Park, Lawrence. \u201cPortrait of Mrs. John Thomson Mason by Gilbert Stuart,\u201d <em>The Bulletin of the Cleveland Museum of Art</em>, vol. 8, no. 19 (Dec. 1921): 154-155", "page_number": null, "url": null}, {"citation": "Park, Lawrence, John Hill Morgan, and Royal Cortissoz. <em>Gilbert Stuart; An Illustrated Descriptive List of His Works</em>. New York: W.E. Rudge, 1926.", "page_number": null, "url": null}, {"citation": "Park, Lawrence. \u201cPortrait of Mrs. John Thomson Mason by Gilbert Stuart,\u201d <em>The Bulletin of the Cleveland Museum of Art</em>, vol. 8, no. 19 (Dec. 1921): 154-15", "page_number": null, "url": null}, {"citation": "Mason, George C. <em>The Life and Works of Gilbert Stuart: With Selections from Stuart's Portraits Reproduced on Steel and by Photogravure</em>. New York: Charles Scribner's Sons, 1894.", "page_number": "Mentioned: p. 221", "url": null}, {"citation": "Cleveland Museum of Art. \"Portrait of Mrs. John Thomson Mason by Gilbert Stuart.\" <em>The Bulletin of the Cleveland Museum of Art, </em>no. 10 (December 1921).", "page_number": "Mentioned: p. 154-155; Reproduced: p. 163", "url": null}, {"citation": "Cleveland Museum of Art. \"Early American Art.\" <em>The Cleveland Museum of Art Seventh Annual Report </em>(1923).", "page_number": "Reproduced: p. 52", "url": null}, {"citation": "Dorr, Charles Henry. \"The Real Gilbert Stuart.\" <em>The Judd Magazines, Inc. </em>18, no. 1 (November 1922).", "page_number": "Mentioned: p. 50; Reproduced: p. 35", "url": null}, {"citation": "Whiting, Frederic Allen. \"The Cleveland Museum of Art.\" <em>Art and Archaeology </em>16, no. 4-5 (1923).", "page_number": "Reproduced: 186", "url": null}, {"citation": "Park, Lawrence, John Hill Morgan, and Royal Cortissoz. <em>Gilbert Stuart: An Illustrated Descriptive List of His Works</em>. New York: W.E. Rudge, 1926.", "page_number": null, "url": null}, {"citation": "Cleveland Museum of Art. \"In Memoriam: Jeptha Homer Wade.\" <em>The Bulletin of the Cleveland Museum of Art </em>13, no. 4 (April 1926).", "page_number": "Reproduced: p. 91", "url": null}, {"citation": "Cortissoz, Royal. \"The Field of Art.\" <em>Scribners </em>(November 1926).", "page_number": "Reproduced: p. 576", "url": null}, {"citation": "\"At the Art Museum.\" <em>Bystander </em>(Cleveland, OH), 1931.", "page_number": "Mentioned; Reproduced", "url": null}, {"citation": "Medford, Richard Carl. \"The Fine Arts Exhibits of the National Antietam Commemoration.\" <em>Bulletin of the Washington County Museum of Fine Arts </em>3, no. 1 (September 1937).", "page_number": "Mentioned: p. 4; Reproduced: cover", "url": null}, {"citation": "\"Finest Art in US Goes to Illinois Corn Belt for Big Small-Town Show.\" <em>LIFE, </em>March 1939.", "page_number": "Reproduced", "url": null}, {"citation": "Milliken, William. \"Silver Jubilee Exhibition.\" <em>The Bulletin of the Cleveland Museum of Art </em>28, no.6 (June 1941): 88-108", "page_number": "Mentioned: p. 89", "url": "https://www.jstor.org/stable/25140932"}, {"citation": "Cleveland Museum of Art. <em>The Cleveland Museum of Art Handbook.</em> Cleveland, OH: The Cleveland Museum of Art, 1958.", "page_number": "Mentioned and Reproduced: cat. no. 528", "url": "https://archive.org/details/CMAHandbook1958/page/n97"}, {"citation": "Mount, Charles Merrill. <em>Gilbert Stuart, A Biography</em>. New York: W.W. Norton, 1964.", "page_number": "Mentioned: p. 371", "url": null}, {"citation": "Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 161", "url": "https://archive.org/details/CMAHandbook1966/page/n185"}, {"citation": "Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 161", "url": "https://archive.org/details/CMAHandbook1969/page/n185"}, {"citation": "Adams, Celeste, Rita Myers, and Adele Z. Silver. <em>An Introduction to American Art in the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 1972.", "page_number": "Mentioned: p. 3; Reproduced", "url": null}, {"citation": "Cleveland Museum of Art. \"A Checklist: American Paintings and Water Colors of the Eighteenth, Nineteenth, and Early Twentieth Centuries in the Cleveland Museum of Art.\" <em>The Bulletin of the Cleveland Museum of Art </em>(January 1973).", "page_number": "Reproduced: p. 34", "url": null}, {"citation": "Mount, Charles Merrill. <em>Gilbert Stuart in Washington: With a Catalogue of His Portraits Painted between December 1803 and July 1805</em>. Washington, D.C.: Columbia Historical Society, 1973.", "page_number": "Mentioned: p. 96; Reproduced: p. 98", "url": null}, {"citation": "Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 199", "url": "https://archive.org/details/CMAHandbook1978/page/n219"}, {"citation": "Evans, Dorinda. <em>The Genius of Gilbert Stuart</em>. Princeton, NJ: Princeton University Press, 1999.", "page_number": "Mentioned: p. 76; Reproduced: p. 76", "url": null}, {"citation": "Barratt, Carrie Rebora, Gilbert Stuart, and Ellen Gross Miles. <em>Gilbert Stuart</em>. New York: Metropolitan Museum of Art, 2004.", "page_number": "Mentioned: p. 260, 264-6; Reproduced: p. 265", "url": null}, {"citation": "Adams, Henry. <em>What's American About American Art?: A Gallery Tour in the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2008.", "page_number": "Mentioned: p. 9; Reproduced: p. 9", "url": null}, {"citation": "<em>|Paintings in the Cleveland Museum of Art: Picture Book No. 4</em> . [Cleveland]: The Cleveland Museum of Art, 1952.", "page_number": "Reproduced: p. 17", "url": "https://archive.org/details/CMAPaintings1952/page/n17/mode/2up"}], "url": "https://clevelandart.org/art/1921.428", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1921.428/1921.428_web.jpg", "width": "743", "height": "900", "filesize": "217302", "filename": "1921.428_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1921.428/1921.428_print.jpg", "width": "2805", "height": "3400", "filesize": "2955872", "filename": "1921.428_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1921.428/1921.428_full.tif", "width": "5681", "height": "6886", "filesize": "117385852", "filename": "1921.428_full.tif"}}, "alternate_images": [{"web": {"url": "https://openaccess-cdn.clevelandart.org/1921.428/1921.428_alt0_web.jpg", "width": "754", "height": "900", "filesize": "154647"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1921.428/1921.428_alt0_print.jpg", "width": "2847", "height": "3400", "filesize": "2118197"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1921.428/1921.428_alt0_full.tif", "width": "5855", "height": "6992", "filesize": "122840220"}, "date_created": "2016-09-15T13:55:33", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1921.428/1921.428_alt1_web.jpg", "width": "747", "height": "900", "filesize": "208376"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1921.428/1921.428_alt1_print.jpg", "width": "2823", "height": "3400", "filesize": "4034327"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1921.428/1921.428_alt1_full.tif", "width": "5810", "height": "6997", "filesize": "121984180"}, "date_created": "2016-09-15T13:58:18", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1921.428/1921.428_alt2_web.jpg", "width": "767", "height": "900", "filesize": "234569"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1921.428/1921.428_alt2_print.jpg", "width": "2898", "height": "3400", "filesize": "2719011"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1921.428/1921.428_alt2_full.tif", "width": "5410", "height": "6348", "filesize": "103059684"}, "date_created": "2016-09-15T10:20:51", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1921.428/1921.428_alt3_web.jpg", "width": "774", "height": "893", "filesize": "576129"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1921.428/1921.428_alt3_print.jpg", "width": "2709", "height": "3124", "filesize": "7082372"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1921.428/1921.428_alt3_full.tif", "width": "2709", "height": "3124", "filesize": "25418708"}, "date_created": "2009-12-08T20:24:04", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1921.428/1921.428_alt4_web.jpg", "width": "738", "height": "893", "filesize": "447163"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1921.428/1921.428_alt4_print.jpg", "width": "2808", "height": "3400", "filesize": "6167023"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1921.428/1921.428_alt4_full.tif", "width": "3841", "height": "4650", "filesize": "53603016"}, "date_created": "2009-11-13T16:28:05", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1921.428/1921.428_alt5_web.jpg", "width": "794", "height": "893", "filesize": "551035"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1921.428/1921.428_alt5_print.jpg", "width": "2904", "height": "3268", "filesize": "7522031"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1921.428/1921.428_alt5_full.tif", "width": "2904", "height": "3268", "filesize": "28513372"}, "date_created": "2008-08-13T13:49:38", "annotation": ""}], "creditline": "Gift from J. H. Wade", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Leigh and Mary Carter Gallery", "athena_id": 103366, "creators": [{"id": 2556, "description": "Gilbert Stuart (American, born The Thirteen Colonies, 1755\u20131828)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1755", "death_year": "1828", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1921-06-21T00:00:00", "sortable_date": 1798, "date_added_to_oa": null, "date_text": "c. 1803\u20135", "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": ["Mrs. John Thomson Mason"], "is_highlight": false, "updated_at": "2026-10-20 11:25:17.382000"}, {"id": 159281, "accession_number": "1995.74", "share_license_status": "Copyrighted", "tombstone": "Abstract Painting (750-1), 1991. Gerhard Richter (German, 1932-). Oil on canvas; framed: 260 x 200 x 3.5 cm (102 3/8 x 78 3/4 x 1 3/8 in.); unframed: 260 x 200 cm (102 3/8 x 78 3/4 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1995.74. \u00a9 Gerhard Richter", "current_location": null, "title": "Abstract Painting (750-1)", "creation_date": "1991", "creation_date_earliest": 1991, "creation_date_latest": 1991, "artists_tags": ["male"], "culture": ["Germany, 20th century"], "technique": "oil on canvas", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "measurements": "Framed: 260 x 200 x 3.5 cm (102 3/8 x 78 3/4 x 1 3/8 in.); Unframed: 260 x 200 cm (102 3/8 x 78 3/4 in.)", "dimensions": {"framed": {"height": 2.6, "height_inch": 102, "height_inch_fraction": 0.375, "width": 2.0, "width_inch": 78, "width_inch_fraction": 0.75, "depth": 0.035, "depth_inch": 1, "depth_inch_fraction": 0.375}, "unframed": {"height": 2.6, "height_inch": 102, "height_inch_fraction": 0.375, "width": 2.0, "width_inch": 78, "width_inch_fraction": 0.75}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Gerhard Richter", "inscriptions": [], "exhibitions": {"current": [], "legacy": [{"description": "The Cleveland Museum of Art (06/01/2007); \"CMA @ Akron\"", "opening_date": "2007-06-01T00:00:00"}, {"description": "<em>Gerhard Richter: Painting in the Nineties</em>. Anthony d\u2019Offay Gallery, London (June 1-August 4, 1995)", "opening_date": "1995-06-01T00:00:00"}]}, "provenance": [{"description": "The Cleveland Museum of Art, Cleveland, OH, purchased from the artist", "citations": [], "footnotes": [], "date": "1995 -", "sortorder": 1}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The stunning overlapping colors and textures are created by covering each thin layer of paint with a sheet of plastic that was pulled away from the canvas.", "early_education_description": null, "artlens_description": null, "description": "Among the most recognized and influential artists working today, Gerhard Richter is difficult to classify because he simultaneously paints in a staggering variety of styles, veering freely from realism to abstraction. Abstractions such as this one have constituted a large part of his production since the mid 1970s. <em>Abstract Painting (750-1)</em> is from a series that Richter created between 1988 and 1991. Beginning with a ground of bright colors, such as red, yellow, blue, or green, he applied additional coats of pigment. He covered each thin layer of paint with a sheet of plastic that was pulled away to create a blend of overlapping colors, textures, and shapes. Richter applied the paint quickly, but the process was time consuming, allowing the artist the opportunity to evaluate and change each work as it evolved. Although this dense composition has no recognizable imagery, it conveys a sense of movement not unlike the experience of looking out of a car window at the landscape streaking past.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60477246"], "internet_archive": []}, "citations": [{"citation": "Richter, Gerhard, and Peter Gidal. <em>Gerhard Richter: Painting in the Nineties</em>. London: Anthony d'Offay Gallery, 1995.", "page_number": "Referenced: pp. 38-39", "url": null}, {"citation": "Cleveland Museum of Art, \u201cThe Cleveland Museum of Art Acquires Major Works,\u201d December 20, 1995, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr4002"}, {"citation": "Liebert, Emily. \u201cA Bright New Welcome: The corridor in the museum's main entrance will be flooded with light and color by Spencer Finch's <em>Color Test 210 (9 Permutations)</em>.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 58. no. 2 (March/April 2018): 30-31.", "page_number": "Reproduced: P. 31; Mentioned: P. 30", "url": "https://archive.org/details/CMAMM2018-02/page/n15/mode/2up"}], "url": "https://clevelandart.org/art/1995.74", "images": {}, "alternate_images": [], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 159281, "creators": [{"id": 3615, "description": "Gerhard Richter (German, 1932-)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1932", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1995-12-04T00:00:00", "sortable_date": 1991, "date_added_to_oa": null, "date_text": "1991", "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": "2026-05-01 06:52:02.209000"}, {"id": 160289, "accession_number": "1998.168", "share_license_status": "CC0", "tombstone": "Portrait of Lisa Colt Curtis, 1898. John Singer Sargent (American, born Italy, 1856\u20131925). Oil on canvas; framed: 249 x 134 x 9.5 cm (98 1/16 x 52 3/4 x 3 3/4 in.); unframed: 219.3 x 104.8 cm (86 5/16 x 41 1/4 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1998.168", "current_location": "208 American Gilded Age and Realism", "title": "Portrait of Lisa Colt Curtis", "creation_date": "1898", "creation_date_earliest": 1898, "creation_date_latest": 1898, "artists_tags": ["male"], "culture": ["United States"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 249 x 134 x 9.5 cm (98 1/16 x 52 3/4 x 3 3/4 in.); Unframed: 219.3 x 104.8 cm (86 5/16 x 41 1/4 in.)", "dimensions": {"framed": {"height": 2.49, "height_inch": 98, "height_inch_fraction": 0.0625, "width": 1.34, "width_inch": 52, "width_inch_fraction": 0.75, "depth": 0.095, "depth_inch": 3, "depth_inch_fraction": 0.75}, "unframed": {"height": 2.193, "height_inch": 86, "height_inch_fraction": 0.3125, "width": 1.048, "width_inch": 41, "width_inch_fraction": 0.25}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Inscribed: To Ralph and Mrs. Ralph, John S. Sargent 1898", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 216458, "title": "Sargent and Italy", "description": "<i>Sargent and Italy</i>. Palazzo dei Diamanti, Ferrara (Galleria d'Arte Moderna et Contemporanea) (September 29, 2002-January 6, 2003); Los Angeles County Museum of Art, Los Angeles, CA (organizer) (February 9-May 11, 2003); Denver Art Museum, Denver, CO (June 21-September 14, 2003).", "opening_date": "2002-09-29T00:00:00"}, {"id": 226362, "title": "Gondola Days: Isabella Stewart Gardner and the Palazzo Barbaro Circle", "description": "<i>Gondola Days: Isabella Stewart Gardner and the Palazzo Barbaro Circle</i>. Isabella Stewart Gardner Museum, Boston, MA (organizer) (April 20-August 15, 2004).", "opening_date": "2004-04-20T00:00:00"}], "legacy": [{"description": "Ferrara, Italy, Palazzo dei Diamanti, Sargent and Italy (22 September 2002-6 January 2003); traveled to Los Angeles, Los Angeles County Museum of Art (2 February-11 May 2003); to Denver, Denver Art  Museum (28 June-21 September 2003); illus. p. 165.", "opening_date": "2003-02-02T00:00:00"}, {"description": "Boston, Isabella Stewart Gardner Museum Gondola Days: Isabella Stewart Gardner and the Palazzo Barbaro Circle (21 April-15 August 2004); illus. fig. 48, p. 73, listed p. 275 as Lisa Curtis; pp. 70-75.", "opening_date": "2004-04-21T00:00:00"}]}, "provenance": [{"description": "The Cleveland Museum of Art, Cleveland, Ohio", "citations": [], "footnotes": [], "date": "1998-", "sortorder": 1}, {"description": "(Christie\u2019s, New York, Dec. 29, 1998, private treaty sale to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "1998", "sortorder": 2}, {"description": "Patricia Curtis Vigan\u00f2, Venice, Italy; Lisa Marjorie Curtis de Beaumont, France; and Ralph D. Curtis, Venice, Italy", "citations": [], "footnotes": [], "date": "Probably 1973 - probably 1998", "sortorder": 3}, {"description": "Ralph Wormeley Curtis, Jr. [1909-1973] Venice, Italy, and Paris, France, by descent to his children Patricia Curtis Vigan\u00f2, Lisa Marjorie Curtis de Beaumont, and Ralph D. Curtis", "citations": [], "footnotes": [], "date": "Probably 1936 - probably 1973", "sortorder": 4}, {"description": "Sylvia Curtis Steinert [1899-1981], Paris and Saint-Jean-Cap-Ferrat, France, to her brother, Ralph Wormeley Curtis, Jr.", "citations": [], "footnotes": ["<div><!--block-->The painting apparently resided in the Villa Sylvia, Saint-Jean-Cap-Ferrat, until Sylvia Curtis Steinert sold the property upon her divorce in 1936.&nbsp; Subsequently it was transferred to her brother, who resided in the family home at the Palazzo Barbaro, Venice; he is listed as the painting\u2019s owner when it was published in 1956 and 1970.&nbsp; According to Patricia Curtis Vigan\u00f2, the art in the Palazzo Barbaro was crated and stored at the Doge\u2019s Palace in Venice for safekeeping during the Second World War.&nbsp;</div>"], "date": "Probably 1933 - probably 1936", "sortorder": 5}, {"description": "Ralph Wormeley Curtis [1854-1922] and Lisette De Wolf Colt Curtis [1867-1933], Paris and Saint-Jean-Cap-Ferrat, France, probably by descent to their daughter Sylvia Curtis Steinert", "citations": [], "footnotes": ["<div><!--block-->The painting, inscribed \u201cTo Ralph and Mrs. Ralph / John S. Sargent 1898,\u201d was a wedding gift from Sargent, Ralph Wormeley Curtis\u2019s distant cousin.&nbsp; The portrait was photographed in situ at the Villa Sylvia, Saint-Jean-Cap-Ferrat around 1927.</div>"], "date": "1898 - probably 1933", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Although known as John Singer Sargent today, he almost never used his middle name during his lifetime.", "early_education_description": null, "artlens_description": null, "description": "One of the most sought-after painters of his era, Sargent achieved considerable critical and financial success portraying cosmopolitan members of high society on both sides of the Atlantic. Here, the artist depicts an acquaintance\u2014a relative of the Colt firearms family\u2014who had recently married his distant cousin Ralph. In her portrait, Curtis wears an elegant satin dress and poses as if she were welcoming guests into her palatial Venetian home. The painting apparently was a wedding gift to the couple by the artist; its inscription at the top right reads, \"To Ralph and Mrs. Ralph, John S. Sargent 1898.\"", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60477599"], "internet_archive": ["https://archive.org/details/clevelandart-1998.168-portrait-of-lisa-col"]}, "citations": [{"citation": "Berendt, John. <em>The City of Falling Angels</em>. 2005.", "page_number": "Mentioned, p. 164.", "url": null}, {"citation": "Ormond, Richard. <em>John Singer Sargent: Paintings, Drawings, Watercolors. </em>New York: Harper &amp; Row, 1970.", "page_number": "Mentioned, p. 251.", "url": null}, {"citation": "<br>McKibben, David, <em>Sargent\u2019s Boston, with an Essay &amp; a Biographical Summary &amp; A Complete Check List of Sargent\u2019s</em> <em>Portraits</em>. Boston: Museum of Fine Arts, 1956.", "page_number": null, "url": null}, {"citation": "Cox, E.H.M., \u201cHouses &amp; Gardens of the Riviera: Villa Sylvia, Cap Ferrat, The Home of Mrs. Lisa Curtis, <em>Country Life </em>61 (January 15, 1927): 91", "page_number": null, "url": null}, {"citation": "Downes, William Howe. <em>John S. Sargent: His Life and Work. </em>Boston: Little, Brown, and Co., 1925.", "page_number": null, "url": null}, {"citation": "Franco Maria Ricci (Firm). <em>FMR: The Magazine of Franco Maria Ricci</em> 118 (October 2002).", "page_number": "Reproduced p. 12.", "url": ""}, {"citation": "Sargent, John Singer, Elaine Kilmurray, and Richard Ormond. <em>Sargent E l\u2019Italia.</em> [Ferrara, Italy]: Ferrara arte, 2002.", "page_number": "Mentioned, p. 324; reproduced, p. 325.", "url": ""}, {"citation": "Cole, Mark, \"An American Virtuoso,\" <em>Masterworks on Loan: Celebrating the 100th Anniversary of the Cleveland Museum of Art.</em> (Cleveland, OH: Cleveland Museum of Art, 2016).", "page_number": "Reproduced, p. 13.", "url": ""}, {"citation": "Cleveland Museum of Art, \u201cLittle-Known Masterpiece by John Singer Sargent Acquired by the Cleveland Museum of Art,\u201d November 27, 1998, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr4224"}, {"citation": "Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 39 no. 01, January 1999", "page_number": "Mentioned & reproduced: cover, p. 3", "url": "https://archive.org/details/CMAMM1999-01/page/2"}, {"citation": "Adams, Henry. <em>What's American about American art?: a gallery tour in the Cleveland Museum of Art. </em>Cleveland: Cleveland Museum of Art, 2008.", "page_number": "Reproduced: p. 106 - 107", "url": ""}, {"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. 51", "url": ""}, {"citation": "Cleveland Museum of Art. <em>Masterworks on Loan: Celebrating the 100th Anniversary of the Cleveland Museum of Art: July Through September 2016</em>. [Cleveland]: Cleveland Museum of Art, 2016.", "page_number": "Reproduced: p. 13", "url": null}, {"citation": "Mamoli Zorzi, Rosella. <em>Ralph W. Curtis, un Pittore Americano a Venezia: Biografia. </em>Venezia Lido: Supernova, 2019.", "page_number": "Mentioned and reproduced: P. 116, fig. 108", "url": ""}], "url": "https://clevelandart.org/art/1998.168", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1998.168/1998.168_web.jpg", "width": "425", "height": "900", "filesize": "180844", "filename": "1998.168_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1998.168/1998.168_print.jpg", "width": "1605", "height": "3400", "filesize": "1020240", "filename": "1998.168_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1998.168/1998.168_full.tif", "width": "3305", "height": "7000", "filesize": "69435332", "filename": "1998.168_full.tif"}}, "alternate_images": [{"web": {"url": "https://openaccess-cdn.clevelandart.org/1998.168/1998.168_alt0_web.jpg", "width": "422", "height": "893", "filesize": "221473"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1998.168/1998.168_alt0_print.jpg", "width": "1605", "height": "3400", "filesize": "3084726"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1998.168/1998.168_alt0_full.tif", "width": "3305", "height": "7000", "filesize": "69435332"}, "date_created": "2007-05-21T17:15:37", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1998.168/1998.168_alt1_web.jpg", "width": "670", "height": "893", "filesize": "344567"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1998.168/1998.168_alt1_print.jpg", "width": "2550", "height": "3400", "filesize": "5266278"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1998.168/1998.168_alt1_full.tif", "width": "3750", "height": "5000", "filesize": "56280940"}, "date_created": "2007-05-21T17:31:04", "annotation": ""}], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "The Cleveland Foundation Gallery", "athena_id": 160289, "creators": [{"id": 2559, "description": "John Singer Sargent (American, born Italy, 1856\u20131925)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1856", "death_year": "1925", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1998-11-23T00:00:00", "sortable_date": 1898, "date_added_to_oa": null, "date_text": "1898", "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": ["Mrs. Ralph Curtis"], "is_highlight": false, "updated_at": "2026-10-07 12:13:22.942000"}, {"id": 171296, "accession_number": "2014.12", "share_license_status": "CC0", "tombstone": "Vale of Kashmir, 1867. Robert S. Duncanson (American, 1821\u20131872). Oil on canvas; framed: 94.9 x 154.6 x 12.1 cm (37 3/8 x 60 7/8 x 4 3/4 in.); unframed: 73 x 132.4 cm (28 3/4 x 52 1/8 in.). The Cleveland Museum of Art, Sundry Purchase Fund, 2014.12", "current_location": "206 American Landscape", "title": "Vale of Kashmir", "creation_date": "1867", "creation_date_earliest": 1867, "creation_date_latest": 1867, "artists_tags": ["male", "Black American Artists"], "culture": ["United States"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 94.9 x 154.6 x 12.1 cm (37 3/8 x 60 7/8 x 4 3/4 in.); Unframed: 73 x 132.4 cm (28 3/4 x 52 1/8 in.)", "dimensions": {"framed": {"height": 0.949, "height_inch": 37, "height_inch_fraction": 0.375, "width": 1.546, "width_inch": 60, "width_inch_fraction": 0.875, "depth": 0.121, "depth_inch": 4, "depth_inch_fraction": 0.75}, "unframed": {"height": 0.73, "height_inch": 28, "height_inch_fraction": 0.75, "width": 1.324, "width_inch": 52, "width_inch_fraction": 0.125}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Inscribed at lower right: Duncanson. / 1867. / Cinti O", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": [{"description": "Robert S. Duncanson: A Centennial Exhibition, Cincinnati Art Museum, March 16-April 30, 1972.", "opening_date": "1972-03-16T00:00:00"}, {"description": "<em>American Paintings from the Manoogian Collection.</em> National Gallery of Art, Washington, DC (June 4-September 4, 1989); M.H. de Young Memorial Museum, San Francisco, CA (September 23-November 26, 1989); Metropolitan Museum of Art, New York, NY (December 18, 1989-February 25, 1990); Detroit Institute of Arts, Detroit, MI (March 27-May 27, 1990).", "opening_date": "1989-06-04T00:00:00"}, {"description": "<em>Lifting the Veil: Robert S. Duncanson and the Emergence of the African American Artist. </em>Cincinnati Art Museum and Taft Museum, Cincinnati, OH (September 15--November 26, 1995); Washington University Gallery of Art, St. Louis, MO (January 26--March 31, 1996); Amon Carter Museum, Ft. Worth,TX (April 20--June 16, 1996); Hammonds House Gardens and Clark Atlanta University Art Gallery, Atlanta, GA (July 19--September 15, 1996).", "opening_date": "1995-11-26T00:00:00"}, {"description": "Long Term Loan. Detroit Institute of Arts, Detroit, MI (October 2007-June 2009).", "opening_date": "2007-10-01T00:00:00"}, {"description": "<em>Bold, Cautious, True: Walt Whitman and the American Art of the Civil War Era. </em>The Dixon Gallery and Gardens, Memphis, TN (July 5-October 4, 2009); Katonah Museum of Art, Katonah, NY (October 18, 2009-January 24, 2010); The Virginia Museum of Fine Arts, Richmond, VA (June 2-August 26, 2012).", "opening_date": "2009-07-05T00:00:00"}, {"description": "Long Term Loan. Yale University Art Gallery, New Haven, CT (December 12, 2012-January 2014).", "opening_date": "2012-12-12T00:00:00"}]}, "provenance": [{"description": "Andrew Nicholas Jergens [1881\u20131967], Cincinnati, OH", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "Elizabeth Marie Jergens [born 1950], Los Angeles, CA, by inheritance", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "[Spanierman Gallery, New York, NY, consigned by 1980]", "citations": [], "footnotes": null, "date": null, "sortorder": 3}, {"description": "Richard Manoogian [born 1936] and Jane Cameron Manoogian [born 1943], Grosse Pointe Park, MI, purchased in 1980", "citations": [], "footnotes": null, "date": null, "sortorder": 4}, {"description": "[Jonathan Boos, New York, NY, consigned in 2014]", "citations": [], "footnotes": null, "date": null, "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH, purchased in 2014", "citations": [], "footnotes": null, "date": null, "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "During the Civil War, Duncanson relocated to Montreal, where he inspired several Canadian landscape painters.", "early_education_description": null, "artlens_description": null, "description": "Cincinnati-based Duncanson was the first African American artist to achieve recognition both nationally and abroad. This panoramic painting, one of his grandest, was inspired by an episode in Thomas Moore\u2019s then-popular epic poem, <em>Lalla-Rookh</em> (1817), which describes a Persian princess\u2019s journey to the Indian subcontinent to be married. In Duncanson\u2019s conception, members of a courtly entourage depart a quasi-Islamic palace, arriving by boat onto a scrim of land where they ascend a monumental staircase to a plaza with a fountain spraying an impressive plume of water. Despite these substantial storytelling details, the human elements remain subordinate to the overwhelming splendor of the natural landscape in and of itself.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60482409"], "internet_archive": ["https://archive.org/details/clevelandart-2014.12-vale-of-kashmir"]}, "citations": [{"citation": "<em>Robert S. Duncanson: A Centennial Exhibition</em>. Cincinnati, OH : Cincinnati Art Museum, 1972.", "page_number": "Mentioned: p. 15, 40; Reproduced: p. 29", "url": null}, {"citation": "Cederholm, Theresa Dickason. <em>Afro-American Artists; a Bio-Bibliographical Directory</em>. Boston, MA: Trustees of the Boston Public Library, 1973.", "page_number": "Reproduced: p. 83", "url": null}, {"citation": "Manoogian, Richard A. <em>American Paintings from the Manoogian Collection</em>. Washington, DC: National Gallery of Art, 1989.", "page_number": "Reproduced: p. 25", "url": null}, {"citation": "Thomison, Dennis. <em>The Black Artist in America: An Index to Reproductions</em>. Metuchen, NJ.: Scarecrow Press, 1991.", "page_number": "Reproduced: p. 90", "url": null}, {"citation": "Ketner, Joseph D. <em>The Emergence of the African-American Artist: Robert S. Duncanson, 1821-1872</em>. Columbia, MO: University of Missouri Press, 1993.", "page_number": "Mentioned: p. 8, 162-163, 202; Reproduced: cover, p. 130-131", "url": null}, {"citation": "Katz, Wendy Jean. <em>Regionalism and Reform: Art and Class Formation in Antebellum Cincinnati</em>. Columbus, OH: Ohio State University Press, 2002.", "page_number": "Mentioned: p. 130, 134; Reproduced: p. 130", "url": null}, {"citation": "Sharp, Kevin, Adam M. Thomas, and Kevin Sharp. <em>Bold, Cautious, True: Walt Whitman and American Art of the Civil War Era</em>. Memphis, TN: Dixon Gallery and Gardens, 2009.", "page_number": "Mentioned: p. 153-157; Reproduced:  p. 56", "url": null}, {"citation": "Cleveland Museum of Art. <em>Artistic Excellence: Acquisitions 2012-14</em>. Cleveland, OH: Cleveland Museum of Art, 2014.", "page_number": "Mentioned: p. 30-31", "url": null}, {"citation": "Cole, Mark. \u201cAcquisition Highlights 2014: American Art.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 55, no. 2 (March/April 2015): 18.", "page_number": "Reproduced and Mentioned: p. 18", "url": "https://archive.org/details/CMAMM2015-02"}, {"citation": "Betjemann, Peter. \"The Ends of Time.\" <em>American Art </em>31, no. 3 (Fall 2017): 80-109", "page_number": "Mentioned and reproduced: p. 94-98, fig. 6-8", "url": ""}, {"citation": "Arendsee, M., and M. Steinman-Arendsee. \"Take the CAN disability aesthetics tour, at the Cleveland Museum of art.\" <em>CAN Journal </em>(Winter 2019/20): 76-87.", "page_number": "Mentioned: p. 79", "url": null}, {"citation": "Ware, Zaria. Blk Art: The Audacious Legacy of Black Artists and Models in Western Art. New York, NY : Harper Design, an imprint of HarperCollinsPublishers, 2023.", "page_number": "Reproduced: p. 142-143", "url": ""}], "url": "https://clevelandart.org/art/2014.12", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2014.12/2014.12_web.jpg", "width": "900", "height": "492", "filesize": "128201", "filename": "2014.12_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2014.12/2014.12_print.jpg", "width": "3400", "height": "1857", "filesize": "1691459", "filename": "2014.12_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2014.12/2014.12_full.tif", "width": "7795", "height": "4258", "filesize": "99603184", "filename": "2014.12_full.tif"}}, "alternate_images": [{"web": {"url": "https://openaccess-cdn.clevelandart.org/2014.12/2014.12_alt0_web.jpg", "width": "900", "height": "675", "filesize": "151363"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2014.12/2014.12_alt0_print.jpg", "width": "3400", "height": "2550", "filesize": "2109193"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2014.12/2014.12_alt0_full.tif", "width": "8000", "height": "6000", "filesize": "144030116"}, "date_created": "2014-07-15T09:30:45", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/2014.12/2014.12_alt1_web.jpg", "width": "900", "height": "595", "filesize": "180576"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2014.12/2014.12_alt1_print.jpg", "width": "3400", "height": "2249", "filesize": "1760569"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2014.12/2014.12_alt1_full.tif", "width": "8000", "height": "5292", "filesize": "127046388"}, "date_created": "2014-07-15T10:04:44", "annotation": ""}], "creditline": "Sundry Purchase Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Baker & Hostetler LLP Gallery", "athena_id": 171296, "creators": [{"id": 2605, "description": "Robert S. Duncanson (American, 1821\u20131872)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1821", "death_year": "1872", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2014-06-02T00:00:00", "sortable_date": 1867, "date_added_to_oa": null, "date_text": "1867", "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": "2026-09-19 12:14:14.505000"}, {"id": 149410, "accession_number": "1978.63", "share_license_status": "CC0", "tombstone": "In the Waves (Dans les Vagues), 1889. Paul Gauguin (French, 1848\u20131903). Oil on canvas; framed: 123.8 x 106 x 7 cm (48 3/4 x 41 3/4 x 2 3/4 in.); unframed: 92.5 x 72.4 cm (36 7/16 x 28 1/2 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. William Powell Jones, 1978.63", "current_location": null, "title": "In the Waves (Dans les Vagues)", "creation_date": "1889", "creation_date_earliest": 1889, "creation_date_latest": 1889, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 123.8 x 106 x 7 cm (48 3/4 x 41 3/4 x 2 3/4 in.); Unframed: 92.5 x 72.4 cm (36 7/16 x 28 1/2 in.)", "dimensions": {"framed": {"height": 1.238, "height_inch": 48, "height_inch_fraction": 0.75, "width": 1.06, "width_inch": 41, "width_inch_fraction": 0.75, "depth": 0.07, "depth_inch": 2, "depth_inch_fraction": 0.75}, "unframed": {"height": 0.925, "height_inch": 36, "height_inch_fraction": 0.4375, "width": 0.724, "width_inch": 28, "width_inch_fraction": 0.5}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower center: P Gauguin. 89-\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304286, "title": "Year in Review: 1978", "description": "<i>Year in Review: 1978</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 13-March 18, 1979).", "opening_date": "1979-02-13T05:00:00"}, {"id": 310025, "title": "Creativity in Art and Science, 1860-1960", "description": "<i>Creativity in Art and Science, 1860-1960</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 16-November 8, 1987).", "opening_date": "1987-09-16T04:00:00"}, {"id": 441402, "title": "The Art of Paul Gauguin", "description": "<i>The Art of Paul Gauguin</i>. National Gallery of Art, Washington, D.C. (organizer) (May 1-July 31, 1988); The Art Institute of Chicago, Chicago, IL (September 17-December 11, 1988); Galeries Nationales du Grand Palais, Paris, France, Paris, France (January 9-April 24, 1989).", "opening_date": "1988-05-01T04:00:00"}, {"id": 218060, "title": "Gauguin's 'Nirvana'. Painters at Le Pouldu, 1889-1890", "description": "<i>Gauguin's 'Nirvana'. Painters at Le Pouldu, 1889-1890</i>. Wadsworth Atheneum Museum of Art, Hartford, CT (organizer) (January 27-April 29, 2001).", "opening_date": "2001-01-27T00:00:00"}, {"id": 220471, "title": "Gauguin and the Origins of Symbolism", "description": "<i>Gauguin and the Origins of Symbolism</i>. Museo Nacional Thyssen-Bornemisza, Madrid, Spain (organizer) (September 28, 2004-January 9, 2005).", "opening_date": "2004-09-28T00:00:00"}, {"id": 179631, "title": "CMA Highlights", "description": "<i>CMA Highlights</i>. The Cleveland Museum of Art (organizer) (June 21-September 11, 2005).", "opening_date": "2005-06-21T00:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. Beijing World Art Museum (May 26-August 27, 2006); Mori Art Center (September 16-November 26, 2006); Seoul Art Center, South Korea (December 22, 2006-March 28, 2007); Seoul Olympic Museum of Art, South Korea (April 7-May 20, 2007); Vancouver Art Gallery, Vancouver, Canada (June 9-September 16, 2007); The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008); Frist Art Museum, Nashville, TN (February 15-June 1, 2008); Utah Museum of Fine Arts, Salt Lake City, UT (June 22-September 21, 2008); The Detroit Institute of Arts, Detroit, MI (October 12, 2008-January 18, 2009).", "opening_date": "2006-05-27T00:00:00"}, {"id": 195556, "title": "Paul Gauguin: Paris, 1889", "description": "<i>Paul Gauguin: Paris, 1889</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 4, 2009-January 18, 2010); Van Gogh Museum, 1070 AJ Amsterdam, Netherlands (February 18-June 6, 2010).", "opening_date": "2009-10-04T00:00:00"}, {"id": 229635, "title": "Gauguin: Maker of Myth", "description": "<i>Gauguin: Maker of Myth</i>. Tate Modern, London, United Kingdom of Great Britain and Northern Ireland (organizer) (September 30, 2010-January 18, 2011); National Gallery of Art, Landover, MD (February 21-May 30, 2011).", "opening_date": "2010-09-30T00:00:00"}, {"id": 230536, "title": "Friction of Ideas: Gauguin, Van Gogh, Bernard", "description": "<i>Friction of Ideas: Gauguin, Van Gogh, Bernard</i>. Ordrupgaard, Charlottenlund, Copenhagen, Denmark (organizer) (February 6-June 22, 2014).", "opening_date": "2014-02-06T00:00:00"}, {"id": 216766, "title": "Gauguin: Artist as Alchemist", "description": "<i>Gauguin: Artist as Alchemist</i>. The Art Institute of Chicago, Chicago, IL (organizer) (June 25-September 10, 2017); Galeries Nationales du Grand Palais, 75008 Paris, France (October 9, 2017-January 21, 2018).", "opening_date": "2017-06-25T00:00:00"}, {"id": 674074, "title": "The Gustave Fayet Collection: Icons of Modern Art", "description": "<i>The Gustave Fayet Collection: Icons of Modern Art</i>. Fondation Louis Vuitton, Paris, France (organizer) (October 9, 2026-March 8, 2027).", "opening_date": "2026-10-09T04:00:00"}], "legacy": [{"description": "Paris, Caf\u00e9 de M. Volpini. Exposition de peintures du Groupe Impressionniste et Synth\u00e9tiste (1889), no. 44, Dans les vagues.", "opening_date": "1889-01-01T05:00:00Z"}, {"description": "Paris, Soci\u00e9t\u00e9 du Salon d'Automne au Grand Palais. (1906), no. 25, L'Ondine (Bretagne), G. Fayet collection.", "opening_date": "1906-01-01T00:00:00"}, {"description": "Paris, Galerie L. Dru. Exposition r\u00e9trospective de P. Gauguin (1923), no. 12, 1889, La femme de la mer.", "opening_date": "1923-01-01T00:00:00"}, {"description": "Basel, Kunsthalle. Paul Gauguin 1848-1903 (1928), no. 59, Die Welle, Leicester Galleries, London.", "opening_date": "1928-01-01T00:00:00"}, {"description": "Berlin, Galerie Thannhauser. Paul Gauguin 1848-1903 (1928), no. 42.", "opening_date": "1928-01-01T00:00:00"}, {"description": "New York, Museum of Modern Art. C\u00e9zanne, Gauguin, Seurat, Van Gogh (1929), no. 42 (repr.).", "opening_date": "1929-01-01T00:00:00"}, {"description": "Cleveland, Kinney and Levan Building. Catalogue of the Twentieth Anniversary Exhibition under the Auspices of the Cleveland School of Art (1936), no. 275.", "opening_date": "1936-01-01T00:00:00"}, {"description": "New York, Wildenstein. Paul Gauguin 1848-1903 (1936), no. 11.", "opening_date": "1936-01-01T00:00:00"}, {"description": "Cambridge, Mass., Fogg Art Museum. Paul Gauguin 1848-1903 (1936), no. 12.", "opening_date": "1936-01-01T00:00:00"}, {"description": "Toledo Museum of Art. C\u00e9zanne-Gauguin (1936), no. 4 (repr.), lent by Mr. and Mrs. Frank H. Ginn.", "opening_date": "1936-01-01T00:00:00"}, {"description": "New York, Wildenstein. A Loan Exhibition of Paul Gauguin (1946), no. 6, lent by Mr. and Mrs. W. Powell Jones; 22 (repr.).", "opening_date": "1946-01-01T00:00:00"}, {"description": "Museum of Fine Arts, Houston. Paul Gauguin, His Place in the Meeting of East and West (1954), no. 14 (Odine [sic] or Woman in the Waves).", "opening_date": "1954-01-01T00:00:00"}, {"description": "New York, Wildenstein. Loan Exhibition: Gauguin (1956), no. 18, 37 (repr.).", "opening_date": "1956-01-01T00:00:00"}, {"description": "Palm Beach, Society of the Four Arts; Coral Gables, Lowe Gallery of the University of Miami. Paul Gauguin 1848-1903 (1956), no. 13 (repr.).", "opening_date": "1956-01-01T00:00:00"}, {"description": "Art Institute of Chicago; New York, Metropolitan Museum of Art. Gauguin (1959), no. 18, 35 (repr.).", "opening_date": "1959-01-01T00:00:00"}, {"description": "New York, Solomon R. Guggenheim Museum. Gauguin and the Decorative Style (1966), 46.", "opening_date": "1966-01-01T00:00:00"}, {"description": "London, Tate Gallery. Gauguin and the Pont-Aven Group (1966), 21, no. 17 (Woman in the Waves), 22, pl. 14c.", "opening_date": "1966-01-01T00:00:00"}, {"description": "Toronto, Art Gallery of Ontario; Amsterdam, Van Gogh Museum. Vincent van Gogh and the Birth of Cloisonism (1981), 44, 65 (repr.), 204-5.", "opening_date": "1981-01-01T00:00:00"}, {"description": "Baltimore, Walters Art Gallery. Gauguin and the School of Pont-Aven (1994-95), 43, add. no. 1 (repr.).", "opening_date": "1994-01-01T00:00:00"}]}, "provenance": [{"description": "On consignment with Boussod & Valadon, Paris, FR.", "citations": [], "footnotes": ["<div><!--block-->Under the title given by Gauguin, Femme nue dans la vague. (see, John Rewald, 1973, 49).</div>"], "date": "1890", "sortorder": null}, {"description": "(Gauguin sale, Paris, FR, February 23, 1891, lot 14, to M. Jeanson)", "citations": [], "footnotes": null, "date": "1891", "sortorder": 2}, {"description": "(Joseph Hessel, Paris, FR, March 1906, sold to Gustave Fayet)", "citations": [], "footnotes": null, "date": "1906", "sortorder": 3}, {"description": "(Gustave Fayet [1865\u20131925], Paris, FR, February 1907, sold to Ambroise Vollard)", "citations": [], "footnotes": null, "date": "1906\u20131907", "sortorder": 4}, {"description": "(Paul \u00c9luard, Paris, FR, who probably bought it at Galerie Dru in 1923)", "citations": [], "footnotes": null, "date": "probably 1923", "sortorder": 5}, {"description": "(Drouot, Paris, FR, December 12, 1927, lot 103, sold to Hessel)", "citations": [], "footnotes": null, "date": "1927", "sortorder": 6}, {"description": "Leicester Galleries, London, UK.", "citations": [], "footnotes": null, "date": "1928", "sortorder": 7}, {"description": "Purchased by Frank H. Ginn, Cleveland, OH", "citations": [], "footnotes": null, "date": "1929", "sortorder": 8}, {"description": "Mr. and Mrs. Powell Jones, Gates Mills, OH, given to the Cleveland Museum of Art.", "citations": [], "footnotes": null, "date": "1978", "sortorder": 9}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1978\u2013", "sortorder": 10}], "find_spot": null, "related_works": [], "former_accession_numbers": ["610.68", "1110.78"], "did_you_know": "Gauguin likely painted this work of art during his time in a small coastal village called Pont-Aven where he sought to immerse himself in nature and escape modern civilization.", "early_education_description": null, "artlens_description": null, "description": "Painted at Pont-Aven in northwest France, this depiction of a nude figure throwing herself into the sea suggests a metaphor for a modern European woman forsaking civilization and abandoning herself to her natural, primitive instincts. The simplified lines and exaggerated colors, especially the contrasting green and orange, seem invented rather than observed from life. Exhibiting the painting at the Caf\u00e9 Volpini in Paris in 1889, Gauguin established himself as a leader of the Symbolist movement in art.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60473553"], "internet_archive": ["https://archive.org/details/clevelandart-1978.63-in-the-waves-dans-le"]}, "citations": [{"citation": "Washington/Chicago/Paris. <em>The Art of Paul Gauguin (1988-89)</em>, 74, 199, no. 80 (repr.) (English ed.); no. 80 (repr.) (French ed.).", "page_number": "", "url": ""}, {"citation": "Hartford, CT: Wadsworth Atheneum. <em>Gauguin's Nirvana. Painters at Le Pouldu 1889-90</em>. color repr. p. 132, cat. no. 3, fig. no. 178, p. 149.", "page_number": "", "url": ""}, {"citation": "Cleveland Museum of Art. <em>Paul Gauguin: Paris, 1889</em>, ex. cat. no. 43", "page_number": "", "url": ""}, {"citation": "Tate Modern, London. <em>Gauguin: Maker of Myth.</em> ex. cat. 92, p. 161.", "page_number": "", "url": ""}, {"citation": "Henning, Edward B. \u201c\u2018Woman in the Waves\u2019 by Paul Gauguin.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 71, no. 8 (October 1984): 280\u2013289.", "page_number": "Mentioned and reproduced: p. 280\u201389.", "url": "http://www.jstor.org/stable/25159880"}, {"citation": "Henning, Edward B. <em>Creativity in Art and Science, 1860-1960.</em> [Cleveland, Ohio]: Published by the Cleveland Museum of Art in cooperation with Indiana University Press, 1987.", "page_number": "Reproduced: P. 48, pl. III; Mentioned and reproduced: P. 108, no. 16", "url": ""}, {"citation": "Robinson, William H. \"Puvis De Chavannes's \"Summer\" and the Symbolist Avant-Garde.\" <em>The Bulletin of the Cleveland Museum of Art</em> 78, no. 1 (1991): 2-27.", "page_number": "Reproduced and Mentioned: p. 13-14", "url": "https://www.jstor.org/stable/25161310"}, {"citation": "Robinson, William H. \"Vuillard's <em>Under the Trees</em> from the Nabi Cycle <em>The Public Gardens</em>.\" <em>The Bulletin of the Cleveland Museum of Art</em> 79, no. 4 (1992): 111-27.", "page_number": "Reproduced and Mentioned: p. 113", "url": "https://www.jstor.org/stable/25161356"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 274-279, Vol. I, no. 100", "url": ""}, {"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. 293", "url": ""}, {"citation": "Pinchon, Pierre. \"<em>Tahiti Mysterieux Rivage 1890-1895.\" </em>Dossier de l'art, 252 (September 2017): 28-45.", "page_number": "Reproduced: p. 31", "url": ""}, {"citation": "Groom, Gloria Lynn, ed. <em>Gauguin: Artist as Alchemist.</em> Chicago: The Art Institute of Chicago, 2017.", "page_number": "Reproduced: p. 56 (detail); pp. 190-191, cat. #118; Mention: p. 188", "url": null}, {"citation": "Fe\u0301melat, Armelle. <em>Gauguin, d'art et de liberte\u0301</em>. Neuilly-sur-Seine: Michel Lafon: BeauxArts \u00c9ditions, 2017.", "page_number": "Reproduced: P. 112", "url": null}, {"citation": "Gue\u0301gan, Ste\u0301phane. <em>Gauguin: voyage au bout de la terre.</em> Paris: Che\u0302ne Editions, 2017.", "page_number": "Reproduced: P. 122", "url": null}, {"citation": "Tate Gallery. \"Exhibition Diary: Autumn Highlights.\" <em>Tate Etc. </em>41 (Autumn 2017): 14.", "page_number": "Reproduced: p. 14", "url": null}, {"citation": "Brettell, Richard R. <em>On Modern Beauty: Three Paintings by Manet, Gauguin, and Cezanne</em>. Los Angeles: The J. Paul Getty Museum, 2019.", "page_number": "Reproduced: P. 45, no. 29", "url": null}, {"citation": "Jamet, Christian. <em>Gauguin: Les Chemins de la Spiritualite\u0301. </em>Paris: Cohen&amp;Cohen, 2020.", "page_number": "Mentioned and reproduced: P. 78-81, ill. 46", "url": ""}, {"citation": "Marangoni, Eleonora. <em>Viceversa: Il Mondo Visto di Spalle</em>. [Monza]: Johan &amp; Levi editore, 2020.", "page_number": "Mentioned and reproduced: P. 73-74, fig. 61", "url": ""}, {"citation": "Cariou, A., Dorthe Vangsgaard Nielsen, Timothy Stroud, Rene\u0301 Lauritsen, and Paul Gauguin. <em>Gauguin and His Friends.</em> [Copenhagen] : Ordrupgaard,2022.", "page_number": "Mentioned and reproduced: p. 83, fig. 32", "url": ""}, {"citation": "Boyle-Turner, Caroline. <em>Paul Gauguin: Une Renaissance a\u0300 Pont-Aven. </em>Cha\u0302teaulin: Locus Solus,2023.", "page_number": "Reproduced: p. 27", "url": ""}], "url": "https://clevelandart.org/art/1978.63", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1978.63/1978.63_web.jpg", "width": "700", "height": "900", "filesize": "277344", "filename": "1978.63_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1978.63/1978.63_print.jpg", "width": "2646", "height": "3400", "filesize": "3820562", "filename": "1978.63_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1978.63/1978.63_full.tif", "width": "11539", "height": "14827", "filesize": "513298268", "filename": "1978.63_full.tif"}}, "alternate_images": [{"web": {"url": "https://openaccess-cdn.clevelandart.org/1978.63/1978.63_alt0_web.jpg", "width": "900", "height": "654", "filesize": "273245"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1978.63/1978.63_alt0_print.jpg", "width": "3400", "height": "2472", "filesize": "3680807"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1978.63/1978.63_alt0_full.tif", "width": "15662", "height": "11386", "filesize": "535014324"}, "date_created": "2017-05-23T13:47:08", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1978.63/1978.63_alt1_web.jpg", "width": "692", "height": "893", "filesize": "513409"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1978.63/1978.63_alt1_print.jpg", "width": "2633", "height": "3400", "filesize": "7561382"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1978.63/1978.63_alt1_full.tif", "width": "4119", "height": "5318", "filesize": "65749204"}, "date_created": "2007-10-16T19:27:33", "annotation": ""}], "creditline": "Gift of Mr. and Mrs. William Powell Jones", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 149410, "creators": [{"id": 1776, "description": "Paul Gauguin (French, 1848\u20131903)", "extent": null, "qualifier": null, "role": "artist", "biography": "Gauguin spent the first seven years of his life with his mother and great uncle in Peru. In 1855 his mother took him back to France where he attended boarding school. He joined the merchant marine when he was seventeen and began traveling around South America. When Gauguin's mother died in 1868, Gustave Arosa, an art collector and photographer, became his legal guardian. Arosa's collection included works by Corot (q.v.), Courbet (q.v.), Delacroix (q.v.), and the Barbizon painters, and it was he who would encourage Gauguin to start painting. In 1872 Arosa found a job for Gauguin at a brokerage firm, giving him financial security. The following year he married a Danish woman, Mette Gad. Gauguin had already started painting and sculpting in his spare time and first exhibited at the Salon in 1876 with a landscape.1 He was asked by Pissarro (q.v.) and Degas (q.v.) to participate in the fourth impressionist exhibition in 1879, where from then on he would exhibit regularly. Durand-Ruel began purchasing his paintings, and in turn Gauguin started to collect the works of his colleagues, such as Manet (q.v.) and Renoir (q.v.) and, in particular, C\u00e9zanne (q.v.) and Pissarro. He went to Pontoise in 1882, where he painted with C\u00e9zanne and Pissarro, who along with Degas continued to influence him at this period. In 1883 Gauguin decided to become a full-time artist. In 1884 he moved with his wife and children to Rouen and then to Copenhagen, but he failed to earn a comfortable living. He returned to Paris in 1886 and met ceramicist Ernest Chaplet (1835-1909), who introduced him to his m\u00e9tier. Gauguin distanced himself from impressionism and in 1888 worked in Pont-Aven with \u00c9mile Bernard (1868-1941), who had been experimenting with creating compositions using flat areas of color and dark outlines (cloissonism). Gauguin also studied Japanese prints and Indonesian art. The impact of these influences is evident in Gauguin's Vision after the Sermon: Jacob Wrestling with the Angel (1888, National Gallery of Scotland, Edinburgh), so far removed from his earlier impressionist style. Succumbing to van Gogh's (q.v.) many requests, Gauguin agreed to travel to Arles and paint with the artist; their characters, however, proved incompatible. Theo van Gogh, who worked for Boussod Valadon &amp; Cie, would in the meantime sell Gauguin's work. For the next two years, Gauguin traveled often around Brittany. In search of a more pure and unspoiled culture, he auctioned off his paintings in 1891 in order to finance a journey to Tahiti. Upon his arrival, he was disappointed to find many expatriates and developed areas, yet he was still able to capture in his works an uncultivated spirit. He not only made paintings but also created bold woodcuts and sculptures and was an avid writer. Gauguin returned to France in 1893, where he was given a solo exhibition by Durand-Ruel that was not particularly successful. He decided to leave Europe again in 1895, moving to Tahiti and later to Hivaoa, a more remote island in the Marquesas. Because he abandoned naturalistic colors and used formal distortions in order to achieve expressive compositions, Gauguin's work became an inspiration for many subsequent artists. 1. Possibly Wildenstein 1964, no. 12.", "name_in_original_language": null, "birth_year": "1848", "death_year": "1903", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1978-11-20T00:00:00", "sortable_date": 1889, "date_added_to_oa": null, "date_text": "1889", "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": "2026-10-09 05:01:28.964000"}, {"id": 136510, "accession_number": "1960.81", "share_license_status": "CC0", "tombstone": "Water Lilies (Agapanthus), c. 1915\u201326. Claude Monet (French, 1840\u20131926). Oil on canvas; framed: 204.9 x 430.3 x 6 cm (80 11/16 x 169 7/16 x 2 3/8 in.); unframed: 201.3 x 425.6 cm (79 1/4 x 167 9/16 in.). The Cleveland Museum of Art, John L. Severance Fund and an anonymous gift, 1960.81", "current_location": "222 Impressionism & Post-Impressionism", "title": "Water Lilies (Agapanthus)", "creation_date": "c. 1915\u201326", "creation_date_earliest": 1915, "creation_date_latest": 1926, "artists_tags": ["male"], "culture": ["France, late 19th century-early 20th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 204.9 x 430.3 x 6 cm (80 11/16 x 169 7/16 x 2 3/8 in.); Unframed: 201.3 x 425.6 cm (79 1/4 x 167 9/16 in.)", "dimensions": {"framed": {"height": 2.049, "height_inch": 80, "height_inch_fraction": 0.6875, "width": 4.303, "width_inch": 169, "width_inch_fraction": 0.4375, "depth": 0.06, "depth_inch": 2, "depth_inch_fraction": 0.375}, "unframed": {"height": 2.013, "height_inch": 79, "height_inch_fraction": 0.25, "width": 4.256, "width_inch": 167, "width_inch_fraction": 0.5625}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Estate stamp lower left: Claude Monet\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 302007, "title": "Paths of Abstract Art", "description": "<i>Paths of Abstract Art</i>. The Cleveland Museum of Art, Cleveland, OH (October 5-November 13, 1960).", "opening_date": "1960-10-05T04:00:00"}, {"id": 302015, "title": "Year in Review - Nineteen Hundred Sixty", "description": "<i>Year in Review - Nineteen Hundred Sixty</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 30, 1960-January 1, 1961).", "opening_date": "1960-11-30T05:00:00"}, {"id": 300779, "title": "Juxtapositions", "description": "<i>Juxtapositions</i>. The Cleveland Museum of Art, Cleveland, OH (September 11-October 10, 1965).", "opening_date": "1965-09-11T04:00:00"}, {"id": 300904, "title": "Fifty Years of Modern Art", "description": "<i>Fifty Years of Modern Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 15-July 31, 1966).", "opening_date": "1966-06-15T04:00:00"}, {"id": 301375, "title": "Color and Field, 1890 - 1970", "description": "<i>Color and Field, 1890 - 1970</i>. Buffalo AKG Art Museum, Buffalo, NY (organizer) (September 15-November 1, 1970); Dayton Art Institute, Dayton, OH (November 20, 1970-January 10, 1971); The Cleveland Museum of Art, Cleveland, OH (February 3-March 14, 1971).", "opening_date": "1970-09-15T04:00:00"}, {"id": 343654, "title": "Monet's Years at Giverny: Beyond Impressionism", "description": "<i>Monet's Years at Giverny: Beyond Impressionism</i>. The Metropolitan Museum of Art, New York, NY (organizer) (co-organizer) (April 22-July 9, 1978); Saint Louis Art Museum, St. Louis, MO (co-organizer) (August 1-October 8, 1978).", "opening_date": "1978-04-22T05:00:00"}, {"id": 304401, "title": "The Monet Triptych: Water Lilies", "description": "<i>The Monet Triptych: Water Lilies</i>. The Nelson-Atkins Museum of Art, Kansas City, MO (organizer) (co-organizer) (April 5-June 15, 1979); The Cleveland Museum of Art, Cleveland, OH (September 18, 1979-February 17, 1980); Saint Louis Art Museum, St. Louis, MO (co-organizer) (April 1-September 1, 1980).", "opening_date": "1979-04-05T05:00:00"}, {"id": 310025, "title": "Creativity in Art and Science, 1860-1960", "description": "<i>Creativity in Art and Science, 1860-1960</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 16-November 8, 1987).", "opening_date": "1987-09-16T04:00:00"}, {"id": 179631, "title": "CMA Highlights", "description": "<i>CMA Highlights</i>. The Cleveland Museum of Art (organizer) (June 21-September 11, 2005).", "opening_date": "2005-06-21T00:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008).", "opening_date": "2006-05-27T00:00:00"}, {"id": 208590, "title": "Monet in Normandy", "description": "<i>Monet in Normandy</i>. The Cleveland Museum of Art, Cleveland, OH (February 18-May 28, 2007).", "opening_date": "2006-06-17T00:00:00"}, {"id": 214130, "title": "Monet's Water Lilies", "description": "<i>Monet's Water Lilies</i>. The Nelson-Atkins Museum of Art, Kansas City, MO (organizer) (April 9-August 7, 2011); Saint Louis Art Museum, St. Louis, MO (October 2, 2011-January 22, 2012).", "opening_date": "2011-04-09T00:00:00"}, {"id": 201332, "title": "Painting the Modern Garden: Monet to Matisse", "description": "<i>Painting the Modern Garden: Monet to Matisse</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 6, 2015-January 5, 2016); Royal Academy of Arts, London, United Kingdom of Great Britain and Northern Ireland (January 30-April 20, 2016).", "opening_date": "2015-10-06T00:00:00"}, {"id": 438645, "title": "Monet / Mitchell", "description": "<i>Monet / Mitchell</i>. Fondation Louis Vuitton, Paris, France (organizer) (October 5, 2022-February 27, 2023).", "opening_date": "2022-10-05T04:00:00"}, {"id": 662787, "title": "Monet in Focus", "description": "<i>Monet in Focus</i>. The Cleveland Museum of Art, Cleveland, OH (March 31-August 11, 2024).", "opening_date": "2023-10-28T04:00:00"}], "legacy": [{"description": "<em>Claude Monet.</em> City Art Museum of St. Louis, St. Louis, MO; Minneapolis Institute of Arts, Minneapolis, MN (1957).", "opening_date": "1957-01-01T00:00:00"}, {"description": "<em>Essence of Nations</em>. Valley House Gallery, Dallas, TX (November 1\u201314, 1959).", "opening_date": "1959-11-01T05:00:00Z"}]}, "provenance": [{"description": "Estate of the artist.", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "Michel Monet, Giverny, through 1950 (according to Connaissance des arts 1966).", "citations": [], "footnotes": [], "date": null, "sortorder": 2}, {"description": "Katia Granoff, Paris. Bought from her by Knoedler & Co. (stock number a 6420), July 1956.", "citations": [], "footnotes": [], "date": null, "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1960-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Water lilies were a recurring theme in Monet's work; he painted around 250 water lily compositions.", "early_education_description": null, "artlens_description": null, "description": "A skilled horticulturalist as well as an artist, Claude Monet spent the last 30 years of his life painting the private garden he designed and helped cultivate at his home in Giverny in northern France. The resultant canvases are notable for their varied motifs, formats, and sizes. Monumental in scale, this rendering of his water lily pond focuses on the momentary effects of sunlight as it both penetrates and reflects off its shimmering surface. By zeroing in on the water and omitting its horizon and surrounding banks, Monet infers a limitless expanse\u2014a perception amplified by the painting\u2019s vast horizontal format that fills the viewer\u2019s field of vision.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60465880"], "internet_archive": ["https://archive.org/details/clevelandart-1960.81-water-lilies-agapant"]}, "citations": [{"citation": "City Art Museum of St. Louis. <em>Claude Monet, a Loan Exhibition</em>. 1957.", "page_number": "Reproduced: cat. no. 93", "url": null}, {"citation": "Sloane, J. C. \"The Art of Impressionism: From Romanticism to Avant-Garde.\" In <em>Romantic Art</em>. Hilton Kramer, ed. New York: Art Digest, Inc, 1958.", "page_number": "Reproduced: p. 129", "url": null}, {"citation": "Spaeth, Eloise. <em>American Art Museums and Galleries: An Introduction to Looking</em>. New York, NY: Harper &amp; Brothers, 1960.", "page_number": "Reproduced: p. 20", "url": null}, {"citation": "<em>The Bulletin of the Cleveland Museum of Art XLVII</em>. Cleveland: [The Museum] 1960.", "page_number": "Mentioned: p. 253; No. 66", "url": null}, {"citation": "Francis, Henry. \"Claude Monet-- Water Lilies.\" <em>The Bulletin of the Cleveland Museum of Art </em>47 (October 1960): 192-198.", "page_number": "Reproduced: 192-193", "url": null}, {"citation": "Henning, E. B. \"Cleveland Museum of Art: From Turner to Gaston.\" <em>Apollo: A Journal of the Arts </em>78 (December 1963): 481-488.", "page_number": "Reproduced: p. 484-485", "url": null}, {"citation": "Forge, Andrew. <em>French Impressionists. </em>London United Kingdom: British Broadcasting Corporation, 1966.", "page_number": "Reproduced: fig. 38", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 197", "url": "https://archive.org/details/CMAHandbook1966/page/n221"}, {"citation": "\"Waterlilies.\" <em>Art in America: An Illustrated Magazine </em>54 (March 1966): 32.", "page_number": "Reproduced: p. 32", "url": null}, {"citation": "Alsop, Joseph. \"Les Chefs-d'oeuvre de Premiere Importance du Second Musee des Etats-Unis.\" <em>Connaissance des Arts</em> 172 (June 1966): 54-63.", "page_number": "Reproduced: p. 57, 60", "url": null}, {"citation": "Lee, Sherman E. \"The Forest and the Trees and Chinese Painting.\" <em>National Palace Museum Quarterly </em>\u6545\u5bae\u9031\u520a 1, no. 2 (October 1966): 1\u201314.", "page_number": "Reproduced: Pl. 1-A", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 197", "url": "https://archive.org/details/CMAHandbook1969/page/n221"}, {"citation": "Henning, Edward B. \"Color and Field.\" <em>Art International </em>15 (May 1971): 46-50.", "page_number": "Reproduced: p. 46", "url": null}, {"citation": "Rouart, Denis, Jean Dominique Rey, Robert Maillard. <em>Monet, nymphe\u0301as; ou</em>, <em>Les miroirs du temps</em>. Paris, France: F. Hazan, 1972.", "page_number": "Reproduced: p. 177", "url": null}, {"citation": "Wildenstein, Daniel. Claude Monet: Biographie et Catalogue Raisonne\u0301. Lausanne: La Bibliothe\u0300que des arts, 1974.", "page_number": "Reproduced and mentioned: vol. 4, p. 316-322, no. 1975", "url": null}, {"citation": "House, John. <em>Monet</em>. London, United Kingdom: Oxford, 1977.", "page_number": "Reproduced: pl. 47, Mentioned: p. 12-13", "url": null}, {"citation": "Bell, Clive. <em>The French Impressionists</em>. London, United Kingdom: Phaidon Press, 1978.", "page_number": "Reproduced: Fig. 46", "url": null}, {"citation": "Isaacson, Joel. <em>Claude Monet, Observation and Reflection</em>. Oxford, United Kingdom: Phaidon, 1978.", "page_number": "Reproduced: p. 176", "url": null}, {"citation": "Moffett, Charles S. <em>Monet's Water Lilies</em>. Mount Vernon, NY: Artist's Ltd. Edition, 1978.", "page_number": "Reproduced: Pl 6", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 220", "url": "https://archive.org/details/CMAHandbook1978/page/n240"}, {"citation": "Monet, Claude. <em>Monet's Years at Giverny: Beyond Impressionism</em>. New York: Metropolitan Museum of Art, 1978.", "page_number": "Referenced: cat. no. 76, Reproduced", "url": null}, {"citation": "Gordon, Robert, and Charles F. Stuckey. \"Blossoms and Blunders: Monet and the State.\" <em>Art in America: An Illustrated Magazine </em>67 (January 1979): 102-117.", "page_number": "Reproduced: p. 112, fig. 12", "url": null}, {"citation": "Stuckey, Charles F. \"Blossoms and Blunders: Monet and the State; II.\" <em>Art in America</em> 67 (May 1979): 109-125.", "page_number": "Reproduced: p. 125", "url": null}, {"citation": "Kelder, Diane. <em>The Great Book of French Impressionism</em>. New York, NY: Abbeville Press, 1980.", "page_number": "Reproduced: p. 221-222", "url": null}, {"citation": "<em>The Bulletin of the Cleveland Museum of Art LXVII</em>. Cleveland: [The Museum] 1980.", "page_number": "Reproduced: p. 187; Mentioned: p. 189", "url": null}, {"citation": "Failing, Patricia. \"The Case of the Dismembered Masterpieces.\" <em>ARTnews </em>79 (September 1980): 66-78.", "page_number": "Reproduced: p. 76-77", "url": null}, {"citation": "House, John. <em>Monet</em>. Oxford, United Kingdom: Phaidon, 1981.", "page_number": "Reproduced: No. 47", "url": null}, {"citation": "Cowart, Jack. \"Impressionist and Post-impressionist Paintings.\" <em>Bulletin (St. Louis Art Museum)</em> 16, no. 2 (1982): 1-35.", "page_number": "Reproduced: p. 23", "url": null}, {"citation": "Borowitz, Helen O. \"The Rembrandt and Monet of Marcel Proust.\" <em>The Bulletin of the Cleveland Museum of Art LXX, </em>no. 2 (February, 1983):73-95.", "page_number": "Reproduced: p. 88, fig. 14", "url": null}, {"citation": "Peters, Mike, and Marilyn Jarvis. <em>The World of Cartooning: How Caricatures Develop</em>. Dayton, OH: Landfall Press, 1985.", "page_number": "Reproduced: p. 16", "url": null}, {"citation": "Larson, Dean M. <em>Studying with the Masters: Lessons from Rubens, Vela\u0301zquez, Turner, Degas, Monet, Sargent, Matisse</em>. New York, NY: Watson-Guptill Publications, 1986.", "page_number": "Reproduced: p. 86", "url": null}, {"citation": "Henning, Edward B. <em>Creativity in Art and Science, 1860-1960</em>. [Cleveland, Ohio]: Published by the Cleveland Museum of Art in cooperation with Indiana University Press, 1987.", "page_number": "Mentioned and reproduced: P. 97, no. 4", "url": ""}, {"citation": "Stuckey, Charles F. <em>Waterlilies</em>. New York, NY: H.L. Levin Associates, 1988.", "page_number": "Reproduced: p. 83", "url": null}, {"citation": "Thomson, Belinda, and Michael Howard. <em>Impressionism</em>. London, United Kingdom: Bison Books, 1988.", "page_number": "Reproduced: p. 124-125", "url": null}, {"citation": "Sagner-Du\u0308chting, Karin. <em>Claude Monet, 1840-1926: ein Fest fu\u0308r die Augen</em>. Ko\u0308ln,Germany: Benedikt Taschen Verlag, 1990.", "page_number": "Reproduced: p. 207", "url": null}, {"citation": "Strickland, Carol, and John Boswell. <em>The Annotated Mona Lisa: A Crash Course in Art History from Prehistoric to Post-Modern</em>. Kansas City: Andrews and McMeel, 1992.", "page_number": "Reproduced: p. 103", "url": null}, {"citation": "Cleveland Museum of Art. <em>Masterpieces from East and West.</em> New York, NY: Rizzoli International, 1992.", "page_number": "Reproduced: p. 166-167", "url": null}, {"citation": "Chong, Alan. <em>European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogu</em>e. Cleveland, Ohio: Cleveland Museum of Art, 1993.", "page_number": "Reproduced: p. 159", "url": null}, {"citation": "\"1993 Annual Report.\" <em>The Bulletin of the Cleveland Museum of Art</em> 81, no. 6 (1994): 143-218.", "page_number": "Mentioned: p. 177", "url": "https://www.jstor.org/stable/25161457"}, {"citation": "Pelfrey, Robert H. <em>Art and Mass Media.</em> Dubuque, IA: Kendall/Hunt, 1996.", "page_number": "Reproduced: p. 169, fig. 7,8", "url": null}, {"citation": "Wildenstein, Daniel. <em>Monet</em>. Ko\u0308ln, Germany: Taschen, 1996.", "page_number": "Reproduced: vol. 1, p. 436", "url": null}, {"citation": "Sagner-Duchting, Karin. <em>Claude Monet, 1840-1926: A Feast for the Eyes</em>. Ko\u0308ln, Germany: Benedikt Taschen, 1998.", "page_number": "Reporduced: p. 119", "url": null}, {"citation": "Museo del Palacio de Bellas Artes (Mexico). <em>Maestros del impresionismo</em>. Me\u0301xico, D.F.: Istituto Nacional de Bellas Artes, 1998.", "page_number": "Reproduced: p. 59, fig. 14", "url": null}, {"citation": "D' Argencourt, Louise and Roger Diederen. <em>The Cleveland Museum of Art: Catalogue of Paintings, Part Four; European Paintings of the 19th Century</em>. Cleveland, OH:The Cleveland Museum of Art, 1999.", "page_number": "Reproduced: p. 159", "url": null}, {"citation": "Wildenstein, Daniel. <em>Monet, or, The Triumph of Impressionism</em>. Ko\u0308ln, Germany: Taschen,1999.", "page_number": "Reproduced: p. 436-437.", "url": null}, {"citation": "May, Sally Ruth, Jane Takac, and Barbara J. Bradley. <em>Knockouts: A Pocket Guide</em>. Cleveland, OH: Cleveland Museum of Art, 2001.", "page_number": "Reproduced: p. 56-57, no. 58", "url": null}, {"citation": "Lemonedes, Heather, Lynn Federle Orr, and David H. Steel. <em>Monet in Normandy</em>. New York, NY: Rizzoli, 2006.", "page_number": "Reproduced: p. 178", "url": null}, {"citation": "Lemonedes, Heather, \"FILL THIS\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 47 no. 02, February 2007", "page_number": "Mentioned & reproduced: p. 5", "url": "https://archive.org/details/CMAMM2007-02/page/n3"}, {"citation": "Rey, Jean Dominique, and Denis Rouart. <em>Monet, Water Lilies: The Complete</em> <em>Series</em>. Paris, France: Flammarion, 2008.", "page_number": "Reproduced: p. 145", "url": null}, {"citation": "Franklin, David and C. Griffith Mann. <em>Treasures from the Cleveland Museum of Art.</em> Cleveland, OH: London, United Kingdom: Scala Books, 2012.", "page_number": "Reproduced: p. 302-303", "url": null}, {"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. 298", "url": ""}, {"citation": "Dumas, Ann, William H. Robinson, Clare A. P. Willsdon, Monty Don, James Priest, and Heather Lemonedes. <em>Painting the Modern Garden: Monet to Matisse</em>. London, United Kingdom : Royal Academy of Arts, 2015.", "page_number": "Reproduced: P. 290", "url": null}, {"citation": "Dumas, Ann, William H. Robinson, Clare A. P. Willsdon, Monty Don, James Priest, Heather Lemonedes, and Lucy I. Zimmerman.<em> Painting the Modern Garden: Monet to Matisse</em>. London: Royal Academy of Arts, 2015.", "page_number": "290, cat no. 139", "url": null}, {"citation": "Robinson, William. \u201cEasels in Eden: Renowned garden historian Eric Haskell is the keynote speaker at the opening for <em>Painting the Modern Garden: Monet to </em>Matisse.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 55, no. 4 (July/August): 10-11.", "page_number": "Reproduced: p. 10; Mentioned: p. 11", "url": "https://archive.org/details/CMAMM2015-04"}, {"citation": "The Burlington Magazine. \"Exhibitions: Paintiing in the Modern Garden.\" <em>The Burlington Magazine </em>158, no. 1357 (April 2016): 300-301.<em><br></em>", "page_number": "Reproduced: p. 301", "url": null}, {"citation": "Adams, Henry. \"The Invisible Man: William Robinson.\" <em>CAN Journal </em>(Spring 2017): 80-83.", "page_number": "Reproduced: p. 83", "url": ""}, {"citation": "Amiot-Saulnier, Emmanuelle. \"Le Jardin de Monet a Matisse.\" <em>L'Estampille, l'objet d'art</em> 521, (Mar. 2016): 28-35.", "page_number": "Reproduced: p. 30", "url": null}, {"citation": "Kelly, Simon. \"\"My Four Best Series\": Monet's Panorama at the Hotel Biron.\" In <em>Monet: the Late Years.</em> Shackelford, George T. M., ed., 46-61. Fort Worth, Texas: Kimbell Art Museum; San Francisco: Fine Arts Museums of San Francisco, New Haven; London: Distributed by Yale University Press, 2019.", "page_number": "Reproduced: P. 48-49,50, 59", "url": null}, {"citation": "Shackelford, George T. M. <em>Monet: the Late Years. </em>Fort Worth, Texas: Kimbell Art Museum; San Francisco: Fine Arts Museums of San Francisco, New Haven; London: Distributed by Yale University Press, 2019.", "page_number": "Reproduced: P. 159", "url": null}, {"citation": "Arendsee, M., and M. Steinman-Arendsee. \"Take the CAN disability aesthetics tour, at the Cleveland Museum of art.\" <em>CAN Journal</em> (Winter 2019/20): 76-87.", "page_number": "Mentioned: p. 81", "url": null}, {"citation": "Goldin, Marco. <em>Il Giardino e la Luna: Arte dell'Ottocento dal Romanticismo all'Impressionismo. </em>Milano: La nave di Teseo, 2021.", "page_number": "Reproduced: P. 508-509", "url": ""}, {"citation": "Page\u0301, Suzanne, Angeline Scherf, and Marianne Mathieu. <em>Claude Monet, Joan Mitchell.</em> Paris: Fondation Louis Vuitton; [Paris]: Muse\u0301e Marmottan Monet, Acade\u0301mie des beaux-arts; Vanves: Hazan, 2022.", "page_number": "Reproduced: Cat. no. 50", "url": ""}, {"citation": "Kelly, Simon. \"A Dialogue with Monet: Mitchell's Years in Vetheuil.\" In <em>Monet/Mitchell: Painting the French Landscape, </em>edited by Simon Kelly, 13-68. St. Louis, Missouri: Saint Louis Art Museum; Munich, Germany: Hirmer Verlag GmbH, 2023.", "page_number": "Mentioned: p. 27; reproduced: p. 31, fig. 12", "url": ""}], "url": "https://clevelandart.org/art/1960.81", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1960.81/1960.81_web.jpg", "width": "900", "height": "419", "filesize": "134866", "filename": "1960.81_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1960.81/1960.81_print.jpg", "width": "3400", "height": "1581", "filesize": "1728905", "filename": "1960.81_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1960.81/1960.81_full.tif", "width": "6388", "height": "2970", "filesize": "56943340", "filename": "1960.81_full.tif"}}, "alternate_images": [{"web": {"url": "https://openaccess-cdn.clevelandart.org/1960.81/1960.81_alt0_web.jpg", "width": "900", "height": "444", "filesize": "135050"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1960.81/1960.81_alt0_print.jpg", "width": "3400", "height": "1677", "filesize": "1763259"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1960.81/1960.81_alt0_full.tif", "width": "15356", "height": "7576", "filesize": "349039268"}, "date_created": "2015-05-04T11:47:33", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1960.81/1960.81_alt1_web.jpg", "width": "900", "height": "687", "filesize": "257258"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1960.81/1960.81_alt1_print.jpg", "width": "3400", "height": "2594", "filesize": "3803003"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1960.81/1960.81_alt1_full.tif", "width": "6477", "height": "4941", "filesize": "96035612"}, "date_created": "2011-02-28T15:52:16", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1960.81/1960.81_alt2_web.jpg", "width": "900", "height": "687", "filesize": "329605"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1960.81/1960.81_alt2_print.jpg", "width": "3400", "height": "2594", "filesize": "8452393"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1960.81/1960.81_alt2_full.tif", "width": "6477", "height": "4941", "filesize": "96038376"}, "date_created": "2011-02-28T15:52:16", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1960.81/1960.81_alt3_web.jpg", "width": "1263", "height": "593", "filesize": "574711"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1960.81/1960.81_alt3_print.jpg", "width": "3400", "height": "1596", "filesize": "4366487"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1960.81/1960.81_alt3_full.tif", "width": "6172", "height": "2897", "filesize": "53671228"}, "date_created": "2009-07-01T15:14:35", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1960.81/1960.81_alt4_web.jpg", "width": "1263", "height": "608", "filesize": "639185"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1960.81/1960.81_alt4_print.jpg", "width": "3400", "height": "1638", "filesize": "4885519"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1960.81/1960.81_alt4_full.tif", "width": "6227", "height": "3000", "filesize": "56055796"}, "date_created": "2004-09-21T17:46:45", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1960.81/1960.81_alt5_web.jpg", "width": "900", "height": "434", "filesize": "170216"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1960.81/1960.81_alt5_print.jpg", "width": "3400", "height": "1638", "filesize": "4771145"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1960.81/1960.81_alt5_full.tif", "width": "6227", "height": "3000", "filesize": "56067180"}, "annotation": ""}], "creditline": "John L. Severance Fund and an anonymous gift", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Nancy F. and Joseph P. Keithley Gallery", "athena_id": 136510, "creators": [{"id": 1844, "description": "Claude Monet (French, 1840\u20131926)", "extent": null, "qualifier": null, "role": "artist", "biography": "Claude Monet spent his youth in Le Havre in Normandy, where his father worked as a wholesale grocer. By the age of sixteen, he had exhibited some of his caricatures in an art supply store, leading to his acquaintance with Boudin (q.v.). It was Boudin who first encouraged him to paint out of doors. In 1859 Monet traveled to Paris, where he saw Boudin's salon debut and met Constant Troyon (1810-1865). A year later he joined the Acad\u00e9mie Suisse, where he was introduced to Pissarro (q.v.), but his studies were interrupted in 1861 when he was drafted for a seven-year stint in the military. His family would pay for his release from military duties only if he gave up painting. Finding this unacceptable, Monet served for one year in Algeria before an early return to France to convalesce after a severe illness. In 1862 he met Jongkind (q.v.), another important influence on the young painter's development. Monet's father then allowed him to pursue his art career in Paris, where he entered the studio of the Swiss painter Charles Gleyre (1806-1874). He studied with Gleyre until 1864 and befriended Fr\u00e9d\u00e9ric Bazille (1841-1870), Renoir (q.v.), and Sisley (q.v.), with whom he painted in the forest of Fontainebleau (D\u00e9jeuner sur l'herbe, 1865, two fragments in Mus\u00e9e d'Orsay, Paris). Monet first exhibited at the Salon of 1865 and would do so again in 1866, 1868, and 1880. In 1868 he shared a studio with Bazille and Renoir but was soon forced to leave Paris to escape his creditors. He took his mistress, Camille Doncieux, and their son, Jean, to F\u00e9camp, then \u00c9tretat, and finally Saint-Michel. There Renoir provided hospitality, and the two also painted at the boating and bathing center of La Grenouill\u00e8re on the Seine. In 1870 Monet married Camille and, to escape the Franco-Prussian War, left for London, where he remained for nine months and met Durand-Ruel, his first dealer. In the summer of 1871 he visited the Netherlands and then settled in Argenteuil, to the west of Paris. He converted a boat into a studio, as Daubigny (q.v.) had done before him, allowing him to explore different viewpoints for his landscapes. He assisted in the organization of the First Impressionist Exhibition in 1874, partly because Durand-Ruel's worsened business situation had prevented the dealer from buying his art. The following year he participated in the H\u00f4tel Drouot sale with Morisot (q.v.), Renoir, and Sisley. In 1878 Monet and his wife moved to V\u00e9theuil with the Hosched\u00e9s, who had previously commissioned some works. Camille died the following year, and, while Ernest Hosched\u00e9 spent most of his time in Paris trying to settle his precarious financial situation, Monet stayed behind with Ernest's wife, Alice. In 1881 he moved with her and her children to Poissy and within two years was living at Giverny, where he would remain for the rest of his life. He painted some of his famous scenes-the haystack and poplar series, for example- in 1890-91. Ernest Hosched\u00e9 died in 1891, and Monet married Alice the following year. At Giverny, Monet explored the themes of his garden and water lilies. He continued to travel, going to Norway in 1895, making three trips to London from 1899 through 1901, and taking Alice to Venice in 1908. The final years of his life were mainly spent working on his Great Decorations, large paintings of a water lily pond designed for two oval rooms at the Paris Orangerie. Monet is generally considered the most typical exponent of impressionism.", "name_in_original_language": null, "birth_year": "1840", "death_year": "1926", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1960-04-25T00:00:00", "sortable_date": 1915, "date_added_to_oa": null, "date_text": "c. 1915\u201326", "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": true, "updated_at": "2026-10-20 11:25:18.829000"}, {"id": 135310, "accession_number": "1958.32", "share_license_status": "CC0", "tombstone": "Two Poplars in the Alpilles near Saint-R\u00e9my, 1889. Vincent van Gogh (Dutch, 1853\u20131890). Oil on fabric; framed: 81 x 66.7 x 7.3 cm (31 7/8 x 26 1/4 x 2 7/8 in.); unframed: 61.6 x 45.7 cm (24 1/4 x 18 in.). The Cleveland Museum of Art, Bequest of Leonard C. Hanna Jr., 1958.32", "current_location": "222 Impressionism & Post-Impressionism", "title": "Two Poplars in the Alpilles near Saint-R\u00e9my", "creation_date": "1889", "creation_date_earliest": 1889, "creation_date_latest": 1889, "artists_tags": ["male"], "culture": ["Netherlands"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 81 x 66.7 x 7.3 cm (31 7/8 x 26 1/4 x 2 7/8 in.); Unframed: 61.6 x 45.7 cm (24 1/4 x 18 in.)", "dimensions": {"framed": {"height": 0.81, "height_inch": 31, "height_inch_fraction": 0.875, "width": 0.667, "width_inch": 26, "width_inch_fraction": 0.25, "depth": 0.073, "depth_inch": 2, "depth_inch_fraction": 0.875}, "unframed": {"height": 0.616, "height_inch": 24, "height_inch_fraction": 0.25, "width": 0.457, "width_inch": 18, "width_inch_fraction": 0.0}, "No Extent Specified": {}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 703013, "title": "Highlights of the 19th Century", "description": "<i>Highlights of the 19th Century</i>. Akron Art Museum, Akron, OH (organizer) (March 3-31, 1959).", "opening_date": "1959-03-03T05:00:00"}, {"id": 302007, "title": "Paths of Abstract Art", "description": "<i>Paths of Abstract Art</i>. The Cleveland Museum of Art, Cleveland, OH (October 5-November 13, 1960).", "opening_date": "1960-10-05T04:00:00"}, {"id": 300779, "title": "Juxtapositions", "description": "<i>Juxtapositions</i>. The Cleveland Museum of Art, Cleveland, OH (September 11-October 10, 1965).", "opening_date": "1965-09-11T04:00:00"}, {"id": 304561, "title": "Visions of Landscape: East and West", "description": "<i>Visions of Landscape: East and West</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 17-March 21, 1982).", "opening_date": "1982-02-17T05:00:00"}, {"id": 442147, "title": "Gauguin and Van Gogh in Copenhagen in 1893", "description": "<i>Gauguin and Van Gogh in Copenhagen in 1893</i>. Ordrupgaard, Charlottenlund, Copenhagen, Denmark (organizer) (December 11, 1984-February 24, 1985).", "opening_date": "1984-12-11T05:00:00"}, {"id": 221052, "title": "Masters of Impressionism", "description": "<i>Masters of Impressionism</i>. Museo del Palacio de Bellas Artes, Mexico (November 17, 1998-February 28, 1999).", "opening_date": "1998-11-17T00:00:00"}, {"id": 227195, "title": "Vincent and Theo van Gogh", "description": "<i>Vincent and Theo van Gogh</i>. Hokkaido Museum of Modern Art, Hokkaido, Japan (organizer) (July 5-August 25, 2002).", "opening_date": "2002-07-05T00:00:00"}, {"id": 220540, "title": "Impressionism, Post-Impressionism and the Nordic Countries", "description": "<i>Impressionism, Post-Impressionism and the Nordic Countries</i>. Nationalmuseum, Stockholm, Sweden (organizer) (September 27, 2002-January 19, 2003); Statens Museum for Kunst, 1307 K\u00f8benhaven K, Denmark (February 21-May 25, 2003).", "opening_date": "2002-09-27T00:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. Beijing World Art Museum (May 26-August 27, 2006); Mori Art Center (September 16-November 26, 2006); Seoul Art Center, South Korea (December 22, 2006-March 28, 2007); Seoul Olympic Museum of Art, South Korea (April 7-May 20, 2007); Vancouver Art Gallery, Vancouver, Canada (June 9-September 16, 2007); The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008); Frist Art Museum, Nashville, TN (February 15-June 1, 2008); Utah Museum of Fine Arts, Salt Lake City, UT (June 22-September 21, 2008); The Detroit Institute of Arts, Detroit, MI (October 12, 2008-January 18, 2009).", "opening_date": "2006-05-27T00:00:00"}, {"id": 222532, "title": "The Real Van Gogh: The Artist and His Letters", "description": "<i>The Real Van Gogh: The Artist and His Letters</i>. Royal Academy of Arts, London, United Kingdom of Great Britain and Northern Ireland (organizer) (January 23-April 18, 2010).", "opening_date": "2010-01-23T00:00:00"}, {"id": 227478, "title": "Becoming Van Gogh: His Years in Paris, 1886-1888", "description": "<i>Becoming Van Gogh: His Years in Paris, 1886-1888</i>. Denver Art Museum, Denver, CO (organizer) (October 20, 2012-January 20, 2013).", "opening_date": "2012-10-20T00:00:00"}, {"id": 213656, "title": "Van Gogh Repetitions", "description": "<i>Van Gogh Repetitions</i>. The Phillips Collection, Washington, DC (organizer) (October 12, 2013-February 2, 2014); The Cleveland Museum of Art, Cleveland, OH (March 2-May 26, 2014).", "opening_date": "2013-10-12T00:00:00"}, {"id": 216529, "title": "Expressionism in Germany and France: From Van Gogh to Kandinsky", "description": "<i>Expressionism in Germany and France: From Van Gogh to Kandinsky</i>. Los Angeles County Museum of Art, Los Angeles, CA (organizer) (June 8-September 14, 2014).", "opening_date": "2014-06-08T00:00:00"}, {"id": 224149, "title": "Reciprocal Loan: Painting the Modern Garden", "description": "<i>Reciprocal Loan: Painting the Modern Garden</i>. Norton Museum of Art, West Palm Beach, FL (organizer) (October 1, 2015-April 30, 2016).", "opening_date": "2015-10-01T00:00:00"}, {"id": 294300, "title": "Making Van Gogh", "description": "<i>Making Van Gogh</i>. St\u00e4del Museum, Frankfurt am Main, Germany (organizer) (October 23, 2019-February 16, 2020).", "opening_date": "2019-10-23T04:00:00"}, {"id": 448164, "title": "There\u2019s Nothing like the Real Thing: Van Gogh at the Cleveland Museum of Art", "description": "<i>There\u2019s Nothing like the Real Thing: Van Gogh at the Cleveland Museum of Art</i>. The Cleveland Museum of Art (organizer) (September 17-December 5, 2021).", "opening_date": "2021-09-17T04:00:00"}, {"id": 399470, "title": "Van Gogh's Cypresses", "description": "<i>Van Gogh's Cypresses</i>. The Metropolitan Museum of Art, New York, NY (organizer) (May 15-August 27, 2023) https://www.metmuseum.org/exhibitions/van-gogh-cypresses.", "opening_date": "2023-05-15T04:00:00"}], "legacy": [{"description": "<em>Den frie Udstilling</em>. Copenhagen, Denmark (1893).", "opening_date": null}, {"description": "Paul Cassirer, Berlin, Germany (1901).", "opening_date": "1901-01-01T00:00:00"}, {"description": "<em>Tentoonstelling Vincent van Gogh</em>. Stedelijk Museum, Amsterdam, Netherlands (1905).", "opening_date": "1905-01-01T00:00:00"}, {"description": "<em>Internationale Ausstellung des Sonderbundes Westdeutscher Kunstfreunde und K\u00fcnstler</em>. St\u00e4dtische Ausstellungshalle am Aachener Tor, Cologne, Germany (1912).", "opening_date": "1912-01-01T00:00:00"}, {"description": "<em>Vincent van Gogh, Zehnte Ausstellung</em>. Paul Cassirer, Berlin, Germany (1914).", "opening_date": "1914-01-01T00:00:00"}, {"description": "<em>Erste Sonderausstellung in Berlin</em>.Galerie Thannhauser, Berlin, Germany (1927).", "opening_date": "1927-01-01T00:00:00"}, {"description": "<em>Vincent van Gogh en zijn Tijdgenooten</em>. Stedelijk Museum. Amsterdam, Netherlands (1930).", "opening_date": "1930-01-01T00:00:00"}, {"description": "<em>Art Museum. Paintings by Van Gogh</em>. Baltimore Museum of Art, Baltimore, MD; Worcester Museum, Worcester, MA (1942).", "opening_date": "1942-01-01T00:00:00"}, {"description": "<em>Works by Vincent van Gog</em>h.Cleveland Museum of Art, Cleveland, OH (1948).", "opening_date": "1948-01-01T00:00:00"}, {"description": "<em>Summer Loan: fourteen paintings from the Hanna collection</em>. Metropolitan Museum of Art. New York, NY (June-September 1949).", "opening_date": "1949-06-01T00:00:00"}, {"description": "<em>Loan Exhibition Van Gogh</em>. Wildenstein, New York, NY (1955).", "opening_date": "1955-01-01T00:00:00"}, {"description": "<em>Masterpiece of the Month</em>. Art Institute, Akron, OH (March 3-31, 1959).", "opening_date": "1931-03-03T00:00:00"}]}, "provenance": [{"description": "Theo van Gogh [1857-1891] Paris, France, by descent to the artist's brother from the artist's estate.", "citations": [], "footnotes": null, "date": "1889\u20131891", "sortorder": 1}, {"description": "Johanna van Gogh-Bonger [1862-1915] his wife, Amsterdam, Netherlands, by gift to Willem Steenhoff.", "citations": [], "footnotes": null, "date": "1891\u20131905", "sortorder": 2}, {"description": "Willem Steenhoff [1863-1932] Amsterdam, Netherlands, sold to Alfred Flechtheim", "citations": [], "footnotes": null, "date": "1905\u20131910", "sortorder": 3}, {"description": "Alfred Flechtheim, D\u00fcsseldorf, Germany", "citations": [], "footnotes": [], "date": "1910", "sortorder": 4}, {"description": "Max Siller, Barmen, Germany", "citations": [], "footnotes": null, "date": "1914", "sortorder": 5}, {"description": "Paul Cassirer, Berlin", "citations": [], "footnotes": null, "date": "1914", "sortorder": 6}, {"description": "Justin Thannhauser, Munich, Berlin, Lucerne", "citations": [], "footnotes": null, "date": "1927", "sortorder": 7}, {"description": "Harry Sperling [1925-1971] New York, NY", "citations": [], "footnotes": [], "date": "July 1940", "sortorder": 9}, {"description": "M. Knoedler and Co., New York, NY", "citations": [], "footnotes": null, "date": "March 1946", "sortorder": 10}, {"description": "Sam Salz, New York, NY", "citations": [], "footnotes": [], "date": "March 1946", "sortorder": 11}, {"description": "Leonard C. Hanna, Jr, Cleveland, OH, purchased March 12, 1946", "citations": [], "footnotes": [], "date": "1946\u20131958", "sortorder": 12}, {"description": "Leonard C. Hanna, Jr. [1889-1957] Cleveland, OH, by bequest to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1946\u20131958", "sortorder": 13}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1958\u2013", "sortorder": 14}], "find_spot": null, "related_works": [], "former_accession_numbers": ["427.46"], "did_you_know": "During his Saint-R\u00e9my period, Van Gogh painted 150 canvases and some 100 drawings. He painted nature as he saw it without enhancement and felt that painting would help cure him of his illness.", "early_education_description": null, "artlens_description": null, "description": "Vincent van Gogh painted this autumnal landscape while interned at a psychiatric hospital near Saint-R\u00e9my in southern France. Although initially restricted to painting in his room, he soon resumed working outdoors. This painting reveals the full power of his mature style. Trees twist and lean against a darkening sky, while the intense colors applied with charged brushstrokes convey his emotional reaction to the subject.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q26221176"], "internet_archive": ["https://archive.org/details/clevelandart-1958.32-two-poplars-in-the-a"]}, "citations": [{"citation": "Flechtheim, Alfred. \"Kunsthaler und Sammler: Dusseldorf.\" In <em>Im Kampf um die Kunst: die Antwort auf den \"Protest deutscher Ku\u0308nstler\": mit Beitra\u0308gen deutscher Ku\u0308nstler, Galerieleiter, Sammler und Schriftsteller.</em> Mu\u0308nchen: R. Piper, 1911.", "page_number": "Mentioned: p. 168", "url": null}, {"citation": "Pfister, Kurt. <em>Vincent van Gogh</em>. Potsdam: G. Kiepenheuer, 1922.", "page_number": "Reproduced: Pl. 46", "url": null}, {"citation": "Waldemar, George. <em>Van Gogh: 24 Phototypies.</em> Paris: Librairie de France F. Sant'Andrea, 1927.", "page_number": "Reproduced: vol. 3, pl. 6", "url": null}, {"citation": "de LaFaille, J. B. <em>L'oeuvre de Vincent van Gogh, catalogue raisonne\u0301.</em> Paris et Bruxelles: Les E\u0301ditions G. van Oest, 1928.", "page_number": "Mentioned: vol.1, no. 638; reproduced: vol. 2, no. 638", "url": null}, {"citation": "Gogh, Vincent van. <em>Further Letters of Vincent Van Gogh to His Brother, 1886-1889.</em> London: Constable &amp; Co, 1929.", "page_number": "Mentioned: p. 399, no. 609, p. 416, no. 617, p. 444-445, no. 630", "url": null}, {"citation": "Scherjon, W. and W. Jos. de Gruyter. <em>Vincent Van Gogh's Great Period, Arles, St. Re\u0301my and Auvers Sur Oise (Complete Catalogue)</em>. Amsterdam NL: \"De Spieghel\", Ltd, 1937.", "page_number": "Reproduced: p. 253, no. 57", "url": null}, {"citation": "De La Faille, J. Bernard, Charles Terrasse, Prudence Montagu-Pollock, and Andre\u0301 Gloeckner. <em>Vincent Van Gogh</em>. New York, N.Y.: French and European Publications [etc.], 1939.", "page_number": "Reproduced: no. 643", "url": null}, {"citation": "Coe, Nancy. <em>The History of the Collecting of European Paintings and Drawings in the City of Cleveland. </em>Thesis M.A. Oberlin College, 1955.", "page_number": "Reproduced: vol. 2, p. 73-74", "url": null}, {"citation": "\"More Than 100 Van Goghs in New York's Major Spring Show.\" <em>ARTnews </em>54 (April 1955): 22.", "page_number": "Reproduced: p. 22", "url": null}, {"citation": "Elgar, Frank. <em>Van Gogh, A Study of His Life and Work</em>. New York, NY: Praeger, 1958.", "page_number": "Reproduced: Fig. 185", "url": null}, {"citation": "Cleveland Museum of Art. <em>In Memoriam: Leonard C. Hanna, Jr</em>. Cleveland: The Cleveland Museum of Art, 1958.", "page_number": "Reproduced: no. 15", "url": null}, {"citation": "\"Acessions of American and Canadian Museums: October--December 1957.\" <em>The Art Quarterly </em>21, no. 1 (Spring 1958): 82-113.", "page_number": "Reproduced: p. 104", "url": null}, {"citation": "<em>The Bulletin of The Cleveland Museum of Art X, no. XLVI, </em>no, 6 (June, 1959): 122.", "page_number": "Mentioned: p. 122", "url": null}, {"citation": "Cleveland Museum of Art, and Edward B. Henning. <em>Paths of Abstract Art</em>. [Cleveland]: Distributed by H.N. Abrams [New York], 1960.", "page_number": "Referenced: cat. no. 11, p. 9, Reproduced: p. 9", "url": null}, {"citation": "Cleveland Museum of Art, Edward B. Henning<em>. Paths of Abstract Art</em>. Cleveland, Ohio: H.N. Abrams, 1960.", "page_number": "Reproduced: no. 11, p. 11; mentioned: pp.11, 21", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 179", "url": "https://archive.org/details/CMAHandbook1966/page/n203"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 179", "url": "https://archive.org/details/CMAHandbook1969/page/n203"}, {"citation": "Cleveland Museum of Art. <em>Art of the Twentieth Century in the Cleveland Museum of Art</em>. Cleveland, OH: Dept. of Art History &amp; Education, CMA, 1969.", "page_number": "Mentioned: p. 1", "url": "https://archive.org/details/20thCenturyArtCMA/page/n1"}, {"citation": "De La Faille, J.-B. <em>The Works of Vincent Van Gogh; His Paintings and Drawings</em>. Amsterdam, NL: Meulenhoff International, 1970.", "page_number": "Reproduced: p. 638", "url": null}, {"citation": "Lecaldano, Paolo. <em>L'opera pittorica completa di Van Gogh e i suoi nessi grafici</em>. Milan, IT: Rizzoli,1971.", "page_number": "Reproduced: no. 707, vol. 2", "url": null}, {"citation": "Gogh, Vincent van, Jean Leymarie, and V. W. van Gogh. <em>Letters of Vincent van Gogh, 1886-1890: a facsimile edition.</em> London: Scolar Press, 1977.", "page_number": "Mentioned: vol. 2, no. 609 3/4, no. 630 2/4", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 221", "url": "https://archive.org/details/CMAHandbook1978/page/n241"}, {"citation": "Hulsker, Jan. <em>The Complete Van Gogh: Paintings, Drawings, Sketches</em>. New York, NY: H.N. Abrams, 1980.", "page_number": "Reproduced: no. 1797", "url": null}, {"citation": "Bodelsen, Merete, Paul Gauguin, Vincent van Gogh, and Kirsten Olesen. <em>Gauguin og van Gogh i K\u00f8benhavn i 1893 = Gauguin and van Gogh in Copenhagen in 1893</em>. K\u00f8benhavn, Denmark: Ordrupgaard, 1984.", "page_number": "Mentioned: p. 126-127; Reproduced: no. 40, 73", "url": null}, {"citation": "Bernard, Bruce. <em>Vincent by Himself: A Selection of His Paintings and Drawings Together with Extracts from His Letters</em>. London, UK: Orbis, 1985.", "page_number": "Reproduced: p. 286", "url": null}, {"citation": "Pickvance, Ronald. <em>Van Gogh in Saint-Re\u0301my and Auvers</em>. New York, NY: Metropolitan Museum of Art, 1986.", "page_number": "Reproduced: p. 302; Mentioned: p. 301", "url": null}, {"citation": "Sackerlotsky, Rotraud. \"Giovanni Segantini: Stone Pine and Roses.\" <em>The Bulletin of The Cleveland Museum of Art LXXIII</em>, no. 1 (January, 1986): 3-13.", "page_number": "Reproduced: p. 9, fig. 9", "url": null}, {"citation": "Stein, Susan Alyson. <em>Van Gogh: A Retrospective</em>. New York, NY: H.L. Levin Associates, 1986.", "page_number": null, "url": null}, {"citation": "Kunstmuseum Du\u0308sseldorf, and Westfa\u0308lisches Landesmuseum fu\u0308r Kunst und Kulturgeschichte Mu\u0308nster. <em>Alfred Flechtheim: Sammler, Kunstha\u0308ndler, Verleger</em>. Du\u0308sseldorf: Kunstmuseum Du\u0308sseldorf, 1987.", "page_number": "Reproduced: p. 39", "url": null}, {"citation": "Manheim, Ron.<em> 'Im Kampf um die Kunst: de discussie van 1911 over contemporaine Kunst in Duitsland = Die Diskussion von 1911 u\u0308ber zeitgeno\u0308ssische Kunst in Deutschland.</em> Hamburg: Sautter + Lackmann, 1987.", "page_number": "Mentioned: p. 141", "url": null}, {"citation": "Feilchenfeldt, Walter, Han Veenebos, and Paul Cassirer. <em>Vincent van Gogh &amp; Paul Cassirer, Berlin: the reception of van Gogh in Germany from 1901 to 1914</em>. Zwolle, NL: Waanders, 1988.", "page_number": "Reproduced: p. 109, no. f638", "url": null}, {"citation": "Feilchenfeldt, Walter. \"Van Gogh Fakes: The Wacker Affair, with an Illustrated Catalogue of the Forgeries.\" <em>Simiolus: Netherlands Quarterly for the History of Art</em> 19, no. 4 (1989): 289-316.", "page_number": "Reproduced: p. 305", "url": null}, {"citation": "Bronkhorst, Hans. <em>Vincent Van Gogh</em>. New York, NY: Portland House, 1990.", "page_number": "Reproduced: p. 143", "url": null}, {"citation": "Heijbroek, J. F. \"Het Rijksmuseum Voor Moderne Kunst Van Willem Steenhoff. Werkelijkheid of Utopie?\" <em>Bulletin Van Het Rijksmuseum</em> 39, no. 2 (1991): 163-231.", "page_number": "Reproduced: p. 182", "url": null}, {"citation": "Hulsker, Jan. <em>The New Complete Van Gogh: Paintings, Drawings, Sketches : Revised and Enlarged Edition of the Catalogue Raisonne\u0301 of the Works of Vincent Van Gogh</em>. Amsterdam NL: J.M. Meulenhoff, 1996.", "page_number": null, "url": null}, {"citation": "Museo del Palacio de Bellas Artes (Mexico). <em>Maestros del impresionismo</em>. Me\u0301xico, D.F.: Istituto Nacional de Bellas Artes, 1998.", "page_number": "Referenced: p. 186-187", "url": null}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 302-305, Vol. I, no. 108", "url": ""}, {"citation": "Gunnarsson, Torsten, and Hans Henrik Brummer. <em>Impressionism and the North: Late 19th Century French Avant-Garde Art and the Art in the Nordic Countries 1870-1920</em>. Stockholm, SE: Nationalmuseum, 2002.", "page_number": "Reproduced: p. 154-155, no. 99", "url": null}, {"citation": "<em>Theo and Vincent van Gogh</em>. <em>Gohho ten = Vincent &amp; Theo van Gogh</em>. Hokkaido\u0304 Shinbunsha, JP: 2002.", "page_number": "Reproduced: p. 134-135, fig. 39", "url": null}, {"citation": "Toccoli, Vincent Paul and Nicoline Lopez. <em>Vincent van Gogh: le soleil foudroye\u0301</em>. Ampang Point, Selangor, MY: NGM Publishers, 2004.", "page_number": "Reproduced: p. 109, fig. 91", "url": null}, {"citation": "Dumas, Ann. <em>The Real Van Gogh: The Artist and His Letters</em>. London, UK: Royal Academy of Arts, 2010.", "page_number": "Reproduced & Mentioned: no. 141, p. 258-259", "url": null}, {"citation": "Standring, Timothy J., and Louis van Tilborgh. <em>Becoming Van Gogh</em>. Denver, CO: Denver Art Museum, 2012.", "page_number": "Reproduced: p. 228, p. 273; cat. 88", "url": null}, {"citation": "Van Tilborgh, Louis, Teio Meedendorp, Ella Hendriks, Don H. Johnson, C. Richard Johnson, and Robert G. Erdmann. \"Weave Matching and Dating of Van Gogh's Paintings: An Interdisciplinary Approach.\" <em>The Burlington Magazine</em> 154, no. 1307 (2012): 112-22.", "page_number": "Mentioned: p. 121; reproduced: p. 120, fig. 36", "url": null}, {"citation": "Skea, Ralph. <em>Vincent's Trees: Paintings and Drawings by Van Gogh</em>. London, UK: Thames &amp; Hudson, 2013.", "page_number": "Reproduced: p.7-8, fig. 2; Mentioned: p. 111", "url": null}, {"citation": "Rathbone, Eliza E., William H. Robinson, William H. Robinson, and Marcia Steele. <em>Van Gogh Repetitions</em>. New Haven, CT : Yale University Press, 2013.", "page_number": null, "url": null}, {"citation": "Wiekop, Christian. \"Crossing Borders: Expressionist Encounters with the French Avant-Garde.\" Art History: Journal of the Association of Art Historians 38, no. 5 (November 2015): 976-981.", "page_number": "Reproduced: fig. 1, p. 977", "url": null}, {"citation": "Blanc, Jan. <em>Van Gogh: ni Dieu ni mai\u0302tre.</em> Paris: Citadelles &amp; Mazenod, 2017.", "page_number": "Reproduced: p. 300-301", "url": null}, {"citation": "Koldehoff, Stefan and Chris Stolwijk, eds. <em>The Thannhauser Gallery: Marketing Van Gogh.</em> Brussels: Mercatorfonds; Amsterdam: Van Gogh Museum, 2017.", "page_number": "Reproduction: p. 137, cat. 19", "url": null}, {"citation": "Dempsey, Amy. <em>Modern Art.</em> London: Thames &amp; Hudson, 2018.", "page_number": "Reproduced: p. 22", "url": null}, {"citation": "Eiling, Alexander B., Felix Kra\u0308mer, and Elena Schroll. <em>Making Van Gogh: A German Love Story</em>. M\u00fcnchen: Hirmer Verlag GmbH, 2019.", "page_number": "Reproduced: P. 103", "url": null}, {"citation": "Koldehoff, Nora, and Stefan Koldehoff. <em>Der van Gogh-Coup: Otto Wackers Aufstieg und Fall.</em> Wa\u0308denswil am Zu\u0308richsee: Nimbus, Kunst und Bu\u0308cher, 2019.", "page_number": "Reproduced: P. 204, f. 638", "url": ""}, {"citation": "Michael, Cora. \"Gauguin in the the Buckeye and Hoosier States: Portrait of Teuraheimata and its Midwestern Collectors.\" In <em>Paul Gauguin: Teuraheimata a Potoru, a Rediscovery, </em>11-19. New York: Jill Newhouse Gallery; [Akron, Ohio]: Thomas French Fine Art, 2019.", "page_number": "Mentioned: P. 14", "url": ""}, {"citation": "Wach, Alexandra. \"Making van Gogh.\" <em>Restauro, 8 (2019): 44-51</em>.", "page_number": "Reproduced: p. 50", "url": null}, {"citation": "Stein, Susan Alyson. \"Signing Off in Style.\" In<em> Van Gogh's Cypresses</em>. Susan Alyson Stein, ed., 110-141. New York: The Metropolitan Museum of Art, 2023.", "page_number": "Mentioned and reproduced: P. 118-119, fig. 93", "url": ""}, {"citation": "Van Heteren, Marjan. \"Van Gogh, Ce\u0301zanne, Le Fauconnier &amp; De Bergense School.\" In <em>Van Gogh, Ce\u0301zanne, Le Fauconnier &amp; De Bergense School, </em>edited by Chris Stolwijk, and Marjan van Heteren, 92-151. 2023.", "page_number": "Mentioned and reproduced: p. 140, no. 158", "url": ""}, {"citation": "Bonafoux, Pascal. <em>Vincent van Gogh</em>. Roma: Istituto della Enciclopedia Italiana Fondato da Giovanni Treccani, 2023.", "page_number": "Reproduced: p. 328", "url": ""}, {"citation": "Sefrioui, Anne. <em>Van Gogh: The Bigger Picture. </em>New York, NY: Prestel Publishing, 2023.", "page_number": "Mentioned: p. 84; Reproduced: p. 89", "url": ""}], "url": "https://clevelandart.org/art/1958.32", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1958.32/1958.32_web.jpg", "width": "673", "height": "900", "filesize": "338119", "filename": "1958.32_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1958.32/1958.32_print.jpg", "width": "2543", "height": "3400", "filesize": "3870658", "filename": "1958.32_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1958.32/1958.32_full.tif", "width": "10950", "height": "14640", "filesize": "480958152", "filename": "1958.32_full.tif"}}, "alternate_images": [{"web": {"url": "https://openaccess-cdn.clevelandart.org/1958.32/1958.32_alt0_web.jpg", "width": "900", "height": "711", "filesize": "487008"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1958.32/1958.32_alt0_print.jpg", "width": "3400", "height": "2686", "filesize": "5832375"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1958.32/1958.32_alt0_full.tif", "width": "15095", "height": "11923", "filesize": "539967596"}, "date_created": "2017-08-03T14:32:58", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1958.32/1958.32_alt1_web.jpg", "width": "664", "height": "900", "filesize": "232522"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1958.32/1958.32_alt1_print.jpg", "width": "2510", "height": "3400", "filesize": "3095970"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1958.32/1958.32_alt1_full.tif", "width": "5682", "height": "7697", "filesize": "131233080"}, "date_created": "2015-09-11T15:41:49", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1958.32/1958.32_alt2_web.jpg", "width": "662", "height": "893", "filesize": "606480"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1958.32/1958.32_alt2_print.jpg", "width": "2521", "height": "3400", "filesize": "7299504"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1958.32/1958.32_alt2_full.tif", "width": "4182", "height": "5640", "filesize": "70795048"}, "date_created": "2005-09-15T17:09:54", "annotation": ""}], "creditline": "Bequest of Leonard C. Hanna Jr.", "image_credit": null, "sketchfab_id": "e89d1437be394b238a85adba5cd8067a", "sketchfab_url": "https://sketchfab.com/models/e89d1437be394b238a85adba5cd8067a", "gallery_donor_text": "Nancy F. and Joseph P. Keithley Gallery", "athena_id": 135310, "creators": [{"id": 1779, "description": "Vincent van Gogh (Dutch, 1853\u20131890)", "extent": null, "qualifier": null, "role": "artist", "biography": "The son of a clergyman, Vincent van Gogh was sent to The Hague at the age of sixteen to become an apprentice at Goupil &amp; Co., an art dealer with whom his uncle was affiliated. In August 1872 van Gogh began his extensive correspondence with his younger brother Theo, who would join the Brussels branch of the firm the following year. Vincent was transferred to the London offices in 1873 and two years later to the Paris office, but he despised the art trade and was dismissed in 1876. He then taught briefly at a boarding school in Ramsgate and Isleworth, and, back in the Netherlands, worked in a bookshop in Dordrecht before moving to Amsterdam to study theology. In little more than a year he had left the university and entered missionary school, failing again. Still intent on entering the ministry, he moved to the Borinage in Belgium and became a lay evangelist to the miners. Van Gogh finally decided to become an artist in August 1880 and started copying works by Millet (q.v.), the painter of peasant life. With his brother's financial help, he briefly joined the Academy in Brussels. The following year he returned to The Hague, where he received some artistic training from his cousin by marriage, Anton Mauve (1838-1888). There van Gogh met Sien Hoornik, a pregnant prostitute with a five-year-old daughter, with whom he lived briefly. Unable to marry her because of his family's disapproval, he moved in November 1883 from The Hague to the province of Drenthe, a popular place for artists, where he painted and drew laborers and peasants. Feeling terribly lonely, he visited his parents in December 1884 in Nuenen, and it was there that he finally decided to become a painter of peasant life. Van Gogh completed The Potato Eaters (Van Gogh Museum, Amsterdam) in April 1885 and sent it to his brother in Paris. On 25 November he moved to Antwerp, where he reveled in the work of Rubens and first came to know Japanese prints. Van Gogh traveled to Paris in March 1886 and lived with Theo. Under the influence of the impressionists, and works by Monticelli (q.v.), his palette changed to more intense and vibrant colors. He began to associate with \u00c9mile Bernard (1868-1941), Henri de Toulouse-Lautrec (1864-1901), Degas (q.v.), Gauguin (q.v.), Pissarro (q.v.), and Seurat (q.v.) and started collecting some of their paintings as well as Japanese prints. He moved to Arles in February 1888. Apart from paintings, he also made some drawings because it was a cheaper medium. Theo encouraged him to submit to the Salon des Ind\u00e9pendants. In May Vincent rented a room in the Yellow House, even though he could hardly afford to do so, and continued to send his work to his brother. In June he became intrigued with the subject of the wheat harvest and painted The Sower (Kr\u00f6ller-M\u00fcller Museum, Otterlo). On 23 October 1888, Gauguin arrived in Arles, at a time when van Gogh was having trouble with his eyesight. Gauguin encouraged him to paint from memory, which resulted in Memory of the Garden in Etten (Hermitage, St. Petersburg). The artists, however, had many disagreements, and during a dramatic quarrel on 23 December van Gogh mutilated his ear. He was taken into a hospital in Arles, and Gauguin left for Paris. Van Gogh recovered rapidly and was dismissed on 7 January 1889. In February his neighbors objected to his presence in the Yellow House, and he had to return to the hospital. In April Theo married Johanna Gesina Bonger, who would eventually safeguard most of Vincent's oeuvre. Aware of his mental problems, at the end of April van Gogh checked himself into the asylum of Saint-Paul-de-Mausole in Saint-R\u00e9my, where he was treated by Dr. Peyron. His condition was stable, and he was allowed to work in a makeshift studio. He worked in the garden (Irises, J. Paul Getty Museum, Los Angeles) and painted the fields he could see from his window. Under supervision he painted in the countryside, rendering cypresses and olive trees. Starry Night (Museum of Modern Art, New York) also stems from this period. From July through September he suffered from a severe depression that prevented him from working. He resumed his work from October through December, painting well-known Proven\u00e7al works and adapting prints after Delacroix (q.v.), Millet, and Rembrandt (1606-1669). In January 1890 he exhibited five works with Les XX in Brussels, selling one of them. After a visit to Arles at the end of February, he became ill again but continued to work. He finally left the asylum, and visited Theo in Paris on his way to Auvers, where he arrived on 20 May. He became close friends with Dr. Gachet and rented a room at the inn of the Ravoux family. He painted the village, portraits, and the surrounding wheat fields. On 27 July 1890, during an episode of depression, van Gogh shot himself in the chest and died two days later.", "name_in_original_language": null, "birth_year": "1853", "death_year": "1890", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1958-11-29T00:00:00", "sortable_date": 1889, "date_added_to_oa": null, "date_text": "1889", "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": ["Poplars on a Hill"], "is_highlight": false, "updated_at": "2026-10-24 08:48:46.201000"}, {"id": 160090, "accession_number": "1997.59", "share_license_status": "Copyrighted", "tombstone": "Paul III, 1996. Chuck Close (American, 1940\u20132021). Oil on canvas; framed: 259.6 x 213.5 x 7.5 cm (102 3/16 x 84 1/16 x 2 15/16 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1997.59. \u00a9 Chuck Close, courtesy The Pace Gallery", "current_location": "001A ArtLens Exhibition", "title": "Paul III", "creation_date": "1996", "creation_date_earliest": 1996, "creation_date_latest": 1996, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "measurements": "Framed: 259.6 x 213.5 x 7.5 cm (102 3/16 x 84 1/16 x 2 15/16 in.)", "dimensions": {"framed": {"height": 2.596, "height_inch": 102, "height_inch_fraction": 0.1875, "width": 2.135, "width_inch": 84, "width_inch_fraction": 0.0625, "depth": 0.075, "depth_inch": 2, "depth_inch_fraction": 0.9375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Chuck Close, courtesy The Pace Gallery", "inscriptions": [{"inscription": "Written on verso: \"Paul / \u00a9 1996 / C.Close\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 176597, "title": "Chuck Close Retrospective", "description": "<i>Chuck Close Retrospective</i>. Museum of Modern Art, NY (February 25-May 26, 1998); Museum of Contemporary Art, Chicago (June 1-September 6, 1998); Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC (October 15, 1998-January 9, 1999); Seattle Art Museum (February 1-May 1, 1999).", "opening_date": "1998-02-25T00:00:00"}, {"id": 181802, "title": "The Persistence of Geometry: Form, Content and Culture in the Collection of the Cleveland Museum of Art", "description": "<i>The Persistence of Geometry: Form, Content and Culture in the Collection of the Cleveland Museum of Art</i>. Museum of Contemporary Art Cleveland (MOCA), Cleveland, OH (June 9-August 20, 2006).", "opening_date": "2006-06-09T00:00:00"}, {"id": 228063, "title": "Familiar Faces: Chuck Close in Ohio Collections", "description": "<i>Familiar Faces: Chuck Close in Ohio Collections</i>. Akron Art Museum, Akron, OH (organizer) (September 5, 2009-January 3, 2010).", "opening_date": "2009-09-05T00:00:00"}, {"id": 441481, "title": "Gallery One 2012", "description": "<i>Gallery One 2012</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 12, 2012-March 5, 2017).", "opening_date": "2012-12-12T05:00:00"}, {"id": 705279, "title": "ArtLens Reimagined: The Intersection of Art, Technology, and Innovation", "description": "<i>ArtLens Reimagined: The Intersection of Art, Technology, and Innovation</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 23, 2026-September 1, 2031).", "opening_date": "2026-07-23T04:00:00"}], "legacy": [{"description": "NY, Museum of Modern Art; Chicago, Museum of Contemporary Art; DC, Hirshhorn Museum &amp; Sculpture Garden; Seattle Art Museum \"Chuck Close Retrospective\" (2/25/98 - 5/9/99) p. 197.", "opening_date": "1998-02-25T00:00:00"}, {"description": "MOCA Cleveland (6/9/2006 - 8/20/2006):  \"The Persistence of Geometry: Form, Content and Culture in the Collection of the Cleveland Museum of Art\", no. 141,  p. 124, color repr. p. 93.", "opening_date": "2006-06-09T00:00:00"}, {"description": "Akron Art Museum (9/5/2009 - 1/3/2010):  \"Familiar Faces: Chuck Close in Ohio Collections\"", "opening_date": "2009-09-05T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In 2005, composer Phillip Glass was commissioned by concert pianist Bruce Levingston to write a 15-minute musical portrait of Close.", "early_education_description": null, "artlens_description": "INTERACTIVE <br><strong>See yourself in the Art Mirror</strong> <br>Watch your image transform into a dynamic mosaic of artwork from the museum\u2019s collection!", "description": "Get close to this painting (but not too close! Help keep the art safe!). What do you see? Does it look different when you step back? <br><br>To make this painting of his friend Paul, Chuck Close began with a photograph. He placed a grid over the photo and transferred an enlarged version of that grid onto a canvas, using it to guide his work. He then filled in each square individually. Here, the grid forms a pattern of diamond shapes filled with vibrant circles, loops, and dots. Up close, the colors and shapes can feel like a kaleidoscope, always shifting as you move. From farther away, Paul\u2019s facial features become clearer.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60477485"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art, \u201cMuseum Acquires Major Chuck Close Painting, 19th-century Fire Screen, Rare Prints &amp; Drawings,\u201d June 9, 1997, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr4136"}, {"citation": "Glaubinger, Jane, \"Chuck Close\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 38 no. 01, January 1998", "page_number": "Mentioned & reproduced: p. 8", "url": "https://archive.org/details/CMAMM1998-01/page/n7"}], "url": "https://clevelandart.org/art/1997.59", "images": {}, "alternate_images": [], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Maltz Family Foundation ArtLens Gallery", "athena_id": 160090, "creators": [{"id": 6583, "description": "Chuck Close (American, 1940\u20132021)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1940", "death_year": "2021", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1997-06-02T00:00:00", "sortable_date": 1996, "date_added_to_oa": null, "date_text": "1996", "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": "2026-08-11 16:46:58.586000"}, {"id": 146416, "accession_number": "1972.119", "share_license_status": "CC0", "tombstone": "Noah:  The Eve of the Deluge, 1848. John Linnell (British, 1792\u20131882). Oil on canvas; framed: 168.5 x 242.5 x 9.5 cm (66 5/16 x 95 1/2 x 3 3/4 in.); unframed: 146 x 221 cm (57 1/2 x 87 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1972.119", "current_location": "203B British Painting and Decorative Arts", "title": "Noah:  The Eve of the Deluge", "creation_date": "1848", "creation_date_earliest": 1848, "creation_date_latest": 1848, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 168.5 x 242.5 x 9.5 cm (66 5/16 x 95 1/2 x 3 3/4 in.); Unframed: 146 x 221 cm (57 1/2 x 87 in.)", "dimensions": {"framed": {"height": 1.685, "height_inch": 66, "height_inch_fraction": 0.3125, "width": 2.425, "width_inch": 95, "width_inch_fraction": 0.5, "depth": 0.095, "depth_inch": 3, "depth_inch_fraction": 0.75}, "unframed": {"height": 1.46, "height_inch": 57, "height_inch_fraction": 0.5, "width": 2.21, "width_inch": 87, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right: j. linnell / 1848 \r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301752, "title": "Year in Review: 1972", "description": "<i>Year in Review: 1972</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 27-March 18, 1973).", "opening_date": "1973-02-27T05:00:00"}, {"id": 220951, "title": "Landscape of the Bible: Sacred Scenes in European Master Paintings", "description": "<i>Landscape of the Bible: Sacred Scenes in European Master Paintings</i>. Israel Museum, 91710 Jerusalem, Israel (organizer) (September 5, 2000-January 31, 2001).", "opening_date": "2000-09-05T00:00:00"}, {"id": 306699, "title": "British Gallery Reinstallation  (June 2020)", "description": "<i>British Gallery Reinstallation  (June 2020)</i>. The Cleveland Museum of Art (organizer).", "opening_date": "2020-06-30T04:00:00"}], "legacy": [{"description": "Royal Academy, London, United Kingdom (1848).", "opening_date": null}, {"description": "Mechanic's Institute, Bradford, England (1873).", "opening_date": null}, {"description": "<em>Exhibition of Works by the Old Masters and by Deceased Masters of the British School.</em> Royal Academy, London, United Kingdom (1883).", "opening_date": null}]}, "provenance": [{"description": "Sold to Joseph Gillott [1799-1872], Birmingham, United Kingdom, May 1847,  before the work was completed.", "citations": [], "footnotes": [], "date": "1847-1872", "sortorder": 1}, {"description": "(Christie's, London, United Kingdom, April 19-20 and 26-27, and May 3-4, 1872,  sale, lot 137, sold to J. Rhodes for Angus, 1st Lord Holden)", "citations": [], "footnotes": [], "date": "1872", "sortorder": 2}, {"description": "Angus 1st Lord Holden [1833-1912], Nun Appleton House, Bolton Percy, England", "citations": [], "footnotes": [], "date": "1872-1913", "sortorder": 3}, {"description": "(Christie's, London, United Kingdom, July 18, 1913, Holden Sale, lot 64, sold to Bale. Mrs. C. Hunter)", "citations": [], "footnotes": null, "date": "1913", "sortorder": 4}, {"description": "(Sotheby's, London Belgravia sale, February 22, 1972,  lot 98, sold to Jeremy Maas, with Herner Wengraf, London)", "citations": [], "footnotes": [], "date": "1972", "sortorder": 5}, {"description": "(Herner Wengraf, London, United Kingdom, 1972, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "1972", "sortorder": 6}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1972-", "sortorder": 7}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Linnell was an extremely versatile artist who worked in oils and watercolors, painted miniatures on ivory, and was skilled as an engraver.", "early_education_description": null, "artlens_description": null, "description": "This painting powerfully illustrates changes in taste over time. Before it was even completed, the painting was purchased for the considerable sum of \u00a31,000 by a newly wealthy industrialist who admired John Linnell\u2019s modern approach to religious subjects. In 1913, however, the painting was sold at auction for only \u00a3130. Victorian painting had fallen out of favor among collectors who did not appreciate Linnell\u2019s hotly colored landscapes that combined biblical stories and poetry (in this case Milton\u2019s <em>Paradise Lost</em>) with close study of the English landscape. Linnell was also known for financially supporting the destitute and elderly William Blake, whose mesmerizing painting of Saint Matthew is in the museum's collection.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60472087"], "internet_archive": ["https://archive.org/details/clevelandart-1972.119-noah-the-eve-of-the"]}, "citations": [{"citation": "Lee, Sherman E. \u201cThe Year in Review for 1972.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 60, no. 3 (March 1973): 63\u2013115.", "page_number": "Reproduced: p. 82; Mentioned: p. 109, no. 121", "url": "http://www.jstor.org/stable/25093732"}, {"citation": "Firestone, Evan R. \u201cJohn Linnell: The Eve of the Deluge.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 62, no. 4 (April 1975): 131\u201339.", "page_number": "Mentioned and reproduced: p. 131-132, fig. 1", "url": "http://www.jstor.org/stable/25152586"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 208", "url": "https://archive.org/details/CMAHandbook1978/page/n228"}, {"citation": "Talbot, William S. \u201cA Victorian Portrait by Frederick Sandys.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 67, no. 10 (December 1980): 299\u2013309.", "page_number": "Mentioned and reproduced: p. 298, fig. 1", "url": "http://www.jstor.org/stable/25159700"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 399-401, Vol. II, no. 138", "url": ""}], "url": "https://clevelandart.org/art/1972.119", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1972.119/1972.119_web.jpg", "width": "1263", "height": "831", "filesize": "716287", "filename": "1972.119_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1972.119/1972.119_print.jpg", "width": "3400", "height": "2237", "filesize": "4795800", "filename": "1972.119_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1972.119/1972.119_full.tif", "width": "6000", "height": "3948", "filesize": "71095936", "filename": "1972.119_full.tif"}}, "alternate_images": [], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Ellen and Bruce Mavec Gallery", "athena_id": 146416, "creators": [{"id": 2968, "description": "John Linnell (British, 1792\u20131882)", "extent": null, "qualifier": null, "role": "artist", "biography": "The precocious son of a Bloomsbury frame maker, John Linnell entered the Royal Academy schools in 1805 at the same time that he began studying with influential watercolor painter and drawing master John Varley (1778-1842). Under Varley's tutelage, but primarily in the company of fellow student William Mulready (1786-1863), Linnell mastered plein-air landscape painting. His studies at the Kensington gravel pits (ca. 1812) and other locales in and around London are remarkable for the intensity and novelty of their naturalistic observation. From 1807 Linnell was a regular contributor of landscape and portrait paintings at the Royal Academy, the British Institution, and the Society of Painters in Watercolours. His conversion to the Baptist faith in 1811 intensified his conviction that meticulous landscape realism was a moral act pursued as a duty to God's creation. Primarily for financial reasons, Linnell painted his first miniature portrait in 1816, after which portraiture in all media tended to dominate his professional production for several decades. In 1818 he befriended William Blake (1757-1827), virtually supporting that irascible genius during his last years with important commissions, including The Book of Job engravings and the 102 watercolor illustrations to Dante's Divine Comedy. Linnell's commitment to landscape painting as a spiritual art profoundly influenced the visionary early work of his pupil and future son-in-law, Samuel Palmer (1805-1881). In the 1840s, but especially after 1851, when he moved his family to Redhill in Surrey, Linnell resumed landscape painting. Many of his later pictures had literal or implied religious subject matter, and although they were not always successful commercially, they established Linnell as one of the masters of the pastoral landscape tradition in the nineteenth century.", "name_in_original_language": null, "birth_year": "1792", "death_year": "1882", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1972-07-31T00:00:00", "sortable_date": 1848, "date_added_to_oa": null, "date_text": "1848", "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": ["The Eve of the Deluge"], "is_highlight": false, "updated_at": "2026-08-03 14:18:31.180000"}, {"id": 140396, "accession_number": "1964.340", "share_license_status": "Copyrighted", "tombstone": "A Bird in the Room, 1955. Kay Sage (American, 1898\u20131963). Oil on canvas; unframed: 99.1 x 81.3 cm (39 x 32 in.). The Cleveland Museum of Art, Bequest of Kay Sage Tanguy, 1964.340. \u00a9 Estate of Kay Sage / Artists Rights Society (ARS), New York", "current_location": "226B American Modern", "title": "A Bird in the Room", "creation_date": "1955", "creation_date_earliest": 1955, "creation_date_latest": 1955, "artists_tags": ["female"], "culture": ["United States"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Unframed: 99.1 x 81.3 cm (39 x 32 in.)", "dimensions": {"unframed": {"height": 0.991, "height_inch": 39, "height_inch_fraction": 0.0, "width": 0.813, "width_inch": 32, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of Kay Sage / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "Signed lower left: Kay Sage '55\r\nWritten on back of stretcher: \"A Bird in the Room '55 Kay Sage/Woodbury, Conn.\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304723, "title": "Year in Review (1964)", "description": "<i>Year in Review (1964)</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 8, 1964-January 31, 1965).", "opening_date": "1964-12-08T05:00:00"}, {"id": 320904, "title": "Kay Sage, 1898-1963", "description": "<i>Kay Sage, 1898-1963</i>. Herbert F. Johnson Museum of Art, Ithaca, NY (organizer) (January 26-March 13, 1977); Art Gallery, University of Maryland at College Park, College Park, MD (April 5-May 15, 1977); Albany Institute of History and Art, Albany, NY (June 8-July 20, 1977).", "opening_date": "1977-01-26T05:00:00"}, {"id": 218287, "title": "Double Solitaire: The Surrealist Worlds of Kay Sage and Yves Tanguy", "description": "<i>Double Solitaire: The Surrealist Worlds of Kay Sage and Yves Tanguy</i>. Katonah Museum of Art, Katonah, NY (organizer) (June 5-September 18, 2011); Davis Museum and Cultural Center, Wellesley, MA (October 8, 2011-January 8, 2012); Mint Museum of Art, Charlotte, NC (February 11, 2012-May 13, 2013).", "opening_date": "2011-06-05T00:00:00"}], "legacy": [{"description": "Catherine Viviano Gallery, New York, \"Kay Sage: Exhibition of Paintings,\" January 3-28, 1956, no. 7.", "opening_date": "1956-01-03T05:00:00Z"}, {"description": "Catherine Viviano Gallery, New York, \"Kay Sage Retrospective Exhibition, 1937-1958,\" April 5-30, 1960, no. 45.", "opening_date": "1960-04-05T05:00:00Z"}]}, "provenance": [{"description": "Kay Sage [1898-1963], Woodbury, CT, bequest to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1955-1964", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1964-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "To maintain her own identity, Sage often refused to exhibit with her husband, also an artist.", "early_education_description": null, "artlens_description": null, "description": "Kay Sage created this work, one of her most somber and desolate, shortly after the death of her husband, fellow Surrealist painter Yves Tanguy (1900\u20131955). The title likely refers to the folk legend that says a wild bird flying into a house is a premonition of death\u2014an actual event that Sage experienced shortly before Tanguy passed away. After his unexpected death, Sage developed a degenerative sight disease that caused blurred vision and made it difficult for her to paint. She devoted her time to writing poetry and creating small collages but lived with depression, eventually dying by suicide in 1963.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60469230"], "internet_archive": []}, "citations": [{"citation": "Porter, Fairfield. \"Kay Sage,\" <em>Art News </em>54 (January 1956).", "page_number": "Mentioned: p. 56; Reproduced: p. 56", "url": null}, {"citation": "Breuning, Margaret. \"Kay Sage,\" <em>Arts </em>30 (January 1956).", "page_number": "Mentioned: p. 49", "url": null}, {"citation": "Devree, Howard. \"Reality and Fantasy.\" <em>New York Times</em>, January 8, 1956.", "page_number": "Reproduced: p. 19", "url": null}, {"citation": "<em>Kay Sage Retrospective Exhibition, 1937-1958</em>, exh. cat. (New York: Catherine Viviano Gallery, 1960)", "page_number": "Reproduced: n. 45", "url": null}, {"citation": "\"Annual Report for 1964,\" <em>The Bulletin of The Cleveland Museum of Art</em> 52 (June 1965).", "page_number": "Mentioned: p. 156-157", "url": null}, {"citation": "\"Year in Review,\" <em>The Bulletin of The Cleveland Museum of Art </em>52 (November 1965).", "page_number": "Reproduced: p. 157", "url": null}, {"citation": "Bailey, Holly M. <em>Kay Sage, 1898-1963</em>. Ithaca, NY: Herbert F. Johnson Museum of Art, 1977.", "page_number": "Reproduced: n. 53", "url": null}, {"citation": "Andre, Tomas. \"Kay Sage: Exploring the Conscious Unconscious.\" <em>Ithaca Post, </em>Art section, February 27, 1977.", "page_number": null, "url": null}, {"citation": "Appelhof, Ruth Ann. \"Kay Sage: the Super-Reality of Dreams and Modern Women Artists.\" <em>Syracuse Guide </em>Visual Arts section, May 1977.", "page_number": null, "url": null}, {"citation": "Miller, Stephen R. \"The Surrealist Imagery of Kay Sage,\" <em>Art International</em> 26 (September - October 1983).", "page_number": "Mentioned: p. 45; Reproduced: p. 44", "url": null}, {"citation": "Suther, Judith D. <em>A House of Her Own: Kay Sage, Solitary Surrealist. </em>Lincoln: University of Nebraska Press, 1997.", "page_number": "Mentioned: p. 167-171; Reproduced: p. 39", "url": null}, {"citation": "Miller, Stephen Robeson, Jonathan Stuhlman. <em>Double Solitaire: The Surreal Worlds of Kay Sage and Yves Tanguy</em>. ed. Nancy Wallach. Katonah, N.Y.: Katonah Museum of Art, 2011.", "page_number": "Reproduced: p. 98, no. 44", "url": null}, {"citation": "Miller, Stephen Robeson, Jessie Sentivan, Mary Ann Caws, and Kay Sage. <em>Kay Sage: Catalogue Raisonne\u0301</em>. New York, NY : DelMonico Books/Prestel, 2018.", "page_number": "jMentioned & reproduced: p. 290-291, pl. 1955.3", "url": null}], "url": "https://clevelandart.org/art/1964.340", "images": {}, "alternate_images": [], "creditline": "Bequest of Kay Sage Tanguy", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Hammond Hemmelgarn Family Gallery", "athena_id": 140396, "creators": [{"id": 3631, "description": "Kay Sage (American, 1898\u20131963)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1898", "death_year": "1963", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1964-10-31T00:00:00", "sortable_date": 1955, "date_added_to_oa": null, "date_text": "1955", "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": "2026-10-08 11:20:11.392000"}, {"id": 126769, "accession_number": "1949.186", "share_license_status": "CC0", "tombstone": "Fight Between a Tiger and a Buffalo, 1908. Henri Rousseau (French, 1844\u20131910). Oil on fabric; framed: 183 x 203 x 4.5 cm (72 1/16 x 79 15/16 x 1 3/4 in.); unframed: 170 x 189.5 cm (66 15/16 x 74 5/8 in.). The Cleveland Museum of Art, Gift of the Hanna Fund, 1949.186", "current_location": null, "title": "Fight Between a Tiger and a Buffalo", "creation_date": "1908", "creation_date_earliest": 1908, "creation_date_latest": 1908, "artists_tags": ["male"], "culture": ["France, late 19th-early 20th Century"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 183 x 203 x 4.5 cm (72 1/16 x 79 15/16 x 1 3/4 in.); Unframed: 170 x 189.5 cm (66 15/16 x 74 5/8 in.)", "dimensions": {"framed": {"height": 1.83, "height_inch": 72, "height_inch_fraction": 0.0625, "width": 2.03, "width_inch": 79, "width_inch_fraction": 0.9375, "depth": 0.045, "depth_inch": 1, "depth_inch_fraction": 0.75}, "unframed": {"height": 1.7, "height_inch": 66, "height_inch_fraction": 0.9375, "width": 1.895, "width_inch": 74, "width_inch_fraction": 0.625}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed and dated lower right: Henri Rousseau / 1908\r\n\r\n\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301477, "title": "In Memoriam: Leonard C. Hanna, Jr.", "description": "<i>In Memoriam: Leonard C. Hanna, Jr.</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 4-April 7, 1958).", "opening_date": "1958-03-04T05:00:00"}, {"id": 518973, "title": "Masterpieces of Art", "description": "<i>Masterpieces of Art</i>. Century 21 Exposition, Seattle, WA (organizer) (April 21-September 4, 1962).", "opening_date": "1962-04-21T05:00:00"}, {"id": 520135, "title": "Henri Rousseau", "description": "<i>Henri Rousseau</i>. Wildenstein & Co., New York, NY (organizer) (April 16-May 25, 1963).", "opening_date": "1963-04-16T05:00:00"}, {"id": 520506, "title": "Le Monde Des Neifs (De Lusthof Der Naieven)", "description": "<i>Le Monde Des Neifs (De Lusthof Der Naieven)</i>. Museum Boijmans Van Beuningen, Rotterdam, Netherlands (organizer) (July 10-September 6, 1964); Mus\u00e9e National d'Art Moderne, Paris, Cedex 04, France (October 14-December 6, 1964).", "opening_date": "1964-07-10T04:00:00"}, {"id": 300763, "title": "Years of Ferment: The Birth of Twentieth-century Art", "description": "<i>Years of Ferment: The Birth of Twentieth-century Art</i>. Frederick S. Wight Art Gallery, UCLA, Los Angeles, CA (January 24-March 7, 1965); San Francisco Museum of Modern Art, San Francisco, CA (March 28-May 16, 1965); The Cleveland Museum of Art, Cleveland, OH (July 14-August 22, 1965).", "opening_date": "1965-01-24T05:00:00"}, {"id": 310025, "title": "Creativity in Art and Science, 1860-1960", "description": "<i>Creativity in Art and Science, 1860-1960</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 16-November 8, 1987).", "opening_date": "1987-09-16T04:00:00"}, {"id": 224431, "title": "Henri Rousseau and the Modern Age", "description": "<i>Henri Rousseau and the Modern Age</i>. K\u00fcnsthalle Tubingen, D-72076 T\u00fcbingen, Germany (organizer) (February 3-June 17, 2001).", "opening_date": "2001-02-03T00:00:00"}, {"id": 229570, "title": "Jungles in Paris: The Paintings of Henri Rousseau", "description": "<i>Jungles in Paris: The Paintings of Henri Rousseau</i>. Tate Modern, London, United Kingdom of Great Britain and Northern Ireland (organizer) (November 3, 2005-February 5, 2006); Galeries Nationales du Grand Palais, 75008 Paris, France (March 13-June 19, 2006); National Gallery of Art, Landover, MD (July 16-October 15, 2006).", "opening_date": "2005-11-03T00:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. Seoul Art Center, South Korea (December 22, 2006-March 28, 2007); Seoul Olympic Museum of Art, South Korea (April 7-May 20, 2007); Vancouver Art Gallery, Vancouver, Canada (June 9-September 16, 2007); The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008).", "opening_date": "2006-05-27T00:00:00"}, {"id": 202129, "title": "Admired from Afar: Masterworks of Japanese Painting from the Cleveland Museum of Art", "description": "<i>Admired from Afar: Masterworks of Japanese Painting from the Cleveland Museum of Art</i>. Tokyo National Museum, Tokyo, Japan (January 15-February 23, 2014); Kyushu National Museum, Fukuoka, Japan (July 8-August 31, 2014).", "opening_date": "2014-01-15T00:00:00"}, {"id": 223433, "title": "The Shadow of the Avant-Garde", "description": "<i>The Shadow of the Avant-Garde</i>. Museum Folkwang, 45128 Essen, Germany (organizer) (October 3, 2015-January 10, 2016).", "opening_date": "2015-10-03T00:00:00"}, {"id": 220685, "title": "Le Douanier Rousseau. L'innocence archa\u00efque", "description": "<i>Le Douanier Rousseau. L'innocence archa\u00efque</i>. Mus\u00e9e d'Orsay, Paris, France (organizer) (March 21-July 17, 2016); National Gallery, Prague (September 16, 2016-January 15, 2017).", "opening_date": "2016-03-21T00:00:00"}, {"id": 670844, "title": "Henri Rousseau: A Painter\u2019s Secrets", "description": "<i>Henri Rousseau: A Painter\u2019s Secrets</i>. The Barnes Foundation, Philadelphia, PA (organizer) (October 19, 2025-February 22, 2026) https://www.barnesfoundation.org/whats-on/exhibitions/henri-rousseau-a-painters-secrets?gad_source=1&gad_campaignid=20125069632&gbraid=0AAAAACP5DbL4rs-9EfKRpQcP3HjjlYEfb&gclid=Cj0KCQjw0NPGBhCDARIsAGAzpp0GmWNK1KSSGhKIsZvvTWdQSwfepIT4aDadyzyDDvYho3pdqzpJPgMaAr91EALw_wcB; Mus\u00e9e de l'Orangerie, Paris, France (March 24-July 20, 2026).", "opening_date": "2025-10-19T04:00:00"}], "legacy": [{"description": "Paris, Soci\u00e9t\u00e9 des Artistes Ind\u00e9pendants. 24me exposition (1908), no. 5260, Combat de Tigre et de Buffle (for sale).", "opening_date": "1908-01-01T00:00:00"}, {"description": "Chicago, Arts Club Exhibitions at the Art Institute. Loan Exhibition of Some Modern Paintings (1926-27), no. 14, The Jungle, lent by Mrs. John A. Carpenter.", "opening_date": "1926-01-01T00:00:00"}, {"description": "New York, Reinhardt Gallery. Loan Exhibition of Paintings from Memling, Holbein, and Titian to Renoir and Picasso (1928), no. 27, The Jungle, lent by Mrs. John Alden Carpenter (repr.)", "opening_date": "1928-01-01T00:00:00"}, {"description": "New York, Valentine Gallery. Six Major Paintings by the Modern Masters of France, Braque, Matisse, Derain, Picasso, and One Important Work by Henri Rousseau (1930), no. 7, Le tigre et le rhinoc\u00e9ros-1908.", "opening_date": "1930-01-01T00:00:00"}, {"description": "Arts Club of Chicago. Paintings by Henri Rousseau (1931), no. 7, The Jungle, collection of Mrs. John Alden Carpenter, Chicago.", "opening_date": "1931-01-01T00:00:00"}, {"description": "New York, Museum of Modern Art. Fruit and Flower Paintings (1933), no cat.", "opening_date": "1933-01-01T00:00:00"}, {"description": "Art Institute of Chicago. A Century of Progress Exhibition of Paintings and Sculpture (1933 and 1934), no. 368 (1933); no. 321 (1934), lent by Mrs. Patrick J. Hill to the Joseph Winterbotham Collection, Art Institute of Chicago.", "opening_date": "1933-01-01T00:00:00"}, {"description": "Art Institute of Chicago; New York, Museum of Modern Art. Henri Rousseau (1942-43), 49 (repr.) (lent by Hill, according to 1942 moma label on the back of the frame; according to moma archives, the painting did not travel to other venues after New York), 64.", "opening_date": "1942-01-01T00:00:00"}, {"description": "New York, Pierre Matisse Gallery. Twentieth Century Masters (1948), no. 12, The Jungle (repr.).", "opening_date": "1948-01-01T00:00:00"}, {"description": "Venice. XXV Biennale di Venezia (1950), 235, no. 14, fig. 59.", "opening_date": "1950-01-01T00:00:00"}, {"description": "Montreal Museum of Art. Six Centuries of Landscape (1952), no. 58, 29 (repr.).", "opening_date": "1952-01-01T00:00:00"}, {"description": "Paris, Mus\u00e9e National d'Art Moderne. L'oeuvre du XXe si\u00e8cle (1952), no. 98.", "opening_date": "1952-01-01T00:00:00"}, {"description": "London, Tate Gallery (Organized by the Arts Council). XXth Century Masterpieces (1952), no. 83.", "opening_date": "1952-01-01T00:00:00"}, {"description": "Kansas City, Nelson-Atkins Museum. Twentieth Anniversary Celebration: French Paintings-19th and 20th Centuries-A Loan Exhibition (1953), checklist no. 10.", "opening_date": "1953-01-01T00:00:00"}, {"description": "Buffalo, Albright Art Gallery. Fifty Paintings 1905-1913 (1955), no. 42, 64 (repr.).", "opening_date": "1955-01-01T00:00:00"}, {"description": "Kansas City, Nelson Gallery and Atkins Museum. Twenty-fifth Anniversary Exhibition, in The Nelson Gallery and Atkins Museum Bulletin 1 (December 1958), no. 9.", "opening_date": "1958-12-01T00:00:00"}, {"description": "Seattle World's Fair, Fine Art Pavillion. Masterpieces of Art (1962), no. 53 (repr.).", "opening_date": "1962-01-01T00:00:00"}, {"description": "New York, Wildenstein. Loan Exhibition Henri Rousseau (1963), no. 46 (repr.).", "opening_date": "1963-01-01T00:00:00"}, {"description": "Rotterdam, Museum Boymans-van Beuningen. De Lusthof der Na\u00efeven (1964), no. 20 (repr.).", "opening_date": "1964-01-01T00:00:00"}, {"description": "Paris, Mus\u00e9e National d'Art Moderne. Le Monde des Naifs (1964), no. 20 (repr.).", "opening_date": "1964-01-01T00:00:00"}, {"description": "Los Angeles, ucla Art Galleries; San Francisco Museum of Art; cma. Years of Ferment: The Birth of Twentieth Century Art 1886-1914 (1965), 38 (repr.), no. 47 (repr. on cover).", "opening_date": "1965-01-01T00:00:00"}, {"description": "Paris, Grand Palais; New York, Museum of Modern Art. Henri Rousseau (1984-85), no. 50 (repr.) (not shown in Paris).", "opening_date": "1984-01-01T00:00:00"}, {"description": "CMA. Creativity in Art and Science (1987), no. 18 (repr.).", "opening_date": "1987-01-01T00:00:00"}, {"description": "T\u00fcbingen, Germany: Kunsthalle T\u00fcbingen, Germany. Henri Rousseau and the Modern Age (2/3/01 - 6/17/01), exh. cat. no. 43, pp 209-211, repr. p. 211, detail front and back.", "opening_date": "2001-02-03T00:00:00"}, {"description": "Tate Modern, London (11/3/2005 - 2/5/2006), Galeries du Grand Palais, Paris (3/13/2006 - 6/19/2006) and the National Gallery of Art, Washington, DC (7/16/2006 - 10/15/2006): \"Jungles in Paris: The Paintings of Henri Rousseau\" ex. cat. no. 45, p. 148-149.", "opening_date": "2005-11-03T00:00:00"}, {"description": "CMA (organizer). Seoul Arts Center, Seoul, Korea: Dec. 18, 2006 - March 31, 2007; Seoul Olympic Museum of Art, Seoul, Korea: Apr. 7 - May 20, 2007; Vancouver Art Gallery, Vancouver, British Columbia, Canada: June 9 - Sept. 16, 2007; Cleveland Museum of Art, Oct. 21, 2007- January 13, 2008: \"Modern Masters from the Cleveland Museum of Art\"", "opening_date": "2007-04-07T00:00:00"}, {"description": "Mus\u00e9e d'Orsay, Paris, France (3/21/2016 - 7/17/2016): \"Le Douanier Rousseau. L'innocence archa\u00efque\" cat. no. 89, p. 232-233.", "opening_date": "2016-03-21T00:00:00"}]}, "provenance": [{"description": "Bought from the artist by Ambroise Vollard on 14 December 1909.", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "Bought by John Quinn, New York, October 1923.", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "Quinn estate from 1924.", "citations": [], "footnotes": null, "date": null, "sortorder": 3}, {"description": "Mrs. John Alden Carpenter, Chicago, by 1926.", "citations": [], "footnotes": null, "date": null, "sortorder": 4}, {"description": "Mrs. Patrick J. Hill, Washington D.C.", "citations": [], "footnotes": null, "date": null, "sortorder": 5}, {"description": "[Pierre Matisse Gallery, New York, 1948]", "citations": [], "footnotes": null, "date": null, "sortorder": 7}, {"description": "Purchased by the Cleveland Museum of Art on 14 June 1949.", "citations": [], "footnotes": [], "date": null, "sortorder": 8}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Many of Henri Rousseau's paintings depict wild animals and tropical jungles that might lead one to believe he traveled widely. However, Rousseau never left France, but drew inspiration from visiting botanical gardens and reading travel books.", "early_education_description": null, "artlens_description": null, "description": "Having never ventured outside France, Henri Rousseau derived his jungle scenes from reading travel books and visiting the Paris botanical garden. He placed this imaginary scene of a tiger attacking a buffalo within a fantastic jungle environment in which botanical accuracy was of little importance (note the bananas growing upside down). Here, sharply outlined hothouse plants are enlarged to fearsome proportions. Rousseau was working on this painting while imprisoned for fraud in December 1907. Officials granted him an early release to finish it for exhibition at the Salon des Ind\u00e9pendants, where this major composition, one of the artist's largest and most important, appeared in March 1908. A self-taught artist and retired customs inspector, Rousseau was admired by Pablo Picasso and other avant-garde artists for his originality and the na\u00efve purity of his vision.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60515648"], "internet_archive": ["https://archive.org/details/clevelandart-1949.186-fight-between-a-tige"]}, "citations": [{"citation": "Le douanier Rousseau: l'innocence archai\u0308que [exposition au Muse\u0301e d'Orsay, du 22 mars au 17 juillet 2016]. Dossier De L'art (Dijon). Dijon: E\u0301dition Faton, 2016. catalogue number 89", "page_number": "232-233", "url": null}, {"citation": "Fajt, Jir\u030ci\u0301. Celnik Douanier Rousseau: Painter's Paradise Lost : [Exposition National Gallery, Prague, 15.09.2016-15.01.2017]. Prague: National Gallery, 2016.", "page_number": "128-129", "url": null}, {"citation": "Francis, Henry. \"'The Jungle' by Henri-Julien Rousseau.\" <em>The Bulletin of the Cleveland Museum of Art </em>36, no. 9 (November 1949): 170-178.", "page_number": "Reproduced: front cover, p. 173; Mentioned: p. 177", "url": "https://www.jstor.org/stable/25141582"}, {"citation": "\u201cPart II: Annual Report Issue for the Year 1949.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 37, no. 6 (June 1950): 127\u2013161.", "page_number": "Mentioned: p. 129", "url": "http://www.jstor.org/stable/25141645"}, {"citation": "The Cleveland Museum of Art. <em>The Cleveland Museum of Art Handbook.</em> Cleveland, OH: The Cleveland Museum of Art, 1958.", "page_number": "Mentioned and Reproduced: cat. no. 515", "url": "https://archive.org/details/CMAHandbook1958/page/n95"}, {"citation": "UCLA Art Council. <em>Years of Ferment; The Birth of Twentieth Century Art 1886-1914.</em> [Los Angeles]: [UCLA Art Council],1965.", "page_number": "Reproduced: P. 38, no. 47, cover", "url": ""}, {"citation": "Henning, Edward B. <em>The Spirit of Surrealism</em>. Cleveland: The Cleveland Museum of Art, 1979.", "page_number": "Mentioned: p. 49-50, 185; Reproduced: p. 50, fig. 8; colorplate III", "url": null}, {"citation": "Le Pichon, Yann. <em>The World of Henri Rousseau.</em> New York: Viking Press, 1982.", "page_number": "Reproduced: p. 147", "url": null}, {"citation": "Henning, Edward B. \u201cThe Aviator: A Major Painting by Fernand L\u00e9ger.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 69, no. 3 (March 1982): 87\u201393.", "page_number": "Mentioned and reproduced: p. 86-87, fig. 3", "url": "http://www.jstor.org/stable/25159762"}, {"citation": "Henning, Edward B. <em>Creativity in Art and Science, 1860-1960</em>. [Cleveland, Ohio]: Published by the Cleveland Museum of Art in cooperation with Indiana University Press, 1987.", "page_number": "Mentioned and reproduced: P. 110, no. 18", "url": ""}, {"citation": "Turpin, Ian. <em>Ernst. </em>London: Phaidon Books, 1993.", "page_number": "Mentioned and reproduced: p. 94, fig. 29", "url": ""}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 555-559, Vol. II, no. 196", "url": ""}, {"citation": "<em>Admired from afar: masterworks of Japanese painting from the Cleveland Museum of Art</em> [\u30af\u30ea\u30fc\u30d6\u30e9\u30f3\u30c9\u7f8e\u8853\u9928\u5c55 : \u540d\u753b\u3067\u305f\u3069\u308b\u65e5\u672c\u306e\u7f8e Kur\u012bburando Bijutsukan ten: meiga de tadoru Nihon no bi ]. Tokyo: T\u014dky\u014d Kokuritsu Hakubutsukan, 2014.", "page_number": "Reproduced: p. 135", "url": null}, {"citation": "Ko\u0308nig, Kasper, and Falk Wolf, eds. <em>The Shadow of the Avant-Garde: Rousseau and the Forgotten Masters.</em> Ostfildern, Germany: Hatje Cantz Verlag, 2015.", "page_number": "Reproduced: p. 92, fig. 57", "url": null}, {"citation": "Belli, Gabriella. <em>Le Douanier Rousseau: l'innocence archai\u0308que.</em> Vanves: Hazan, 2016.", "page_number": "Reproduced: p. 232-233, no. 89", "url": null}, {"citation": "Broz\u030cova\u0301, Kristy\u0301na. <em>Celni\u0301k Rousseau: mali\u0301r\u030cu\u030av ztraceny\u0301 ra\u0301j = Douanier Rousseau: Painter's Paradise Lost.</em> 2016.", "page_number": "Mentioned: p. 21; Reproduced: p. 128-129", "url": null}, {"citation": "Stabenow, Cornelia, and Charity Scott-Stokes. <em>Henri Rousseau: 1844-1910.</em> Ko\u0308ln: Taschen, 2018.", "page_number": "Reproduced: P. 87", "url": ""}, {"citation": "Homburg, Cornelia. \"Redon's Femmes aux Fleurs.\" In <em>Odilon Redon: Literature and Music.</em> Cornelia Homburg, etal., 174-197. Rotterdam: Nai010 uitgevers, 2018.", "page_number": "Reproduced: p. 184, no. 183", "url": null}, {"citation": "<em>Paintings in the Cleveland Museum of Art: Picture Book No. 4 .</em> [Cleveland]: The Cleveland Museum of Art, 1952.", "page_number": "Reproduced: p. 41", "url": "https://archive.org/details/CMAPaintings1952"}, {"citation": "Ireson, Nancy. \"Henri Rousseau's Secrets.\" In <em>Henri Rousseau: A Painter\u2019s Secrets,</em> edited by Christopher Green and Nancy Ireson, 1-17. Philadelphia: The Barnes Foundation, 2025.", "page_number": "Mentioned: p. 13", "url": ""}, {"citation": "Green, Christopher, and Nancy Ireson, eds. <em>Henri Rousseau: A Painter\u2019s Secrets.</em> Philadelphia: The Barnes Foundation, 2025.", "page_number": "Mentioned: p. 148, 253, 278, 299 n8; Reproduced: p. 154-155, pl. 49", "url": ""}, {"citation": "Santacreu, \u00c9lisabeth. \u201cLes Rousseau Am\u00e9ricains de Retour \u00e0 Paris.\u201d <em>Le Journal des Arts</em>, n. 675 (April 17-May 1, 2026): 17.", "page_number": "Reproduced: p. 1", "url": ""}, {"citation": "Koerner Von Gustorf, Oliver. \"Die wildnis in uns.\"<em> Die Weltkunst. </em>Jg. 96, n. 252 (March 2026): 18-31.", "page_number": "Reproduced: cover and p.3", "url": ""}, {"citation": "Yang Shih-Han. \u201c'Henri Rousseau -- The Ambition of Painting' at the Mus\u00e9e de l'Orangerie, Paris: Jean-Jaques Rousseau, a Self-Taught French Artist.\u201d <em>Yi shu jia</em>, i. 614 (Jul 2026): 222-227.", "page_number": "Reproduced: p. 227", "url": ""}], "url": "https://clevelandart.org/art/1949.186", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1949.186/1949.186_web.jpg", "width": "900", "height": "806", "filesize": "265744", "filename": "1949.186_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1949.186/1949.186_print.jpg", "width": "3400", "height": "3046", "filesize": "3071351", "filename": "1949.186_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1949.186/1949.186_full.tif", "width": "12503", "height": "11202", "filesize": "420208660", "filename": "1949.186_full.tif"}}, "alternate_images": [{"web": {"url": "https://openaccess-cdn.clevelandart.org/1949.186/1949.186_alt0_web.jpg", "width": "1001", "height": "893", "filesize": "710062"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1949.186/1949.186_alt0_print.jpg", "width": "3400", "height": "3032", "filesize": "7585688"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1949.186/1949.186_alt0_full.tif", "width": "5361", "height": "4780", "filesize": "76920616"}, "date_created": "2007-10-15T14:41:23", "annotation": ""}], "creditline": "Gift of the Hanna Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 126769, "creators": [{"id": 1804, "description": "Henri Rousseau (French, 1844\u20131910)", "extent": null, "qualifier": null, "role": "artist", "biography": "Self-taught artist Henri Rousseau was born in Laval in 1844. He entered the military at the age of eighteen and served as a saxophone player in an infantry band. Most biographers discount his claim of traveling abroad during the Mexican campaign. In 1871 Rousseau left the military to join the customs service, where he spent fourteen years working on the outskirts of Paris as a minor inspector. After retiring with a small pension in 1885, he pursued the career of a painter and sought portrait commissions. From 1886 to 1910, he exhibited on a regular basis at the Salon des Ind\u00e9pendants, and after 1905, at the Salon d'Automne. Through these activities he became friendly with other artists, including Gauguin (q.v.), Pissarro (q.v.), Seurat (q.v), Paul Signac (1863-1935), and Redon (q.v.) who affectionately called him \"le douanier\" (customs officer). Rousseau's paintings were poorly received, and frequently ridiculed in the press, until he attracted a small group of admirers in the early years of this century. This group included Pablo Picasso, Maurice de Vlaminck, Robert Delaunay, Max Weber, and Ardengo Soffici, along with the writers Alfred Jarry, Max Jacob, Andr\u00e9 Salmon, and Guillaume Apollinaire. In 1908, a famous banquet honoring Rousseau was organized at Picasso's studio. Avant-garde artists admired Rousseau's direct, simple vision and his innate talent at clear, pictorial design. However, he aspired to paint in the academic manner of G\u00e9r\u00f4me (q.v.) and Bouguereau (q.v.). Rousseau reportedly told Picasso: \"We are the two greatest artists of this era-you in the Egyptian style, I in the modern style.\"1 Despite growing acclaim in his late years, Rousseau struggled for sales and was forced to supplement his meager income by giving private painting and violin lessons. He occasionally sold works through the dealers Ambroise Vollard and Wilhelm Uhde. In 1909 Rousseau was convicted of complicity in a bank fraud, but authorities suspended the sentence because of his age and apparent failure to comprehend his role in the crime. Rousseau died in Paris of pneumonia in 1910. In 1911 Uhde organized a retrospective at the Ind\u00e9pendants and published the first biography of Rousseau.", "name_in_original_language": null, "birth_year": "1844", "death_year": "1910", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1949-06-14T00:00:00", "sortable_date": 1908, "date_added_to_oa": null, "date_text": "1908", "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": "2026-10-14 19:02:06.425000"}, {"id": 131819, "accession_number": "1954.392", "share_license_status": "CC0", "tombstone": "A Genoese Lady with Her Child, c. 1623\u201325. Anthony van Dyck (Flemish, 1599\u20131641). Oil on canvas; framed: 266.5 x 184 x 12 cm (104 15/16 x 72 7/16 x 4 3/4 in.); unframed: 217.8 x 146 cm (85 3/4 x 57 1/2 in.). The Cleveland Museum of Art, Gift of the Hanna Fund, 1954.392", "current_location": "212 Baroque Painting and Sculpture", "title": "A Genoese Lady with Her Child", "creation_date": "c. 1623\u201325", "creation_date_earliest": 1623, "creation_date_latest": 1625, "artists_tags": ["male"], "culture": ["Flanders"], "technique": "oil on canvas", "support_materials": [], "department": "European Painting and Sculpture", "collection": "P - Netherlandish-Flemish", "type": "Painting", "measurements": "Framed: 266.5 x 184 x 12 cm (104 15/16 x 72 7/16 x 4 3/4 in.); Unframed: 217.8 x 146 cm (85 3/4 x 57 1/2 in.)", "dimensions": {"framed": {"height": 2.665, "height_inch": 104, "height_inch_fraction": 0.9375, "width": 1.84, "width_inch": 72, "width_inch_fraction": 0.4375, "depth": 0.12, "depth_inch": 4, "depth_inch_fraction": 0.75}, "unframed": {"height": 2.178, "height_inch": 85, "height_inch_fraction": 0.75, "width": 1.46, "width_inch": 57, "width_inch_fraction": 0.5}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 300859, "title": "The Venetian Tradition", "description": "<i>The Venetian Tradition</i>. The Cleveland Museum of Art, Cleveland, OH (November 8, 1956-January 1, 1957).", "opening_date": "1956-11-08T05:00:00"}, {"id": 301477, "title": "In Memoriam: Leonard C. Hanna, Jr.", "description": "<i>In Memoriam: Leonard C. Hanna, Jr.</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 4-April 7, 1958).", "opening_date": "1958-03-04T05:00:00"}, {"id": 304248, "title": "Style, Truth and the Portrait", "description": "<i>Style, Truth and the Portrait</i>. The Cleveland Museum of Art, Cleveland, OH (October 1-November 19, 1963).", "opening_date": "1963-10-01T04:00:00"}, {"id": 300779, "title": "Juxtapositions", "description": "<i>Juxtapositions</i>. The Cleveland Museum of Art, Cleveland, OH (September 11-October 10, 1965).", "opening_date": "1965-09-11T04:00:00"}, {"id": 177899, "title": "Van Dyck.  Grande pittura e Collezionismo a Genova", "description": "<i>Van Dyck.  Grande pittura e Collezionismo a Genova</i>. Palazzo Ducale, Venice (March 22-July 13, 1997).", "opening_date": "1997-03-22T00:00:00"}, {"id": 229735, "title": "Anton van Dyck, Riflessi italiani", "description": "<i>Anton van Dyck, Riflessi italiani</i>. Palazzo Reale, Milano, Italy (organizer) (February 19-July 4, 2004).", "opening_date": "2004-02-19T00:00:00"}, {"id": 675826, "title": "Renaissance to Runway: The Enduring Italian Houses", "description": "<i>Renaissance to Runway: The Enduring Italian Houses</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 9, 2025-February 1, 2026).", "opening_date": "2025-11-09T05:00:00"}], "legacy": [{"description": "London, British Institution, 1832, cat. no. 46.", "opening_date": null}, {"description": "London, British Institution, 1854, cat. no. 62", "opening_date": null}, {"description": "London, Royal Academy of Arts, 1902: \"Exhibition of Works by the Old Masters,\" cat. no. 102.", "opening_date": "1902-01-01T00:00:00"}, {"description": "Brussels, Nouveau Palais, 1910: \"Tresor de l'art belge au XVIIe siecle,\" no. LXIX, p. 154, plate 60 (catalogue published in 1912: see also literature)", "opening_date": "1910-01-01T00:00:00"}, {"description": "New York, NY, The Metropolitan Museum of Art, 1913: \"A Loan Exhibition of Mr. Morgan's Paintings,\" Metropolitan Museum of Art Bulletin VIII (January, 1913), p. 6, reproduced p. 4.", "opening_date": "1913-01-01T00:00:00"}, {"description": "Washington, D.C., The National Gallery of Art, 1990: \"Anthony Van Dyck: Paintings in the Grand Manner,\" cat. no. 37, reproduced in color p. 179.", "opening_date": "1990-01-01T00:00:00"}]}, "provenance": [{"description": "Du Pre Alexander, Second Earl of Caledon, purchased through George Augustus Wallis in Florence, March 1829;", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "J. Pierpont Morgan (1837-1913), London and New York, by 1902;", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "[M. Knoedler & Co., New York], sold to the Cleveland Museum of Art, 1954.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This portrait was a departure from the painting style popular at this time, focusing less on a demonstrative display of wealth and status and more on capturing the essence of the sitter. Although the clothing denotes affluence, this intimate interaction between mother and child transcends class boundaries.", "early_education_description": null, "artlens_description": null, "description": "Prior to the 1600s, large, full-length portraits of wealthy clients usually emphasized the trappings of status above any other qualities. The accuracy of the likeness and vivacity of the person remained subordinate to an easily readable sense of the sitter\u2019s power and position in society. Artists such as Van Dyck transformed this tradition, which sent shockwaves through Genoa, instantly changing the direction of elite portraiture in the city. While the elaborate garb of this unidentified sitter and the scale of the image certainly mark her status, the warmth Van Dyck imparted to her face, the drama of the background, and the touching detail of the child spontaneously reaching upward add life, energy, and theatricality to the work.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60516477"], "internet_archive": ["https://archive.org/details/clevelandart-1954.392-a-genoese-lady-with"]}, "citations": [{"citation": "Arendsee, M., and M. Steinman-Arendsee. \"Take the CAN disability aesthetics tour, at the Cleveland Museum of art.\" <em>CAN Journal</em> (Winter 2019/20): 76-87.", "page_number": "Mentioned: p. 77", "url": null}, {"citation": "Francis, Henry S. \u201cA Genoese Portrait by Van Dyck.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 42, no. 6 (June 1955): 115\u2013117.", "page_number": "Mentioned: p. 115-117; Reproduced: p. 117", "url": "http://www.jstor.org/stable/25142045"}, {"citation": "Francis, Henry Sayles. <em>Venetian Tradition: Catalogue of the Exhibition.</em> [Cleveland, Ohio]: The Cleveland Museum of Art, 1956.", "page_number": "Mentioned: p. 22, no. 13; Reproduced: pl. XVI", "url": null}, {"citation": "The Cleveland Museum of Art. <em>The Cleveland Museum of Art Handbook.</em> Cleveland, OH: The Cleveland Museum of Art, 1958.", "page_number": "Mentioned and Reproduced: cat. no. 443", "url": "https://archive.org/details/CMAHandbook1958/page/n81"}, {"citation": "Saisselin, Re\u0301my G. <em>Style, Truth, and the Portrait</em>. Cleveland, OH: Cleveland Museum of Art, 1963.", "page_number": "Mentioned and Reproduced: cat. no. 24", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 120", "url": "https://archive.org/details/CMAHandbook1966/page/n144"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 120", "url": "https://archive.org/details/CMAHandbook1969/page/n144"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 154", "url": "https://archive.org/details/CMAHandbook1978/page/n174"}, {"citation": "The Cleveland Museum of Art. <em>The Cleveland Museum of Art Catalogue of Paintings, Part 3: European Paintings of the 16th, 17th, and 18th Centuries</em>. Cleveland, OH: The Cleveland Museum of Art, 1982 .", "page_number": "Mentioned: p. 11-13; Reproduced: p. 12", "url": null}, {"citation": "Sanguineti, Daniele. Giovanni Bernardo Carbone: 1616-1683. Genova : Sagep editori, 2020, 129.", "page_number": "Reproduced: p. 129, fig. 150; Mentioned: p. 123.", "url": ""}, {"citation": "Cleveland Museum of Art. <em>Motherhood across Time</em>. Cleveland: Cleveland Museum of Art, 2021.", "page_number": "Mentioned and reproduced: p. 5", "url": ""}, {"citation": "Lisby, Darnell-Jamal, William Griswold, Matteo Augello, Alessandra Arezzi Boza, Massimiliano Capella, Luke Meagher, Stefania Ricci, and Cleveland Museum of Art. <em>Renaissance to Runway: The Enduring Italian Houses</em>. Cleveland, OH: Cleveland Museum of Art, 2025.", "page_number": "Mentioned and reproduced: p. 8, fig. 7", "url": ""}, {"citation": "Jean Bastiaensen, and Palazzo Ducale (Genoa, Italy). <em>Van Dyck, the European : His Journey from Antwerp to Genoa and London.</em> Edited by Anna Orlando and Katlijne van der Stighelen. Veurne, Belgium: Hannibal Books, 2026.", "page_number": "Mentioned: p. 49; reproduced: p.48, fig. 5", "url": ""}, {"citation": "Eaker, Adam. \u201cVan the Man.\u201d <em>Apollo </em>203, n. 750 (March 2026): 130-137.", "page_number": "Reproduced: p. 137", "url": ""}], "url": "https://clevelandart.org/art/1954.392", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1954.392/1954.392_web.jpg", "width": "595", "height": "893", "filesize": "365511", "filename": "1954.392_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1954.392/1954.392_print.jpg", "width": "2265", "height": "3400", "filesize": "5477506", "filename": "1954.392_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1954.392/1954.392_full.tif", "width": "3787", "height": "5684", "filesize": "64614100", "filename": "1954.392_full.tif"}}, "alternate_images": [{"web": {"url": "https://openaccess-cdn.clevelandart.org/1954.392/1954.392_alt0_web.jpg", "width": "580", "height": "893", "filesize": "380076"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1954.392/1954.392_alt0_print.jpg", "width": "2208", "height": "3400", "filesize": "5240279"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1954.392/1954.392_alt0_full.tif", "width": "3299", "height": "5079", "filesize": "50306432"}, "date_created": "2008-06-11T16:10:29", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1954.392/1954.392_alt1_web.jpg", "width": "598", "height": "893", "filesize": "465963"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1954.392/1954.392_alt1_print.jpg", "width": "2276", "height": "3400", "filesize": "7408963"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1954.392/1954.392_alt1_full.tif", "width": "3347", "height": "5000", "filesize": "50248388"}, "date_created": "2008-01-14T17:12:15", "annotation": ""}], "creditline": "Gift of the Hanna Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Reinberger Gallery", "athena_id": 131819, "creators": [{"id": 2443, "description": "Anthony van Dyck (Flemish, 1599\u20131641)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1599", "death_year": "1641", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1954-06-04T00:00:00", "sortable_date": 1623, "date_added_to_oa": null, "date_text": "c. 1623\u201325", "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": "2026-09-19 12:14:15.428000"}, {"id": 126758, "accession_number": "1949.18", "share_license_status": "Copyrighted", "tombstone": "The Dessert, 1921. Pierre Bonnard (French, 1867\u20131947). Oil on fabric; framed: 114.6 x 117.5 x 7.9 cm (45 1/8 x 46 1/4 x 3 1/8 in.); unframed: 76.2 x 80 cm (30 x 31 1/2 in.). The Cleveland Museum of Art, Gift of the Hanna Fund, 1949.18. \u00a9 Artists Rights Society (ARS), New York / ADAGP, Paris", "current_location": "223 20th Century Avant-Garde", "title": "The Dessert", "creation_date": "1921", "creation_date_earliest": 1921, "creation_date_latest": 1921, "artists_tags": ["Nabis", "male"], "culture": ["France, 20th century"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 114.6 x 117.5 x 7.9 cm (45 1/8 x 46 1/4 x 3 1/8 in.); Unframed: 76.2 x 80 cm (30 x 31 1/2 in.)", "dimensions": {"framed": {"height": 1.146, "height_inch": 45, "height_inch_fraction": 0.125, "width": 1.175, "width_inch": 46, "width_inch_fraction": 0.25, "depth": 0.079, "depth_inch": 3, "depth_inch_fraction": 0.125}, "unframed": {"height": 0.762, "height_inch": 30, "height_inch_fraction": 0.0, "width": 0.8, "width_inch": 31, "width_inch_fraction": 0.5}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Artists Rights Society (ARS), New York / ADAGP, Paris", "inscriptions": [{"inscription": "Signed dark red at lower left: Bonnard\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301477, "title": "In Memoriam: Leonard C. Hanna, Jr.", "description": "<i>In Memoriam: Leonard C. Hanna, Jr.</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 4-April 7, 1958).", "opening_date": "1958-03-04T05:00:00"}, {"id": 191797, "title": "Object in Focus: Pierre Bonnard's The Dessert", "description": "<i>Object in Focus: Pierre Bonnard's The Dessert</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 1-October 14, 1997).", "opening_date": "1997-09-01T00:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. Beijing World Art Museum (May 26-August 27, 2006); Mori Art Center (September 16-November 26, 2006); Seoul Art Center, South Korea (December 22, 2006-March 28, 2007); Seoul Olympic Museum of Art, South Korea (April 7-May 20, 2007); Vancouver Art Gallery, Vancouver, Canada (June 9-September 16, 2007); The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008); Frist Art Museum, Nashville, TN (February 15-June 1, 2008); Utah Museum of Fine Arts, Salt Lake City, UT (June 22-September 21, 2008); The Detroit Institute of Arts, Detroit, MI (October 12, 2008-January 18, 2009).", "opening_date": "2006-05-27T00:00:00"}, {"id": 396695, "title": "Impressionism to Modernism: The Keithley Collection", "description": "<i>Impressionism to Modernism: The Keithley Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 11, 2022-January 8, 2023).", "opening_date": "2022-09-11T04:00:00"}], "legacy": [{"description": "Possibly Paris. Premi\u00e8re exposition des collections au profit de la Soci\u00e9t\u00e9 des Amis du Luxembourg (according to damaged label on the back).", "opening_date": null}, {"description": "Antwerp, Kunst van Heden/Art Contemporain. Exposition d'art fran\u00e7ais moderne (1926), no. 3, Au dessert, App. \u00e0 M. A. Kapferer.", "opening_date": "1926-01-01T00:00:00"}, {"description": "Possibly Brussels, Palais des Beaux-Arts. Exposition d'Art Fran\u00e7ais Moderne (1929), no. 418, Apr\u00e8s le d\u00e9jeuner; or no. 421, Dessert, both owned by Kapferer.", "opening_date": "1929-01-01T00:00:00"}, {"description": "Paris, Galerie O. P\u00e9trid\u00e8s. 18 peintures de Bonnard (1943), no. 15 (repr.), Apr\u00e8s le d\u00e9jeuner.", "opening_date": "1943-01-01T00:00:00"}, {"description": "New York, Paul Rosenberg. Bonnard (1956), no. 6, 10 (repr.).", "opening_date": "1956-01-01T00:00:00"}, {"description": "Akron (Ohio) Art Institute. Masterpiece Series (1957), no catalogue.", "opening_date": "1957-01-01T00:00:00"}, {"description": "Cleveland, Ohio:  The Cleveland Museum of Art; September 1 - October 14, 1997.  \"Object in Focus:  Pierre Bonnard's The Dessert.\"", "opening_date": "1997-09-01T00:00:00"}, {"description": "CMA (organizer). Beijing World Art Museum, China, May 26 - Aug. 27, 2006; Mori Arts Center, Tokyo, Japan: Sept. 9 - Nov. 26, 2006; Seoul Arts Center, Seoul, Korea: Dec. 18, 2006 - March 31, 2007; Seoul Olympic Museum of Art, Seoul, Korea: Apr. 7 - May 20, 2007; Vancouver Art Gallery, Vancouver, British Columbia, Canada: June 9 - Sept. 16, 2007; Cleveland Museum of Art, Oct. 21, 2007- January 13, 2008;  Frist Center for the Visual Arts, Nashville, TN, Feb. 21-June 1, 2008; Utah Museum of Fine Arts, Salt Lake City, UT, June 22 - September 21, 2008; and the Detroit Institute of Arts, MI, October 12, 2008 - January 18, 2009:  \"Modern Masters from the Cleveland Museum of Art\"", "opening_date": "2006-05-26T00:00:00"}]}, "provenance": [{"description": "Henri Kapferer [1870-1956] and Marcel Kapferer [1872-1966], Paris", "citations": [], "footnotes": ["<div><!--block-->The Kapferer brothers are listed as the lenders/owners of Bonnard\u2019s <em>Le Dessert</em>, no. 108 in the <em>Premi\u00e8re exposition au profit de la Soci\u00e9t\u00e9 des Amis du Luxembourg.</em>&nbsp; The Bonnard catalogue raisonn\u00e9 incorrectly lists this exhibition as taking place in 1932.</div>"], "date": "By 1924", "sortorder": 1}, {"description": "(Galerie O. P\u00e9trid\u00e8s, Paris", "citations": [], "footnotes": ["<div><!--block-->While there have been some suggestions that the Bonnard was with Galerie P\u00e9trid\u00e8s in 1932, there does not appear to be any confirming documentation; however, the painting does appear in a 1943 Bonnard exhibition at the gallery (no. 15, <em>Apr\u00e8s le d\u00e9jeuner</em>). &nbsp;</div>"], "date": "By 1943", "sortorder": 2}, {"description": "(Paul Rosenberg & Co., New York, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "Until 1949", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, Ohio", "citations": [], "footnotes": [], "date": "1949-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In this painting Pierre Bonnard gives us a colorful glimpse of an intimate dinner scene at the beginning of the 2. He places us close to the figures and a little bit higher, as if we were just standing to leave the table, allowing the viewer to imagine being part of the scene.", "early_education_description": null, "artlens_description": null, "description": "This domestic scene depicts a woman at a dining table accompanied by a young man at whose side is a small dog, just visible at the edge of the table. The woman is the artist\u2019s wife, Marthe. The boy has been identified as Ari Redon, the son of artist Odilon Redon; and the dachshund is the Bonnard family pet, Poucette. The painting explores the simple pleasures of daily life\u2014a shared meal, quiet companionship\u2014enriched through the application of glowing, sensual color.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60515635"], "internet_archive": []}, "citations": [{"citation": "Paul Rosenberg &amp; Co., invoice to the Cleveland Museum of Art, Feb. 7, 1949, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Galerie O. Pe\u0301tride\u0300s.  <em>18 peintures de Bonnard.</em> Paris: Galerie O. Pe\u0301tride\u0300s, 1943.", "page_number": null, "url": null}, {"citation": "Socie\u0301te\u0301 des amis du Luxembourg. <em>1re exposition de collectionneurs: ouverte du 10 mars au 10 avril 1924 au profit de la Soci\u02b9et\u02b9e des Amis du Luxembourg en l'Hotel de la Curiosit\u02b9e et des Beaux-Arts</em>. Paris: Frazier-Soye, 1924.", "page_number": null, "url": null}, {"citation": "Francis, Henry S. \u201cThe Art of Pierre Bonnard.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 37, no. 1 (January 1950): 2, 5\u20138.", "page_number": "Reproduced: p. 2; Mentioned: p. 5-8", "url": "http://www.jstor.org/stable/25141599"}, {"citation": "The Cleveland Museum of Art. <em>The Cleveland Museum of Art Handbook.</em> Cleveland, OH: The Cleveland Museum of Art, 1958.", "page_number": "Mentioned and Reproduced: cat. no. 516", "url": "https://archive.org/details/CMAHandbook1958/page/n95"}, {"citation": "Henning, Edward B. \u201cSouth of His House, North of His House: Nyack, a Painting by Fairfield Porter.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 58, no. 3 (March 1971): 85\u201390.", "page_number": "Mentioned and reproduced: p. 86-87, fig. 3", "url": "http://www.jstor.org/stable/25152366"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 226", "url": "https://archive.org/details/CMAHandbook1978/page/n246"}, {"citation": "Henning, Edward B. \u201cPierre Bonnard: La Terrasse de Caf\u00e9.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 65, no. 2 (February 1978): 58\u201365.", "page_number": "Mentioned and reproduced: p. 64, fig. 5", "url": "http://www.jstor.org/stable/25159565"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 46-47, Vol. I, no. 17", "url": ""}, {"citation": "Franklin, David. <em>The Cleveland Museum of Art.</em> London: Scala Arts &amp; Heritage Publishers Ltd., 2012.", "page_number": "Reproduced: p. 68 - 69", "url": ""}, {"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. 299", "url": ""}, {"citation": "<em>Paintings in the Cleveland Museum of Art: Picture Book No. 4 .</em> [Cleveland]: The Cleveland Museum of Art, 1952.", "page_number": "Reproduced: p. 42", "url": "https://archive.org/details/CMAPaintings1952"}, {"citation": "Serrano, Ve\u0301ronique. <em>Bonnard et la Po\u00e9sie d'un Objet Ordinaire. </em>Cinisello Balsamo, Milano: Silvana Editoriale, 2024.", "page_number": "Reproduced: p. 10, p. 53; Mentioned: p. 11", "url": ""}], "url": "https://clevelandart.org/art/1949.18", "images": {}, "alternate_images": [], "creditline": "Gift of the Hanna Fund", "image_credit": null, "sketchfab_id": "49047a8dc9424533afb31095f3a55c27", "sketchfab_url": "https://sketchfab.com/models/49047a8dc9424533afb31095f3a55c27", "gallery_donor_text": "Michael J. Horvitz Family Gallery", "athena_id": 126758, "creators": [{"id": 1733, "description": "Pierre Bonnard (French, 1867\u20131947)", "extent": null, "qualifier": null, "role": "artist", "biography": "Pierre Bonnard was a law student when he began his artistic training in 1887 at the Acad\u00e9mie Julian in Paris, where he met Paul S\u00e9rusier (1864-1927) and the theorist and painter Maurice Denis (1870-1943). Both would be influential in his artistic career and become Bonnard's lifelong friends. In 1889, the year he obtained his law degree, he saw the exhibition at Caf\u00e9 Volpini (see Gauguin, Woman in the Waves, no. 100) and was particularly impressed with Gauguin's work. S\u00e9rusier, after having returned from studying with Gauguin in Pont-Aven, decided to form his own artistic group called the Nabis (Hebrew: prophets). The founding members of the Nabis included Denis, who wrote the manifesto for the group, \"D\u00e9finition du n\u00e9o-traditionnisme\" (published in May 1890 in Art et critique), Bonnard, Paul Ranson (1864-1909), and Henri-Gabriel Ibels (1867-1936). Their first exhibition occurred in 1891, and they were later joined by Ker-Xavier Roussel (1867-1944) and Vuillard (q.v.). Based loosely on the synthetist goals established by Gauguin and \u00c9mile Bernard, the movement was created from S\u00e9rusier's vision of an artistic brotherhood dedicated to symbolism whereby a universal language could be expressed through symbols. The Nabis were opposed to the naturalism taught at academies by artists such as Bouguereau (q.v.) and wanted to move away from didactic and moral paintings toward a more decorative style characterized by simplified drawing, flat patches of color, and heavy set contours. Bonnard's works of the 1890s were influenced by the innovations of Gauguin as well as Japanese prints, which were easily accessible in nineteenth-century Paris. His paintings took on a decorative quality, mirroring his artistic expressions in other media such as stained glass, furniture, pottery, and painted screens. Bonnard's and Vuillard's domestic interior paintings of the 1890s were often described using the term intimisme. In 1891 Bonnard also experimented with other media, including poster designs and lithographs, which inspired his friend Henri de Toulouse-Lautrec (1864-1901), whom he had met through La revue blanche, a magazine that published the Nabis' work. Around 1900 the members of the Nabis began to drift apart. Between 1905 and 1910 Bonnard and Vuillard traveled to England, Belgium, Holland, Spain, and Italy, visiting many museums. Bonnard's art began to gravitate toward impressionism, but his colors were more expressive and his compositions more overtly structured; elements of the painted interiors such as doors, windows or pieces of furniture often provided a strong compositional framework. He also worked extensively with photographs. His late works were acclaimed by fellow Parisians like Henri Matisse (1869-1954) and Paul Signac (1863-1935). After 1920 Bonnard exhibited extensively and became an internationally renowned artist, receiving much recognition in the United States, where he traveled in 1926.", "name_in_original_language": null, "birth_year": "1867", "death_year": "1947", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1949-02-03T00:00:00", "sortable_date": 1921, "date_added_to_oa": null, "date_text": "1921", "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": ["After Dinner"], "is_highlight": false, "updated_at": "2026-10-24 08:48:35.614000"}, {"id": 129265, "accession_number": "1952.153", "share_license_status": "Copyrighted", "tombstone": "Interior with an Etruscan Vase (Int\u00e9rieur au vase \u00e9trusque), 1940. Henri Matisse (French, 1869\u20131954). Oil on canvas; framed: 102.2 x 129.5 x 12.1 cm (40 1/4 x 51 x 4 3/4 in.); unframed: 73.7 x 108 cm (29 x 42 1/2 in.). The Cleveland Museum of Art, Gift of the Hanna Fund, 1952.153. \u00a9 Succession H. Matisse / Artists Rights Society (ARS), New York", "current_location": "223 20th Century Avant-Garde", "title": "Interior with an Etruscan Vase (Int\u00e9rieur au vase \u00e9trusque)", "creation_date": "1940", "creation_date_earliest": 1940, "creation_date_latest": 1940, "artists_tags": ["male"], "culture": ["France, 20th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 102.2 x 129.5 x 12.1 cm (40 1/4 x 51 x 4 3/4 in.); Unframed: 73.7 x 108 cm (29 x 42 1/2 in.)", "dimensions": {"framed": {"height": 1.022, "height_inch": 40, "height_inch_fraction": 0.25, "width": 1.295, "width_inch": 51, "width_inch_fraction": 0.0, "depth": 0.121, "depth_inch": 4, "depth_inch_fraction": 0.75}, "unframed": {"height": 0.737, "height_inch": 29, "height_inch_fraction": 0.0, "width": 1.08, "width_inch": 42, "width_inch_fraction": 0.5}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Succession H. Matisse / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "Signed lower right: \"Henri Matisse 40\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 701684, "title": "Re\u0301trospective Henri Matisse", "description": "<i>Re\u0301trospective Henri Matisse</i>. Muse\u00e9 National d'art Moderne, Paris, France (organizer) (June 1-November 18, 1956).", "opening_date": "1956-06-01T04:00:00"}, {"id": 301477, "title": "In Memoriam: Leonard C. Hanna, Jr.", "description": "<i>In Memoriam: Leonard C. Hanna, Jr.</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 4-April 7, 1958).", "opening_date": "1958-03-04T05:00:00"}, {"id": 302007, "title": "Paths of Abstract Art", "description": "<i>Paths of Abstract Art</i>. The Cleveland Museum of Art, Cleveland, OH (October 5-November 13, 1960).", "opening_date": "1960-10-05T04:00:00"}, {"id": 515905, "title": "Seven Decades of Modern Art", "description": "<i>Seven Decades of Modern Art</i>. Rosenberg & Co., New York, NY (organizer) (April 26-May 21, 1966).", "opening_date": "1966-04-26T04:00:00"}, {"id": 300904, "title": "Fifty Years of Modern Art", "description": "<i>Fifty Years of Modern Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 15-July 31, 1966).", "opening_date": "1966-06-15T04:00:00"}, {"id": 517539, "title": "Seventy-Five Masterworks", "description": "<i>Seventy-Five Masterworks</i>. Portland Museum of Art, Portland, ME (organizer) (December 12, 1967-January 21, 1968).", "opening_date": "1967-12-12T05:00:00"}, {"id": 443384, "title": "Henri Matisse", "description": "<i>Henri Matisse</i>. French Academy in Rome, Rome, Italy (organizer) (November 24, 1978-January 28, 1979).", "opening_date": "1978-11-24T05:00:00"}, {"id": 442228, "title": "Henri Matisse Retrospective", "description": "<i>Henri Matisse Retrospective</i>. Kunsthaus Z\u00fcrich, CH-8024 Z\u00fcrich, Switzerland (organizer) (October 14, 1982-January 16, 1983).", "opening_date": "1982-10-14T04:00:00"}, {"id": 442150, "title": "Matisse Retrospective", "description": "<i>Matisse Retrospective</i>. Moderna Museet, Stockholm, Sweden (organizer) (November 3, 1984-January 6, 1985); Louisiana Museum of Modern Art, Humbelbaek, Denmark (January 19-April 14, 1985).", "opening_date": "1984-11-03T05:00:00"}, {"id": 214554, "title": "La r\u00e9v\u00e9lation m'est venue de l'Orient", "description": "<i>La r\u00e9v\u00e9lation m'est venue de l'Orient</i>. Palazzo dei Conservatori (Musei Capitolini, Rome) (September 19, 1997-January 20, 1998).", "opening_date": "1997-09-19T00:00:00"}, {"id": 218577, "title": "Henri Matisse:  La r\u00e9v\u00e9lation me'est venue de l'Orient", "description": "<i>Henri Matisse:  La r\u00e9v\u00e9lation me'est venue de l'Orient</i>. Musei Capitolini, Rome, Italy (September 19, 1997-January 20, 1998).", "opening_date": "1997-09-19T00:00:00"}, {"id": 214256, "title": "Henri Matisse:  Process and Variation", "description": "<i>Henri Matisse:  Process and Variation</i>. National Museum of Western Art, Tokyo, Tokyo, Japan (organizer) (September 10-December 12, 2004).", "opening_date": "2004-09-10T00:00:00"}, {"id": 184132, "title": "Masterworks from The Phillips Collection", "description": "<i>Masterworks from The Phillips Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 20-May 29, 2005).", "opening_date": "2005-02-20T00:00:00"}, {"id": 224310, "title": "Henri Matisse: Interiors with Women", "description": "<i>Henri Matisse: Interiors with Women</i>. Kunstsammlung Nordrhein-Westfalen, D\u00fcsseldorf, Germany (October 29, 2005-February 26, 2006); Fondation Beyeler, CH-4125 Riehen/Basel, Switzerland (organizer) (March 19-July 23, 2006).", "opening_date": "2005-10-29T00:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. Seoul Art Center, South Korea (December 22, 2006-March 28, 2007); Seoul Olympic Museum of Art, South Korea (April 7-May 20, 2007); Vancouver Art Gallery, Vancouver, Canada (June 9-September 16, 2007); The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008); Frist Art Museum, Nashville, TN (February 15-June 1, 2008); Utah Museum of Fine Arts, Salt Lake City, UT (June 22-September 21, 2008); The Detroit Institute of Arts, Detroit, MI (October 12, 2008-January 18, 2009).", "opening_date": "2006-05-27T00:00:00"}, {"id": 201332, "title": "Painting the Modern Garden: Monet to Matisse", "description": "<i>Painting the Modern Garden: Monet to Matisse</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 6, 2015-January 5, 2016).", "opening_date": "2015-10-06T00:00:00"}, {"id": 281796, "title": "Matisse in the Studio", "description": "<i>Matisse in the Studio</i>. Museum of Fine Arts, Boston, Boston, MA (organizer) (April 9-July 9, 2017).", "opening_date": "2017-04-09T04:00:00"}, {"id": 380560, "title": "Matisse in the 1930s", "description": "<i>Matisse in the 1930s</i>. Philadelphia Museum of Art, Philadelphia, PA (organizer) (October 13, 2022-January 29, 2023); Mus\u00e9e de l'Orangerie, Paris, France (February 27-May 29, 2023); Mus\u00e9e Matisse, Nice, France (June 23-September 24, 2023).", "opening_date": "2022-10-13T04:00:00"}, {"id": 449908, "title": "Matisse - Invitation to Voyage", "description": "<i>Matisse - Invitation to Voyage</i>. Fondation Beyeler, CH-4125 Riehen/Basel, Switzerland (organizer) (September 22, 2024-January 26, 2025) https://www.fondationbeyeler.ch/ausstellungen/henri-matisse.", "opening_date": "2024-09-22T04:00:00"}, {"id": 701668, "title": "Matisse: The Pursuit of Harmony", "description": "<i>Matisse: The Pursuit of Harmony</i>. Acquavella Galleries, Inc., New York, NY (organizer) (April 9-May 22, 2026) https://www.acquavellagalleries.com/exhibitions/matisse2.", "opening_date": "2026-04-09T04:00:00"}], "legacy": []}, "provenance": [{"description": "The artist", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "Paul Rosenberg (1881-1959), Bordeaux, France", "citations": [], "footnotes": null, "date": "1940", "sortorder": 2}, {"description": "Confiscated by Nazi ERR (Einsatzstab Reichsleiter Rosenberg), sent to Paris", "citations": [], "footnotes": null, "date": "", "sortorder": 3}, {"description": "Hermann Goering (1893-1946)", "citations": [], "footnotes": null, "date": "1941", "sortorder": 4}, {"description": "Traded to Gustav Rochlitz (1889-1972)", "citations": [], "footnotes": null, "date": null, "sortorder": 5}, {"description": "Recovered by Allied Forces, Munich Central Collection Point, Germany", "citations": [], "footnotes": null, "date": "1946", "sortorder": 6}, {"description": "[Restituted to Paul Rosenberg Gallery, New York, NY]", "citations": [], "footnotes": null, "date": "1946", "sortorder": 7}, {"description": "Leigh Block, Chicago, IL", "citations": [], "footnotes": null, "date": "about 1947", "sortorder": 8}, {"description": "[Paul Rosenberg Gallery, New York]", "citations": [], "footnotes": null, "date": null, "sortorder": 9}, {"description": "[Pierre Matisse Gallery, New York]", "citations": [], "footnotes": null, "date": "around 1952", "sortorder": 10}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "When Matisse's <em>Blue Nude</em> was shown in the 1913 Armory show, the violent, unnaturalistic colors and distorted forms so enraged students and faculty from the Art Institute of Chicago that they burned a copy in effigy.", "early_education_description": null, "artlens_description": null, "description": "In this interior, a woman is seated at a table with an open book and scattered fruits. The artist painted green potted philodendrons, a red patterned curtain, and an orange antique vase to create an exuberantly colorful composition. Henri Matisse painted this interior in his studio-residence at the H\u00f4tel R\u00e9gina in Nice on the coast of southeastern France about six months after the outbreak of WWII. As he explained in a letter to a friend, making art provided the equilibrium he needed to withstand the tragedy unfolding in the world beyond his studio.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60472163"], "internet_archive": []}, "citations": [{"citation": "Ballou, Mary G. \"\"Interior with Etruscan Vase\" by Henri Matisse.\" <em>The Bulletin of the Cleveland Museum of Art</em> 39, no. 10 (December 1952): 239-241.", "page_number": "Mentioned: P. 239-240; Reproduced: P. 241", "url": "http://www.jstor.org/stable/25141841"}, {"citation": "The Cleveland Museum of Art. <em>The Cleveland Museum of Art Handbook.</em> Cleveland, OH: The Cleveland Museum of Art, 1958.", "page_number": "Mentioned and Reproduced: cat. no. 518", "url": "https://archive.org/details/CMAHandbook1958/page/n96"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 199", "url": "https://archive.org/details/CMAHandbook1966/page/n223"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 199", "url": "https://archive.org/details/CMAHandbook1969/page/n223"}, {"citation": "Cleveland Museum of Art. <em>Art of the Twentieth Century in the Cleveland Museum of Art</em>. Cleveland, OH: Dept. of Art History &amp; Education, CMA, 1969.", "page_number": "Mentioned: p. 1", "url": "https://archive.org/details/20thCenturyArtCMA/page/n1"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 248", "url": "https://archive.org/details/CMAHandbook1978/page/n268"}, {"citation": "Sievers, Ann H., Linda D. Muehlig, and Nancy Rich. <em>Master Drawings from the Smith College Museum of Art</em>. New York, New York: Hudson Hills Press, 2000.", "page_number": "Reproduced: p. 246, fig. 2", "url": null}, {"citation": "May, Sally Ruth, Jane Takac, and Barbara J. Bradley. <em>Knockouts: A Pocket Guide</em>. Cleveland, Ohio: Cleveland Museum of Art, 2001.", "page_number": "Reproduced: p. 60, no. 63; Mentioned: p. 118", "url": null}, {"citation": "Tanaka, Masayuki, and Chika Amano. <em>Matisu ten</em>. To\u0304kyo\u0304, Japan: Yomiuri Shinbun To\u0304kyo\u0304 Honsha Bunka, 2004.", "page_number": "Reproduced: p. 192. fig. 6", "url": null}, {"citation": "Mu\u0308ller-Tamm, Pia, ed. <em>Henri Matisse: Figure, Color, Space</em>. Ostfildern-Ruit: Hatje Cantz, 2005.", "page_number": "Mentioned and reproduced: p. 248, no. 164; mentioned: p. 370", "url": ""}, {"citation": "Ciuha, Delia. <em>Eros in der Kunst der Moderne: Ausstellung \"Eros in der Kunst der Moderne\", Fondation Beyeler, Riehen/Basel, 8. Oktober 2006-18. Februar 2007 ; BA-CA Kunstforum, Wien, 1. Ma\u0308rz - 22. Juli 2007</em>. Ostfildern, Germany: Hatje Cantz, 2006.", "page_number": "Reproduced: p. 157", "url": null}, {"citation": "<em>Treasures of the Cleveland Museum of Art</em>. London, United Kingdom: Scala Books, 2012.", "page_number": "Reproduced: p. 318-319", "url": null}, {"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. 301", "url": ""}, {"citation": "Essers, Volkmar.<em> Henri Matisse, 1869-1954: Master of Colour.</em> K\u00f6ln: Benedikt Taschen, 2016.", "page_number": "Reproduced: p. 74-75", "url": null}, {"citation": "McBreen, Ellen. \"The Studio as Theater.\" In <em>Matisse in the Studio. </em>Ellen McBreen, and Helen Burnham, 113-139. Boston, Massachusetts: MFA publications, Museum of Fine Arts, Boston, 2017.", "page_number": "Reproduced: p. 139, no. 124", "url": null}, {"citation": "Dorfman, John. \"Matisse Madness.\" <em>Art &amp; Antiques</em>, (Apr. 2017): 48-54.", "page_number": "Reproduced: p. 48", "url": null}, {"citation": "Klein, John. <em>Matisse and Decoration</em>. New Haven: Yale University Press, 2018.", "page_number": "Mentioned and reproduced: p. 94, fig 4.1", "url": null}, {"citation": "Gu\u00e9gan, St\u00e9phane. <em>Matisse sans Fronti\u00e8res.</em> [Paris]: Gallimard, 2025.", "page_number": "Mentioned: p. 155' Reproduced: p. 158, fig. 124", "url": ""}, {"citation": "Grammont, Claudine, and Ellen McBreen. <em>Matisse. </em>Translated by Christian Vair. Paris: Citadelles &amp; Mazenod, 2025.", "page_number": "Mentioned and reproduced: p. 263-264, no. 259; Reproduced: p. 7", "url": ""}, {"citation": "Wright, Alastair. \"Figure and Flora: Matisse, Vitality, and the Search for Harmony.\" In <em>Matisse: The Pursuit of Harmony, </em>John Klein, ed., 60-85. New York: Rizzoli, 2026.", "page_number": "Mentioned and reproduced: p. 60-63, plate 54; Reproduced: p. 258-261", "url": ""}], "url": "https://clevelandart.org/art/1952.153", "images": {}, "alternate_images": [], "creditline": "Gift of the Hanna Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Michael J. Horvitz Family Gallery", "athena_id": 129265, "creators": [{"id": 2130, "description": "Henri Matisse (French, 1869\u20131954)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1869", "death_year": "1954", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1952-05-06T00:00:00", "sortable_date": 1940, "date_added_to_oa": null, "date_text": "1940", "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": true, "updated_at": "2026-10-17 11:22:14.670000"}, {"id": 98268, "accession_number": "1917.946", "share_license_status": "CC0", "tombstone": "George Washington at Princeton, c. 1779. Charles Willson Peale (American, born The Thirteen Colonies, 1741\u20131827), and Workshop. Oil on canvas; framed: 153 x 144 x 7 cm (60 1/4 x 56 11/16 x 2 3/4 in.); unframed: 131 x 121.6 cm (51 9/16 x 47 7/8 in.). The Cleveland Museum of Art, Membership Income Fund, 1917.946", "current_location": "204 Colonial American", "title": "George Washington at Princeton", "creation_date": "c. 1779", "creation_date_earliest": 1774, "creation_date_latest": 1784, "artists_tags": ["male", "gender unknown"], "culture": ["United States"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 153 x 144 x 7 cm (60 1/4 x 56 11/16 x 2 3/4 in.); Unframed: 131 x 121.6 cm (51 9/16 x 47 7/8 in.)", "dimensions": {"framed": {"height": 1.53, "height_inch": 60, "height_inch_fraction": 0.25, "width": 1.44, "width_inch": 56, "width_inch_fraction": 0.6875, "depth": 0.07, "depth_inch": 2, "depth_inch_fraction": 0.75}, "unframed": {"height": 1.31, "height_inch": 51, "height_inch_fraction": 0.5625, "width": 1.216, "width_inch": 47, "width_inch_fraction": 0.875}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 312517, "title": "The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition", "description": "<i>The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 26-October 4, 1936).", "opening_date": "1936-06-26T04:00:00"}, {"id": 311898, "title": "35th Anniversary Exhibition", "description": "<i>35th Anniversary Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 20-September 30, 1951).", "opening_date": "1951-06-20T04:00:00"}, {"id": 300857, "title": "Art: The International Language", "description": "<i>Art: The International Language</i>. The Cleveland Museum of Art (October 2-November 4, 1956).", "opening_date": "1956-10-02T04:00:00"}, {"id": 302330, "title": "Heritage and Horizon: American Painting 1776 - 1976", "description": "<i>Heritage and Horizon: American Painting 1776 - 1976</i>. Buffalo AKG Art Museum, Buffalo, NY (organizer) (March 7-April 11, 1976); The Detroit Institute of Arts, Detroit, MI (May 2-June 13, 1976); The Toledo Museum of Art, Toledo, OH (July 4-August 15, 1976); The Cleveland Museum of Art, Cleveland, OH (September 8-October 10, 1976).", "opening_date": "1976-03-07T05:00:00"}, {"id": 311444, "title": "Object Lessons: Cleveland Creates an Art Museum", "description": "<i>Object Lessons: Cleveland Creates an Art Museum</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 7-September 8, 1991).", "opening_date": "1991-06-07T04:00:00"}, {"id": 443702, "title": "Currents and Constellations: Black Art in Focus", "description": "<i>Currents and Constellations: Black Art in Focus</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 20-June 26, 2022).", "opening_date": "2022-02-20T05:00:00"}], "legacy": [{"description": "Cleveland, The Cleveland Museum of Art, The Twentieth Anniversary Exhibition of The Cleveland Museum of Art; The Official Art Exhibit of the Great Lakes Exposition (26 June-4 October 1936), cat. no. 38.", "opening_date": "1936-06-26T00:00:00"}, {"description": "Cleveland, The Cleveland Museum of Art, Art: The International Language (2 October-4 November 1956)", "opening_date": "1956-10-02T00:00:00"}, {"description": "Greensburg, PA, The Westmoreland County Museum of Art, Two Hundred and Fifty Years of Art in Pennsylvania (1959), cat. no. 87, illus. plate 8.", "opening_date": "1959-01-01T00:00:00"}, {"description": "Detroit, The Detroit Institute of Arts, The Peale Family: Three Generations of American Artists (18 January-5 March 1967); traveled to Utica, NY, Munson-Williams-Proctor Institute (19 March-30 April 1967), cat. no. 52, illus. p. 13, listed p. 66-67.", "opening_date": "1967-01-18T00:00:00"}, {"description": "Buffalo, Albright-Knox Art Gallery, Heritage and Horizon: American Painting, 1776-1976 (6 March-11 April 1976); traveled to Detroit, The Detroit Institute of Arts (5 May-13 June 1976); Toledo, The Toledo Museum of Art (4 July-15 August 1976); Cleveland, The Cleveland Museum of Art (8 September-10 October 1976), illus. cat. no. 1.", "opening_date": "1976-03-06T00:00:00"}, {"description": "Cleveland, The Cleveland Museum of Art, Object Lessons: Cleveland Creates an Art Museum (6 June-8 September 1991)", "opening_date": "1991-06-06T00:00:00"}]}, "provenance": [{"description": "Colonel Frisby Tilghman [1773\u20131847], Talbot County, Maryland, by descent to his son-in-law, Thomas Jefferson McKaig", "citations": [], "footnotes": ["<div><!--block-->The information provided by Macbeth Gallery mentions Tilghman\u2019s \u201chome in Rockland [MD] where the portrait hung for many years, never going out of the family until its recent sale to Macbeth Gallery.\u201d The painting\u2019s ownership prior to Tilghman is uncertain.&nbsp; In his <em>Portraits and Miniatures by Charles Willson Peale </em>(1952), Charles Coleman Sellers suggests that because the painting had been owned by Frisby Tilghman, it was probably painted for his father, Judge James Tilghman (1743-1809), who was well acquainted with the artist.&nbsp; This is purely conjecture, however, as there is no documentation confirming James Tilghman\u2019s ownership of the painting.</div>"], "date": "Probably until 1847", "sortorder": 2}, {"description": "General Thomas Jefferson McKaig [1804\u20131882], Cumberland, Maryland, by descent to his son, Dr. Frisby Tilghman McKaig", "citations": [], "footnotes": null, "date": "Probably 1847\u2013probably 1882", "sortorder": 3}, {"description": "Dr. Frisby Tilghman McKaig [1859\u20131921], Andrews, North Carolina, consigned to Jonce I. McGurk through Macbeth Gallery", "citations": [], "footnotes": null, "date": "Probably 1882\u20131915", "sortorder": 4}, {"description": "(Jonce I. McGurk through Macbeth Gallery, New York, NY, sold to the Cleveland Museum of Art)1", "citations": [], "footnotes": ["<div><!--block-->1McKaig authorized McGurk to sell the painting on his behalf upon agreement of a price.&nbsp;</div>"], "date": "1915\u20131917", "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, Ohio", "citations": [], "footnotes": null, "date": "1917\u2013", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Artist and scientist Peale directed the first dig of a mastodon skeleton in the US.", "early_education_description": null, "artlens_description": null, "description": "Because Peale served under General Washington and befriended him during the Revolutionary War, he was an ideal candidate to commemorate Washington's important early victory at Princeton, NJ. Here, in the quiet aftermath of battle, the general is accompanied by his horse and a groomsman, identified by some scholars as William Lee, a mixed-race enslaved man Washington forced to work as his personal assistant. Also present is a line of captured British redcoat soldiers that animates the background at left. <br><br>Peale produced several versions of this composition amid a rally of enthusiasm for the American cause. Whereas some were commissioned by American colonists\u2014as in the case here\u2014others were ordered by Washington's admirers in France, Spain, Holland, Cuba, and even England.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60503039"], "internet_archive": ["https://archive.org/details/clevelandart-1917.946-george-washington-at"]}, "citations": [{"citation": "Scharf, J. Thomas. <em>History of Western Maryland: Being a History of Frederick, Montgomery, Carroll, Washington, Allegany, and Garrett Counties from the Earliest Period to the Present Day ; Including Biographical Sketches of Their Representative Men</em>. Philadelphia: L.H. Everts, 1882.", "page_number": null, "url": null}, {"citation": "Stock Disposition Cards, Sold Paintings, Macbeth Gallery records, 1838-1968, bulk, 1892-1953, Archives of American Art, Washington, DC.", "page_number": null, "url": null}, {"citation": "Photographs of Artwork and Records of Paintings Sold, Box 156, Macbeth Gallery records, 1838-1968, bulk, 1892-1953, Archives of American Art, Washington, DC.", "page_number": null, "url": null}, {"citation": "DePrizio, Jennifer.  \"Finding Connections: Comparison as an interpretive learning tool.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine  </em>62, no. 1: 16-17.", "page_number": "Reproduced and Mentioned: P. 16.", "url": ""}, {"citation": "\"Special Exhibition Cabinet.\" <em>The Bulletin of the Cleveland Museum of Art</em> 5, no. 1 (1918).", "page_number": "Reproduced: p. 2; Mentioned: p. 3", "url": "www.jstor.org/stable/25136158"}, {"citation": "\"Washington at the Battle of Princeton by Charles Wilson Peale.\" <em>The Bulletin of the Cleveland Museum of Art</em> 5, no. 2/3 (1918): 19-20.", "page_number": "Reproduced: Front Matter; Mentioned: p. 19-20", "url": "www.jstor.org/stable/25136170"}, {"citation": "\"Report of the Museum's Second Year.\" <em>The Bulletin of the Cleveland Museum of Art</em> 5, no. 6/7 (1918): 69-79.", "page_number": "Mentioned: pp. 70, 71", "url": "www.jstor.org/stable/25136208"}, {"citation": "The Cleveland Museum of Art. <em>The Cleveland Museum of Art Handbook.</em> Cleveland, OH: The Cleveland Museum of Art, 1958.", "page_number": "Mentioned: cat. no. 527", "url": "https://archive.org/details/CMAHandbook1958/page/n97"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 199", "url": "https://archive.org/details/CMAHandbook1978/page/n219"}, {"citation": "Adams, Henry. <em>What's American about American art?: a gallery tour in the Cleveland Museum of Art. </em>Cleveland: Cleveland Museum of Art, 2008.", "page_number": "Reproduced: p. 44 - 45", "url": ""}], "url": "https://clevelandart.org/art/1917.946", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1917.946/1917.946_web.jpg", "width": "823", "height": "893", "filesize": "463886", "filename": "1917.946_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1917.946/1917.946_print.jpg", "width": "3135", "height": "3400", "filesize": "7462233", "filename": "1917.946_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1917.946/1917.946_full.tif", "width": "7592", "height": "8232", "filesize": "187529100", "filename": "1917.946_full.tif"}}, "alternate_images": [], "creditline": "Membership Income Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Leigh and Mary Carter Gallery", "athena_id": 98268, "creators": [{"id": 2523, "description": "Charles Willson Peale (American, born The Thirteen Colonies, 1741\u20131827)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1741", "death_year": "1827", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 34768, "description": "Workshop", "extent": null, "qualifier": "and", "role": "artist", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1917-12-21T00:00:00", "sortable_date": 1774, "date_added_to_oa": null, "date_text": "c. 1779", "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": "2026-10-20 11:25:15.400000"}, {"id": 99445, "accession_number": "1919.1018", "share_license_status": "CC0", "tombstone": "British Manufactory; A Sketch, 1791. Benjamin West (American, born The Thirteen Colonies, 1738\u20131820). Oil on paper mounted on wood; framed: 67.4 x 80 x 5.2 cm (26 9/16 x 31 1/2 x 2 1/16 in.); unframed: 51 x 65 cm (20 1/16 x 25 9/16 in.). The Cleveland Museum of Art, Gift of the John Huntington Art and Polytechnic Trust, 1919.1018", "current_location": "203B British Painting and Decorative Arts", "title": "British Manufactory; A Sketch", "creation_date": "1791", "creation_date_earliest": 1791, "creation_date_latest": 1791, "artists_tags": ["male"], "culture": ["United States"], "technique": "oil on paper mounted on wood", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 67.4 x 80 x 5.2 cm (26 9/16 x 31 1/2 x 2 1/16 in.); Unframed: 51 x 65 cm (20 1/16 x 25 9/16 in.)", "dimensions": {"framed": {"height": 0.674, "height_inch": 26, "height_inch_fraction": 0.5625, "width": 0.8, "width_inch": 31, "width_inch_fraction": 0.5, "depth": 0.052, "depth_inch": 2, "depth_inch_fraction": 0.0625}, "unframed": {"height": 0.51, "height_inch": 20, "height_inch_fraction": 0.0625, "width": 0.65, "width_inch": 25, "width_inch_fraction": 0.5625}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower center: B. West 1791", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 312517, "title": "The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition", "description": "<i>The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 26-October 4, 1936).", "opening_date": "1936-06-26T04:00:00"}, {"id": 519256, "title": "The World of Benjamin West", "description": "<i>The World of Benjamin West</i>. Allentown Art Museum, Allentown, PA (organizer) (May 1-July 31, 1962).", "opening_date": "1962-05-01T04:00:00"}, {"id": 455290, "title": "The Age of Neoclassicism", "description": "<i>The Age of Neoclassicism</i>. Arts Council of Great Britain (organizer) (September 7-November 19, 1972).", "opening_date": "1972-09-07T04:00:00"}, {"id": 443389, "title": "Zwei Jahrhunderk Englische Malerei (British Painting and the European Continent)", "description": "<i>Zwei Jahrhunderk Englische Malerei (British Painting and the European Continent)</i>. Haus der Kunst, Munich, Munich, Germany (organizer) (November 20, 1979-January 27, 1980).", "opening_date": "1979-11-20T05:00:00"}, {"id": 306699, "title": "British Gallery Reinstallation  (June 2020)", "description": "<i>British Gallery Reinstallation  (June 2020)</i>. The Cleveland Museum of Art (organizer).", "opening_date": "2020-06-30T04:00:00"}], "legacy": [{"description": "Charitable Mechanics Association, Fine Arts Department, Boston, MA (1878).", "opening_date": null}]}, "provenance": [{"description": "Raphael L. West [1769-1850] and Benjamin West, Jr. [1772-1849], the artist's sons, by descent", "citations": [], "footnotes": [], "date": null, "sortorder": null}, {"description": "(London sale, 1829)", "citations": [], "footnotes": [], "date": "1829", "sortorder": 2}, {"description": "Mrs. S.J. Tuttle, Boston, MA, 1878", "citations": [], "footnotes": [], "date": "1878", "sortorder": 3}, {"description": "(William Macbeth Gallery, New York, NY, 1919, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "1919", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1919-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Benjamin West was the first American artist to attain international fame.", "early_education_description": null, "artlens_description": null, "description": "As part of his work for the British court, Benjamin West produced several compositions celebrating the strength of the nation's economy. In this example, women in classical costumes paint vases, spin, and weave\u2014a comparison of British manufacturing with the accomplishments of antiquity. One of a series of nine related sketches, this design was copied as a large mural decorating the Queen's Lodge at Windsor Castle, a room eliminated by remodeling in 1823.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60503184"], "internet_archive": ["https://archive.org/details/clevelandart-1919.1018-british-manufactory"]}, "citations": [{"citation": "Gottlieb, Rachel, <em>The Portland Vase:Mania and Muse,</em> exh. cat. (Sacramento, CA: Croker Art Museum, 2024).", "page_number": "Mentioned, p. 43; reproduced, p. 45, and pp. 107-108 (detail).", "url": ""}, {"citation": "Brayley, E. W, and J Britton. <em>The Beauties of England and Wales : Or, Original Delineations, Topographical, Historical, and Descriptive of Each Country</em>. London, United Kingdom: Vernor, 1801.", "page_number": "Reproduced: p. 260 vol. 1", "url": null}, {"citation": "Graves, Algernon. <em>The Royal Academy of Arts; A Complete Dictionary of Contributors and Their Work from Its Foundation in 1769 to 1904</em>. London, United Kingdom: H. Graves and Co, 1905.", "page_number": "Reproduced: p. 215, no. 167", "url": null}, {"citation": "Annmary Brown Memorial, Rush C. Hawkins, and C. H. Collins Baker. <em>Paintings in Oil &amp; Water Colours by Early &amp; Modern Painters</em>. London, United Kingdom: Printed for the owner by the Medici Society, 1913.", "page_number": "Mentioned and reproduced: p. 52-53", "url": null}, {"citation": "\"Accessions.\" <em>The Bulletin of the Cleveland Museum of Art</em> 6, no. 7/8 (1919): 132-34.", "page_number": "Mentioned: p. 132", "url": "www.jstor.org/stable/25136315"}, {"citation": "Barker, Virgil. <em>American Painting, History and Interpretation</em>. New York, NY: Macmillan, 1950.", "page_number": "Mentioned: p. 199-211", "url": null}, {"citation": "Galt, John. <em>The Life of Benjamin West (1816-1820)</em>. Gainesville, FL: Scholars' Facsimiles &amp; Reprints, 1960.", "page_number": "Mentioned: p. 214, 218", "url": null}, {"citation": "Croft-Murray, Edward. <em>Decorative Painting in England, 1537-1837</em>. London, United Kingdom: Country Life, 1962.", "page_number": "Mentioned and reproduced: p. 290-292", "url": null}, {"citation": "Allentown Art Museum. <em>The World of Benjamin West: Being the Account, Ornamented by Reproductions, of the Art of a Native Pennsylvanian, from His Early Attempts at Face-Painting and the Painting of History to His Final Eminent Station As President of the Royal Academy, &amp; Followed by Notable Examples from the Most Eminent Painters of the British Realm and of the Continent and Those of the Most Assiduous Students of Mr. West's Instruction ... : to Be Freely Admired by the Lovers of Both Art and History, between May 1st and July 31st of This Bi-Centennial Year in Allentown</em>. Allentown, PA: Printed for the Allentown Art Museum, 1962.", "page_number": null, "url": null}, {"citation": "Hawley, Henry H. <em>Neo-Classicism: Style and Motif</em>. Cleveland,<br>OH: Cleveland Museum of Art; distributed by H.N. Abrams, New York, 1964.", "page_number": null, "url": null}, {"citation": "Skidmore College. <em>American Allegorical Paintings, Drawings and Prints</em>. Saratoga Springs, NY.: Hathorn Gallery, Skidmore College, 1968.", "page_number": null, "url": null}, {"citation": "Council of Europe, Royal Academy of Arts (Great Britain), Victoria and Albert Museum, and Arts Council of Great Britain. <em>The Age of Neo-Classicism: [Catalogue of] The Fourteenth Exhibition of the Council of Europe [Held at] the Royal Academy and the Victoria &amp; Albert Museum, London, 9 September - 19 November, 1972</em>. London, United Kingdom: Arts Council of Great Britain, 1972.", "page_number": null, "url": null}, {"citation": "Irwin, David G. <em>Neoclassicism</em>. London, United Kingdom: Phaidon, 1997.", "page_number": "Mentioned: p. 172-175; Reproduced: p.173", "url": null}, {"citation": "Maryland Historical Society, and John B. Boles. <em>Maryland Heritage: Five Baltimore Institutions Celebrate the American Bicentennial</em>. Baltimore, MD: The Society, 1976.", "page_number": null, "url": null}, {"citation": "Gage, John, and Michael Kitson. <em>Zwei Jahrhunderte englische Malerei: britische Kunst und Europa 1680 bis 1880</em>. Mu\u0308nchen, Germany: Haus der Kunst, 1979.", "page_number": null, "url": null}, {"citation": "Forty, Adrian. <em>Objects of Desire</em>. New York, NY: Pantheon Books, 1986.", "page_number": "Mentioned: p. 13-17; Reproduced: p. 15", "url": null}, {"citation": "Erffa, Helmut von, and Allen Staley. <em>The Paintings of Benjamin West</em>. New Haven, CT: Yale University Press, 1986.", "page_number": "Mentioned: p. 90, 93, 409-411; Reproduced: p.411", "url": null}, {"citation": "Boime, Albert. <em>Art in an Age of Revolution, 1750-1800</em>. Chicago, IL: University of Chicago Press, 1987.", "page_number": "Mentioned: p. 370-382; Reproduced: p. 372", "url": null}, {"citation": "Reilly, Robin. <em>Wedgwood</em>. New York, NY: Stockton Press, 1989.", "page_number": "Mentioned: p. 663-684; Reproduced: p. 372", "url": null}, {"citation": "Chong, Alan. <em>European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogue</em>. Cleveland, OH: Cleveland Museum of Art, 1993.", "page_number": "Reproduced: p. 259", "url": null}, {"citation": "Rouet, Philippe. <em>Approaches to the study of Attic vases: Beazley and Pottier</em>. Oxford, United Kingdom: Oxford University Press, 2001.", "page_number": "Mentioned and reproduced: p. 21-24", "url": null}, {"citation": "Fox, Celina. <em>The Arts of Industry in the Age of Enlightenment</em>. New Haven CT: Yale University Press for the Paul Mellon Centre for Studies in British Art, 2009.", "page_number": "Mentioned and reproduced: p. 353-354", "url": null}], "url": "https://clevelandart.org/art/1919.1018", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1919.1018/1919.1018_web.jpg", "width": "900", "height": "711", "filesize": "397256", "filename": "1919.1018_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1919.1018/1919.1018_print.jpg", "width": "3400", "height": "2687", "filesize": "5114182", "filename": "1919.1018_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1919.1018/1919.1018_full.tif", "width": "9460", "height": "7475", "filesize": "212172044", "filename": "1919.1018_full.tif"}}, "alternate_images": [{"web": {"url": "https://openaccess-cdn.clevelandart.org/1919.1018/1919.1018_alt0_web.jpg", "width": "900", "height": "719", "filesize": "304712"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1919.1018/1919.1018_alt0_print.jpg", "width": "3400", "height": "2716", "filesize": "3457771"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1919.1018/1919.1018_alt0_full.tif", "width": "13892", "height": "11099", "filesize": "462596008"}, "date_created": "2023-03-06T16:50:38", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1919.1018/1919.1018_alt1_web.jpg", "width": "1130", "height": "893", "filesize": "850521"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1919.1018/1919.1018_alt1_print.jpg", "width": "3400", "height": "2686", "filesize": "6760573"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1919.1018/1919.1018_alt1_full.tif", "width": "4366", "height": "3449", "filesize": "45205084"}, "annotation": ""}], "creditline": "Gift of the John Huntington Art and Polytechnic Trust", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Ellen and Bruce Mavec Gallery", "athena_id": 99445, "creators": [{"id": 2553, "description": "Benjamin West (American, born The Thirteen Colonies, 1738\u20131820)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1738", "death_year": "1820", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1919-06-30T00:00:00", "sortable_date": 1791, "date_added_to_oa": null, "date_text": "1791", "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": "2026-10-20 11:25:15.507000"}, {"id": 170093, "accession_number": "2012.31", "share_license_status": "Copyrighted", "tombstone": "Evasion, 1947. Jared French (American, 1905\u20131988). Tempera on canvas mounted to panel; unframed: 54.5 x 29.2 x 0.7 cm (21 7/16 x 11 1/2 x 1/4 in.). The Cleveland Museum of Art, John L. Severance Fund, 2012.31", "current_location": "226B American Modern", "title": "Evasion", "creation_date": "1947", "creation_date_earliest": 1947, "creation_date_latest": 1947, "artists_tags": ["male", "LGBTQ+ (after 1900)"], "culture": ["United States"], "technique": "tempera on canvas mounted to panel", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Unframed: 54.5 x 29.2 x 0.7 cm (21 7/16 x 11 1/2 x 1/4 in.)", "dimensions": {"unframed": {"height": 0.545, "height_inch": 21, "height_inch_fraction": 0.4375, "width": 0.292, "width_inch": 11, "width_inch_fraction": 0.5, "depth": 0.007, "depth_inch": 0, "depth_inch_fraction": 0.25}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Inscribed upper left recto: \"Jared French\"\r\nInscribed verso: \"JARED FRENCH / egg yolk tempera / EVASION\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": [{"description": "<em>Annual Exhibition of Contemporary American Painting</em>. Whitney Museum of American Art, New York (December 6, 1947\u2013January 25, 1948).", "opening_date": "1947-12-06T00:00:00"}, {"description": "<em>Symbolic Realism in American Painting</em>. Institute of Contemporary Arts, London (July 18\u2013August 18, 1950).", "opening_date": "1950-07-18T00:00:00"}, {"description": "<em>Paintings and Drawings by Jared French.</em> Edwin Hewitt Gallery, New York (April 21\u2013May 12, 1955).", "opening_date": "1955-04-21T00:00:00"}, {"description": "<em>Jared French: Paintings and Drawings.</em> Robert Isaacson Gallery, New York (February 6\u201324, 1962).", "opening_date": "1962-02-06T05:00:00Z"}, {"description": "<em>An Exhibition of Contemporary Painting, Sculpture, and Graphic Art. </em>Academy Art Gallery, National Institute of Arts and Letters, New York ( March 3\u2013April 2, 1967).", "opening_date": "1967-03-03T00:00:00"}, {"description": "<em>Jared French: 25 Years of Paintings and Drawings from 1944 to 1969. </em>Banfer Gallery, New York (February 19\u2013March 8, 1969).", "opening_date": "1969-02-19T00:00:00"}, {"description": "<em>Close Encounters: The Art of Paul Cadmus, Jared French and George Tooker. </em>Midtown Galleries, New York (February 22\u2013April 7, 1990).", "opening_date": "1990-04-07T00:00:00"}, {"description": "<em>The Rediscovery of Jared French.</em> Midtown Payson Galleries, New York (April 21\u2013May 29, 1992); Mead Art Museum, Amherst College, MA (October 2\u2013November 29, 1992).", "opening_date": "1992-04-21T00:00:00"}, {"description": "<em>Villa America: American Moderns, 1900-1950.</em> Orange County Museum of Art, Newport Beach, CA (June 4\u2013October 2, 2005); Minneapolis Institute of Arts (December 4, 2005\u2013February 26, 2006); Marion Koogler McNay Art Museum, San Antonio, TX (March 15\u2013June 4, 2006); Pennsylvania Academy of the Fine Arts, Philadelphia (September 23\u2013December 31, 2006).", "opening_date": "2005-06-04T00:00:00"}]}, "provenance": [{"description": "Margaret French [1906-1998] (Midtown Payson Galleries, New York, NY, 1988, sold to Myron Kunin, 1991)", "citations": [], "footnotes": null, "date": "1988-1991", "sortorder": 1}, {"description": "Myron Kunin [1925-2013], Minneapolis, MN", "citations": [], "footnotes": ["<div><!--block-->Ownership variously listed under Regis Corporation Collection, Minneapolis; and Curtis Galleries, Minneapolis&nbsp;</div>"], "date": "1991-2011", "sortorder": 2}, {"description": "(Alexandre Fine Art, New York, NY, sold to Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "2011", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2012-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "French favored a form of tempera painting in which egg yolk is a primary ingredient.", "early_education_description": null, "artlens_description": null, "description": "French was well regarded during the 1940s and \u201950s as one of the most accomplished and fascinating magic realist painters. A still understudied group of artists, the magic realists revived painstaking old master techniques to make convincing their enigmatic images that address a wide range of personal and social concerns. Part of a series of works French made to chronicle the human condition, Evasion symbolizes an individual\u2019s attempt to deny the physical self. As such, the painting manifests tensions regarding sexual mores in mid 20th-century America. While it is reductive to attribute French\u2019s iconographic interest in Evasion solely to his bisexuality, the fact remains that French was one of the first American artists whose same-sex desires were recognized and acknowledged by contemporaries who viewed his work.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60480961"], "internet_archive": []}, "citations": [{"citation": "<em>Annual Exhibition of Contemporary American Painting</em>.New York: Whitney Museum of American Art, 1947.", "page_number": "Reproduced: p. 8", "url": null}, {"citation": "Kirstein, Lincoln. <em>Symbolic Realism in American Painting, 1940-1950. </em>London: Institute of Contemporary Arts, 1950.", "page_number": "Mentioned: p. 8", "url": null}, {"citation": "Munroe, Eleanor C. \"Jared French.\" <em>Art News</em> 54 (April 1955)", "page_number": "Mentioned: p. 47", "url": null}, {"citation": "Lonngren, Lillian. \"Jared French.\" <em>Art News</em> 61 (March 1962)", "page_number": "Mentioned: p. 14; Reproduced: p. 14", "url": null}, {"citation": "French, Jared \"Artists on their Art.\" <em>Art International</em> 12 (April 20, 1968)", "page_number": "Mentioned: p. 54", "url": null}, {"citation": "<em>Jared French: 25 Years of Paintings and Drawings from 1944 to 1969. </em>New York: Banfer Gallery, 1969.", "page_number": "Reproduced: p. 1-2", "url": null}, {"citation": "Berman, Greta, and Jeffrey Wechsler. Realism and Realities: The Other Side of American Painting, 1940-1960 : [Catalogue of an Exhibition Held at] Rutgers University Art Gallery, New Brunswick, New Jersey, January 17-March 26, 1982, Montgomery Museum of Fine Arts, Montgomery, Alabama, April 15-June 13, 1982, the Art Gallery, University of Maryland, College Park, Maryland, September 7-October 18, 1982. [New Brunswick, N.J.]: Rutgers University Art Gallery, 1982.", "page_number": "Reproduced: p. 96", "url": null}, {"citation": "Grimes, Nancy. \"Paul Cadmus, Jared French, George Tooker,\" <em>Art News</em> 89 (September 1990)", "page_number": "Reproduced: p. 159", "url": null}, {"citation": "French, Jared, and Jeffrey Wechsler. The Rediscovery of Jared French. New York: Midtown Payson Galleries, 1992.", "page_number": "Mentioned: p. 8, 14-15; Reproduced: p. 5", "url": null}, {"citation": "Grimes,Nancy. \"French's Symbolic Figuration,\" <em>Art in America</em> 80 (November 1992)", "page_number": "Mentioned: p. 114; Reproduced: p. 13", "url": null}, {"citation": "Grimes, Nancy, and Jared French. <em>Jared French's Myths</em>. San Francisco, Calif: Pomegranate Artbooks, 1993.", "page_number": "Reproduced: pl. 21", "url": null}, {"citation": "Lucie-Smith, Edward. <em>American Realism.</em> New York: Abrams, 1994.", "page_number": "Mentioned: p. 150-151; Reproduced: p. 150", "url": null}, {"citation": "Cole, Mark.\"Jared French (1905-1988),\" Ph.D. dissertation, University of Delaware, 1999.", "page_number": "Mentioned: 215, 269-270, 395; Reproduced: p. 513", "url": null}, {"citation": "\u014ce, Kenzabur\u014d. <em>Le jeu du si\u00e8cle. </em>Paris: Gallimard, 2000, illus. cover (detail).", "page_number": "Cover detail", "url": null}, {"citation": "Leddick, David.<em> Intimate Companions: A Triography of George Platt Lynes, Paul Cadmus, Lincoln Kirstein, and Their Circle</em>. New York: St. Martin's Press, 2000.", "page_number": "Mentioned: p. 223", "url": null}, {"citation": "Edgecombe, Rodney. \"Jared French's Iconic Enigmas,\"<em> The Gay and Lesbian Review</em> 11, July-August 2004.", "page_number": "Mentioned: p. 18", "url": null}, {"citation": "Armstrong, Elizabeth, and William C. Agee.<em> Villa America: American Moderns, 1900-1950.</em> Newport Beach, Calif: Orange County Museum of Art, 2005.", "page_number": "Mentioned: p. 29-30, 128; Reproduced: p. 30, 128", "url": null}, {"citation": "Panzetta, Alfonso.<em> Jared French by Jared French: 600 Opere indetite dal fondo italiano dell'artista. </em>Turin, Italy: Allemandi, 2010.", "page_number": "Mentioned: p. 25, 32-33, 134, 328, 350, 365; Reproduced: 134, 328", "url": null}, {"citation": "Litt, Steven. \"Museum's East Wing Quietly Reopens, Revealing Impressive Changes,\" <em>Plain Dealer</em>, August 18, 2012.", "page_number": "Mentioned: p. E3", "url": null}, {"citation": "Grant, Daniel. \"Museums by the Numbers: 2012 in Review,\" <em>Antiques and Fine Art </em>12 (Winter / Spring 2013)", "page_number": "Mentioned: p. 153", "url": null}, {"citation": "Cole, Mark. \"Acquistions 2012,\" <em>Cleveland Art</em> 53 (March / April 2013).", "page_number": "Mentioned: p. 22", "url": null}, {"citation": "<em>Artistic Excellence: Acquisitions 2012-14</em>. Cleveland Museum of Art, 2014.", "page_number": "Mentioned: p. 10, 49", "url": null}, {"citation": "Schreiber, Michael.<em>One-Man Show: The Life and Art of Bernard Perlin.</em> Berlin, Germany: Bruno Gmuender, 2016.", "page_number": "Mentioned: p. 67", "url": null}, {"citation": "Miller, Angela. \"Sinners all: the queer world of Paul Cadmus's seven deadly sins.\" <em>American Art</em> 36, no. 1 (Spring 2022): 111-136.", "page_number": "reproduced p.129; mentioned p.128-129", "url": ""}], "url": "https://clevelandart.org/art/2012.31", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Hammond Hemmelgarn Family Gallery", "athena_id": 170093, "creators": [{"id": 62312, "description": "Jared French (American, 1905\u20131988)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1905", "death_year": "1988", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2012-06-04T00:00:00", "sortable_date": 1947, "date_added_to_oa": null, "date_text": "1947", "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": "2026-09-19 12:14:14.404000"}, {"id": 134072, "accession_number": "1956.578", "share_license_status": "CC0", "tombstone": "Sunny Autumn Day, 1892. George Inness (American, 1825\u20131894). Oil on canvas; framed: 111.4 x 137.5 x 12.1 cm (43 7/8 x 54 1/8 x 4 3/4 in.); unframed: 81 x 106 cm (31 7/8 x 41 3/4 in.); former: 101 x 127 x 7.6 cm (39 3/4 x 50 x 3 in.). The Cleveland Museum of Art, Anonymous Gift, 1956.578", "current_location": "208 American Gilded Age and Realism", "title": "Sunny Autumn Day", "creation_date": "1892", "creation_date_earliest": 1892, "creation_date_latest": 1892, "artists_tags": ["male"], "culture": ["United States"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 111.4 x 137.5 x 12.1 cm (43 7/8 x 54 1/8 x 4 3/4 in.); Unframed: 81 x 106 cm (31 7/8 x 41 3/4 in.); Former: 101 x 127 x 7.6 cm (39 3/4 x 50 x 3 in.)", "dimensions": {"framed": {"height": 1.114, "height_inch": 43, "height_inch_fraction": 0.875, "width": 1.375, "width_inch": 54, "width_inch_fraction": 0.125, "depth": 0.121, "depth_inch": 4, "depth_inch_fraction": 0.75}, "unframed": {"height": 0.81, "height_inch": 31, "height_inch_fraction": 0.875, "width": 1.06, "width_inch": 41, "width_inch_fraction": 0.75}, "former": {"height": 1.01, "height_inch": 39, "height_inch_fraction": 0.75, "width": 1.27, "width_inch": 50, "width_inch_fraction": 0.0, "depth": 0.076, "depth_inch": 3, "depth_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower left: \"G. Inness 1892:", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 315769, "title": "200 Years of American Painting", "description": "<i>200 Years of American Painting</i>. Saint Louis Art Museum, St. Louis, MO (organizer) (co-organizer) (April 1-May 31, 1964).", "opening_date": "1964-04-01T05:00:00"}, {"id": 302330, "title": "Heritage and Horizon: American Painting 1776 - 1976", "description": "<i>Heritage and Horizon: American Painting 1776 - 1976</i>. Buffalo AKG Art Museum, Buffalo, NY (organizer) (March 7-April 11, 1976); The Detroit Institute of Arts, Detroit, MI (May 2-June 13, 1976); The Toledo Museum of Art, Toledo, OH (July 4-August 15, 1976); The Cleveland Museum of Art, Cleveland, OH (September 8-October 10, 1976).", "opening_date": "1976-03-07T05:00:00"}, {"id": 442438, "title": "George Inness Landscapes: His Signature Years, 1884-1894", "description": "<i>George Inness Landscapes: His Signature Years, 1884-1894</i>. Oakland Museum of California, Oakland, CA (organizer) (November 28, 1978-January 28, 1979); Santa Barbara Museum of Art, Santa Barbara, CA (February 10-April 15, 1979).", "opening_date": "1978-11-28T05:00:00"}, {"id": 304561, "title": "Visions of Landscape: East and West", "description": "<i>Visions of Landscape: East and West</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 17-March 21, 1982).", "opening_date": "1982-02-17T05:00:00"}, {"id": 218501, "title": "Paris 1900:  The \"American School\" at the Universal Exposition", "description": "<i>Paris 1900:  The \"American School\" at the Universal Exposition</i>. Montclair Art Museum, Montclair, NJ (organizer) (September 18, 1999-January 16, 2000); Pennsylvania Academy of Fine Arts, Museum of American Art, Philadelphia, PA (February 11-April 16, 2000); Columbus Museum of Art, Columbus, OH (May 18-August 13, 2000); Elvehjem Museum of Art, Madison, WI (September 16-December 3, 2000); Mus\u00e9e Carnavalet, Paris, France (February 20-April 29, 2001).", "opening_date": "1999-09-18T00:00:00"}], "legacy": [{"description": "Chicago, World's Columbian Exposition, (1893); cat. no. 598, lent by Thomas B. Clarke, N.Y.", "opening_date": null}, {"description": "New York, Union League Club, Inness and Homer Exhibition (1898), cat. no. 2, lent by Thomas B. Clarke.", "opening_date": null}, {"description": "New York, American Art Galleries, Clarke Sale (14-17 February 1899), cat. no. 184.", "opening_date": null}, {"description": "Paris, Exposition Universelle Internationale de Paris of 1900 (15 April-12 November 1900), \"The Annotated Catalogue of American Paintings, Paris Exposition of 1900\" taken from Appendix B in Paris 1900: The \"American School\" at the Universal Exposition; A18/M771c.", "opening_date": "1900-04-15T00:00:00"}, {"description": "St. Louis, St. Louis Universal Exposition (1904); did find Official: Illustrations of Selected Works in the Various National Sections of the Department of Art with Complete List of Awards by the International Jury.", "opening_date": "1904-01-01T00:00:00"}, {"description": "Chicago, Moulton and Ricketts Galleries, Loan Exhibit: Inness, Wyant, Blakelock (March, 1913), illus. plate VI, cat. not numbered or paginated.", "opening_date": "1913-03-01T00:00:00"}, {"description": "Buffalo, The Buffalo Fine Arts Academy, Albright Art Gallery, The Eighth Annual Exhibition of Selected Paintings by American Artists (10 May-31 August 1913), cat. no. 61, illus. p. 58, listed p. 23.", "opening_date": "1913-05-10T00:00:00"}, {"description": "New York, Macbeth Gallery, (January-April 1925), cat. no. 23, lent by Mrs. Chauncey J. Blair.", "opening_date": "1925-01-01T00:00:00"}, {"description": "Cleveland, The Cleveland Museum of Art, The Inaugural Exhibition (6 June-20 September 1916), cat. no. 21, listed p. 128, not illus.", "opening_date": "1916-06-06T00:00:00"}, {"description": "St. Louis, City Art Museum of St. Louis, 200 Years of American Painting (1 April-31 May 1964), cat. not numbered, illus. p. 28.", "opening_date": "1964-04-01T00:00:00"}, {"description": "Buffalo, Albright-Knox Art Gallery, Heritage and Horizon: American Painting 1776-1976 (6 March-11 April 1976); traveled to Detroit, Detroit Institute of Arts (5 may-3 June 1976); Toledo, The Toledo Museum of Art (4 July-15 August 1976); Cleveland, The Cleveland Museum of Art (8 September-10 October 1976), illus. cat. no. 25.", "opening_date": "1976-03-06T00:00:00"}, {"description": "Oakland, The Oakland Museum, George Inness Landscapes: His Signature Years 1884-1894 (28 November 1978-28 January 1979), cat. not numbered, but listed and illus. p. 59.", "opening_date": "1978-11-28T00:00:00"}, {"description": "Cleveland, The Cleveland Museum of Art, Visions of Landscape: East and West (17 February-21 March 1982)", "opening_date": "1982-02-17T00:00:00"}, {"description": "Montclair, NJ, The Montclair Art Museum, Paris 1900: The \"American School\" at the Universal Exposition (18 September 1999-16 January 2000); Philadelphia, Pennsylvania Academy of Fine Arts (11 February-16 April 2000); Columbus, Columbus Art Museum (18 May-13 August 2000); Madison, WI, Elvehjem Museum of Art, University of Wisconsin-Madison (16 September-3 December 2000); Paris, Mus\u00e9e Carnavalet (2 February-15 May 2001); cat. no. 81, illus. p. 75.", "opening_date": "2000-02-11T00:00:00"}]}, "provenance": [{"description": "Thomas B. Clarke, New York, NY [1884-1931], purchased from artist1", "citations": [], "footnotes": ["<div><!--block-->1According to the introduction to the 1899 sale catalogue, Clarke and Inness were acquaintances.&nbsp; Macbeth Gallery's Art Notes also notes that \"it was purchased directly from Inness the year it was painted.\"</div>"], "date": "By October 1892-1899", "sortorder": 1}, {"description": "(American Art Galleries, American Art Association, New York, Feb. 14-18, 1899, no. 184, sold to Mr. and Mrs. Chauncey J. Blair)", "citations": [], "footnotes": [], "date": "1899", "sortorder": 2}, {"description": "Chauncey J. [1843\u20131916] and Mary Mitchell Blair [1856-1940], Chicago1", "citations": [], "footnotes": ["<div><!--block-->1Macbeth Gallery's Art Notes: \"At the disposal of his [Thomas B. Clarke] collection in 1899, it was bought by the late Chauncey Blair of Chicago.\"</div>"], "date": "1899-", "sortorder": 3}, {"description": "Walter Clark Runyon [1857-1929] and Berenice Agnew Runyon [b. 1873], Scarsdale, NY1", "citations": [], "footnotes": ["<div><!--block-->1Runyon lent the painting to the Macbeth Gallery Centennial Exhibition in 1925, and the gallery's <em>Art Notes</em> from April of that year states that \"the collector who loaned it to our exhibition\" purchased the painting from the estate of the late Chauncey Blair.</div>"], "date": "-1925", "sortorder": 4}, {"description": "(Macbeth Gallery, New York, and George E. Gage Gallery, Cleveland, sold to Elizabeth Bingham Blossom)1", "citations": [], "footnotes": ["<div><!--block-->1The March 28, 1925 issue of <em>American Art News</em> notes that the painting was included in Macbeth's Centennial Exhibition in January of 1925 (cat. no. 23).&nbsp; The price (unannounced) paid for the painting established new record for the artist's work. Mr. and Mrs. Walter Clark Runyon lent the painting to the exhibition.</div>"], "date": "1925", "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, Ohio", "citations": [], "footnotes": null, "date": "1956-", "sortorder": 7}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Inness died while viewing a sunset, proclaiming, \"Oh, how beautiful!\u201d and falling to the ground.", "early_education_description": null, "artlens_description": null, "description": "Highly prolific, Inness created more than 1,000 works during a career lasting 50 years. Dated just two years before his death, <em>Sunny Autumn Day</em> epitomizes his late style in which the physical landscape is transformed into something akin to a spiritual apparition. Featuring blurred forms and atmospheric effects from translucent colors, this scene reflects Inness\u2019s mystical view of the natural world.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q20054728"], "internet_archive": ["https://archive.org/details/clevelandart-1956.578-sunny-autumn-day"]}, "citations": [{"citation": "\"Inness masterpiece sold for record price to Cleveland collector,\" <em>American Art News</em> XXIII (March 28, 1925).", "page_number": null, "url": null}, {"citation": "\"Inness masterpiece sold for record price to Cleveland collector,\" <em>American Art News</em> XXIII (March 28, 1925).", "page_number": null, "url": null}, {"citation": "Macbeth Gallery, and Inness, George, 1825-1894. <em>George Inness, 1825-1894; Centennial Exhibition, January 20-February 9 1925, the Macbeth Gallery</em>. Macbeth Gallery, 1925. &lt;http://libmma.contentdm.oclc.org/u?/p15324coll1,2101&gt;", "page_number": null, "url": null}, {"citation": "Macbeth Gallery, <em>Art Notes </em>(April 1925): 1425.", "page_number": null, "url": null}, {"citation": "Quick, Michael. George Inness: A Catalogue Raisonne\u0301. New Brunswick: Rutgers University Press, 2007. No. 1066.", "page_number": null, "url": null}, {"citation": "Macbeth Gallery Stock Disposition Cards - Sold Paintings microfilm, The Archives of American Art, New York.", "page_number": null, "url": null}, {"citation": "Macbeth Gallery, <em>Art Notes</em> (April 1925): 1425.", "page_number": null, "url": null}, {"citation": null, "page_number": null, "url": null}, {"citation": "Macbeth Gallery, <em>Art Notes</em> (April 1925): 1425.", "page_number": null, "url": null}, {"citation": "American Art Association. <em>Private Art Collection of Thomas B. Clarke, Part I - Paintings</em>. 1899.", "page_number": null, "url": null}, {"citation": "Clarke, Thomas Benedict, and Thomas E. Kirby. <em>Catalogue of the Private Art Collection of Thomas B. Clarke, New York: To Be Sold at Absolute Public Sale on the Evenings of February 14, 15, 16 and 17 at Chickering Hall ... and on the Afternoons of February 15, 16, 17 and 18 at the American Art Galleries</em>. New York: American Art Association, 1899.", "page_number": null, "url": null}, {"citation": "Macbeth Gallery, <em>Art Notes</em> (April 1925): 1425.", "page_number": null, "url": null}, {"citation": "American Art Association. <em>Private Art Collection of Thomas B. Clarke, Part I - Paintings</em>. 1899.", "page_number": null, "url": null}, {"citation": null, "page_number": null, "url": null}, {"citation": "Inness, George, Gail Stavitsky, William H. Gerdts, and Montclair Art Museum. George Inness, Presence of the Unseen : A Centennial Commemoration. Montclair, N.J.: Montclair Art Museum, 1994.", "page_number": "Mentioned p. 23; reproduced p. 25.", "url": ""}, {"citation": "DeLue, Rachael Ziady. \u201cGeorge Inness : Landscape, Representation, and the Struggle of Vision,\u201d Ph.D. dissertation, Johns Hopkins University, 2000.", "page_number": "Mentioned, p. 280; reproduced, fig. 5.31.", "url": ""}, {"citation": "<em>Report: The Commissioner-General for the United States to the International Universal Exposition, Paris, 1900.</em> Vol. 2 (Washington, DC: Government Printing Office, 1901).", "page_number": "Mentioned, p. 552; reproduced, plate B-2, between pp. 494-95.", "url": ""}, {"citation": "Daingerfield, Elliott. <em>Fifty Paintings by George Inness</em>. New York, NY: Priv. Print, 1913.", "page_number": "Reproduced: pl.37", "url": null}, {"citation": "Ireland, Leroy. <em>The Works of George Inness: An Illustrated Catalogue Raisonne\u0301</em>. Austin, TX: University of Texas Press, 1965.", "page_number": "Mentioned: p. 372-373; Reproduced: no. 1440", "url": null}, {"citation": "Adams, Celeste, Rita Myers, and Adele Z. Silver. <em>An Introduction to American Art in the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art, 1972.", "page_number": "Mentioned: p. 14-15; Reproduced: p. 15", "url": null}, {"citation": "\"A Check List: American Paintings and Water Colors of the Eighteenth, Nineteenth, and Early Twentieth Centuries in The Cleveland Museum of Art,\" <em>The Bulletin of The Cleveland Museum of Art</em> no. 1(January, 1973): 29", "page_number": "Reproduced: p. 29, no. 106", "url": null}, {"citation": "Albright-Knox Art Gallery, Detroit Institute of Arts, and Toledo Museum of Art. <em>Heritage and Horizon: American Painting, 1776-1976. </em>Toledo, OH: Toledo Museum of Art, 1976.", "page_number": "Reproduced: p. 37", "url": null}, {"citation": "Cikovsky, Nicolai. <em>The Life and Work of George Inness</em>. New York, NY: Garland Pub, 1977.", "page_number": "Mentioned: p. 309-316, 327-335; Reproduced: no. 120", "url": null}, {"citation": "Chong, Alan. <em>European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogue</em>. Cleveland, OH: Cleveland Museum of Art, 1993.", "page_number": "Reproduced: p. 114", "url": null}, {"citation": "Carr, Carolyn Kinder and Robert W Rydell. <em>Revisiting the White City : American Art at the 1893 World's Fair</em>. Washington, DC: National Museum of American Art and National Portrait Gallery, Smithsonian Institution, Washington, DC: University Press of New England, 1993.", "page_number": "Reproduced: p. 269", "url": null}, {"citation": "DeLue, Rachael Ziady. <em>George Inness and the Science of Landscape</em>. Chicago, IL: University of Chicago Press, 2004.", "page_number": "Reproduced: pl. 18", "url": null}, {"citation": "Quick, Michael. <em>George Inness: A Catalogue Raisonne\u0301</em>. New Brunswick, NJ: Rutgers University Press, 2007.", "page_number": "Reproduced: p. 371, fig. 1066", "url": null}], "url": "https://clevelandart.org/art/1956.578", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1956.578/1956.578_web.jpg", "width": "1179", "height": "893", "filesize": "817166", "filename": "1956.578_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1956.578/1956.578_print.jpg", "width": "3400", "height": "2576", "filesize": "6459446", "filename": "1956.578_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1956.578/1956.578_full.tif", "width": "4950", "height": "3750", "filesize": "55714008", "filename": "1956.578_full.tif"}}, "alternate_images": [{"web": {"url": "https://openaccess-cdn.clevelandart.org/1956.578/1956.578_alt0_web.jpg", "width": "1095", "height": "893", "filesize": "811492"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1956.578/1956.578_alt0_print.jpg", "width": "3400", "height": "2774", "filesize": "7024915"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1956.578/1956.578_alt0_full.tif", "width": "3888", "height": "3172", "filesize": "37042036"}, "date_created": "2008-06-23T19:34:22", "annotation": ""}], "creditline": "Anonymous Gift", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "The Cleveland Foundation Gallery", "athena_id": 134072, "creators": [{"id": 2493, "description": "George Inness (American, 1825\u20131894)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1825", "death_year": "1894", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1956-10-24T00:00:00", "sortable_date": 1892, "date_added_to_oa": null, "date_text": "1892", "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": "2026-10-13 11:16:15.668000"}, {"id": 149388, "accession_number": "1978.45", "share_license_status": "Copyrighted", "tombstone": "Still Life with Biscuits, 1924. Pablo Picasso (Spanish, 1881\u20131973). Oil, sand, other materials on canvas; framed: 119.4 x 138.8 x 10.2 cm (47 x 54 5/8 x 4 in.); unframed: 80.8 x 100.4 cm (31 13/16 x 39 1/2 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1978.45. \u00a9 Estate of  Pablo Picasso / Artists Rights Society (ARS), New York", "current_location": "223 20th Century Avant-Garde", "title": "Still Life with Biscuits", "creation_date": "1924", "creation_date_earliest": 1924, "creation_date_latest": 1924, "artists_tags": ["Latine and Hispanic Artists", "male"], "culture": ["Spain"], "technique": "oil, sand, other materials on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 119.4 x 138.8 x 10.2 cm (47 x 54 5/8 x 4 in.); Unframed: 80.8 x 100.4 cm (31 13/16 x 39 1/2 in.)", "dimensions": {"framed": {"height": 1.194, "height_inch": 47, "height_inch_fraction": 0.0, "width": 1.388, "width_inch": 54, "width_inch_fraction": 0.625, "depth": 0.102, "depth_inch": 4, "depth_inch_fraction": 0.0}, "unframed": {"height": 0.808, "height_inch": 31, "height_inch_fraction": 0.8125, "width": 1.004, "width_inch": 39, "width_inch_fraction": 0.5}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of  Pablo Picasso / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "Signed lower left: \"Picasso / 24 [probably added later]\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304286, "title": "Year in Review: 1978", "description": "<i>Year in Review: 1978</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 13-March 18, 1979).", "opening_date": "1979-02-13T05:00:00"}, {"id": 310025, "title": "Creativity in Art and Science, 1860-1960", "description": "<i>Creativity in Art and Science, 1860-1960</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 16-November 8, 1987).", "opening_date": "1987-09-16T04:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008).", "opening_date": "2006-05-27T00:00:00"}, {"id": 441481, "title": "Gallery One 2012", "description": "<i>Gallery One 2012</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 12, 2012-March 5, 2017).", "opening_date": "2012-12-12T05:00:00"}], "legacy": []}, "provenance": [{"description": "Paul Rosenberg [1881-1959], Paris, France", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "(E. V. Thaw, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "-1978", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1978-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Picasso created a wide variety of textures and patterns in this still life. The off-white paint used to represent the biscuits was applied like cake frosting in smooth, thick strokes, probably with a palette knife.", "early_education_description": null, "artlens_description": null, "description": "The white geometric shape in the center of this painting represents a compote (a bowl with a base and stem) upon which three green fruits are arranged. To the right is a plate of long, wafer-thin biscuits that could be <em>langues-de-chat </em>(French for \u201ccats\u2019 tongues\u201d), named for their shape. This painting is among the last of the artist\u2019s forays into the style of Synthetic Cubism in which lively colors and large, geometric shapes were used to depict recognizable objects.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60473489"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art, \u201cThe Cleveland Museum of Art Acquires 1924 Picasso Still Life,\u201d October 2, 1978, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr2589"}, {"citation": "Lee, Sherman E. \u201cThe Year in Review for 1978.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 66, no. 1 (January 1979): 3\u201348.", "page_number": "Reproduced: p. 26; Mentioned: p. 46, no. 126", "url": "http://www.jstor.org/stable/25159613"}, {"citation": "Henning, Edward B. \u201cTwo New Cubist Paintings by Juan Gris and Pablo Picasso.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 68, no. 2 (February 1981): 39\u201350.", "page_number": "Mentioned and reproduced: p. 46-47, fig. 15, Back Cover", "url": "http://www.jstor.org/stable/25159711"}, {"citation": "Henning, Edward B. <em>Creativity in Art and Science, 1860-1960.</em> [Cleveland, Ohio]: Published by the Cleveland Museum of Art in cooperation with Indiana University Press, 1987.", "page_number": "Mentioned and reproduced: P. 117, no. 25", "url": ""}, {"citation": "Boggs, Jean Sutherland, Brigitte Le\u0301al, and Marie-Laure Bernadac. <em>Picasso and Things: The Still Lifes of Picasso. </em>Cleveland: Cleveland Museum of Art, 1992.", "page_number": "Mentioned and reproduced: P. 210-211, no. 82", "url": ""}], "url": "https://clevelandart.org/art/1978.45", "images": {}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Michael J. Horvitz Family Gallery", "athena_id": 149388, "creators": [{"id": 2160, "description": "Pablo Picasso (Spanish, 1881\u20131973)", "extent": null, "qualifier": null, "role": "artist", "biography": "Pablo Ruiz Picasso (1881-1973), the most prolific and influential artist of the 20th century, shifted the emphasis of art from its traditional concern with beauty toward radical innovation. The son of an art teacher, Picasso demonstrated remarkable talents as a child and entered the royal art academy in Madrid at age sixteen. Less than a year later, he abandoned his studies and soon joined several avant-garde artist and anarchist groups in Barcelona and Paris. After passing through a succession of stylistic periods, most notably the Blue (1901-1904) and Rose (1904-1906) Periods, he collaborated with Georges Braque (1882-1963) in 1908 to invent Cubism, a revolutionary method of restructuring pictorial space. Picasso remained active until his death in 1973. Although his art still appears radical, many of his works are over one hundred years old. Cubism, perhaps the most important development in 20th-century art, was invented around 1908 by Pablo Picasso (1881-1973) and Georges Braque (1882-1963). The most revolutionary aspect of the style was not its obvious emphasis on geometric form; rather, it was the introduction of a radically new approach to configuring pictorial space. Since the Renaissance, artists had used various methods to create the illusion of distant space receding behind the canvas surface. The Cubists rejected that idea and collapsed space by compressing foreground, middle ground, and background into a continuous web of overlapping, intersecting planes. During the 1910s, other painters and sculptors embraced or adapted Cubism to their own ends. This revolutionary approach inspired a host of related movements and continues to influence the visual language of artists, architects, and designers throughout the world.", "name_in_original_language": null, "birth_year": "1881", "death_year": "1973", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1978-08-10T00:00:00", "sortable_date": 1924, "date_added_to_oa": null, "date_text": "1924", "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": "2026-08-19 20:06:59.479000"}, {"id": 137308, "accession_number": "1962.239", "share_license_status": "Copyrighted", "tombstone": "No. 2 (Red Maroons), 1962. Mark Rothko (American, 1903\u20131970). Oil on canvas; framed: 202 x 207 x 3.5 cm (79 1/2 x 81 1/2 x 1 3/8 in.); unframed: 200.7 x 205.7 cm (79 x 81 in.). The Cleveland Museum of Art, Contemporary Collection and Friends of The Cleveland Museum of Art, 1962.239. \u00a9 1998 Kate Rothko Prizel & Christopher Rothko / Artists Rights Society (ARS), New York", "current_location": "227 Abstract Expressionism", "title": "No. 2 (Red Maroons)", "creation_date": "1962", "creation_date_earliest": 1962, "creation_date_latest": 1962, "artists_tags": ["Jewish artists", "male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "measurements": "Framed: 202 x 207 x 3.5 cm (79 1/2 x 81 1/2 x 1 3/8 in.); Unframed: 200.7 x 205.7 cm (79 x 81 in.)", "dimensions": {"framed": {"height": 2.02, "height_inch": 79, "height_inch_fraction": 0.5, "width": 2.07, "width_inch": 81, "width_inch_fraction": 0.5, "depth": 0.035, "depth_inch": 1, "depth_inch_fraction": 0.375}, "unframed": {"height": 2.007, "height_inch": 79, "height_inch_fraction": 0.0, "width": 2.057, "width_inch": 81, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 1998 Kate Rothko Prizel & Christopher Rothko / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "Signed on back of canvas: \"Mark Rothko 1962 #2\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 302276, "title": "Year in Review - 1962", "description": "<i>Year in Review - 1962</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 24-November 25, 1962).", "opening_date": "1962-10-24T04:00:00"}, {"id": 300904, "title": "Fifty Years of Modern Art", "description": "<i>Fifty Years of Modern Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 15-July 31, 1966).", "opening_date": "1966-06-15T04:00:00"}, {"id": 310025, "title": "Creativity in Art and Science, 1860-1960", "description": "<i>Creativity in Art and Science, 1860-1960</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 16-November 8, 1987).", "opening_date": "1987-09-16T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Rothko once stated, \u201cA painting is not a picture of an experience, but is the experience.\u201d", "early_education_description": null, "artlens_description": null, "description": "When asked to explain the aims of his art, Rothko answered, \u201cI\u2019m interested only in expressing basic human emotions\u2014tragedy, ecstasy, doom, and so on. . . .\u201d Most of his mature works feature diffuse areas of color appearing to float against a background of a different hue. Rothko typically applied several layers of diluted paint to each canvas, sometimes rubbing the wet surfaces with cloths to achieve his ethereal effects. Born Marcus Rothkowitz, the artist altered his name in 1940, partly in response to antisemitism. He and fellow Jewish artists\u2014including Lee Krasner, Morris Louis, and Louise Nevelson, all represented in this gallery\u2014made major contributions toward the development of American abstract art during the mid-1900s.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60466138"], "internet_archive": []}, "citations": [{"citation": "Henning, Edward B. \u201cIn Pursuit of: Content.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 50, no. 8 (October 1963): 219\u2013239.", "page_number": "Mentioned and reproduced: p. 229-231, fig. 4", "url": "http://www.jstor.org/stable/25151964"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 203", "url": "https://archive.org/details/CMAHandbook1966/page/n227"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 203", "url": "https://archive.org/details/CMAHandbook1969/page/n227"}, {"citation": "Cleveland Museum of Art. <em>Art of the Twentieth Century in the Cleveland Museum of Art</em>. Cleveland, OH: Dept. of Art History &amp; Education, CMA, 1969.", "page_number": "Mentioned: p. 4", "url": "https://archive.org/details/20thCenturyArtCMA/page/n5"}, {"citation": "Henning, Edward B. \u201cPlanes, Structure, Color, and Content.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 61, no. 7 (September 1974): 223\u2013239.", "page_number": "Mentioned and reproduced: p. 231, fig. 17", "url": "http://www.jstor.org/stable/25152534"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 250", "url": "https://archive.org/details/CMAHandbook1978/page/n270"}, {"citation": "Henning, Edward B. <em>Creativity in Art and Science, 1860-1960.</em> [Cleveland, Ohio]: Published by the Cleveland Museum of Art in cooperation with Indiana University Press, 1987.", "page_number": "Mentioned and reproduced: P. 133, no. 44", "url": ""}, {"citation": "Anfam, David. <em>Mark Rothko: The Works on Canvas: Catalogue Raisonne\u0301.</em> New Haven: Yale University Press, 1998.", "page_number": "Reproduced:  p. 571, no. 718", "url": ""}], "url": "https://clevelandart.org/art/1962.239", "images": {}, "alternate_images": [], "creditline": "Contemporary Collection and Friends of The Cleveland Museum of Art", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Frank H. and Nancy L. Porter Gallery", "athena_id": 137308, "creators": [{"id": 3627, "description": "Mark Rothko (American, 1903\u20131970)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1903", "death_year": "1970", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1962-11-17T00:00:00", "sortable_date": 1962, "date_added_to_oa": null, "date_text": "1962", "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": ["Red Maroons"], "is_highlight": false, "updated_at": "2026-05-01 06:49:46.909000"}, {"id": 118490, "accession_number": "1939.524", "share_license_status": "Copyrighted", "tombstone": "The Drive, Central Park, c. 1905. William Glackens (American, 1870\u20131938). Oil on canvas; framed: 84.1 x 99.4 x 9.5 cm (33 1/8 x 39 1/8 x 3 3/4 in.); unframed: 64.5 x 81 cm (25 3/8 x 31 7/8 in.); former: 84 x 99 x 11.5 cm (33 1/16 x 39 x 4 1/2 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1939.524", "current_location": "208 American Gilded Age and Realism", "title": "The Drive, Central Park", "creation_date": "c. 1905", "creation_date_earliest": 1900, "creation_date_latest": 1910, "artists_tags": ["male"], "culture": ["United States"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 84.1 x 99.4 x 9.5 cm (33 1/8 x 39 1/8 x 3 3/4 in.); Unframed: 64.5 x 81 cm (25 3/8 x 31 7/8 in.); Former: 84 x 99 x 11.5 cm (33 1/16 x 39 x 4 1/2 in.)", "dimensions": {"framed": {"height": 0.841, "height_inch": 33, "height_inch_fraction": 0.125, "width": 0.994, "width_inch": 39, "width_inch_fraction": 0.125, "depth": 0.095, "depth_inch": 3, "depth_inch_fraction": 0.75}, "unframed": {"height": 0.645, "height_inch": 25, "height_inch_fraction": 0.375, "width": 0.81, "width_inch": 31, "width_inch_fraction": 0.875}, "former": {"height": 0.84, "height_inch": 33, "height_inch_fraction": 0.0625, "width": 0.99, "width_inch": 39, "width_inch_fraction": 0.0, "depth": 0.115, "depth_inch": 4, "depth_inch_fraction": 0.5}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower right:  W. Glackens", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 312153, "title": "The Eight", "description": "<i>The Eight</i>. The Cleveland Museum of Art, Cleveland, OH (February 9-March 4, 1944).", "opening_date": "1944-02-09T05:00:00"}, {"id": 311898, "title": "35th Anniversary Exhibition", "description": "<i>35th Anniversary Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 20-September 30, 1951).", "opening_date": "1951-06-20T04:00:00"}, {"id": 520061, "title": "Modern American Painting 1915", "description": "<i>Modern American Painting 1915</i>. San Diego Museum of Art (organizer) (December 7, 1962-January 6, 1963).", "opening_date": "1962-12-07T05:00:00"}, {"id": 304210, "title": "What Was the Armory Show?", "description": "<i>What Was the Armory Show?</i>. The Cleveland Museum of Art, Cleveland, OH (June 27-September 15, 1963).", "opening_date": "1963-06-27T04:00:00"}, {"id": 515965, "title": "Retrospective of Work by Richard Glackens", "description": "<i>Retrospective of Work by Richard Glackens</i>. Saint Louis Art Museum, St. Louis, MO (organizer) (November 18-December 31, 1966); Smithsonian American Art Museum, Washington, DC (February 1-April 2, 1967); Whitney Museum of American Art, New York, NY (April 25-June 11, 1967).", "opening_date": "1966-11-16T05:00:00"}, {"id": 516390, "title": "The Art of William Glackens", "description": "<i>The Art of William Glackens</i>. Jane Voorhees Zimmerli Art Museum, New Brunswick, NJ (organizer) (January 10-February 10, 1967).", "opening_date": "1967-01-10T05:00:00"}, {"id": 445649, "title": "The American Scene 1900 - 1970", "description": "<i>The American Scene 1900 - 1970</i>. Indiana University Art Museum, Bloomington, IN (organizer) (April 5-May 17, 1970).", "opening_date": "1970-04-05T05:00:00"}, {"id": 442840, "title": "American Paintings 1825 - 1915 from the Cleveland Museum of Art", "description": "<i>American Paintings 1825 - 1915 from the Cleveland Museum of Art</i>. Johnson-Humrickhouse Museum, Coshocton, OH (organizer) (July 7-November 1, 1979).", "opening_date": "1979-07-07T04:00:00"}, {"id": 223204, "title": "Visions of America: Urban Realism 1900-1945", "description": "<i>Visions of America: Urban Realism 1900-1945</i>. Columbus Museum of Art (January 5-March 3, 1996); Museo de Arte Moderno, Mexico City (April 5-June 2, 1996); The Butler Institute of American Art (organizer) (June 30-August 18, 1996).", "opening_date": "1996-01-05T00:00:00"}, {"id": 227084, "title": "Made in U.S.A., l'art am\u00e9ricain, 1908-1943, entre nationalisme et internationalisme [FRAME]", "description": "<i>Made in U.S.A., l'art am\u00e9ricain, 1908-1943, entre nationalisme et internationalisme [FRAME]</i>. Mus\u00e9e des Beaux-Arts de Bordeaux, F-33000 Bordeaux, France (organizer) (October 5-December 31, 2001); Mus\u00e9e des Beaux-Arts de Rennes, Rennes, France (January 17-March 31, 2002); Mus\u00e9e Fabre, Montpellier, France (April 10-June 25, 2002).", "opening_date": "2001-10-05T00:00:00"}, {"id": 232210, "title": "William Glackens; Sensuous Modernism", "description": "<i>William Glackens; Sensuous Modernism</i>. Museum of Art, Fort Lauderdale, Fort Lauderdale, FL (organizer) (February 23-June 1, 2014); Parrish Art Museum, Water Mill, NY (July 19-October 12, 2014); The Barnes Foundation, Philadelphia, PA (November 8, 2014-February 16, 2015).", "opening_date": "2014-02-23T00:00:00"}], "legacy": [{"description": "New York, The Metropolitan Museum of Art, La Pintura Contempor\u00e1nea Norteamericana (1941); traveled to Buenos Aires, Museo Nacional de Bellas Artes, (3 July-31 July 19410; to Montevideo, Galeria del Teatro Solis, (18 August-19 September 1941); to Rio de Janeiro, Museo de Bellas Artes (8 November-9 December 1941), illus. p. 51.", "opening_date": "1941-07-03T00:00:00"}, {"description": "Philadelphia, Philadelphia Museum of Art, Artists of the Philadelphia Press (14 October-18 November 1945), cat. no. 4, see The Philadelphia Museum Bulletin (November, 1945), vol. XLI, no. 207 for catalogue.", "opening_date": "1945-10-14T00:00:00"}, {"description": "New York, Kraushaar Galleries, Paintings and Drawings by William Glackens (3-29 January 1949), cat. no. 3.", "opening_date": "1949-01-03T00:00:00"}, {"description": "Dayton, Dayton Art Institute, American and Impressionism (19 October-11 November 1951); traveled to Columbus, Columbus Gallery of Fine Arts (18 November-16 December 1951).", "opening_date": "1951-10-19T00:00:00"}, {"description": "Philadelphia, Pennsylvania Academy of the Fine Arts, The One Hundred and Fiftieth Anniversary Exhibition (15 January-13 March 1955), cat. no. 208, pp. 124-129, illus. p. 125.", "opening_date": "1955-01-15T00:00:00"}, {"description": "Sent from the Pennsylvania Academy of Fine Arts on a good-will tour through the U.S. Information Agency, Washington, D.C. to: Madrid, Sala de la Direccion General de Belles Artes, (21 April-8 May 1955), illus. cat. no. 73, p. 43.", "opening_date": "1955-04-21T00:00:00"}, {"description": "Florence, Palazzo Strozzi, l'Esposizione per il 150 Anniversario della Pennsylvania Academy of the Fine Arts di Filadelfia (June 1955), illus. cat. no 73, p. 43; Innsbruck, Ferdinandeum Museum (16 July-20 August 1955), illus. cat. no. 73.", "opening_date": "1955-07-16T00:00:00"}, {"description": "Ghent, Belgium, The Ghent Museum (3 September-2 October 1955), illus. cat. no. 81.", "opening_date": "1955-09-03T00:00:00"}, {"description": "Stockholm, Royal Academy of the Free Arts, (4-27 November 1955), illus. cat. no. 83, p. 24.", "opening_date": "1955-11-04T00:00:00"}, {"description": "San Diego, The Fine Arts Gallery of San Diego, Modern American Painting: 1915 (6 December 1962-6 January 1963), cat. no. 11.", "opening_date": "1962-12-06T00:00:00"}, {"description": "St. Louis, City Art Museum of Saint Louis, William Glackens in Retrospect (18 November-31 December 1966); traveled to Washington, D.C., National Collection of Fine Arts, Smithsonian Institution (1 February-2 April 1967); to New York, Whitney Museum of American Art (25 April-11 June 1967), illus. cat. no. 16.", "opening_date": "1966-11-18T00:00:00"}, {"description": "Bloomington, IN, Indiana University Art Museum, The American Scene 1900-1970: An Exhibition of Twentieth Century Painting Held in Honor of the Sesquicentennial of Indiana University (6 April-17 May 1970), illus. cat. no. 47.", "opening_date": "1970-04-06T00:00:00"}, {"description": "Coshocton, OH, The Johnson-Humrickhouse Memorial Museum, American Paintings 1825-1915 from The Cleveland Museum of Art (7 July-1 November 1979), illus. p. 11, fig. 14, listed p. 13.", "opening_date": "1979-07-07T00:00:00"}, {"description": "Tokyo, The National Museum of Modern Art, Japanese Artists Who Studied in U.S.A. and the American Scene (24 July-5 September 1982); traveled to Kyoto, The National Museum of Modern Art, (14 September-11 October 1982), cat. no. 65, pp. 93-94, illus. p. 94.", "opening_date": "1982-07-24T00:00:00"}, {"description": "Wilmington, DE, Delaware Art Museum, William Glackens: Illustrator in New York, 1897-1919 (15 March-28 April 1985); traveled to State College, PA, Pennsylvania State University Museum of Art (30 June-8 September 1985); to Yonkers, NY, Hudson River Museum (15 September-24 November 1985), cat. no. 3, illus.", "opening_date": "1985-03-15T00:00:00"}, {"description": "Kalamazoo, MI, Kalamazoo Institute of Arts, A Century of Caring: One Hundred Years of American Realism (18 May-3 August 1986), illus. p. 16, listed p. 49.", "opening_date": "1986-05-18T00:00:00"}]}, "provenance": [{"description": "Mrs. William J. Glackens, widow of the artist; (C. W. Kraushaar Art Gallery)", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [{"id": 127065, "description": "The Drive, Central Park, c. 1905. William Glackens (American, 1870\u20131938). Gouache over pencil; sheet: 18.5 x 25.9 cm (7 5/16 x 10 3/16 in.). The Cleveland Museum of Art, Gift of Mrs. William J. Glackens 1949.4", "relationship": null}], "former_accession_numbers": [], "did_you_know": "Glackens\u2019s lifelong nickname \u201cButts\u201d was acquired when he wore a coat with prominent brass buttons.", "early_education_description": null, "artlens_description": null, "description": "Glackens derived much inspiration from New York\u2019s Central Park, painting it several times during his early career. In this canvas he recorded the weekday ritual of wealthy Manhattanites parading through the park in their elegant horse-drawn carriages. This tradition drew spectators eager to witness the pageantry, and for all involved, it was an opportunity to see and be seen.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q19967594"], "internet_archive": ["https://archive.org/details/clevelandart-1939.524-the-drive-central-pa"]}, "citations": [{"citation": "Francis, Henry S. \u201cAn Oil by William Glackens.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 27, no. 3 (March 1940): 35\u201336.", "page_number": "Mentioned and reproduced: p. 35-36", "url": "http://www.jstor.org/stable/25138083"}, {"citation": "Prasse, Leona. \"A Drawing by William Glackens.\" <em>The Bulletin of the Cleveland Museum of Art </em>36, no. 6 (June 1949): 103-104.", "page_number": "Mentioned: p. 103", "url": "https://www.jstor.org/stable/25141561"}, {"citation": "The Cleveland Museum of Art. <em>The Cleveland Museum of Art Handbook.</em> Cleveland, OH: The Cleveland Museum of Art, 1958.", "page_number": "Mentioned and Reproduced: cat. no. 544", "url": "https://archive.org/details/CMAHandbook1958/page/n101"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 189", "url": "https://archive.org/details/CMAHandbook1966/page/n213"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 189", "url": "https://archive.org/details/CMAHandbook1969/page/n213"}, {"citation": "\u201cA Check List. American Paintings and Water Colors of the Eighteenth, Nineteenth, and Early Twentieth Centuries in the Cleveland Museum of Art.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 60, no. 1 (January 1973): 21\u201335.", "page_number": "Mentioned and reproduced: p. 26, no. 67", "url": "http://www.jstor.org/stable/25152465"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 235", "url": "https://archive.org/details/CMAHandbook1978/page/n255"}, {"citation": "Corriveau, Bethany. \"The Art of Storytelling.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 56, no. 1 (January/February 2016): 21.", "page_number": "Reproduced and Mentioned: p. 21.", "url": "https://archive.org/details/CMAMM2016-01/page/20/mode/2up"}, {"citation": "Chassey, Eric de. Made in USA: l'art ame\u0301ricain, 1908-1947 : Bordeaux, Muse\u0301e des beaux-arts, 10 octobre-31 de\u0301cembre 2001, Renne, Muse\u0301e des beaux-arts, 18 janvier-31 mars 2002, Montpellier, Muse\u0301e Fabre, 12 avril-23 juin 2001. Paris: Re\u0301union des muse\u0301es nationaux, 2001.", "page_number": "illus. p. 44.", "url": null}], "url": "https://clevelandart.org/art/1939.524", "images": {}, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "The Cleveland Foundation Gallery", "athena_id": 118490, "creators": [{"id": 3086, "description": "William Glackens (American, 1870\u20131938)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1870", "death_year": "1938", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1939-12-19T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "c. 1905", "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": "2026-10-17 11:22:14.406000"}, {"id": 172815, "accession_number": "1922.684", "share_license_status": "CC0", "tombstone": "Mount Starr King, Yosemite, 1866. Albert Bierstadt (American, born Prussia [now Germany], 1830\u20131902). Oil on canvas on panel-back stretcher; framed: 135.3 x 181 x 15.6 cm (53 1/4 x 71 1/4 x 6 1/8 in.); unframed: 97 x 142.3 cm (38 3/16 x 56 in.). The Cleveland Museum of Art, Hinman B. Hurlbut Collection, 1922.684", "current_location": "206 American Landscape", "title": "Mount Starr King, Yosemite", "creation_date": "1866", "creation_date_earliest": 1866, "creation_date_latest": 1866, "artists_tags": ["male"], "culture": ["United States"], "technique": "oil on canvas on panel-back stretcher", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 135.3 x 181 x 15.6 cm (53 1/4 x 71 1/4 x 6 1/8 in.); Unframed: 97 x 142.3 cm (38 3/16 x 56 in.)", "dimensions": {"framed": {"height": 1.353, "height_inch": 53, "height_inch_fraction": 0.25, "width": 1.81, "width_inch": 71, "width_inch_fraction": 0.25, "depth": 0.156, "depth_inch": 6, "depth_inch_fraction": 0.125}, "unframed": {"height": 0.97, "height_inch": 38, "height_inch_fraction": 0.1875, "width": 1.423, "width_inch": 56, "width_inch_fraction": 0.0}, "former": {"height": 1.353, "height_inch": 53, "height_inch_fraction": 0.25, "width": 1.803, "width_inch": 71, "width_inch_fraction": 0.0, "depth": 0.159, "depth_inch": 6, "depth_inch_fraction": 0.25}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower right:  ABierstadt. / 66 [AB in monogram]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 317359, "title": "The Artist in the American West, 1800-1900", "description": "<i>The Artist in the American West, 1800-1900</i>. Santa Fe Musuem of Art (co-organizer).", "opening_date": null}, {"id": 317001, "title": "Inaugural Exhibition", "description": "<i>Inaugural Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (co-organizer) (June 6-September 20, 1916).", "opening_date": "1916-06-06T05:00:00"}, {"id": 317349, "title": "The World of the Romantic Artist: A Survey of American Culture from 1800-1875", "description": "<i>The World of the Romantic Artist: A Survey of American Culture from 1800-1875</i>. The Detroit Institute of Arts, Detroit, MI (organizer) (co-organizer) (December 28, 1944-January 28, 1945).", "opening_date": "1944-12-28T04:00:00"}, {"id": 316674, "title": "The Hudson River School and the Early American Landscape Tradition", "description": "<i>The Hudson River School and the Early American Landscape Tradition</i>. The Art Institute of Chicago, Chicago, IL (organizer) (co-organizer) (February 15-March 25, 1945); Whitney Museum of American Art, New York, NY (April 17-May 18, 1945).", "opening_date": "1945-02-15T04:00:00"}, {"id": 317355, "title": "American Artists Discover America", "description": "<i>American Artists Discover America</i>. Allen Memorial Art Museum, Oberlin, OH (organizer) (co-organizer) (February 2-25, 1946).", "opening_date": "1946-02-02T05:00:00"}, {"id": 317789, "title": "A Retrospective Exhibition: Albert Bierstadt 1830-1902", "description": "<i>A Retrospective Exhibition: Albert Bierstadt 1830-1902</i>. Santa Barbara Museum of Art (organizer) (August 5-September 13, 1964).", "opening_date": "1964-08-05T04:00:00"}, {"id": 228270, "title": "The Mythology of the American West", "description": "<i>The Mythology of the American West</i>. Mus\u00e9e des Beaux-Arts de Rouen, Rouen, France (organizer) (September 28, 2007-January 7, 2008); Mus\u00e9e des Beaux-Arts de Rennes, Rennes, France (February 18-May 18, 2008).", "opening_date": "2007-09-28T00:00:00"}], "legacy": [{"description": "Cleveland, The Cleveland Museum of Art, Catalogue of The Inaugural Exhibition (6 June-20 September 1916), cat. no. 2 as Starr King Mountain, California.", "opening_date": "1916-06-06T00:00:00"}, {"description": "Detroit, The Detroit Institute of Arts, The World of the Romantic Artist: A Survey of American Culture from 1800-1875 (28 December 1944-28 January 1945), cat. no. 45, p. 29 as Starr King Mountain, California.", "opening_date": "1944-12-28T00:00:00"}, {"description": "Chicago, The Art Institute of Chicago, The Hudson River School and the Early American Landscape Tradition (15 February-25 March 1945); traveled to New York, Whitney Museum of American Art (17 April-18 May 1945); cat. no. 13 as Starr King Mountain, California, illus. p. 108.", "opening_date": "1945-02-15T00:00:00"}, {"description": "Oberlin, Ohio, Allen Memorial Art Museum, Oberlin College, American Artists Discover America (2-25 February 1946), cat. no. 4, illus. p. 12 as Starr King Mountain, California, catalogue appears in Bulletin of the Allen Memorial Art Museum (February 1946), vol. 3, no. 1.", "opening_date": "1946-02-02T00:00:00"}, {"description": "Santa Fe, Fine Arts Museum of New Mexico, The Artist in the American West, 1800-1900 cat. no. 2, illus. as Starr King Mountain, California.", "opening_date": "1900-01-01T00:00:00"}, {"description": "Santa Barbara, Santa Barbara Museum of Art, A Retrospective Exhibition: Albert Bierstadt 1830-1902 (5 August-13 September 1964), cat. no. 27, illus. as Starr King Mountain, California.", "opening_date": "1964-08-05T00:00:00"}, {"description": "Mus\u00e9e des Beaux-Arts, Rouen (9/.28/2007 - 1/7/2008) and Mus\u00e9e des Beaux-Arts, Rennes (2/18/2008 - 5/18/2008): \"The Mythology of the American West\"", "opening_date": "2008-01-07T00:00:00"}]}, "provenance": [{"description": "Chester Guild Cutter (1852\u20131917), Nyack, NY, purchased from the artist", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "Frank E. Marshall (1857\u20131915), Philadelphia, PA", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "[Vose Gallery, Boston, MA]", "citations": [], "footnotes": null, "date": "1922", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH, purchased in 1922", "citations": [], "footnotes": null, "date": "1922-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": ["50.1922", "916.16", "221.1922"], "did_you_know": "Highly successful, Bierstadt built a mansion and named it Malkasten, a German word meaning \u201cpaintbox.\u201d", "early_education_description": null, "artlens_description": null, "description": "During the summer of 1863, Bierstadt visited Yosemite Valley in California and made numerous sketches. Back in his New York studio, he used them to produce many majestic paintings, including this view of the distant granite peak Mount Starr King. Such scenes thrilled East Coast audiences and helped encourage early movements to safeguard natural wonders. In 1864, President Lincoln signed a bill preserving Yosemite as public property; it became a national park in 1890. <br><br>Bierstadt included two Native Americans with a packhorse in his composition, and their presence references the fact that Indigenous peoples had inhabited or seasonally visited the region for millennia. Over time, various government and military agencies dispossessed them of these ancestral lands. Although no longer residents in the national park, descendants of the seven Indigenous nations with ties to Yosemite persevered to live in neighboring areas.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117230185", "https://www.wikidata.org/wiki/Q20538814"], "internet_archive": ["https://archive.org/details/clevelandart-1922.684-mount-starr-king-yos"]}, "citations": [{"citation": "Salome, Laurent, and Joan Carpenter Troccoli.<em> La Mythologie de l\u2019Ouest Dans L\u2019art Americain, 1830-1940.</em> Cinisello Balsamo, Milan: Silvana, 2007.", "page_number": "Mentioned, p. 138; reproduced, p. 137.", "url": ""}, {"citation": "Richardson, Edgar P. <em>American Romantic Painting.</em> Edited by Robert Freund. New York: E. Weyhe, 1944.", "page_number": "Reproduced: p. 25, cat. 203", "url": null}, {"citation": "Hendricks, Gordon. \"The First Three Western Journeys of Albert Bierstadt.\" <em>The Art Bulletin.</em> 46:3 (September, 1964). pp. 333-365.", "page_number": "Mentioned: p. 346; Reproduced: fig. 16", "url": null}, {"citation": "Talbot, William S. \"American Visions of Wilderness.\" <em>The Bulletin of the Cleveland Museum of Art</em> 56, no. 4 (1969): 151-66.", "page_number": "Reproduced: p. 162, fig. 12; Mentioned: p. 163", "url": "www.jstor.org/stable/25152270"}, {"citation": "Talbot, William S. \"American Visions of Wilderness.\" <em>The Living Wilderness</em>. 33:108 (Winter, 1969). pp. 14-25.", "page_number": "Reproduced: p. 22, fig. 6", "url": null}, {"citation": "Adams, Celeste, Rita Myers, and Adele Z. Silver. <em>An Introduction to American Art in the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art, 1972.", "page_number": "Mentioned: p. 8; Reproduced: p. 9", "url": null}, {"citation": "\"A Check List. American Paintings and Water Colors of the Eighteenth, Nineteenth, and Early Twentieth Centuries in the Cleveland Museum of Art.\" <em>The Bulletin of the Cleveland Museum of Art</em> 60, no. 1 (1973): 21-35", "page_number": "Reproduced: Front cover (detail); Mentioned: p. 22, no. 16", "url": "www.jstor.org/stable/25152465"}, {"citation": "Talbot, William S. \"American Landscape Paintings in the Cleveland Museum of Art.\" <em>Antiques</em>. 104:5. pp. 906-917.", "page_number": "Reproduced:", "url": null}, {"citation": "Hendricks, Gordon. <em>Albert Bierstadt: Painter of the American West</em>. New York: H.N. Abrams, 1973.", "page_number": "Reproduced: pp. 111-175, 321-324, illus. CL-186", "url": null}, {"citation": "Startz, Jane. <em>American Adventures: A Filmstrip History of the United States</em>. Englewood Cliffs, N.J.: Scholastic Magazines, 1973.", "page_number": null, "url": null}, {"citation": "Johnson, Mark M. \"American Landscapes. . .Scenes as Divergent as the Land Itself.\" <em>Arts and Activities</em>. 82:4 (December, 1977). pp. 28-32.", "page_number": "Reproduced: p. 29, fig. 2", "url": null}, {"citation": "Talbot, William. \"Indian Summer by Jasper F. Cropsey.\" <em>Bulletin of the Detroit Institute of Arts</em> 58, no. 3 (1980): 150-61.", "page_number": "Mentioned: p. 158; Reproduced: p. 159, fig. 11", "url": "www.jstor.org/stable/41504663"}, {"citation": "Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 1991.", "page_number": "Reproduced: p. 132", "url": "https://archive.org/details/CMAHandbook1991/page/n147/"}, {"citation": "Robertson, Bruce. \"Frederic A. Whiting: Founding the Museum with Art and Craft.\" In <em>Object Lessons: Cleveland Creates an Art Museum</em>. Cleveland: Cleveland Museum of Art, 1991.", "page_number": "Reproduced: p. 47", "url": null}, {"citation": "Chong, Alan. <em>European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogue</em>. Cleveland, OH: Cleveland Museum of Art, 1993.", "page_number": "Reproduced: p. 12", "url": null}, {"citation": "Turner, Evan H. Foreward to <em>Catalogue of Photography</em>, by Tom E. Hinson, (ix-xii). Cleveland, OH: The Cleveland Museum of Art, 1996.", "page_number": "Mentioned: p. xi", "url": null}, {"citation": "Coudert, Marie-Claude. <em>La Mythologie de l'Ouest Dans l'Art Ame\u0301ricain, 1830-1940</em>. Edited by Laurent Salome\u0301 and Joan Carpenter Troccoli. Cinisello Balsamo, Milan: Silvana Editoriale, 2007.", "page_number": "Reproduced: p. 137, fig. 24.; Mentioned: p. 138", "url": null}, {"citation": "Adams, Henry. <em>What's American About American Art?: A Gallery Tour in the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art, 2008.", "page_number": "Reproduced: p. 76 - 77", "url": null}, {"citation": "Cole, Mark, \"Picture Perfect\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 48 no. 8, October 2008", "page_number": "Mentioned and reproduced (detail), p. 9", "url": "https://archive.org/details/CMAMM2008-08/page/8/"}, {"citation": "Green, Tyler. <em>Emerson's Nature and the Artists: Idea As Landscape, Landscape As Idea</em>. Munich: Prestel, 2021.", "page_number": "Reproduced: P. 23, fig. 8", "url": ""}, {"citation": "Buehrens, John A. \"Thomas Starr King: the Brief Life and Broad Legacy of a Civilian Hero of the Civil War.\" <em>The Argonaut : Journal of the San Francisco Historical Society </em>36, n.1 (Summer 2025): 52-75.", "page_number": "Reproduced: p.73", "url": ""}, {"citation": "Imhof, Michael. <em>Die Malerei der Romantik: von Friedrich bis Turner.</em> Petersberg, Deutschland: Michael Imhof Verlag, 2026.", "page_number": "Mentioned and reproduced: p. 824-825", "url": ""}], "url": "https://clevelandart.org/art/1922.684", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1922.684/1922.684_web.jpg", "width": "1263", "height": "855", "filesize": "719317", "filename": "1922.684_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1922.684/1922.684_print.jpg", "width": "3400", "height": "2303", "filesize": "5333432", "filename": "1922.684_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1922.684/1922.684_full.tif", "width": "6000", "height": "4064", "filesize": "73183636", "filename": "1922.684_full.tif"}}, "alternate_images": [{"web": {"url": "https://openaccess-cdn.clevelandart.org/1922.684/1922.684_alt0_web.jpg", "width": "1200", "height": "893", "filesize": "858689"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1922.684/1922.684_alt0_print.jpg", "width": "3400", "height": "2530", "filesize": "6385897"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1922.684/1922.684_alt0_full.tif", "width": "4295", "height": "3196", "filesize": "41223096"}, "date_created": "2008-06-23T17:59:05", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1922.684/1922.684_alt1_web.jpg", "width": "1224", "height": "893", "filesize": "776871"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1922.684/1922.684_alt1_print.jpg", "width": "3296", "height": "2405", "filesize": "5111099"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1922.684/1922.684_alt1_full.tif", "width": "3296", "height": "2405", "filesize": "23822972"}, "date_created": "2007-02-16T00:00:00", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1922.684/1922.684_alt2_web.jpg", "width": "1263", "height": "859", "filesize": "706917"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1922.684/1922.684_alt2_print.jpg", "width": "3400", "height": "2313", "filesize": "4498124"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1922.684/1922.684_alt2_full.tif", "width": "3816", "height": "2596", "filesize": "29755672"}, "date_created": "2007-02-16T00:00:00", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1922.684/1922.684_alt3_web.jpg", "width": "1263", "height": "874", "filesize": "549601"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1922.684/1922.684_alt3_print.jpg", "width": "3400", "height": "2354", "filesize": "3493244"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1922.684/1922.684_alt3_full.tif", "width": "3834", "height": "2654", "filesize": "30563568"}, "date_created": "2007-02-16T00:00:00", "annotation": ""}], "creditline": "Hinman B. Hurlbut Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Baker & Hostetler LLP Gallery", "athena_id": 172815, "creators": [{"id": 3011, "description": "Albert Bierstadt (American, born Prussia [now Germany], 1830\u20131902)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1830", "death_year": "1902", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1922-01-31T00:00:00", "sortable_date": 1866, "date_added_to_oa": null, "date_text": "1866", "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": ["Half Dome, Yosemite Valley", "Starr King Mountain, California"], "is_highlight": false, "updated_at": "2026-10-20 11:25:19.252000"}, {"id": 124040, "accession_number": "1944.524", "share_license_status": "CC0", "tombstone": "The Brierwood Pipe, 1864. Winslow Homer (American, 1836\u20131910). Oil on canvas; framed: 68.9 x 64.1 x 9.2 cm (27 1/8 x 25 1/4 x 3 5/8 in.); unframed: 42.8 x 37.5 cm (16 7/8 x 14 3/4 in.); former: 69 x 64 x 8 cm (27 3/16 x 25 3/16 x 3 1/8 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1944.524", "current_location": "001A ArtLens Exhibition", "title": "The Brierwood Pipe", "creation_date": "1864", "creation_date_earliest": 1864, "creation_date_latest": 1864, "artists_tags": ["male"], "culture": ["United States"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 68.9 x 64.1 x 9.2 cm (27 1/8 x 25 1/4 x 3 5/8 in.); Unframed: 42.8 x 37.5 cm (16 7/8 x 14 3/4 in.); Former: 69 x 64 x 8 cm (27 3/16 x 25 3/16 x 3 1/8 in.)", "dimensions": {"framed": {"height": 0.689, "height_inch": 27, "height_inch_fraction": 0.125, "width": 0.641, "width_inch": 25, "width_inch_fraction": 0.25, "depth": 0.092, "depth_inch": 3, "depth_inch_fraction": 0.625}, "unframed": {"height": 0.428, "height_inch": 16, "height_inch_fraction": 0.875, "width": 0.375, "width_inch": 14, "width_inch_fraction": 0.75}, "former": {"height": 0.69, "height_inch": 27, "height_inch_fraction": 0.1875, "width": 0.64, "width_inch": 25, "width_inch_fraction": 0.1875, "depth": 0.08, "depth_inch": 3, "depth_inch_fraction": 0.125}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower left:  Homer 64", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 355428, "title": "Exhibition of the Month: Atmospheric Depth in Painting", "description": "<i>Exhibition of the Month: Atmospheric Depth in Painting</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 10-March 31, 1947).", "opening_date": "1947-02-10T05:00:00"}, {"id": 311898, "title": "35th Anniversary Exhibition", "description": "<i>35th Anniversary Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 20-September 30, 1951).", "opening_date": "1951-06-20T04:00:00"}, {"id": 518720, "title": "The Civil War: The Artists' Record", "description": "<i>The Civil War: The Artists' Record</i>. Corcoran Gallery of Art, Washington, DC (organizer) (November 18-December 31, 1961); Museum of Fine Arts, Boston, Boston, MA (February 1-March 4, 1962).", "opening_date": "1961-11-18T05:00:00"}, {"id": 304725, "title": "Winslow Homer: Portrait of America", "description": "<i>Winslow Homer: Portrait of America</i>. The Cleveland Museum of Art, Cleveland, OH (November 10, 1965-May 16, 1966).", "opening_date": "1965-11-10T05:00:00"}, {"id": 361410, "title": "Winslow Homer", "description": "<i>Winslow Homer</i>. National Gallery of Art, Landover, MD (organizer) (October 15, 1995-January 28, 1996); Museum of Fine Arts, Boston, Boston, MA (February 21-May 26, 1996).", "opening_date": "1995-10-15T04:00:00"}, {"id": 211500, "title": "The Civil War and American Art", "description": "<i>The Civil War and American Art</i>. Smithsonian American Art Museum, Washington, DC (organizer) (November 16, 2012-April 27, 2013); The Metropolitan Museum of Art, New York, NY (May 21-September 2, 2013).", "opening_date": "2012-11-16T00:00:00"}, {"id": 705279, "title": "ArtLens Reimagined: The Intersection of Art, Technology, and Innovation", "description": "<i>ArtLens Reimagined: The Intersection of Art, Technology, and Innovation</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 23, 2026-September 1, 2031).", "opening_date": "2026-07-23T04:00:00"}], "legacy": [{"description": "New York, Dodworth's Studio Building, Fourth Artists' Reception (before 25 March 1864); see Winslow Homer: The Paintings of the Civil War p. 21.", "opening_date": null}, {"description": "New York, National Academy of Design, Thirty-ninth Annual Exhibition (April, 1864), no. 140, listed p. 451.", "opening_date": null}, {"description": "Worcester, Worcester Art Museum, Winslow Homer (16 November-17 December 1944), no. 2.", "opening_date": "1944-11-16T00:00:00"}, {"description": "Oxford, OH, Miami University, Sesquicentennial Celebration (15 May-15 June 1959).", "opening_date": "1959-05-15T00:00:00"}, {"description": "Washington, D.C., The Corcoran Gallery of Art, The Civil War: The Artists' Record (18 November-31 December 1961); traveled to Boston, The Museum of Fine Arts (1 February-4 March 1962); pp. 63-64, illus. no. 46, p. 66.", "opening_date": "1961-11-18T00:00:00"}, {"description": "San Fransisco, The Fine Arts Museum of San Fransisco, Winslow Homer: Paintings of the Civil War (2 July-18 September 1988); traveled to Portland, Portland Museum of Art (8 October-18 December 1988); cat. no. 8, fig. 8.1, pp. 166-172; also included references to CMA painting pp. 21, 72-73, 111-112, 115, 119, 161, 195-196, 208-215, 236.", "opening_date": "1988-07-02T00:00:00"}, {"description": "Washington, D.C., The National Gallery of Art, Winslow Homer (15 October 1995-28 January 1996); traveled to Boston, Museum of Fine Arts (21 February-26 May 1996); New York, The Metropolitan Museum of Art (20 June-22 September 1996); illus. no. 3, pg. 43.", "opening_date": "1996-02-21T00:00:00"}]}, "provenance": [{"description": "The Cleveland Museum of Art, Cleveland, Ohio", "citations": [], "footnotes": null, "date": "1944-", "sortorder": 1}, {"description": "Mrs. Z. Boylston Adams (Helen Foster), Brookline, MA, sold to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "Probably 1940-1944", "sortorder": 2}, {"description": "Zabdiel Boylston Adams [1875-1940], Brookline, MA, to his wife, Mrs. Z. Boylston Adams1", "citations": [], "footnotes": ["<div><!--block-->1The exact mode of transfer and date of this painting from Mr. to Mrs. Boylston Adams are unknown, but she likely received it upon his death in 1940.</div><div><!--block--><br><br></div>"], "date": "1915 - probably 1940", "sortorder": 3}, {"description": "Annie Adams Fields (Mrs. James T. Fields) [1834-1915], Boston, MA, by bequest to her nephew, Zabdiel Boylston Adams", "citations": [], "footnotes": null, "date": "1881-1915", "sortorder": 4}, {"description": "James Thomas Fields [1817-1881], Boston, MA", "citations": [], "footnotes": null, "date": "-1881", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "During the Civil War, Homer worked as an artist-reporter for the New York newspaper <em>Harper's Weekly</em>.", "early_education_description": null, "artlens_description": "INTERACTIVE <br><strong>Discover: What Does Art Sound Like?</strong> <br>Touch a 3D re-creation of this painting to hear about the sights, sounds, and stories of this quiet Civil War scene.", "description": "Created during the United States Civil War, Winslow Homer\u2019s painting depicts two volunteers for the Union Army who sport their regiment\u2019s highly colorful uniforms, a design discovered to be impractical due to its ability to be spotted by sharpshooters. Passing idle time in their encampment, one soldier holds a lit pipe and watches his companion whittle a block of wood. The painting shares its title with a contemporary poem, in which a soldier smokes a brierwood pipe and daydreams of the time when the conflict will end so he can return home. The museum acquired this painting during World War II, and it seems likely that the painting\u2019s subject was viewed as especially significant for its wartime audience.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q7720110"], "internet_archive": ["https://archive.org/details/clevelandart-1944.524-the-brierwood-pipe"]}, "citations": [{"citation": "Marr, Timothy. \"The American Zouave.\" <em>Military Images </em>34, no. 4. 22-29", "page_number": "Reproduced: 22-23, 27.", "url": null}, {"citation": "Goodrich, Lloyd, and Abigail Booth Gerdts. <em>Record of Works by Winslow Homer</em>. 2005.", "page_number": null, "url": null}, {"citation": "Holzer, Harold and Mark E. Neely, Jr., eds. <em>Mine Eyes Have Seen The Glory: The Civil War in Art.</em> (New York: Orion, 1993).", "page_number": "Mentioned pp. 281-83; reproduced p. 283.", "url": ""}, {"citation": "Downes, William Howe. <em>The Life and Works of Winslow Homer</em>. Boston: Houghton Mifflin Co, 1911.", "page_number": "Mentioned: P. 51", "url": ""}, {"citation": "Cox, Kenyon. <em>Winslow Home</em>r. New York: Privately printed, 1914.", "page_number": "Mentioned: P. 18", "url": ""}, {"citation": "Burchfield, Louise H. \u201cPaintings by Winslow Homer.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 33, no. 9 (November 1946): 165\u201371.", "page_number": "Mentioned: P. 166; Reproduced: P. 168", "url": "http://www.jstor.org/stable/25141315"}, {"citation": "The Cleveland Museum of Art. <em>The Cleveland Museum of Art Handbook.</em> Cleveland, OH: The Cleveland Museum of Art, 1958.", "page_number": "Mentioned and Reproduced: cat. no. 543", "url": "https://archive.org/details/CMAHandbook1958/page/n101"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 187", "url": "https://archive.org/details/CMAHandbook1966/page/n211"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 187", "url": "https://archive.org/details/CMAHandbook1969/page/n211"}, {"citation": "Adams, Celeste, Rita Myers, and Adele Z. Silver. <em>An Introduction to American Art in the Cleveland Museum of Art.</em> Cleveland: Cleveland Museum of Art, 1972.", "page_number": "Mentioned and reproduced: P. 10-13", "url": ""}, {"citation": "\u201cA Check List. American Paintings and Water Colors of the Eighteenth, Nineteenth, and Early Twentieth Centuries in the Cleveland Museum of Art.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 60, no. 1 (January 1973): 21\u201335.", "page_number": "Mentioned: P. 28, no. 88", "url": "http://www.jstor.org/stable/25152465"}, {"citation": "Williams, Hermann Warner. <em>Mirror to the American Past; A Survey of American Genre Painting: 1750-1900.</em> Greenwich, Conn: New York Graphic Society, 1973.", "page_number": "Mentioned and reproduced: P. 182-183, no. 176", "url": ""}, {"citation": "Grossman, Julian. <em>Echo of a Distant Drum: Winslow Homer and the Civil War.</em> New York: Harry N. Abrams, 1974.", "page_number": "Mentioned and reproduced: P. 112-113", "url": ""}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 231", "url": "https://archive.org/details/CMAHandbook1978/page/n251"}, {"citation": "Hendricks, Gordon. <em>The Life and Work of Winslow Homer.</em> New York: Harry N. Abrams,1979.", "page_number": "Mentioned and reproduced: P. 318, no. CL-555", "url": ""}, {"citation": "Ledes, Allison Eckardt. \"Current and Coming: Winslow Homer and the Civil War.\" <em>The Magazine Antique</em>s 134 (August 1988): 216-230.", "page_number": "Mentioned and reproduced: P. 216", "url": ""}, {"citation": "Cikovsky, Nicolai. \" Winslow Homer's Unfinished Business.\" In <em>American Art Around 1900: Lectures in Memory of Daniel Fraad, </em>Doreen Bolger, and Nicolai Cikovsky, eds., 93-117. Washington: National Gallery of Art, 1990.", "page_number": "Mentioned: P. 98, fig. 12; Reproduced: P. 100, fig.12", "url": ""}, {"citation": "Cikovsky, Nicolai. <em>Winslow Homer</em>. New York: Abrams,1990.", "page_number": "Mentioned and reproduced: P. 20-21", "url": ""}, {"citation": "Jennings, Kate F. <em>Winslow Home</em>r. New York, N.Y.: Crescent Books, 1990.", "page_number": "Mentioned, p. 8-9, 19; reproduced: p. 20.", "url": ""}, {"citation": "Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art.</em> Cleveland, Ohio: The Museum, 1991.", "page_number": "Reproduced: P. 130", "url": ""}, {"citation": "Cikovsky, Nicolai. <em>Winslow Homer</em>. [New York, N.Y.]: [Rizzoli], 1992.", "page_number": "Reproduced: Pl. 1", "url": ""}, {"citation": "Sears, Stephen W. <em>The Civil War: A Treasury of Art and Literat</em>ure. New York: Hugh Lauter Levin Associates, 1992.", "page_number": "Reproduced: P. 145, pl. 40", "url": ""}, {"citation": "Cikovsky, Nicolai. \"Winslow Homer.\" <em>Portraits: The Lives and Works of Eminent Artists </em>1, no.6.", "page_number": "Reproduced: Cover", "url": ""}, {"citation": "Cleveland Museum of Art, and Alan Chong. <em>European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogue</em>. Cleveland, Ohio: Cleveland Museum of Art, 1993.", "page_number": "Reproduced: P. 106", "url": ""}, {"citation": "Cikovsky, Nicolai. \"The School of War.\" In <em>Winslow Home</em>r, Nicolai Cikovsky and Franklin Kelly, 17-60. Washington: National Gallery of Art; New Haven: Yale University Press,1995.", "page_number": "Mentioned and reproduced: P. 42-43, no. 3", "url": ""}, {"citation": "Conrads, Margaret C. <em>Winslow Homer and the Critics: Forging a National Art in the 1870s.</em> Princeton, N.J.: Princeton University Press in association with the Nelson-Atkins Museum of Art, 2001.", "page_number": "Mentioned and reproduced: P. 14, fig. 4", "url": ""}, {"citation": "Mitchell, Mark D. <em>Francis A. Silva (1835-1886): In His Own Light</em>. New York, N.Y.: Berry-Hill Galleries, 2002.", "page_number": "Mentioned and reproduced: P. 22, fig. 7", "url": ""}, {"citation": "Jennings, Kate F. <em>Winslow Homer.</em> North Dighton, Mass: JG Press/World Publications Group, 2004.", "page_number": "Mentioned and reproduced: P. 19-20", "url": ""}, {"citation": "Adams, Henry. <em>What's American About American Art?: A Gallery Tour in the Cleveland Museum of Ar</em>t. Cleveland: Cleveland Museum of Art, 2008.", "page_number": "Mentioned and reproduced: P. 96-97", "url": ""}, {"citation": "Stebbins, Theodore E. <em>American Paintings at Harvard</em>. Cambridge, Massachusetts: Harvard Art Museums; New Haven: Yale University Press, 2008.", "page_number": "Mentioned: Vol. II, P. 148", "url": ""}, {"citation": "\"Welcome Back.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>48, no. 5 (May/June 2008): 5-6.", "page_number": "Mentioned: P. 6", "url": ""}, {"citation": "Harvey, Eleanor Jones. <em>The Civil War and American Art.</em> Washington, D.C.: Smithsonian American Art Museum; New Haven, Connecticut: in association with Yale University Press, 2012.", "page_number": "Mentioned and reproduced: P. 154-155, no. 53", "url": ""}], "url": "https://clevelandart.org/art/1944.524", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1944.524/1944.524_web.jpg", "width": "791", "height": "893", "filesize": "113881", "filename": "1944.524_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1944.524/1944.524_print.jpg", "width": "3012", "height": "3400", "filesize": "1672433", "filename": "1944.524_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1944.524/1944.524_full.tif", "width": "4613", "height": "5207", "filesize": "72084800", "filename": "1944.524_full.tif"}}, "alternate_images": [{"web": {"url": "https://openaccess-cdn.clevelandart.org/1944.524/1944.524_alt0_web.jpg", "width": "821", "height": "893", "filesize": "572836"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1944.524/1944.524_alt0_print.jpg", "width": "3125", "height": "3400", "filesize": "6165357"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1944.524/1944.524_alt0_full.tif", "width": "3415", "height": "3716", "filesize": "38165644"}, "date_created": "2010-04-19T16:12:53", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1944.524/1944.524_alt1_web.jpg", "width": "821", "height": "893", "filesize": "572836"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1944.524/1944.524_alt1_print.jpg", "width": "3125", "height": "3400", "filesize": "6165357"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1944.524/1944.524_alt1_full.tif", "width": "3415", "height": "3716", "filesize": "38165644"}, "date_created": "2010-04-19T16:12:53", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1944.524/1944.524_alt2_web.jpg", "width": "778", "height": "893", "filesize": "496470"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1944.524/1944.524_alt2_print.jpg", "width": "2962", "height": "3400", "filesize": "5819295"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1944.524/1944.524_alt2_full.tif", "width": "3666", "height": "4208", "filesize": "46307220"}, "annotation": ""}], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Maltz Family Foundation ArtLens Gallery", "athena_id": 124040, "creators": [{"id": 3143, "description": "Winslow Homer (American, 1836\u20131910)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1836", "death_year": "1910", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1944-11-06T00:00:00", "sortable_date": 1864, "date_added_to_oa": null, "date_text": "1864", "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": ["The Briarwood Pipe"], "is_highlight": false, "updated_at": "2026-10-16 18:37:05.360000"}, {"id": 147066, "accession_number": "1972.8", "share_license_status": "Copyrighted", "tombstone": "Bottle, Glass, Fork, 1911\u201312. Pablo Picasso (Spanish, 1881\u20131973). Oil on canvas; framed: 92.4 x 75.9 x 8.3 cm (36 3/8 x 29 7/8 x 3 1/4 in.); unframed: 72 x 52.7 cm (28 3/8 x 20 3/4 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1972.8. \u00a9 Estate of  Pablo Picasso / Artists Rights Society (ARS), New York", "current_location": null, "title": "Bottle, Glass, Fork", "creation_date": "1911\u201312", "creation_date_earliest": 1911, "creation_date_latest": 1912, "artists_tags": ["Latine and Hispanic Artists", "male"], "culture": ["Spain"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 92.4 x 75.9 x 8.3 cm (36 3/8 x 29 7/8 x 3 1/4 in.); Unframed: 72 x 52.7 cm (28 3/8 x 20 3/4 in.)", "dimensions": {"framed": {"height": 0.924, "height_inch": 36, "height_inch_fraction": 0.375, "width": 0.759, "width_inch": 29, "width_inch_fraction": 0.875, "depth": 0.083, "depth_inch": 3, "depth_inch_fraction": 0.25}, "unframed": {"height": 0.72, "height_inch": 28, "height_inch_fraction": 0.375, "width": 0.527, "width_inch": 20, "width_inch_fraction": 0.75}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of  Pablo Picasso / Artists Rights Society (ARS), New York", "inscriptions": [], "exhibitions": {"current": [{"id": 301752, "title": "Year in Review: 1972", "description": "<i>Year in Review: 1972</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 27-March 18, 1973).", "opening_date": "1973-02-27T05:00:00"}, {"id": 360871, "title": "Modern Masters: Manet to Matisse", "description": "<i>Modern Masters: Manet to Matisse</i>. Art Gallery of New South Wales, Sydney, Australia (April 9-May 11, 1975); National Gallery of Victoria, Melbourne, Australia (May 26-June 23, 1975); The Museum of Modern Art, New York, NY (organizer) (August 4-September 1, 1975).", "opening_date": "1975-04-09T04:00:00"}, {"id": 442780, "title": "Pablo Picasso: A Retrospective", "description": "<i>Pablo Picasso: A Retrospective</i>. The Museum of Modern Art, New York, NY (organizer) (May 22-September 16, 1980).", "opening_date": "1980-05-22T04:00:00"}, {"id": 442184, "title": "Pablo Picasso", "description": "<i>Pablo Picasso</i>. The National Museum of Modern Art, Tokyo, Tokyo, Japan (organizer) (co-organizer) (April 2-May 29, 1983); Kyoto Municipal Museum of Art, Kyoto, Japan (co-organizer) (June 10-July 24, 1983).", "opening_date": "1983-04-02T05:00:00"}, {"id": 442168, "title": "Picasso", "description": "<i>Picasso</i>. National Gallery of Victoria, Melbourne, Australia (co-organizer) (July 27-September 23, 1984); Art Gallery of New South Wales, Sydney, Australia (October 9-December 2, 1984).", "opening_date": "1984-07-27T04:00:00"}, {"id": 310012, "title": "The Magic of Still Life", "description": "<i>The Magic of Still Life</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 4, 1986-February 1, 1987).", "opening_date": "1986-11-04T05:00:00"}, {"id": 310025, "title": "Creativity in Art and Science, 1860-1960", "description": "<i>Creativity in Art and Science, 1860-1960</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 16-November 8, 1987).", "opening_date": "1987-09-16T04:00:00"}, {"id": 441650, "title": "Picasso und Braque: Die Geburt des Kubismus (Picasso & Braque: Pioneering Cubism)", "description": "<i>Picasso und Braque: Die Geburt des Kubismus (Picasso & Braque: Pioneering Cubism)</i>. Kunstmuseum Basel, Basel, Switzerland (organizer) (February 25-June 18, 1990).", "opening_date": "1990-02-25T05:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. Beijing World Art Museum (May 26-August 27, 2006); Mori Art Center (September 16-November 26, 2006); Seoul Art Center, South Korea (December 22, 2006-March 28, 2007); Seoul Olympic Museum of Art, South Korea (April 7-May 20, 2007); Vancouver Art Gallery, Vancouver, Canada (June 9-September 16, 2007); The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008); Frist Art Museum, Nashville, TN (February 15-June 1, 2008); Utah Museum of Fine Arts, Salt Lake City, UT (June 22-September 21, 2008); The Detroit Institute of Arts, Detroit, MI (October 12, 2008-January 18, 2009).", "opening_date": "2006-05-27T00:00:00"}, {"id": 222734, "title": "Picasso and Braque: The Cubist Experiment, 1910-12", "description": "<i>Picasso and Braque: The Cubist Experiment, 1910-12</i>. Kimbell Art Museum, Fort Worth, TX (May 29-August 21, 2011); Santa Barbara Museum of Art, Santa Barbara, CA (organizer) (September 17, 2011-January 9, 2012).", "opening_date": "2011-05-29T00:00:00"}], "legacy": [{"description": "<em>Jasper Johns Numbers</em>. Cleveland Museum of Art, Cleveland, OH (October 26, 2003-January 1, 2004); Los Angeles County Museum of Art, Los Angeles, CA (February 1-April 18, 2004).", "opening_date": "2004-02-01T00:00:00"}]}, "provenance": [{"description": "(Kahnweiler, Paris, France)", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "Carlo Frua de Angeli [1895-1969] Milan, Italy", "citations": [], "footnotes": [], "date": "1959", "sortorder": 2}, {"description": "(Galerie Beyerler, Basel, Switzerland, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "1972", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1972-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Just before the First World War, Pablo Picasso and Georges Braque invented a radically new kind of painting that dispensed almost completely with visual resemblance to the world, substituting an intellectual method of abstraction that challenged every convention and created a revolutionary conception of space, even a redefinition of reality in art.", "early_education_description": null, "artlens_description": null, "description": "This still life depicts a variety of objects found on a caf\u00e9 table: a bottle, glass, folded newspaper, and utensils. Intricate in its composition and subtle in palette, this painting exemplifies Analytic Cubism, an artistic style devised by Picasso and Georges Braque between 1908\u201312 characterized by the fragmentary appearance of multiple, simultaneous viewpoints and overlapping planes. Maintaining a connection to the real world, Picasso inserted letters and numbers with personal and political meanings. The \u201cfe 20\u201d could refer to the word \u201ccaf\u00e9\u201d and a street address. \u201cEAN\u201d above [P] ARIS may allude to the newspaper <em>L\u2019Intransigeant </em>founded in 1880 in Paris; but ultimately, the meaning of these fragments remains mysterious and known only to the artist.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q4949030"], "internet_archive": []}, "citations": [{"citation": "Henning, Edward B. \u201cPablo Picasso: Bouteille, Verre, et Fourchette.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 59, no. 7 (September 1972): 193\u2013203.", "page_number": "Mentioned and reproduced: p. 193-195, fig. 1, Cover", "url": "http://www.jstor.org/stable/25152438"}, {"citation": "Henning, Edward B. \u201cPicasso: Harlequin with Violin (Si Tu Veux).\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 63, no. 1 (January 1976): 2\u201311.", "page_number": "Mentioned and reproduced: p. 2-3, fig. 1", "url": "http://www.jstor.org/stable/25152619"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 242", "url": "https://archive.org/details/CMAHandbook1978/page/n262"}, {"citation": "Henning, Edward B. \u201cTwo New Cubist Paintings by Juan Gris and Pablo Picasso.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 68, no. 2 (February 1981): 39\u201350.", "page_number": "Mentioned and reproduced: p. 38-39, fig. 2", "url": "http://www.jstor.org/stable/25159711"}, {"citation": "Henning, Edward B. \u201cThe Aviator: A Major Painting by Fernand L\u00e9ger.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 69, no. 3 (March 1982): 87\u201393.", "page_number": "Mentioned and reproduced: p. 86-87, fig. 2", "url": "http://www.jstor.org/stable/25159762"}, {"citation": "Henning, Edward B. \u201cA \u2018Memento Mori\u2019 by Picasso.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 75, no. 8 (October 1988): 320\u2013327.", "page_number": "Mentioned and reproduced: p. 323-324, fig. 5", "url": "http://www.jstor.org/stable/25160045"}, {"citation": "Boggs, Jean Sutherland, Brigitte Le\u0301al, and Marie-Laure Bernadac. <em>Picasso and Things: The Still Lifes of Picasso</em>. Cleveland: Cleveland Museum of Art, 1992.", "page_number": "Mentioned and reproduced: P. 94-95, no. 25", "url": ""}, {"citation": "Robinson, William H. \"Beyond Cubism.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 48, no. 10 (December 2008): 4-6.", "page_number": "Mentioned and reproduced: p. 6", "url": "https://archive.org/details/CMAMM2008-10/page/4/mode/2up"}, {"citation": "Perl, Jed. <em>Art in America, 1945-1970: Writings from the Age of Abstract Expressionism, Pop Art, and Minimalism</em>. New York, NY : Library of America, 2014.", "page_number": "Reproduced: P. 139", "url": null}, {"citation": "Arendsee, M., and M. Steinman-Arendsee. \"Take the CAN disability aesthetics tour, at the Cleveland Museum of art.\" <em>CAN Journal</em> (Winter 2019/20): 76-87.", "page_number": "Mentioned: p. 85", "url": null}, {"citation": "Henning, Edward B. <em>Creativity in Art and Science, 1860-1960.</em> [Cleveland, Ohio]: Published by the Cleveland Museum of Art in cooperation with Indiana University Press, 1987.", "page_number": "Mentioned and reproduced: P. 113, no. 21", "url": ""}], "url": "https://clevelandart.org/art/1972.8", "images": {}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 147066, "creators": [{"id": 2160, "description": "Pablo Picasso (Spanish, 1881\u20131973)", "extent": null, "qualifier": null, "role": "artist", "biography": "Pablo Ruiz Picasso (1881-1973), the most prolific and influential artist of the 20th century, shifted the emphasis of art from its traditional concern with beauty toward radical innovation. The son of an art teacher, Picasso demonstrated remarkable talents as a child and entered the royal art academy in Madrid at age sixteen. Less than a year later, he abandoned his studies and soon joined several avant-garde artist and anarchist groups in Barcelona and Paris. After passing through a succession of stylistic periods, most notably the Blue (1901-1904) and Rose (1904-1906) Periods, he collaborated with Georges Braque (1882-1963) in 1908 to invent Cubism, a revolutionary method of restructuring pictorial space. Picasso remained active until his death in 1973. Although his art still appears radical, many of his works are over one hundred years old. Cubism, perhaps the most important development in 20th-century art, was invented around 1908 by Pablo Picasso (1881-1973) and Georges Braque (1882-1963). The most revolutionary aspect of the style was not its obvious emphasis on geometric form; rather, it was the introduction of a radically new approach to configuring pictorial space. Since the Renaissance, artists had used various methods to create the illusion of distant space receding behind the canvas surface. The Cubists rejected that idea and collapsed space by compressing foreground, middle ground, and background into a continuous web of overlapping, intersecting planes. During the 1910s, other painters and sculptors embraced or adapted Cubism to their own ends. This revolutionary approach inspired a host of related movements and continues to influence the visual language of artists, architects, and designers throughout the world.", "name_in_original_language": null, "birth_year": "1881", "death_year": "1973", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1972-01-12T00:00:00", "sortable_date": 1911, "date_added_to_oa": null, "date_text": "1911\u201312", "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": "2026-08-20 12:30:35.078000"}, {"id": 155637, "accession_number": "1990.8", "share_license_status": "Copyrighted", "tombstone": "Lot's Wife, 1989. Anselm Kiefer (German, 1945-). Oil paint, ash, stucco, chalk, linseed oil, polymer emulsion, salt, and applied elements (copper heating coil), on canvas, attached to lead foil, on plywood panels; framed: 350 x 410 cm (137 13/16 x 161 7/16 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1990.8. \u00a9 Anselm Kiefer", "current_location": "229B Contemporary", "title": "Lot's Wife", "creation_date": "1989", "creation_date_earliest": 1989, "creation_date_latest": 1989, "artists_tags": ["male"], "culture": ["Germany, 20th century"], "technique": "oil paint, ash, stucco, chalk, linseed oil, polymer emulsion, salt, and applied elements (copper heating coil), on canvas, attached to lead foil, on plywood panels", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "measurements": "Framed: 350 x 410 cm (137 13/16 x 161 7/16 in.)", "dimensions": {"framed": {"height": 3.5, "height_inch": 137, "height_inch_fraction": 0.8125, "width": 4.1, "width_inch": 161, "width_inch_fraction": 0.4375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Anselm Kiefer", "inscriptions": [{"inscription": "Titled in chalk on recto of lower panel: Lots Frau", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 311440, "title": "Notable Acquisitions", "description": "<i>Notable Acquisitions</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 7-September 15, 1991).", "opening_date": "1991-06-07T04:00:00"}, {"id": 393229, "title": "Contemporary Installation", "description": "<i>Contemporary Installation</i>. The Cleveland Museum of Art (organizer).", "opening_date": "2021-04-12T04:00:00"}], "legacy": []}, "provenance": [{"description": "The Cleveland Museum of Art, Cleveland, OH, purchased from the artist", "citations": [], "footnotes": [], "date": "1990 -", "sortorder": 1}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The subject of railroad tracks was inspired by the artist\u2019s photograph of the Bordeaux rail facility.", "early_education_description": null, "artlens_description": null, "description": "Born in the final year of World War II, Anselm Kiefer addresses the history and legacy of the Third Reich in his native Germany. \"We see railway tracks anywhere and think about Auschwitz,\" the artist said soon after painting <em>Lot's Wife.</em> \"It will remain that way in the long run.\" The drama of the railway tracks dissecting a barren landscape is heightened by the work's surface, dense with gesture and a range of materials, including salt. Referring to the fate of Lot's wife in the Book of Genesis\u2014who was turned to a pillar of salt when she looked back at the destruction of Sodom\u2014Kiefer frames a historical narrative within a biblical one.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60476539"], "internet_archive": []}, "citations": [{"citation": "Hinson, Tom E. \"Notable Acquisitions.\" <em>The Bulletin of the Cleveland Museum of Art</em> 78, no. 3 (1991): 63-147.", "page_number": "Reproduced and Mentioned: p. 109", "url": "https://www.jstor.org/stable/25161319"}, {"citation": "Hinson, Tom E. \"Anselm Kiefer: \"Lot's Wife\".\" <em>The Bulletin of the Cleveland Museum of Art</em> 80, no. 4 (1993): 180-85.", "page_number": "Reproduced: p. 180, 183; Mentioned: p. 180-85", "url": "https://www.jstor.org/stable/25161410"}, {"citation": "Cleveland Museum of Art, \u201cThe Cleveland Museum of Art Acquires Major Works,\u201d December 20, 1995, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr4002"}, {"citation": "Arasse, Daniel. <em>Anselm Kiefer</em>. London: Thames &amp; Hudson, 2014.", "page_number": "Reproduced: P. 84", "url": ""}, {"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. 121", "url": ""}, {"citation": "Moore, John L., Esther Jun, Clodagh Keogh, William H. Robinson, Danni Shen, Enid Shomer, and Reto Thu\u0308ring. Demise: Rina Banerjee, Esperanza Corte\u0301s, Jae Rhim Lee, Brian Maguire, Paolo Pelosini, Levent Tuncer. 2018, 8.", "page_number": "Mentioned: p. 5; reproduced: p. 8.", "url": ""}, {"citation": "Gallagher, Lowell. <em>Sodomscapes: Hospitality in the Flesh</em>. New York: Fordham University Press, 2017.", "page_number": "1, 2", "url": null}], "url": "https://clevelandart.org/art/1990.8", "images": {}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Paula and Eugene Stevens Gallery", "athena_id": 155637, "creators": [{"id": 533, "description": "Anselm Kiefer (German, 1945-)", "extent": null, "qualifier": null, "role": "artist", "biography": "Anselm Kiefer German, 1945-\r\n\r\nOne of the most significant and reclusive artists of the past 20 years, Anselm Kiefer was born in Donaueschingen, Bavaria, two months before the end of World War II. His enormous mixed-media canvases, as well as his smaller bookworks, are laden with cultural, political, mythic, and religious symbolism. These works are made in direct response to his Teutonic heritage and, in particular, Germany's war experience. Kiefer addresses questions regarding German identity in the postwar world, a highly sensitive subject that has brought him both critical acclaim and adamant opposition.\r\n\tKiefer studied law and French at the University of Freiburg in 1965 before turning to painting. He graduated in 1970 and began informal study at the Staatliche Kunstakademie in D\u00fcsseldorf with Joseph Beuys, who encouraged him to paint despite dominance of conceptual art at the time and the declaration that painting was dead. Kiefer often spends years on a piece, working intermittently, and retains rigid control of the placement of his paintings after they leave his studio.\r\n\tAlthough Kiefer's work has changed little throughout his career, his earlier imagery relied on figurative elements and his later paintings have become more abstract, often incorporating architectural elements. He frequently begins with an enlarged photographic image, which he distorts by such techniques as scorching, staining, and burning. His materials include molten lead, tar, straw, and clay, metaphorical substances associated with the German land and its mythologies. The transformative process also recalls alchemy, a subject that interested Beuys, who believed art had the power to evoke a change of state from physical to spiritual.\r\n\tKiefer has had numerous international exhibitions and published monographs, and is represented in major American and European collections. In addition to one-person exhibitions in Germany, the Netherlands, Italy, France, Israel, and England, the Philadelphia Museum of Art organized a retrospective of his work that toured the United States in 1987-88. In recent years, Kiefer has begun to make films that, rooted in the medium of photography, extend the physical and narrative qualities characteristic of all his work into the realms of motion and time. He lives in Barjac, France. A.W.", "name_in_original_language": null, "birth_year": "1945", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1990-01-29T00:00:00", "sortable_date": 1989, "date_added_to_oa": null, "date_text": "1989", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "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": "2026-08-03 14:22:21.146000"}, {"id": 162625, "accession_number": "2003.227", "share_license_status": "Copyrighted", "tombstone": "Celebration, 1960. Lee Krasner (American, 1908\u20131984). Oil on canvas; framed: 238.1 x 471.8 x 8.3 cm (93 3/4 x 185 3/4 x 3 1/4 in.); unframed: 234.3 x 468.6 cm (92 1/4 x 184 1/2 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 2003.227. \u00a9  The Pollock-Krasner Foundation / Artists Rights Society (ARS), New York", "current_location": "227 Abstract Expressionism", "title": "Celebration", "creation_date": "1960", "creation_date_earliest": 1960, "creation_date_latest": 1960, "artists_tags": ["Jewish artists", "female"], "culture": ["United States"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 238.1 x 471.8 x 8.3 cm (93 3/4 x 185 3/4 x 3 1/4 in.); Unframed: 234.3 x 468.6 cm (92 1/4 x 184 1/2 in.)", "dimensions": {"framed": {"height": 2.381, "height_inch": 93, "height_inch_fraction": 0.75, "width": 4.718, "width_inch": 185, "width_inch_fraction": 0.75, "depth": 0.083, "depth_inch": 3, "depth_inch_fraction": 0.25}, "unframed": {"height": 2.343, "height_inch": 92, "height_inch_fraction": 0.25, "width": 4.686, "width_inch": 184, "width_inch_fraction": 0.5}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  The Pollock-Krasner Foundation / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "signed and dated lower right:  \"Lee Krasner '60\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Christie's, New York", "citations": [], "footnotes": [], "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Krasner repurposed this large canvas when she painted over an earlier composition that dissatisfied her.", "early_education_description": null, "artlens_description": null, "description": "After the death of her husband Jackson Pollock, Lee Krasner took over his studio located in a barn on their property. With this expansion of studio space, she began creating large-scale paintings like <em>Celebration</em>, using expansive gestures to express her feelings on canvas.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60479609"], "internet_archive": []}, "citations": [{"citation": "David Franklin, and C. Griffith Mann. <em>Treasures of the Cleveland Museum of Art. </em>Cleveland, OH, London: Cleveland Museum of Art ; in association with Scala Publishers, 2012.", "page_number": "Mentioned, p. 324; reproduced, p. 324 and p. 325 (detail).", "url": ""}, {"citation": "Rose, Barbara. <em>Lee Krasner: A Retrospective.</em> Houston: Museum of Fine Arts, 1983.", "page_number": "Mentioned and reproduced: P. 112-114, fig. 109", "url": ""}, {"citation": "\"Major Acquisitions 2000-2005.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 45, no. 6 (July/August 2005): 6-17.", "page_number": "Reproduced and Mentioned: p. 16-17", "url": "https://archive.org/details/CMAMM2005-06/page/16/mode/2up"}, {"citation": "<em>Treasures of the Cleveland Museum of Art</em>. London, United Kingdom,Scala Books, 2012.", "page_number": "Reproduced: p. 324-325", "url": null}, {"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. 63", "url": ""}, {"citation": "\u201cA Walking Tour: The entire new museum wing by wing, with curators calling out a few favorite works in the collection.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 54, no. 1 (January/February 2014): 8-33.", "page_number": "Reproduced and Mentioned: p. 21", "url": "https://archive.org/details/CMAMM2014-01/page/n19/mode/2up"}, {"citation": "Cleveland Museum of Art. <em>Museum Masters: 2016-17 Companion Guide.</em> [Cleveland, Ohio]: Cleveland Museum of Art, 2016.", "page_number": "Mentioned and reproduced: P. 23", "url": ""}, {"citation": "Anfam, David. <em>Lee Krasner: The Umber Paintings 1959-1962</em>. [New York]: Paul Kasmin Gallery, 2018.", "page_number": "Mentioned: p. 50; Reproduced p. 51, 53", "url": null}], "url": "https://clevelandart.org/art/2003.227", "images": {}, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Frank H. and Nancy L. Porter Gallery", "athena_id": 162625, "creators": [{"id": 15639, "description": "Lee Krasner (American, 1908\u20131984)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1908", "death_year": "1984", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2003-12-01T00:00:00", "sortable_date": 1960, "date_added_to_oa": null, "date_text": "1960", "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": true, "updated_at": "2026-10-07 12:13:23.108000"}, {"id": 162282, "accession_number": "2002.2", "share_license_status": "Copyrighted", "tombstone": "January, 1940\u201341. Grant Wood (American, 1891\u20131942). Oil on masonite panel; framed: 67 x 82.5 x 7.5 cm (26 3/8 x 32 1/2 x 2 15/16 in.); unframed: 45.7 x 60.1 cm (18 x 23 11/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 2002.2. Art \u00a9 Figge Art Museum, successors to the Estate of Nan Wood Graham/Licensed by VAGA, New York, NY", "current_location": "226B American Modern", "title": "January", "creation_date": "1940\u201341", "creation_date_earliest": 1940, "creation_date_latest": 1941, "artists_tags": ["LGBTQ+ (after 1900)", "male"], "culture": ["United States"], "technique": "oil on masonite panel", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 67 x 82.5 x 7.5 cm (26 3/8 x 32 1/2 x 2 15/16 in.); Unframed: 45.7 x 60.1 cm (18 x 23 11/16 in.)", "dimensions": {"framed": {"height": 0.67, "height_inch": 26, "height_inch_fraction": 0.375, "width": 0.825, "width_inch": 32, "width_inch_fraction": 0.5, "depth": 0.075, "depth_inch": 2, "depth_inch_fraction": 0.9375}, "unframed": {"height": 0.457, "height_inch": 18, "height_inch_fraction": 0.0, "width": 0.601, "width_inch": 23, "width_inch_fraction": 0.6875}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "Art \u00a9 Figge Art Museum, successors to the Estate of Nan Wood Graham/Licensed by VAGA, New York, NY", "inscriptions": [{"inscription": "signed and dated lower left:  Grant Wood/1940", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 181802, "title": "The Persistence of Geometry: Form, Content and Culture in the Collection of the Cleveland Museum of Art", "description": "<i>The Persistence of Geometry: Form, Content and Culture in the Collection of the Cleveland Museum of Art</i>. Museum of Contemporary Art Cleveland (MOCA), Cleveland, OH (June 9-August 20, 2006).", "opening_date": "2006-06-09T00:00:00"}, {"id": 290566, "title": "Grant Wood: American Gothic and Other Fables", "description": "<i>Grant Wood: American Gothic and Other Fables</i>. Whitney Museum of American Art, New York, NY (organizer) (March 2-June 10, 2018).", "opening_date": "2018-03-02T05:00:00"}], "legacy": [{"description": "Chicago, The Art Institute of Chicago, The Fifty-Third Annual Exhibition of American Paintings and Sculpture (29 October-10 December 1942), cat. no. 14.", "opening_date": "1942-10-29T00:00:00"}, {"description": "New York, Whitney Museum of American Art, Grant Wood: The Regionalist Vision (16 June-4 September 1983); traveled to Minneapolis, The Minneapolis Institute of Fine Arts (25 September 1983-1 January 1984); Chicago, The Art Institute of Chicago (21 January-15 April 1984); San Francisco, M.H. De Young Memorial Museum (12 May-12 August 1984), cat. no. 62, illus. p. 60, fig. no. 102.", "opening_date": "1983-06-16T00:00:00"}, {"description": "Whitney Museum of American Art, New York, NY (3/2/2018 - 6/10/2018): \"Grant Wood: American Gothic and Other Fables\"", "opening_date": "2018-03-02T00:00:00"}]}, "provenance": [{"description": "The Cleveland Museum of Art, Cleveland, Ohio", "citations": [], "footnotes": [], "date": "2002-", "sortorder": 1}, {"description": "(Berry-Hill Galleries, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "-2002", "sortorder": 2}, {"description": "Private collector, New Jersey", "citations": [], "footnotes": [], "date": "?", "sortorder": 3}, {"description": "King W. Vidor Trust", "citations": [], "footnotes": [], "date": "1982-", "sortorder": 4}, {"description": "King Vidor [1894-1982] and Elizabeth Hill Vidor [1901-1978], Beverly Hills, CA", "citations": [], "footnotes": [], "date": "1941-1982", "sortorder": 5}], "find_spot": null, "related_works": [{"id": 125140, "description": "January, 1938. Grant Wood (American, 1891\u20131942), Associated American Artists (America, New York, 1934\u201381). Lithograph; sheet: 30.5 x 40.7 cm (12 x 16 in.); image: 22.6 x 30.2 cm (8 7/8 x 11 7/8 in.). The Cleveland Museum of Art, Gift of Mrs. Malcolm L. McBride, 1947.113. Art \u00a9 Figge Art Museum, successors to the Estate of Nan Wood Graham/Licensed by VAGA, New York, NY", "relationship": null}], "former_accession_numbers": [], "did_you_know": "For many years Wood maintained his painting studio on the property of a funeral home in Cedar Rapids, Iowa.", "early_education_description": null, "artlens_description": null, "description": "One of the last paintings Wood created before his untimely death from liver cancer, <em>January</em> has a decidedly nostalgic cast. According to the artist, the painting was \"deeply rooted in the memories of my early childhood on an Iowa farm. . . . it is a land of plenty here which seems to rest, rather than suffer, under the cold.\" One sign of activity, in the form of rabbit tracks, infiltrates the otherwise dormant scene. Wood\u2019s composition teems with abstract design, most notably through the rhythmically geometric array of snow-laden corn shocks that seem to recede infinitely into the distance.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q51831248"], "internet_archive": []}, "citations": [{"citation": "Maroney, Jr., James H. <em>Fresh Perspectives on Grant Wood, Charles Sheeler, and George Durrie. </em>Leicester, VT: Gala Books, Ltd, 2019.", "page_number": "Mentioned: p.39, 46, 52, 80; Reproduced p. 45.", "url": null}, {"citation": "Nygard, Travis Earl. \"Seeds of Agribusiness: Grant Wood and the Visual Culture of Grain Farming, 1862-1957.\" Ph.D. diss, University of Pittsburgh, 2009.", "page_number": "Mentioned P. 196; Reproduced P. 242.", "url": ""}, {"citation": "Taylor, Sue. <em>Grant Wood's Secrets</em> (Newark, DE: University of Delaware Press, 2020.", "page_number": "", "url": ""}, {"citation": "<em>Parnassus</em>, May, 1940, illus.", "page_number": null, "url": null}, {"citation": "Grant Wood, letter to King Vidor, April 26,1941.", "page_number": null, "url": null}, {"citation": "\"The Important Works of Grant Wood,\" <em>Demcourier</em> 7 (May, 1942).", "page_number": "Reproduced: p. 17", "url": null}, {"citation": "\"The Middle Western Scene from Memorial Exhibition of Painting and Sculpture at the Chicago Art Institute October 29 to December 29,\" <em>The Chicago Daily News, </em>October 17, 1942.", "page_number": "Reproduced: p. 12", "url": null}, {"citation": "\"Grant Wood: Iowa's No. 1 Artist Who Died Last Winter Gets Big Retrospective Show in Chicago,\" <em>Life</em>, January 18, 1943, illus. p. 57.", "page_number": "Reproduced: p. 57", "url": null}, {"citation": "Garwood, Darrell. <em>Artist in Iowa: A Life of Grant Wood.</em> New York: W.W. Norton &amp; Company, Inc., 1944.", "page_number": "Mentioned: p.209; Reproduced: p. 224, 254", "url": null}, {"citation": "Weigel Brown, Helen. \"Have you ever bought a painting?\" <em>House Beautiful</em> (December, 1945).", "page_number": "Reproduced: p. 103", "url": null}, {"citation": "'Regional Paintings by Corn Belt artists are Among Nation's Best.\" <em>Holiday Magazine</em> (November, 1948).", "page_number": "Reproduced: p. 148", "url": null}, {"citation": "Dennis, James M. <em>Grant Wood: A Study in American Art and Culture. </em>New York: Viking Press, 1975.", "page_number": "Mentioned: p. 201; Reproduced: p. 202, plate 38", "url": null}, {"citation": "Czestochowski, Joseph S. <em>John Steuart Curry and Grant Wood: A Portrait of Rural America. </em>Columbia: University of Missouri Press, 1981.", "page_number": "Mentioned: o.128-136,208,210-211", "url": null}, {"citation": "Corn, Wanda M., and Grant Wood. <em>Grant Wood, the Regionalist Vision</em>. New Haven: Published for the Minneapolis Institute of Arts by Yale University Press, 1983.", "page_number": "Mentioned: cat. no. 62, Reproduced: fig. 102, p. 60.", "url": null}, {"citation": "James Maroney Incoportated advertisement, <em>Art in America</em> 71 no. 9 (October, 1983).", "page_number": "Reproduced: p. 18", "url": null}, {"citation": "James Maroney Incorporated advertisement. <em>The Magazine Antiques </em>(November, 1983) 124, no. 5.", "page_number": "Reproduced: p. 821", "url": null}, {"citation": "Kuspit, Donald B. \"Grant Wood: Pathos of the Plain.\" <em>Art in America </em>72 no. 3 (March, 1984).", "page_number": "Reproduced: p. 142", "url": null}, {"citation": "Hirschl &amp; Adler Galleries Inc. Advertisement. <em>The Magazine Antiques </em>(February,1987), 131, no. 2.", "page_number": "Reproduced: p. 322", "url": null}, {"citation": "Woiwode, Larry. \"Against the Grain: A Writer's Personal Odyssey Through Grant Wood's Vision of America.\" <em>Art &amp; Antiques </em>6, no. 1(January, 1988).", "page_number": "Mentioned: p. 76; Reproduced: p. 76", "url": null}, {"citation": "Duggleby, John. <em>Artist in Overalls: The Life of Grant Wood</em>. San Francisco: Chronicle Books, 1995.", "page_number": "Reproduced: p. 30", "url": null}, {"citation": "Litt Steven. \"Museum Buys Major Painting by Grant Wood.\" <em>The Plain Dealer, </em>March 7, 2002.", "page_number": null, "url": null}, {"citation": "Adams, Henry, \"Grant Wood's January\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 42 no. 06, Summer 2002", "page_number": "Mentioned & reproduced: p. 10-11", "url": "https://archive.org/details/CMAMM2002-06/page/n9"}, {"citation": "Tranberg, Dan. \"Art Matters: Museum Arranges Modern Works to Tell History Better.\" <em>The Plain Dealer, </em>August 16, 2002.illus.", "page_number": null, "url": null}, {"citation": "\"Major Acquisitions 2000-2005.\" <em>Cleveland Art</em> 45 (July/August 2005).", "page_number": "Mentioned: p. 7, 14, 18", "url": null}, {"citation": "Adams, Henry. <em>What's American about American Art? A Gallery Tour in the Cleveland Museum of Art.</em> Cleveland, Cleveland Museum of Art, 2008.", "page_number": "Mentioned: p. 139; Reproduced: p. 138", "url": null}, {"citation": "Walker, Andrew. <em>Joe Jones: Radical Painter of the American Scene. </em>Seattle: Saint Louis Art Museum in association with University of Washington Press, 2010.", "page_number": "Reproduced: p. 75", "url": null}, {"citation": "Maroney, Jr., James H. <em>Hiding in Plain Sight: Decoding the Homoerotic and Misogynistic Imagery of Grant Wood. </em>Leicester: Gala Books, 2013.", "page_number": "Mentioned: p. 10, 47-48, 55-56, 58,82; Reproduced: p. 47", "url": null}, {"citation": "Haskell, Barbara. <em>Grant Wood: American Gothic and Other Fables</em>. New Haven: Yale University Press, 2018.", "page_number": "Reproduced: p. 192, pl. 100", "url": null}, {"citation": "David Anfam, \"Grant Wood: American Gothic and Other Fables,\" <em>Burlington Magazine</em> 160, no.1383 (June 2018).", "page_number": "Reproduced: p. 503, fig. 18", "url": null}, {"citation": "Maroney, James H. <em>Fresh Perspectives on Grant Wood, Charles Sheeler, and George H. Durrie.</em> Leicester, VT: Gala Books, Ltd., 2019.", "page_number": "Reproduced: p. 45", "url": null}, {"citation": "Stokes Sims, Lowery. <em>The Persistence of Geometry: Form, Content and Culture in the Collection of the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2006.", "page_number": "Mentioned: cat. no. 79, p. 120, Reproduced: p. 72", "url": null}], "url": "https://clevelandart.org/art/2002.2", "images": {}, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Hammond Hemmelgarn Family Gallery", "athena_id": 162282, "creators": [{"id": 18195, "description": "Grant Wood (American, 1891\u20131942)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1891", "death_year": "1942", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2002-03-04T00:00:00", "sortable_date": 1940, "date_added_to_oa": null, "date_text": "1940\u201341", "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": "2026-10-07 12:13:23.100000"}, {"id": 160885, "accession_number": "1999.173", "share_license_status": "CC0", "tombstone": "Portrait of Tieleman Roosterman, 1634. Frans Hals (Dutch, c. 1581\u20131666). Oil on canvas; framed: 139 x 109 x 5.5 cm (54 3/4 x 42 15/16 x 2 3/16 in.); unframed: 117 x 87 cm (46 1/16 x 34 1/4 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1999.173", "current_location": "213 Dutch Painting", "title": "Portrait of Tieleman Roosterman", "creation_date": "1634", "creation_date_earliest": 1634, "creation_date_latest": 1634, "artists_tags": ["male"], "culture": ["Netherlands"], "technique": "oil on canvas", "support_materials": [], "department": "European Painting and Sculpture", "collection": "P - Netherlandish-Dutch", "type": "Painting", "measurements": "Framed: 139 x 109 x 5.5 cm (54 3/4 x 42 15/16 x 2 3/16 in.); Unframed: 117 x 87 cm (46 1/16 x 34 1/4 in.)", "dimensions": {"framed": {"height": 1.39, "height_inch": 54, "height_inch_fraction": 0.75, "width": 1.09, "width_inch": 42, "width_inch_fraction": 0.9375, "depth": 0.055, "depth_inch": 2, "depth_inch_fraction": 0.1875}, "unframed": {"height": 1.17, "height_inch": 46, "height_inch_fraction": 0.0625, "width": 0.87, "width_inch": 34, "width_inch_fraction": 0.25}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed at upper right: \u00c6TAT SV\u00c6 36 / AN\u00b0 1634\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 222394, "title": "Masterpieces of European Painting from The Cleveland Museum of Art", "description": "<i>Masterpieces of European Painting from The Cleveland Museum of Art</i>. Frick Collection, New York, NY (organizer) (November 8, 2006-January 28, 2007).", "opening_date": "2006-11-08T00:00:00"}, {"id": 179662, "title": "Masterpieces of European Painting from the Cleveland Museum of Art", "description": "<i>Masterpieces of European Painting from the Cleveland Museum of Art</i>. Maltz Museum of Jewish Heritage, Beachwood, OH (March 29-July 8, 2007).", "opening_date": "2007-03-29T00:00:00"}, {"id": 360311, "title": "Frans Hals: The Male Portraits", "description": "<i>Frans Hals: The Male Portraits</i>. The Wallace Collection, London, United Kingdom of Great Britain and Northern Ireland (organizer) (September 22, 2021-January 30, 2022) https://www.wallacecollection.org/art/exhibitions-displays/frans-hals-the-male-portrait/.", "opening_date": "2021-09-22T04:00:00"}, {"id": 360319, "title": "Frans Hals", "description": "<i>Frans Hals</i>. National Gallery, London, London, United Kingdom of Great Britain and Northern Ireland (organizer) (September 30, 2023-January 21, 2024) https://www.nationalgallery.org.uk/exhibitions/the-credit-suisse-exhibition-frans-hals; Rijksmuseum, Amsterdam, Netherlands (February 15-June 9, 2024); Gem\u00e4ldegalerie, Staatliche Museen zu Berlin, 14195 Berlin, Germany (July 12-November 3, 2024).", "opening_date": "2023-09-30T04:00:00"}], "legacy": [{"description": "Kunsthistorisches Museum, Vienna, Austria (from 1947 - 1999).", "opening_date": "1947-01-01T00:00:00"}, {"description": "<em>Art Treasures from the Vienna Collections.</em> National Gallery of Art, Washington, D.C.; Metropolitan Museum of Art, New York, NY; Art Institute of Chicago, Chicago, IL; and the M. H. De Young Memorial Museum, San Francisco, CA (1949-1950).", "opening_date": "1949-01-01T00:00:00"}, {"description": "<em>Holl\u00e4nder des 17. Jahrhunderts</em>. Kusnthaus, Zurich, Switzerland (November 4 - December 20, 1953).", "opening_date": "1953-11-04T00:00:00"}, {"description": "<em>Mostra di Pittura Olandese del Seicento.</em> Palazzo della Esposizione, Rome, Italy (January 4 - February 14, 1954); Palazzo Reale, Milan, Italy (February 25 - April 25, 1954).", "opening_date": "1954-01-04T00:00:00"}, {"description": "<em>Frans Hals</em>. Frans Halsmuseum, Haarlem, Netherlands (1962).", "opening_date": "1962-01-01T00:00:00"}, {"description": "<em>Restaurierte Gem\u00e4lde, Die Restaurierwerkst\u00e4tte der Gem\u00e4ldegalerie des Kunsthistorischen Museums</em>.", "opening_date": null}, {"description": "Kunsthistorisches Museum, Vienna, Austria (October 16, 1996 - February 2, 1997).", "opening_date": "1996-10-16T00:00:00"}]}, "provenance": [{"description": "Friedrich Jacob Gsell (b. 1811 or 1812 in Bischofweiler [Alsace], settled in Vienna circa 1850, died 1871)", "citations": [], "footnotes": null, "date": "probably by 1866", "sortorder": 1}, {"description": "([Georg Plach] K\u00fcnstlerhause, Vienna, Friedrich Jacob Gsell sale, March 14, 1872 (and successive days), lot 40 [\"Ein Bravourst\u00fcck des genialen Meisters\"; sold for 15,200 fl. to Plach, probably on behalf of Baron Anselm von Rothschild).", "citations": [], "footnotes": null, "date": "1872", "sortorder": 2}, {"description": "Baron Anselm Mayer von Rothschild (1803-1874), Vienna (inv. no. AR866)", "citations": [], "footnotes": null, "date": "1872 - 1874", "sortorder": 3}, {"description": "Baron Albert von Rothschild (1844-1911), Vienna", "citations": [], "footnotes": null, "date": "1874 - 1911", "sortorder": 4}, {"description": "Baron Alphonse von Rothschild (1878-1942), Vienna", "citations": [], "footnotes": null, "date": "1911 - 1938", "sortorder": 5}, {"description": "In the possession of the Nazis. Stored initially at Kremsm\u00fcnster (?); intended for the Tiroler Landesmuseum Ferdinandeum, Innsbruck, Austria", "citations": [], "footnotes": null, "date": "from 1938", "sortorder": 6}, {"description": "While in the possession of the Nazis, moved from Kremsm\u00fcnster to the salt mines at Alt Aussee, where it was stored until released to the Austrian government in May 1946.", "citations": [], "footnotes": null, "date": "c. 1944 - May 1946", "sortorder": 7}, {"description": "Recovered by Alphonse von Rothschild's widow, Clarice von Rothschild (1894-1967), and \"donated\" by her for display at the Kunsthistorisches Museum, Vienna (inv. no. 9009)", "citations": [], "footnotes": null, "date": "1947 - 1999", "sortorder": 8}, {"description": "Restituted to the Heirs of Barons Alphonse and Louis von Rothschild", "citations": [], "footnotes": null, "date": "1999", "sortorder": 9}, {"description": "(Christie's, London, Heirs of the Barons Alphonse and Louis von Rothschild sale, July 8, 1999, no. 219, to the Cleveland Museum of Art.)", "citations": [], "footnotes": null, "date": "1999 -", "sortorder": 10}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1999-", "sortorder": 11}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Roosterman may have ordered this portrait--and one of his wife--to commemorate their wedding in 1631.", "early_education_description": null, "artlens_description": null, "description": "An extremely wealthy linen and silk merchant in Haarlem, Tieleman Roosterman was 36 years old when Frans Hals painted his portrait. Unlike many Dutch painters of the period, Hals favored strong, visible brushstrokes that convey the vitality of his sitters. Roosterman strikes a confident pose, his costume sober but luxurious: his sleeves are decorated with braid and buttons, and ribbon rosettes encircle the waist of his doublet. The rich black of his suit is offset by the broad linen collar and lace-edged cuffs\u2014fashionable details befitting a successful cloth merchant.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q17861783"], "internet_archive": ["https://archive.org/details/clevelandart-1999.173-portrait-of-tieleman"]}, "citations": [{"citation": "Waagen, Gustav Friedrich. Die vornehmsten Kunstdenkma\u0308ler in Wien. Wien: W. Braumu\u0308ller, 1866.", "page_number": "Mentioned: vol. 1, p. 318", "url": null}, {"citation": "Bode, WIlhelm von. \"Die Galerie Gsell in Wien.\" <em>Zeitschrift f\u00fcr bildenden K\u00fcnst </em>7 (1872), 181-186.<br><em><br></em>", "page_number": "Mentioned: p. 183", "url": null}, {"citation": "Bode, Wilhelm von. <em>Studien zur Geschichte der holla\u0308ndischen Malerei</em>. Braunschweig: F. Vieweg und Sohn, 1883.", "page_number": "Mentioned: p. 89, under no. 126", "url": null}, {"citation": "Moes, E. W., and Jean de Bosche\u0300re. <em>Frans Hals, sa vie et son \u0153uvre</em>. Brussels: G. van Oest &amp; Cie., 1909.", "page_number": "No. 131", "url": null}, {"citation": "Hofstede de Groot, C. P. <em>A Catalogue Raisonne\u0301 of the Works of the Most Eminent Dutch Painters of the Seventeenth Century</em>. 8 vols Translated and edited by Edward G. Hawke. London: Macmillan and Co, 1907-1927.", "page_number": "Mentioned: vol. 3 (1910), p. 104 no. 354", "url": null}, {"citation": "Frimmel, Theodor von. <em>Lexikon der Wiener Gema\u0308ldesammlungen</em>. Munich: G. Mu\u0308ller, 1913.", "page_number": "Mentioned: vol.1, p. 86", "url": null}, {"citation": "\"A Plan for Loot: Blue-Prints for a New 'House of German Art.' How Hitler Intended to Dispose of the 'Purchased' Rothschild Collections.\" <em>The Illustrated London News</em> 207, no. 5542 (July 7, 1945), 24-25.<em><br></em>", "page_number": "Mentioned and reproduced: p. 25", "url": null}, {"citation": "Baldass, Ludwig. \"Two Male Portraits by Frans Hals.\" <em>The Burlington Magazine </em>93 (1951), 181-182.", "page_number": "Mentioned: pp. 181-2; reproduced: fig. 3", "url": null}, {"citation": "\"Recent Acquisitions by the Kunsthistorischen Museum, Vienna: Three Portraits.\" <em>The Connoisseur</em> 134 (July-December 1954), 34", "page_number": "Mentioned: p. 34", "url": null}, {"citation": "<em>Frans Hals: Exhibition on the Occasion of the Centenary of the Municipal Museum at Haarlem, 1862-1962</em>. Introduction by H. P. Baard. Exh. cat. Haarlem: Frans Hals Museum, 1962.", "page_number": "Mentioned: p. 52; Reproduced: fig. 37", "url": null}, {"citation": "Heinz, G., and Friderike Klauner. <em>Katalog der Gem\u00e4ldegalerie II / Vlamen, Holl\u00e4nder, Deutsche, Franzosen</em>. Vienna: Kunsthistorisches Museum, 1963.", "page_number": "Mentioned: n.p., no. 182", "url": null}, {"citation": "Slive, Seymour.<em> Frans Hals</em>. 3 vols London: Phaidon, 1970-1973.", "page_number": "Mentioned: vol. 1, pp. 115-116, vol. 3, p. 54 no. 93; Reproduced: vol. 2 pl. 154", "url": null}, {"citation": "Grimm, Claus. <em>Frans Hals: Entwicklung, Werkanalyse, Gesamtkatalog</em>. Berlin: Mann, 1972.", "page_number": "Mentioned: p. 202, no.67; REproduced: fig. 91", "url": null}, {"citation": "Demus, Klaus. <em>Katalog der Gema\u0308ldegalerie: Holla\u0308ndische Meister des 15., 16. und 17. Jahrhunderts</em>. Vienna: Kunsthistorisches Museum, 1972.", "page_number": "Mentioned: p. 37", "url": null}, {"citation": "Grimm, Claus, and E. C. Montagni. <em>L'Opera completa di Frans Hals</em>. Milan: Rizzoli, 1974.", "page_number": "Mentioned and reproduced: pp. 96-97 no. 90; Reproduced: pl. XXXIII", "url": null}, {"citation": "Grimm, Claus. <em>Frans Hals: das Gesamtwerk</em>. Stuttgart: Belser, 1989.", "page_number": "Mentioned: pp. 189, 281; Reproduced: no. 76", "url": null}, {"citation": "Biesboer, Pieter. \"The Burghers of Haarlem and their Portrait Painters.\" In <em>Frans Hals</em>, 23-44. Seymour Slive et al. Exh. cat. London: Royal Academy of Arts in association with Ludion, Brussels, 1989.", "page_number": "Mentioned: p. 33; Reproduced: p. 32, fig. 10", "url": null}, {"citation": "Du Mortier, Bianca M. \"Costume in Frans Hals.\" In <em>Frans Hals</em>, 45-60. Seymour Slive et al. Exh. cat. London: Royal Academy of Arts in association with Ludion, Brussels, 1989.", "page_number": "Mentioned: p. 56", "url": null}, {"citation": "Groen, Karin, and Ella Hendriks. \"Frans Hals: A Technical Examination.\" In <em>Frans Hals</em>, 109-128. Seymour Slive et al. Exh. cat. London: Royal Academy of Arts in association with Ludion, Brussels, 1989.", "page_number": "Mentioned: pp. 119, 121, 124, 127; Reproduced: p. 126, pl. VIIIy (cross-section)", "url": null}, {"citation": "Grimm, Claus. <em>Frans Hals: the complete work</em>. New York: H.N. Abrams, 1990.", "page_number": "Mentioned: pp. 139, 281; Reproduced: no. 76:", "url": null}, {"citation": "Brandsta\u0308tter, C. <em>Die Gema\u0308ldegalerie des Kunsthistorischen Museums in Wien: Verzeichnis der Gema\u0308lde</em>. Vienna: Kunsthistorisches Museum, 1991.", "page_number": "Mentioned: p. 65, no. 9009; Reproduced: fig. 507", "url": null}, {"citation": "Rozenberg, Silvia, and Rivka Weiss-Blok. <em>Myth and Power: Masterpieces from Imperial Vienna, on Loan from the Kunsthistorisches Museum, Wien</em>. Jerusalem: Israel Museum, 1996.", "page_number": "Mentioned and Reproduced: p. 68, fig. 66", "url": null}, {"citation": "Kunsthistorisches Museum Wien. <em>Restaurierte Gema\u0308lde: die Restaurierwerksta\u0308tte der Gema\u0308ldegalerie des Kunsthistorischen Museums, 1986-1996 : Kunsthistorisches Museum Wien, 16. Oktober 1996 bis 2. Februar 1997</em>. Wien, Austria: Kunsthistorisches Museum Wien, 1996.", "page_number": "Reproduced: no. 12", "url": null}, {"citation": "Dietrich, H. In <em>Restaurierte Gema\u0308lde: die Restaurierwerksta\u0308tte der Gema\u0308ldegalerie des Kunsthistorischen Museums, 1986-1996.</em> Eike Oberthaler et al., eds. Exh. cat. Vienna: Kunsthistorisches Museum, 1996.", "page_number": "Mentioned: pp. 83-84, no. 12", "url": null}, {"citation": "Cleveland Museum of Art, \u201cCleveland Museum of Art Buys Old Master Painting from Rothschild Collection at Christie\u2019s Auction,\u201d July 9, 1999, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr4268"}, {"citation": "Cleveland Museum of Art, \u201cRecord-Setting Old Master Painting Goes on View at CMA 1:30 Tuesday, July 27,\u201d July 27, 1999, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr4271"}, {"citation": "\"Calendar.\" <em>The Burlington Magazine </em>CXLI no. 1158 (September 1999), 576-580.<em><br></em>", "page_number": "Mentioned and reproduced: p. 579", "url": null}, {"citation": "Eakin, Hugh, Laurie Attias, and Agnes Csonka. \u201cUnfinished Business.\u201d <em>ARTnews</em> 98, no. 8 (September 1999): 56.", "page_number": "Reproduced: p. 56", "url": null}, {"citation": "\"A Selection of 1999 Museum Acquisitions.\" <em>Apollo</em> (December 1999), 30<em><br></em>", "page_number": null, "url": null}, {"citation": "May, Sally Ruth, Jane Takac, and Barbara J. Bradley. <em>Knockouts: A Pocket Guide</em>. Cleveland: Cleveland Museum of Art, 2001.", "page_number": "Mentioned: p. 117; Reproduced: p. 38, no. 34", "url": null}, {"citation": "Lillie, Sophie. <em>Was einmal war: Handbuch der enteigneten Kunstsammlungen Wiens</em>. Vienna: Czernin Verlag, 2003.", "page_number": "Mentioned: pp. 1002, 1032 no. 866", "url": null}, {"citation": "Iacono, Margaret. <em>Masterpieces of European Painting from the Cleveland Museum of Art</em>. New York: The Frick Collection, 2006.", "page_number": "Mentioned: Cat. no. 9, pp. 48-51", "url": null}, {"citation": "Kunth, Felicitas. <em>Die Rothschild'schen Gema\u0308ldesammlungen in Wien</em>. Vienna: Bo\u0308hlau, 2006.", "page_number": "Mentioned: pp. 58, 73, 80, 95, 101, 103, 192-193; reproduced: p. 47, and color pl. 3.", "url": null}, {"citation": "\"Old Masters Visit Beachwood\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 47 no. 03, March 2007", "page_number": "Mentioned & reproduced: p. 3", "url": "https://archive.org/details/CMAMM2007-03/page/2/"}, {"citation": "Liedtke, Walter A. <em>Frans Hals: Style and Substance</em>. New York, NY: Metropolitan Museum of Art, 2011.", "page_number": "Reproduced: p. 33, fig. 33", "url": null}, {"citation": "<em>Treasures of the Cleveland Museum of Art</em>. London, United Kingdom: Scala Publishers Ltd., 2012.", "page_number": "Mentioned: p. 192-193", "url": null}, {"citation": "Biesboer, Pieter. \"De Laughing Cavalier van Frans Hals. Een Mogelijke Identificatie.\" In <em>Face Book: Studies on Dutch and Flemish Portraiture of the 16th-18th Centuries. </em>Rudolf E. O. Ekkart, ed., 133-140. Leiden: Primavera Pers, 2012.", "page_number": "Mentioned and reproduced: p. 135", "url": null}, {"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. 184", "url": ""}, {"citation": "Packer, Lelia, and Ashok Roy. <em>Frans Hals: The Male Portrait.</em> London: Philip Wilson Publishers, 2021.", "page_number": "Mentioned and Reproduced: P. 20-22, cat. no. 8", "url": ""}, {"citation": "Mazzocca, Fernando, and Sebastian Schu\u0308tze. Dai Medici ai Rothschild: mecenati, collezionisti, filantropi. Milano : Edizioni Gallerie d'Italia : Skira, 2022.", "page_number": "Reproduced: pp. 276-277", "url": ""}, {"citation": "Bart Cornelis, Friso Lammertse, Justine Rinnooy Kan, and Jaap van der Veen. <em>Frans Hals</em>. London : National Gallery Global ; Amsterdam : in association with the Rijksmuseum, 2023.", "page_number": "Mentioned: p. 35; Reproduced: p. 34, fig. 9.", "url": ""}, {"citation": "Hals, Frans, Christopher D. M. Atkins, and Gema\u0308ldegalerie (Staatliche Museen zu Berlin). Frans Hals : Master of the Fleeting Moment. Edited by Dagmar Hirschfelder, Katja Kleinert, and Erik Eising. Berlin, Berlin: Hatje Cantz Verlag, Hatje Cantz, 2024.", "page_number": "Mentioned: pp. 112-113, Reproduced: p. 110, cat. 15a", "url": ""}, {"citation": "Hals, Frans.<em> Frans Hals : Iconography - Technique - Reputation</em>. Edited by Norbert Middelkoop and Rudolf E. O. Ekkart. Amsterdam: Amsterdam University Press, 2024.", "page_number": "Mentioned: pp. 196-198; reproduced: pp. 196, fig. 2 and 210, fig. 7", "url": ""}, {"citation": "Loebl, Suzanne, and Abigail Wilentz. <em>Plunder and Survival: Stories of Theft, Loss, Recovery, and Migration of Nazi-Uprooted Art. </em>New York, NY: Bloomsbury Academic, Bloomsbury Publishing Inc, 2025.", "page_number": "Mentioned and reproduced: p. 96-97, fig. 6.3", "url": ""}, {"citation": "Seipel, Wilfried. <em>Mein Leben - Ein Abenteuer : Gedanken Und Erinnerungen Eines Museumsdirektors.</em> Weitra: Verlag Bibliothek der Provinz GmbH f\u00fcr Literatur, Kunst, Wissenschaft und Musikalien, 2025.", "page_number": "Reproduced: p. 223", "url": ""}], "url": "https://clevelandart.org/art/1999.173", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1999.173/1999.173_web.jpg", "width": "664", "height": "893", "filesize": "53872", "filename": "1999.173_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1999.173/1999.173_print.jpg", "width": "2529", "height": "3400", "filesize": "857877", "filename": "1999.173_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1999.173/1999.173_full.tif", "width": "11364", "height": "15277", "filesize": "520848048", "filename": "1999.173_full.tif"}}, "alternate_images": [{"web": {"url": "https://openaccess-cdn.clevelandart.org/1999.173/1999.173_alt0_web.jpg", "width": "666", "height": "893", "filesize": "97969"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1999.173/1999.173_alt0_print.jpg", "width": "2534", "height": "3400", "filesize": "1997021"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1999.173/1999.173_alt0_full.tif", "width": "5838", "height": "7833", "filesize": "137210952"}, "date_created": "2013-10-07T14:19:51", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1999.173/1999.173_alt1_web.jpg", "width": "687", "height": "893", "filesize": "61666"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1999.173/1999.173_alt1_print.jpg", "width": "2616", "height": "3400", "filesize": "765174"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1999.173/1999.173_alt1_full.tif", "width": "12000", "height": "15594", "filesize": "561411972"}, "date_created": "2013-10-07T14:44:19", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1999.173/1999.173_alt2_web.jpg", "width": "662", "height": "893", "filesize": "337995"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1999.173/1999.173_alt2_print.jpg", "width": "2521", "height": "3400", "filesize": "5394762"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1999.173/1999.173_alt2_full.tif", "width": "4139", "height": "5582", "filesize": "69341828"}, "date_created": "2007-07-23T15:48:50", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1999.173/1999.173_alt3_web.jpg", "width": "656", "height": "893", "filesize": "316167"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1999.173/1999.173_alt3_print.jpg", "width": "2499", "height": "3400", "filesize": "4670695"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1999.173/1999.173_alt3_full.tif", "width": "4042", "height": "5500", "filesize": "66723788"}, "date_created": "2007-02-12T18:47:03", "annotation": ""}], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "The Harold C. Schott Foundation Gallery", "athena_id": 160885, "creators": [{"id": 2614, "description": "Frans Hals (Dutch, c. 1581\u20131666)", "extent": null, "qualifier": null, "role": "artist", "biography": "c. 1581/85-1666", "name_in_original_language": null, "birth_year": "1581", "death_year": "1666", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1999-08-31T00:00:00", "sortable_date": 1634, "date_added_to_oa": null, "date_text": "1634", "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": ["Tieleman Roosterman"], "is_highlight": true, "updated_at": "2026-05-29 08:21:48.853000"}, {"id": 93234, "accession_number": "1926.1653", "share_license_status": "CC0", "tombstone": "On the Beach, No. 3, c. 1915\u201318. Maurice Prendergast (American, born Newfoundland [now Canada], 1858\u20131924). Oil on canvas; framed: 81 x 103 x 6.5 cm (31 7/8 x 40 9/16 x 2 9/16 in.); unframed: 66 x 85.1 cm (26 x 33 1/2 in.). The Cleveland Museum of Art, Hinman B. Hurlbut Collection, 1926.1653", "current_location": "208 American Gilded Age and Realism", "title": "On the Beach, No. 3", "creation_date": "c. 1915\u201318", "creation_date_earliest": 1915, "creation_date_latest": 1915, "artists_tags": ["male"], "culture": ["United States"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 81 x 103 x 6.5 cm (31 7/8 x 40 9/16 x 2 9/16 in.); Unframed: 66 x 85.1 cm (26 x 33 1/2 in.)", "dimensions": {"framed": {"height": 0.81, "height_inch": 31, "height_inch_fraction": 0.875, "width": 1.03, "width_inch": 40, "width_inch_fraction": 0.5625, "depth": 0.065, "depth_inch": 2, "depth_inch_fraction": 0.5625}, "unframed": {"height": 0.66, "height_inch": 26, "height_inch_fraction": 0.0, "width": 0.851, "width_inch": 33, "width_inch_fraction": 0.5}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower left:  Prendergast; annotated on verso, \"The Beach.\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 354889, "title": "The Maurice Prendergast Memorial Exhibition", "description": "<i>The Maurice Prendergast Memorial Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 15-February 15, 1926).", "opening_date": "1926-01-15T05:00:00"}, {"id": 312517, "title": "The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition", "description": "<i>The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 26-October 4, 1936).", "opening_date": "1936-06-26T04:00:00"}, {"id": 312462, "title": "Exhibition of American Painting from 1860 Until Today", "description": "<i>Exhibition of American Painting from 1860 Until Today</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-October 4, 1937).", "opening_date": "1937-06-23T04:00:00"}, {"id": 312153, "title": "The Eight", "description": "<i>The Eight</i>. The Cleveland Museum of Art, Cleveland, OH (February 9-March 4, 1944).", "opening_date": "1944-02-09T05:00:00"}, {"id": 444775, "title": "Puvis de Chavannes and The Modern Tradition", "description": "<i>Puvis de Chavannes and The Modern Tradition</i>. Art Gallery of Ontario, Ontario M5T 1G4, Canada (organizer) (October 24-November 30, 1975).", "opening_date": "1975-10-24T04:00:00"}, {"id": 222616, "title": "Verso l'Arte Moderna, da Puvis de Chavannes a Matisse e Picasso", "description": "<i>Verso l'Arte Moderna, da Puvis de Chavannes a Matisse e Picasso</i>. Palazzo Grassi spa, 30124 Venice, Italy (organizer) (February 10-June 16, 2002).", "opening_date": "2002-02-10T00:00:00"}, {"id": 184052, "title": "Cleveland Collects American Art of the Gilded Age", "description": "<i>Cleveland Collects American Art of the Gilded Age</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 23-May 18, 2003).", "opening_date": "2003-02-23T00:00:00"}], "legacy": [{"description": "New York, C.W.Kraushaar Art Galleries, Memorial Exhibition of Paintings and Water Colors by Maurice Prendergast (16 February-4 March 1925), cat. no. 33, title given: Beach Scene, No. 3.", "opening_date": "1925-02-16T00:00:00"}, {"description": "Chicago, Art Insitute of Chicago, Special Exhibition: Sculpture by Nancy Cox-McCormack, Mural Paintings by Puvis de Chavvanes, Albert Besnard, and the National Society of Mural Painters, Decorative Paintings by Eduard Buk Ulreich, Drawings and Lithographs by C.O. Woodbury, Paintings by Maurice Prendergast (17 March-24 April 1925), cat. no. 22", "opening_date": "1925-03-17T00:00:00"}, {"description": "Cleveland, The Cleveland Museum of Art, The Maurice Prendergast Memorial Exhibition (16 January-15 February 1926), cat. no. 9.", "opening_date": "1926-01-16T00:00:00"}, {"description": "New York, Whitney Museum of American Art, Maurice Prendergast Memorial Exhibition (21 February-22 March 1934).", "opening_date": "1934-02-21T00:00:00"}, {"description": "Saginaw, MI, Saginaw Museum, An Exhibition of American Painting from Colonial Times Until Today (10 January-15 February 1948), no. 46.", "opening_date": "1948-01-10T00:00:00"}, {"description": "Boston, Museum of Fine Arts, Maurice Prendergast, 1859-1924 (26 October-4 December 1960); traveled to Hartford, Wadsworth Athenaeum (29 December 1960-5 February 1961); to New York, Whitney Museum of American Art (21 February-2 April 1961); to San Francisco, California Palace of the Legion of Honor (22 April-3 June 1961); to Cleveland, The Cleveland Museum of Art (20 June-30 July 1961); cat. no. 43, illus. p. 57.", "opening_date": "1960-10-26T00:00:00"}, {"description": "San Francisco, San Francisco Museum of Art; simultaneously held at San Francisco, M. H. de Young Memorial Museum, and San Francisco, California Palace of the Legion of Honor (see Foreword), Man: Glory, Jest, Riddle, A Survey of the Human Form Through the Ages (10 November 1964-3 January 1965), cat. no. 277.", "opening_date": "1964-11-10T00:00:00"}, {"description": "Grand Rapids, MI, Grand Rapids Museum, 20th Century American Painting (1-30 April 1967), cat. no. 7, illus. p. 7.", "opening_date": "1967-04-01T00:00:00"}, {"description": "Toronto, Art Gallery of Ontario, Puvis de Chavannes and The Modern Tradition (24 October-30 November 1970), cat. no. 84, illus. p. 188.", "opening_date": "1970-10-24T00:00:00"}]}, "provenance": [{"description": "(Kraushaar Galleries, New York). (bought by CMA 1926)", "citations": [], "footnotes": [], "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": ["209.1926", "1653.1926"], "did_you_know": "Three modes of transportation appear in this composition: a ship, horse, and donkey cart.", "early_education_description": null, "artlens_description": null, "description": "Prendergast developed a distinctive painting style featuring rounded patches of thickly applied color. Like many of his works, <em>On the Beach, No. 3</em> visually approximates a densely woven tapestry.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q107336327", "https://www.wikidata.org/wiki/Q60502128"], "internet_archive": []}, "citations": [{"citation": "Whitney Museum of American Art. Maurice Prendergast Memorial Exhibition, February Twenty-First to March Twenty-Second, Nineteen-Thirty-Four. New York: Whitney Museum of American Art, 1934.", "page_number": "cat. no. 63, listed p. 14.", "url": null}, {"citation": "Cleveland Museum of Art. Catalogue of the Twentieth Anniversary Exhibition of the Cleveland Museum of Art: The Official Art Exhibit of the Great Lakes Exposition : June Twenty-Sixth to October Fourth 1936. [Cleveland, Ohio]: [Cleveland Museum of Art], 1936.", "page_number": "cat. no. 365", "url": null}, {"citation": "Cleveland Museum of Art. <em>Catalogue of an Exhibition of American Painting from 1860 until Today at the Cleveland Museum of Art.</em> [Cleveland]: [Printed by the Artcraft Printing Co.], 1937.", "page_number": "Mentioned: p. 36, no. 154", "url": null}, {"citation": "Milliken, William M. \"Department of Paintings.\" <em>Annual Report</em>. 11. Cleveland, OH: Cleveland Museum of Art, 1922.", "page_number": "Mentioned: pp. 33-35", "url": null}, {"citation": "Milliken, William M. \"Two Recent American Paintings Acquired for the Hinman B. Hurlbut Collection.\" <em>The Bulletin of The Cleveland Museum of Art. </em>14:1 (January, 1927).", "page_number": "Mentioned: pp. 9-11; Reproduced: p. 15", "url": null}, {"citation": "\"The Story of American Painting is Retold in Cleveland Exhibition.\" <em>The Art Digest. </em>11:19 (1 August 1937). pp. 5-9.", "page_number": null, "url": null}, {"citation": "<em>National Cyclopedia of American Biography</em>. New York: 1943.", "page_number": "Mentioned: pp. 398-399", "url": null}, {"citation": "Rhys, Hadley Howell<em>. Maurice Prendergast: The Sources and Development of His Style.</em> Ph.D. dissertation,Harvard University, 1952.", "page_number": "Mentioned: p. 162", "url": null}, {"citation": "Simon, John. \"Maurice Prendergast.\" <em>The New York Times,</em> February 26, 1967.", "page_number": "Reproduced", "url": null}, {"citation": "Hamilton, George Heard. <em>19th and 20th Century Art: Painting, Sculpture, Architecture</em>. New York: H.N. Abrams, 1970.", "page_number": "Mentioned: pp. 281, 283; Reproduced: p. 287", "url": null}, {"citation": "Cleveland Museum of Art. \"A Check List: American Paintings and Water Colors of the Eighteenth, Nineteenth, and Early Twentieth Centuries in The Cleveland Museum of Art.\" <em>The Bulletin of the Cleveland Museum of Art</em>. 60:1 (January, 1973). pp. 1-36.", "page_number": "Mentioned: p. 32", "url": null}, {"citation": "Argan, Giulio Carlo, and Rossana Bossaglia. <em>Die Kunst des 20. Jahrhunderts, 1880-1940</em>. Berlin: Propyla\u0308en-Verlag, 1977.", "page_number": "Mentioned: pp. 115-116, 139; Reproduced: 38b", "url": null}, {"citation": "\"Selection VII: American Paintings from the Museum's Collection, c.1800-1930.\" <em>Bulletin of Rhode Island School of Design. </em>63:5 (April, 1977).", "page_number": "Reproduced: cat. 100", "url": null}, {"citation": "Sims, Patterson. <em>Maurice B. Prendergast: A Concentration of Works from the Permanent Collection. </em>New York: Whitney Museum of American Art, 1979.", "page_number": "Mentioned: pp. 3-9, 26, 30-31", "url": null}, {"citation": "Clark, Carol, Nancy Mowll Mathews, and Gwendolyn Owens. <em>Maurice Brazil Prendergast, Charles Prendergast: A Catalogue Raisonne\u0301</em>. Williamstown, MA: Williams College Museum of Art, 1990.", "page_number": "Mentioned: p. 308; Reproduced: cat. 430", "url": null}, {"citation": "Adams, Henry. \"Maurice Prendergast.\" <em>International Dictionary of Art and Artists,</em> ed. James Vinson. Chicago: St. James Press, 1990.", "page_number": "Reproduced: p. 751", "url": null}, {"citation": "Chong, Alan. <em>European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogue</em>. Cleveland, OH: Cleveland Museum of Art, 1993.", "page_number": "Reproduced: p. 186", "url": null}, {"citation": "Wattenmaker, Richard J. <em>Maurice Prendergast</em>. New York: Harry N. Abrams in association with the National Museum of American Art, Smithsonian Institution, 1994. pp. 117-156", "page_number": "Reproduced: p. 136, fig. 119", "url": null}, {"citation": "Clark, Carol. \"Prendergast, Maurice (Brazil).\" <em>The</em> <em>Dictionary of Art, </em>ed. J. S. Turner<em>. </em>25.New York: Grove, 1996.", "page_number": "Mentioned: pp. 552-554; Reproduced: p. 553", "url": null}, {"citation": "Hughes, Robert. <em>American Visions: The Epic History of Art in America</em>. New York: Alfred A. Knopf, 1997.", "page_number": "Mentioned: pp. 266-269; Reproduced: p. 269", "url": null}, {"citation": "Lemoine, Serge. <em>From Puvis De Chavannes to Matisse and Picasso: Toward Modern Art.</em> Milano: Bompiani, 2002.", "page_number": "Reproduced: p. 450, fig. 156", "url": null}], "url": "https://clevelandart.org/art/1926.1653", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1926.1653/1926.1653_web.jpg", "width": "900", "height": "683", "filesize": "507062", "filename": "1926.1653_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1926.1653/1926.1653_print.jpg", "width": "3400", "height": "2581", "filesize": "5625392", "filename": "1926.1653_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1926.1653/1926.1653_full.tif", "width": "12613", "height": "9576", "filesize": "362380236", "filename": "1926.1653_full.tif"}}, "alternate_images": [{"web": {"url": "https://openaccess-cdn.clevelandart.org/1926.1653/1926.1653_alt0_web.jpg", "width": "900", "height": "684", "filesize": "509897"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1926.1653/1926.1653_alt0_print.jpg", "width": "3400", "height": "2583", "filesize": "5306340"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1926.1653/1926.1653_alt0_full.tif", "width": "12619", "height": "9588", "filesize": "363007528"}, "date_created": "2023-08-14T14:07:05", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1926.1653/1926.1653_alt1_web.jpg", "width": "900", "height": "677", "filesize": "188328"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1926.1653/1926.1653_alt1_print.jpg", "width": "3400", "height": "2559", "filesize": "1565314"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1926.1653/1926.1653_alt1_full.tif", "width": "12917", "height": "9721", "filesize": "376725572"}, "date_created": "2023-08-14T14:17:50", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1926.1653/1926.1653_alt2_web.jpg", "width": "900", "height": "727", "filesize": "434526"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1926.1653/1926.1653_alt2_print.jpg", "width": "3400", "height": "2748", "filesize": "4646954"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1926.1653/1926.1653_alt2_full.tif", "width": "11058", "height": "8936", "filesize": "296475816"}, "date_created": "2023-08-14T10:13:29", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1926.1653/1926.1653_alt3_web.jpg", "width": "1164", "height": "893", "filesize": "1072006"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1926.1653/1926.1653_alt3_print.jpg", "width": "3400", "height": "2608", "filesize": "3340305"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1926.1653/1926.1653_alt3_full.tif", "width": "5000", "height": "3836", "filesize": "57580984"}, "annotation": ""}], "creditline": "Hinman B. Hurlbut Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "The Cleveland Foundation Gallery", "athena_id": 93234, "creators": [{"id": 3246, "description": "Maurice Prendergast (American, born Newfoundland [now Canada], 1858\u20131924)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1858", "death_year": "1924", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1926-02-18T00:00:00", "sortable_date": 1915, "date_added_to_oa": null, "date_text": "c. 1915\u201318", "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": "2026-10-20 11:25:15.169000"}, {"id": 150530, "accession_number": "1981.83", "share_license_status": "Copyrighted", "tombstone": "Military, 1914\u201315. Marsden Hartley (American, 1877\u20131943). Oil on canvas; framed: 73.5 x 63.5 x 3.5 cm (28 15/16 x 25 x 1 3/8 in.); unframed: 60.6 x 50.2 cm (23 7/8 x 19 3/4 in.). The Cleveland Museum of Art, Gift of Professor Nelson Goodman, 1981.83", "current_location": "226A American Modern", "title": "Military", "creation_date": "1914\u201315", "creation_date_earliest": 1914, "creation_date_latest": 1915, "artists_tags": ["LGBTQ+ (after 1900)", "male"], "culture": ["United States"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 73.5 x 63.5 x 3.5 cm (28 15/16 x 25 x 1 3/8 in.); Unframed: 60.6 x 50.2 cm (23 7/8 x 19 3/4 in.)", "dimensions": {"framed": {"height": 0.735, "height_inch": 28, "height_inch_fraction": 0.9375, "width": 0.635, "width_inch": 25, "width_inch_fraction": 0.0, "depth": 0.035, "depth_inch": 1, "depth_inch_fraction": 0.375}, "unframed": {"height": 0.606, "height_inch": 23, "height_inch_fraction": 0.875, "width": 0.502, "width_inch": 19, "width_inch_fraction": 0.75}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed on reverse of fabric:  Marsden Hartley", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 309849, "title": "Year in Review for 1984", "description": "<i>Year in Review for 1984</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 3-May 5, 1985).", "opening_date": "1985-04-03T05:00:00"}, {"id": 321951, "title": "Dictated by Life: Marsden Hartley's German Paintings and Robert Indiana's Hartley Elegies", "description": "<i>Dictated by Life: Marsden Hartley's German Paintings and Robert Indiana's Hartley Elegies</i>. Frederick R. Weisman Art Museum, Minneapolis, MN (organizer) (co-organizer) (April 14-June 11, 1995); Terra Museum of American Art (July 1-September 10, 1995); The Patricia & Phillip Frost Art Museum, Miami, FL (October 1-December 2, 1995).", "opening_date": "1995-04-14T04:00:00"}, {"id": 227084, "title": "Made in U.S.A., l'art am\u00e9ricain, 1908-1943, entre nationalisme et internationalisme [FRAME]", "description": "<i>Made in U.S.A., l'art am\u00e9ricain, 1908-1943, entre nationalisme et internationalisme [FRAME]</i>. Mus\u00e9e des Beaux-Arts de Bordeaux, F-33000 Bordeaux, France (organizer) (October 5-December 31, 2001); Mus\u00e9e des Beaux-Arts de Rennes, Rennes, France (January 17-March 31, 2002); Mus\u00e9e Fabre, Montpellier, France (April 10-June 25, 2002).", "opening_date": "2001-10-05T00:00:00"}, {"id": 181802, "title": "The Persistence of Geometry: Form, Content and Culture in the Collection of the Cleveland Museum of Art", "description": "<i>The Persistence of Geometry: Form, Content and Culture in the Collection of the Cleveland Museum of Art</i>. Museum of Contemporary Art Cleveland (MOCA), Cleveland, OH (June 9-August 20, 2006).", "opening_date": "2006-06-09T00:00:00"}], "legacy": []}, "provenance": [{"description": "The Cleveland Museum of Art, Cleveland, Ohio", "citations": [], "footnotes": [], "date": "1981-", "sortorder": 1}, {"description": "Professor Nelson Goodman [1906-1998], Cambridge, MA, sold to the Cleveland Museum of Art", "citations": [], "footnotes": ["<div><!--block-->Goodman purchased the painting directly from Charles Demuth's heir, Robert Locher, and his partner, Richard Weyand.</div>"], "date": "Probably 1956-1981", "sortorder": 2}, {"description": "Robert Locher [1888-1956], Lancaster, PA, sold to Nelson Goodman", "citations": [], "footnotes": ["<div><!--block-->Locher, Demuth's longtime companion, was the principal beneficiary of his estate.&nbsp; According to Nelson Goodman, the painting had been hanging in the Demuth house in Lancaster, PA, where Locher had resided with his partner, Richard Weyand, since Demuth\u2019s death in 1935.&nbsp; Goodman indicates that he purchased the painting from Demuth's \"heirs,\" Locher and Weyand; however, only Locher was Demuth's heir.&nbsp; It is possible that Weyand should also be included in this provenance: if Goodman bought the painting in 1956 after Locher's death but before Weyand's several months later, than Weyand would have been the owner at the time of the purchase.</div>"], "date": "1935-probably 1956", "sortorder": 3}, {"description": "Charles Demuth [1883-1935], Lancaster, PA, by descent to Robert Locher", "citations": [], "footnotes": ["<div><!--block-->At some point, Charles Demuth, Hartley's close friend, obtained the painting.&nbsp; While Demuth knew Barnes well and often visited him, the exact circumstances surrounding the former's acquisition of the painting are unknown.&nbsp;</div>"], "date": "After 1921-1935", "sortorder": 4}, {"description": "Albert C. Barnes [1872-1951], Philadelphia, PA", "citations": [], "footnotes": ["<div><!--block-->Barnes purchased this painting, along with three others, at the sale of Hartley's collection on May 10, 1921.&nbsp; Shortly after the auction, Barnes asked Hartley about the possibility of purchasing two more paintings, which Hartley was offering for $350 each.&nbsp; Barnes offered only $50, and Hartley passed the letter to his dealer, Alfred Stieglitz, who never responded.&nbsp; After the incident, Barnes stopped acquiring works by Hartley and eventually removed <em>Military </em>from his collection.</div>"], "date": "1921-", "sortorder": 5}, {"description": "(Hartley sale, Anderson Galleries, New York, May 10, 1921, as \u201cPre-War Pageant, 1913,\" sold to Albert C. Barnes)", "citations": [], "footnotes": ["<div><!--block-->By the spring of 1921, Hartley had become desperately poor, having failed to attract any real following in the United States, and so he was forced to sell off a large portion of his oeuvre at auction.</div>"], "date": "1921", "sortorder": 6}, {"description": "Collection of the artist", "citations": [], "footnotes": [], "date": "1914/1915-1921", "sortorder": 7}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Hartley was one of the first modern artists to paint abstractions.", "early_education_description": null, "artlens_description": null, "description": "This abstract portrait is a memorial tribute to a German lieutenant named Karl von Freyburg with whom Hartley had been in love. The artist described von Freyburg\u2019s death as an \"unendurable agony,\" and created a series of deeply personal paintings in response. Here the shapes and color patterns suggest flags, banners, targets, epaulets, and other military paraphernalia.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60474821"], "internet_archive": []}, "citations": [{"citation": "Anderson Galleries, Inc. <em>Seventy-Five Pictures by James N. Rosenburg and 117 Pictures by Marsden Hartley</em>. 1921.", "page_number": null, "url": null}, {"citation": "Levin, Gail. \"Hidden Symbolism in Marsden Hartley's Military Pictures.\" <em>Arts Magazine</em> 54, no. 2 (October 1979).", "page_number": "Mentioned: p. 58", "url": null}, {"citation": "Haskell, Barbara. <em>Marsden Hartley</em>. New York: Whitney Museum of American Art in association with New York University Press, 1980.", "page_number": "Reproduced: p. 45, n. 43", "url": null}, {"citation": "\"The Year in Review for 1984.\" <em>The Bulletin of the Cleveland Museum of Art </em>72 (April 1985)", "page_number": "Reproduced: n. 49", "url": null}, {"citation": "Robinson, William H. \"Marsden Hartley's Military.\" <em>The Bulletin of the Cleveland Museum of Art</em> 76 (January 1989)", "page_number": "Mentioned:  p. 2, 13, 15, 17, 18, 19, 20, 21, 22; Reproduced: front cover illustration", "url": null}, {"citation": "McDonnell, Patricia. \"<em>Indian Fantasy</em>: Marsden Hartley's <em>Myth of Amerika</em> in Expressionist Berlin.\" <em>North Carolina Museum of Art Bulletin </em>XVI (1993)", "page_number": "Mentioned: p. 56; Reproduced: p. 58, no. 9", "url": null}, {"citation": "Chong, Alan. <em>European and American Painting in The Cleveland Museum of Art. </em>Cleveland: The Cleveland Museum of Art, 1993.", "page_number": "Reproduced: p. 100", "url": null}, {"citation": "Robertson, Bruce. <em>Marsden Hartley.</em> New York: Harry N. Abrams in association with The National Museum of American Art, Smithsonian Institution, 1995.", "page_number": "Reproduced: p. 63", "url": null}, {"citation": "French Regional &amp; American Museums Exchange. <em>Made in USA: L'art am\u00e9ricain, 1908-1947.</em> Paris: \u00c9ditions de la R\u00e9union des mus\u00e9es nationaux, 2001.", "page_number": "Reproduced: p. 91", "url": null}, {"citation": "\"L\u2019art Am\u00e9ricain d\u00e9barque.\" <em>Le Magazine: Arts &amp; Spectacles </em>(January 2002)", "page_number": "Reproduced: unpaginated", "url": null}, {"citation": "McDonnell, Patricia. \"'Portrait of Berlin': Marsden Hartley and Urban Modernity in Expressionist Berlin.\" In <em>Marsden Hartley,</em> edited by Elizabeth Mankin Kornhauser. New Haven: Wadsworth Atheneum Museum of Art in association with Yale University Press, 2002.", "page_number": "Mentioned: p. 40, 51, 54", "url": null}, {"citation": "Voorhies, James Timothy, ed. <em>My Dear Stieglitz: Letters of Marsden Hartley and Alfred Stieglitz, 1912-1915. </em>Columbia: University of South Carolina Press, 2002.", "page_number": "Reproduced: no. 6, unpaginated", "url": null}, {"citation": "McDonnell, Patricia. <em>Painting Berlin Stories: Marsden Hartley, Oscar Bluemner, and the First American Avant-Garde in Expressionist Berlin.</em> New York: Peter Lang, 2003.", "page_number": "Mentioned: p. 97; Reproduced: p. 98, fig. 10", "url": null}, {"citation": "Litt,Steven. \"'Geometry' draws us in, yet theme fails to come full circle.\" <em>The</em> <em>Cleveland Plain Dealer</em>, June 18, 2006.", "page_number": "Reproduced: p. J5", "url": null}, {"citation": "Adams, Henry. <em>Whats American about American Art? A Gallery Tour in the Cleveland Museum of Art. </em>Cleveland: Cleveland Museum of Art, 2008.", "page_number": "Mentioned: p. 123; Reproduced: p. 122", "url": null}, {"citation": "Cash, Sarah \"Berlin Abstraction.\" In <em>Corcoran Gallery of Art: American Paintings to 1945, </em>edited by Sarah Cash. Seattle: Marquand Books, Inc., 2011.", "page_number": "Mentioned: p. 211", "url": null}, {"citation": "McDonnell, Patricia, and Michael Plante. <em>Dictated by Life: Marsden Hartley's German Paintings and Robert Indiana's Hartley Elegies</em>. Minneapolis, MN: Frederick R. Weisman Art Museum, University of Minnesota; New York, NY: Distributed by D.A.P./Distributed Art Publishers, 1995.", "page_number": "Reproduced: pp. 30, 55", "url": null}, {"citation": "Chassey, Eric de. <em>Made in USA: l'art ame\u0301ricain, 1908-1943, entre nationalisme et internationalisme</em>. Paris: Re\u0301union des muse\u0301es nationaux, 2001.", "page_number": "Reproduced: p. 91", "url": null}, {"citation": "Sims, Lowery Stokes. <em>The Persistence of Geometry: Form, Content, and Culture in the Collection of the Cleveland Museum of Ar</em>t. Cleveland: Cleveland Museum of Art, 2006.", "page_number": "Mentioned: p. 118, no. 58; Reproduced: pp. 57, 64", "url": null}], "url": "https://clevelandart.org/art/1981.83", "images": {}, "alternate_images": [], "creditline": "Gift of Professor Nelson Goodman", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Dr. Robert B. Benyo Trust Gallery", "athena_id": 150530, "creators": [{"id": 3104, "description": "Marsden Hartley (American, 1877\u20131943)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1877", "death_year": "1943", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1982-03-08T00:00:00", "sortable_date": 1914, "date_added_to_oa": null, "date_text": "1914\u201315", "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": "2026-10-13 11:16:16.355000"}, {"id": 92936, "accession_number": "1922.1132", "share_license_status": "Copyrighted", "tombstone": "Maine Coast, 1907. Rockwell Kent (American, 1882\u20131971). Oil on canvas; framed: 104.5 x 130.2 x 6.5 cm (41 1/8 x 51 1/4 x 2 9/16 in.); unframed: 86.4 x 111.7 cm (34 x 44 in.). The Cleveland Museum of Art, Hinman B. Hurlbut Collection, 1922.1132", "current_location": "208 American Gilded Age and Realism", "title": "Maine Coast", "creation_date": "1907", "creation_date_earliest": 1907, "creation_date_latest": 1907, "artists_tags": ["male"], "culture": ["United States"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 104.5 x 130.2 x 6.5 cm (41 1/8 x 51 1/4 x 2 9/16 in.); Unframed: 86.4 x 111.7 cm (34 x 44 in.)", "dimensions": {"framed": {"height": 1.045, "height_inch": 41, "height_inch_fraction": 0.125, "width": 1.302, "width_inch": 51, "width_inch_fraction": 0.25, "depth": 0.065, "depth_inch": 2, "depth_inch_fraction": 0.5625}, "unframed": {"height": 0.864, "height_inch": 34, "height_inch_fraction": 0.0, "width": 1.117, "width_inch": 44, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower left:  Rockwell Kent / 1907.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 616736, "title": "Second Exhibition of Contemporary American Painting", "description": "<i>Second Exhibition of Contemporary American Painting</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 8-July 10, 1922).", "opening_date": "1922-06-08T00:00:00"}, {"id": 312462, "title": "Exhibition of American Painting from 1860 Until Today", "description": "<i>Exhibition of American Painting from 1860 Until Today</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-October 4, 1937).", "opening_date": "1937-06-23T04:00:00"}, {"id": 312341, "title": "The Silver Jubilee Exhibition", "description": "<i>The Silver Jubilee Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-September 28, 1941).", "opening_date": "1941-06-23T04:00:00"}, {"id": 311898, "title": "35th Anniversary Exhibition", "description": "<i>35th Anniversary Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 20-September 30, 1951).", "opening_date": "1951-06-20T04:00:00"}, {"id": 300832, "title": "Western Landscape Painting and Drawing", "description": "<i>Western Landscape Painting and Drawing</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 29, 1954-January 6, 1955).", "opening_date": "1954-10-29T04:00:00"}, {"id": 310299, "title": "Reckoning with Winslow Homer: His Late Works and Their Influence", "description": "<i>Reckoning with Winslow Homer: His Late Works and Their Influence</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 19-November 25, 1990); Columbus Museum of Art, Columbus, OH (December 16, 1990-February 10, 1991); Corcoran Gallery of Art, Washington, DC (March 16-May 12, 1991).", "opening_date": "1990-09-19T04:00:00"}, {"id": 214577, "title": "Blanketed in Snow:  American Winter Scenes", "description": "<i>Blanketed in Snow:  American Winter Scenes</i>. Norton Museum of Art (December 6, 1997-February 22, 1998); Newark Museum (March 7-May 31, 1998); Columbus Museum of Art (July 10-September 13, 1998).", "opening_date": "1997-12-06T00:00:00"}], "legacy": [{"description": "<em>Rockwell Kent: A Retrospective Loan Exhibition of Paintings, Lithographs, and Woodcuts</em>. Syracuse Museum of Fine Arts, Syracuse, NY (January 6\u2013February 7, 1937)", "opening_date": "1937-01-06T00:00:00"}, {"description": "<em>Made in the U.S.A.</em> Hackley Art Gallery, Muskegen, MI (\u2013November 29, 1950)", "opening_date": "1950-11-01T00:00:00"}, {"description": "<em>Picture of the Month</em>. Thiel College, Greenville, PA (April 1\u201330, 1960)", "opening_date": "1960-04-01T00:00:00"}, {"description": "<em>Maine: 100 Artists of the 20th Century</em>. Colby College Museum of Art, Waterville, ME(June 25\u2013September 30, 1964) illus. p. 3, listed p. 34.", "opening_date": "1964-06-25T00:00:00"}, {"description": "<em>Rockwell Kent: The Early Years.</em> Walker Art Museum, Bowdoin College, Brunswick, ME (August 15\u2013October 15, 1969)", "opening_date": "1969-08-15T00:00:00"}, {"description": "<em>The American Landscape</em>. Mansfield, OH, The Mansfield Art Center,  (8 March-5 April 1981)", "opening_date": "1981-03-08T00:00:00"}, {"description": "Santa Barbara, Santa Barbara Museum of Art, \"An Enkindled Eye:\" The Paintings of Rockwell Kent: A Retrospective Exhibition (29 June-1 September 1985); traveled to Columbus, Columbus Museum of Art (12 October-13 November 1985); to Portland, ME, Portland Museum of Art (21 January-2 March 1986); to Syracuse, NY, Everson Museum of Art (11 April-18 May 1986), pp. 15-25, cat. no. 10, illus. p. 37.", "opening_date": "1985-06-29T00:00:00"}, {"description": "Cleveland, The Cleveland Museum of Art, Reckoning with Winslow Homer: His Late Paintings and Their Influence (19 September-18 November 1990); traveled to Columbus, Columbus Museum of Art (16 December 1990-10 February 1991); to Washington, D.C., The Corcoran Gallery of Art (16 March-12 May 1991), pp. 101-106, 182-183, cat. no. 74, illus. p. 102.", "opening_date": "1990-09-19T00:00:00"}, {"description": "New York, The Metropolitan Museum of Art, American Impressionism and Realism: The Painting of Modern Life, 1885-1915 (2 May-24 July 1994); traveled to Fort Worth, Amon Carter Museum (22 August-30 October 1994); to Denver, Denver Art Museum (28 November 1994-5 February 1995); to Los Angeles, Los Angeles County Museum of Art (6 March-14 May 1995).", "opening_date": "1994-05-02T00:00:00"}, {"description": "Richmond, VA, Virginia Museum of Fine Arts, America Around 1900: Impressionism, Realism, and Modern Life (12 June-17 September 1995 )", "opening_date": "1995-06-12T00:00:00"}]}, "provenance": [{"description": "(Mrs. Albert (Marie) Sterner [1880-1953], New York, NY sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "-1922", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1922-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1058.1922", "1132.1922"], "did_you_know": "Kent loved to paint landscapes in cold, remote areas, including Maine, Alaska, Newfoundland, and Greenland.", "early_education_description": null, "artlens_description": null, "description": "Located off the coast of Maine, Monhegan Island has long drawn artists attracted to its rugged headlands, brooding forests, and dramatic ocean vistas. Unlike most colleagues who visited during summer, Kent built a home and lived there year-round, working as a well digger, lobsterman, and carpenter from 1906\u20138. This boldly rendered winter scene was painted from his studio window.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q106799690", "https://www.wikidata.org/wiki/Q60502095"], "internet_archive": ["https://archive.org/details/clevelandart-1922.1132-maine-coast"]}, "citations": [{"citation": "Brunswick, ME, Walker Art Museum, Bowdoin College, <em>Rockwell Kent: The Early Years</em> (15 August-15 October 1969)", "page_number": "cat. no. 4, illus.", "url": ""}, {"citation": "Milliken, William M. \"The Second Exhibition of Contemporary American Painting.\" <em>The Bulletin of the Cleveland Museum of Art</em> 9:6 (June 1922): 95-98.", "page_number": "Mentioned: p. 97", "url": null}, {"citation": "Glasier, Jessie C. \"Museum Gets Prize-Winning Canvases: Bellows Subject, Kent Landscape Are Acquisitions.\" <em>The Plain Dealer </em>(Cleveland, OH), June 18, 1922.", "page_number": "Mentioned: p. 3", "url": null}, {"citation": "\"Cleveland Museum Acquires Typical Pictures by Bellows and Kent.\" <em>American Art News</em> 20:37 (24 June 1922).", "page_number": "Reproduced: p. 6", "url": null}, {"citation": "\"Painter Exchanges Maine Pines for Scenes in South America.\" <em>The Plain Dealer </em>(Cleveland, OH), Sept. 2, 1922.", "page_number": "Reproduced: p. 48", "url": null}, {"citation": "Milliken, William M. \"Two Examples of Modern Painting: The Maine Coast, by Rockwell Kent.\" <em>The Bulletin of the Cleveland Museum of Art</em>. 9:10 (December, 1922). pp. 171-175.", "page_number": "Mentioned: p. 171-172", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 1925.", "page_number": "Reproduced: p. 36", "url": "https://archive.org/details/CMAHandbook_80839/page/n38"}, {"citation": "<em>The American Magazine of Art</em>. 16 (July, 1925).", "page_number": "Reproduced: p. 347", "url": null}, {"citation": "Isham, Samuel, and Royal Cortissoz. <em>The History of American Painting</em>. New York, NY: Macmillan Company, 1927.", "page_number": "Mentioned: p. 563-564, 588-589; Reproduced: pl. 136", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 1928.", "page_number": "Reproduced: p. 44", "url": "https://archive.org/details/CMAHandbook1928/page/n48"}, {"citation": "Neuhaus, Eugen. <em>The History and Ideals of American Art</em>. Stanford University, CA: Stanford University Press; London: Oxford University Press, 1931.", "page_number": "Mentioned: p. 358-359", "url": null}, {"citation": "Pollak, Frances M., and Greta A. Cornell. \"Rockwell Kent-Painter and Graver.\" <em>The Index of Twentieth Century Artists</em>. New York, NY: Research Institute of the College Art Association, 1934.", "page_number": "Mentioned: p. 97, 104-110", "url": null}, {"citation": "Cleveland Museum of Art. <em>Catalogue of an Exhibition of American Painting from 1860 until Today at the Cleveland Museum of Art.</em> [Cleveland]: [Printed by the Artcraft Printing Co.], 1937.", "page_number": "Mentioned: p. 30, no. 112", "url": ""}, {"citation": "<em>Rockwell Kent: A Retrospective Loan Exhibition of Paintings, Lithographs, and Woodcuts</em>. Syracuse Museum of Fine Arts, Syracuse, NY (January 6\u2013February 7, 1937)", "page_number": "cat. no. 5, not illus.", "url": ""}, {"citation": "<em>Maine: 100 Artists of the 20th Century</em>. Colby College Museum of Art, Waterville, ME (June 25\u2013September 30, 1964)", "page_number": "illus. p. 3, listed p. 34.", "url": ""}, {"citation": "Young, Mahonri Sharp. <em>American Realists, Homer to Hopper</em>. New York, NY: Watson-Guptill Publications, 1977.", "page_number": "Mentioned: p. 182; Reproduced: p. 183", "url": null}, {"citation": "West, Richard V. \"Rockwell Kent Reconsidered.\" <em>American Art Review</em>. 4:3 (December, 1977).", "page_number": "Mentioned: p. 84-93, 130-136", "url": null}, {"citation": "<em>The American Landscape</em>. Mansfield, OH, The Mansfield Art Center,  (8 March-5 April 1981)", "page_number": "cat. no. 41, not illus", "url": ""}, {"citation": "Johnson, Fridolf. <em>Rockwell Kent: An Anthology of His Works</em>. New York, NY: Knopf, 1982.", "page_number": "Mentioned: p. 33-34, 107-115; Reproduced: p. 244", "url": null}, {"citation": "Clark, Jeff. \"The Return of Rockwell Kent: A Portland Retrospective Recalls an Adventurous and Controversial Life.\" <em>Down East</em>, March 1986.", "page_number": "Mentioned: p. 24-28; Reproduced: pl. 26.", "url": null}, {"citation": "Chong, Alan. <em>European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogue</em>. Cleveland, OH: Cleveland Museum of Art, 1993.", "page_number": "Reproduced: p. 121", "url": null}, {"citation": "<em>Antiques</em>. vol. 143 (April, 1993).", "page_number": "Mentioned: p. 503", "url": null}, {"citation": "Weinberg, H. Barbara, Doreen Bolger, and David Park Curry. <em>American Impressionism and Realism: The Painting of Modern Life, 1885-1915</em>. New York, NY: Metropolitan Museum of Art, distributed by H.N. Abrams, 1994.", "page_number": "Reproduced: fig. 73; Mentioned: p. 86", "url": null}, {"citation": "Cummer Gallery of Art, Jacksonville. \"Exhibition Reviews: Fort Worth: American Impressionsim and Realism.\" <em>The Burlington Magazine</em>. 136:1100 (November, 1994). pp. 786-787.", "page_number": "Mentioned: p. 787; Reproduced: p. 787", "url": null}, {"citation": "Ferris, Scott R. \"The Bestowal.\" In <em>Rockwell Kent's Forgotten Landscapes</em>. Camden, ME: Down East Books, 1998.", "page_number": "Mentioned: pp. 22, 76-78.", "url": null}], "url": "https://clevelandart.org/art/1922.1132", "images": {}, "alternate_images": [], "creditline": "Hinman B. Hurlbut Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "The Cleveland Foundation Gallery", "athena_id": 92936, "creators": [{"id": 14219, "description": "Rockwell Kent (American, 1882\u20131971)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1882", "death_year": "1971", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1922-06-09T00:00:00", "sortable_date": 1907, "date_added_to_oa": null, "date_text": "1907", "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": "2026-10-20 11:25:15.087000"}, {"id": 149947, "accession_number": "1980.180", "share_license_status": "Copyrighted", "tombstone": "Number 5, 1950, 1950. Jackson Pollock (American, 1912\u20131956). Oil on canvas; framed: 138 x 102 x 5 cm (54 5/16 x 40 3/16 x 1 15/16 in.); unframed: 136.5 x 99.1 cm (53 3/4 x 39 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1980.180. \u00a9 Pollock-Krasner Foundation / Artists Rights Society (ARS), New York", "current_location": "227 Abstract Expressionism", "title": "Number 5, 1950", "creation_date": "1950", "creation_date_earliest": 1950, "creation_date_latest": 1950, "artists_tags": ["male"], "culture": ["United States"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 138 x 102 x 5 cm (54 5/16 x 40 3/16 x 1 15/16 in.); Unframed: 136.5 x 99.1 cm (53 3/4 x 39 in.)", "dimensions": {"framed": {"height": 1.38, "height_inch": 54, "height_inch_fraction": 0.3125, "width": 1.02, "width_inch": 40, "width_inch_fraction": 0.1875, "depth": 0.05, "depth_inch": 1, "depth_inch_fraction": 0.9375}, "unframed": {"height": 1.365, "height_inch": 53, "height_inch_fraction": 0.75, "width": 0.991, "width_inch": 39, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Pollock-Krasner Foundation / Artists Rights Society (ARS), New York", "inscriptions": [], "exhibitions": {"current": [{"id": 304404, "title": "The Spirit of Surrealism", "description": "<i>The Spirit of Surrealism</i>. The Cleveland Museum of Art, Cleveland, OH (October 3-November 25, 1979).", "opening_date": "1979-10-03T04:00:00"}, {"id": 304521, "title": "Year in Review: 1980", "description": "<i>Year in Review: 1980</i>. The Cleveland Museum of Art (organizer) (June 24-July 19, 1981).", "opening_date": "1981-06-24T04:00:00"}, {"id": 310025, "title": "Creativity in Art and Science, 1860-1960", "description": "<i>Creativity in Art and Science, 1860-1960</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 16-November 8, 1987).", "opening_date": "1987-09-16T04:00:00"}, {"id": 179631, "title": "CMA Highlights", "description": "<i>CMA Highlights</i>. The Cleveland Museum of Art (organizer) (June 21-September 11, 2005).", "opening_date": "2005-06-21T00:00:00"}, {"id": 181802, "title": "The Persistence of Geometry: Form, Content and Culture in the Collection of the Cleveland Museum of Art", "description": "<i>The Persistence of Geometry: Form, Content and Culture in the Collection of the Cleveland Museum of Art</i>. Museum of Contemporary Art Cleveland (MOCA), Cleveland, OH (June 9-August 20, 2006).", "opening_date": "2006-06-09T00:00:00"}, {"id": 677076, "title": "Landscapes by Arnold Chang: A Retrospective and Recent Acquisitions \u5f35\u6d2a\u5c71\u6c34\u756b\u56de\u9867\u5c55", "description": "<i>Landscapes by Arnold Chang: A Retrospective and Recent Acquisitions \u5f35\u6d2a\u5c71\u6c34\u756b\u56de\u9867\u5c55</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 8-November 9, 2025).", "opening_date": "2025-03-08T05:00:00"}], "legacy": [{"description": "<em>Jackson Pollock. </em>Betty Parsons Gallery, New York, NY (November 28-December 16, 1950).", "opening_date": "1950-11-28T00:00:00"}, {"description": "<em>Jackson Pollock 1948-1951</em>. Studio Paul Facchetti, Paris, France (March 7-31, 1952).", "opening_date": "1952-03-07T00:00:00"}, {"description": "<em>Object and Image in Modern Art and Poetry</em>. Yale University Art Gallery, New Haven, CT (April 30-June 14, 1954).", "opening_date": "1954-04-30T00:00:00"}, {"description": "<em>Pollock</em>. Museo de Arte Moderna, Sao Paulo, Brazil (1957).", "opening_date": "1957-01-01T00:00:00"}, {"description": "<em>The New American Painting</em>. Basel, Kunsthalle, (April 19-May 26, 1958); traveled to Hamburg, Kunstverein, (July 19-August 17, 1958); organized by the Museum of Modern Art, New York (International Council); possibly traveled to Galleria civica d'arte moderna, Milan, Italy (June 1-29, 1958); Hochscule fur Bildende Kunst, Berlin, Germany (September 1-October 1, 1958); Stedelijk Museum, Amsterdam, The Netherlands (October 17-November 24, 1958); Palais des Beaux-Arts, Brussels, Belgium (December 6, 1958-January 4, 1959); Tate Gallery, London, England (February 24- March 23, 1959); Museum of Modern Art, New York, NY (May 28-September 8, 1959).", "opening_date": "1958-04-19T00:00:00"}, {"description": "<em>Jackson Pollock and the New American Painting</em>. Mus\u00e9e National D'Art Moderne, Paris, France (January 16-February 15, 1959); organized by the Museum of Modern Art, New York (International Council).", "opening_date": "1959-01-16T00:00:00"}, {"description": "<em>Recent Acquisitions</em>. Museum of Modern Art, New York, NY (1959\u20131960).", "opening_date": "1959-01-01T00:00:00"}, {"description": "<em>First International Modern Art Exhibition</em>. Museo de Arte Moderno, Buenos Aires, Argentina (1960).", "opening_date": "1960-01-01T00:00:00"}, {"description": "<em>Painting and Sculpture and Graphic Art from the Museum Collection. </em>Museum of Modern Art, New York, NY (1962\u2013196\u000f3).", "opening_date": "1962-01-01T00:00:00"}, {"description": "<em>Two Decades of Americian Painting, selected by Waldo Rasmussen</em>. Organized by Museum of Modern Art, New York, shown at: National Museum of Modern Art, Tokyo, Japan, (October 15-November 27, 1966); National Museum of Modern Art, Kyoto, Japan (December 10, 1966-January 22, 1967); Lalit Kala Akademi, New Delhi, India (March 28-April 15, 1967); National Gallery of Victoria, Melbourne, Australia (June 6-July 9, 1967); Art Gallery of New South Wales, Sydney, Australia (July 17-August 13, 1967).", "opening_date": "1966-10-15T00:00:00"}, {"description": "<em>The Art of the Real: An Aspect of American Painting and Sculpture 1948-1968. </em>Tate Gallery, London, England. Organized by the Museum of Modern Art, New York (International Council) (April 24-June 1, 1969).", "opening_date": "1969-04-24T00:00:00"}]}, "provenance": [{"description": "(Betty Parsons Gallery, New York, NY, sold to Mr. and Mrs. Walter Bareiss)", "citations": [], "footnotes": null, "date": "1950", "sortorder": 1}, {"description": "Walter [1919\u20132007] and Molly Bareiss [1920\u20132006], Greenwich, CT, given to the Museum of Modern Art, New York", "citations": [], "footnotes": null, "date": "1950\u20131957", "sortorder": 2}, {"description": "Museum of Modern Art, New York, NY, sold to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1957\u20131980", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1980\u2013", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Although he was born Paul Jackson Pollock, he always went by his middle name.", "early_education_description": null, "artlens_description": null, "description": "Jackson Pollock popularized the method of flinging pigment from store-bought cans of paint onto canvas placed flat on the floor. Filled with intricate webs of lines and intermingled spatters, paintings such as <em>Number 5, 1950 </em>are direct records of the artist\u2019s moving body and hand gestures. By creating this way, the artist explained, \u201cI feel nearer, more part of the painting, since this way I can walk around it, work from the four sides and literally be in the painting.\u201d In addition to their unconventional technique at the time, Pollock\u2019s \u201cdrip\u201d canvases feature compositions that cover their entire surfaces without an obvious center or direction, a recent development in the history of modern art.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60474349"], "internet_archive": []}, "citations": [{"citation": "Betty Parsons Gallery, Sales and Purchases: Sales Invoices, Barc-Bart, 1950-1973, Box 25, Folder 29, frame 3, Archives of American Art, New York, NY", "page_number": null, "url": null}, {"citation": "Hamilton, George Heard. <em>Object and Image in Modern Art and Poetry: An Essay and an Exhibition at the Yale University Art Gallery, 30 April, 1954, through 14 June, 1954</em>. New Haven, CT: Yale University Art Gallery, 1954.", "page_number": "cat. no. 27", "url": ""}, {"citation": "Hunter, Sam, Museum of Modern Art (New York, N.Y.), International Council of the Museum of Modern Art (New York, N.Y.), and Bienal Internacional de Sa\u0303o Paulo 1957). <em>Pollock</em>. New York: The Council, 1957.", "page_number": "cat. no. 19", "url": ""}, {"citation": "<em>The New American Painting, as Shown in Eight European Countries, 1958-1959</em>. New York: Museum of Modern Art; distributed by Doubleday, Garden City, NY, 1959.", "page_number": "cat. no. 18", "url": ""}, {"citation": "\"Painting and Sculpture Acquisitions January 1, 1957 through December 31, 1957,\" <em>The Bulletin of the Museum of Modern Art</em> 25.4 (July 1958): 3\u201324.", "page_number": null, "url": null}, {"citation": "Muse\u0301e national d\u2019art moderne (France), and Jackson Pollock. J<em>ackson Pollock et La Nouvelle Peinture Ame\u0301ricaine</em>. Paris: Editions des Muse\u0301es Nationaux, 1959.", "page_number": "cat. no. 16", "url": ""}, {"citation": "Goossen, E. C.. <em>The Art of the Real; an Aspect of American Painting and Sculpture 1948-1968</em>. Great Britain. Arts Council. Catalogues. 1969. Volume 1. London: Arts Council, 1968.", "page_number": "Mentioned: p. 54, cat. no. 37; Reproduced: p. 16", "url": ""}, {"citation": "O\u2019Connor, Francis V. and Eugene Victor Thaw, eds. <em>A Catalogue Raisonne\u0301 of Paintings, Drawings, and Other Works.</em> New Haven: Yale University Press, 1978.", "page_number": "Mentioned and reproduced: p. 89, vol. 2, no. 266", "url": null}, {"citation": "Henning, Edward B. <em>The Spirit of Surrealism</em>. Cleveland, OH: The Cleveland Museum of Art, 1979.", "page_number": "cat. no. 94", "url": ""}, {"citation": "Cleveland Museum of Art, \u201cThe Cleveland Museum of Art Has Purchased a Major Work by Jackson Pollock,\u201d January 6, 1981, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr2845"}, {"citation": "Lee, Sherman E. \u201cThe Year in Review for 1980.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 68, no. 6 (1981): 163\u2013219.", "page_number": "Mentioned: no. 106, pp. 163, 199, 214; Reproduced: no. 106, p. 198", "url": "http://www.jstor.org/stable/25159730"}, {"citation": "Henning, Edward B. \u201cNew Paintings by Four Artists from Britain.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 69, no. 10 (December 1982): 311\u2013323.", "page_number": "Mentioned and reproduced: p. 319-321, fig. 15", "url": "http://www.jstor.org/stable/25159795"}, {"citation": "Landau, Ellen G. \u201c\u2018Space and Pictorial Life\u2019 Hans Hofmann\u2019s \u2018Smaragd Red and Germinating Yellow.\u2019\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 72, no. 5 (September 1985): 310\u2013322.", "page_number": "Mentioned and reproduced: p. 311, fig. 2", "url": "http://www.jstor.org/stable/25159910"}, {"citation": "Henning, Edward B. <em>Creativity in Art and Science, 1860-1960. </em>[Cleveland, Ohio]: Published by the Cleveland Museum of Art in cooperation with Indiana University Press, 1987.", "page_number": "Reproduced: P. 81, pl. VIII; Mentioned and reproduced: P. 132, no. 42", "url": ""}, {"citation": "Donley, Gregory M., \"Geometric Means\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 46 no. 05, May/June 2006", "page_number": "Mentioned & reproduced: p. 7", "url": "https://archive.org/details/CMAMM2006-05/page/6"}, {"citation": "Sims, Lowery Stokes. <em>The Persistence of Geometry : Form, Content, and Culture in the Collection of the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 2006.", "page_number": "Mentioned: no. 91, p. 121; Reproduced: p. 100", "url": ""}, {"citation": "Adams, Henry. <em>What's American about American art?: a gallery tour in the Cleveland Museum of Art. </em>Cleveland: Cleveland Museum of Art, 2008.", "page_number": "Reproduced: p. 146 - 147", "url": ""}, {"citation": "Arendsee, M., and M. Steinman-Arendsee. \"Take the CAN disability aesthetics tour, at the Cleveland Museum of art.\" <em>CAN Journal</em> (Winter 2019/20): 76-87.", "page_number": "Mentioned: p.86", "url": null}], "url": "https://clevelandart.org/art/1980.180", "images": {}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Frank H. and Nancy L. Porter Gallery", "athena_id": 149947, "creators": [{"id": 3591, "description": "Jackson Pollock (American, 1912\u20131956)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1912", "death_year": "1956", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1980-11-13T00:00:00", "sortable_date": 1950, "date_added_to_oa": null, "date_text": "1950", "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": "2026-10-07 12:13:22.146000"}, {"id": 123168, "accession_number": "1943.392", "share_license_status": "CC0", "tombstone": "The Call, 1902. Paul Gauguin (French, 1848\u20131903). Oil on canvas; framed: 160.5 x 119 x 9.5 cm (63 3/16 x 46 7/8 x 3 3/4 in.); unframed: 131.3 x 89.5 cm (51 11/16 x 35 1/4 in.). The Cleveland Museum of Art, Gift of the Hanna Fund, 1943.392", "current_location": "222 Impressionism & Post-Impressionism", "title": "The Call", "creation_date": "1902", "creation_date_earliest": 1902, "creation_date_latest": 1902, "artists_tags": ["male"], "culture": ["France, late 19th\u2013early 20th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 160.5 x 119 x 9.5 cm (63 3/16 x 46 7/8 x 3 3/4 in.); Unframed: 131.3 x 89.5 cm (51 11/16 x 35 1/4 in.)", "dimensions": {"framed": {"height": 1.605, "height_inch": 63, "height_inch_fraction": 0.1875, "width": 1.19, "width_inch": 46, "width_inch_fraction": 0.875, "depth": 0.095, "depth_inch": 3, "depth_inch_fraction": 0.75}, "unframed": {"height": 1.313, "height_inch": 51, "height_inch_fraction": 0.6875, "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: P. Gauguin / 1902\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 338414, "title": "A Loan Exhibition of Paul Gauguin for the Benefit of the New York Infirmary", "description": "<i>A Loan Exhibition of Paul Gauguin for the Benefit of the New York Infirmary</i>. Wildenstein & Co. (organizer) (April 3-27, 1946).", "opening_date": "1946-04-03T05:00:00"}, {"id": 311952, "title": "Art, A Means to World Understanding", "description": "<i>Art, A Means to World Understanding</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 16-April 10, 1949).", "opening_date": "1949-03-16T05:00:00"}, {"id": 338417, "title": "The Variety of Artistic Production", "description": "<i>The Variety of Artistic Production</i>. Akron Art Museum (January 12-February 26, 1950).", "opening_date": "1950-01-12T05:00:00"}, {"id": 338420, "title": "Gauguin in Tahiti", "description": "<i>Gauguin in Tahiti</i>. Minneapolis Institute of Art, Minneapolis, MN (organizer) (April 1-May 14, 1950).", "opening_date": "1950-04-01T05:00:00"}, {"id": 338424, "title": "Masterpieces From Museums and Private Collections", "description": "<i>Masterpieces From Museums and Private Collections</i>. Wildenstein & Co. (organizer) (November 7-December 15, 1951).", "opening_date": "1951-11-07T05:00:00"}, {"id": 338427, "title": "Paul Gauguin, His Place in the Meeting of East and West", "description": "<i>Paul Gauguin, His Place in the Meeting of East and West</i>. Museum of Fine Arts, Houston (March 27-April 25, 1954).", "opening_date": "1954-03-27T05:00:00"}, {"id": 338430, "title": "An Exhibition of Paintings, Engravings and Sculpture by Gauguin", "description": "<i>An Exhibition of Paintings, Engravings and Sculpture by Gauguin</i>. Gallery of the Royal Scottish Academy, Edinburgh (August 21-September 18, 1955); Tate Britain, London (September 29-October 26, 1955).", "opening_date": "1955-09-29T04:00:00"}, {"id": 338442, "title": "The Turn of the Century-Exhibition of Masterpieces", "description": "<i>The Turn of the Century-Exhibition of Masterpieces</i>. Denver Art Museum, Denver, CO (organizer) (October 1-November 18, 1956).", "opening_date": "1956-10-01T04:00:00"}, {"id": 301477, "title": "In Memoriam: Leonard C. Hanna, Jr.", "description": "<i>In Memoriam: Leonard C. Hanna, Jr.</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 4-April 7, 1958).", "opening_date": "1958-03-04T05:00:00"}, {"id": 338449, "title": "Gauguin: Paintings, Drawings, Prints, Sculpture", "description": "<i>Gauguin: Paintings, Drawings, Prints, Sculpture</i>. The Art Institute of Chicago, Chicago, IL (organizer) (February 12-March 29, 1959); The Metropolitan Museum of Art, New York, NY (April 22-May 30, 1959).", "opening_date": "1959-02-12T05:00:00"}, {"id": 310025, "title": "Creativity in Art and Science, 1860-1960", "description": "<i>Creativity in Art and Science, 1860-1960</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 16-November 8, 1987).", "opening_date": "1987-09-16T04:00:00"}, {"id": 311444, "title": "Object Lessons: Cleveland Creates an Art Museum", "description": "<i>Object Lessons: Cleveland Creates an Art Museum</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 7-September 8, 1991).", "opening_date": "1991-06-07T04:00:00"}, {"id": 195556, "title": "Paul Gauguin: Paris, 1889", "description": "<i>Paul Gauguin: Paris, 1889</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 4, 2009-January 18, 2010).", "opening_date": "2009-10-04T00:00:00"}], "legacy": [{"description": "<em>Exposition Paul Gauguin.</em> Galerie Ambroise Vollard, Paris, France (1903).", "opening_date": "1903-01-01T00:00:00"}, {"description": "<em>Manet and the Post-Impressionists</em>. Grafton Galleries, London, United Kingdom (1910-1911).", "opening_date": "1910-01-01T00:00:00"}, {"description": "<em>St\u00e4dtische Ausstellungshalle am Aachener Tor.</em> Internationale Kunstausstellung des Sonderbundes westdeutscher Kunstfreunde und K\u00fcnstler. Cologne, Germany (1912).", "opening_date": "1912-01-01T00:00:00"}, {"description": "<em>Exhibition of Modern French Paintings</em>. Detroit Institute of Arts, Detroit, MI (1931).", "opening_date": "1931-01-01T00:00:00"}, {"description": "<em>Five Centuries of European Painting</em>. Los Angeles Museum, Los Angeles, CA (1933).", "opening_date": "1933-01-01T00:00:00"}, {"description": "<em>An Exhibition of Literature and Poetry in Painting since 1850</em>. Wadsworth Atheneum, Hartford, CT (1933).", "opening_date": "1933-01-01T00:00:00"}, {"description": "<em>A Century of Progress Exhibition of Paintings and Sculpture.</em> Art Institute of Chicago, Chicago, IL (1934).", "opening_date": "1934-01-01T00:00:00"}, {"description": "<em>Paul Gauguin 1848-1903.</em> Wildenstein &amp; Co, New York, NY: 1936; Fogg Art Museum, Cambridge, MA: 1936. Baltimore Museum of Art, Baltimore, MD (1936).", "opening_date": "1936-01-01T00:00:00"}, {"description": "<em>Masters of French 19th Century Painting.</em> New Burlington Galleries, London. United Kingdom (1936).", "opening_date": "1936-01-01T00:00:00"}, {"description": "<em>The Great Tradition of French Painting</em>. Wildenstein &amp; Co, New York, NY (1939).", "opening_date": "1939-01-01T00:00:00"}]}, "provenance": [{"description": "Ambroise Vollard [1866-1939], Paris, France", "citations": [], "footnotes": [], "date": null, "sortorder": null}, {"description": "Baron Wolf Kohner [1866-1937], Budapest, Hungary", "citations": [], "footnotes": [], "date": "by 1912-1933", "sortorder": 2}, {"description": "(Wildenstein & Co., New York, NY, November 9, 1943, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "by 1933-1943", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1943-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Although known as one of the founders of modern art, Gauguin found inspiration in ancient Greek, Roman, and Egyptian art. The woman with the pointing finger on the right side of this painting was taken from a figure on the Parthenon frieze.", "early_education_description": null, "artlens_description": null, "description": "Painted on a remote island in Polynesia a year before the artist's death, <em>The Call</em> belongs to a series of late works that explore the mysteries of life and death. Two women stand with bare feet, as if on sacred ground. One woman gestures to someone outside the picture, perhaps responding to a \"call\" from fate or destiny. Gauguin realized his ambition of painting from memory and the imagination through such mysterious, dreamlike images.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60024293"], "internet_archive": ["https://archive.org/details/clevelandart-1943.392-the-call"]}, "citations": [{"citation": "Haberfeld, Hugo. \"Die franz\u00f6sischen Bilder der Sammlung Kohner.\" <em>Der Cicerone</em> 3 (1911): 579-589.", "page_number": "Reproduced: p. 587, abb. 8; mentioned: p. 589", "url": null}, {"citation": "Petrovics, Elek. \"B\u00e1r\u00f3 Kohner Adolf Gy\u00fcjt\u00e9menye.\" <em>Magyar M\u00fcv\u00e9szet</em> <em>(Hungarian Art)</em> 6 (1929): 300-322.", "page_number": "Reproduced: p. 319; mentioned: p. 321", "url": null}, {"citation": "\"List of Paintings.\" <em>Art Digest </em>8 (June 1, 1934): 12-24.", "page_number": "Mentioned: p. 17", "url": null}, {"citation": "Gauguin, Paul. translated by Van Wyck Brooks. <em>Paul Gauguin's Intimate Journals</em>. New York: Crown Publishers, 1936.", "page_number": "Reproduced: p.51", "url": null}, {"citation": "Frankfurter, Alfred M. \u201cGauguin: Fifty Paintings in a First American One Man Loan Exhibition.\u201d <em>ARTnews</em> 34 (March 21, 1936): 5\u20136.", "page_number": "Reproduced: p. 6", "url": null}, {"citation": "<em>Apollo: A Journal of the Arts </em>24 (July to December 1936): 278.", "page_number": "Reproduced: p. 278", "url": null}, {"citation": "Rewald, John, and Andre\u0301 Gloeckner. <em>Gauguin</em>. New York, NY: French and European Publications, 1938.", "page_number": "Reproduced: p. 134", "url": null}, {"citation": "Gaunt, William. \u201cPaul Gauguin.\u201d <em>London Studio</em> 16 (November 1938): 232\u201338.", "page_number": "Reproduced: p. 232", "url": null}, {"citation": "Malingue, Maurice. <em>Gauguin.</em> Monaco: Les Documents d'Art, 1943.", "page_number": "Reproduced: pl. xii", "url": null}, {"citation": "Francis, Henry S. \"L'Appel by Paul Gauguin.\"<em> The Bulletin of the Cleveland Museum of Art,</em> no. XXXI, no. 31 (January, 1944): 3-5.", "page_number": "Reproduced: cover, mentioned: p. 3-5", "url": null}, {"citation": "\u201cGauguin\u2019s L\u2019Appel Given to Cleveland.\u201d <em>Art Digest</em> 18 (January 15, 1944): 8.", "page_number": "Reproduced: p. 8", "url": null}, {"citation": "\"Gauguin l'Appel.\" <em>ARTnews</em> 42, no. 17 (15-31 January, 1944): 15.", "page_number": "Reproduced: p. 15", "url": null}, {"citation": "\u201cYear in Art: A Review of 1944 Including Art News\u2019 Selection of the Ten Outstanding One Man Shows.\u201d <em>ARTnews</em> 43 (January 1, 1945): 26\u201327.", "page_number": "Reproduced: p. 26", "url": null}, {"citation": "<em>Paintings in the Cleveland Museum of Art.</em> [Cleveland]: The Cleveland Museum of Art, 1945.", "page_number": "Reproduced: p. [4]", "url": "https://archive.org/details/CMAPaintings1945/page/n12"}, {"citation": "\u201cL\u2019appel.\u201d <em>American Artist</em> 9 (December 1945): 23.", "page_number": "Reproduced: p. 23", "url": null}, {"citation": "Kunstverein fu\u0308r die Rheinlande und Westfalen. <em>Franzo\u0308sische Impressionisten und ihre Zeitgenossen in Farbdrucken; eine Auswahl von siebzig Gema\u0308lden mit neun Biographien und vierundzwanzig Abbildungen</em>. Baden-Baden, Germany: W. Klein, 1946.", "page_number": "Reproduced: p. 58", "url": null}, {"citation": "Wildenstein and Company (New York, N.Y.), Vladimir Visson, and Raymond Cogniat. <em>A Loan Exhibition of Paul Gauguin, For the Benefit of the New York Infirmary. April 3-May 4, 1946 at Wildenstein</em>. 1946.", "page_number": "Mentioned and Reproduced: cat. no. 39", "url": null}, {"citation": "Cogniat, Raymond. <em>Gauguin</em>. Paris, FR: P. Tisne, 1947.", "page_number": "Reproduced: pl. 116", "url": null}, {"citation": "Unesco. <em>Catalogue de reproductions en couleurs de la peinture de 1860 a\u0300 ... = Catalogue of colour reproductions of painting from 1860 to ... = Cata\u0301logo de reproducciones en color de la pintura de 1860 a</em>. Paris, FR: Unesco, 1949", "page_number": "Reproduced: p. 113", "url": null}, {"citation": "Elgar, Frank. <em>Gauguin</em>. Paris, FR: F. Hazan, 1949.", "page_number": "Reproduced: pl. 22", "url": null}, {"citation": "Sutton, Denys. \"Paul Gauguin 1848-1903.\" <em>Maandblad voor Beeldende Kunsten </em>25 (1949): 106-110.", "page_number": "Mentioned and reproduced: p. 110", "url": null}, {"citation": "Venturi, Lionello. <em>Impressionists and Symbolists: Manet, Degas, Monet, Pissarro, Sisley, Renoir, Cezanne, Seurat, Gauguin, Van Gogh, Toulouse-Lautrec</em>. New York, NY: Scribner, 1950.", "page_number": "Reproduced: p. 173, fig. 177", "url": null}, {"citation": "Dovski, Lee van. <em>Paul Gauguin, oder, Die Flucht vor der Zivilisation.</em> Olten: Delphi, 1950.", "page_number": "Mentioned: p. 355,no. 396", "url": null}, {"citation": "Davis, Richard S. \"Gauguin Landscape Purchased from Eliel Memorial Fund.\" <em>Minneapolis Institute of Arts Bulletin</em> 39, no. 13 (April 1, 1950): 62-67.", "page_number": "Reproduced: p. 67", "url": null}, {"citation": "\"Gauguin in Tahiti\" <em>Bulletin of the Minneapolis Institute of Arts</em> 39 (1 April 1950): 66-67", "page_number": null, "url": null}, {"citation": "Bazin, Germain, and Marc Loge\u0301. <em>History of Painting</em>. New York, NY: Hyperion Press, 1951.", "page_number": "Reproduced: p. 86, vol. 2", "url": null}, {"citation": "Dorival, Bernard. \"Sources of the Art of Gauguin from Java, Egypt and Ancient Greece.\" <em>Burlington Magazine</em> 93 (1951): 118-123.", "page_number": "Reproduced: fig. 25; mentioned: fig. 25", "url": null}, {"citation": "Robb, David M. <em>The Harper History of Painting: The Occidental Tradition. </em>New York: Harper, 1951.", "page_number": "Mentioned: p. 789-790, 794, 806-807; reproduced: p. 788", "url": null}, {"citation": "Wildenstein and Company (New York, N.Y.). <em>Masterpieces from Museums and Private Collections: Wildenstein Jubilee Loan Exhibition, 1901-1951 ... November 8 - December 15, 1951 ... New York</em>. [New York]: Wildenstein, 1951.", "page_number": "Mentioned and Reproduced: cat. no. 52", "url": null}, {"citation": "\u201cL\u2019appel.\u201d <em>Journal of Aesthetics &amp; Art Criticism</em> 12 (December 1953): 144.", "page_number": "Reproduced: p. 144", "url": null}, {"citation": "Dorra, Henri. \u201cGauguin and His Century; a Houston Museum Show Reveals How East Meets West in Gauguin\u2019s Style.\u201d <em>Art Digest</em> 28 (March 15, 1954): 12\u201313.", "page_number": "Reproduced: p. 13", "url": null}, {"citation": "Gauguin, Paul. <em>Paul Gauguin: His Place in the Meeting of East and West : Museum of Fine Arts of Houston, March 27-April 25, 1954</em>. Houston [Tex.]: Museum of Fine Arts of Houston, 1954.", "page_number": "Mentioned and Reproduced: cat. no. 33", "url": null}, {"citation": "Gauguin, Paul. <em>An Exhibition of Paintings, Engravings &amp; Sculpture [by] Gauguin</em>. Edinburgh: Royal Scottish Academy, 1955.", "page_number": "Mentioned cat. no. 63, p. 35, Reproduced: frontispiece", "url": null}, {"citation": "Gauguin, Paul, Sigurd Willoch, and Kunstnervorbundet (Norway). <em>Paul Gauguin : 11. November-1. December 1955</em>. Oslo: Kunstnerforbundet, 1955.", "page_number": "Mentioned: cat. no. 35, Reproduced: opp. title page", "url": null}, {"citation": "<br>Tralbaut, M. E. \"De Gauguin-tentoonstelling te Londen.\" <em>Museumjournaal </em>1, no. 5/6 (December 1955): 93-97.", "page_number": "Reproduced: p. 104", "url": null}, {"citation": "Sutton, Denys. \"Notes on Paul Gauguin Apropos a Recent Exhibition.\" <em>Burlington Magazine </em>98 (March 1956): 84-92.", "page_number": "Mentioned: p. 91", "url": null}, {"citation": "Goldwater, Robert. <em>Paul Gauguin</em>. New York, NY: H.N. Abrams, 1957.", "page_number": "Reproduced: p. 156-157", "url": null}, {"citation": "Rewald, John. <em>Gauguin Drawings</em>. New York, NY: T. Yoseloff, 1958.", "page_number": "Mentioned: p. 111-115", "url": null}, {"citation": "The Cleveland Museum of Art. <em>The Cleveland Museum of Art Handbook.</em> Cleveland, OH: The Cleveland Museum of Art, 1958.", "page_number": "Mentioned and Reproduced: cat. no. 511", "url": "https://archive.org/details/CMAHandbook1958/page/n94"}, {"citation": "Cleveland Museum of Art. <em>In Memoriam: Leonard C. Hanna, J</em>r. Cleveland: The Cleveland Museum of Art, 1958.", "page_number": "Reproduced: no. 51", "url": null}, {"citation": "Milliken, William Mathewson. <em>The Cleveland Museum of Ar</em>t. New York: H.N. Abrams, 1958.", "page_number": "Reproduced: p. 56", "url": null}, {"citation": "Frankfurter, Alfred. \"Cleveland: Model Museum for a Modern Cosmopolis.\" ARTnews 57, no. 1 (March 1958): 24-37.", "page_number": "Reproduced: p. 36, fig. 27", "url": null}, {"citation": "Gauguin, Paul, and Theodore Rousseau. <em>Gauguin--Paintings, Drawings, Prints, Sculpture: [Exhibition], the Art Institute of Chicago, [Feb. 12-Mar. 29, 1959], the Metropolitan Museum of Art, [Apr. 23-May 31, 1959]</em>. Chicago: Art Institute of Chicago, 1959.", "page_number": "Mentioned and Reproduced: cat. no. 68, p. 21-22", "url": null}, {"citation": "\"Gauguin at the Metropolitan.\" <em>Pictures on Exhibit</em> 22, no. 8 (May 1959): 4-5.", "page_number": "Reproduced: p. 5", "url": null}, {"citation": "Henning, Edward. \"From Turner to Guston.\" <em>Apollo: A Journal of the Arts </em>68, no. 22 (December 1963): 481-488.", "page_number": "Reproduced: p. 485; mentioned: p. 487", "url": null}, {"citation": "Wildenstein, Georges. <em>Gauguin</em>. Paris, FR: Les Beaux-Arts, E\u0301ditions d'E\u0301tudes et de Documents, 1964.", "page_number": "Reproduced: no. 612", "url": null}, {"citation": "Alley, Ronald. <em>Gauguin</em>. London: Spring Books, 1964.", "page_number": "Mentioned: p. 48; Reproduced: pl. XLVIII", "url": ""}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 181", "url": "https://archive.org/details/CMAHandbook1966/page/n205"}, {"citation": "Cachin, Franc\u0327oise. <em>Gauguin</em>. Paris, FR: Librairie ge\u0301ne\u0301rale franc\u0327ais], 1968.", "page_number": "Reproduced: p. 313-315", "url": null}, {"citation": "Krause, Joseph H. <em>The Nature of Art</em>. Englewood Cliffs, NJ.: Prentice-Hall, 1969.", "page_number": "Reproduced: pl. 32", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969. ,", "page_number": "Reproduced: p. 181", "url": "https://archive.org/details/CMAHandbook1969/page/n205"}, {"citation": "Cleveland Museum of Art. <em>Art of the Twentieth Century in the Cleveland Museum of Art</em>. Cleveland, OH: Dept. of Art History &amp; Education, CMA, 1969.", "page_number": "Mentioned: p. 1", "url": "https://archive.org/details/20thCenturyArtCMA/page/n1"}, {"citation": "Munro, Thomas. <em>Form and Style in the Arts: An Introduction to Aesthetic Morphology</em>. Cleveland, OH: Press of Case Western Reserve University, 1970.", "page_number": "Reproduced: pl. VII", "url": null}, {"citation": "Pickvance, Ronald . <em>The Drawings of Gauguin</em>. Feltham, UK: Hamlyn, 1970.", "page_number": "Reproduced: p. 106", "url": null}, {"citation": "Awazu, Norio. <em>Go\u0304gyan Gauguin.</em> Tokyo: Shu\u0304eisha, 1971.", "page_number": "Reproduced: pl. 64", "url": null}, {"citation": "Mandel, Gabriele. <em>L'opera completa di Gauguin</em>. Milano, IT: Rizzoli, 1972.", "page_number": "Reproduced: no. 440", "url": null}, {"citation": "Bowness, Alan. <em>Modern European Art.</em> [New York]: Harcourt, Brace, Jovanovich, 1972.", "page_number": "Reproduced: p. 62, fig. 57", "url": null}, {"citation": "Wadley, Nicholas. <em>Gauguin: 116 Reproductions</em>. Oxford, UK: Phaidon, 1978.", "page_number": "Reproduced: pl. 94", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 223", "url": "https://archive.org/details/CMAHandbook1978/page/n243"}, {"citation": "Henning, Edward B. <em>The Spirit of Surrealism</em>. Cleveland: The Cleveland Museum of Art, 1979.", "page_number": "Mentioned: p. 46-47, 185; Reproduced: p. 46, fig. 5; colorplate I", "url": null}, {"citation": "Fezzi, Elda. <em>Gauguin: Every Painting I-II.</em> New York: Rizzoli, 1980.", "page_number": "Reproduced: p. 90, no. 594", "url": null}, {"citation": "Amann, Per Amann. <em>Paul Gauguin</em>. Ramerding, Germany: Berghaus, 1980.", "page_number": "Pl. 69", "url": null}, {"citation": "Yasunori, Tan\u02bco. <em>Go\u0304gan</em>. To\u0304kyo\u0304, Japan: Ko\u0304dansha, 1980.", "page_number": "Reproduced: p. 124, no. 57", "url": null}, {"citation": "Goldwater, Robert. <em>Paul Gauguin</em>. Norwalk, Conn: Easton Press, 1983.", "page_number": "Reproduced: p. 124-125", "url": null}, {"citation": "Vance, Mary Lynn Zink. <em>Gauguin's Polynesian Pantheon As a Visual Language.</em> Thesis Ph.D. University of California, Santa Barbara 1983.", "page_number": "Mentioned: p. 171, 189", "url": null}, {"citation": "Henning, Edward B. \u201cLooking at Art: The Woman in the Waves.\u201d <em>ARTnews</em> 83 (March 1984): 104\u20136.", "page_number": "Mentioned and reproduced: p. 104-106", "url": null}, {"citation": "Le Pichon, Yann. <em>Sur les traces de Gauguin</em>. Paris, FR: R. Laffont, 1986.", "page_number": "Reproduced: p. 6", "url": null}, {"citation": "Motoe, Kunio. <em>Go\u0304gyan</em>. To\u0304kyo\u0304: Shu\u0304eisha, 1986.", "page_number": "Reproduced: pl. 59", "url": null}, {"citation": "Abe, Nobuo, and Kimio Nakayama. <em>Go\u0304gyan: rakuen no maboroshi</em>. Tokyo, Japan: Sankei Shinbun Shashin Nyu\u0304su Senta\u0304, 1987.", "page_number": "Reproduced: p. 37", "url": null}, {"citation": "Faulkner, Ray, Edwin Ziegfeld, and Howard J. Smagula. <em>Art Today: An Introduction to the Visual Arts</em>. New York, NY: Holt, Rinehart and Winston, 1987.", "page_number": "Reproduced: p. 64, pl. 10", "url": null}, {"citation": "Hoog, Michel. <em>Paul Gauguin, Life and Work</em>. New York, NY: Rizzoli, 1987.", "page_number": "Reproduced: pl. 204; mentioned: p. 269, 281", "url": null}, {"citation": "Le Pichon, Yann. <em>Gauguin: Life, Art, Inspiration</em>. New York, NY: H.N. Abrams, 1987.", "page_number": "Reproduced: p. 6", "url": null}, {"citation": "Prather, Marla and Charles F. Stuckey. <em>Gauguin: A Retrospective</em>. New York, NY: H.L. Levin Associates, 1987.", "page_number": "Reproduced: p. 346", "url": null}, {"citation": "Henning, Edward B. <em>Creativity in Art and Science</em>, 1860-1960. [Cleveland, Ohio]: Published by the Cleveland Museum of Art in cooperation with Indiana University Press, 1987.", "page_number": "Mentioned and Reproduced: p. 109", "url": null}, {"citation": "Brettell, Richard R. <em>The Art of Paul Gauguin</em>. Washington, DC: National Gallery of Art, 1988.", "page_number": "Reproduced: p. 494, Mentioned: p. 492-494", "url": null}, {"citation": "Cachin, Franc\u0327oise. <em>Gauguin</em>. Paris, FR: Flammarion, 1988.", "page_number": "Reproduced: p. 274", "url": null}, {"citation": "Cachin, Franc\u0327oise. <em>Gauguin \"ce malgre\u0301 moi de sauvage\"</em>. Paris, FR: Gallimard, 1989.", "page_number": "Reproduced: p. 124", "url": null}, {"citation": "Cahn, Isabelle. <em>Gauguin</em>. Milano, IT: Giorgio Mondadori, 1990.", "page_number": "Reproduced: pl. 68", "url": null}, {"citation": "Motoe, Kunio. Go\u0304gyan = Paul Gauguin. To\u0304kyo\u0304: Asahi Shinbunsha, 1990.", "page_number": "Reproduced: pl. 66", "url": null}, {"citation": "Schneeberger, Pierre-Francis. <em>Gauguin, Tahiti</em>. Paris, FR: Bibliothe\u0300que des Arts, 1991.", "page_number": "Reproduced: p. 74-75", "url": null}, {"citation": "Turner, Evan H. <em>Object Lessons: Cleveland Creates an Art Museum.</em> Cleveland: Cleveland Museum of Art, 1991.", "page_number": "Mentioned: p. 85, 113; Reproduced: p. 113", "url": null}, {"citation": "Kimura, Shigenobu, Shu\u0304ji Takashina, Ko\u0304ichi Kabayama, Yasuto O\u0304ta, and Yasunori Tan\u02bco. <em>Seikimatsu no yume = The dream of fin de sie\u0300cle</em>. To\u0304kyo\u0304, Japan: Ko\u0304dansha, 1992.", "page_number": "Reproduced: p. 23", "url": null}, {"citation": "Thomson, Belinda. <em>Gauguin by Himself</em>. Boston, MA: Little, Brown, 1993.", "page_number": "Reproduced: pl. 220", "url": null}, {"citation": "Chong, Alan. <em>European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogue.</em> Cleveland, Ohio: Cleveland Museum of Art, 1993.", "page_number": "Reproduced: p. 82", "url": null}, {"citation": "Maillol, Aristide, Ursel Berger, and Jo\u0308rg Zutter. <em>Aristide Maillol</em>. Paris, FR: Flammarion, 1996.", "page_number": "Reproduced: p. 26", "url": null}, {"citation": "Pelfrey, Robert H. <em>Art and Mass Media</em>. Dubuque, Iowa: Kendall/Hunt, 1996.", "page_number": "Reproduced: fig. 7, p. 26; Mentioned: p, 188", "url": null}, {"citation": "Eisenman, Stephen. <em>Gauguin's Skirt</em>. New York, NY: Thames and Hudson, 1997.", "page_number": "Reproduced: p. 101, Mentioned: p. 100", "url": null}, {"citation": "d' Argencourt, Louise and Roger Diederen. <em>Catalogue of Paintings. Pt. 4. European Paintings of the 19th Century. </em>Cleveland: Cleveland Museum of Art, 1999.", "page_number": "Mentioned and Reproduced: vol. 1, p. 282-286, no. 102", "url": null}, {"citation": "May, Sally Ruth, Jane Takac, and Barbara J. Bradley. <em>Knockouts: A Pocket Guide</em>. Cleveland, OH: Cleveland Museum of Art, 2001.", "page_number": "Reproduced: p. p. 53, Mentioned: p. 52-53, Listed: p.118", "url": null}, {"citation": "Natter, Tobias G. <em>Die Galerie Miethke: eine Kunsthandlung im Zentrum der Moderne</em>. Wien, Austria: Ju\u0308disches Museum der Stadt Wien, 2003.", "page_number": "Reproduced: p. 172", "url": null}, {"citation": "Rebeyrotte, Jean-Franc\u0327ois. Rebeyrotte. <em>Paul Gauguin</em>. Paris: Somogy Editions d'Art, 2003.", "page_number": "Mentioned and reproduced: p. 48-49", "url": null}, {"citation": "Cahn, Isabelle, and Bernadette Caille. <em>Gauguin - Tahiti- l'Atelier des Tropiques: [3 octobre 2003-19 janvier 2004, Galeries Nationales du Grand P alais, Paris]</em>. Paris: Re\u0301union des Muse\u0301es Nationaux, 2004.", "page_number": "Reproduced: p. 257, fig. 4", "url": null}, {"citation": "Robinson, William, \"World Tour Comes to Cleveland\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 47 no. 08, October 2007", "page_number": "Mentioned & reproduced: p. 4", "url": "https://archive.org/details/CMAMM2007-08/page/2/"}, {"citation": "Eisenman, Stephen, and Guillermina Rosenkrantz. <em>Paul Gauguin</em>. Barcelona, Spain: Estudi Poligrafa, 2010.", "page_number": "Reproduced: p. 87", "url": null}, {"citation": "Walther, Ingo F. <em>Paul Gauguin, 1848-1903 : the primitive sophisticate. </em>Taschen America Llc, 2013.", "page_number": "Reproduced: p. 84-85", "url": null}, {"citation": "Figura, Starr, Elizabeth C. Childs, Hal Foster, and Erika Mosier. <em>Gauguin: Metamorphoses</em>. The Museum of Modern Art, NY: 2014.", "page_number": "Reproduced: p. 219, fig. 184", "url": null}, {"citation": "Molnos, Pe\u0301ter. <em>Aranykorok romjain: tanulma\u0301nyok a modern magyar feste\u0301szet e\u0301s mu\u030bgyu\u030bjte\u0301s to\u0308rte\u0301nete\u0301bo\u030bl a Kieselbach Gale\u0301ria alapi\u0301ta\u0301sa\u0301nak huszadik e\u0301vfordulo\u0301ja\u0301n.</em> Budapest: Kieselbach, 2015.", "page_number": "Reproduced: p. 98", "url": null}, {"citation": "Brettell, Richard R. <em>On Modern Beauty: Three Paintings by Manet, Gauguin, and Cezanne</em>. Los Angeles: The J. Paul Getty Museum, 2019.", "page_number": "Reproduced: P. 45, no. 30", "url": null}, {"citation": "<em>Paul Gauguin: Teuraheimata a Potoru, a Rediscovery.</em> New York: Jill Newhouse Gallery; [Akron, Ohio]: Thomas French Fine Art, 2019.", "page_number": "Mentioned: P. 7", "url": ""}], "url": "https://clevelandart.org/art/1943.392", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1943.392/1943.392_web.jpg", "width": "606", "height": "900", "filesize": "243342", "filename": "1943.392_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1943.392/1943.392_print.jpg", "width": "2291", "height": "3400", "filesize": "3236257", "filename": "1943.392_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1943.392/1943.392_full.tif", "width": "10517", "height": "15608", "filesize": "492479392", "filename": "1943.392_full.tif"}}, "alternate_images": [{"web": {"url": "https://openaccess-cdn.clevelandart.org/1943.392/1943.392_alt0_web.jpg", "width": "620", "height": "900", "filesize": "154264"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1943.392/1943.392_alt0_print.jpg", "width": "2344", "height": "3400", "filesize": "2109862"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1943.392/1943.392_alt0_full.tif", "width": "5257", "height": "7624", "filesize": "120267220"}, "date_created": "2018-10-15T10:14:29", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1943.392/1943.392_alt1_web.jpg", "width": "720", "height": "900", "filesize": "252101"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1943.392/1943.392_alt1_print.jpg", "width": "2720", "height": "3400", "filesize": "2517791"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1943.392/1943.392_alt1_full.tif", "width": "5855", "height": "7320", "filesize": "128604832"}, "date_created": "2018-10-15T10:38:03", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1943.392/1943.392_alt2_web.jpg", "width": "900", "height": "588", "filesize": "220226"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1943.392/1943.392_alt2_print.jpg", "width": "3400", "height": "2221", "filesize": "2406568"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1943.392/1943.392_alt2_full.tif", "width": "5943", "height": "3882", "filesize": "69241656"}, "date_created": "2018-10-15T10:32:49", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1943.392/1943.392_alt3_web.jpg", "width": "900", "height": "753", "filesize": "252174"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1943.392/1943.392_alt3_print.jpg", "width": "3400", "height": "2846", "filesize": "2602845"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1943.392/1943.392_alt3_full.tif", "width": "5528", "height": "4628", "filesize": "76779696"}, "date_created": "2018-10-15T10:25:59", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1943.392/1943.392_alt4_web.jpg", "width": "900", "height": "675", "filesize": "277730"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1943.392/1943.392_alt4_print.jpg", "width": "3400", "height": "2550", "filesize": "4029853"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1943.392/1943.392_alt4_full.tif", "width": "15994", "height": "11995", "filesize": "575574160"}, "date_created": "2017-08-03T11:30:12", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1943.392/1943.392_alt5_web.jpg", "width": "601", "height": "893", "filesize": "422433"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1943.392/1943.392_alt5_print.jpg", "width": "2287", "height": "3400", "filesize": "5787885"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1943.392/1943.392_alt5_full.tif", "width": "3968", "height": "5899", "filesize": "70255276"}, "date_created": "2007-07-23T17:54:31", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1943.392/1943.392_alt6_web.jpg", "width": "603", "height": "893", "filesize": "440145"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1943.392/1943.392_alt6_print.jpg", "width": "2294", "height": "3400", "filesize": "5682615"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1943.392/1943.392_alt6_full.tif", "width": "3374", "height": "5000", "filesize": "50638868"}, "annotation": ""}], "creditline": "Gift of the Hanna Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Nancy F. and Joseph P. Keithley Gallery", "athena_id": 123168, "creators": [{"id": 1776, "description": "Paul Gauguin (French, 1848\u20131903)", "extent": null, "qualifier": null, "role": "artist", "biography": "Gauguin spent the first seven years of his life with his mother and great uncle in Peru. In 1855 his mother took him back to France where he attended boarding school. He joined the merchant marine when he was seventeen and began traveling around South America. When Gauguin's mother died in 1868, Gustave Arosa, an art collector and photographer, became his legal guardian. Arosa's collection included works by Corot (q.v.), Courbet (q.v.), Delacroix (q.v.), and the Barbizon painters, and it was he who would encourage Gauguin to start painting. In 1872 Arosa found a job for Gauguin at a brokerage firm, giving him financial security. The following year he married a Danish woman, Mette Gad. Gauguin had already started painting and sculpting in his spare time and first exhibited at the Salon in 1876 with a landscape.1 He was asked by Pissarro (q.v.) and Degas (q.v.) to participate in the fourth impressionist exhibition in 1879, where from then on he would exhibit regularly. Durand-Ruel began purchasing his paintings, and in turn Gauguin started to collect the works of his colleagues, such as Manet (q.v.) and Renoir (q.v.) and, in particular, C\u00e9zanne (q.v.) and Pissarro. He went to Pontoise in 1882, where he painted with C\u00e9zanne and Pissarro, who along with Degas continued to influence him at this period. In 1883 Gauguin decided to become a full-time artist. In 1884 he moved with his wife and children to Rouen and then to Copenhagen, but he failed to earn a comfortable living. He returned to Paris in 1886 and met ceramicist Ernest Chaplet (1835-1909), who introduced him to his m\u00e9tier. Gauguin distanced himself from impressionism and in 1888 worked in Pont-Aven with \u00c9mile Bernard (1868-1941), who had been experimenting with creating compositions using flat areas of color and dark outlines (cloissonism). Gauguin also studied Japanese prints and Indonesian art. The impact of these influences is evident in Gauguin's Vision after the Sermon: Jacob Wrestling with the Angel (1888, National Gallery of Scotland, Edinburgh), so far removed from his earlier impressionist style. Succumbing to van Gogh's (q.v.) many requests, Gauguin agreed to travel to Arles and paint with the artist; their characters, however, proved incompatible. Theo van Gogh, who worked for Boussod Valadon &amp; Cie, would in the meantime sell Gauguin's work. For the next two years, Gauguin traveled often around Brittany. In search of a more pure and unspoiled culture, he auctioned off his paintings in 1891 in order to finance a journey to Tahiti. Upon his arrival, he was disappointed to find many expatriates and developed areas, yet he was still able to capture in his works an uncultivated spirit. He not only made paintings but also created bold woodcuts and sculptures and was an avid writer. Gauguin returned to France in 1893, where he was given a solo exhibition by Durand-Ruel that was not particularly successful. He decided to leave Europe again in 1895, moving to Tahiti and later to Hivaoa, a more remote island in the Marquesas. Because he abandoned naturalistic colors and used formal distortions in order to achieve expressive compositions, Gauguin's work became an inspiration for many subsequent artists. 1. Possibly Wildenstein 1964, no. 12.", "name_in_original_language": null, "birth_year": "1848", "death_year": "1903", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1943-11-09T00:00:00", "sortable_date": 1902, "date_added_to_oa": null, "date_text": "1902", "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": ["L'appel (The Call)"], "is_highlight": false, "updated_at": "2026-08-15 11:17:58.150000"}, {"id": 106088, "accession_number": "1924.195", "share_license_status": "CC0", "tombstone": "Early Morning After a Storm at Sea, 1900\u20131903. Winslow Homer (American, 1836\u20131910). Oil on canvas; framed: 111 x 160 x 12 cm (43 11/16 x 63 x 4 3/4 in.); unframed: 76.8 x 127 cm (30 1/4 x 50 in.). The Cleveland Museum of Art, Gift of J. H. Wade, 1924.195", "current_location": "208 American Gilded Age and Realism", "title": "Early Morning After a Storm at Sea", "creation_date": "1900\u20131903", "creation_date_earliest": 1900, "creation_date_latest": 1903, "artists_tags": ["male"], "culture": ["United States"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 111 x 160 x 12 cm (43 11/16 x 63 x 4 3/4 in.); Unframed: 76.8 x 127 cm (30 1/4 x 50 in.)", "dimensions": {"framed": {"height": 1.11, "height_inch": 43, "height_inch_fraction": 0.6875, "width": 1.6, "width_inch": 63, "width_inch_fraction": 0.0, "depth": 0.12, "depth_inch": 4, "depth_inch_fraction": 0.75}, "unframed": {"height": 0.768, "height_inch": 30, "height_inch_fraction": 0.25, "width": 1.27, "width_inch": 50, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower left: \"HOMER / 1902\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 312517, "title": "The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition", "description": "<i>The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 26-October 4, 1936).", "opening_date": "1936-06-26T04:00:00"}, {"id": 312462, "title": "Exhibition of American Painting from 1860 Until Today", "description": "<i>Exhibition of American Painting from 1860 Until Today</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-October 4, 1937).", "opening_date": "1937-06-23T04:00:00"}, {"id": 312341, "title": "The Silver Jubilee Exhibition", "description": "<i>The Silver Jubilee Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-September 28, 1941).", "opening_date": "1941-06-23T04:00:00"}, {"id": 311945, "title": "The Sea", "description": "<i>The Sea</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 23-October 25, 1950).", "opening_date": "1950-09-23T04:00:00"}, {"id": 520330, "title": "Yankee Painter: A Retrospective Exhibition of Oils, Watercolors and Graphics by Winslow Homer", "description": "<i>Yankee Painter: A Retrospective Exhibition of Oils, Watercolors and Graphics by Winslow Homer</i>. University of Arizona Museum of Art, Tucson, AZ (organizer) (October 12-December 1, 1963).", "opening_date": "1963-10-12T04:00:00"}, {"id": 302330, "title": "Heritage and Horizon: American Painting 1776 - 1976", "description": "<i>Heritage and Horizon: American Painting 1776 - 1976</i>. Buffalo AKG Art Museum, Buffalo, NY (organizer) (March 7-April 11, 1976); The Detroit Institute of Arts, Detroit, MI (May 2-June 13, 1976); The Toledo Museum of Art, Toledo, OH (July 4-August 15, 1976); The Cleveland Museum of Art, Cleveland, OH (September 8-October 10, 1976).", "opening_date": "1976-03-07T05:00:00"}, {"id": 304561, "title": "Visions of Landscape: East and West", "description": "<i>Visions of Landscape: East and West</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 17-March 21, 1982).", "opening_date": "1982-02-17T05:00:00"}, {"id": 310299, "title": "Reckoning with Winslow Homer: His Late Works and Their Influence", "description": "<i>Reckoning with Winslow Homer: His Late Works and Their Influence</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 19-November 25, 1990); Columbus Museum of Art, Columbus, OH (December 16, 1990-February 10, 1991); Corcoran Gallery of Art, Washington, DC (March 16-May 12, 1991).", "opening_date": "1990-09-19T04:00:00"}, {"id": 361410, "title": "Winslow Homer", "description": "<i>Winslow Homer</i>. National Gallery of Art, Landover, MD (organizer) (October 15, 1995-January 28, 1996); Museum of Fine Arts, Boston, Boston, MA (February 21-May 26, 1996); The Metropolitan Museum of Art, New York, NY (June 20-September 22, 1996).", "opening_date": "1995-10-15T04:00:00"}, {"id": 184052, "title": "Cleveland Collects American Art of the Gilded Age", "description": "<i>Cleveland Collects American Art of the Gilded Age</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 23-May 18, 2003).", "opening_date": "2003-02-23T00:00:00"}, {"id": 224220, "title": "Weatherbeaten: The Late Paintings of Winslow Homer", "description": "<i>Weatherbeaten: The Late Paintings of Winslow Homer</i>. Portland Museum of Art, Portland, ME (organizer) (September 20-December 30, 2012).", "opening_date": "2012-09-20T00:00:00"}, {"id": 290556, "title": "Coming Away: Winslow Homer and England", "description": "<i>Coming Away: Winslow Homer and England</i>. Worcester Art Museum, Worcester, MA (November 17, 2017-February 4, 2018); Milwaukee Art Museum, Milwaukee, WI (organizer) (March 2-May 20, 2018).", "opening_date": "2017-11-11T05:00:00"}, {"id": 394678, "title": "Art Along the Rivers: A Bicentennial Celebration", "description": "<i>Art Along the Rivers: A Bicentennial Celebration</i>. Saint Louis Art Museum, St. Louis, MO (organizer) (October 3, 2021-January 9, 2022) https://www.slam.org/exhibitions/art-along-the-rivers/.", "opening_date": "2021-10-03T04:00:00"}, {"id": 437859, "title": "Winslow Homer: Crosscurrents", "description": "<i>Winslow Homer: Crosscurrents</i>. The Metropolitan Museum of Art, New York, NY (organizer) (April 4-July 31, 2022) https://www.metmuseum.org/exhibitions/listings/2022/winslow-homer.", "opening_date": "2022-04-04T04:00:00"}], "legacy": [{"description": "New York, Union League Club, Paintings by Contemporary Americans (8-10 January 1903).", "opening_date": "1903-01-08T00:00:00"}, {"description": "New York, Society of American Artists, Twenty-Fifth Annual Exhibition (28 March-3 May 1903).", "opening_date": "1903-03-28T00:00:00"}, {"description": "Pittsburgh, The Carnegie Institute, The Eighth Annual Exhibition at The Carnegie Institute (5 November 1903-1 January 1904), no. 75.", "opening_date": "1903-11-05T00:00:00"}, {"description": "Philadelphia, Pennsylvania Academy of Fine Arts, Seventy-Third Annual Exhibition (25 January-5 March 1904)", "opening_date": "1904-01-25T00:00:00"}, {"description": "St. Louis, Louisiana Purchase Universal Exposition (May-December, 1904)", "opening_date": "1904-05-01T00:00:00"}, {"description": "Buffalo, Albright Art Gallery, Fifth Annual Exhibition of Selected Paintings by American Artists (11 May-1 September 1910); cat. no. 117, listed p. 38.", "opening_date": "1910-05-11T00:00:00"}, {"description": "St. Louis, City Art Museum of St. Louis, Fifth Annual Exhibition of Selected Paintings by American Artists (September 15 - November 15, 1910); cat. 120.", "opening_date": "1910-09-15T00:00:00"}, {"description": "New York City, The Museum of Modern Art, The Museum of Modern Art Sixth Loan Exhibition: Winslow Homer, Albert P. Ryder, Thomas Eakins (May, 1930), fig. 17.", "opening_date": "1930-05-01T00:00:00"}, {"description": "Philadelphia, The Pennsylvania Museum of Art, Winslow Homer 1836-1910 (2 May-8 June 1936), fig. 29.", "opening_date": "1936-05-02T00:00:00"}, {"description": "Detroit, Detroit Institute of Arts, Annual Exhibition of American Art (2 April-3 May 1937); cat. no. 32.", "opening_date": "1937-04-02T00:00:00"}, {"description": "New York City, Whitney Museum of American Art, Winslow Homer: Centenary Exhibition (15 December 1936-15 January 1937), fig. 33, illus.", "opening_date": "1936-12-15T00:00:00"}, {"description": "Pittsburgh, Carnegie Institute, Centenary Exhibition of Works of Winslow Homer (28 January-7 March 1937); traveled to Detroit, The Detroit Institute of Arts, (March 1937-May 1937) pp. 7-13 fig. 29.", "opening_date": "1937-01-28T00:00:00"}, {"description": "Worcester, Worcester Art Museum, Winslow Homer (16 November-17 December 1944), no. 82, p. 7.", "opening_date": "1944-11-16T00:00:00"}, {"description": "New York, Wildenstein for the Benefit of The New York Botanical Garden, Winslow Homer (19 February-22 March 1947), no. 37.", "opening_date": "1947-02-19T00:00:00"}, {"description": "Brooklyn, The Brooklyn Museum, The Coast and the Sea: A Survey of American Marine Painting (19 November 1948-16 January 1949); cat. no. 61.", "opening_date": "1948-11-19T00:00:00"}, {"description": "Brooklyn, The Brooklyn Museum, Chief Movements in Modern American Painting 1900-1950 (14 November 1951-6 January 1952)", "opening_date": "1951-11-14T00:00:00"}, {"description": "Frankfurt, Stadelsches Kunstitut, Hundert Jahre Amerikanische Malerei 1800-1900 (14 March-3 May 1953); traveled to Munich, Bayerische Staatsgem\u00e4ldesammlungen (15 May-28 June 1953); Hanburg, Kunsthalle (18 July-30 August 1953); (in addition shows were added in Berlin and D\u00fcsseldorf-see Whitney Museum catalogue for further information); cat. no. 45, illus. fig. 32.", "opening_date": "1953-03-14T00:00:00"}, {"description": "Rome, Galleria Nazionale d'Arte Moderna, Mostra Di Pittura Americana Del XIX Secolo (19 January-7 February 1954), no. 82; seems to also have traveled to Milan (see Whitney Museum catalogue for further information).", "opening_date": "1954-01-19T00:00:00"}, {"description": "New York, The Whitney Museum of American Art, American Painting in the Nineteenth Century, (22 April-23 May 1954), cat. no. 86.", "opening_date": "1954-04-22T00:00:00"}, {"description": "Oguinquit, ME, Museum of Art, Summer Exhibition (1 July-12 September 1954), cat. no. 8; illus.", "opening_date": "1954-07-01T00:00:00"}, {"description": "Pittsburgh, The Carnegie Institute, American Classics of the Nineteenth Century (1957); traveled to Utica, The Munson-Williams-Proctor Institute; Richmond, The Virginia Museum of Fine Arts; Baltimore, The Baltimore Museum of Art; Manchester, The Currier Gallery of Art, cat. no. 62.", "opening_date": "1957-01-01T00:00:00"}, {"description": "Washington, D. C., The National Gallery of Art, Winslow Homer: A Retrospective Exhibition (23 November 1958-4 January 1959); traveled to New York, The Metropolitan Museum of Art (29 January-8 March 1959), fig. 74.", "opening_date": "1959-01-29T00:00:00"}, {"description": "Tucson, University of Arizona Art Gallery, Yankee Painter: A Retrospective Exhibition of Oils, Water Colors and Graphics by Winslow Homer (11 October-1 December 1963), cat. no. 31, illus. p. 45.", "opening_date": "1963-10-11T00:00:00"}, {"description": "Akron, Akron Institute of Art, Retrospective on Winslow Homer (25 March-11 May 1969).", "opening_date": "1969-03-25T00:00:00"}, {"description": "Buffalo, Albright-Knox Art Gallery, Heritage and Horizon: American Painting 1776-1976 (6 March-11 April 1976); traveled to Detroit, The Detroit Institute of Arts, (5 May-13 June 1976); Toledo, The Toledo Museum of Art (4 July-15 August 1976); Cleveland, The Cleveland Museum of Art (8 Sept", "opening_date": "1976-03-06T00:00:00"}]}, "provenance": [{"description": "The Cleveland Museum of Art, Cleveland, Ohio", "citations": [], "footnotes": null, "date": "1924-", "sortorder": 1}, {"description": "(Frank Rehn, Inc., New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "1924", "sortorder": 2}, {"description": "Cornelius Vanderbilt Barton, New York, NY, consigned to Frank Rehn, Inc.", "citations": [], "footnotes": null, "date": "1918-1924", "sortorder": 3}, {"description": "(M. Knoedler & Co., New York, NY, sold to Cornelius Vanderbilt Barton)1", "citations": [], "footnotes": ["<div><!--block-->1Bixby returned the painting to Knoedler in December 1917 (stock no. C 4847), and in March 1918 the gallery sold it to Barton.</div>"], "date": "1917-1918", "sortorder": 4}, {"description": "William K. Bixby [1857-1931], St. Louis, MO, returned to Knoedler & Co.", "citations": [], "footnotes": null, "date": "1904-1917", "sortorder": 5}, {"description": "(M. Knoedler & Co., New York, NY, sold to William K. Bixby)1", "citations": [], "footnotes": ["<div><!--block-->1Knoedler represented the painting on Homer's instruction.&nbsp; Some versions of this provenance begin with Chicago dealer William O'Brien.&nbsp; However, he represented the work only briefly and failed to sell it.&nbsp; In 1900 O'Brien approached Homer, proposing to act as an agent to solicit a new painting.&nbsp; Homer accepted O'Brien's proposition in July 1900, and on November 14, 1902, Homer informed O'Brien that the so-called \"O'Brien picture,\" as he referred to the painting, had been sent.&nbsp; He did not consider O'Brien as having a claim on the work, but offered him the first opportunity to show and sell it as a courtesy.&nbsp; However, the painting had to be returned to New&nbsp; York by January 8, 1903 in time for an exhibition at the Union League Club.&nbsp; Thus, O'Brien's association with the painting lasted just six weeks.</div>"], "date": "1903-1904", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Winslow Homer's studio in Prouts Neck, Maine, is a National Historic Landmark.", "early_education_description": null, "artlens_description": null, "description": "The powerful Atlantic surf pounding against the desolate coast of Prouts Neck, Maine, provided primary subject matter for the dramatic paintings that Homer created during his final decades. This example, which the artist proclaimed as \"the best picture of the sea that I have painted,\" was initially conceived as a watercolor. Undertaking the composition in oil after a lapse of nearly two decades, Homer patiently waited for the appropriate atmospheric conditions, executing the work in four different sessions spread over two years.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60503457"], "internet_archive": ["https://archive.org/details/clevelandart-1924.195-early-morning-after"]}, "citations": [{"citation": "Denenberg, Thomas Andrew, and Winslow Homer. <em>Weatherbeaten: Winslow Homer and Maine</em>. 2012.", "page_number": "fig. 10, p. 100", "url": null}, {"citation": "Cleveland Museum of Art. Catalogue of an Exhibition of American Painting from 1860 Until Today at the Cleveland Museum of Art. [Cleveland]: [Printed by the Artcraft Printing Co.], 1937.", "page_number": "no. 85, p. 26", "url": null}, {"citation": "Cleveland Museum of Art. Catalogue of the Twentieth Anniversary Exhibition of the Cleveland Museum of Art: The Official Art Exhibit of the Great Lakes Exposition : June Twenty-Sixth to October Fourth 1936. [Cleveland, Ohio]: [Cleveland Museum of Art], 1936.", "page_number": "no. 359, listed pp. 133-134", "url": null}, {"citation": "Frank K.M. Rehn Galleries records, Miscellaneous Records: Lists of Paintings, 1920-1968, Archives of American Art, Smithsonian Institution. [Reel 5872 (87-725)].", "page_number": null, "url": null}, {"citation": "W.M.M., \u201cEarly Morning After a Storm at Sea by Winslow Homer,\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 11.3 (March 1924): 51-53", "page_number": null, "url": null}, {"citation": "Winslow Homer, Series IV. Inventory cards, 1859-1971, M. Knoedler &amp; Co. Records, box 135, Getty Research Institute", "page_number": null, "url": null}, {"citation": "W.M.M., \u201cEarly Morning After a Storm at Sea by Winslow Homer,\u201d <em>The Bulletin of the Cleveland Museum of Art </em>11.3 (March 1924): 51-53.", "page_number": null, "url": null}, {"citation": "Tatham, David. <em>Winslow Homer in London : A New York Artist Abroad. </em>Syracuse, N.Y.: Syracuse University Press, 2010.", "page_number": "Mentioned pp. 7, 88, 93-94; reproduced p. 41.", "url": ""}, {"citation": "Novak, Barbara.<em> Voyages of the Self : Pairs, Parallels, and Patterns in American Art and Literature.</em> Oxford: Oxford University Press, 2007.", "page_number": "Mentioned, pp. 96-97; reproduced, color plate 10.", "url": ""}, {"citation": "Simpson, Marc. <em>Winslow Homer: The Clark Collection.</em> Williamstown, Massachusetts: Sterling and Francine Clark Art Institute, 2013.", "page_number": "Mentioned, p. 35.", "url": ""}, {"citation": "Jennings, Kate F. <em>Winslow Homer. </em>New York, N.Y.: Crescent Books : Distributed by Crown Publishers, 1990.", "page_number": "Reproduced, p. 109.", "url": ""}, {"citation": "\"Coming Away: Winslow Homer and England,\" <em>American Art Review </em>30 (May-June 2018).", "page_number": "Reproduced, p. 56.", "url": ""}, {"citation": "Michael Brenson, \"Art View: Homer's Epic: Seascapes Grand and Gentle,\" <em>New York Times, </em>March 31, 1991.", "page_number": "Mentioned, p. 7.", "url": ""}, {"citation": "City Art Museum of St. Louis.<em> Fifth Annual Exhibition of Selected Paintings by American Artists</em>. St. Louis, Mo: The Museum, 1900.", "page_number": "Mentioned: p. 49, #120", "url": null}, {"citation": "W.M.M., \u201cEarly Morning After a Storm at Sea by Winslow Homer,\u201d <em>The Bulletin of the Cleveland Museum of Art </em>11.3 (March 1924): 51-53.<em><br></em>", "page_number": null, "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 1925.", "page_number": "Reproduced: p. 34", "url": "https://archive.org/details/CMAHandbook_80839/page/n36"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 1928.", "page_number": "Reproduced: p. 42", "url": "https://archive.org/details/CMAHandbook1928/page/n46"}, {"citation": "Cleveland Museum of Art. <em>Catalogue of an Exhibition of American Painting from 1860 until Today at the Cleveland Museum of Art.</em> [Cleveland]: [Printed by the Artcraft Printing Co.], 1937.", "page_number": "Mentioned: p. 26, no. 85", "url": ""}, {"citation": "Milliken, William. \"Silver Jubilee Exhibition.\" <em>The Bulletin of the Cleveland Museum of Art </em>28, no.6 (June 1941): 88-108", "page_number": "Mentioned: p. 89", "url": "https://www.jstor.org/stable/25140932"}, {"citation": "<em>Paintings in the Cleveland Museum of Art.</em> [Cleveland]: The Cleveland Museum of Art, 1945.", "page_number": "Reproduced: p. 14", "url": "https://archive.org/details/CMAPaintings1945/page/n22"}, {"citation": "Francis, Henry. \"Recent Additions to the Collection of Homer.\" <em>The Bulletin of the Cleveland Museum of Art </em>42, no. 3 (March 1955): 51-54.", "page_number": "Mentioned: p. 54", "url": "https://www.jstor.org/stable/25142026"}, {"citation": "The Cleveland Museum of Art. <em>The Cleveland Museum of Art Handbook.</em> Cleveland, OH: The Cleveland Museum of Art, 1958.", "page_number": "Mentioned and Reproduced: cat. no. 549", "url": "https://archive.org/details/CMAHandbook1958/page/n102"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 187", "url": "https://archive.org/details/CMAHandbook1966/page/n211"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 187", "url": "https://archive.org/details/CMAHandbook1969/page/n211"}, {"citation": "Hamilton, George Heard. <em>19th and 20th Century Art: Painting, Sculpture, Architecture</em>. New York: H.N. Abrams, 1970.", "page_number": "Reproduced: p. 110, fig. 95", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 232", "url": "https://archive.org/details/CMAHandbook1978/page/n252"}, {"citation": "Adams, Henry. <em>What's American about American art?: a gallery tour in the Cleveland Museum of Art. </em>Cleveland: Cleveland Museum of Art, 2008.", "page_number": "Reproduced: fig. 3, p. 10; p. 98 - 99", "url": ""}, {"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. 52", "url": ""}, {"citation": "Ross, Clifford, Jay A. Clarke, Phong Bui, and Orville Schell. <em>Hurricane Waves</em>. Cambridge, MA: The MIT Press, 2015.", "page_number": "Reproduced: P. 11, fig. 3", "url": null}, {"citation": "Athens, Elizabeth, Brandon Ruud and Martha Tedeschi. <em>Coming Away: Winslow Homer &amp; England</em>. Worcester, MA : Worcester Art Museum ; Milwaukee, WI : Milwaukee Art Museum ; New Haven, CT : in association with Yale University Press, 2017.", "page_number": "Reproduced: p. 149, cat. # 67; p. 81, fig. 10 (detail): Mention: p. 56, 166", "url": null}, {"citation": "American Art Review. \"Coming Away: Winslow Homer and England.\" American Art Review 30, no. 3 (May/June 2018): 54-57.", "page_number": "Reproduced: p. 56, top", "url": null}, {"citation": "Herdrich, Stephanie L., Sylvia Yount, Daniel Immerwahr, Christopher Riopelle, Gwendolyn DuBois Shaw, and Winslow Homer. Winslow Homer: Crosscurrents. New York : The Metropolitan Museum of Art, 2022.", "page_number": "Reproduced: p. 173", "url": ""}], "url": "https://clevelandart.org/art/1924.195", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1924.195/1924.195_web.jpg", "width": "1263", "height": "762", "filesize": "642840", "filename": "1924.195_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1924.195/1924.195_print.jpg", "width": "3400", "height": "2050", "filesize": "4653289", "filename": "1924.195_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1924.195/1924.195_full.tif", "width": "6000", "height": "3618", "filesize": "65155832", "filename": "1924.195_full.tif"}}, "alternate_images": [{"web": {"url": "https://openaccess-cdn.clevelandart.org/1924.195/1924.195_alt0_web.jpg", "width": "1263", "height": "887", "filesize": "883641"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1924.195/1924.195_alt0_print.jpg", "width": "3400", "height": "2387", "filesize": "6257811"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1924.195/1924.195_alt0_full.tif", "width": "4564", "height": "3204", "filesize": "43912888"}, "date_created": "2008-08-13T14:28:22", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1924.195/1924.195_alt1_web.jpg", "width": "1263", "height": "764", "filesize": "622065"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1924.195/1924.195_alt1_print.jpg", "width": "3400", "height": "2056", "filesize": "4008956"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1924.195/1924.195_alt1_full.tif", "width": "5000", "height": "3023", "filesize": "45365748"}, "date_created": "2004-08-23T20:14:10", "annotation": ""}], "creditline": "Gift of J. H. Wade", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "The Cleveland Foundation Gallery", "athena_id": 106088, "creators": [{"id": 3143, "description": "Winslow Homer (American, 1836\u20131910)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1836", "death_year": "1910", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1924-01-15T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "1900\u20131903", "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": "2026-10-19 15:05:17.185000"}, {"id": 155860, "accession_number": "1991.163", "share_license_status": "CC0", "tombstone": "The Young Eastern Woman, 1838. Friedrich Amerling (Austrian, 1803\u20131887). Oil on fabric; framed: 106.5 x 90.5 x 9 cm (41 15/16 x 35 5/8 x 3 9/16 in.); unframed: 88.5 x 71.5 cm (34 13/16 x 28 1/8 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1991.163", "current_location": "219 19th Century European", "title": "The Young Eastern Woman", "creation_date": "1838", "creation_date_earliest": 1838, "creation_date_latest": 1838, "artists_tags": ["male"], "culture": ["Austria"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 106.5 x 90.5 x 9 cm (41 15/16 x 35 5/8 x 3 9/16 in.); Unframed: 88.5 x 71.5 cm (34 13/16 x 28 1/8 in.)", "dimensions": {"framed": {"height": 1.065, "height_inch": 41, "height_inch_fraction": 0.9375, "width": 0.905, "width_inch": 35, "width_inch_fraction": 0.625, "depth": 0.09, "depth_inch": 3, "depth_inch_fraction": 0.5625}, "unframed": {"height": 0.885, "height_inch": 34, "height_inch_fraction": 0.8125, "width": 0.715, "width_inch": 28, "width_inch_fraction": 0.125}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 221840, "title": "Friedrich von Amerling (1803-1887)", "description": "<i>Friedrich von Amerling (1803-1887)</i>. Belvedere, Wien, Austria (organizer) (March 26-June 22, 2003).", "opening_date": "2003-03-26T00:00:00"}], "legacy": [{"description": "Vienna, kk Akademie der Bildenden K\u00fcnste. Wiener Kunstaustellung zu St. Anna (1838), no. 282.", "opening_date": null}, {"description": "Osterreichische Galerie Belvedere, Vienna (3/26/2003 - 6/22/2003):  \"Friedrich von Amerling (1803-1887),\" exh.cat. no. 69, p. 219.", "opening_date": "2003-03-26T00:00:00"}, {"description": "Wien: Wien Museum Hermesvilla.  Orientalische Reise: Malerei Und Exotick Im Spaten 19. Jahrhundert. Oct. 16, 2003 - April 12, 2004.  Exh. cat. fig. 8, p. 43.", "opening_date": "2003-10-16T00:00:00"}]}, "provenance": [{"description": "The Cleveland Museum of Art, Cleveland, Ohio", "citations": [], "footnotes": null, "date": "1991-", "sortorder": 1}, {"description": "(Galerie Sanct Lucas, Vienna, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "1971-1991", "sortorder": 2}, {"description": "Heirs of Franz Wertheim, United States, sold to the Galerie Sanct Lucas", "citations": [], "footnotes": null, "date": "Probably 1883-1971", "sortorder": 3}, {"description": "Baron Franz Wertheim [1814-1883], Vienna, by descent to his heirs", "citations": [], "footnotes": ["<div><!--block-->Gunther Probszt\u2019s 1927 book on Amerling situates the painting in the collection of Baron Franz Wertheim.&nbsp; Because Wertheim died in 1883, it is possible that Probszt meant to indicate that the painting was formerly with Wertheim, or that the painting was currently with Wertheim\u2019s heirs, perhaps Franz von Wertheim, Jr., who was born in 1865.</div>"], "date": "Date description:", "sortorder": 4}, {"description": "L\u00f6scher, Vienna", "citations": [], "footnotes": ["<div><!--block-->L\u00f6scher was a Viennese dealer active in the 1870s.</div>"], "date": "1871-", "sortorder": 5}, {"description": "(P. Kaeser, Vienna, Fellner sale, Dec. 14-15, 1871, lot 9, as \"Die Morgenl\u00e4nderin,\" sold to L\u00f6scher)", "citations": [], "footnotes": null, "date": "1871", "sortorder": 6}, {"description": "Jakob Fellner, Vienna", "citations": [], "footnotes": ["<div><!--block-->Fellner bought most of the Feldm\u00fcller collection shortly after 1852.</div>"], "date": "c. 1852-1871", "sortorder": 7}, {"description": "Mathias Feldm\u00fcller (the Younger), Vienna, sold to Jakob Fellne", "citations": [], "footnotes": ["<div><!--block-->According to Amerling's account book, the painting was sold to Feldm\u00fcller, a wood merchant, for 80 ducats.&nbsp; The painting may have been paired with Amerling's \"Bathing Woman\" (now lost).&nbsp; Feldm\u00fcller also purchased works from Amerling in 1836, 1840, and 1850.</div>"], "date": "1838-c. 1852", "sortorder": 8}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "One can see in Amerling's sensitive and beautiful portrayal why he was well known and admired for his portraits.", "early_education_description": null, "artlens_description": null, "description": "Although the artist provocatively titled this painting Young Eastern Woman, it is obvious that the model is not Asian, but merely wears a Turkish costume. The rich fabrics and glowing light create an exotic atmosphere, revealing a Western fascination with \"Oriental\" images and themes.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60476663"], "internet_archive": ["https://archive.org/details/clevelandart-1991.163-the-young-eastern-wo"]}, "citations": [{"citation": "Galerie Sanct Lucas, invoice, March 1, 1992, in CMA curatorial file", "page_number": null, "url": null}, {"citation": "Galerie Sanct Lucas, invoice, March 1, 1992, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Galerie Sanct Lucas, invoice, March 1, 1992, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "P. Kaeser.  <em>Tabl. 120. </em> Dec. 14-15, 1871.", "page_number": null, "url": null}, {"citation": "<br>P. Kaeser.  <em>Tabl. 120. </em> Dec. 14-15, 1871.", "page_number": null, "url": null}, {"citation": "Galerie Sanct Lucas, invoice, March 1, 1992, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Galerie Sanct Lucas, invoice, March 1, 1992, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "P. Kaeser.  <em>Tabl. 120. </em> Dec. 14-15, 1871.", "page_number": null, "url": null}, {"citation": "Galerie Sanct Lucas, invoice, March 1, 1992, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Turner, Evan H. \"Selected 1991 Acquisitions.\" <em>The Bulletin of the Cleveland Museum of Art</em> 79, no. 2 (1992): 63-83.", "page_number": "Mentioned: p. 65, 76; Reproduced: p. 70", "url": "https://www.jstor.org/stable/25161350"}, {"citation": "Lurie, Ann Tzeutschler. \u201cFerdinand Georg Waldm\u00fcller in the Cleveland Museum of Art: Portrait of Crescentia, Countess Zichy (later Countess Sz\u00e9chenyi) with a Parrot and a Camellia in a Mountainous Landscape.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 81, no. 1 (1994): 3-17.", "page_number": "Mentioned: p. 16", "url": "https://www.jstor.org/stable/25161437"}, {"citation": "Grabner, Sabine. \"Art for the Bourgeoisie in Imperial Vienna.\" In<em> Is That Biedermeier?: Amerling, Waldmu\u0308ller, and More. </em>Ferdinand Georg Waldmu\u0308ller, 14-25. M\u00fcnchen: Hirmer Verlag; Vienna: Belvedere, 2016.", "page_number": "Reproduced: p. 22 Mentioned: p. 21-22", "url": null}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 12-15, Vol. I, no. 4", "url": ""}, {"citation": "Ware, Zaria. Blk Art: The Audacious Legacy of Black Artists and Models in Western Art.  New York, NY : Harper Design, an imprint of HarperCollinsPublishers, 2023.", "page_number": "Reproduced: p. 60-61", "url": ""}, {"citation": "<em>Friedrich von Amerling: Werkverzeichnis Der Gema\u0308lde = Catalogue Raisonne\u0301 of the Paintings.</em> Edited by Stella Rollig and Luisa Ziaja. Berlin: Deutscher Kunstverlag, 2025.", "page_number": "Mentioned and Reproduced: p. 149-150, no. 470", "url": ""}], "url": "https://clevelandart.org/art/1991.163", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1991.163/1991.163_web.jpg", "width": "719", "height": "893", "filesize": "382243", "filename": "1991.163_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1991.163/1991.163_print.jpg", "width": "2737", "height": "3400", "filesize": "5453852", "filename": "1991.163_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1991.163/1991.163_full.tif", "width": "4830", "height": "6000", "filesize": "86972208", "filename": "1991.163_full.tif"}}, "alternate_images": [], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Norma and Alfred Lerner Gallery", "athena_id": 155860, "creators": [{"id": 2879, "description": "Friedrich Amerling (Austrian, 1803\u20131887)", "extent": null, "qualifier": null, "role": "artist", "biography": "Friedrich Amerling grew up in a poor working-class milieu and started his career illuminating maps and prints before attending the Vienna academy from 1815 until 1824. The following two years he studied at the academy in Prague, until his sojourn in London from 1827 through 1828. Amerling went to London primarily to meet the portraitist Thomas Lawrence (1769-1830), whose fame had spread throughout Europe and whose work, together with that of Joshua Reynolds (1723-1792), would form an important influence on Amerling's art. After a brief stay in Paris, during which Amerling met Vernet (q.v.), he went on to Rome. Back in Vienna he painted the life-size portrait of Emperor Franz I (1832/33, Kunsthistorisches Museum, Vienna), which, despite its mixed reviews, estab-lished his reputation as the foremost portrait painter in Vienna. From then on he received many portrait commissions from the Viennese aristocracy and bourgeoisie (see Waldm\u00fcller, Countess Sz\u00e9chenyi, fig. 223b). In 1833 Amerling traveled to the Netherlands and, upon his return, visited the artistic centers of Munich and D\u00fcsseldorf, where he met the influential academy director Friedrich Wilhelm von Schadow (1788-1862). Amerling's career reached its height from the 1830s through the 1850s. In the early 1840s he traveled to Rome where he worked with Leopold Pollak (1806-1880) and August Riedel (1799-1883), who influenced his work with their depictions of Italian beauties. Besides painting formal portraits, Amerling developed a painting category that remained close to portraiture but crossed over to a slightly sentimental type of genre or character painting, mostly depicting single women in coquettish poses. Although Amerling retained a certain popularity throughout his long career-he was knighted in 1879-he failed to adapt to changing artistic developments and was eventually overshadowed by artists such as Hans Makart (1840-1884).", "name_in_original_language": null, "birth_year": "1803", "death_year": "1887", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1991-12-16T00:00:00", "sortable_date": 1838, "date_added_to_oa": null, "date_text": "1838", "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": "2026-05-29 08:05:58.756000"}, {"id": 137259, "accession_number": "1962.2", "share_license_status": "CC0", "tombstone": "Mme L . . . (Laure Borreau), 1863. Gustave Courbet (French, 1819\u20131877). Oil on fabric; framed: 112.4 x 93 x 12.1 cm (44 1/4 x 36 5/8 x 4 3/4 in.); unframed: 81 x 61.2 cm (31 7/8 x 24 1/8 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1962.2", "current_location": null, "title": "Mme L . . . (Laure Borreau)", "creation_date": "1863", "creation_date_earliest": 1863, "creation_date_latest": 1863, "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: 112.4 x 93 x 12.1 cm (44 1/4 x 36 5/8 x 4 3/4 in.); Unframed: 81 x 61.2 cm (31 7/8 x 24 1/8 in.)", "dimensions": {"framed": {"height": 1.124, "height_inch": 44, "height_inch_fraction": 0.25, "width": 0.93, "width_inch": 36, "width_inch_fraction": 0.625, "depth": 0.121, "depth_inch": 4, "depth_inch_fraction": 0.75}, "unframed": {"height": 0.81, "height_inch": 31, "height_inch_fraction": 0.875, "width": 0.612, "width_inch": 24, "width_inch_fraction": 0.125}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right: Gustave Courbet / . . 63\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 302276, "title": "Year in Review - 1962", "description": "<i>Year in Review - 1962</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 24-November 25, 1962).", "opening_date": "1962-10-24T04:00:00"}, {"id": 304248, "title": "Style, Truth and the Portrait", "description": "<i>Style, Truth and the Portrait</i>. The Cleveland Museum of Art, Cleveland, OH (October 1-November 19, 1963).", "opening_date": "1963-10-01T04:00:00"}, {"id": 444095, "title": "Gustave Courbet", "description": "<i>Gustave Courbet</i>. Mus\u00e9e du Louvre, Paris, France (October 1, 1977-January 2, 1978).", "opening_date": "1977-10-01T04:00:00"}, {"id": 220961, "title": "Courbet, Artist and Entrepeneur", "description": "<i>Courbet, Artist and Entrepeneur</i>. Mus\u00e9e Cantonal des Beaux-Arts, Lausanne, Switzerland (November 21, 1998-February 21, 1999).", "opening_date": "1998-11-21T00:00:00"}, {"id": 216847, "title": "Faces of Impressionism: Portraits from American Collections", "description": "<i>Faces of Impressionism: Portraits from American Collections</i>. The Cleveland Museum of Art, Cleveland, OH (May 28-July 30, 2000).", "opening_date": "1999-10-10T00:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. Beijing World Art Museum (May 26-August 27, 2006); Mori Art Center (September 16-November 26, 2006); Seoul Art Center, South Korea (December 22, 2006-March 28, 2007); Seoul Olympic Museum of Art, South Korea (April 7-May 20, 2007); Vancouver Art Gallery, Vancouver, Canada (June 9-September 16, 2007); The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008); Frist Art Museum, Nashville, TN (February 15-June 1, 2008); Utah Museum of Fine Arts, Salt Lake City, UT (June 22-September 21, 2008); The Detroit Institute of Arts, Detroit, MI (October 12, 2008-January 18, 2009).", "opening_date": "2006-05-27T00:00:00"}, {"id": 522048, "title": "1863 \u2022 PARIS \u2022 1874: Revolution in Art - From the Salon to Impressionism", "description": "<i>1863 \u2022 PARIS \u2022 1874: Revolution in Art - From the Salon to Impressionism</i>. Wallraf-Richartz Museum, K\u00f6ln, Germany (organizer) (March 15-July 28, 2024) https://www.wallraf.museum/ausstellungen/aktuell/2024-03-15-paris-1874/.", "opening_date": "2024-03-15T04:00:00"}], "legacy": [{"description": "<em>Salon.</em> Palais des Champs-\u00c9lys\u00e9es, Paris, France. Salon (1863).", "opening_date": null}, {"description": "<em>Exposition d'art fran\u00e7ais du XIXe si\u00e8cle.</em> Paul Rosenberg, Possibly Paris, France (1917).", "opening_date": "1917-01-01T00:00:00"}, {"description": "<em>Cinquante ans de peinture fran\u00e7aise</em>. Mus\u00e9e des Arts D\u00e9coratifs, Paris, France (1925).", "opening_date": "1925-01-01T00:00:00"}, {"description": "<em>Portraits et figures de femmes. Ingres \u00e0 Picasso</em>. Galerie de La Renaissance, Paris, France (1928).", "opening_date": "1928-01-01T00:00:00"}, {"description": "<em>Exposition Gustave Courbet</em>. Palais des Beaux-Arts de la ville de Paris (Petit Palais), Paris, France (1929).", "opening_date": "1929-01-01T00:00:00"}, {"description": "<em>Exposition d'oeuvres importantes de Grands Ma\u00eetres du dix-neuvi\u00e8me si\u00e8cle</em>. Galerie Paul Rosenberg, Paris, France (1931).", "opening_date": "1931-01-01T00:00:00"}, {"description": "<em> Loans in Honor of the Opening of the Avery Memorial.</em> Wadsworth Athenaeum. Hartford, CT (1934).", "opening_date": "1934-01-01T00:00:00"}, {"description": "<em>Exposition Gustave Courbet</em>. Paul Rosenberg, Paris, France (1937).", "opening_date": "1937-01-01T00:00:00"}, {"description": "<em>Honderd Jaar Fransche Kunst.</em> Stedelijk Museum. Amsterdam, Netherlands (1938).", "opening_date": "1938-01-01T00:00:00"}, {"description": "<em>Gustave Courbet 1819-1877</em>. London, Rosenberg &amp; Helft Ltd., London, United Kingdom (1938).", "opening_date": "1938-01-01T00:00:00"}, {"description": "<em>Great French Masters of the Nineteenth Century</em>: Corot to Van Gogh. Paul Rosenberg &amp; Co. New York, NY (1942).", "opening_date": "1942-01-01T00:00:00"}, {"description": "<em>French Art of the 19th and 20th Centuries </em>. Rhode Island School of Design Museum of Art, Providence, RI (1942).", "opening_date": "1942-01-01T00:00:00"}, {"description": "<em>Art of the United Nations</em>. M. H. de Young Memorial Museum, San Francisco, CA (1945).", "opening_date": "1945-01-01T00:00:00"}, {"description": "<em>Great French Masters of the 19th Century.</em> Possibly Paul Rosenberg &amp; Co, New York, NY (November, 17 -December 6, 1947).", "opening_date": "1947-12-06T00:00:00"}, {"description": "<em>Exhibition of 19th Century French Paintings. </em>Paul Rosenberg &amp; Co., New York, NY (1954).", "opening_date": "1954-01-01T00:00:00"}, {"description": "<em>Loan Exhibition of Paintings by Gustave Courbet</em>. Paul Rosenberg &amp; Co., New York, NY (1956).", "opening_date": "1956-01-01T00:00:00"}, {"description": "<em>Gustave Courbet 1819-1877</em>. Philadelphia Museum of Art, Philadelphia, PA; (December 17, 1959-February 14, 1960); Museum of Fine Arts, Boston, MA (February 26, 1960-April 14, 1960).", "opening_date": "1959-12-17T00:00:00"}, {"description": "<em>Courbet in Private French Collections</em>. Galerie Claude Aubry, Paris, France (May 5-June 25, 1966).", "opening_date": "1966-05-05T00:00:00"}, {"description": "<em>Gustave Courbet 1819-1877. </em>Villa Medici, Rome, Italy (October 28, 1969-January 6, 1970).", "opening_date": "1969-10-28T00:00:00"}, {"description": "<em>Courbet 1819-1877</em>. Galerie Daber, Paris, France (October 16 to November 15, 1975).", "opening_date": "1975-10-16T00:00:00"}, {"description": "<em>Gustave Courbet 1819-1877</em>. Royal Academy, London, United Kingdom (January 19-March 19, 1977); Grand Palais, Paris, France (October 1, 1977-January 2, 1978).", "opening_date": "1977-01-19T00:00:00"}, {"description": "<em>Courbet und Deutschland.</em> Stadische Galerie,Hamburg, Germany (October 19-December 17, 1978); Stadelsches Kunstinstitut, Frankfurt, Germany (January 17-March 18, 1979).", "opening_date": "1978-10-19T00:00:00"}, {"description": "<em>Courbet Reconsidered</em>. Brooklyn Museum, Brooklyn, NY (November 4, 1988-January 16, 1989); Minneapolis Institute of Arts, Minneapolis, MN (February 18-April 30, 1989).", "opening_date": "1989-02-18T00:00:00"}]}, "provenance": [{"description": "(Drouot, Paris, France, Artist's estate sale,  December 9, 1881, lot 11, stock number 2070, sold to Durand-Ruel)", "citations": [], "footnotes": [], "date": "1881", "sortorder": null}, {"description": "(Durand-Ruel, Paris France, December 10, 1881, sold to Max Flersheim)", "citations": [], "footnotes": null, "date": "1881", "sortorder": 2}, {"description": "(Paul Rosenberg and Company, New York, NY by 1934, sold to the Cleveland Museum of Art, 1962)", "citations": [], "footnotes": null, "date": "by 1934-1962", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1962-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Courbet once wrote of Laure Borreau, the sitter in this portrait, \"I am in love with a splendid lady, the driving force behind my triumph.\"", "early_education_description": null, "artlens_description": null, "description": "Gustave Courbet painted four portraits of Madame Laure Borreau; this is the last and most highly developed. As a realist, Courbet aimed to represent what he saw in the visible, tangible world. He represented Madame Borreau in a black silk dress embellished with lace and a matching hat. Gold and violet lights of sunset softly illuminate the background. However, the portrait is not idealized. Courbet\u2019s inclusion of her shadowed eyes and full-fleshed neck prompted one critic to write, \u201cI daresay in nature she may be very pretty, but in Courbet\u2019s picture she is nothing less than offensive.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60466132"], "internet_archive": ["https://archive.org/details/clevelandart-1962.2-mme-l-laure-borreau"]}, "citations": [{"citation": "Hamerton, Philip Gilbert. \"The Salon of 1863.\" <em>The Fine Arts Quarterly Review</em> 1 (1863): 15-262.", "page_number": "Mentioned: P. 244", "url": null}, {"citation": "Mantz, Paul. \"Salon de 1863.\" <em>Gazette des Beaux-Arts</em> 14 (1863): 481-506.", "page_number": "Mentioned: P. 498-499", "url": null}, {"citation": "Burty, Philippe. \"Une Lettre de M. Courbet.\" <em>La Chronique des Arts et de la Curiosite\u0301 </em>June 7, 1863: 253.", "page_number": "Mentioned: P. 253", "url": null}, {"citation": "<em>Exposition des \u0153uvres de Gustave Courbet: a l'E\u0301cole des beaux-arts (mai 1882): Catalogu</em>e. Paris: Impr. E\u0301mile Martinet, 1882.", "page_number": "Mentioned: Supplement p. 26", "url": null}, {"citation": "Estignard, Alexandre. <em>Courbet Sa Vie, Ses Oeuvres.</em> Besan\u00e7on: Delagrange-Louys, 1896.", "page_number": "Mentioned: P. 162", "url": null}, {"citation": "Riat, Georges, and Paul Vitry. <em>Gustave Courbet, peintre</em>. Paris, France: H. Floury, 1906.", "page_number": "Reproduced: p. 214", "url": null}, {"citation": "Le\u0301ger, Charles. <em>Courbet, selon les caricatures et les images</em>. Paris, France: P. Rosenberg, 1920.", "page_number": "Reproduced: p. 119", "url": null}, {"citation": "Le\u0301ger, Charles. <em>Courbet.</em> Paris: Nilsson, 1925.", "page_number": "Mentioned: P. 72", "url": null}, {"citation": "Alexandre, Arsene. \"Portraits et Figures de Femmes.\" <em>La Renaissance </em>11 (July/August 1928).", "page_number": "Mentioned and reproduced: P. 261, no. 45", "url": null}, {"citation": "Le\u0301ger, Charles. <em>Courbet</em>. Paris: E\u0301ditions G. Cre\u0300s, 1929.", "page_number": "Mentioned: P. 95, 98; reproduced: Pl. 35", "url": null}, {"citation": "Courthion, Pierre. <em>Courbet</em>. Paris, France: Librairie Floury, 1931.", "page_number": "Mentioned: p. 31; Reproduced: p. 91, pl. 57", "url": null}, {"citation": "Courthion, Pierre. <em>Courbet.</em> Paris: Librairie Floury, 1931.", "page_number": "Mentioned: P. 34, 91; reproduced: Pl. 57", "url": null}, {"citation": "Le\u0301ger, Charles. <em>Courbet</em>. Paris, France: Braun, 1934.", "page_number": "Reproduced: p.38", "url": null}, {"citation": "Baillods, Jules. <em>Courbet Vivant</em>. Neucha\u0302tel, Switzerland: Delachaux &amp; Niestle\u0301, 1940.", "page_number": "Mentioned: P. 48", "url": null}, {"citation": "Le\u0301ger, Charles. <em>Courbet et son Temps; Lettres et Documents Ine\u0301dits.</em> Paris: E\u0301ditions Universelles, 1948.", "page_number": "Mentioned: P. 86", "url": null}, {"citation": "Mack, Gerstle. <em>Gustave Courbet</em>. New York, NY: Knopf, 1951.", "page_number": "Reproduced: p. 170, pl. 37", "url": null}, {"citation": "<em>Les Amis de Gustave Courbet </em>20 (1957): 11.", "page_number": "Mentioned and reproduced: P. 11", "url": null}, {"citation": "Lee, Sherman E. \"Year in Review 1962.\" <em>The Bulletin of The Cleveland Museum of Art XLVIIII</em>, no.9 (November, 1962):198-227.", "page_number": "Mentioned: p. 229, no. 89", "url": null}, {"citation": "Lurie, Ann Tzeutschler. \"Gustave Courbet, Madame Boreau..\" <em>The Bulletin of The Cleveland Museum of Art XLVIIII</em>, no.4 (April, 1962):66-71.", "page_number": "Reproduced: cover", "url": null}, {"citation": "Cleveland Museum of Art, \u201cMadame Boreau by Courbet,\u201d April 2, 1962, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr0926"}, {"citation": "Saisselin, Re\u0301my G. <em>Style, Truth, and the Portrait</em>. Cleveland, OH: Cleveland Museum of Art, 1963.", "page_number": "Reproduced: p. 76", "url": null}, {"citation": "Saisselin, R\u00e9my Gilbert. \u201cPortrait in History: Some Connections between Art and Literature.\u201d <em>Apollo: The International Magazine for Collectors</em> 78 (October 1963): 281\u201388.", "page_number": "Reproduced: P. 287", "url": null}, {"citation": "Borea, E. \"Notiziario: Style, Truth, and the Portrait.\" <em>Arte Antica e Moderna </em>24 (Ottobre-Dicembre 1963): 7-8.", "page_number": "Mentioned and reproduced: P. 7-8, no. 16", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 170", "url": "https://archive.org/details/CMAHandbook1966/page/n194"}, {"citation": "<em>Courbet dans les Collections Prive\u0301es Franc\u0327aises ... 5 mai-25 juin 1966, [Galerie] Claude Aubry ... Paris. </em>Paris: Galerie C. Aubry, 1966.", "page_number": "Reproduced: no. 13", "url": null}, {"citation": "Aymar, Gordon Christian. <em>The Art of Portrait Painting; Portraits Through the Centuries As Seen Through the Eyes of a Practicing Portrait Painter</em>. Philadelphia, PA: Chilton Book Co, 1967.", "page_number": "Reproduced: p. 78, pl. 35", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 170", "url": "https://archive.org/details/CMAHandbook1969/page/n194"}, {"citation": "Laclotte, Michel, Palma Bucarelli, and He\u0301le\u0300ne Toussaint. <em>Gustave Courbet (1819-1877)</em>. Rome. Italy: De Luca, 1969.", "page_number": null, "url": null}, {"citation": "Talbot, William S. \u201cHenri Fantin-Latour: Madame Henri Lerolle.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 56, no. 9 (November 1969): 309\u2013319.", "page_number": "Mentioned and reproduced: p. 315-316, fig. 7", "url": "http://www.jstor.org/stable/25152293"}, {"citation": "Bonniot, Roger. <em>Gustave Courbet en Saintonge, 1862-1863</em>. Paris, France: C. Klincksieck, 1973.", "page_number": "Reproduced: fig. 53; mentioned: P. 124, 209, 217-248, 269, 295-299", "url": null}, {"citation": "Champa, Kermit Swiler. <em>Studies in Early Impressionism</em>. New Haven, CT: Yale University Press, 1973.", "page_number": "Reproduced: p. 34, fig. 47", "url": null}, {"citation": "Daber, Alfred. <em>Courbet, 1819-1877: </em>Paris, France: Galerie Daber, 1975.", "page_number": "Reproduced: no. 6", "url": null}, {"citation": "Toussaint, He\u0301le\u0300ne. <em>Gustave Courbet: 1819-1877 : [exposition organise\u0301e par la Re\u0301union des muse\u0301es nationaux et l'Arts Council of Great Britain], Grand Palais, 30 septembre 1977-2 janvier 1978 : [catalogue</em>. Paris, France: Ministe\u0300re de la culture et de l'environnement, E\u0301ditions des muse\u0301es nationaux, 1977.", "page_number": "Reproduced: no. 68", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 210", "url": "https://archive.org/details/CMAHandbook1978/page/n230"}, {"citation": "Fernier, Robert. <em>La vie et l'\u0153uvre de Gustave Courbet: catalogue raisonne\u0301</em>. Lausanne, Switzerland: Bibliothe\u0300que des Arts, 1978.", "page_number": "Reproduced: vol. I, no. 358", "url": null}, {"citation": "Hofmann, Werner, and Klaus Herding. <em>Courbet und Deutschland: [Hamburger Kunsthalle, 19. Oktober-17. Dezember 1978, Sta\u0308dt. Galerie im Sta\u0308delschen Kunstinst. Frankfurt am Main, 17. Januar-18. Ma\u0308rz 1979</em>. Ko\u0308ln, Germany: Du Mont, 1978.", "page_number": "Reproduced: p. 37, fig. e", "url": null}, {"citation": "Heilmeier, Hans. \"Von Ingres bis Picasso.\" <em>Das Kunstblatt</em> (1978): 277-288.", "page_number": "Reproduced: P. 280", "url": null}, {"citation": "Morse, John D. <em>Old Master Paintings in North America: Over 3000 Masterpieces by 50 Great Artists</em>. New York, NY: Abbeville Press, 1979.", "page_number": "Reproduced: p. 72", "url": null}, {"citation": "Abe, Yoshio. Courbet. <em>Ku\u0304rube</em>. To\u0304kyo\u0304, Japan: Ko\u0304dansha, 1981.", "page_number": "Reproduced: p. 116, no. 30", "url": null}, {"citation": "Foucart, Bruno, <em>Courbet</em>. Norwalk, CT: Easton Press, 1983.", "page_number": "Reproduced: p. 48; Mentioned: p. 69", "url": null}, {"citation": "Courthion, Pierre. <em>L'opera completa di Courbet</em>. Milano, Italy: Rizzoli, 1985.", "page_number": "Reproduced: no. 341", "url": null}, {"citation": "Faunce, Sarah, and Linda Nochlin. <em>Courbet Reconsidered</em>. Brooklyn, NY: Brooklyn Museum, 1988.", "page_number": "Reproduced: no. 40", "url": null}, {"citation": "ten-Doesschate Chu,, Petra. <em>Letters of Gustave Courbet</em>. Chicago, IL: University of Chicago Press, 1992.", "page_number": "Mentioned: p. 218-219; Reproduced: p. 221, fig. 35", "url": null}, {"citation": "Cleveland Museum of Art. <em>Masterpieces from East and West</em>. New York, NY: Rizzoli International, 1992.", "page_number": "Reproduced: P. 140", "url": null}, {"citation": "Abe, Yoshio . <em>Ku\u0304rube = Gustave Courbet</em>. To\u0304kyo\u0304, Japan: Asahi Shinbunsha, 1993.", "page_number": "Reproduced: p. 91, pl. 37", "url": null}, {"citation": "Chong, Alan. <em>European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogue. </em>Cleveland, Ohio: Cleveland Museum of Art, 1993.", "page_number": "Reproduced: P. 45", "url": null}, {"citation": "Andreotti, Margherita. \"The Joseph Winterbotham Collection.\" <em>Art Institute of Chicago Museum Studies</em> 20, no. 2 (1994): 111-92.", "page_number": "Mentioned: P. 112", "url": "https://www.jstor.org/stable/4112960"}, {"citation": "Kostenevich, A. G. <em>Hidden treasures revealed: impressionist masterpieces and other important French paintings preserved by the State Hermitage Museum, St. Petersburg</em>. New York, NY: Ministry of Culture of the Russian Federation, The State Hermitage Museum, St. Petersburg in association with H.N. Abrams, 1995.", "page_number": "Reproduced: p. 33", "url": null}, {"citation": "Fernier, Jean-Jacques. <em>Courbet, l'amour--: Baltasar Lobo, sculptures : Christian Welter, un regard amoureux</em>. Ornans, France: Muse\u0301e Gustave Courbet, 1996.", "page_number": "Reproduced: p. 82", "url": null}, {"citation": "ten-Doesschate Chu, Petra, and Jo\u0308rg Zutter. <em>Courbet: artiste et promoteur de son \u0153uvre</em>. Paris, France: Flammarion, 1998.", "page_number": "Reproduced: no. 19; p. 26-27", "url": null}, {"citation": "D'Argencourt, Louise and Roger Diederen. <em>The Cleveland Museum of Art: Catalogue of Paintings, Part Four; European Paintings of the 19th Century.</em> Cleveland, OH: The Cleveland Museum of Art, 1999.", "page_number": "Reproduced: p. 61", "url": null}, {"citation": "Bajou-Charpentreau, Vale\u0301rie, and Gustave Courbet. <em>Courbet</em>. Paris, France: A. Biro, 2003.", "page_number": "Reproduced: p. 268", "url": null}, {"citation": "Riat, Georges. <em>Gustave Courbet</em>. Ho Chi Minh City, Vietnam: Baseline Co, Ltd., 2008.", "page_number": "Reproduced: p. 126, fig. 70", "url": null}, {"citation": "Lobstein, Dominique. \"Le Retour de la Conference et les Salons de 1863.\" In <em>Le Retour de la Confe\u0301rence: Un Tableau Disparu, </em>29-36. [Ornans]: Muse\u0301e Gustave Courbet; Besanc\u0327on: Sekoya, 2015.", "page_number": "Reproduced: P. 32", "url": ""}, {"citation": "Schaefer, Barbara, and Wallraf-Richartz-Museum. <em>Paris 1863-1874: Revolution in Der Kunst: Vom Salon Zum Impressionismus</em>. K\u00f6ln: Wienand, 2024.", "page_number": "Mentioned and reproduced: p. 122-123, no. 3", "url": ""}], "url": "https://clevelandart.org/art/1962.2", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1962.2/1962.2_web.jpg", "width": "684", "height": "893", "filesize": "345987", "filename": "1962.2_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1962.2/1962.2_print.jpg", "width": "2604", "height": "3400", "filesize": "5231419", "filename": "1962.2_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1962.2/1962.2_full.tif", "width": "4123", "height": "5384", "filesize": "66624912", "filename": "1962.2_full.tif"}}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 137259, "creators": [{"id": 1600, "description": "Gustave Courbet (French, 1819\u20131877)", "extent": null, "qualifier": null, "role": "artist", "biography": "Born into a wealthy farmer's family, Courbet began his training in 1831 at the Petit S\u00e9minaire in Ornans where, beginning in 1833, he studied under \"le p\u00e8re Baud,\" who had been a pupil of Gros (q.v.). He was befriended by poet Max Buchon, who would later write the first article on Courbet, claiming that he was the artist for the people. In 1837, hoping that Gustave would become a lawyer, his father sent him to the Coll\u00e8ge Royal in Besan\u00e7on. Despite his father's ambitions, Courbet began to study art at the academy there with Charles-Antoine Flageoulot (1774-1840), a former student of David (q.v.). By 1839 Courbet had moved to Paris to pursue a career in art. He refrained from entering the \u00c9cole des Beaux-Arts, studying instead briefly with Charles de Steuben (1788-1856) and preferring to learn how to paint by copying the works of the Old Masters in the museums. Courbet also wanted to work after life models and enrolled at the Acad\u00e9mie Suisse. He began to submit paintings to the Salon, the majority of which were rejected. In 1846-47 Courbet traveled to the Netherlands where he studied the works of Rembrandt and Hals. The following year ten of his paintings were shown at the Salon, and together with his friends Baudelaire, Champfleury, and Buchon he became labeled a \"realist.\" Courbet's paintings shown at the 1851 Salon-Stonebreakers (1849, formerly Dresden Gem\u00e4ldegalerie, destroyed during World War II), Peasants of Flagey (1850-55, Mus\u00e9e des Beaux-Arts, Besan\u00e7on), and The Burial at Ornans (1849-50, Mus\u00e9e d'Orsay, Paris)-elicited criticism. Because Courbet represented the peasants as he saw them, without ennobling or idealizing them, his works met with disapproval. Moreover, these representations of peasants appeared at a time when the upper classes felt threatened by social unrest and by the instability of the republic. In 1855 Courbet financed an independent Pavillon du R\u00e9alisme near the Universal Exposition, where he showed his Painter's Studio (1854-55, Mus\u00e9e d'Orsay, Paris). He began to travel extensively, including visits to Gent, Brussels, Antwerp, Bruges, Cologne, Mainz, and Strasbourg. He returned to Germany in 1858, and while in Frankfurt, he began to paint the stag hunts he witnessed. The following year he visited the Normandy coast, painting seascapes, some of which became almost abstractions. Courbet turned to still lifes in 1862-63 when visiting the Saintonge area, yet he still continued to create landscapes and portraits. By 1870 he was offered the Legion of Honor but refused it because of his opposition to the imperial government. During the Paris Commune from March to May 1871, Courbet became an active member of the government. As chairman of the Commission for the Protection of the Artistic Monuments of Paris, he suggested the Vend\u00f4me Column be dismantled because it was an imperial symbol. The Commune decided instead to topple the column. When the Commune was defeated, Courbet was held responsible for this act of vandalism and was jailed for six months. In 1873 the government decided to rebuild the column at Courbet's expense. Unable to pay and fearful of being arrested, Courbet moved to Switzerland, where he spent the rest of his life in exile.", "name_in_original_language": null, "birth_year": "1819", "death_year": "1877", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1962-02-17T00:00:00", "sortable_date": 1863, "date_added_to_oa": null, "date_text": "1863", "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": ["Madame Laure Borreau (La Dame au Chapeau noir)"], "is_highlight": false, "updated_at": "2026-10-16 15:16:34.282000"}, {"id": 99443, "accession_number": "1919.1016", "share_license_status": "CC0", "tombstone": "Jeremiah Belknap, c. 1758. Joseph Badger (American, born The Thirteen Colonies, 1708\u20131765). Oil on canvas; framed: 121.9 x 97.2 x 7.6 cm (48 x 38 1/4 x 3 in.); unframed: 107 x 84 cm (42 1/8 x 33 1/16 in.). The Cleveland Museum of Art, Gift of the John Huntington Art and Polytechnic Trust, 1919.1016", "current_location": "204 Colonial American", "title": "Jeremiah Belknap", "creation_date": "c. 1758", "creation_date_earliest": 1753, "creation_date_latest": 1763, "artists_tags": ["male"], "culture": ["United States"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 121.9 x 97.2 x 7.6 cm (48 x 38 1/4 x 3 in.); Unframed: 107 x 84 cm (42 1/8 x 33 1/16 in.)", "dimensions": {"framed": {"height": 1.219, "height_inch": 48, "height_inch_fraction": 0.0, "width": 0.972, "width_inch": 38, "width_inch_fraction": 0.25, "depth": 0.076, "depth_inch": 3, "depth_inch_fraction": 0.0}, "unframed": {"height": 1.07, "height_inch": 42, "height_inch_fraction": 0.125, "width": 0.84, "width_inch": 33, "width_inch_fraction": 0.0625}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 312517, "title": "The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition", "description": "<i>The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 26-October 4, 1936).", "opening_date": "1936-06-26T04:00:00"}, {"id": 315762, "title": "Four Centuries of American Art", "description": "<i>Four Centuries of American Art</i>. Minneapolis Institute of Arts, MN (organizer) (co-organizer) (November 27, 1963-January 19, 1964).", "opening_date": "1963-11-27T05:00:00"}], "legacy": [{"description": "Pittsburgh, Department of Fine Arts, Carnegie Institute, <em>Exhibition of Early American Portraits </em>(20 January-8 March 1925), cat. no. 1.", "opening_date": "1925-01-20T00:00:00"}, {"description": "Minneapolis, University Gallery, University of Minnesota,<em> Survey of Colonial and Provincial Painting</em> (1 February-1 March 1939), cat. no. 2, illus. p. 12.", "opening_date": "1939-02-01T00:00:00"}, {"description": "Palm Beach, FL, <em>The Society of the Four Arts, From Plymouth Rock to the Armory</em> (9 February-5 March 1950), cat. no. 1.", "opening_date": "1950-02-09T00:00:00"}, {"description": "Akron, OH, Akron Art Institute, <em>Survey of 19th Century American Paintings</em> (November 2\u2013December 15, 1959).", "opening_date": "1959-11-02T00:00:00"}]}, "provenance": [{"description": "Elrich Galleries, New York 1919", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": ["564.19"], "did_you_know": "Badger was also a glazier, a tradesman who fits glass into doors and windows.", "early_education_description": null, "artlens_description": null, "description": "Lacking formal training, Badger got his start painting houses and signs in Boston, then shifted his focus to accommodate the increasing market for portraits in the colonies. Jeremiah Belknap is shown here at about 7 years old, but his attire gives him the appearance of a miniature adult. The artist\u2019s portraits of children often include fruit and animals\u2014the ripening peach in Belknap\u2019s right hand suggests maturation, while the dog at his feet symbolizes loyalty.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60503170"], "internet_archive": ["https://archive.org/details/clevelandart-1919.1016-jeremiah-belknap"]}, "citations": [{"citation": "Pittsburgh, Department of Fine Arts, Carnegie Institute, <em>Exhibition of Early American Portraits </em>(20 January-8 March 1925)", "page_number": "cat. no. 1.", "url": ""}, {"citation": "\"Accessions.\" <em>The Bulletin of The Cleveland Museum of Art</em> 6, no. 5 (1919): 97-98.", "page_number": "Mentioned: p. 97", "url": "http://www.jstor.org/stable/25136292"}, {"citation": "L. P. \"Portrait of Jeremiah Belknap by Joseph Badger.\" <em>The Bulletin of The Cleveland Museum of Art</em> 6, no. 7/8 (1919): 123-25.", "page_number": "Reproduced: Front Matter; Mentioned: pp.123-125", "url": "http://www.jstor.org/stable/25136307"}, {"citation": "Park, Lawrence. \"Report on the Department of Colonial Art.\" <em>The Bulletin of The Cleveland Museum of Art</em> 6, no. 7/8 (1919): 130-31.", "page_number": "Mentioned: p.130", "url": "http://www.jstor.org/stable/25136313"}, {"citation": "Park, Lawrence. \"Joseph Badger of Boston, and His Portraits of Children.\" <em>Old-Time New England</em> 13, no.3 (January 1923). Society for the Preservation of New England Antiquities, Boston, MA.", "page_number": "Mentioned: pp.103-105", "url": ""}, {"citation": "Department of Fine Arts, Carnegie Institute.<em> Exhibition of Early American Portraits</em>. Exh. Cat. 1925.", "page_number": "Mentioned: Cat. No.1", "url": ""}, {"citation": "Bayley, Frank W. <em>Five Colonial Artists of New England: Joseph Badger, Joseph Blackburn, John Singleton Copley, Robert Feke, John Smibert</em>. Boston, MA: Privately Printed, 1929.", "page_number": "Reproduced: p.27 (as \"John Joy, Jr.\")", "url": ""}, {"citation": "The Cleveland Museum of Art. <em>Catalogue of the Twentieth Anniversary Exhibition of the Cleveland Museum of Art: The Official Art Exhibit of the Great Lakes Exposition: June Twenty-Sixth to October Fourth 1936</em>. Cleveland, OH: The Cleveland Museum of Art, 1936.", "page_number": "Mentioned: p. 20; cat. no. 18", "url": ""}, {"citation": "University of Minnesota.<em> Survey of Colonial and Provincial Painting</em>. [Place of publication not identified]: [publisher not identified], 1939.", "page_number": "Mentioned: p.36; Reproduced: p.12", "url": ""}, {"citation": "Barker, Virgil. <em>American Painting, History and Interpretation</em>. New York, NY: The Macmillan Company, 1950.", "page_number": "Mentioned: p.124", "url": ""}, {"citation": "The Society of the Four Arts. <em>From Plymouth Rock to the Armory</em>. Exh. Cat. Palm Beach, FL: The Society of the Four Arts, 1950.", "page_number": "Mentioned: Ca. No.1", "url": ""}, {"citation": "Larkin, Oliver W. <em>Art and Life in America</em>. New York, NY: Holt, Rinehart and Winston, 1960.", "page_number": "Mentioned: p.52; Reproduced: p.50", "url": ""}, {"citation": "Minneapolis Institute of Arts, and Forrest Selvig. <em>Four Centuries of American Art</em>. Minneapolis, MN: The Minneapolis Institute of Arts, 1963.", "page_number": "Mentioned: p.31", "url": ""}, {"citation": "Nylander, Richard C. \"Joseph Badger, American Portrait Painter.\" MA Thesis, State University of New York College at Oneonta at its Cooperstown Graduate Programs, 1972.", "page_number": "Mentioned: p.50", "url": ""}, {"citation": "The Cleveland Museum of Art. \"A Check List: American Paintings and Water Colors of the Eighteenth, Nineteenth, and Early Twentieth Centuries in The Cleveland Museum of Art.\" <em>The Bulletin of The Cleveland Museum of Art</em> 60, no.1 (January 1973).", "page_number": "Mentioned: p.22", "url": "https://www.jstor.org/stable/25152465"}, {"citation": "Cleveland Museum of Art, and Alan <em>Chong. European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogue</em>. Cleveland, OH: The Cleveland Museum of Art, 1993.", "page_number": "Mentioned and reproduced: p.6", "url": ""}], "url": "https://clevelandart.org/art/1919.1016", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1919.1016/1919.1016_web.jpg", "width": "705", "height": "893", "filesize": "392926", "filename": "1919.1016_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1919.1016/1919.1016_print.jpg", "width": "2684", "height": "3400", "filesize": "5223306", "filename": "1919.1016_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1919.1016/1919.1016_full.tif", "width": "3592", "height": "4551", "filesize": "49056616", "filename": "1919.1016_full.tif"}}, "alternate_images": [], "creditline": "Gift of the John Huntington Art and Polytechnic Trust", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Leigh and Mary Carter Gallery", "athena_id": 99443, "creators": [{"id": 2547, "description": "Joseph Badger (American, born The Thirteen Colonies, 1708\u20131765)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1708", "death_year": "1765", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1919-03-14T00:00:00", "sortable_date": 1753, "date_added_to_oa": null, "date_text": "c. 1758", "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": "2026-10-20 11:25:15.490000"}, {"id": 140078, "accession_number": "1963.91", "share_license_status": "CC0", "tombstone": "La Cervara, the Roman Campagna, c. 1830\u201331. Jean Baptiste Camille Corot (French, 1796\u20131875). Oil on fabric; framed: 130 x 167.5 x 9.5 cm (51 3/16 x 65 15/16 x 3 3/4 in.); unframed: 97.6 x 135.8 cm (38 7/16 x 53 7/16 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1963.91", "current_location": "220 19th Century European", "title": "La Cervara, the Roman Campagna", "creation_date": "c. 1830\u201331", "creation_date_earliest": 1830, "creation_date_latest": 1831, "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: 130 x 167.5 x 9.5 cm (51 3/16 x 65 15/16 x 3 3/4 in.); Unframed: 97.6 x 135.8 cm (38 7/16 x 53 7/16 in.)", "dimensions": {"framed": {"height": 1.3, "height_inch": 51, "height_inch_fraction": 0.1875, "width": 1.675, "width_inch": 65, "width_inch_fraction": 0.9375, "depth": 0.095, "depth_inch": 3, "depth_inch_fraction": 0.75}, "unframed": {"height": 0.976, "height_inch": 38, "height_inch_fraction": 0.4375, "width": 1.358, "width_inch": 53, "width_inch_fraction": 0.4375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 304258, "title": "Year in Review (1963)", "description": "<i>Year in Review (1963)</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 27, 1963-January 5, 1964).", "opening_date": "1963-11-27T05:00:00"}, {"id": 515538, "title": "Corot Exhibition", "description": "<i>Corot Exhibition</i>. Gallery of the Royal Scottish Academy, Edinburgh (organizer) (August 14-September 12, 1965); National Gallery, London, London, United Kingdom of Great Britain and Northern Ireland (October 1-November 7, 1965).", "opening_date": "1965-08-14T04:00:00"}, {"id": 304561, "title": "Visions of Landscape: East and West", "description": "<i>Visions of Landscape: East and West</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 17-March 21, 1982).", "opening_date": "1982-02-17T05:00:00"}, {"id": 380187, "title": "Jean-Baptiste Camille Corot", "description": "<i>Jean-Baptiste Camille Corot</i>. National Gallery of Canada (June 20-September 22, 1996); The Metropolitan Museum of Art (October 21, 1996-January 19, 1997).", "opening_date": "1996-02-27T05:00:00"}, {"id": 228194, "title": "Maest\u00e1 di Roma, da Napoleon all'Unita d'Italia: Capitale delle Arti", "description": "<i>Maest\u00e1 di Roma, da Napoleon all'Unita d'Italia: Capitale delle Arti</i>. Galleria Nazionale d'Arte Moderna, Rome, Itlay (March 5-June 29, 2003).", "opening_date": "2003-03-05T00:00:00"}, {"id": 184132, "title": "Masterworks from The Phillips Collection", "description": "<i>Masterworks from The Phillips Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 20-May 29, 2005).", "opening_date": "2005-02-20T00:00:00"}, {"id": 220464, "title": "Corot. Nature, Emotion, Souvenir", "description": "<i>Corot. Nature, Emotion, Souvenir</i>. Museo Nacional Thyssen-Bornemisza, Madrid, Spain (organizer) (June 7-September 11, 2005); Palazzo dei Diamanti, 44110 Ferrara, Italy (October 9, 2005-January 8, 2006).", "opening_date": "2005-06-07T00:00:00"}], "legacy": [{"description": "<em>La Cervara, campagne de Rome</em>. Salon Mus\u00e9e Royal, Paris, France (1831).", "opening_date": null}, {"description": "<em>Corot 1796-1875.</em>Art Institute of Chicago, Chicago, Illinois (1960). (Lent by Paul Rosenberg).", "opening_date": "1960-01-01T00:00:00"}]}, "provenance": [{"description": "Cl\u00e9ment Jourdan [1836-1908], Paris, France, 1889.", "citations": [], "footnotes": null, "date": "1889", "sortorder": null}, {"description": "Seganville family, Ch\u00e2teau St. Pierre-de-Groupiac, France", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "(Probably Harry Sperling, New York.)", "citations": [], "footnotes": null, "date": null, "sortorder": 3}, {"description": "Paul Rosenberg & Co., Paris and New York, by 1960.", "citations": [], "footnotes": null, "date": "1960-1963", "sortorder": 4}, {"description": "Paul Rosenberg & Co., Paris, France and New York, NY, sold to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1963", "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1963", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In 1845, the French poet Charles Baudelaire proclaimed Corot the leading painter of the modern landscape.", "early_education_description": null, "artlens_description": null, "description": "Corot based his large oil painting on drawings and oil sketches made outdoors. Attracted to the beauty of the Italian countryside, he often sketched around Rome, where he lived from 1825 to 1828. This painting's highly structured composition, based on forms moving into the distance along a series of diagonals, is characteristic of Corot's early style and recalls the classical landscapes of 17th-century painter Nicholas Poussin.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q41515823"], "internet_archive": ["https://archive.org/details/clevelandart-1963.91-la-cervara-the-roman"]}, "citations": [{"citation": "Cleveland Museum of Art. <em>Interpretations: Sixty-Five Works from the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art, 1991.", "page_number": "Reproduced: no. 28", "url": null}, {"citation": "Robaut, Alfred, and Etienne Moreau-Ne\u0301laton. <em>L'\u0152uvre de Corot</em>. Paris, France: H. Floury, 1905.", "page_number": "Mentioned: p. 46, vol. I", "url": null}, {"citation": "Moreau-Ne\u0301laton, Etienne. <em>Corot raconte\u0301 par lui-me\u0302me</em>. Paris, France: Henri Laurens, E\u0301diteur, 1924.", "page_number": "Mentioned: p. 22, vol. I", "url": null}, {"citation": "Jal, A. <em>Salon de 1831: e\u0301bauches critiques</em>. Paris, France: A.J. De\u0301nain, 1831.", "page_number": "Mentioned: no. 399", "url": null}, {"citation": "<em>Camille Corot, 1796-1875: Kunsthaus Zu\u0308rich : 16. August-7. Oktober 1934</em>. Zu\u0308rich, Switzerland: Das Kunsthaus, 1934.", "page_number": "Reproduced: p. 15", "url": null}, {"citation": "Bazin, Germain. <em>Corot</em>. Berlin, Germany: Kru\u0308ger Verlag, 1942.", "page_number": "Reproduced: p. 90", "url": null}, {"citation": "Baud-Bovy, Daniel. <em>Corot</em>. Gene\u0301ve, Switzerland: A. Jullien, 1957.", "page_number": "Reproduced: p. 81", "url": null}, {"citation": "Fosca, Franc\u0327ois. <em>Corot, Sa Vie Et Son \u0152uvre</em>. Bruxelles, Belgium: Elsevier, 1958.", "page_number": "Reproduced: p. 19", "url": null}, {"citation": "Art Institute of Chicago. <em>Corot, 1796-1875: An Exhibition of His Paintings and Graphic Works, the Art Institute of Chicago, October 6 Through November 13, 1960</em>. Chicago, IL: Art Institute of Chicago, 1960.", "page_number": "Reproduced: no. 19", "url": null}, {"citation": "Saisselin, Remy. \"Art is imitation of Nature.\" The Bulletin of The Cleveland Museum of Art LII (1965): 42-43.", "page_number": "Mentioned: p. 42; Reproduced: p. 43, fig. 1", "url": null}, {"citation": "Arts Council of Great Britain, and Cecil Hilton Monk Gould. <em>Corot</em>. London, United Kingdom: Arts Council, 1965.", "page_number": "Reproduced: no. 18", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 168", "url": "https://archive.org/details/CMAHandbook1966/page/n192"}, {"citation": "Lurie, Ann T. \"Corot: The Roman Campagna.\" <em>The Bulletin of The Cleveland</em> <em>Museum of Art </em>LIII (1966):51-57.", "page_number": "Reproduced: fig. 1", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 168", "url": "https://archive.org/details/CMAHandbook1969/page/n192"}, {"citation": "Talbot, William S. \u201cJohn Constable: Branch Hill Pond, Hampstead Heath.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 61, no. 3 (March 1974): 97\u2013115.", "page_number": "Mentioned and reproduced: p. 112-113, fig. 17", "url": "http://www.jstor.org/stable/25152518"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 207", "url": "https://archive.org/details/CMAHandbook1978/page/n227"}, {"citation": "Talbot, William S. \"Some French Landscapes: 1779-1842.\" <em>The Bulletin of The Cleveland Museum of Art </em>LXV (1978): 84-85.", "page_number": "Reproduced: fig. 12", "url": null}, {"citation": "Morse, John D. <em>Old Master Paintings in North America: Over 3000 Masterpieces by 50 Great Artists</em>. New York, NY: Abbeville Press, 1979.", "page_number": "Reproduced: p. 66", "url": null}, {"citation": "Wissman, Fronia E. <em>J.-B.-C. Corot: View of Volterra</em>. San Diego, CA: [Timken Art Gallery], 1988.", "page_number": "Mentioned: p. 9, 15; Reproduced:  fig. 10.", "url": null}, {"citation": "Galassi, Peter. <em>Corot in Italy: Open-Air Painting and the Classical-Landscape Tradition</em>. New Haven, CT: Yale University Press, 1991.", "page_number": null, "url": null}, {"citation": "Chagneau,Catherine, and Marie-France Cocheteux. <em>Corot, 1796-1875: [expositions] Paris, Galeries nationales du Grand Palais, 28 fe\u0301vrier-27 mai 1996 ; Ottawa, Muse\u0301e des beaux-arts du Canada, 21 juin-22 septembre 1996 ; New York, the Metropolitan Museum of Art, 22 octobre 1996-19 janvier 1997</em>. Paris, France: Re\u0301union des muse\u0301es nationaux, 1996.", "page_number": "Mentioned: p. 22, 80-85;Reproduced: no. 30", "url": null}, {"citation": "Pomare\u0300de, Vincent. <em>Corot</em>. Paris, France: Flammarion, 1996.", "page_number": "Reproduced: p.74,75; Mentioned p. 98", "url": null}, {"citation": "Rubin, James Henry. <em>Courbet</em>. London, United Kingdom: Phaidon, 1997.", "page_number": "Reproduced: p. 223; Mentioned: p. 225", "url": null}, {"citation": "Azeglio, Massimo d', and Martina Corgnati. <em>Massimo d'Azeglio: pittore</em>. Milano, Italy: Mazzotta, 1998.", "page_number": "Reproduced: p. 45", "url": null}, {"citation": "D'Argencourt, Louise and Roger Diederen. <em>The Cleveland Museum of Art: Catalogue of Paintings, Part Four; European Paintings of the 19th Century</em>. Cleveland, OH: The Cleveland Museum of Art, 1999.", "page_number": "Reproduced: p. 55", "url": null}, {"citation": "De Rosa, Pier Andrea, and Paolo Emilio Trastulli. <em>La campagna romana: cento dipinti inediti tra fine Settecento e primo Novecento</em>. Roma, Italy: Studio Ottocento, 1999.", "page_number": "Reproduced: p. 196, no. 93", "url": null}, {"citation": "Rosenberg, Pierre, and Jean-Pierre Caillet. <em>La peinture franc\u0327aise</em>. Paris, France: Menge\u0300s, 2001.", "page_number": "Reproduced: p. 605; Mentioned: p. 673", "url": null}, {"citation": "Susinno, Stefano, Sandra Pinto, Liliana Barroero, Fernando Mazzocca, Giovanna Capitelli, and Matteo Lafranconi. <em>Maesta\u0300 di Roma: da Napoleone all'unita\u0300 d'Italia</em>. Milano, Italy: Electa, 2003.", "page_number": "Reproduced: p. 354, vol. 6", "url": null}, {"citation": "<em>Corot: natura, emozione, ricordo : Madrid, Museo Thyssen-Bornemisza, 7 giugno-11 settembre 2005, Ferrara, Palazzo dei Diamanti, 9 ottobre 2005-8 gennaio 2006</em>. Ferrara, Italy: Ferrara arte, 2005.", "page_number": "Mentioned and reproduced: p. 139, fig. 14", "url": null}, {"citation": "Pomare\u0300de, Vincent, and Michael Clarke. <em>Corot: naturaleza, emocio\u0301n, recuerdo</em>. Madrid, Spain: Museo Thyssen-Bornemisza, 2005.", "page_number": null, "url": null}, {"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. 287", "url": ""}, {"citation": "Mazzocca, Fernando. \"Grand tour: Il fascino delle antiche rovine e lo splendore della natura mediterranea.\" Art e dossier no.392, Suppl.(November 2021): 27-35.", "page_number": "reproduced p.30", "url": ""}], "url": "https://clevelandart.org/art/1963.91", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1963.91/1963.91_web.jpg", "width": "1245", "height": "893", "filesize": "777639", "filename": "1963.91_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1963.91/1963.91_print.jpg", "width": "3400", "height": "2438", "filesize": "5590565", "filename": "1963.91_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1963.91/1963.91_full.tif", "width": "5951", "height": "4267", "filesize": "76214120", "filename": "1963.91_full.tif"}}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Victoire and Alfred Rankin Jr. Gallery", "athena_id": 140078, "creators": [{"id": 1588, "description": "Jean Baptiste Camille Corot (French, 1796\u20131875)", "extent": null, "qualifier": null, "role": "artist", "biography": "Camille Corot's earlier biographers presented him as a naive artist separated from commercial concerns who painted whatever pleased him in the French countryside and from his own emotions. For these writers his importance lay in his loosely painted, atmospheric landscapes, for which later modernists called him the precursor to impressionism. This conception of the artist has undergone significant revision with recent scholarship. Corot never seemed to accept the impressionists' more radical work, especially their enthusiasm for contemporary urban and suburban themes. He represented timeless, rural views disconnected from the industrialization and modernization of nineteenth-century France.\r\nFollowing his father in the clothing trade, Corot worked for eight years before the death of his younger sister in 1821 provided him with the additional income (her annual allowance) to enable him to devote himself to painting. In 1822 he began to study with the landscape painter Achille-Etna Michallon (1796-1822), winner of the first Grand Prix de Rome in historicized landscape, and after Michallon's early death that year, with Bertin (q.v.). Both Michallon and Bertin had trained with Pierre-Henri de Valenciennes (1750-1819), whose later eighteenth-century treatise on landscape painting practice urged artists to study nature closely. In addition, Michallon frequented the village of Barbizon and the forest of Fontainebleau, which would become important subjects for Corot and the group of painters known as the Barbizon school.\r\nIn 1825 Corot made his first trip to Italy, following in the tradition of the French academy but also the independent precedent of the seventeenth-century French painter Claude Lorrain. There Corot joined an international circle of artists, including L\u00e9opold Robert (1794-1835) and Aligny (q.v.), who struggled to resolve the contradictory phases of empirical study out of doors and synthetic recreation in the studio. From Rome, he sent his first submissions to the Paris Salon in 1827, among them The View at Narni (National Gallery of Canada, Ottowa). These early Italian views generally feature a bright, warm light with few areas in shadow.\r\nCorot gradually shifted from this early style to one in the 1840s that frequently included larger figures in the middle ground, more complex light effects, and a duller, earthy palette of greens and browns. He continued to use his outdoor works as models for finished canvases but freely adapted the compositions, forms, lighting, and color. The question of finish did not only pertain to the relationship between plein-air studies and studio compositions, which he called paysage compos\u00e9 (invented landscape). Corot sometimes added figures to landscapes that he had painted years earlier and even asked fellow painters such as Diaz de la Pe\u00f1a (q.v.) to paint them. His titles often referred to the geographical location that inspired the image, and some included the word souvenir (broad-ly translated as memory), which suggests recreating or revisiting some experience. \r\nThe critical reception of Corot's work fluctuated. His first Salon submissions passed the jury, but during the 1830s he was first overlooked and then attacked by the critics. By the 1840s his fortunes had improved, and he even sold one Salon picture to the French state. In more radical circles, the critic-poet Charles Baudelaire held Corot up as a leader in contemporary landscape painting. Corot received the Legion of Honor in 1846 as well as a municipal commission to decorate the baptismal fonts in the church of St. Nicolas du Chardonnet in Paris. \r\nIn the early 1850s Corot transformed his style again. He developed silvery tones and diffuse lighting effects applied in a few thin layers, over which he added small touches of brighter color for highlights. The soft glimmer and evocative atmosphere of these later works earned him commercial and critical success. During the last decade, Corot turned toward the single figure as subject. The meditative poses and expressions of these figures reminded some contemporary critics of seventeenth-century painting, especially the realism of Spanish and Dutch pictures. But Corot's landscapes remained his most admired work, and during his lifetime imitations or fakes were sold under his name.", "name_in_original_language": null, "birth_year": "1796", "death_year": "1875", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1963-02-09T00:00:00", "sortable_date": 1830, "date_added_to_oa": null, "date_text": "c. 1830\u201331", "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": ["The Roman Campagna"], "is_highlight": true, "updated_at": "2026-07-01 11:21:40.365000"}, {"id": 135299, "accession_number": "1958.31", "share_license_status": "CC0", "tombstone": "Adeline Ravoux, 1890. Vincent van Gogh (Dutch, 1853\u20131890). Oil on fabric; framed: 72.5 x 73.5 x 8.5 cm (28 9/16 x 28 15/16 x 3 3/8 in.); unframed: 50.2 x 50.5 cm (19 3/4 x 19 7/8 in.). The Cleveland Museum of Art, Bequest of Leonard C. Hanna Jr., 1958.31", "current_location": "222 Impressionism & Post-Impressionism", "title": "Adeline Ravoux", "creation_date": "1890", "creation_date_earliest": 1890, "creation_date_latest": 1890, "artists_tags": ["male"], "culture": ["Netherlands"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 72.5 x 73.5 x 8.5 cm (28 9/16 x 28 15/16 x 3 3/8 in.); Unframed: 50.2 x 50.5 cm (19 3/4 x 19 7/8 in.)", "dimensions": {"framed": {"height": 0.725, "height_inch": 28, "height_inch_fraction": 0.5625, "width": 0.735, "width_inch": 28, "width_inch_fraction": 0.9375, "depth": 0.085, "depth_inch": 3, "depth_inch_fraction": 0.375}, "unframed": {"height": 0.502, "height_inch": 19, "height_inch_fraction": 0.75, "width": 0.505, "width_inch": 19, "width_inch_fraction": 0.875}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 519763, "title": "The Armory Show, 50th Anniversary Exhibition", "description": "<i>The Armory Show, 50th Anniversary Exhibition</i>. Munson Museum of Art, Utica, NY (organizer) (February 17-April 28, 1963).", "opening_date": "1963-02-17T05:00:00"}, {"id": 300779, "title": "Juxtapositions", "description": "<i>Juxtapositions</i>. The Cleveland Museum of Art, Cleveland, OH (September 11-October 10, 1965).", "opening_date": "1965-09-11T04:00:00"}, {"id": 343566, "title": "In Quest of Excellence: Civic Pride, Patronage, Connoisseurship", "description": "<i>In Quest of Excellence: Civic Pride, Patronage, Connoisseurship</i>. P\u00e9rez Art Museum Miami (organizer) (January 12-April 22, 1984).", "opening_date": "1984-01-12T05:00:00"}, {"id": 442139, "title": "\u30b4\u30c3\u30db (Van Gogh)", "description": "<i>\u30b4\u30c3\u30db (Van Gogh)</i>. National Museum of Western Art, Tokyo, Tokyo, Japan (organizer) (October 12-December 8, 1985); Nagoya City Art Museum, Nagoya, Japan (December 21, 1985-February 2, 1986).", "opening_date": "1985-10-12T04:00:00"}, {"id": 310025, "title": "Creativity in Art and Science, 1860-1960", "description": "<i>Creativity in Art and Science, 1860-1960</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 16-November 8, 1987).", "opening_date": "1987-09-16T04:00:00"}, {"id": 174820, "title": "Van Gogh Face to Face: The Portraits", "description": "<i>Van Gogh Face to Face: The Portraits</i>. The Detroit Institute of Arts, Detroit, MI (organizer) (March 12-June 4, 2000); Museum of Fine Arts, Boston, Boston, MA (July 2-September 24, 2000); Philadelphia Museum of Art, Philadelphia, PA (October 22, 2000-January 14, 2001).", "opening_date": "2000-03-12T00:00:00"}, {"id": 205456, "title": "The Soci\u00e9t\u00e9 Anonyme: Modernism for America", "description": "<i>The Soci\u00e9t\u00e9 Anonyme: Modernism for America</i>. UCLA at Armand Hammer Museum of Art and Cultural Center (April 23-August 20, 2006).", "opening_date": "2006-04-23T04:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. Seoul Art Center, South Korea (December 22, 2006-March 28, 2007); Seoul Olympic Museum of Art, South Korea (April 7-May 20, 2007); Vancouver Art Gallery, Vancouver, Canada (June 9-September 16, 2007); The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008); Frist Art Museum, Nashville, TN (February 15-June 1, 2008); Utah Museum of Fine Arts, Salt Lake City, UT (June 22-September 21, 2008); The Detroit Institute of Arts, Detroit, MI (October 12, 2008-January 18, 2009).", "opening_date": "2006-05-27T00:00:00"}, {"id": 213656, "title": "Van Gogh Repetitions", "description": "<i>Van Gogh Repetitions</i>. The Cleveland Museum of Art, Cleveland, OH (March 2-May 26, 2014).", "opening_date": "2013-10-12T00:00:00"}, {"id": 379202, "title": "Through Vincent's Eyes: Van Gogh and His Sources", "description": "<i>Through Vincent's Eyes: Van Gogh and His Sources</i>. Columbus Museum of Art, Columbus, OH (organizer) (November 12, 2021-February 6, 2022) https://www.columbusmuseum.org/through-vincents-eyes-van-gogh-and-his-sources/.", "opening_date": "2021-11-12T05:00:00"}, {"id": 308774, "title": "Van Gogh in America", "description": "<i>Van Gogh in America</i>. The Detroit Institute of Arts, Detroit, MI (organizer) (October 2, 2022-January 22, 2023).", "opening_date": "2022-10-02T04:00:00"}, {"id": 440610, "title": "Van Gogh in Auver-sur-Oise: His Final Months", "description": "<i>Van Gogh in Auver-sur-Oise: His Final Months</i>. Van Gogh Museum, 1070 AJ Amsterdam, Netherlands (organizer) (May 12-September 3, 2023) https://www.vangoghmuseum.nl/nl/bezoek/tentoonstellingen/van-gogh-in-auvers-sur-oise; Mus\u00e9e d'Orsay, Paris, France (October 3, 2023-February 4, 2024).", "opening_date": "2023-05-12T04:00:00"}], "legacy": [{"description": "<em>International Exhibition of Modern Art</em> (Armory Show) New York. Armory of the 69th Regiment, New York, NY; Art Institute of Chicago, Chicago, IL; Copley Hall, Georgetown, MA; Copley Society, Boston, MA (1913).", "opening_date": "1913-01-01T00:00:00"}, {"description": "<em>Opening Exhibition</em>. Galleries of the Soci\u00e9t\u00e9 Anonyme, New York, NY (1920).", "opening_date": "1920-01-01T00:00:00"}, {"description": "<em>An Exhibition of Modern French Art.</em> Baltimore Museum of Art, Baltimore, MD (1925).", "opening_date": "1925-01-01T00:00:00"}, {"description": "<em>First Loan Exhibition: C\u00e9zanne, Gauguin, Seurat, Van Gogh</em>. Museum of Modern Art, New York, NY (1929).", "opening_date": "1929-01-01T00:00:00"}, {"description": "<em>Opening Exhibition</em>. Museum of Fine Arts, Springfield, MA (1933).", "opening_date": "1933-01-01T00:00:00"}, {"description": "<em>Paintings, Watercolors &amp; Drawings by Vincent van Gogh.</em> Museum of Modern Art, New York, NY; Philadelphia Museum of Art, Philadelphia, PA; Museum of Fine Arts, Boston, MA; Cleveland Museum of Art, Cleveland, OH; San Francisco Museum of Fine Arts, San Francisco, CA; Nelson Atkins Museum of Art, Kansas City, MO; Minneapolis Museum of Art, Minneapolis, MN; Art Institute of Chicago, Chicago, IL; Detroit Institute of Art, Detroit, MI; Art Gallery of Ontario, Toronto, Ontario (1935-36).The Hanna Collection of Modern Masterpieces. J.B. Speed Memorial Museum, Louisville, KY (1944).", "opening_date": "1944-01-01T00:00:00"}, {"description": "<em>The Hanna Collection of Modern Masterpieces.</em> J.B. Speed Memorial Museum, Louisville, KY (1944).", "opening_date": "1944-01-01T00:00:00"}, {"description": "<em>Pictures for Peace: A Retrospective Exhibition Organized from the Armory Show of 1913.</em> Cincinnati Art Museum, Cincinnati, OH (1944).", "opening_date": "1944-01-01T00:00:00"}, {"description": "<em>Works by Vincent van Gogh.</em> The Cleveland Museum of Art, Cleveland, OH (1948).", "opening_date": "1948-01-01T00:00:00"}, {"description": "<em>Summer Loan.</em>Metropolitan Museum of Art, New York, NY (June-September 1949).", "opening_date": "1949-06-01T00:00:00"}]}, "provenance": [{"description": "Johanna Van Gogh-Bonger [1862-1925], the wife of Theo van Gogh, Amsterdam, Netherlands.", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "(Artz and de Bois, The Hague, Netherlands)", "citations": [], "footnotes": null, "date": "1912", "sortorder": 2}, {"description": "Katherine S. Dreier [1877-1952], New York, NY", "citations": [], "footnotes": [], "date": "1912-1929", "sortorder": 3}, {"description": "Mrs. Cornelius Sullivan [1877-1939], New York, NY", "citations": [], "footnotes": [], "date": "-1939", "sortorder": 4}, {"description": "(Parke-Bernet Galleries, New York, NY, December 6-7, 1939, sold to Leonard C. Hanna Jr.)", "citations": [], "footnotes": [], "date": "1939", "sortorder": 5}, {"description": "Leonard C. Hanna Jr. [1889-1957], Cleveland, OH, bequeathed to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1939-1958", "sortorder": 6}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1958-", "sortorder": 7}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1642.43"], "did_you_know": "Adeline Ravoux, at age 13, was not pleased with her portrait and did not think the image resembled her. Today, a photograph exists of Adeline in her late seventies and the resemblance is truly remarkable.", "early_education_description": null, "artlens_description": null, "description": "In May 1890, Vincent van Gogh arrived in Auvers, a small town north of Paris, where he rented a room at the inn of Arthur Ravoux. This portrait, completed during the last months of the artist\u2019s life, depicts Ravoux\u2019s 13-year-old daughter, Adeline. Van Gogh wrote that rather than photographic resemblance, he wanted his portraits to convey the \u201cimpassioned aspects\u201d of contemporary life through the \u201cmodern taste for color.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q26221230"], "internet_archive": ["https://archive.org/details/clevelandart-1958.31-adeline-ravoux"]}, "citations": [{"citation": "Louis Anfray, \u201cLes souvenirs d\u2019Adeline Ravoux sur le s\u00e9jour de Vincent van Gogh \u00e0 Auvers-sur-Oise,\u201d <em>Les Cahiers de Van Gogh</em> no. 1 (Geneva: Pierre Cailler, 1956): p. 9.", "page_number": "Mentioned: p. 9", "url": null}, {"citation": "<em>Socie\u0301te\u0301 Anonyme. Report 1920-1921.</em> [New York]: The Society, 1921.", "page_number": "Reproduced: p. 6", "url": null}, {"citation": "Dreier, Katherine S. <em>Western Art and the New Era; An Introduction to Modern Art.</em> New York: Brentano's, 1923.", "page_number": "Mentioned and reproduced: p. 63-64, fig. 35", "url": null}, {"citation": "de LaFaille, J. B. <em>L'oeuvre de Vincent van Gogh, </em>catalogue raisonne\u0301. Paris, FR et Bruxelles, BE: Les E\u0301ditions G. van Oest, 1928.", "page_number": "Reproduced: no. 786, vol. 2", "url": null}, {"citation": "Gogh, Vincent van. <em>Further Letters of Vincent Van Gogh to His Brother, 1886-1889.</em> London: Constable &amp; Co, 1929.", "page_number": "Mentioned: p. 472, no. 644", "url": null}, {"citation": "Scherjon, W., and W. Jos. de Gruyter. <em>Vincent Van Gogh's Great Period, Arles, St. Re\u0301my and Auvers Sur Oise</em> <em>(Complete Catalogue)</em>. Amsterdam NL: \"De Spieghel\", Ltd, 1937.", "page_number": "Reproduced: p. 375, no. 222", "url": null}, {"citation": "La Faille, J. Bernard de , Charles Terrasse, Prudence Montagu-Pollock, and Andre\u0301 Gloeckner. <em>Vincent Van Gogh</em>. New York, N.Y.: French and European Publications [etc.], 1939", "page_number": "Reproduced: p. 776", "url": null}, {"citation": "Venturi, Lionello. \"Notes on the Collection of Mrs. Cornelius J. Sullivan.\" <em>Parnassus</em> 11, no. 8 (1939): 32-33.", "page_number": "Mentioned:p. 33", "url": "https://www.jstor.org/stable/772018"}, {"citation": "\"The Sullivan Collection.\" <em>Magazine of Art </em>32, no. 12 (December 1939): 710-711.", "page_number": "Mentioned: p. 711", "url": null}, {"citation": "Leymarie, Jean. <em>Van Gogh.</em> [Paris]: E\u0301ditions P. Tisne\u0301, 1951.", "page_number": "Mentioned and reproduced: no. 156", "url": null}, {"citation": "Coe, Nancy. T<em>he History of the Collecting of European Paintings and Drawings in the City of Cleveland.</em> Thesis M.A. Oberlin College, 1955.", "page_number": "Reproduced: vol. 2, p. 11", "url": null}, {"citation": "Saarinen, Aline B. <em>The Proud Possessors: The Lives, Times, and Tastes of Some Adventurous American Art Collectors.</em> New York, NY: Random House, 1958.", "page_number": "Reproduced: p. 241", "url": null}, {"citation": "Elgar, Frank. <em>Van Gogh, A Study of His Life and Work</em>. New York: Praeger, 1958.", "page_number": "Reproduced: fig. 210", "url": null}, {"citation": "Cleveland Museum of Art. <em>In Memoriam: Leonard C. Hanna, Jr.</em> Cleveland: The Museum, 1958.", "page_number": "Reproduced: no. 16", "url": null}, {"citation": "Frankfurter, Alfred M. \u201cCleveland: Model Museum for a Modern Cosmopolis.\u201d <em>ARTnews</em> 57 (March 1958): 24\u201337.", "page_number": "Reproduced: p. 37, fig. 28", "url": null}, {"citation": "<em>The Bulletin of The Cleveland Museum of Art LIX,</em> no.9 (September, 1959): 199.", "page_number": "Reproduced: p. 199", "url": null}, {"citation": "\"Bequest of Leonard C. Hannah, Jr.\" <em>The Bulletin of The Cleveland Museum of Art </em>XLVI,no.6 (June, 1959)<em>: </em>122.", "page_number": "Mentioned: p. 122", "url": null}, {"citation": "Munson-Williams-Proctor Institute. <em>1913 Armory Show; 50th Anniversary Exhibition, </em>Utica, NY:1963.", "page_number": "Reproduced: p. 191, no. 1047", "url": null}, {"citation": "Sachs II, Samuel. \"Reconstructing the Whirlwind of 26th Street.\" <em>ARTnews </em>61 (February 1963): 26.", "page_number": "Reproduced: p. 26", "url": null}, {"citation": "Henning, E. B. \u201cCleveland Museum of Art: From Turner to Guston.\u201d <em>Apollo: The International Magazine for Collectors</em> 78 (December 1963): 481\u201388.", "page_number": "Reproduced: p. 486", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 178", "url": "https://archive.org/details/CMAHandbook1966/page/n202"}, {"citation": "Christie, Manson &amp; Woods. <em>Important Impressionist and Modern Drawings, Paintings and Sculpture. </em>1966.", "page_number": "Mentioned & reproduced: lot no. 49", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 178", "url": null}, {"citation": "De la Faille, J.-B. <em>The Works of Vincent Van Gogh; His Paintings and Drawings.</em> Amsterdam: Meulenhoff International, 1970.", "page_number": "Mentioned and reproduced: no. 786", "url": null}, {"citation": "Lecaldano, Paolo. <em>L'opera pittorica completa di Van Gogh e i suoi nessi grafici.</em> Milan, IT: Rizzoli, 1971.", "page_number": "Reproduced: no. 841", "url": null}, {"citation": "Lubin, Albert J.<em> Stranger on the Earth; A Psychological Biography of Vincent Van Gogh</em>. New York, NY: Holt, Rinehart Winston, 1972.", "page_number": "Reproduced: p. 232, pl. 19", "url": null}, {"citation": "Henning, Edward B. \"Pablo Picasso: Bouteille, Verre, et Fourchette.\" <em>The Bulletin of the Cleveland Museum of Art </em>LIX, no. 7 (September 1972): 194-203.", "page_number": "Mentioned and reproduced: p. 199, fig. 12", "url": null}, {"citation": "Henning, Edward. \"Reconstruction: A Painting by Jasper Johns.\" <em>The Bulletin of The Cleveland Museum of Art</em> LX, no. 8 (October, 1973): 235-241.", "page_number": "Reproduced: p. 237", "url": null}, {"citation": "Johnson, Mark. \"Portrait Painting: An Image of a Man.\" <em>Arts and Activities </em>82, no. 1 (September 1977): 32-38.", "page_number": "Reproduced: p. 37, fig. 5", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 221", "url": "https://archive.org/details/CMAHandbook1978/page/n241"}, {"citation": "Hulsker, Jan. <em>The Complete Van Gogh: Paintings, Drawings, Sketches.</em> New York, NY: H.N. Abrams, 1980.", "page_number": "Reproduced: no. 2036; Detail: p. 485 no. 16", "url": null}, {"citation": "Nemecaek, Alfred. \"Der Wirt Ravoux und Seine Tochter-Menschen in Auvers.\" <em>Art: Das Kunstmagazin </em>1 (February 1981): 28.", "page_number": "Reproduced: p. 28", "url": null}, {"citation": "Henning, Edward. \"Woman in the Waves by Paul Gauguin.\" <em>The Bulletin of The Cleveland Museum of Art </em>LXXI, no.10 (October, 1984): 280-289.", "page_number": "Reproduced: p. 283", "url": null}, {"citation": "Herbert, Robert L., Eleanor S. Apter, and Elise K. Kenney. <em>The Socie\u0301te\u0301 Anonyme and the Dreier Bequest at Yale University: A Catalogue Raisonne\u0301</em>. New Haven, CT: Published for the Yale University Art Gallery by Yale University Press, 1984.", "page_number": "Mentioned: p. 748, 776", "url": null}, {"citation": "Van der Marck, Jan. <em>In Quest of Excellence: Civic Pride, Patronage, Connoisseurship</em>. Miami, Fla., U.S.A.: The Center, 1984.", "page_number": "Mentioned: cat no. 124, p. 246, Reproduced: p. 73", "url": null}, {"citation": "Ikegami, Chu\u0304ji. <em>Gohho</em>. To\u0304kyo\u0304, Japan: Shu\u0304eisha, 1985.", "page_number": "Reproduced: p. 72", "url": null}, {"citation": "<em>Gohho ten</em>. Tokyo, Japan: To\u0304kyo\u0304 Shinbun, 1985.", "page_number": "Reproduced: p. 76", "url": null}, {"citation": "Mothe, Alain. <em>Vincent van Gogh a\u0300 Auvers-sur-Oise. </em>Paris, FR: Valhermeil, 1987.", "page_number": "Reproduced: p. 89", "url": null}, {"citation": "Henning, Edward B. <em>Creativity in Art and Science</em>, 1860-1960. [Cleveland, Ohio]: Published by the Cleveland Museum of Art in cooperation with Indiana University Press, 1987.", "page_number": "Reproduced: p. 107", "url": null}, {"citation": "Brown, Milton W. <em>The Story of the Armory Show.</em> New York, NY: Abbeville Press, 1988.", "page_number": "Reproduced: p. 199; mentioned: p. 272, no. 1047", "url": null}, {"citation": "Christie, Manson &amp; Woods International Inc. <em>Impressionist and Modern Paintings and Sculpture, Part I.</em> 1988.", "page_number": "Mentioned and reproduced: p. 56-62, lot no. 22", "url": null}, {"citation": "Muko\u0304da, Naoki, and Hideo Takumi. Gohho junrei. To\u0304kyo\u0304: Shincho\u0304sha, 1990.", "page_number": "Reproduced: p. 76", "url": null}, {"citation": "Madeline, Laurence. \"Auvers: La Symphonie Inachevee.\" In <em>Van Gogh, Auvers-sur-Oise: Mai-Juillet 1890., </em>8-27. [Paris]: Publie\u0301 par Beaux-Arts Magazine, Publications, Nuit et jour, 1990.", "page_number": "Reproduced: p. 17", "url": null}, {"citation": "Heijbroek, Jan Frederik, and Ester Wouthuysen. <em>Kunst, kennis en commercie: de kunsthandelaar J.H. de Bois (1878-1946)</em>. Amsterdam, NL: Contact, 1993.", "page_number": "Mentioned: p. 44, 200", "url": null}, {"citation": "Walther, Ingo F. and Rainer Metzger. <em>Vincent Van Gogh: The Complete Paintings</em>. Ko\u0308ln, DE: Benedikt Taschen, 1993.", "page_number": "Reproduced: p. 667, vol. 2", "url": null}, {"citation": "Chong, Alan. <em>European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogue.</em> Cleveland, Ohio: Cleveland Museum of Art, 1993.", "page_number": "Reproduced: p. 88", "url": null}, {"citation": "Gachet, Paul, and Alain Mothe. <em>Les 70 jours de van Gogh a\u0300 Auvers: essai d'e\u0301phe\u0301me\u0301ride dans le de\u0301cor de l'e\u0301poque (20 mai-30 juillet 1890), d'apre\u0300s les lettres, documents, souvenirs et de\u0301ductions, Auvers-sur-Oise, 1959.</em> [Saint-Ouen-l'Aumo\u0302ne]: Editions du Valhermeil, 1994.", "page_number": "Reproduced: p. 154-155, pl. 26", "url": null}, {"citation": "Hulsker, Jan. <em>The New Complete Van Gogh: Paintings, Drawings, Sketches: Revised and Enlarged Edition of the Catalogue Raisonne\u0301 of the Works of Vincent Van Gogh.</em> Philadelphia: John Benjamins Pub. Co, 1996.", "page_number": ":Mentioned and reproduced: p. 466-467", "url": null}, {"citation": "D' Argencourt, Louise, and Roger Diederen. <em>Catalogue of Paintings. Pt. 4. European Paintings of the 19th Century. </em>Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: p. 310-313.", "url": null}, {"citation": "Dorn, Roland. <em>Van Gogh Face to Face: The Portraits.</em> New York, NY: Thames &amp; Hudson, 2000.", "page_number": "Reproduced: p. 197", "url": null}, {"citation": "Shackelford, George T. M.. <em>Vincent Van Gogh: The Painter and the Portrait.</em> New York, NY: Universe, 2000.", "page_number": "Reproduced: p. 66, no. 50", "url": null}, {"citation": "Gogh, Vincent van, and Roland Dorn. <em>Van Gogh Face to Face: The Portraits</em>. New York: Thames &amp; Hudson, 2000.", "page_number": "Mentioned and Reproduced: cat. no. 197", "url": null}, {"citation": "Goldin, Marco. <em>Gauguin, Van Gogh: l'avventura del colore nuovo. </em>Conegliano, IT: Linea d'ombra libri, 2005.", "page_number": "Reproduced: p. 26", "url": null}, {"citation": "Gross, Jennifer R., and Ruth L. Bohan. <em>The Socie\u0301te\u0301 Anonyme: Modernism for America</em>. New Haven, CT: Yale University Press in association with the Yale University Art Gallery, 2006.", "page_number": "Reproduced: p. 174", "url": null}, {"citation": "Veen, Wouter van der, and Peter Knapp. <em>Van Gogh in Auvers: his last days.</em> New York, NY: Monacelli Press, 2010.", "page_number": "Reproduced: p. 163, fig. 83", "url": null}, {"citation": "Franklin, David. <em>Director's Choice: The Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2012.", "page_number": "Reproduced: p. 62-63", "url": null}, {"citation": "Berman, Avis. 2013. \u201cForces for the New Collectors and the Armory.\u201d <em>Magazine Antiques</em> 180, no. 1 (January/February 2013: 154-166.", "page_number": "Mentioned: p. 159; reproduced: p. 162, fig. 11", "url": null}, {"citation": "\u201cA Walking Tour: The entire new museum wing by wing, with curators calling out a few favorite works in the collection.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 54, no. 1 (January/February 2014): 8-33.", "page_number": "Reproduced and Mentioned: p. 20", "url": "https://archive.org/details/CMAMM2014-01"}, {"citation": "Cleveland Museum of Art. <em>Museum Masters: 2016-17 Companion Guide.</em> [Cleveland, Ohio]: Cleveland Museum of Art, 2016.", "page_number": "Mentioned and Reproduced: P. 22", "url": ""}, {"citation": "Kahng, Eik, ed. <em>Through Vincent's Eyes: Van Gogh and His Sources. </em>Santa Barbara, CA: Santa Barbara Museum of Art; New Haven, CT: in association with Yale University Press, 2021.", "page_number": "Mentioned and reproduced: P. 198-201, no. 19", "url": ""}, {"citation": "Stein, Susan Alyson. \"Van Gogh in New York: Picturing the First Years, 1912-29.\" In <em>Van Gogh in America.</em> Jill Shaw, ed., 56-91. Detroit, Michgan: Detroit Institute of Arts, 2022.", "page_number": "Reproduced: P. 61, pl. 18, no. 65; Mentioned: P. 63", "url": ""}, {"citation": "Bakker, Nienke. \"Timless Portraits: On Melancholy and Youth.\" In <em>Van Gogh in Auvers-Sur-Oise: His Final Months </em>edited by Nienke Bakker, Emmanuel Coquery, Teio Meedendorp, and Louis van Tilborgh, 116-133. London: Thames &amp; Hudson Ltd, 2023.", "page_number": "Mentioned: p. 117, 120; Reproduced: p. 122, no. 120.", "url": ""}, {"citation": "Bonafoux, Pascal. <em>Vincent van Gogh</em>. Roma: Istituto della Enciclopedia Italiana Fondato da Giovanni Treccani, 2023.", "page_number": "Reproduced: p. 366", "url": ""}], "url": "https://clevelandart.org/art/1958.31", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1958.31/1958.31_web.jpg", "width": "900", "height": "897", "filesize": "451143", "filename": "1958.31_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1958.31/1958.31_print.jpg", "width": "3400", "height": "3389", "filesize": "6008242", "filename": "1958.31_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1958.31/1958.31_full.tif", "width": "11512", "height": "11476", "filesize": "396370084", "filename": "1958.31_full.tif"}}, "alternate_images": [{"web": {"url": "https://openaccess-cdn.clevelandart.org/1958.31/1958.31_alt0_web.jpg", "width": "900", "height": "715", "filesize": "383680"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1958.31/1958.31_alt0_print.jpg", "width": "3400", "height": "2700", "filesize": "4977409"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1958.31/1958.31_alt0_full.tif", "width": "15099", "height": "11990", "filesize": "543143224"}, "date_created": "2017-08-03T09:24:09", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1958.31/1958.31_alt1_web.jpg", "width": "888", "height": "893", "filesize": "726316"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1958.31/1958.31_alt1_print.jpg", "width": "3382", "height": "3400", "filesize": "9069857"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1958.31/1958.31_alt1_full.tif", "width": "3838", "height": "3858", "filesize": "44456268"}, "date_created": "2005-09-26T18:41:07", "annotation": ""}], "creditline": "Bequest of Leonard C. Hanna Jr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Nancy F. and Joseph P. Keithley Gallery", "athena_id": 135299, "creators": [{"id": 1779, "description": "Vincent van Gogh (Dutch, 1853\u20131890)", "extent": null, "qualifier": null, "role": "artist", "biography": "The son of a clergyman, Vincent van Gogh was sent to The Hague at the age of sixteen to become an apprentice at Goupil &amp; Co., an art dealer with whom his uncle was affiliated. In August 1872 van Gogh began his extensive correspondence with his younger brother Theo, who would join the Brussels branch of the firm the following year. Vincent was transferred to the London offices in 1873 and two years later to the Paris office, but he despised the art trade and was dismissed in 1876. He then taught briefly at a boarding school in Ramsgate and Isleworth, and, back in the Netherlands, worked in a bookshop in Dordrecht before moving to Amsterdam to study theology. In little more than a year he had left the university and entered missionary school, failing again. Still intent on entering the ministry, he moved to the Borinage in Belgium and became a lay evangelist to the miners. Van Gogh finally decided to become an artist in August 1880 and started copying works by Millet (q.v.), the painter of peasant life. With his brother's financial help, he briefly joined the Academy in Brussels. The following year he returned to The Hague, where he received some artistic training from his cousin by marriage, Anton Mauve (1838-1888). There van Gogh met Sien Hoornik, a pregnant prostitute with a five-year-old daughter, with whom he lived briefly. Unable to marry her because of his family's disapproval, he moved in November 1883 from The Hague to the province of Drenthe, a popular place for artists, where he painted and drew laborers and peasants. Feeling terribly lonely, he visited his parents in December 1884 in Nuenen, and it was there that he finally decided to become a painter of peasant life. Van Gogh completed The Potato Eaters (Van Gogh Museum, Amsterdam) in April 1885 and sent it to his brother in Paris. On 25 November he moved to Antwerp, where he reveled in the work of Rubens and first came to know Japanese prints. Van Gogh traveled to Paris in March 1886 and lived with Theo. Under the influence of the impressionists, and works by Monticelli (q.v.), his palette changed to more intense and vibrant colors. He began to associate with \u00c9mile Bernard (1868-1941), Henri de Toulouse-Lautrec (1864-1901), Degas (q.v.), Gauguin (q.v.), Pissarro (q.v.), and Seurat (q.v.) and started collecting some of their paintings as well as Japanese prints. He moved to Arles in February 1888. Apart from paintings, he also made some drawings because it was a cheaper medium. Theo encouraged him to submit to the Salon des Ind\u00e9pendants. In May Vincent rented a room in the Yellow House, even though he could hardly afford to do so, and continued to send his work to his brother. In June he became intrigued with the subject of the wheat harvest and painted The Sower (Kr\u00f6ller-M\u00fcller Museum, Otterlo). On 23 October 1888, Gauguin arrived in Arles, at a time when van Gogh was having trouble with his eyesight. Gauguin encouraged him to paint from memory, which resulted in Memory of the Garden in Etten (Hermitage, St. Petersburg). The artists, however, had many disagreements, and during a dramatic quarrel on 23 December van Gogh mutilated his ear. He was taken into a hospital in Arles, and Gauguin left for Paris. Van Gogh recovered rapidly and was dismissed on 7 January 1889. In February his neighbors objected to his presence in the Yellow House, and he had to return to the hospital. In April Theo married Johanna Gesina Bonger, who would eventually safeguard most of Vincent's oeuvre. Aware of his mental problems, at the end of April van Gogh checked himself into the asylum of Saint-Paul-de-Mausole in Saint-R\u00e9my, where he was treated by Dr. Peyron. His condition was stable, and he was allowed to work in a makeshift studio. He worked in the garden (Irises, J. Paul Getty Museum, Los Angeles) and painted the fields he could see from his window. Under supervision he painted in the countryside, rendering cypresses and olive trees. Starry Night (Museum of Modern Art, New York) also stems from this period. From July through September he suffered from a severe depression that prevented him from working. He resumed his work from October through December, painting well-known Proven\u00e7al works and adapting prints after Delacroix (q.v.), Millet, and Rembrandt (1606-1669). In January 1890 he exhibited five works with Les XX in Brussels, selling one of them. After a visit to Arles at the end of February, he became ill again but continued to work. He finally left the asylum, and visited Theo in Paris on his way to Auvers, where he arrived on 20 May. He became close friends with Dr. Gachet and rented a room at the inn of the Ravoux family. He painted the village, portraits, and the surrounding wheat fields. On 27 July 1890, during an episode of depression, van Gogh shot himself in the chest and died two days later.", "name_in_original_language": null, "birth_year": "1853", "death_year": "1890", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1958-11-29T00:00:00", "sortable_date": 1890, "date_added_to_oa": null, "date_text": "1890", "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": ["Mademoiselle Ravoux"], "is_highlight": false, "updated_at": "2026-08-22 11:53:14.938000"}, {"id": 117032, "accession_number": "1937.577", "share_license_status": "CC0", "tombstone": "The Sacrifice of Isaac, c. 1527. Andrea del Sarto (Italian, 1486\u20131530). Oil on wood; framed: 208 x 171 x 12.5 cm (81 7/8 x 67 5/16 x 4 15/16 in.); unframed: 178 x 138 cm (70 1/16 x 54 5/16 in.). The Cleveland Museum of Art, Delia E. Holden and L. E. Holden Funds, 1937.577", "current_location": "217 Italian Baroque", "title": "The Sacrifice of Isaac", "creation_date": "c. 1527", "creation_date_earliest": 1522, "creation_date_latest": 1532, "artists_tags": ["male"], "culture": ["Italy, Florence"], "technique": "oil on wood", "support_materials": [], "department": "European Painting and Sculpture", "collection": "P - Italian 16th & 17th Century", "type": "Painting", "measurements": "Framed: 208 x 171 x 12.5 cm (81 7/8 x 67 5/16 x 4 15/16 in.); Unframed: 178 x 138 cm (70 1/16 x 54 5/16 in.)", "dimensions": {"framed": {"height": 2.08, "height_inch": 81, "height_inch_fraction": 0.875, "width": 1.71, "width_inch": 67, "width_inch_fraction": 0.3125, "depth": 0.125, "depth_inch": 4, "depth_inch_fraction": 0.9375}, "unframed": {"height": 1.78, "height_inch": 70, "height_inch_fraction": 0.0625, "width": 1.38, "width_inch": 54, "width_inch_fraction": 0.3125}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 312517, "title": "The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition", "description": "<i>The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 26-October 4, 1936).", "opening_date": "1936-06-26T04:00:00"}, {"id": 312341, "title": "The Silver Jubilee Exhibition", "description": "<i>The Silver Jubilee Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-September 28, 1941).", "opening_date": "1941-06-23T04:00:00"}, {"id": 302205, "title": "Art and Humanism in the Renaissance", "description": "<i>Art and Humanism in the Renaissance</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 23-February 25, 1962).", "opening_date": "1962-01-23T05:00:00"}, {"id": 211386, "title": "Leonardo, Michelangelo and the Renaissance in Florence", "description": "<i>Leonardo, Michelangelo and the Renaissance in Florence</i>. National Gallery of Canada, Ottawa, Ont.,, Canada (organizer) (May 27-September 5, 2005).", "opening_date": "2005-05-27T00:00:00"}, {"id": 222394, "title": "Masterpieces of European Painting from The Cleveland Museum of Art", "description": "<i>Masterpieces of European Painting from The Cleveland Museum of Art</i>. Frick Collection, New York, NY (organizer) (November 8, 2006-January 28, 2007).", "opening_date": "2006-11-08T00:00:00"}, {"id": 179662, "title": "Masterpieces of European Painting from the Cleveland Museum of Art", "description": "<i>Masterpieces of European Painting from the Cleveland Museum of Art</i>. Maltz Museum of Jewish Heritage, Beachwood, OH (March 29-July 8, 2007).", "opening_date": "2007-03-29T00:00:00"}, {"id": 217133, "title": "Andrea del Sarto: The Renaissance Workshop in Action", "description": "<i>Andrea del Sarto: The Renaissance Workshop in Action</i>. J. Paul Getty Museum, Los Angeles, CA (organizer) (June 23-September 13, 2015).", "opening_date": "2015-06-23T00:00:00"}, {"id": 523600, "title": "Pier Francesco Foschi (1502-1567) Florentine Painter", "description": "<i>Pier Francesco Foschi (1502-1567) Florentine Painter</i>. Galleria dell\u2019Accademia di Firenze, Florence, Italy (organizer) (November 27, 2023-March 10, 2024) https://www.galleriaaccademiafirenze.it/en/expositions/pier-francesco-foschi-1502-1567-pittore-fiorentino/.", "opening_date": "2023-11-27T05:00:00"}], "legacy": [{"description": "<em>Winter Exhibition</em>. Burlington House, Royal Academy, London, United Kingdom (1882).", "opening_date": "1882-01-01T04:56:02Z"}, {"description": "<em>Florence and the Arts: Five Centuries of Patronage</em>. The Cleveland Museum of Art, Cleveland, OH (1971).", "opening_date": "1971-01-01T05:00:00Z"}]}, "provenance": [{"description": "Cardinal Carlo de' Medici, Florence", "citations": [], "footnotes": [], "date": "By 1649", "sortorder": 1}, {"description": "Possibly the Montalvi Collection, Florence", "citations": [], "footnotes": [""], "date": null, "sortorder": 2}, {"description": "Possibly the Peruzzi Collection, Florence", "citations": [], "footnotes": [""], "date": null, "sortorder": 3}, {"description": "Zondadari Collection, Florence", "citations": [], "footnotes": ["<div><!--block-->See Biadi, 1829</div>"], "date": "By 1829", "sortorder": 4}, {"description": "William Cave, died 1858 (Brentry House, near Bristol, bought in Florence in 1846), by inheritance to his wife.", "citations": [], "footnotes": ["<div><!--block-->Unsold, Christie's, London, June 29, 1854, lot 77</div>"], "date": "1846 - 1858", "sortorder": 5}, {"description": "Mrs. William Cave", "citations": [], "footnotes": [], "date": "1858", "sortorder": 6}, {"description": "Sold, Christie's, London, June 22, 1858, lot 102", "citations": [], "footnotes": null, "date": "1858", "sortorder": 7}, {"description": "Possibly Peters", "citations": [], "footnotes": [], "date": "1858 - 1882", "sortorder": 8}, {"description": "George Cornwall Legh, High Legh, Co. Chester", "citations": [], "footnotes": ["<div><!--block-->According to Royal Academy exhibition catalogue, Winter 1882, no. 206, \"purchased by George Cornwall Legh in 1862 at Florence; in the Tordanari collection\"</div>"], "date": "1882 - ?", "sortorder": 9}, {"description": "Lieutenant Colonel Henry Cornwall Legh, High Legh, Co. Chester", "citations": [], "footnotes": null, "date": "? - 1935", "sortorder": 10}, {"description": "Sold at Sotheby's, London, May 21, 1935, to Spencer Samuels", "citations": [], "footnotes": null, "date": "1935", "sortorder": 11}, {"description": "Spencer Samuels, T. Harris, London, and Durlacher Brothers, New York", "citations": [], "footnotes": [], "date": "1935 - 1937", "sortorder": 12}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1937 -", "sortorder": 13}], "find_spot": null, "related_works": [], "former_accession_numbers": ["2787.36"], "did_you_know": "The angel has two visible sets of legs, showing the artist\u2019s revision of the composition.", "early_education_description": null, "artlens_description": null, "description": "In this dramatic test of faith from the Old Testament book of Genesis, Abraham agrees to slay his son Isaac on God\u2019s command. As Abraham raises the knife, an angel suddenly appears to halt the sacrifice. This work gains its power from the complex expressions of father and son, combining grief, strength, resignation, fear, and realization in their faces and bodies, the latter inspired by ancient sculpture and Michelangelo. Andrea del Sarto never finished this painting, and it lays bare his working methods. He transferred the design to the panel from a drawing, reinforcing the chalk with painted lines\u2014best seen in the donkey at the far right. He then worked over the whole panel at once with thin, brushy veils of color, letting him alter the composition while painting\u2014especially evident in the angel, Isaac\u2019s body, and Abraham\u2019s head.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q59115342"], "internet_archive": ["https://archive.org/details/clevelandart-1937.577-the-sacrifice-of-isa"]}, "citations": [{"citation": "Biadi, Luigi. <em>Notizie inedite della vita dA\u0315ndrea del Sarto, raccolte da manoscritti</em>. Firenze, Italy: Tip. Bonducciana, 1831.", "page_number": "Reproduced: p. 163, no. 2", "url": null}, {"citation": "Reumont, Alfred von. <em>Andrea del Sarto</em>. Leipzig: F.A. Brockhaus, 1835.", "page_number": "Mentioned: P.183", "url": null}, {"citation": "Venturi, Adolfo. <em>La R. Galleria Estense in Modena.</em> Modena: P. Toschi, 1882.", "page_number": "Mentioned: P. 257", "url": null}, {"citation": "Redford, George. <em>Art Sales. A History of Sales of Pictures and Other Works of Art. With Notices of the Collections Sold, Names of Owners, Titles of Pictures, Prices and Purchasers, Arranged Under the Artists of the Different Schools in Order of Date. Including the Purchases and Prices of Pictures for the National Gallery.</em> London: [Bradbury, Agnew, &amp; Co., Printers, the \"Whitefriars\" Press], 1888.", "page_number": "Mentioned: V. II, P. 251", "url": null}, {"citation": "Vasari, Giorgio. <em>Le opere di Giorgio Vasari.</em> Firenze: G.C. Sansoni, 1906.", "page_number": "Mentioned: Vol. V, P. 52", "url": null}, {"citation": "Guinness, H. <em>Andrea Del Sarto</em>. London, United Kingdom: G. Bell, 1907.", "page_number": "Mentioned: p. 74-75", "url": null}, {"citation": "Graves, Algernon. <em>Century of Loan Exhibitions 1813-1912</em>. London: Graves, 1913.", "page_number": "Mentioned: Vol. III, p. 1198", "url": null}, {"citation": "The Cleveland Museum of Art. <em>The Cleveland Museum of Art Catalogue of Paintings, Part 3: European Paintings of the 16th, 17th, and 18th Centuries</em>. Cleveland, OH: The Cleveland Museum of Art, 1982.", "page_number": "Reproduced: p. 406; Mentioned: p. 407-409", "url": null}, {"citation": "Francis, Henry S. \"An Unfinished Version of the 'Sacrifice of Abraham' by Andrea del Sarto.\" <em>The Bulletin of The Cleveland Museum of Art XXV</em>, no. 3 (March, 1938):39-42.", "page_number": "Reproduced: p. 37; Detail: p.38", "url": null}, {"citation": "\"Au Cleveland Museum of Art.\" <em>Mouseion. </em>(Avril 1938) 13-14.", "page_number": "Mentioned: p. 13", "url": null}, {"citation": "Gibson, Katharine. <em>Pictures to Grow Up With</em>. New York, NY: Studio Publications, 1942.", "page_number": "Reproduced: p. 90", "url": null}, {"citation": "<em>Paintings in the Cleveland Museum of Art.</em> [Cleveland]: The Cleveland Museum of Art, 1945.", "page_number": "Reproduced: p. 52", "url": "https://archive.org/details/CMAPaintings1945/page/n60"}, {"citation": "Coe, Nancy. <em>The History of the Collecting of European Paintings and Drawings in the City of Cleveland.</em> Thesis M.A. Oberlin College, 1956.", "page_number": "Reproduced: Vol. II, P. 216, no. 21", "url": null}, {"citation": "The Cleveland Museum of Art. <em>The Cleveland Museum of Art Handbook.</em> Cleveland, OH: The Cleveland Museum of Art, 1958.", "page_number": "Mentioned and Reproduced: cat. no. 407", "url": "https://archive.org/details/CMAHandbook1958/page/n75"}, {"citation": "H\u00e4rth, Isolde. \"Zu Andrea Del Sartos \"Opfer Abrahams\".\" <em>Mitteilungen Des Kunsthistorischen Institutes in Florenz</em> 8, no. 3 (1959): 167-73.", "page_number": "Mentioned: P. 167, n. 2", "url": "http://www.jstor.org/stable/27652062."}, {"citation": "Wescher, Paul. <em>La prima idea: die Entwicklung der O\u0308lskizze von Tintoretto bis Picasso</em>. Mu\u0308nchen, Germany: F. Bruckmann, 1960.", "page_number": "Reproduced: p. 19, pl. 3, fig. 2", "url": null}, {"citation": "Berenson, Bernard. <em>Italian Pictures of the Renaissance: A List of the Principal Artists and Their Works, with an Index of Places : Florentine School</em>. London, United Kingdom: Phaidon Press, 1963.", "page_number": "Mentioned: p. 1, 7", "url": null}, {"citation": "Freedberg, S. J. <em>Andrea Del Sarto</em>. Cambridge, MA: Belknap Press of Harvard University Press, 1963.", "page_number": "Reproduced: vol. I, p. 77-70, figs. 179-184;", "url": null}, {"citation": "Jaffe, Michael. \"The Figurative Arts of the West, ca. 1400-1800.\" A<em>pollo: The International Magazine for Collectors</em> 75, no. 22 (1963):", "page_number": "Mentioned: p. 458; Reproduced: fig. 4, p. 460", "url": null}, {"citation": "Shearman, John K. G. <em>Andrea Del Sarto</em>. Oxford, United Kingdom: Clarendon Press, 1965.", "page_number": "Reproduced: p. 110-111, pl. 146, 148 a and b, vol. I; p. 216, no. 79. vol. II", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 92", "url": "https://archive.org/details/CMAHandbook1966/page/n116"}, {"citation": "Hillyer, V. M., and E. G. Huey. <em>Fine Art; [the Last Two Hundred Years]</em>. New York, NY: Meredith Press, 1966.", "page_number": "Reproduced: p. 78", "url": null}, {"citation": "Coe, Ralph T. \"Rubens in 1614: 'The Sacrifice of Abraham.'\" <em>The Nelson Gallery and Atkins Museum Bulletin </em>IV, no. 7 (December 1966): 1-22.", "page_number": "Mentioned: P. 2; reproduced: P.3, fig. 1", "url": null}, {"citation": "Cleveland Museum of Art. <em>Selected Works: Cleveland Museum of Art</em>. Cleveland, OH: The Museum, 1967.", "page_number": "Reproduced: no. 140", "url": null}, {"citation": "Murray, Linda. <em>The High Renaissance.</em> New York: F.A. Praeger, 1967.", "page_number": "Reproduced: P. 160, fig. 118", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 92", "url": "https://archive.org/details/CMAHandbook1969/page/n116"}, {"citation": "Cleveland Museum of Art, and Berthold Fricke. <em>The Cleveland Museum of Art.</em> Hannover: Knorr &amp; Hirth, 1970.", "page_number": "Mentioned and reproduced: P. 44-45", "url": null}, {"citation": "Avery, Catherine B., ed. <em>The New Century Italian Renaissance Encyclopedia. </em>New York: Appleton-Century-Crofts, 1972.", "page_number": "Mentioned: P. 42", "url": null}, {"citation": "Fredericksen, Burton B., and Federico Zeri. <em>Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. </em>Cambridge: Harvard University Press, 1972.", "page_number": "Mentioned: P. 8, 255, 573", "url": null}, {"citation": "Lurie, Ann Tzeutschler. \"Agnolo Bronzino: Portrait of a Young Lady.\" <em>The Bulletin of The Cleveland Museum of Art LXI</em>, no. 1 (January, 1975):3-13.", "page_number": "Detail Reproduced: p. 6", "url": null}, {"citation": "Fader, Martha Alice Agnew. <em>Sculpture in the Piazza Della Signoria: As Emblem of the Florentine Republic</em>. Thesis Ph.D. Ann Anbor, MI: University of Michigan, 1977.", "page_number": "Reproduced: p. 339, fig. 27", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 107", "url": "https://archive.org/details/CMAHandbook1978/page/n127"}, {"citation": "Vos, Rik. <em>Lucas van Leyden</em>. Bentveld, Netherlands: Landshoff, 1978.", "page_number": "Mentioned: p. 56-57; Reproduced: fig. 80", "url": null}, {"citation": "Hall, Marcia B. <em>Color and Meaning: Practice and Theory in Renaissance Painting</em>. Cambridge, MA: Cambridge University Press, 1992.", "page_number": "Reproduced: p. 147, fig. 47", "url": null}, {"citation": "<em>Masterpieces from East and West</em>. New York, NY: Rizzoli International, 1992.", "page_number": "Reproduced: p. 109", "url": null}, {"citation": "Natali, Antonio. <em>Andrea Del Sarto</em>. New York, NY: Abbeville Press Publishers, 1999.", "page_number": "Reproduced: p. 183, no. 179", "url": null}, {"citation": "May, Sally Ruth, Jane Takac, and Barbara J. Bradley. <em>Knockouts: A Pocket Guide</em>. Cleveland, OH: Cleveland Museum of Art, 2001.", "page_number": "Mentioned: p. 50; Reproduced: p. 50, 51", "url": null}, {"citation": "Keiith, Larry. \"Andrea del Sarto's 'The Virgin and Child with Saint Elizabeth and Saint John the Baptist': Technique and Critical Reception.\" <em>National Gallery Technical Bulletin </em>22 (2001): 42-53.", "page_number": "Mentioned: P. 50; Reproduced: P. 50-51, pl. 7 & 9", "url": null}, {"citation": "Franklin, David, Louis Alexander Waldman, and Andrew Butterfield. <em>Leonardo Da Vinci, Michelangelo, and the Renaissance in Florence</em>. Ottawa, Ontario: National Gallery of Canada, 2005.", "page_number": "Mentioned: p. 150; Reproduced: fig. 40", "url": null}, {"citation": "Iacono, Margaret. <em>Masterpieces of European Painting from the Cleveland Museum of Art</em>. New York, NY: The Frick Collection, 2006.", "page_number": "Mentioned: p. 24-27; Reproduced: no. 3", "url": null}, {"citation": "Channing, Laurence, \"Personal and Professional\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 46 no. 10, December 2006", "page_number": "Mentioned & reproduced: p. 4", "url": "https://archive.org/details/CMAMM2006-10/page/4/"}, {"citation": "Boskovits, Miklo\u0301s, ed. <em>Italian Paintings from the 13th to 15th Century.</em> Firenze, Italy: Polistampa, 2009.", "page_number": "Mentioned: p. 20", "url": null}, {"citation": "Wetering, Ernst van de. <em>Rembrandt: The Painter at Work</em>. Amsterdam, Netherlands: Amsterdam University Press, 2009.", "page_number": "Reproduced: p. 32, fig. 35", "url": null}, {"citation": "Hilaire, Michel, and Axel He\u0301mery. <em>Corps et ombres: Caravage et le caravagisme europe\u0301en</em>. Milan, Italy: 5 continents, 2012.", "page_number": "Reproduced: p. 72, fig. 1", "url": null}, {"citation": "Hout, Nico van, and Ted Alkins. <em>The unfinished painting</em>. 2012. Ghent, Belgium: Ludion, 2012.", "page_number": "Mentioned: p. 4, p. 82-84; Reproduced: Fig. 82", "url": null}, {"citation": "Pontormo, Jacopo da, Bastian Eclercy, and Ralf Bormann. <em>Pontormo: Meisterwerke des Manierismus in Florenz</em>. Hannover, Germany: Landesmuseum Hannover, 2013.", "page_number": "Reproduced: p. 73, fig. 52; Mentioned: p. 207", "url": null}, {"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. 176", "url": ""}, {"citation": "Bomford, David. <em>Unfinished Paintings: Narratives of the Non Finito</em>. Edinburgh: National Galleries of Scotland: in association with the University of Edinburgh, 2015.", "page_number": "Mentioned p. 17; Reproduced: p. 18", "url": null}, {"citation": "Carmen C. Bambach, exhibition review of Andrea del Sarto, <em>The Burlington Magazine</em> 158, no. 1354 (January 2016).", "page_number": "Mentioned: p. 70-72; Reproduced: p. 70, fig. 95", "url": null}, {"citation": "Jenison, Tim, Jonathan Janson, and David Walsh. <em>Hound in the Hunt: Optical Aids in Art.</em> Berriedale, Tas.: Museum of Old and New Art, 2016.", "page_number": "Reproduced: p. 96, fig. 2.4", "url": null}, {"citation": "Steele, Marcia. \"The Three Versions of <em>The Sacrifice of Isaac</em>.\" <em>Kermes: La Rivista del Restauro </em>29/30, no. 104/105 (October 2016- March 2017): 123-142.", "page_number": "Mentioned and reproduced: p. 123-142", "url": ""}, {"citation": "Schumacher, Andreas, et. al. <em>Florentiner Malerei: Alte Pinakothek : die Gema\u0308lde des 14. bis 16. Jahrhunderts.</em> [M\u00fcnchen]: Alte Pinakothek; Berlin: Deutscher Kunstverlag, 2017.", "page_number": "Reproduced: p. 535, Abb. 37.10; P.536, Abb. 37.12", "url": null}, {"citation": "Bayer, A., et. al. \"Andrea del Sarto's <em>Borgherini Holy Family</em> and <em>Charity</em>: Two Intertwined Late Works.\" <em>Metropolitan Museum of Art </em>52 (2017).", "page_number": "Mentioned: p. [34]-55; Reproduced: p. 46, fig. 15", "url": null}, {"citation": "Hall, Marcia B. <em>The Power of Color: Five Centuries of European Painting</em>. New Haven: Yale University Press, 2019.", "page_number": "Reproduced: p. 127, fig. 3.21", "url": null}, {"citation": "Foschi, Pier Francesco, and Galleria dell\u2019Accademia (Florence, Italy). <em>Pier Francesco Foschi (1502-1567) : Pittore Fiorentino</em>. Cinisello Balsamo, Milano: Silvana editoriale, 2023.", "page_number": "Mentioned and published: pp. 120-121, no. 10", "url": ""}, {"citation": "Symposium for the Study of Underdrawing and Technology in Painting, and Anne Dubois. Alla Maniera: Technical Art History and the Meaning of Style in 15th to 17th Century Painting. Paris ; Leuven : Peeters, 2024.", "page_number": "Mentioned and reproduced: pp. 110-121, Ill. 9.1-9.8.", "url": ""}, {"citation": "Brock, Maurice, and Raphael. Le Laocoon, Entre Michel-Ange et Raphae\u0308L : Un Ressort de L\u2019e\u0301Mulation. Tours: Presses universitaires Franc\u0327ois Rabelais, 2024.", "page_number": "Mentioned: p. 179, n. 22; reproduced: p. 177, fig. 93", "url": ""}, {"citation": "Pinacoteca Capitolina (Rome, Italy). <em>Il Non Finito : Fra Poetica E Tecnica Esecutiva.</em> Edited by Costanza Barbieri and Claudio Seccaroni. Roma: Artemide, 2026.", "page_number": "Reproduced: p. 18, fig. 1; Mentioned: p. 20", "url": ""}], "url": "https://clevelandart.org/art/1937.577", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1937.577/1937.577_web.jpg", "width": "697", "height": "900", "filesize": "306442", "filename": "1937.577_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1937.577/1937.577_print.jpg", "width": "2633", "height": "3400", "filesize": "2768419", "filename": "1937.577_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1937.577/1937.577_full.tif", "width": "9939", "height": "12836", "filesize": "382761404", "filename": "1937.577_full.tif"}}, "alternate_images": [{"web": {"url": "https://openaccess-cdn.clevelandart.org/1937.577/1937.577_alt0_web.jpg", "width": "741", "height": "900", "filesize": "364519"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1937.577/1937.577_alt0_print.jpg", "width": "2798", "height": "3400", "filesize": "3913512"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1937.577/1937.577_alt0_full.tif", "width": "10236", "height": "12438", "filesize": "381976928"}, "date_created": "2024-04-29T14:20:17", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1937.577/1937.577_alt1_web.jpg", "width": "738", "height": "900", "filesize": "328870"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1937.577/1937.577_alt1_print.jpg", "width": "2789", "height": "3400", "filesize": "2890901"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1937.577/1937.577_alt1_full.tif", "width": "9742", "height": "11877", "filesize": "347148912"}, "date_created": "2024-04-29T15:07:03", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1937.577/1937.577_alt2_web.jpg", "width": "697", "height": "893", "filesize": "485315"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1937.577/1937.577_alt2_print.jpg", "width": "2654", "height": "3400", "filesize": "6669637"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1937.577/1937.577_alt2_full.tif", "width": "7318", "height": "9374", "filesize": "205817976"}, "date_created": "2009-12-08T21:49:24", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1937.577/1937.577_alt3_web.jpg", "width": "689", "height": "893", "filesize": "535894"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1937.577/1937.577_alt3_print.jpg", "width": "2624", "height": "3400", "filesize": "7687969"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1937.577/1937.577_alt3_full.tif", "width": "3505", "height": "4542", "filesize": "47780196"}, "date_created": "2009-11-13T16:28:45", "annotation": ""}], "creditline": "Delia E. Holden and L. E. Holden Funds", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Donna and James Reid Gallery", "athena_id": 117032, "creators": [{"id": 2291, "description": "Andrea del Sarto (Italian, 1486\u20131530)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1486", "death_year": "1530", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1937-12-20T00:00:00", "sortable_date": 1522, "date_added_to_oa": null, "date_text": "c. 1527", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": "Overall, the painting is in stable condition. The panel is composed of four members, vertically grained, each member tangentially cut and coming from near the center of the tree. Three cross braces were at some point slid into grooves cut into the back of the support and transverse the entire width of the painting, tapering from one side to the other. The wood of the panel was analyzed as poplar and the center cross brace as European chestnut. The ground was analyzed and contains calcium sulphate (gypsum). Underdrawing is present and appears to be with the calco method (comprised of charcoal black, gypsum, and brown ochre). It appears that once the underdrawing was set onto the ground layer, and the painting stage started, del Sarto and/or his studio assistants made both major and minor alterations. The minor alterations seem to be corrections and adjustments for more successful placement of figures and overall composition.", "has_conservation_images": true, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": true, "updated_at": "2026-10-13 11:16:14.813000"}, {"id": 135214, "accession_number": "1958.23", "share_license_status": "CC0", "tombstone": "The Troubadour, 1868\u201373. Honor\u00e9 Daumier (French, 1808\u20131879). Oil on fabric; framed: 99.5 x 73 x 8 cm (39 3/16 x 28 3/4 x 3 1/8 in.); unframed: 83.6 x 56.8 cm (32 15/16 x 22 3/8 in.). The Cleveland Museum of Art, Bequest of Leonard C. Hanna Jr., 1958.23", "current_location": "220 19th Century European", "title": "The Troubadour", "creation_date": "1868\u201373", "creation_date_earliest": 1868, "creation_date_latest": 1873, "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: 99.5 x 73 x 8 cm (39 3/16 x 28 3/4 x 3 1/8 in.); Unframed: 83.6 x 56.8 cm (32 15/16 x 22 3/8 in.)", "dimensions": {"framed": {"height": 0.995, "height_inch": 39, "height_inch_fraction": 0.1875, "width": 0.73, "width_inch": 28, "width_inch_fraction": 0.75, "depth": 0.08, "depth_inch": 3, "depth_inch_fraction": 0.125}, "unframed": {"height": 0.836, "height_inch": 32, "height_inch_fraction": 0.9375, "width": 0.568, "width_inch": 22, "width_inch_fraction": 0.375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed in lower right: h.D. [reinforced]\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 518665, "title": "Paintings and Drawings of Daumier", "description": "<i>Paintings and Drawings of Daumier</i>. Tate Britain, London (June 14-July 30, 1961).", "opening_date": "1961-06-14T04:00:00"}, {"id": 361184, "title": "Honor\u00e9 Daumier, 1808-1879", "description": "<i>Honor\u00e9 Daumier, 1808-1879</i>. National Gallery of Art, Landover, MD (organizer) (September 23-November 25, 1979).", "opening_date": "1979-09-23T04:00:00"}, {"id": 211412, "title": "Honor\u00e9 Daumier", "description": "<i>Honor\u00e9 Daumier</i>. National Gallery of Canada (organizer) (June 3-September 6, 1999); Galeries Nationales du Grand Palais, Paris, France (October 5, 1999-January 3, 2000); The Phillips Collection (February 19-May 14, 2000).", "opening_date": "1999-06-03T00:00:00"}], "legacy": [{"description": "<em>Exposition Daumier</em>. Palais de l'\u00c9cole des Beaux-Arts, Paris, France (1901).", "opening_date": "1901-01-01T00:00:00"}, {"description": "<em>Honor\u00e9 Daumier Ausstellung, Gem\u00e4lde, Aquarelle Zeichnungen</em>, Galerie Matthiesen. Berlin, Germany (1926).", "opening_date": "1926-01-01T00:00:00"}, {"description": "<em>Corot-Daumier. </em>Museum of Modern Art., New York, NY (1930).", "opening_date": "1930-01-01T00:00:00"}]}, "provenance": [{"description": "Count Armand Doria [1824-1896] Orrouy, France", "citations": [], "footnotes": [], "date": "Until 1896", "sortorder": 1}, {"description": "(Armand Doria sale, Galerie Georges Petit, Paris, May 4-5, 1899 (no. 132), sold to Ambroise Vollard)", "citations": [], "footnotes": ["<div><!--block--><em>The Troubadour, </em>here titled \u201cPage jouant de la mandoline,\u201d was sold to dealer Ambroise Vollard together with no. 133, \u201cFemme portant un enfant,\u201d for ff 3,350. &nbsp;</div>"], "date": "1899", "sortorder": 2}, {"description": "(Ambroise Vollard, Paris, sold to Paul Cassirer)", "citations": [], "footnotes": ["<div><!--block-->Vollard\u2019s stock book lists \u201cLe Chanteur,\u201d with a provenance of \u201cDoria,\u201d under stock no. 3,465; a label on the painting\u2019s stretcher with this number confirms that \u201cLe Chanteur\u201d and the CMA picture are one and the same. &nbsp; The Vollard register from May 1899 lists \u201c2 Daumier pendants guitariste et m\u00e8re et enfant\u201d \u2013 lots 132 and 133 in the Doria sale from that month.&nbsp; In 1908 Vollard seems to have consigned the Daumier to H.O. Miethke, a Vienna dealer who often acted as an intermediary in Vollard\u2019s foreign trade activities.&nbsp; The Daumier is No. 42 in <em>Honore\u0301 Daumier, 1808-1879,</em> an exhibition held at Galerie Miethke in November-December 1980.&nbsp; The painting apparently failed to sell and was returned to Vollard: the Cassirer Archive, held by the Walter Feilchenfeldt Gallery, records the sale of \"Le Guitarist\"by Vollard to Cassirer on October 28, 1912. &nbsp;</div>"], "date": "1899-by 1912", "sortorder": 3}, {"description": "(Paul Cassirer, Berlin)", "citations": [], "footnotes": ["<div><!--block-->It is not known to whom and when Cassirer sold the painting; however, it was likely by 1915, as the 1910-1915 Cassirer sales book was destroyed during the war, and later sales books make no mention of the Daumier. &nbsp;</div>"], "date": "1912 - probably by 1915", "sortorder": 4}, {"description": "Eduard Fuchs [1870-1940], Berlin-Zehlendorf, by descent to his wife, Margaret Fuchs", "citations": [], "footnotes": ["<div><!--block-->A photograph, dated 1928, shows <em>The Troubadour</em> prominently displayed on a wall in the \u201cDaumier-Zimmers\u201d in Fuchs\u2019 Berlin villa.&nbsp; In 1930, Fuchs, a collector, writer, and historian with a passion for Daumier, published <em>Der Maler Daumier,</em> a catalogue of the artist\u2019s work.&nbsp; In it he notes that <em>The Troubadour</em> (there titled <em>Der Page</em>) was currently in his collection; he also lent the painting to an exhibition at the Museum of Modern Art that year.&nbsp; In February of 1933, Fuchs and his wife Margaret fled to Paris; on October 25 of that same year his collection was confiscated by the Gestapo.&nbsp; <em>The Troubadour, </em>however, along with several other Daumier paintings, appears to have avoided confiscation: it may have been among nine unspecified Daumier paintings for which Fuchs transferred ownership to his friend Felix Weil as security for a loan.&nbsp; These paintings were sent to Rotterdam, thus securing their safety.&nbsp; Furthermore, no references to <em>The Troubadour </em>in databases or lists of Nazi-looted art have been located, nor is the painting listed in any of the five Nazi-era sales of the Fuchs collection (Lepke, June 16-17. 1937; Lepke, Oct. 15-16, 1937; Lepke, Nov. 4-5, 1937; Lepke, June 22-24, 1938; Boerner, May 23-24, 1938).&nbsp; These auctions took place after the director of the Berlin Nationalgalerie, Eberhard Hanfstaengl, was able to convince the Gestapo that the confiscation of the Fuchs collection, just before the 1936 Olympics, would harm the cultural reputation of Germany.&nbsp; Thus, the collection was granted provisional release in 1935.&nbsp; Fuchs\u2019 daughter was nevertheless forced to sell off her father\u2019s collection in order to settle the tax liabilities he faced after the return of the collection.</div>"], "date": "By 1928-1940", "sortorder": 5}, {"description": "Margaret Fuchs, Paris and New York, consigned to Justin K. Thannhauser", "citations": [], "footnotes": [], "date": "1940-1953", "sortorder": 6}, {"description": "(Justin K. Thannhauser, New York, sold to Leonard C. Hanna, Jr.)", "citations": [], "footnotes": ["<div><!--block-->The Thannhauser Archives in Cologne show that Thannhauser had the painting on consignment from Margaret Fuchs in the 1950s.&nbsp;</div>"], "date": "1953", "sortorder": 7}, {"description": "Leonard C. Hanna Jr., [1889-1957], Cleveland, OH, bequeathed to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1953-1958", "sortorder": 8}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1958-", "sortorder": 9}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Daumier was called the \u201cMichelangelo of caricature\u201d and especially renowned for his cartoons and drawings satirizing 19th-century French politics and society.", "early_education_description": null, "artlens_description": null, "description": "The troubadour, a medieval traveling poet and entertainer, was a popular subject in 19th-century French art. Associated with chivalry and courtly love, the theme reflects a broader, romantic fascination with France's medieval past. Although Daumier was particularly inspired by the troubadour paintings of French Rococo artist Jean-Antoine Watteau of the 1700s, he rendered the subject here in a powerful style of simplified, muscular form that appealed to modern artists of his own time.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60483497"], "internet_archive": ["https://archive.org/details/clevelandart-1958.23-the-troubadour"]}, "citations": [{"citation": "Galerie Georges Petit. <em>Tableaux modernes</em>. May 4-5, 1899.", "page_number": null, "url": null}, {"citation": "\u201cThe Daumier Register,\u201d DR number 7186 \u201cLe Troubadour,\u201d <a href=\"http://www.daumier-register.org/werkview.php?key=7186\">http://www.daumier-register.org/werkview.php?key=7186</a>, accessed 12/10/15.", "page_number": null, "url": null}, {"citation": "Maison, K. E. <em>Honore\u0301 Daumier; Catalogue Raisonne\u0301 of the Paintings, Watercolours, and Drawings</em>. [Greenwich, Conn.]: New York Graphic Society, 1968.", "page_number": null, "url": null}, {"citation": "Daumier, Honore\u0301. <em>Daumier, Paintings and Drawings: An Exhibition Organized by the Arts Council of Great Britain at the Tate Gallery, June 14th to July 30th, 1961</em>. London: Arts Council of Great Britain, 1961. <ul><li><br></li></ul>", "page_number": null, "url": null}, {"citation": "Galerie Georges Petit. <em>Tableaux modernes</em>. May 4-5, 1899.", "page_number": null, "url": null}, {"citation": "The Daumier Register,\u201d DR number 7186 \u201cLe Troubadour,\u201d <a href=\"http://www.daumier-register.org/werkview.php?key=7186\">http://www.daumier-register.org/werkview.php?key=7186</a>, accessed 12/10/15.", "page_number": null, "url": null}, {"citation": "Maison, K. E. <em>Honore\u0301 Daumier; Catalogue Raisonne\u0301 of the Paintings, Watercolours, and Drawings</em>. [Greenwich, Conn.]: New York Graphic Society, 1968.<br><br><ul><li><br></li></ul>", "page_number": null, "url": null}, {"citation": "\u201cAmbroise Vollard Research Files,\u201d Record Group 43, Series 43A5.8, Box 54, John Rewald Papers, C\u00e9zanne Materials, Gallery Archives, National Gallery of Art, Washington, DC.", "page_number": null, "url": null}, {"citation": "Petra Cordioli, email to Victoria Sears Goldman, Jan. 12, 2016, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Miethke, H.O. Galerie. <em>Honore\u0301 Daumier, 1808-1879, Galerie Miethke, Wien, November - Dezember 1908</em>. 1908.", "page_number": null, "url": null}, {"citation": "\u201cThe Daumier Register,\u201d DR number 7186 \u201cLe Troubadour,\u201d <a href=\"http://www.daumier-register.org/werkview.php?key=7186\">http://www.daumier-register.org/werkview.php?key=7186</a>, accessed 12/10/15.", "page_number": null, "url": null}, {"citation": "Petra Cordioli, email to Victoria Sears Goldman, Jan. 12, 2016, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Maison, K. E. <em>Honore\u0301 Daumier; Catalogue Raisonne\u0301 of the Paintings, Watercolours, and Drawings</em>. [Greenwich, Conn.]: New York Graphic Society, 1968.", "page_number": null, "url": null}, {"citation": "Museum of Modern Art (New York, N.Y.), and Alfred H. Barr. <em>Eighth Loan Exhibition: Corot, Daumier ; October 16-November 23, 1930</em>. New York: [Plandome Press], 1930.", "page_number": null, "url": null}, {"citation": "Fuchs, Eduard. <em>Der maler Daumier</em>. Mu\u0308nchen: A. Langen, 1930. &lt;http://purl.access.gpo.gov/GPO/LPS15367&gt;.", "page_number": null, "url": null}, {"citation": "\u201cThe Daumier Register,\u201d DR number 7186 \u201cLe Troubadour,\u201d <a href=\"http://www.daumier-register.org/werkview.php?key=7186\">http://www.daumier-register.org/werkview.php?key=7186</a>, accessed 12/10/15.", "page_number": null, "url": null}, {"citation": "Weitz, Ulrich.  \u201cDer Sammler Eduard Fuchs: \u2018Das Wesen der Revolution ist das Wesen der Daumierschen Kunst.\u2019\u201d <em>\u201cDaumier ist ungeheuer!\u201d Gem\u00e4lde, Handzeichnungen, Grafiken, Bronzen.  </em>Berlin: Nicolai, 2013.", "page_number": null, "url": null}, {"citation": "Dr. Bernhard Kosel, email to Victoria Sears Goldman, Dec. 26, 2015, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Dr. Bernhard Kosel, email to Victoria Sears Goldman, Jan. 12, 2016, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "William Robinson, email to Christine Edmonson and June de Phillips, March 3, 2009, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "\u201cThe Daumier Register,\u201d DR number 7186 \u201cLe Troubadour,\u201d <a href=\"http://www.daumier-register.org/werkview.php?key=7186\">http://www.daumier-register.org/werkview.php?key=7186</a>, accessed 12/10/15.", "page_number": null, "url": null}, {"citation": "Maison, K. E. <em>Honore\u0301 Daumier; Catalogue Raisonne\u0301 of the Paintings, Watercolours, and Drawings</em>. [Greenwich, Conn.]: New York Graphic Society, 1968.", "page_number": null, "url": null}, {"citation": "\u201cThe Daumier Register,\u201d DR number 7186 \u201cLe Troubadour,\u201d <a href=\"http://www.daumier-register.org/werkview.php?key=7186\">http://www.daumier-register.org/werkview.php?key=7186</a>, accessed 12/10/15.", "page_number": null, "url": null}, {"citation": "William Robinson, email to Christine Edmonson and June de Phillips, March 3, 2009, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "\u201cThe Daumier Register,\u201d DR number 7186 \u201cLe Troubadour,\u201d <a href=\"http://www.daumier-register.org/werkview.php?key=7186\">http://www.daumier-register.org/werkview.php?key=7186</a>, accessed 12/10/15.", "page_number": null, "url": null}, {"citation": "", "page_number": "", "url": ""}, {"citation": "Klossowski, Erich. <em>Honore\u0301 Daumier</em>. Mu\u0308nchen, Germany: R. Piper, 1923.", "page_number": "Reproduced: no. 75, fig. 52", "url": null}, {"citation": "Fuchs, Eduard. \"Honore Daumier.\" <em>Cahiers d'Art </em>3 (1928): 185-197.", "page_number": "Reproduced: P. 196", "url": null}, {"citation": "Fuchs, Eduard. <em>Der maler Daumier</em>. Mu\u0308nchen, Germany: A. Langen, 1930.", "page_number": "Reproduced: no. 117", "url": null}, {"citation": "Coe, Nancy. <em>The History of the Collecting of European Paintings and Drawings in the City of Cleveland</em>. 1955.", "page_number": "Reproduced: p. 72, vol. 2", "url": null}, {"citation": "Maison, K. E. \"Further Daumier Studies-II: Preparatory Drawings for Paintings.\" <em>The Burlington Magazine</em> 98, no. 639 (June 1956): 199-205.", "page_number": "Reproduced: P. 200", "url": "http://www.jstor.org/stable/871814."}, {"citation": "Cleveland Museum of Art. <em>In Memoriam: Leonard C. Hanna, Jr.</em> Cleveland, OH: The Cleveland Museum of Art, 1958.", "page_number": "Reproduced: no. 7", "url": null}, {"citation": "\"Accessions of American and Canadian Museums.\" <em>The Art Quarterly</em> 21 (Spring 1958): 82-109.", "page_number": "Reproduced: P. 104", "url": null}, {"citation": "Francis, Henry S. \"Report for the Year 1958: Painting Department.\" <em>The Bulletin of The Cleveland Museum of Art XLVI</em>, no. 6 (June, 1959): 121-122.", "page_number": "Mentioned: p. 122", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 170", "url": "https://archive.org/details/CMAHandbook1966/page/n194"}, {"citation": "Rey, Robert. <em>Honore\u0301 Daumier</em>. New York, NY: H.N. Abrams, 1966.", "page_number": "Reproduced: p. 140", "url": null}, {"citation": "Maison, K. E. <em>Honore\u0301 Daumier: Catalogue Raisonne\u0301 of the Paintings, Watercolours, and Drawings, </em>Greenwich, CT:New York Graphic Society, 1968.", "page_number": "Reproduced: no. 186, pl. 137, vol. 1", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 170", "url": "https://archive.org/details/CMAHandbook1969/page/n194"}, {"citation": "Mandel, Gabriele. <em>L'opera pittorica completa di Daumier</em>. Milano, Italy: Rizzoli, 1971.", "page_number": "Reproduced: no. 269, plate 56", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 210", "url": "https://archive.org/details/CMAHandbook1978/page/n230"}, {"citation": "Morse, John D. <em>Old Master Paintings in North America: Over 3000 Masterpieces by 50 Great Artists</em>. New York, NY: Abbeville Press, 1979.", "page_number": "Reproduced: p. 88", "url": null}, {"citation": "Henning, Edward B. \u201cNew Paintings by Four Artists from Britain.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 69, no. 10 (December 1982): 311\u2013323.", "page_number": "Mentioned and reproduced: p. 117-119, fig. 10", "url": "http://www.jstor.org/stable/25159795"}, {"citation": "Borowitz, Helen O. \"Three Guitars: Reflections of Italian Comedy in Watteau, Daumier, and Picasso.\" <em>The Bulletin of The Cleveland Museum of</em> <em>Art LXXI</em>, no.4 (April, 1984):116-129.", "page_number": "Reproduced: p. 120, fig. 7", "url": null}, {"citation": "Chong, Alan. <em>European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogue.</em> Cleveland, Ohio: Cleveland Museum of Art, 1993.", "page_number": "Reproduced: P. 53", "url": null}, {"citation": "Laughton, Bruce. <em>Honore\u0301 Daumier</em>. New Haven, CT: Yale University Press, 1996", "page_number": null, "url": null}, {"citation": "Laughton, Bruce. <em>Honore\u0301 Daumier</em>. New Haven, CT:Yale University Press, 1996.", "page_number": "Mentioned: p. 146-147", "url": null}, {"citation": "Loyette, Henri. <em>Daumier, 1808-1879: Muse\u0301e des Beaux-Arts du Canada, Ottawa, 11 juin-6 septembre 1999 ; Galeries nationales du Grand Palais, Paris, 5 octobre 1999-3 janvier 2000 ; The Phillips Collection, Washington, 19 fe\u0301vrier-14 mai 2000</em>. Paris, Fr\u0301ance: Reunion des musees nationaux, 1999.", "page_number": "Reproduced: p. 74-75; cat. no. 37", "url": null}, {"citation": "Fohr, Robert. <em>Daumier: sculpteur et peintre</em>. Paris, France: Adam Biro, 1999.", "page_number": "Reproduced: p. 128-129", "url": null}, {"citation": "D'Argencourt, Louise and Roger Diederen. <em>The Cleveland Museum of Art: Catalogue of Paintings, Part Four; European Paintings of the 19th Century. </em>Cleveland, OH: The Cleveland Museum of Art, 1999.", "page_number": "Reproduced: p. 70", "url": null}, {"citation": "Seligman, Isabel. <em>Lines of Thought: Drawing from Michelangelo to Now.</em> [London]: Thames &amp; Hudson Ltd.: In collaboration with the British Museum, 2016.", "page_number": "Reproduced: p. 109, fig. 39", "url": null}], "url": "https://clevelandart.org/art/1958.23", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1958.23/1958.23_web.jpg", "width": "595", "height": "893", "filesize": "412396", "filename": "1958.23_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1958.23/1958.23_print.jpg", "width": "2264", "height": "3400", "filesize": "5874925", "filename": "1958.23_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1958.23/1958.23_full.tif", "width": "3996", "height": "6000", "filesize": "71961232", "filename": "1958.23_full.tif"}}, "alternate_images": [], "creditline": "Bequest of Leonard C. Hanna Jr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Victoire and Alfred Rankin Jr. Gallery", "athena_id": 135214, "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": "1958-11-29T00:00:00", "sortable_date": 1868, "date_added_to_oa": null, "date_text": "1868\u201373", "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": "2026-07-01 11:21:40.271000"}, {"id": 149978, "accession_number": "1980.202", "share_license_status": "CC0", "tombstone": "Anna Dummer Powell, 1764. John Singleton Copley (American, born The Thirteen Colonies, 1738\u20131815). Oil on canvas; framed: 143.5 x 119 x 7 cm (56 1/2 x 46 7/8 x 2 3/4 in.); unframed: 126.6 x 100.6 cm (49 13/16 x 39 5/8 in.). The Cleveland Museum of Art, Gift of Ellery Sedgwick Jr., in memory of Mabel Cabot Sedgwick, 1980.202", "current_location": "204 Colonial American", "title": "Anna Dummer Powell", "creation_date": "1764", "creation_date_earliest": 1764, "creation_date_latest": 1764, "artists_tags": ["male"], "culture": ["United States"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 143.5 x 119 x 7 cm (56 1/2 x 46 7/8 x 2 3/4 in.); Unframed: 126.6 x 100.6 cm (49 13/16 x 39 5/8 in.)", "dimensions": {"framed": {"height": 1.435, "height_inch": 56, "height_inch_fraction": 0.5, "width": 1.19, "width_inch": 46, "width_inch_fraction": 0.875, "depth": 0.07, "depth_inch": 2, "depth_inch_fraction": 0.75}, "unframed": {"height": 1.266, "height_inch": 49, "height_inch_fraction": 0.8125, "width": 1.006, "width_inch": 39, "width_inch_fraction": 0.625}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 304521, "title": "Year in Review: 1980", "description": "<i>Year in Review: 1980</i>. The Cleveland Museum of Art (organizer) (June 24-July 19, 1981).", "opening_date": "1981-06-24T04:00:00"}], "legacy": [{"description": "Boston, Musuem of Fine Arts, Boston, Loan Exhibition of One Hundred Colonial Portraits (19 June - 21 September 1930), illus. p. 72.", "opening_date": "1930-06-19T00:00:00"}, {"description": "Washington, National Gallery of Art, John Singleton Copley, 1738-1815 (18 September - 31 October 1965), traveled to New York, The Metropolitan Museum of Art (20 November 1965 - 2 January 1966), traveled to Boston, Museum of Fine Arts (22 January - 6 March 1966); exhibition catalogue, pp. 36, 136, illus. no. 21.", "opening_date": "1965-09-18T00:00:00"}, {"description": "Cleveland, Cleveland Museum of Art, Year in Review for 1981 (1981).", "opening_date": "1981-01-01T00:00:00"}]}, "provenance": [{"description": "The Cleveland Museum of Art, Cleveland, Ohio", "citations": [], "footnotes": [], "date": "1980-", "sortorder": 1}, {"description": "Ellery Sedgwick, Jr. [1908-1991], Cleveland, OH, to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "By 1937-1980", "sortorder": 2}, {"description": "Mabel Cabot Sedgwick [1873-1937], by descent to her son, Ellery Sedgwick, Jr.", "citations": [], "footnotes": null, "date": "By 1920-by 1937", "sortorder": 3}, {"description": "Elizabeth Rogers Mason Cabot [1834-1920], by descent to her daughter, Mabel Cabot Sedgwick", "citations": [], "footnotes": [], "date": "-by 1920", "sortorder": 4}, {"description": "Anna Powell Rogers?", "citations": [], "footnotes": ["<div><!--block-->There is question as to whether this painting was ever owned by Anna Powell Rogers.&nbsp; The suggestion comes from Frank W. Bayley's \"The Life and Works of John Singleton Copley\" (1915), which lists \"Miss A.P. Rogers\" as the current owner of the portrait.&nbsp; A note in the curatorial file, however, remarks that Ellery Sedgwick, Jr. did not believe she owned the painting, but rather thought that Mrs. Henry Rogers passed it directly to Elizabeth Cabot.&nbsp;</div>"], "date": "By 1915", "sortorder": 5}, {"description": "Mr. or Mrs. Henry Rogers, possibly by descent to Mrs. Rogers' sister, Elizabeth Cabot", "citations": [], "footnotes": ["<div><!--block-->Barbara Neville Parker's and Anne Bolling Wheeler's <em>John Singleton Copley</em> (1938) includes Mrs. Henry Rogers in the provenance, while Augustus Thorndike Perkin's <em>A Sketch of the Life and a List of Some of the Works of John Singleton Copley </em>(1873) lists Henry Rogers as the current owner. &nbsp;</div>"], "date": "By 1873", "sortorder": 6}, {"description": "Anna Powell Perkins, Boston, by descent to her granddaughter, Mrs. Henry Rogers, or to Mr. Henry Rogers", "citations": [], "footnotes": [], "date": "By 1783", "sortorder": 7}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The museum also owns Copley\u2019s original bill of sale for this painting and its frame.", "early_education_description": null, "artlens_description": null, "description": "Less than two months before the 80-year-old Powell passed away, one of her sons commissioned this portrait in order to commemorate her life and create an heirloom for future generations. According to the sitter\u2019s granddaughter, Powell was \u201ca little woman of sober conviction and strong Presbyterian faith.\u201d The painting passed through a line of female descendants until shortly before it was given to the museum.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60474387"], "internet_archive": ["https://archive.org/details/clevelandart-1980.202-anna-dummer-powell"]}, "citations": [{"citation": "Handwritten notations on letter from Ellery Sedgwick, Jr. to Sherman Lee, Sept. 4, 1980, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": null, "page_number": null, "url": null}, {"citation": "Linda Jackson, letter to Ellery Sedgwick, Jr., June 7, 1982, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Handwritten notations on letter from Ellery Sedgwick, Jr. to Sherman Lee, Sept. 4, 1980, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Handwritten notations on letter from Ellery Sedgwick, Jr. to Sherman Lee, Sept. 4, 1980, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Note written by \u201cL,\u201d in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Linda Jackson, letter to Ellery Sedgwick, Jr., June 7, 1982, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": null, "page_number": null, "url": null}, {"citation": "Note written by \u201cL,\u201d in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Linda Jackson, letter to Ellery Sedgwick, Jr., June 7, 1982, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Linda Jackson, letter to Ellery Sedgwick, Jr., June 7, 1982, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "<br>Handwritten notations on letter from Ellery Sedgwick, Jr. to Sherman Lee, Sept. 4, 1980, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Linda Jackson, letter to Ellery Sedgwick, Jr., June 7, 1982, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Handwritten notations on letter from Ellery Sedgwick, Jr. to Sherman Lee, Sept. 4, 1980, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Parker, Barbara Neville, and Anne Bolling Wheeler. <em>John Singleton Copley; American Portraits in Oil, Pastel, and Miniature</em>. Boston, Mass: Museum of Fine Arts, 1938.", "page_number": null, "url": null}, {"citation": "Maine Historical Society. <em>Collections of the Maine Historical Society</em>. Portland, Me: Maine Historical Society, 1831.", "page_number": null, "url": null}, {"citation": "Handwritten notations on letter from Ellery Sedgwick, Jr. to Sherman Lee, Sept. 4, 1980, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Linda Jackson, letter to Ellery Sedgwick, Jr., June 7, 1982, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Lee, Sherman E. \u201cThe Year in Review for 1980.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 68, no. 6 (June 1981): 163\u2013219.", "page_number": "Reproduced: Back Cover; Mentioned: p. 212, no. 39", "url": "http://www.jstor.org/stable/25159730"}, {"citation": "Adams, Henry. <em>What's American about American art?: a gallery tour in the Cleveland Museum of Art. </em>Cleveland: Cleveland Museum of Art, 2008.", "page_number": "Reproduced: p. 38 - 39", "url": ""}], "url": "https://clevelandart.org/art/1980.202", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1980.202/1980.202_web.jpg", "width": "713", "height": "893", "filesize": "373611", "filename": "1980.202_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1980.202/1980.202_print.jpg", "width": "2713", "height": "3400", "filesize": "5154603", "filename": "1980.202_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1980.202/1980.202_full.tif", "width": "3665", "height": "4593", "filesize": "50524808", "filename": "1980.202_full.tif"}}, "alternate_images": [], "creditline": "Gift of Ellery Sedgwick Jr., in memory of Mabel Cabot Sedgwick", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Leigh and Mary Carter Gallery", "athena_id": 149978, "creators": [{"id": 2409, "description": "John Singleton Copley (American, born The Thirteen Colonies, 1738\u20131815)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1738", "death_year": "1815", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1980-12-19T00:00:00", "sortable_date": 1764, "date_added_to_oa": null, "date_text": "1764", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "cover", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Mrs. Anna Dummer Powell"], "is_highlight": false, "updated_at": "2026-10-07 12:13:22.156000"}, {"id": 129300, "accession_number": "1952.17", "share_license_status": "CC0", "tombstone": "George III, 1783. Benjamin West (American, born The Thirteen Colonies, 1738\u20131820). Oil on canvas; framed: 152 x 127 x 9.5 cm (59 13/16 x 50 x 3 3/4 in.); unframed: 126.5 x 101 cm (49 13/16 x 39 3/4 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. Lawrence S. Robbins, 1952.17", "current_location": "204 Colonial American", "title": "George III", "creation_date": "1783", "creation_date_earliest": 1783, "creation_date_latest": 1783, "artists_tags": ["male"], "culture": ["United States"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 152 x 127 x 9.5 cm (59 13/16 x 50 x 3 3/4 in.); Unframed: 126.5 x 101 cm (49 13/16 x 39 3/4 in.)", "dimensions": {"framed": {"height": 1.52, "height_inch": 59, "height_inch_fraction": 0.8125, "width": 1.27, "width_inch": 50, "width_inch_fraction": 0.0, "depth": 0.095, "depth_inch": 3, "depth_inch_fraction": 0.75}, "unframed": {"height": 1.265, "height_inch": 49, "height_inch_fraction": 0.8125, "width": 1.01, "width_inch": 39, "width_inch_fraction": 0.75}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right: \"B. West. 17[?]3\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 445018, "title": "Heritage Kingston", "description": "<i>Heritage Kingston</i>. Agnes Etherington Art Center/ Queen's University, Kingston, Ontario, Canada (organizer) (June 3-October 27, 1973).", "opening_date": "1973-06-03T04:00:00"}, {"id": 444306, "title": "The Dye is Now Cast, 1774 - 1776", "description": "<i>The Dye is Now Cast, 1774 - 1776</i>. National Portrait Gallery, Washington, DC, Washington, DC (organizer) (April 19-November 16, 1975).", "opening_date": "1975-04-19T04:00:00"}, {"id": 311444, "title": "Object Lessons: Cleveland Creates an Art Museum", "description": "<i>Object Lessons: Cleveland Creates an Art Museum</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 7-September 8, 1991).", "opening_date": "1991-06-07T04:00:00"}], "legacy": [{"description": "London, The Royal Academy of Arts, (1783 (73?)). see Algernon Graves, The Royal Academy of Arts: A Complete Dictionary of Contributors and Their Work from its Foundation in 1769 to 1904; see von Erffa and Staley's entry on painting for citation; if 1783, no. 73, p. 214.", "opening_date": "1904-01-01T00:00:00"}, {"description": "<em>The Inaugural Exhibition</em>, The Cleveland Museum of Art, Cleveland, OH (6 June - 20 September 1916). listed p. 44, cat. no. 163, mistitled Portrait of the Duke of York.", "opening_date": "1916-06-06T00:00:00"}, {"description": "<em>Heritage Kingston</em>, Agnes Etherington Art Centre, Queen's University at Kingston, Ontario (3 June - 28 October 1973). cat. no. 26, pp. 34-35, illus. p. 34.", "opening_date": "1973-06-03T00:00:00"}, {"description": "<em> \"The Dye is Now Cast\" The Road to American Independence, 1774-1776,</em> The National Portrait Gallery, Washington, D.C. (19 April - 16 November 1975). cat. no. 92, illus. p. 146.", "opening_date": "1975-04-19T00:00:00"}, {"description": "<em>The World Turned Upside Down</em>, Yorktown Victory Center, Yorktown, VA (9 May - 31 December 1981).", "opening_date": "1981-05-09T00:00:00"}, {"description": "<em>British New York 1664-1783</em>, Museum of the City of New York, New York (15 April - 27 November 1983). illus. inside pamphlet in color.", "opening_date": "1983-04-15T00:00:00"}]}, "provenance": [{"description": "Dr. T. Fisher, Sidcup, Kent, England", "citations": [], "footnotes": [], "date": "1910", "sortorder": null}, {"description": "(S.T. Smith & Son, London, England)", "citations": [], "footnotes": [], "date": null, "sortorder": 2}, {"description": "(Vose Gallery, Boston, MA)", "citations": [], "footnotes": [], "date": "1914", "sortorder": 3}, {"description": "Otto Miller, Cleveland, OH", "citations": [], "footnotes": [], "date": "1919", "sortorder": 4}, {"description": "Elsa Woolworth Miller, Cleveland, OH", "citations": [], "footnotes": [], "date": null, "sortorder": 5}, {"description": "(Sale: Kende Galleries at Gimbel Brothers, New York, October 14, 1944)", "citations": [], "footnotes": [], "date": "October 14, 1944", "sortorder": 6}, {"description": "Mr. and Mrs. Lawrence S. Robbins, Shaker Heights, OH, gifted to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "-1952", "sortorder": 7}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1952-", "sortorder": 8}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Over the king's shoulder is a cape trimmed with ermine, a fur associated with royalty.", "early_education_description": null, "artlens_description": null, "description": "King George III commissioned more than 80 paintings from West, including this portrait that celebrates his military leadership by presenting him in a suit of armor. Such an image likely was intended to bolster George III's reputation, which had been tarnished the previous year when he was forced to formally recognize American independence.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60515945"], "internet_archive": ["https://archive.org/details/clevelandart-1952.17-george-iii"]}, "citations": [{"citation": "\"A Check List: American Paintings and Watercolors of the Eighteenth, Nineteenth, and Early Twentieth Centuries in the Cleveland Museum of Art.\" <em>The Bulletin of the Cleveland Museum of Art</em> 60, no.1 (January 1973).", "page_number": "Reproduced: p.35, no.186", "url": "www-jstor-org.ingallslibrary.idm.oclc.org/stable/25152465?seq=15#metadata_info_contents"}, {"citation": "<em> \"The Dye is Now Cast\" The Road to American Independence, 1774-1776,</em> The National Portrait Gallery, Washington, D.C. (19 April - 16 November 1975). cat. no. 92, illus. p. 146.", "page_number": "", "url": ""}, {"citation": "\"Kende Sales.\" <em>The Art Digest</em> (October 1, 1944).", "page_number": "Mentioned and reproduced: p.20 (misidentified as \"Duke of York\")", "url": null}, {"citation": "Freed, Kenneth J. \"How George III Helped the U.S.\" <em>The Bridgeport Connecticut Post</em> (August 17, 1975).", "page_number": "Reproduced (unpaginated)", "url": null}, {"citation": "Lafayette, Marie Joseph Paul Yves Roch Gilbert du Motier, Marquis de. <em>Lafayette in the Age of the American Revolution: Selected Letters and Papers 1776-1790</em>. Edited by Stanley J. Idzerda. Ithaca, NY: Cornell University Press, 1977.", "page_number": "Reproduced: p.336", "url": null}, {"citation": "Sotheby's, London. <em>British Paintings</em>. July 10 and July 17, 1985.", "page_number": "Mentioned under Lot 54", "url": null}, {"citation": "Erffa, Helmut von, and Allen Staley. <em>The Paintings of Benjamin West</em>. New Haven, CT: Yale University Press, 1986.", "page_number": "Mentioned and reproduced: p.466", "url": null}, {"citation": "Robertson, Bruce. \"Frederic A. Whiting: Founding the Museum with Art and Craft.\" In <em>Object Lessons: Cleveland Creates an Art Museum</em>. Edited by Evan H. Turner. Cleveland, OH: Cleveland Museum of Art, 1991.", "page_number": "Mentioned and reproduced: p.46", "url": null}, {"citation": "Bailyn, Bernard. <em>The Great Republic: A History of the American People</em>. Vol 1. Lexington, MA: D.C. Heath and Company, 1992.", "page_number": "Reproduced: p.224", "url": null}, {"citation": "Chong, Alan. <em>European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogue</em>. Cleveland, OH: Cleveland Museum of Art, 1993.", "page_number": "Reproduced: p.258", "url": null}, {"citation": "Hedberg, Gregory.<em> Yanks Paint Brits: From Benjamin West to Nelson Shanks, from King George III to the Princess of Wales. </em>Exh. Cat. New York, N.Y.: Hirschl &amp; Adler Galleries, 1996.", "page_number": "Mentioned and reproduced: p.8", "url": null}, {"citation": "Denver Art Museum. <em>600 Years of British Painting: The Berger Collection</em>. Exh. Cat. Denver, CO: Denver Art Museum, 1998.", "page_number": "Mentioned: p.140", "url": ""}, {"citation": "Griffin, Patrick. <em>America's Revolution</em>. New York, NY: Oxford University Press, 2013.", "page_number": "Reproduced: p.44", "url": null}, {"citation": "Ilchman, Frederick, Thomas S. Michie, C. D. Dickerson, and Esther Bell. <em>Casanova: The Seduction of Europe</em>. Boston, MA: MFA Publications, Museum of Fine Arts, Boston, 2017.", "page_number": "Reproduced: P. 195, fig. 99", "url": null}, {"citation": "Gengler, Matthew. \"You Ask, We Answer.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 59, no.5 (September/October 2019), 20.", "page_number": "Mentioned and Reproduced: P. 20.", "url": "archive.org/details/CMAMM2019-05/page/n9/mode/2up"}], "url": "https://clevelandart.org/art/1952.17", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1952.17/1952.17_web.jpg", "width": "720", "height": "900", "filesize": "186452", "filename": "1952.17_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1952.17/1952.17_print.jpg", "width": "2720", "height": "3400", "filesize": "2497673", "filename": "1952.17_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1952.17/1952.17_full.tif", "width": "10021", "height": "12526", "filesize": "376597996", "filename": "1952.17_full.tif"}}, "alternate_images": [{"web": {"url": "https://openaccess-cdn.clevelandart.org/1952.17/1952.17_alt0_web.jpg", "width": "720", "height": "900", "filesize": "193339"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1952.17/1952.17_alt0_print.jpg", "width": "2720", "height": "3400", "filesize": "3195416"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1952.17/1952.17_alt0_full.tif", "width": "10338", "height": "12921", "filesize": "400760748"}, "date_created": "2024-06-06T10:06:26", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1952.17/1952.17_alt1_web.jpg", "width": "732", "height": "900", "filesize": "234005"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1952.17/1952.17_alt1_print.jpg", "width": "2765", "height": "3400", "filesize": "2816852"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1952.17/1952.17_alt1_full.tif", "width": "9413", "height": "11573", "filesize": "326840264"}, "date_created": "2024-06-06T09:32:20", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1952.17/1952.17_alt2_web.jpg", "width": "710", "height": "893", "filesize": "445000"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1952.17/1952.17_alt2_print.jpg", "width": "2703", "height": "3400", "filesize": "5775389"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1952.17/1952.17_alt2_full.tif", "width": "3840", "height": "4831", "filesize": "55680244"}, "annotation": ""}], "creditline": "Gift of Mr. and Mrs. Lawrence S. Robbins", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Leigh and Mary Carter Gallery", "athena_id": 129300, "creators": [{"id": 2553, "description": "Benjamin West (American, born The Thirteen Colonies, 1738\u20131820)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1738", "death_year": "1820", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1952-01-18T00:00:00", "sortable_date": 1783, "date_added_to_oa": null, "date_text": "1783", "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": "2026-10-15 19:35:47.617000"}, {"id": 135456, "accession_number": "1958.45", "share_license_status": "Copyrighted", "tombstone": "The Harem , spring\u2013summer 1906. Pablo Picasso (Spanish, 1881\u20131973). Oil and graphite on canvas; framed: 174 x 130.5 x 11.4 cm (68 1/2 x 51 3/8 x 4 1/2 in.); unframed: 154.3 x 110 cm (60 3/4 x 43 5/16 in.); former: 163.2 x 120 x 6.1 cm (64 1/4 x 47 1/4 x 2 3/8 in.). The Cleveland Museum of Art, Bequest of Leonard C. Hanna Jr., 1958.45. \u00a9 Estate of  Pablo Picasso / Artists Rights Society (ARS), New York", "current_location": "223 20th Century Avant-Garde", "title": "The Harem ", "creation_date": "spring\u2013summer 1906", "creation_date_earliest": 1906, "creation_date_latest": 1906, "artists_tags": ["Latine and Hispanic Artists", "male"], "culture": ["Spain"], "technique": "oil and graphite on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 174 x 130.5 x 11.4 cm (68 1/2 x 51 3/8 x 4 1/2 in.); Unframed: 154.3 x 110 cm (60 3/4 x 43 5/16 in.); Former: 163.2 x 120 x 6.1 cm (64 1/4 x 47 1/4 x 2 3/8 in.)", "dimensions": {"framed": {"height": 1.74, "height_inch": 68, "height_inch_fraction": 0.5, "width": 1.305, "width_inch": 51, "width_inch_fraction": 0.375, "depth": 0.114, "depth_inch": 4, "depth_inch_fraction": 0.5}, "unframed": {"height": 1.543, "height_inch": 60, "height_inch_fraction": 0.75, "width": 1.1, "width_inch": 43, "width_inch_fraction": 0.3125}, "former": {"height": 1.632, "height_inch": 64, "height_inch_fraction": 0.25, "width": 1.2, "width_inch": 47, "width_inch_fraction": 0.25, "depth": 0.061, "depth_inch": 2, "depth_inch_fraction": 0.375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of  Pablo Picasso / Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "Signed upper left: \"Picasso\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 520773, "title": "Man: Glory, Jest, and Riddle: A Survey of Human From Through the Ages", "description": "<i>Man: Glory, Jest, and Riddle: A Survey of Human From Through the Ages</i>. San Francisco Museum of Modern Art, San Francisco, CA (organizer) (November 10, 1964-January 3, 1965).", "opening_date": "1964-11-10T05:00:00"}, {"id": 442780, "title": "Pablo Picasso: A Retrospective", "description": "<i>Pablo Picasso: A Retrospective</i>. The Museum of Modern Art, New York, NY (organizer) (May 22-September 16, 1980).", "opening_date": "1980-05-22T04:00:00"}, {"id": 442184, "title": "Pablo Picasso", "description": "<i>Pablo Picasso</i>. The National Museum of Modern Art, Tokyo, Tokyo, Japan (organizer) (co-organizer) (April 2-May 29, 1983); Kyoto Municipal Museum of Art, Kyoto, Japan (co-organizer) (June 10-July 24, 1983).", "opening_date": "1983-04-02T05:00:00"}, {"id": 442168, "title": "Picasso", "description": "<i>Picasso</i>. National Gallery of Victoria, Melbourne, Australia (co-organizer) (July 27-September 23, 1984); Art Gallery of New South Wales, Sydney, Australia (October 9-December 2, 1984).", "opening_date": "1984-07-27T04:00:00"}, {"id": 441970, "title": "Les Demoiselles D'Avignon (The Ladies of Avignon)", "description": "<i>Les Demoiselles D'Avignon (The Ladies of Avignon)</i>. Mus\u00e9e national Picasso-Paris, Paris, France (January 26-April 18, 1988); Museu Picasso, Barcelona, Spain (May 10-July 14, 1988).", "opening_date": "1988-01-26T05:00:00"}, {"id": 361423, "title": "Picasso, 1905-1906", "description": "<i>Picasso, 1905-1906</i>. Museu Picasso, Barcelona, Spain (organizer) (February 5-April 19, 1992); Kunstmuseum Bern, Bern, Switzerland (May 8-July 26, 1992).", "opening_date": "1992-02-05T05:00:00"}, {"id": 177096, "title": "Picasso:  The Early Years, 1892-1906", "description": "<i>Picasso:  The Early Years, 1892-1906</i>. National Gallery of Art (organizer) (March 30-July 27, 1997); Museum of Fine Arts, Boston (September 10, 1997-January 4, 1998).", "opening_date": "1997-03-30T00:00:00"}, {"id": 219144, "title": "1900", "description": "<i>1900</i>. Galeries Nationales du Grand Palais, 75008 Paris, France (March 14-June 26, 2000).", "opening_date": "2000-03-10T00:00:00"}, {"id": 219149, "title": "Picasso Erotique", "description": "<i>Picasso Erotique</i>. Galerie national du Jeu de Paume, Paris, France (February 19-May 15, 2001); Montr\u00e9al Museum of Fine Arts (June 15-September 15, 2001); Museu Picasso (October 25, 2001-January 20, 2002).", "opening_date": "2001-02-19T00:00:00"}, {"id": 219731, "title": "Picasso et Ingres", "description": "<i>Picasso et Ingres</i>. Mus\u00e9e national Picasso-Paris, Paris, France (March 16-June 21, 2004).", "opening_date": "2004-03-16T00:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. Vancouver Art Gallery, Vancouver, Canada (June 9-September 16, 2007); The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008); Frist Art Museum, Nashville, TN (February 15-June 1, 2008); Utah Museum of Fine Arts, Salt Lake City, UT (June 22-September 21, 2008); The Detroit Institute of Arts, Detroit, MI (October 12, 2008-January 18, 2009).", "opening_date": "2006-05-27T00:00:00"}, {"id": 220287, "title": "Picasso: Tradici\u00f3n y Vanguardia", "description": "<i>Picasso: Tradici\u00f3n y Vanguardia</i>. Museo Nacional del Prado, Madrid, Spain (organizer) (June 5-September 17, 2006).", "opening_date": "2006-06-05T00:00:00"}, {"id": 206339, "title": "Barcelona & Modernity: Picasso, Gaud\u00ed, Mir\u00f3, Dal\u00ed (1868-1939)", "description": "<i>Barcelona & Modernity: Picasso, Gaud\u00ed, Mir\u00f3, Dal\u00ed (1868-1939)</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 15, 2006-January 7, 2007); The Metropolitan Museum of Art, New York, NY (co-organizer) (March 4-June 3, 2007).", "opening_date": "2006-10-15T00:00:00"}, {"id": 367808, "title": "Picasso 1906. La Gran Transformaci\u00f3n", "description": "<i>Picasso 1906. La Gran Transformaci\u00f3n</i>. Museo Nacional Centro de Arte Reina Sof\u00cda, Madrid, Spain (organizer) (November 14, 2023-March 4, 2024) https://www.museoreinasofia.es/exposiciones/picasso-1906.", "opening_date": "2023-11-14T05:00:00"}, {"id": 317581, "title": "Picasso and Paper", "description": "<i>Picasso and Paper</i>. Royal Academy of Arts, London, United Kingdom of Great Britain and Northern Ireland (organizer) (co-organizer) (January 25-August 2, 2020) https://www.royalacademy.org.uk/exhibition/picasso-and-paper; The Cleveland Museum of Art, Cleveland, OH (co-organizer) (December 8, 2024-March 23, 2025).", "opening_date": "2024-12-08T05:00:00"}], "legacy": [{"description": "<em>In Memoriam: Leonard C. Hanna, Jr.</em>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 4-April 7, 1958).", "opening_date": "1958-03-04T05:00:00Z"}, {"description": "<em>Pictures Collected by Yale Alumni. </em>Yale University Art Gallery, New Haven, CT (organizer) (May 8-June 18, 1956)", "opening_date": "1956-05-08T04:00:00Z"}, {"description": "<em>Picasso \"Blue\" and \"Rose\" Periods: 1901\u20131906. </em>Jacques Seligmann &amp; Co., New York (organizer) (November 2-November 26, 1936)", "opening_date": "1936-11-02T05:00:00Z"}, {"description": "<em>The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition</em>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 26-October 4, 1936).", "opening_date": "1936-06-26T04:00:00Z"}, {"description": "<em>Century of Progress. </em>Art Institute of Chicago, Chicago, IL (June 1-November 1, 1933) (as Figures [Pink])", "opening_date": "1933-06-01T04:00:00Z"}, {"description": "<em>French Art Since Eighteen Hundred</em>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 8-December 8, 1929). [as Figures [Pink])", "opening_date": "1929-11-08T05:00:00Z"}, {"description": "<em>Twenty-Seventh International Exhibition of Paintings, </em>Carnegie Institute, Pittsburgh, PA (October 18-December 9, 1928). [as Figure (pink)]", "opening_date": "1928-10-18T05:00:00Z"}]}, "provenance": [{"description": "John Quinn [1870-1924], New York, NY", "citations": [], "footnotes": null, "date": "before 1924", "sortorder": null}, {"description": "(P. Rosenberg, New York, NY, 1928)", "citations": [], "footnotes": [], "date": "1928", "sortorder": 2}, {"description": "Leonard C. Hanna, Jr. [1889-1957], Cleveland, OH, by bequest to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1929-1958", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1958-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This painting dates from Picasso's Rose Period, named for the rosy pink and orange hues that dominate many of his compositions during this time. The Rose Period followed his Blue Period, and the colors are reflective of his mood. The Blue Period is connected to a period of depression following the death of his close friend Carlos Casagemas, while the happier tones of the Rose Period coincide with his happiness in his relationship with Fernande Olivier.", "early_education_description": null, "artlens_description": null, "description": "In 1904, Pablo Picasso abandoned the cool palette and somber mood of his Blue Period (1901\u20134)\u2014 exemplified by La Vie of 1903\u2014for the warmer, more sensual imagery of the Rose Period (1904\u20136). In the summer of 1906, he and his romantic partner Fernande Olivier visited Spain. Picasso sketched Olivier, who often served as a model for the artist, in private moments bathing and combing her hair. Such studies came to life in The Harem, Picasso\u2019s first large-scale representation of nude figures. He added a seated man who clasps a flower in one hand and a porr\u00f3n (a phallic-shaped drinking vessel) in the other.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60465144"], "internet_archive": []}, "citations": [{"citation": "Watson, F. <em>John Quinn Collection of Paintings, Watercolors, Drawings and Sculpture. </em>Huntington: Pidgeon Hill Press, 1926.", "page_number": "Mentioned: p. 13; Reproduced: p. 89.", "url": ""}, {"citation": "<em>Twenty-Seventh International Exhibition of Paintings, Carnegie Institute, Pittsburgh October 18-December 9, 1928. </em>Pittsburgh: Carnegie Institute, 1928.", "page_number": "Mentioned and reproduced: cat. 201", "url": ""}, {"citation": "Steinberg, Leo. \"The Philosophical Brothel, Part 1.\" <em>Art News </em>71, no. 5 (September 1972): 20-29.", "page_number": "Reproduced: p. 29. fig. 28", "url": ""}, {"citation": "Henning, Edward. \"Pablo Picasso: Bouteille, Verre, et Fourchette.\" <em>The Bulletin of the Cleveland Museum of Art </em>59, no. 7 (September 1972): 194-203.", "page_number": "Reproduced: p. 196, fig. 4", "url": "https://www.jstor.org/stable/25152438"}, {"citation": "Daix, Pierre. \"Picasso's Time of Decisive Encounters.\" <em>Art News </em>(April 1987): 136-141.", "page_number": "Mentioned and reproduced; p. 140", "url": ""}, {"citation": "Steinberg, Leo. \"The Philosophical Brothel.\" <em>October </em>44 (Spring 1988): 7-74.", "page_number": "Mentioned: p. 35; Reproduced: p. 34, fig. 30", "url": "985004319"}, {"citation": "Robert, Rosenblum. \"Picasso in G\u00f3sol: The Calm before the Storm.\" In <em>Picasso: The Early Years, 1892-1906. </em>Marilyn McCully, ed., 263-275. Washington: National Gallery of Art, 1997.", "page_number": "Mentioned: p. 265-266; Reproduced: p. 264, fig. 1", "url": ""}, {"citation": "<em>Picasso and Celestina: The Artist's Vision of the Procuress</em>. Newark, Delaware: Juan de la Cuesta, 2015.", "page_number": "Reproduced: p. 82, figure 17", "url": ""}, {"citation": "Steinberg, Leo. <em>Picasso: Selected Essays.</em> Edited by Sheila Schwartz. Chicago: The University of Chicago Press, 2022.", "page_number": "Mentioned and reproduced: p. 90-91, fig. 4.30", "url": ""}], "catalogue_raisonne": "Zervos I.321; Sutton/Lecaldano 274; Daix, Boudaille, Rosselet XV.40; Palau i Fabre 1266; PP 1906-073", "url": "https://clevelandart.org/art/1958.45", "images": {}, "alternate_images": [], "creditline": "Bequest of Leonard C. Hanna Jr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Michael J. Horvitz Family Gallery", "athena_id": 135456, "creators": [{"id": 2160, "description": "Pablo Picasso (Spanish, 1881\u20131973)", "extent": null, "qualifier": null, "role": "artist", "biography": "Pablo Ruiz Picasso (1881-1973), the most prolific and influential artist of the 20th century, shifted the emphasis of art from its traditional concern with beauty toward radical innovation. The son of an art teacher, Picasso demonstrated remarkable talents as a child and entered the royal art academy in Madrid at age sixteen. Less than a year later, he abandoned his studies and soon joined several avant-garde artist and anarchist groups in Barcelona and Paris. After passing through a succession of stylistic periods, most notably the Blue (1901-1904) and Rose (1904-1906) Periods, he collaborated with Georges Braque (1882-1963) in 1908 to invent Cubism, a revolutionary method of restructuring pictorial space. Picasso remained active until his death in 1973. Although his art still appears radical, many of his works are over one hundred years old. Cubism, perhaps the most important development in 20th-century art, was invented around 1908 by Pablo Picasso (1881-1973) and Georges Braque (1882-1963). The most revolutionary aspect of the style was not its obvious emphasis on geometric form; rather, it was the introduction of a radically new approach to configuring pictorial space. Since the Renaissance, artists had used various methods to create the illusion of distant space receding behind the canvas surface. The Cubists rejected that idea and collapsed space by compressing foreground, middle ground, and background into a continuous web of overlapping, intersecting planes. During the 1910s, other painters and sculptors embraced or adapted Cubism to their own ends. This revolutionary approach inspired a host of related movements and continues to influence the visual language of artists, architects, and designers throughout the world.", "name_in_original_language": null, "birth_year": "1881", "death_year": "1973", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1958-11-29T00:00:00", "sortable_date": 1906, "date_added_to_oa": null, "date_text": "spring\u2013summer 1906", "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": ["Figures in Pink"], "is_highlight": false, "updated_at": "2026-08-20 12:30:34.644000"}, {"id": 294175, "accession_number": "2017.1", "share_license_status": "Copyrighted", "tombstone": "Alabama, 1960. Norman Lewis (American, 1909\u20131979). Oil on canvas; overall: 122.6 x 184.5 cm (48 1/4 x 72 5/8 in.). The Cleveland Museum of Art, John L. Severance Fund, 2017.1. \u00a9 Estate of Norman W. Lewis; Courtesy of Michael Rosenfeld Gallery LLC, New York, NY", "current_location": "227 Abstract Expressionism", "title": "Alabama", "creation_date": "1960", "creation_date_earliest": 1960, "creation_date_latest": 1960, "artists_tags": ["male", "Black American Artists"], "culture": ["United States"], "technique": "Oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Overall: 122.6 x 184.5 cm (48 1/4 x 72 5/8 in.)", "dimensions": {"overall": {"height": 1.226, "height_inch": 48, "height_inch_fraction": 0.25, "width": 1.845, "width_inch": 72, "width_inch_fraction": 0.625}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of Norman W. Lewis; Courtesy of Michael Rosenfeld Gallery LLC, New York, NY", "inscriptions": [], "exhibitions": {"current": [{"id": 306886, "title": "Recent Acquisitions", "description": "<i>Recent Acquisitions</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 17-June 7, 2018).", "opening_date": "2018-03-17T04:00:00"}, {"id": 443702, "title": "Currents and Constellations: Black Art in Focus", "description": "<i>Currents and Constellations: Black Art in Focus</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 20-June 26, 2022).", "opening_date": "2022-02-20T05:00:00"}], "legacy": [{"description": "<em>Recent Acquisitions 2014-20</em>17. The Cleveland Museum of Art, Cleveland, OH (March 17, 2018-June 6, 2018).", "opening_date": "2018-03-17T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Norman Lewis was the son of parents who had emigrated to the U.S. from Bermuda.", "early_education_description": null, "artlens_description": null, "description": "During the Civil Rights Movement, Lewis sought to align his interest in abstraction with current events. With its black and white palette, <em>Alabama</em> offers a symbolic duality for a time entrenched in racial conflict. Furthermore, the painting's composition has prompted viewers to draw additional associations from its abstract shapes, such as a nighttime Ku Klux Klan gathering.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60482854"], "internet_archive": []}, "citations": [{"citation": "Litt, Steven. \"'Alabama:' A Top Acquisition.\" <em>The Plain Dealer </em>(Cleveland, OH), March 26, 2017.", "page_number": "Mentioned: p. A6; Reproduced: p. A6", "url": null}, {"citation": "O'Grady, Megan, \"Once Overlooked, Black Abstract Painters Are Finally Given Their Due,\" <em>New York Times Style Magazine, </em>February 14, 2021.<em><br></em>", "page_number": "Mentioned and Reproduced", "url": ""}, {"citation": "Litt, Steven. \"Cleveland Museum of Art Survey's America's Racial History Through Works by Modern, Contemporary Black Artists,\" <em>Plain Dealer, </em>February 27, 2022.", "page_number": "p. D-2.", "url": ""}, {"citation": "Bittencourt, Renata, \"Art for Times of Insurrection,\" in Adriano Pederosa and Rodrigo Moura, eds., <em>Melvin Edwards: Lynch Fragments</em>, exh. cat. (Museu de arte de S\u00e3o Paulo Assis Chateaubriand, Brazil, 2018).", "page_number": "Mentioned p. 16-17; reproduced p. 17.", "url": ""}, {"citation": "Amaki, Amalia K. \"The African American Aspect of American Art,\" in Stephen M. Sessler, ed., <em>American Art: Collecting and Connoisseurship</em> (London: Merrell, 2020).", "page_number": "Mention, P. 115.", "url": ""}, {"citation": "Disman, Barry. <em>Norman Lewis: A Retrospective: Catalogue</em>. New York: City University of New York, 1976.", "page_number": "Mentioned: p. 11", "url": null}, {"citation": "Conwill, Kinshasha, and David Craven. <em>Norman Lewis: Black Paintings 1946-1977</em>. New York: Studio Museum in Harlem, 1998.", "page_number": "Mentioned: p. 13, 23, 27, 32, 39; Reproduced: fig. 18", "url": null}, {"citation": "McNally, Owen. \"Black Tones, Bright Star.\" <em>Hartford Courant </em>(Hartford, CT), March 28, 1999.", "page_number": "Mentioned", "url": "https://www.courant.com/news/connecticut/hc-xpm-1999-03-28-9903280453-story.html"}, {"citation": "Damsker, Matt. \"Transcending Race, Refining Abstraction.\" <em>Hartford Courant </em>(Hartford, CT), April 4, 1999.", "page_number": "Mentioned", "url": null}, {"citation": "Zimmer, William. \"The Color Black: On the Painter's Canvas and the World.\" <em>The New York Times </em>(New York, NY), May 30, 1999.", "page_number": "Mentioned", "url": null}, {"citation": "Gibson, Ann Eden. \"Diaspora and Ritual: Norman Lewis's Civil Rights Paintings.\" <em>Third Text </em>45 (June 2008).", "page_number": "Mentioned: 31, 39, 42", "url": null}, {"citation": "Wood, Sara. \"\"Pure Eye Music\": Norman Lewis, Abstract Expressionism, and Bebop. In <em>The Hearing Eye: Jazz &amp; Blues Influences in African American Visual Art, </em>edited by Graham Lock and David Murray. New York: Oxford University Press, 2009.", "page_number": "Mentioned: p. 101", "url": null}, {"citation": "Jones, Kellie. <em>EyeMinded: Living and Writing Contemporary Art. </em>Duke University Press, 2011.", "page_number": null, "url": null}, {"citation": "Tan, Mindy. \"Canvas Politics: Norman Lewis and the Art of Abstract Resistance.\" PhD diss., Purdue University, 2015.", "page_number": "Mentioned: p. 30; Reproduced: p. 139", "url": null}, {"citation": "Welch, John. \"Norman Lewis, Artist, Visionary, Humanist.\" <em>IRAAA, </em>2015.", "page_number": "Mentioned; Reproduced", "url": "http://iraaa.museum.hamptonu.edu/page/Norman-Lewis,-Artist,-Visionary,-Humanist"}, {"citation": "Welch, John. \"Discovering the Artistic Genius of Norman Lewis.\" <em>The Root</em>, December 20, 2015.", "page_number": "Reproduced", "url": "https://www.theroot.com/discovering-the-artistic-genius-of-painter-norman-lewis-1790862122"}, {"citation": "Bradford, Mark. \"Social Abstraction.' <em>The International Review of African American Art,</em> vol. 26 no. 1: 41-42.", "page_number": "Reproduced; p. 42", "url": ""}, {"citation": "Blood, Anne. \"The Indefatigable Curiosity of Norman Lewis.\" <em>Hyperallergic, </em>March 28, 2016.", "page_number": "Mentioned; Reproduced", "url": "https://hyperallergic.com/286221/the-indefatigable-curiosity-of-norman-lewis/"}, {"citation": "Vali, Murtaza.\"Norman Lewis: Pennsylvania Academy of Fine Arts.\" <em>Artforum </em>54 (April 2016).", "page_number": "Mentioned: p. 240", "url": null}, {"citation": "Qui, Serena. \"Norman Lewis: Pennsylvania Academy of Fine Arts.\" <em>Art in America </em>104 (June/July 2016).", "page_number": "Mentioned: p. 149; Reproduced: p. 149", "url": null}, {"citation": "Eisenman, Stephen. \"Painting Black and Blue: A Review of Norman Lewis at the Chicago Cultural Center.\" <em>Newcity Art </em>(Chicago, IL), December 16, 2016.", "page_number": "Mentioned: Reproduced", "url": "https://art.newcity.com/2016/12/16/painting-black-and-blue/"}, {"citation": "Litt, Steven. \"Civil Rights Era Masterpiece by Norman Lewis Leads Acquisitions at Cleveland Museum of Art.\" <em>Cleveland.com </em>(Cleveland, OH), March 21, 2017.", "page_number": "Mentioned", "url": "https://www.cleveland.com/arts/2017/03/norman_lewis_masterpiece_evoki.html"}, {"citation": "Schreiber, Kelley Notaro. \"Cleveland Museum of Art Announces New Acquisitions.\" The Cleveland Museum of Art, March 21, 2017,", "page_number": "Mentioned; Reproduced", "url": "https://www.clevelandart.org/about/press/media-kit/cleveland-museum-art-announces-new-acquisitions-4"}, {"citation": "Litt, Steven. \"Museum Director Wants More.\" <em>Sunday Plain Dealer </em>(Cleveland, OH), August 6, 2017.", "page_number": "Mentioned: p. A14", "url": null}, {"citation": "Grant, Daniel. \"Top Museum Acquisitions: 2017 In Review.\" <em>Antiques &amp; Fine Art Magazine, </em>Spring 2018.", "page_number": "Mentioned: p. 101", "url": null}, {"citation": "Cole, Mark. \u201cAcquisition Highlights: American Art.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 58, no. 2 (March/April 2018): 18.", "page_number": "Reproduced and Mentioned: P. 18", "url": "https://archive.org/details/CMAMM2018-02/page/n9/mode/2up"}, {"citation": "Griswold, William M. \u201cRecent Acquisitions (2013-20) at the Cleveland Museum of Art.\u201d <em>Burlington Magazine </em>163, no. 1414 (January 2021): 93-104.", "page_number": "Mentioned and reproduced: P. 99, no. 12; mentioned: P. 93", "url": ""}, {"citation": "Franke, Anselm. Parapolitics: Cultural Freedom and the Cold War. <br>Berlin : Haus der Kulturen der Welt ; Berlin : Sternberg Press 2021.", "page_number": "Reproduced: p. 434", "url": ""}], "url": "https://clevelandart.org/art/2017.1", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Frank H. and Nancy L. Porter Gallery", "athena_id": 294175, "creators": [{"id": 7921, "description": "Norman Lewis (American, 1909\u20131979)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1909", "death_year": "1979", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2017-02-27T00:00:00-05:00", "sortable_date": 1960, "date_added_to_oa": null, "date_text": "1960", "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": "2026-09-19 12:14:15.455000"}, {"id": 162323, "accession_number": "2002.55", "share_license_status": "Copyrighted", "tombstone": "Le D\u00e9jeuner sur l'Herbre, 1944. Max Ernst (German, 1891\u20131976). Oil on canvas; framed: 87.3 x 171.1 x 5.7 cm (34 3/8 x 67 3/8 x 2 1/4 in.); unframed: 68 x 150 cm (26 3/4 x 59 1/16 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 2002.55. \u00a9 1944  Artists Rights Society (ARS), New York/ ADAGP, Paris", "current_location": "225 German Expressionism & Surrealism", "title": "Le D\u00e9jeuner sur l'Herbre", "creation_date": "1944", "creation_date_earliest": 1944, "creation_date_latest": 1944, "artists_tags": ["male"], "culture": ["Germany, 20th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 87.3 x 171.1 x 5.7 cm (34 3/8 x 67 3/8 x 2 1/4 in.); Unframed: 68 x 150 cm (26 3/4 x 59 1/16 in.)", "dimensions": {"framed": {"height": 0.873, "height_inch": 34, "height_inch_fraction": 0.375, "width": 1.711, "width_inch": 67, "width_inch_fraction": 0.375, "depth": 0.057, "depth_inch": 2, "depth_inch_fraction": 0.25}, "unframed": {"height": 0.68, "height_inch": 26, "height_inch_fraction": 0.75, "width": 1.5, "width_inch": 59, "width_inch_fraction": 0.0625}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 1944  Artists Rights Society (ARS), New York/ ADAGP, Paris", "inscriptions": [{"inscription": "signed and dated lower right:  max ernst 44", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 205997, "title": "Max Ernst: A Retrospective", "description": "<i>Max Ernst: A Retrospective</i>. The Metropolitan Museum of Art, New York, NY (organizer) (April 4-July 10, 2005).", "opening_date": "2005-04-04T00:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. Beijing World Art Museum (May 26-August 27, 2006); Mori Art Center (September 16-November 26, 2006); Seoul Art Center, South Korea (December 22, 2006-March 28, 2007); Seoul Olympic Museum of Art, South Korea (April 7-May 20, 2007); Vancouver Art Gallery, Vancouver, Canada (June 9-September 16, 2007); The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008); Frist Art Museum, Nashville, TN (February 15-June 1, 2008); Utah Museum of Fine Arts, Salt Lake City, UT (June 22-September 21, 2008); The Detroit Institute of Arts, Detroit, MI (October 12, 2008-January 18, 2009).", "opening_date": "2006-05-27T00:00:00"}], "legacy": [{"description": "<em>Max Ernst</em>. Julien Levy Gallery, New York City. (April 24 - May 8, 1944).", "opening_date": "1944-04-24T00:00:00"}, {"description": "<em>Max Ernst: Thirty Years of his Work, A Survey</em>. Copley Galleries, Beverly Hills, CA. (January 10 - February 20, 1949).", "opening_date": "1949-01-10T00:00:00"}, {"description": "<em>Max Ernst</em>. Galerie Ren\u00e9 Drouin, Paris, (1950).", "opening_date": "1950-01-01T00:00:00"}, {"description": "<em>Max Ernst, A Retrospective</em>. Solomon R. Guggenheim Museum, New York; Galeries Nationales du Grand Palais, Paris. (1975).", "opening_date": "1975-01-01T00:00:00"}, {"description": "<em>Max Ernst: Retrospektive</em>. Haus der Kunst, Munich. (1979).", "opening_date": "1979-01-01T00:00:00"}, {"description": "<em>Max Ernst. A Retrospective</em>. Tate Gallery, London. (1991).", "opening_date": "1991-01-01T00:00:00"}, {"description": "<em>Surrealism: Two Private Eyes, The Nesuhi and Daniel Filipacchi Collections</em>. Solomon R. Guggenheim Museum, New York. (1999).", "opening_date": "1999-01-01T00:00:00"}]}, "provenance": [{"description": "William N. Copley, New York, acquired from the artist (1948); (Sotheby, Parke-Bernet, NY, William N. Copley Collection, Nov. 5-6, 1979, no. 51.); (Sotheby, Parke-Bernet, NY, Julien Levy Collection, Nov. 5, 1979, no. 50. ??) Daniel Filipacchi, Paris/New York", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Scientific analysis of this painting shows that the black background was added last.", "early_education_description": null, "artlens_description": null, "description": "This painting depicts the remains of a picnic on a cloth and a bottle of wine abandoned on the grass. Painted during World War II while the artist was in exile in the United States, the fish out of water has been seen as a symbol of suffering and the scene itself as a poisoned paradise. At the left Max Ernst painted a chalkboard, similar to daily specials in French restaurants. The text satirically alludes to \u00c9douard Manet\u2019s <em>Le D\u00e9jeuner sur l\u2019Herbe (Luncheon on the Grass)</em>, 1863, a painting that shocked viewers when first exhibited but later became celebrated as an early example of modern art.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60478429"], "internet_archive": []}, "citations": [{"citation": "<em>Beyond Painting: And Other Writings. </em>Translated by Dorothea Tanning and Ralph Manheim. New York: Wittenborn, Schultz, 1948.", "page_number": "Reproduced: p. 97", "url": ""}, {"citation": "Schneede, Uwe M. <em>Max Ernst. </em>Translated by R. W. Last. New York: Praeger, 1972.", "page_number": "Reproduced: p. 183, no. 357", "url": ""}, {"citation": "<em>Max Ernst: A Retrospective</em>. New York: Solomon R. Guggenheim Museum, 1975.", "page_number": "Mentioned and reproduced: p. 198, no. 205", "url": ""}, {"citation": "Quinn, Edward. <em>Max Ernst</em>. Boston: New York Graphic Society, 1977.", "page_number": "Reproduced: p. 241, no. 283", "url": null}, {"citation": "Werner Spies, ed. <em>Max Ernst: Retrospektive 1979: [Ausstellung, Haus Der Kunst Mu\u0308Nchen 17. Februar Bis 29. April 1979, Nationalgalerie Berlin 10. Mai Bis 15. Juli 1979]: Katalog. </em>Mu\u0308nchen: Prestel-Verlag, 1979.", "page_number": "Mentioned and reproduced: p. 321, no. 274", "url": ""}, {"citation": "Gimferrer, Pere. <em>Max Ernst</em>. New York: Rizzoli, 1983.", "page_number": "Mentioned: p. 126; Reproduced: no. 111", "url": ""}, {"citation": "Spies, Werner, Sigrid Metken, and Gu\u0308nter Metken. <em>Max Ernst: Werke 1939-195</em>3. Houston Texas, Ko\u0308ln: Menil Foundation; M. DuMont Schauberg, 1987.", "page_number": "Mentioned: p. 82; Reproduced: no. 2459", "url": ""}, {"citation": "Werner Spies, ed. <em>Max Ernst, a Retrospective.</em> London: Tate Gallery in association with Prestel, 1991.", "page_number": "Reproduced: p. 240, no. 212", "url": ""}, {"citation": "Derenthal, Ludger, and Ju\u0308rgen Pech.<em> Max Ernst.</em> [Paris]: Nouvelles e\u0301ditions franc\u0327aises, 1992.", "page_number": "Mentioned and reproduced: p. 211, ill. 348", "url": ""}, {"citation": "Turpin, Ian, and Julian Stallabrass. <em>Ernst.</em> 2nd ed., rev. and enl. London: Phaidon Books, 1993.", "page_number": "Mentioned and reproduced: p. 106-107, no. 38", "url": ""}, {"citation": "Weisberger, Edward, and Solomon R. Guggenheim Museum. <em>Surrealism, Two Private Eyes: The Nesuhi Ertegun and Daniel Filipacchi Collections. </em>New York, N.Y.: Guggenheim Museum: Hardcover edition distributed by Harry N. Abrams, 1999.", "page_number": "Reproduced: p. 144-145, no. 84, Vol. I", "url": ""}, {"citation": "Cleveland Museum of Art, \u201cMax Ernst Painting Featured Among Cleveland Museum of Art\u2019s New Acquisitions,\u201d June 25, 2002, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr4457"}, {"citation": "Robinson, William H., and Margaret Burgess. \"Luncheon with Max.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 43, no. 1 (January 2003): 4-5.", "page_number": "Mentioned and reproduced: p. 4-5", "url": "https://archive.org/details/CMAMM2003-01/page/n3/mode/2up"}, {"citation": "Spies, Werner, Sabine Rewald, and Metropolitan Museum of Art (New York, N.Y.). Max Ernst : A Retrospective. New York, New Haven: Metropolitan Museum of Art ; Yale University Press, 2005.", "page_number": "Reproduced: p. 247, no. 143", "url": ""}, {"citation": "Russell, John. <em>Max Ernst: Life and Work.</em> New York: H.N. Abrams, 1967.", "page_number": "Reproduced: no. 88; Mentioned: p. 347", "url": ""}], "url": "https://clevelandart.org/art/2002.55", "images": {}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 162323, "creators": [{"id": 8694, "description": "Max Ernst (German, 1891\u20131976)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1891", "death_year": "1976", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2002-06-03T00:00:00", "sortable_date": 1944, "date_added_to_oa": null, "date_text": "1944", "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": ["Luncheon on the Grass"], "is_highlight": false, "updated_at": "2026-05-01 06:52:24.059000"}, {"id": 144968, "accession_number": "1970.162", "share_license_status": "CC0", "tombstone": "A Home in the Wilderness, 1866. Sanford Robinson Gifford (American, 1823\u20131880). Oil on canvas; framed: 114.9 x 173.7 x 16.5 cm (45 1/4 x 68 3/8 x 6 1/2 in.); unframed: 76.8 x 135.7 cm (30 1/4 x 53 7/16 in.); former: 96 x 154.5 x 9 cm (37 13/16 x 60 13/16 x 3 9/16 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund; The Butkin Foundation; Dorothy Burnham Memorial Collection and various donors by exchange, 1970.162", "current_location": "206 American Landscape", "title": "A Home in the Wilderness", "creation_date": "1866", "creation_date_earliest": 1866, "creation_date_latest": 1866, "artists_tags": ["male"], "culture": ["United States"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 114.9 x 173.7 x 16.5 cm (45 1/4 x 68 3/8 x 6 1/2 in.); Unframed: 76.8 x 135.7 cm (30 1/4 x 53 7/16 in.); Former: 96 x 154.5 x 9 cm (37 13/16 x 60 13/16 x 3 9/16 in.)", "dimensions": {"framed": {"height": 1.149, "height_inch": 45, "height_inch_fraction": 0.25, "width": 1.737, "width_inch": 68, "width_inch_fraction": 0.375, "depth": 0.165, "depth_inch": 6, "depth_inch_fraction": 0.5}, "unframed": {"height": 0.768, "height_inch": 30, "height_inch_fraction": 0.25, "width": 1.357, "width_inch": 53, "width_inch_fraction": 0.4375}, "former": {"height": 0.96, "height_inch": 37, "height_inch_fraction": 0.8125, "width": 1.545, "width_inch": 60, "width_inch_fraction": 0.8125, "depth": 0.09, "depth_inch": 3, "depth_inch_fraction": 0.5625}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right: SR Gifford. 1866.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301391, "title": "Year in Review: 1970", "description": "<i>Year in Review: 1970</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 10-March 7, 1971).", "opening_date": "1971-02-10T05:00:00"}, {"id": 207218, "title": "Hudson River School Visions: The Landscapes of Sanford R. Gifford", "description": "<i>Hudson River School Visions: The Landscapes of Sanford R. Gifford</i>. The Metropolitan Museum of Art, New York, NY (organizer) (October 7, 2003-February 8, 2004); Amon Carter Museum, Fort Worth, TX (March 6-May 16, 2004); National Gallery of Art, Landover, MD (June 27-September 26, 2004).", "opening_date": "2003-10-07T00:00:00"}], "legacy": [{"description": "Paris, Exposition Universelle (1867) as Un Interieur dans le desert, no. 19; as belonging to M. Knoedler", "opening_date": null}, {"description": "New York, NY, Metropolitan Museum of Art, Gifford Memorial (1880-81), accompanying publication of Memorial Catalogue.", "opening_date": null}, {"description": "Cleveland, OH, Cleveland Museum of Art, Year in Review, 1970 (7 February - 10 March 1971), no cat (see 1971 Bulletin).", "opening_date": "1971-02-07T00:00:00"}, {"description": "Santa Barbara, CA, Santa Barbara Museum of Art, America in Art: Fifty Great Paintings Celebrating Fifty Years (6 June - 11 August 1991), p. 40, ill. p. 41", "opening_date": "1991-06-06T00:00:00"}, {"description": "Metropolitan Musuem of Art (10/7/2003 - 2/8/2004); Amon Carter Museum (3/6/2004 - 5/16/2004); and National Gallery of Art (6/27/2004 - 9/26/2004): \"Hudson River School: The Landscapes of Sanford R. Gifford\" exh. cat. no. 70, p.172-174.", "opening_date": "2003-10-07T00:00:00"}]}, "provenance": [{"description": "The Cleveland Museum of Art, Cleveland, Ohio", "citations": [], "footnotes": [], "date": "1970-", "sortorder": 1}, {"description": "(Sloan & Roman, Inc., New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "Late 1960s-1970", "sortorder": 2}, {"description": "(The Terry DeLapp Gallery, Los Angeles, CA, sold to Sloan & Roman)1", "citations": [], "footnotes": ["<div><!--block-->1 A hand-typed fact sheet (in CMA curatorial file) presumably produced at the time of the painting\u2019s acquisition in 1970 lists a \u201cJohn Johnson\u201d in the provenance following the Terry DeLapp Gallery.&nbsp; While it is possible that Johnson, who appears to have owned or bought/sold at least one other Gifford painting, acted as an intermediary or agent in the sale of the painting, DeLapp emphatically states that he sold the painting directly to Sloan &amp; Roman.</div>"], "date": "c.1960-late1960s", "sortorder": 3}, {"description": "(T. Gilbert Brouillette [1906-1970], Staten Island, NY, sold to the Terry DeLapp Gallery) 1", "citations": [], "footnotes": ["<div><!--block-->1 Although Brouillette was a collector as well as a dealer, Terry DeLapp, to whom Brouillette sold the painting, indicates Brouillette acted as a dealer in the sale of this painting.&nbsp; Brouillette\u2019s papers at the Archives of American Art contain no reference to the painting.</div>"], "date": "Until c. 1960", "sortorder": 4}, {"description": "James M. Hartshorne [d. 1887?], New York, NY?", "citations": [], "footnotes": [], "date": "By 1880", "sortorder": 5}, {"description": "(M. Knoedler & Co., New York, NY) 1", "citations": [], "footnotes": ["<div><!--block-->1 The painting was exhibited at the Paris Universal Exposition of 1867, and the catalogue lists it as belonging to M. Knoedler, Esq.</div>"], "date": "By 1867", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Gifford considered this painting to be one of his finest creations.", "early_education_description": null, "artlens_description": null, "description": "Gifford\u2019s view of Mount Hayes in New Hampshire records human intrusion into a remote landscape. On the left riverbank a log cabin stands amid a recently cleared patch of land with several tree stumps, while figures in its doorway greet a man who has arrived with a canoe of supplies.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q20737705"], "internet_archive": ["https://archive.org/details/clevelandart-1970.162-a-home-in-the-wilder"]}, "citations": [{"citation": "Terry DeLapp, email to Victoria Sears Goldman, Jan. 7, 2014, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "B. Gertrude Denton, letter to William S. Talbot, April 20, 1971, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Terry DeLapp, email to Victoria Sears Goldman, Jan. 7, 2014, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Weiss, Ila Joyce Solomon. <em>Sanford Robinson Gifford: (1823-1880)</em>. New York, N.Y., Columbia Univ., Diss., 1968.", "page_number": null, "url": null}, {"citation": "B. Gertrude Denton, letter to William S. Talbot, April 20, 1971, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Terry DeLapp, email to Victoria Sears Goldman, Jan. 7, 2014, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Metropolitan Museum of Art (New York, N.Y.), and John F. Weir. <em>A Memorial Catalogue of the Paintings of Sanford Robinson Gifford, N.A</em>. [New York]: [Press of F. Hart &amp; Co.], 1881.", "page_number": null, "url": null}, {"citation": "Weiss, Ila Joyce Solomon. <em>Sanford Robinson Gifford: (1823-1880)</em>. New York, N.Y., Columbia Univ., Diss., 1968.", "page_number": null, "url": null}, {"citation": "Blake, William P. <em>Reports of the United States Commissioners to the Paris Universal Exposition, 1867: Published Under Direction of the Secretary of State by Authority of the Senate of the United States</em>. Washington, D.C.: G.P.O., 1869.", "page_number": null, "url": null}, {"citation": "Weiss, Ila Joyce Solomon. <em>Sanford Robinson Gifford: (1823-1880)</em>. New York, N.Y., Columbia Univ., Diss., 1968", "page_number": null, "url": null}, {"citation": "\u201cA Check List. American Paintings and Water Colors of the Eighteenth, Nineteenth, and Early Twentieth Centuries in the Cleveland Museum of Art.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 60, no. 1 (January 1973): 21\u201335.", "page_number": "Mentioned: p. 26, no. 66", "url": "http://www.jstor.org/stable/25152465"}, {"citation": "Talbot, William S. \u201cLandscape and Light.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 60, no. 1 (January 1973): 9\u201320.", "page_number": "Mentioned and reproduced: p. 9-13, figs. 3-4; Reproduced: p. 18-19", "url": "http://www.jstor.org/stable/25152464"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 229", "url": "https://archive.org/details/CMAHandbook1978/page/n249"}, {"citation": "Adams, Henry. <em>What's American about American art?: a gallery tour in the Cleveland Museum of Art. </em>Cleveland: Cleveland Museum of Art, 2008.", "page_number": "Reproduced: p. 66 - 67", "url": ""}, {"citation": "Cole, Mark, \"Picture Perfect\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 48 no. 8, October 2008.", "page_number": "Mentioned and reproduced (detail), p. 7", "url": "https://archive.org/details/CMAMM2008-08/page/6"}, {"citation": "Greenwald, Diana Seave. \"The Big Picture: Thomas Moran\u2019s The Grand Ca\u00f1on of the Yellowstone and the Development of the American West.\" <em>Winterthur Portfolio</em> 49, no. 4 (2015): 175-210.", "page_number": "Mentioned and reproduced: P. 196-197", "url": "https://www.jstor.org/stable/26478147"}, {"citation": "Henry Francis du Pont Winterthur Museum. Winterthur Portfolio. Chicago: University of Chicago Press, 1964.", "page_number": "Reproduced and mentioned; pp. 196-197, fig. 15", "url": ""}], "url": "https://clevelandart.org/art/1970.162", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1970.162/1970.162_web.jpg", "width": "900", "height": "506", "filesize": "195547", "filename": "1970.162_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1970.162/1970.162_print.jpg", "width": "3400", "height": "1910", "filesize": "2082175", "filename": "1970.162_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1970.162/1970.162_full.tif", "width": "13720", "height": "7707", "filesize": "317245928", "filename": "1970.162_full.tif"}}, "alternate_images": [{"web": {"url": "https://openaccess-cdn.clevelandart.org/1970.162/1970.162_alt0_web.jpg", "width": "900", "height": "597", "filesize": "272796"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1970.162/1970.162_alt0_print.jpg", "width": "3400", "height": "2255", "filesize": "2905639"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1970.162/1970.162_alt0_full.tif", "width": "12201", "height": "8093", "filesize": "296256464"}, "date_created": "2019-08-01T20:33:43", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1970.162/1970.162_alt1_web.jpg", "width": "900", "height": "609", "filesize": ""}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1970.162/1970.162_alt1_print.jpg", "width": "3400", "height": "2300", "filesize": ""}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1970.162/1970.162_alt1_full.tif", "width": "11165", "height": "7553", "filesize": ""}, "date_created": "2019-08-01T19:45:09", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1970.162/1970.162_alt2_web.jpg", "width": "1263", "height": "839", "filesize": "768500"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1970.162/1970.162_alt2_print.jpg", "width": "3400", "height": "2259", "filesize": "5349105"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1970.162/1970.162_alt2_full.tif", "width": "4465", "height": "2966", "filesize": "39771420"}, "date_created": "2008-06-23T15:34:34", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1970.162/1970.162_alt3_web.jpg", "width": "1263", "height": "710", "filesize": "493703"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1970.162/1970.162_alt3_print.jpg", "width": "3400", "height": "1910", "filesize": "3388197"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1970.162/1970.162_alt3_full.tif", "width": "5000", "height": "2809", "filesize": "42156060"}, "date_created": "2004-10-12T14:53:44", "annotation": ""}], "creditline": "Mr. and Mrs. William H. Marlatt Fund; The Butkin Foundation; Dorothy Burnham Memorial Collection and various donors by exchange", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Baker & Hostetler LLP Gallery", "athena_id": 144968, "creators": [{"id": 2816, "description": "Sanford Robinson Gifford (American, 1823\u20131880)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1823", "death_year": "1880", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1970-12-18T00:00:00", "sortable_date": 1866, "date_added_to_oa": null, "date_text": "1866", "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": "2026-10-07 12:13:21.438000"}, {"id": 135420, "accession_number": "1958.42", "share_license_status": "Copyrighted", "tombstone": "Morning Glory with Black, 1926. Georgia O'Keeffe (American, 1887\u20131986). Oil on canvas; framed: 96.5 x 81.3 x 5.4 cm (38 x 32 x 2 1/8 in.); unframed: 91 x 75.5 cm (35 13/16 x 29 3/4 in.). The Cleveland Museum of Art, Bequest of Leonard C. Hanna Jr., 1958.42", "current_location": "226A American Modern", "title": "Morning Glory with Black", "creation_date": "1926", "creation_date_earliest": 1926, "creation_date_latest": 1926, "artists_tags": ["female"], "culture": ["United States"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 96.5 x 81.3 x 5.4 cm (38 x 32 x 2 1/8 in.); Unframed: 91 x 75.5 cm (35 13/16 x 29 3/4 in.)", "dimensions": {"framed": {"height": 0.965, "height_inch": 38, "height_inch_fraction": 0.0, "width": 0.813, "width_inch": 32, "width_inch_fraction": 0.0, "depth": 0.054, "depth_inch": 2, "depth_inch_fraction": 0.125}, "unframed": {"height": 0.91, "height_inch": 35, "height_inch_fraction": 0.8125, "width": 0.755, "width_inch": 29, "width_inch_fraction": 0.75}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Verso:  \"G OKeeffe -- 1926\" (white paint)", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 318718, "title": "January Show", "description": "<i>January Show</i>. Kingwood Center Gardens, Mansfield, OH (organizer) (January 11-31, 1959).", "opening_date": "1959-01-11T05:00:00"}, {"id": 703004, "title": "1959 January Show", "description": "<i>1959 January Show</i>. Kingwood Center Gardens, Mansfield, OH (organizer) (January 11-31, 1959).", "opening_date": "1959-01-11T05:00:00"}, {"id": 318721, "title": "The Precisionist View in American Art", "description": "<i>The Precisionist View in American Art</i>. Walker Art Center, Minneapolis, MN (organizer) (November 13-December 25, 1960); Whitney Museum of American Art, New York, NY (January 24-February 28, 1961); The Detroit Institute of Arts, Detroit, MI (March 21-April 23, 1961); Los Angeles County Museum of Art, Los Angeles, CA (May 17-June 18, 1961); Fine Arts Museum of San Francisco, Legion of Honor, San Francisco, CA (July 2-August 6, 1961).", "opening_date": "1960-11-13T05:00:00"}, {"id": 315762, "title": "Four Centuries of American Art", "description": "<i>Four Centuries of American Art</i>. Minneapolis Institute of Arts, MN (organizer) (co-organizer) (November 27, 1963-January 19, 1964).", "opening_date": "1963-11-27T05:00:00"}, {"id": 318730, "title": "Georgia O'Keeffe: An Exhibition of the work of the artist from 1915-1966", "description": "<i>Georgia O'Keeffe: An Exhibition of the work of the artist from 1915-1966</i>. Amon Carter Museum, Fort Worth, TX (organizer) (March 17-May 8, 1966).", "opening_date": "1966-03-17T05:00:00"}, {"id": 318738, "title": "First Indian Triennale of World Art", "description": "<i>First Indian Triennale of World Art</i>. Indian National Academy of Art, New Delhi, India (organizer) (February 10-March 30, 1968).", "opening_date": "1968-02-10T05:00:00"}, {"id": 301294, "title": "Works from the Contemporary Collection", "description": "<i>Works from the Contemporary Collection</i>. The Cleveland Museum of Art, Cleveland, OH (July 1-October 15, 1969).", "opening_date": "1969-07-01T04:00:00"}, {"id": 319852, "title": "Georgia O'Keeffe Retrospective Exhibition", "description": "<i>Georgia O'Keeffe Retrospective Exhibition</i>. Whitney Museum of American Art, New York, NY (organizer) (October 8-November 29, 1970); The Art Institute of Chicago, Chicago, IL (January 6-February 7, 1971); Fine Arts Museum of San Francisco, Legion of Honor, San Francisco, CA (March 15-April 30, 1971).", "opening_date": "1970-10-08T04:00:00"}, {"id": 310024, "title": "The Georgia O'Keeffe Gift", "description": "<i>The Georgia O'Keeffe Gift</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 4-November 15, 1987).", "opening_date": "1987-09-04T04:00:00"}, {"id": 310243, "title": "The Precisionist Aesthetic in American Art", "description": "<i>The Precisionist Aesthetic in American Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 24-April 9, 1989).", "opening_date": "1989-01-24T05:00:00"}, {"id": 213897, "title": "Georgia O'Keeffe: The Poetry of Things", "description": "<i>Georgia O'Keeffe: The Poetry of Things</i>. The Phillips Collection (organizer) (April 24-July 18, 1999); Georgia O'Keeffe Museum (August 14-October 10, 1999); The Dallas Museum of Art (October 30, 1999-January 30, 2000); Fine Arts Museum of San Francisco, Legion of Honor (February 19-May 14, 2000).", "opening_date": "1999-04-24T00:00:00"}, {"id": 177143, "title": "Modern Art in America: Alfred Stieglitz and His New York Galleries", "description": "<i>Modern Art in America: Alfred Stieglitz and His New York Galleries</i>. National Gallery of Art, Landover, MD (organizer) (January 28-April 22, 2001).", "opening_date": "2001-01-28T00:00:00"}, {"id": 227084, "title": "Made in U.S.A., l'art am\u00e9ricain, 1908-1943, entre nationalisme et internationalisme [FRAME]", "description": "<i>Made in U.S.A., l'art am\u00e9ricain, 1908-1943, entre nationalisme et internationalisme [FRAME]</i>. Mus\u00e9e des Beaux-Arts de Bordeaux, F-33000 Bordeaux, France (organizer) (October 5-December 31, 2001); Mus\u00e9e des Beaux-Arts de Rennes, Rennes, France (January 17-March 31, 2002); Mus\u00e9e Fabre, Montpellier, France (April 10-June 25, 2002).", "opening_date": "2001-10-05T00:00:00"}, {"id": 181802, "title": "The Persistence of Geometry: Form, Content and Culture in the Collection of the Cleveland Museum of Art", "description": "<i>The Persistence of Geometry: Form, Content and Culture in the Collection of the Cleveland Museum of Art</i>. Museum of Contemporary Art Cleveland (MOCA), Cleveland, OH (June 9-August 20, 2006).", "opening_date": "2006-06-09T00:00:00"}, {"id": 224250, "title": "Georgia O'Keeffe and the Women of the Stieglitz Circle", "description": "<i>Georgia O'Keeffe and the Women of the Stieglitz Circle</i>. High Museum of Art, Atlanta, GA (organizer) (February 9-May 4, 2008).", "opening_date": "2008-02-09T00:00:00"}, {"id": 218458, "title": "Georgia O'Keeffe: Abstraction", "description": "<i>Georgia O'Keeffe: Abstraction</i>. Whitney Museum of American Art, New York, NY (organizer) (September 17, 2009-January 17, 2010).", "opening_date": "2009-09-17T00:00:00"}, {"id": 317416, "title": "Georgia O'Keeffe: Living Modern", "description": "<i>Georgia O'Keeffe: Living Modern</i>. The Cleveland Museum of Art, Cleveland, OH (November 21, 2018-March 3, 2019).", "opening_date": "2018-11-23T05:00:00"}, {"id": 176944, "title": "Georgia O'Keeffe: Living Modern", "description": "<i>Georgia O'Keeffe: Living Modern</i>. The Cleveland Museum of Art, Cleveland, OH (November 21, 2018-March 3, 2019); Wichita Art Museum, Wichita, KS (March 29-June 23, 2019); Nevada Museum of Art, Reno, NV (July 18-October 20, 2019); Norton Museum of Art, West Palm Beach, FL (November 21, 2019-February 9, 2020).", "opening_date": "2019-03-29T04:00:00"}], "legacy": [{"description": "<em>Georgia O'Keeffe Paintings. </em>The Intimate Gallery, New York (January 11-February 27, 1927).", "opening_date": "1927-01-11T05:00:00Z"}, {"description": "Speed Memorial Museum. Louisville, KY (February 13-March 5, 1944).", "opening_date": "1944-02-13T04:00:00Z"}, {"description": "<em>Georgia O\u2019Keeffe. </em>Museum of Modern Art, New York (May 14-August 25, 1946).", "opening_date": "1946-05-14T04:00:00Z"}, {"description": "<em>Contemporary Painting in the United States: A Special Exhibition. </em>The Metropolitan Museum of Art. New York, NY (April 19-April 27, 1941).", "opening_date": "1941-04-19T05:00:00Z"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The morning glory rests against a black petunia, seen partially at lower right.", "early_education_description": null, "artlens_description": null, "description": "O'Keeffe is best known for close-up flower subjects whose magnified forms fill the entire space of each canvas. Likely inspired by similar compositions in modern photography, these images are not only celebrations of nature, but also striking essays in abstract design. Although many critics interpreted O'Keeffe's flower paintings as reflections of femininity in general and female sexuality in particular, the artist strongly opposed such readings. Throughout most of her career, she frequently attempted to persuade others to discuss her work without referring to her gender, writing on one occasion, \"I have always been very annoyed at being referred to as a 'woman artist' rather than an 'artist.'\"", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60465130"], "internet_archive": []}, "citations": [{"citation": "Messinger, Lisa Mintz. <em>Georgia O'Keeffe</em>. New York: Thames &amp; Hudson, 2001.", "page_number": "Mentioned: p. 74; Reproduced: p. 73", "url": null}, {"citation": "O'Keeffe, Georgia, Alfred Stieglitz, and Sarah Greenough. <em>My Faraway One: Selected Letters of Georgia O'Keeffe and Alfred Stieglitz.</em> New Haven [Conn.]: Yale University Press, 2011.", "page_number": "Mentioned p. 539, n. 219.", "url": ""}, {"citation": "Cole, Mark, \"Exhibition: Georgia O'Keeffe,\" <em>Cleveland Art</em> 58, no. 6 (November/December 2018).", "page_number": "Reproduced cover (detail).", "url": ""}, {"citation": "Metropolitan Museum of Art. <em>Contemporary Painting in the United States: A Special Exhibition April 19 Through April 27</em>. New York: The Museum Press, 1941.", "page_number": "Mentioned: p. 16", "url": null}, {"citation": "Milliken, William Mathewson. <em>In Memoriam Leonard C. Hanna, Jr</em>. Cleveland: Cleveland Museum of Art, 1958.", "page_number": "Mentioned, unpaginated [p.2]; reproduced, fig. 26", "url": null}, {"citation": "Friedman, Martin. <em>The Precisionist View in American Art: November 13 Through December 25, 1960: An Exhibition</em>. Minneapolis, MN: Walker Art Center, 1960.", "page_number": "Mentioned: p. 57", "url": null}, {"citation": "Wilder, Mitchell. <em>Georgia O'Keeffe: An Exhibition of the Work of the Artist from 1915 to 1966</em>. Fort Worth: Amon Carter Museum of Western Art,1966.", "page_number": "Mentioned: p. 28", "url": null}, {"citation": "Goodrich, Lloyd, and Doris Bry. <em>Georgia O'Keeffe</em>. New York, NY: Published for the Whitney Museum of American Art by Praeger, 1970.", "page_number": "Mentioned: p. 18-19", "url": null}, {"citation": "Hoffman, Katherine. <em>An Enduring Spirit: The Art of Georgia O'Keeffe</em>. Metuchen, NJ: Scarecrow Press, 1984.", "page_number": "Mentioned: p. 103; Reproduced: fig. Q", "url": null}, {"citation": "Castro, Jan Garden. <em>The Art &amp; Life of Georgia O'Keeffe</em>. New York: Crown Publishers, Inc., 1985.", "page_number": "Reproduced: p. 28", "url": null}, {"citation": "\"Art Museum Gets O'Keeffe Paintings.\" <em>The Cleveland Plain Dealer</em>, April 22, 1986.", "page_number": "Mentioned: p. 5C", "url": null}, {"citation": "Callaway, Nicholas. <em>Georgia O'Keeffe: One Hundred Flowers</em>. New York: Knopf in association with Callaway Editions, 1987.", "page_number": "Reproduced: p. 40, 110", "url": null}, {"citation": "Culllinan, Helen. \"Georgia On Our Minds; O'Keeffe Legacy: 5 Glowing New Oils at Museum.\" <em>The Cleveland Plain Dealer, </em>September 5, 1987.", "page_number": "Mentioned", "url": null}, {"citation": "Callaway, Nicholas. \"Ostentatious Perfectionism.\" Interview by Ingrid Sischy. <em>Artforum International </em>26, no. 5 (January 1988).", "page_number": "Reproduced: p. 100", "url": null}, {"citation": "Bry, Doris, Nicholas Callaway, and Bram Dijkstra. <em>Georgia O'Keeffe: The New York Years</em>. New York: A.A. Knopf in association with Callaway, 1991.", "page_number": "Reproduced: p. 54", "url": null}, {"citation": "Montgomery, Elizabeth Miles. <em>Georgia O'Keeffe</em>. New York: Barnes &amp; Noble Books, 1993.", "page_number": "Reproduced: p. 42", "url": null}, {"citation": "Chong, Alan. <em>European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogue</em>. Cleveland: Cleveland Museum of Art, 1993.", "page_number": "Reproduced: p. 170", "url": null}, {"citation": "Welton, Jude. <em>Looking at Paintings</em>. London: Dorling Kindersley, 1994.", "page_number": "Mentioned: p. 9; Reproduced: p. 9", "url": null}, {"citation": "Pelfrey, Robert H. <em>Art and Mass Media</em>. Dubuque, Iowa: Kendall/Hunt, 1996.", "page_number": "Mentioned: p. 311; Reproduced: p. 312", "url": null}, {"citation": "Tsutsumi, Tomoko, and Y\u014dko Yano. <em>Seiy\u014d kaiga no naka no hana</em>. Tokyo: Asahi Shinbunsha, 1997.", "page_number": "Reproduced: fig. 73", "url": null}, {"citation": "Hutton Turner, Elizabeth, and Marjorie P. Balge-Crozier. <em>Georgia O'Keeffe: The Poetry of Things</em>. Washington, DC: Phillips Collection, 1999.", "page_number": "Mentioned: p. 150; Reproduced: p. 85, pl. 31", "url": null}, {"citation": "Lynes, Barbara Buhler. <em>Georgia O'Keeffe: Catalogue Raisonn\u00e9</em>, 2 vols. New Haven: Yale University Press, 1999.", "page_number": "Mentioned; Reproduced: p. 320", "url": null}, {"citation": "Greenough, Sarah. <em>Modern Art and America: Alfred Stieglitz and His New York Galleries</em>. Washington, D.C.; Boston, MA: National Gallery of Art; Bulfinch Press, 2000.", "page_number": "Mentioned: p. 535; Reproduced: p. 311, pl. 106", "url": null}, {"citation": "de Chassey, Eric. <em>Made in USA: l'art am\u00e9ricain, 1908-1947. </em>Paris: R\u00e9union des mus\u00e9es nationaux, 2001.", "page_number": "Reproduced: p. 133", "url": null}, {"citation": "\"L\u2019art Am\u00e9ricain d\u00e9barqu.\" <em>Le Magazine: Arts &amp; Spectacles, </em>no. 328 (January 2002).", "page_number": "Reproduced", "url": null}, {"citation": "Souter, Janet. <em>Georgia O'Keeffe</em>. New York: Parkstone Press, 2005.", "page_number": "Reproduced: p. 95", "url": null}, {"citation": "Sims, Lowery Stokes. <em>The Persistence of Geometry: Form, Content, and Culture in the Collection of the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art, 2006.", "page_number": "Reproduced: p. 119, no. 68; p. 70", "url": null}, {"citation": "Haskell, Barbara and Sasha Nicholas. <em>Georgia O'Keeffe: Abstraction</em>. New Haven, CT: Yale University Press, 2009.", "page_number": "Reproduced: p. 111", "url": null}, {"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. 57", "url": ""}, {"citation": "Bernard, Sophie. <em>Georgia O'Keeffe et ses amis photographes.</em> Paris: Somogy; Grenoble: Mus\u00e9e de Grenoble, 2015.", "page_number": "Mentioned: p. 52; Reproduced: p. 53, fig. 34", "url": null}, {"citation": "Corn, Wanda M., <em>Georgia O'Keeffe: Living Modern</em>. Brooklyn, NY: Brooklyn Museum; DelMonico Books/Prestel, 2017.", "page_number": "Mentioned: p. 75, Reproduced: fig. 64, p. 76", "url": null}, {"citation": "\"New in the Galleries.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 57, no. 5 (September/October 2017): Back cover.", "page_number": "Reproduced and Mentioned: Back cover", "url": "https://archive.org/details/CMAMM2017-05/page/n13/mode/2up"}], "url": "https://clevelandart.org/art/1958.42", "images": {}, "alternate_images": [], "creditline": "Bequest of Leonard C. Hanna Jr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Dr. Robert B. Benyo Trust Gallery", "athena_id": 135420, "creators": [{"id": 3228, "description": "Georgia O'Keeffe (American, 1887\u20131986)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1887", "death_year": "1986", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1958-11-29T00:00:00", "sortable_date": 1926, "date_added_to_oa": null, "date_text": "1926", "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": ["Morning Glory with Black, No. 3 (White Flower)"], "is_highlight": true, "updated_at": "2026-10-13 11:16:15.997000"}, {"id": 136207, "accession_number": "1960.108", "share_license_status": "CC0", "tombstone": "Flowers in a Glass, 1606. Ambrosius Bosschaert (Dutch, 1573\u20131621). Oil on copper; framed: 60.3 x 52.8 x 6.4 cm (23 3/4 x 20 13/16 x 2 1/2 in.); unframed: 35.6 x 29.3 cm (14 x 11 9/16 in.). The Cleveland Museum of Art, Gift of Carrie Moss Halle in memory of Salmon Portland Halle, 1960.108", "current_location": "213 Dutch Painting", "title": "Flowers in a Glass", "creation_date": "1606", "creation_date_earliest": 1606, "creation_date_latest": 1606, "artists_tags": ["male"], "culture": ["Netherlands"], "technique": "oil on copper", "support_materials": [], "department": "European Painting and Sculpture", "collection": "P - Netherlandish-Dutch", "type": "Painting", "measurements": "Framed: 60.3 x 52.8 x 6.4 cm (23 3/4 x 20 13/16 x 2 1/2 in.); Unframed: 35.6 x 29.3 cm (14 x 11 9/16 in.)", "dimensions": {"framed": {"height": 0.603, "height_inch": 23, "height_inch_fraction": 0.75, "width": 0.528, "width_inch": 20, "width_inch_fraction": 0.8125, "depth": 0.064, "depth_inch": 2, "depth_inch_fraction": 0.5}, "unframed": {"height": 0.356, "height_inch": 14, "height_inch_fraction": 0.0, "width": 0.293, "width_inch": 11, "width_inch_fraction": 0.5625}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower left: \"AB 1606. [AB ligated]\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 300794, "title": "Year in Review: 1965", "description": "<i>Year in Review: 1965</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 27-November 14, 1965).", "opening_date": "1965-10-27T04:00:00"}, {"id": 310012, "title": "The Magic of Still Life", "description": "<i>The Magic of Still Life</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 4, 1986-February 1, 1987).", "opening_date": "1986-11-04T05:00:00"}, {"id": 191843, "title": "Still-Life Paintings from the Netherlands, 1550-1720", "description": "<i>Still-Life Paintings from the Netherlands, 1550-1720</i>. Rijksmuseum, Amsterdam, Netherlands (June 19-September 19, 1999); The Cleveland Museum of Art, Cleveland, OH (organizer) (October 31, 1999-January 9, 2000).", "opening_date": "1999-10-31T00:00:00"}], "legacy": []}, "provenance": [{"description": "Carrie Moss Halle [1872-1965], Cleveland, OH, by gift to the Cleveland Museum of Art1", "citations": [], "footnotes": ["<div><!--block-->1Although there are a handful of paintings by Bosschaert listed in 18th-, 19th-, and 20th-century auction catalogues that appear similar to this painting in terms of description, medium, and approximate dimensions, the absence of reproductions and lack of later provenance make it difficult to determine whether any of them are indeed the CMA picture.</div>"], "date": "Until 1960", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, Ohio", "citations": [], "footnotes": null, "date": "1960-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Snails, butterflies, moths, dragonflies, and other insects make this \"still life\" come alive!", "early_education_description": null, "artlens_description": null, "description": "One of the first artists to specialize in flower painting, Ambrosius Bosschaert may have been inspired by the botanical gardens and scientific collections in his hometown of Middelburg. The flowers in this bouquet might be common today, but in the 1600s they were costly rarities. Bosschaert captured their fragile beauty with luminous colors and exquisite detail.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q20669019"], "internet_archive": ["https://archive.org/details/clevelandart-1960.108-flowers-in-a-glass"]}, "citations": [{"citation": "\"Accessions of American and Canadian Museums.\" <em>The Art Quarterly</em> 28, no. 3 (Autumn 1965): 209-224.", "page_number": "Reproduced: p. 215", "url": null}, {"citation": "Lee, Sherman E. \"Year in Review.\" <em>The Bulletin of the Cleveland Museum of Art</em> 52, no. 9 (1965): 124-57.", "page_number": "Referenced: cat. no. 91, p. 154, Reproduced: p. 130", "url": "http://www.jstor.org/stable/25152069."}, {"citation": "Stechow, Wolfgang. \"Ambrosius Bosschaert Still LIfe.\" <em>The Bulletin of the Cleveland Museum of Art</em> 53, no. 3 (March 1966): 59-65.", "page_number": "Mentioned: p. 60-65; reproduced: cover", "url": null}, {"citation": "Davidson, Ruth. \"In the Museum, Paintings.\" <em>The Magazine Antique </em>89 (March 1966): 416-431.", "page_number": "Reproduced: p. 416", "url": null}, {"citation": "<em>The Cleveland Museum of Art Catalogue of Paintings, Part 3: European Paintings of the 16th, 17th, and 18th Centuries</em>. Entry by Jean Kubota Cassill. Cleveland, OH: The Cleveland Museum of Art, 1982.", "page_number": "Reproduced: p. 225; Mentioned: p. 224", "url": null}, {"citation": "Bergstr\u00f6m, Ingvar. \"Composition in Flower Pieces of 1605-1609 by Ambrosius Bosschaert the Elder.\" <em>Tableau</em> 5, no. 2 (November-December 1982): 174-178.", "page_number": "Reproduced: p. 176", "url": null}, {"citation": "Bakker, Noortje, Ingvar Bergstr\u00f6m, Guido Jansen, Simon H Levie, and Sam Segal. <em>Masters of Middelburg: Exhibition in the Honour of Laurens J. Bol.</em> Amsterdam: Kunsthandel K. &amp; V. Waterman, 1984.", "page_number": "Reproduced: p. 33, pl. 2; Mentioned: p. 31-41", "url": null}, {"citation": "Neet, Jane. \u201cMondrian\u2019s \u2018Chrysanthemum.\u2019\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 74, no. 7 (September 1987): 282\u2013303.", "page_number": "Mentioned and reproduced: p. 291, fig. 11", "url": "http://www.jstor.org/stable/25159997"}, {"citation": "Chong, Alan. <em>European &amp; American Painting in the Cleveland Museum of</em> <em>Art: A Summary Catalogue.</em> Cleveland, OH: Cleveland Museum of Art, 1993.", "page_number": "Reproduced: p. 18", "url": null}, {"citation": "Chong, Alan, W T. Kloek, and Celeste Brusati. <em>Still-life Paintings from the Netherlands, 1550-1720</em>. Zwolle: Waanders Publishers, 1999.", "page_number": "Referenced: cat. no. 5, p. 117-119", "url": null}, {"citation": "Alpers, Svetlana. <em>The Vexations of Art: Vela\u0301zquez and Others</em>. New Haven, CT: Yale University Press, 2005.", "page_number": "Reproduced: p. 22, fig. 14", "url": null}, {"citation": "Runia, Epco. <em>Flowers</em>. The Hague: Royal Picture Gallery, Mauritshuis, 2007.", "page_number": "Reproduced: p. 7", "url": null}, {"citation": "Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 53 no. 01, January/February 2013", "page_number": "Mentioned & reproduced: p. 13", "url": "https://archive.org/details/CMAMM2013-01/page/12"}, {"citation": "De Clippel, Karolien and David van der Linden. \"The genesis of the Netherlandish flower piece: Jan Brueghel, Abrosius Bosschaert and Middelburg.\" <em>Simiolus </em>38, no. 1/2 (2015-2016): 73-86", "page_number": "Mentioned and reproduced: pp. 78-79, fig. 6", "url": ""}, {"citation": "De Clippel, Karolien and David van der Linden. \"The Genesis of the Netherlandish Flower Piece: Jan Brueghel, Ambrosius Bosschaert and Middelburg.\" <em>Simiolus</em> 38, no. 1/2 (2015-2016): 73-86.", "page_number": "Reproduced: P. 79, fig. 6", "url": null}, {"citation": "Bru\u0308derle-Krug, Nicole and Anna Roemers Visscher. <em>An Engraved Ro\u0308mer for Huygens. </em>Amsterdam: Rijksmuseum Amsterdam, 2018.", "page_number": "Reproduced; p. 16, fig. 11", "url": null}, {"citation": "Segal, Sam, and Klara Alen. Dutch and Flemish Flower Pieces: Paintings, Drawings and Prints Up to the Nineteenth Century. 2020.", "page_number": "Reproduced and mentions; pp. 156-157, Fig. 5.26 (D2)", "url": ""}], "url": "https://clevelandart.org/art/1960.108", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1960.108/1960.108_web.jpg", "width": "747", "height": "893", "filesize": "472240", "filename": "1960.108_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1960.108/1960.108_print.jpg", "width": "2845", "height": "3400", "filesize": "5826550", "filename": "1960.108_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1960.108/1960.108_full.tif", "width": "3987", "height": "4764", "filesize": "57015268", "filename": "1960.108_full.tif"}}, "alternate_images": [], "creditline": "Gift of Carrie Moss Halle in memory of Salmon Portland Halle", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "The Harold C. Schott Foundation Gallery", "athena_id": 136207, "creators": [{"id": 2653, "description": "Ambrosius Bosschaert (Dutch, 1573\u20131621)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1573", "death_year": "1621", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1960-04-25T00:00:00", "sortable_date": 1606, "date_added_to_oa": null, "date_text": "1606", "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": "2026-07-14 11:14:36.281000"}, {"id": 146727, "accession_number": "1972.17.2", "share_license_status": "CC0", "tombstone": "Egyptian Family (Sketch for \"The Battle of the Pyramids\"), c. 1835. Antoine-Jean Gros (French, 1771\u20131835). Oil on linen; framed: 377.2 x 154.9 x 12.7 cm (148 1/2 x 61 x 5 in.); unframed: 353.1 x 132.1 cm (139 x 52 in.); former: 306.8 x 131.5 cm (120 13/16 x 51 3/4 in.). The Cleveland Museum of Art, John L. Severance Fund, 1972.17.2", "current_location": "201 Neoclassical Painting & Sculpture", "title": "Egyptian Family (Sketch for \"The Battle of the Pyramids\")", "creation_date": "c. 1835", "creation_date_earliest": 1830, "creation_date_latest": 1840, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on linen", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 377.2 x 154.9 x 12.7 cm (148 1/2 x 61 x 5 in.); Unframed: 353.1 x 132.1 cm (139 x 52 in.); Former: 306.8 x 131.5 cm (120 13/16 x 51 3/4 in.)", "dimensions": {"framed": {"height": 3.772, "height_inch": 148, "height_inch_fraction": 0.5, "width": 1.549, "width_inch": 61, "width_inch_fraction": 0.0, "depth": 0.127, "depth_inch": 5, "depth_inch_fraction": 0.0}, "unframed": {"height": 3.531, "height_inch": 139, "height_inch_fraction": 0.0, "width": 1.321, "width_inch": 52, "width_inch_fraction": 0.0}, "former": {"height": 3.068, "height_inch": 120, "height_inch_fraction": 0.8125, "width": 1.315, "width_inch": 51, "width_inch_fraction": 0.75}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": [{"description": "Gros's studio, Paris, 14, rue de l'Ancienne-Com\u00e9die. (mid-July 1835, according to Tripier le Franc 1880, 632).", "opening_date": null}, {"description": "Colmar, Mus\u00e9e d'Unterlinden. (1920-55). Long-term loan.", "opening_date": "1920-01-01T00:00:00"}, {"description": "Paris, Petit Palais. Gros, ses amis, ses \u00e9l\u00e8ves (1936), no. 57.", "opening_date": "1936-01-01T00:00:00"}, {"description": "New York, Jacques Seligmann &amp; Co.; Minneapolis Institute of Arts; cma. Baron Antoine-Jean Gros (1771-1835), Painter of Battles, the First Romantic Painter (1955-56), no. 2, pls. 2a-b, private collection, Paris.", "opening_date": "1955-01-01T00:00:00"}]}, "provenance": [{"description": "J.-B. Delestre, Paris. His sale, Drouot, 13-14 October 1871 (lot 1), Les deux esquisses pour les pendentifs de droite et de gauche, surajout\u00e9s au tableau de la Bataille des Pyramides, ff 500 to M. Couvreur (perhaps sold to J. Arnous de Rivi\u00e8re, directeur de Revue illustr\u00e9e, bought for ff 700 at Delestre sale, through 1880; Tripier le Franc 1880, 500). Gustave Rothan, Ch\u00e2teau de Luttenbach, (near Munster, Alsace). By descent after his death in 1890 to his daughter, Christa Anna Maria Rothan (in 1895, Baronne Pierre de Coubertin) until after 1917, Lausanne. By 1955, Jacques Seligmann & Co, New York, 1955. Purchased by the CMA in 1972.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": ["111.71", "1972.18"], "did_you_know": null, "early_education_description": null, "artlens_description": null, "description": "In 1810, Gros exhibited a massive painting of Napoleon at the 1798 Battle of the Pyramids, one of the rare French triumphs in the failed campaign to conquer Egypt (1789-1801). After Napoleon first fell from power in 1814, the painting went into storage, until the new king Louis-Philippe chose to resurrect it for a history museum in Paris. However, perhaps to diminish Napoleon's significance, the government asked Gros to amplify the original with an addition at each end. This painting incorporates General Kl\u00e9ber, a famously successful military leader who had been excluded from the original painting.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60472199"], "internet_archive": ["https://archive.org/details/clevelandart-1972.17.2-egyptian-family-sket"]}, "citations": [{"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 202", "url": "https://archive.org/details/CMAHandbook1978/page/n222"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 329-335, Vol. I, no. 115", "url": ""}], "url": "https://clevelandart.org/art/1972.17.2", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1972.17.2/1972.17.2_web.jpg", "width": "326", "height": "893", "filesize": "208712", "filename": "1972.17.2_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1972.17.2/1972.17.2_print.jpg", "width": "1242", "height": "3400", "filesize": "3032637", "filename": "1972.17.2_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1972.17.2/1972.17.2_full.tif", "width": "2155", "height": "5897", "filesize": "38156924", "filename": "1972.17.2_full.tif"}}, "alternate_images": [{"web": {"url": "https://openaccess-cdn.clevelandart.org/1972.17.2/1972.17.2_alt0_web.jpg", "width": "390", "height": "893", "filesize": "248989"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1972.17.2/1972.17.2_alt0_print.jpg", "width": "1484", "height": "3400", "filesize": "3586311"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1972.17.2/1972.17.2_alt0_full.tif", "width": "2865", "height": "6565", "filesize": "56458596"}, "date_created": "2009-05-18T18:19:00", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1972.17.2/1972.17.2_alt1_web.jpg", "width": "335", "height": "893", "filesize": "249859"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1972.17.2/1972.17.2_alt1_print.jpg", "width": "768", "height": "2048", "filesize": "1302098"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1972.17.2/1972.17.2_alt1_full.tif", "width": "768", "height": "2048", "filesize": "4720412"}, "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1972.17.2/1972.17.2_alt2_web.jpg", "width": "675", "height": "893", "filesize": "511273"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1972.17.2/1972.17.2_alt2_print.jpg", "width": "1536", "height": "2033", "filesize": "2767972"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1972.17.2/1972.17.2_alt2_full.tif", "width": "1536", "height": "2033", "filesize": "9371500"}, "annotation": ""}], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Sarah S. and Alexander M. Cutler Gallery", "athena_id": 146727, "creators": [{"id": 1706, "description": "Antoine-Jean Gros (French, 1771\u20131835)", "extent": null, "qualifier": null, "role": "artist", "biography": "Antoine-Jean Gros's parents, who were both miniaturists, taught their son painting at an early age. He also pursued his education with Elisabeth-Louise Vig\u00e9e Le Brun (1755-1842), David (q.v.), whose studio he entered in 1785, and at the Acad\u00e9mie Royale de Peinture et de Sculpture two years later. Discouraged by his unsuccessful attempt for the Prix de Rome in 1792 and following his father's death, he ended his studies and supported himself by portrait painting. David helped him secure a passport and Gros left for Italy in 1793. In Genoa he met Jos\u00e9phine de Beauharnais, who later introduced him to Napoleon Bonaparte in Milan. There Gros made a study of him for his painting Bonaparte on the Bridge at Arcole, 17 November 1796 (1796, Mus\u00e9e du Ch\u00e2teau de Versailles; Salon 1801). This work established his reputation, and he was given a position on the committee responsible for removing artwork from Italy for the Louvre. When Napoleon left for Egypt, Genoa came under Austrian control and Gros was forced to stay for two months during the siege. After the city was evacuated, Gros returned to Paris in 1800 and continued to receive commissions from Bonaparte to paint contemporary military victories. He also painted portraits of members of the military and high society. After the defeat of Napoleon in 1814, he was made portrait painter to Louis XVIII. Within two years he was appointed professor at the \u00c9cole des Beaux-Arts, replacing the exiled David. In almost two decades as a teacher, Gros had hundreds of pupils, and thus was, besides David, one of the most influential artists of his time. While continuing to paint scenes from contemporary history, he also attempted to make mythological and allegorical compositions, but these works received little critical acclaim. Gros was awarded the title of baron by Charles X and asked to paint several ceilings in the galleries at the Louvre. His work, however, began to be perceived as outmoded, and his criticism of Ingres's influence within the \u00c9cole des Beaux-Arts added to his unpopularity. When his final effort for a classical comeback at the Salon of 1835 was heavily criticized, Gros drowned himself in the Seine.", "name_in_original_language": null, "birth_year": "1771", "death_year": "1835", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1972-05-03T00:00:00", "sortable_date": 1830, "date_added_to_oa": null, "date_text": "c. 1835", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1972.17", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Lateral panel for the \"Bataille des Pyramides\": Native Family"], "is_highlight": false, "updated_at": "2026-05-29 07:31:02.152000"}, {"id": 160458, "accession_number": "1998.286", "share_license_status": "CC0", "tombstone": "Painting of One Hundred Themes (\ubc31\ub0a9\ub3c4 [\u767d\u8872\u5716]), late 1800s. Korea, Joseon dynasty (1392\u20131910). Ten-panel folding screen affixed with album leaves (obverse), calligraphy (reverse), ink and color on silk; overall: 117.7 x 335 cm (46 5/16 x 131 7/8 in.); painting only: 164.5 x 43.6 cm (64 3/4 x 17 3/16 in.). The Cleveland Museum of Art, Bequest of Gordon K. Mott, 1998.286", "current_location": null, "title": "Painting of One Hundred Themes", "title_in_original_language": "\ubc31\ub0a9\ub3c4 [\u767d\u8872\u5716]", "creation_date": "late 1800s", "creation_date_earliest": 1869, "creation_date_latest": 1899, "artists_tags": [], "culture": ["Korea, Joseon dynasty (1392\u20131910)"], "technique": "Ten-panel folding screen affixed with album leaves (obverse), calligraphy (reverse), ink and color on silk", "support_materials": [], "department": "Korean Art", "collection": "ASIAN - Folding screen", "type": "Painting", "measurements": "Overall: 117.7 x 335 cm (46 5/16 x 131 7/8 in.); Painting only: 164.5 x 43.6 cm (64 3/4 x 17 3/16 in.)", "dimensions": {"overall": {"height": 1.177, "height_inch": 46, "height_inch_fraction": 0.3125, "width": 3.35, "width_inch": 131, "width_inch_fraction": 0.875}, "painting only": {"height": 1.645, "height_inch": 64, "height_inch_fraction": 0.75, "width": 0.436, "width_inch": 17, "width_inch_fraction": 0.1875}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 197104, "title": "The Lure of Painted Poetry: Japanese and Korean Art", "description": "<i>The Lure of Painted Poetry: Japanese and Korean Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 15-August 21, 2011).", "opening_date": "2011-03-27T00:00:00"}, {"id": 452567, "title": "Old and New in Korean Art", "description": "<i>Old and New in Korean Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 28, 2022-April 23, 2023).", "opening_date": "2022-10-28T04:00:00"}], "legacy": [{"description": "<em>Main Asian Rotation (Gallery 237)</em>. The Cleveland Museum of Art, Cleveland, OH (January 12-July 20, 2015).", "opening_date": "2015-01-12T00:00:00"}]}, "provenance": [{"description": "Collection in Pusan, Korea, to Gordon K. Mott", "citations": [], "footnotes": [], "date": "?\u20131955", "sortorder": 1}, {"description": "Gordon K. Mott [1914\u20131998], Lakewood, OH, bequest to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1955\u20131998", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1998\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The way of displaying small images of various subjects became one of the most popular type of painting toward the end of the 19th century.", "early_education_description": null, "artlens_description": null, "description": "The front of this screen features an assortment of subjects: birds and flowers, landscapes, and scenes of everyday life, mostly in monochromatic ink with light colors. The screen\u2019s reverse side conveys a number of classical poems about the fleeting beauty of the four seasons. Traditionally, only one side of a folding screen bears painted or embroidered images, since these were used as a background furnishing. In Korean houses by the 1800s and early 1900s, however, two-sided folding screens became noticeably popular, possibly inspired by Japanese double-sided folding screens, which mainly served as room dividers in Japanese households.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60477615"], "internet_archive": ["https://archive.org/details/clevelandart-1998.286-painting-of-one-hund"]}, "citations": [{"citation": "Kim, Chwi-jeong. \"New Trends and Japhwabyung in the Period of Modernization [\uac1c\ud654\uae30 \ud654\ub2e8\uc758 \uc2e0\uacbd\ud5a5\uacfc \uc7a1\ud654\ubcd1].\" <em>Misulsa nondan </em>(2008): 253\u2013287.", "page_number": null, "url": "http://www.dbpia.co.kr/journal/articleDetail?nodeId=NODE01352894"}, {"citation": "So\u0306n, Su\u0306ng-hye. <em>The Lure of Painted Poetry: Japanese and Korean Art</em>. Cleveland, OH: Cleveland Museum of Art, 2011.", "page_number": "Reproduced: cat. no. 83", "url": null}, {"citation": "An, Bo-ra. \"A Study of \u2018Baeknapdo byungpung\u2019 in the late Joseon Period: Focus on the Example in the collection of Boston Museum of Fine Arts [\uc870\uc120 \ub9d0\uae30\uc758 \u767e\u8872\u5716 \u5c5b\u98a8 \uc5f0\uad6c: \ubcf4\uc2a4\ud134\ubbf8\uc220\uad00 \uc18c\uc7a5\ubcf8\uc744 \uc911\uc2ec\uc73c\ub85c].\"<em> Misulsa yeongu </em>(2013): 323\u2013351.", "page_number": null, "url": "http://www.dbpia.co.kr/journal/articleDetail?nodeId=NODE02344425"}, {"citation": "<em>Treasures from Korea: Arts and Culture of the Joseon Dynasty, 1392-1910</em>. Philadelphia: Philadelphia Museum of Art, 2014.", "page_number": null, "url": null}, {"citation": "<em>Beyond Folding Screens</em> [\uc870\uc120, \ubcd1\ud48d\uc758 \ub098\ub77c]. Seoul: Amorepacific Museum of Art, 2018.", "page_number": null, "url": null}, {"citation": "Jeong, Eun-ju. \"A Study on the Ten Views of Hwallae-jeong Pavilion Painted by Chagang Park Gijeong [\ucc28\uac15 \ubc15\uae30\uc815\uc758 \u300a\ud65c\uc815\uc2ed\uacbd\ubc31\ub0a9\ub3c4\ubcd1\u300b \uc5f0\uad6c].\" <em>Jangseogak </em>(2018): 860\u2013120.", "page_number": null, "url": "http://www.dbpia.co.kr/journal/articleDetail?nodeId=NODE07430863"}, {"citation": "Ch'a, Mi-rae, Kwi-suk An, Cleveland Museum of Art, and \uad6d\uc678\uc18c\uc7ac\ubb38\ud654\uc7ac\uc7ac\ub2e8. <em>The Korean Collection of the Cleveland Museum of Art</em>. Edited by An Min-hu\u0306i. First edition, English ed. Overseas Korean Cultural Heritage Series, 16. Seoul, Republic of Korea: Overseas Korean Cultural Heritage Foundation, 2021.", "page_number": "Mentioned and Reproduced: pp. 204\u2013211, no. 120", "url": ""}], "url": "https://clevelandart.org/art/1998.286", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1998.286/1998.286_web.jpg", "width": "900", "height": "679", "filesize": "317243", "filename": "1998.286_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1998.286/1998.286_print.jpg", "width": "3400", "height": "2564", "filesize": "2750885", "filename": "1998.286_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1998.286/1998.286_full.tif", "width": "17673", "height": "13325", "filesize": "706512868", "filename": "1998.286_full.tif"}}, "alternate_images": [{"web": {"url": "https://openaccess-cdn.clevelandart.org/1998.286/1998.286_alt0_web.jpg", "width": "1263", "height": "473", "filesize": "426781"}, "print": {"url": 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"height": "1993", "filesize": "29917112"}, "date_created": "2004-02-27T20:41:00", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1998.286/1998.286_alt18_web.jpg", "width": "1263", "height": "534", "filesize": "443767"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1998.286/1998.286_alt18_print.jpg", "width": "3400", "height": "1438", "filesize": "2690084"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1998.286/1998.286_alt18_full.tif", "width": "5000", "height": "2115", "filesize": "31748056"}, "date_created": "2004-02-27T20:46:56", "annotation": ""}], "creditline": "Bequest of Gordon K. Mott", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 160458, "creators": [], "legal_status": "accessioned", "accession_date": "1999-03-01T00:00:00", "sortable_date": 1869, "date_added_to_oa": null, "date_text": "late 1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "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": "2026-07-18 11:14:36.029000"}, {"id": 128392, "accession_number": "1951.356", "share_license_status": "CC0", "tombstone": "Edge of the Woods Near L'Hermitage, Pontoise, 1879. Camille Pissarro (French, 1830\u20131903). Oil on fabric; framed: 166 x 204 x 16.5 cm (65 3/8 x 80 5/16 x 6 1/2 in.); unframed: 125 x 163 cm (49 3/16 x 64 3/16 in.). The Cleveland Museum of Art, Gift of the Hanna Fund, 1951.356", "current_location": "222 Impressionism & Post-Impressionism", "title": "Edge of the Woods Near L'Hermitage, Pontoise", "creation_date": "1879", "creation_date_earliest": 1879, "creation_date_latest": 1879, "artists_tags": ["Jewish artists", "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: 166 x 204 x 16.5 cm (65 3/8 x 80 5/16 x 6 1/2 in.); Unframed: 125 x 163 cm (49 3/16 x 64 3/16 in.)", "dimensions": {"framed": {"height": 1.66, "height_inch": 65, "height_inch_fraction": 0.375, "width": 2.04, "width_inch": 80, "width_inch_fraction": 0.3125, "depth": 0.165, "depth_inch": 6, "depth_inch_fraction": 0.5}, "unframed": {"height": 1.25, "height_inch": 49, "height_inch_fraction": 0.1875, "width": 1.63, "width_inch": 64, "width_inch_fraction": 0.1875}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower left: C. Pissarro 79\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 338469, "title": "De David a Toulouse-Lautrec : chefs-d\u2019oeuvres des collections americaines", "description": "<i>De David a Toulouse-Lautrec : chefs-d\u2019oeuvres des collections americaines</i>. Mus\u00e9e de l'Orangerie, Paris, France (organizer) (April 20-July 5, 1955).", "opening_date": "1955-04-20T05:00:00"}, {"id": 301477, "title": "In Memoriam: Leonard C. Hanna, Jr.", "description": "<i>In Memoriam: Leonard C. Hanna, Jr.</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 4-April 7, 1958).", "opening_date": "1958-03-04T05:00:00"}, {"id": 442308, "title": "Camille Pissarro: The Unexplored Impressionist", "description": "<i>Camille Pissarro: The Unexplored Impressionist</i>. Hayward Gallery, London, United Kingdom of Great Britain and Northern Ireland (October 30, 1980-January 11, 1981); Galeries Nationales du Grand Palais, 75008 Paris, France (January 30-April 27, 1981); Museum of Fine Arts, Boston, Boston, MA (May 19-August 9, 1981).", "opening_date": "1980-10-30T05:00:00"}, {"id": 338472, "title": "The New Painting: Impressionism 1874-1886", "description": "<i>The New Painting: Impressionism 1874-1886</i>. National Gallery of Art, Washington, DC (organizer) (January 16-April 6, 1986); Fine Arts Museums of San Francisco, San Francisco, CA (April 19-July 6, 1986).", "opening_date": "1986-01-16T05:00:00"}, {"id": 220250, "title": "Camille Pissarro and Impressionism", "description": "<i>Camille Pissarro and Impressionism</i>. Staatsgalerie Stuttgart, D-70184 Stuttgart, Germany (organizer) (December 11, 1999-May 1, 2000).", "opening_date": "1999-12-11T00:00:00"}, {"id": 175431, "title": "C\u00e9zanne and Pissarro: Making Modernism", "description": "<i>C\u00e9zanne and Pissarro: Making Modernism</i>. The Museum of Modern Art, New York, NY (organizer) (June 24-September 12, 2005); Los Angeles County Museum of Art, Los Angeles, CA (October 20, 2005-January 16, 2006); Mus\u00e9e d'Orsay, Paris, France (February 27-May 28, 2006).", "opening_date": "2005-06-24T00:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. Seoul Art Center, South Korea (December 22, 2006-March 28, 2007); Seoul Olympic Museum of Art, South Korea (April 7-May 20, 2007); Vancouver Art Gallery, Vancouver, Canada (June 9-September 16, 2007); The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008); Frist Art Museum, Nashville, TN (February 15-June 1, 2008); Utah Museum of Fine Arts, Salt Lake City, UT (June 22-September 21, 2008); The Detroit Institute of Arts, Detroit, MI (October 12, 2008-January 18, 2009).", "opening_date": "2006-05-27T00:00:00"}, {"id": 230546, "title": "Pissarro. A Meeting on St. Thomas", "description": "<i>Pissarro. A Meeting on St. Thomas</i>. Ordrupgaard, Charlottenlund, Copenhagen, Denmark (organizer) (March 9-July 2, 2017).", "opening_date": "2017-03-09T00:00:00"}], "legacy": [{"description": "<em>La 4e exposition de peinture</em>. 28 Avenue de l'Op\u00e9ra, Paris, France (1879).", "opening_date": null}, {"description": "<em>Tableaux par Camille Pissarro</em>. Galeries Durand-Ruel, Paris, France (1928).", "opening_date": "1928-01-01T00:00:00"}, {"description": "<em>Centenaire de la naissance de Camille Pissarro</em>. Mus\u00e9e de l'Orangerie, Paris, France (1930).", "opening_date": "1930-01-01T00:00:00"}, {"description": "<em>Les premi\u00e8res \u00e9poques de Camille Pissarro, de 1858 \u00e0 1884</em>. Galerie Marcel Bernheim, Paris, France (1936),", "opening_date": "1936-01-01T00:00:00"}]}, "provenance": [{"description": "Family of the artist, sold to Bernheim-Jeune", "citations": [], "footnotes": [], "date": "1903-1913", "sortorder": 1}, {"description": "(Bernheim-Jeune, Paris, sold to L\u2019Art Moderne)", "citations": [], "footnotes": ["<div><!--block-->Bernheim-Jeune purchased the painting (stock number 20114) from Julie Pissarro, the artist's widow, on December 17, 1913. &nbsp;</div>"], "date": "1913-1935", "sortorder": 2}, {"description": "(L'Art Moderne, Lucerne)", "citations": [], "footnotes": ["<div><!--block-->L\u2019Art Moderne was a branch of Bernheim-Jeune located in Lucerne, Switzerland; a number of works from its stock were auctioned at H\u00f4tel Drouot on June 20, 1935.&nbsp;</div>"], "date": "1935", "sortorder": 3}, {"description": "(L'Art Moderne sale, H\u00f4tel Drouot, June 20, 1935 (no. 59), sold to Andr\u00e9 Schoeller)", "citations": [], "footnotes": [], "date": "1935", "sortorder": 4}, {"description": "(Andr\u00e9 Schoeller [1898-1991], Paris)", "citations": [], "footnotes": [], "date": "1935-", "sortorder": 5}, {"description": "(Charles Comiot, Paris", "citations": [], "footnotes": ["<div><!--block-->Comiot was a businessman and art collector who had amassed a significant collection of Impresisonist works by the late 1920s.&nbsp; The Wildenstein Pissarro catalogue raisonn\u00e9 includes Comiot as a previous owner of the painting, but does not provide dates or documentation for his ownership.&nbsp; A sale of works from Comiot\u2019s collection at H\u00f4tel Drouot on June 11, 1958 does not include the CMA painting.&nbsp; A Renoir pastel sold at Sotheby\u2019s, New York, on May 10, 2001 also has Comiot followed by de Hauke in its provenance, so the two may have had an ongoing business relationship.&nbsp;</div>"], "date": "?", "sortorder": 6}, {"description": "(C\u00e9sar de Hauke and Hector Brame, Paris, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": ["<div><!--block-->The Pissarro does not appear in Galerie Brame &amp; Lorenceau\u2019s stock books, so it is likely that Hector Brame, a close business associate of de Hauke, brokered the sale of the painting to CMA.</div>"], "date": "Until 1951", "sortorder": 7}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1951-", "sortorder": 8}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "A goat seen from the back standing next to the figure in blue laying in the grass invites the viewer to step inside this serene and beautiful setting.", "early_education_description": null, "artlens_description": null, "description": "Born to a French-Jewish family on St. Thomas island in the Caribbean, Pissarro painted this monumental landscape when he was desperately poor and struggling to sell his paintings. It depicts a man slumbering in the sun-dappled backwoods of the Hermitage, a rural village near Pontoise, where the artist had been living since 1872. Restricting his palette to pure hues, Pissarro applied brushstrokes in systematic diagonal patterns, producing an effect that he likened to knitting. This canvas was included in the fourth Impressionist exhibition of 1879.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q21785872"], "internet_archive": ["https://archive.org/details/clevelandart-1951.356-edge-of-the-woods-ne"]}, "citations": [{"citation": "Pissarro, Joachim, Joachim Pissarro, and Claire Durand-Ruel Snollaerts. <em>Pissarro: critical catalogue of paintings</em>. Paris: Wildenstein Institute Publications, 2005.", "page_number": null, "url": null}, {"citation": "C\u00e9sar de Hauke, letter to Henry S. Francis, Nov. 17, 1951, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Guy-Patrice Dauberville, letter to Victoria Sears Goldman, July 28, 2015, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Pissarro, Joachim, Joachim Pissarro, and Claire Durand-Ruel Snollaerts. <em>Pissarro: critical catalogue of paintings</em>. Paris: Wildenstein Institute Publications, 2005.", "page_number": null, "url": null}, {"citation": "C\u00e9sar de Hauke, letter to Henry S. Francis, Nov. 17, 1951, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Guy-Patrice Dauberville, letter to Victoria Sears Goldman, July 28, 2015, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Guy-Patrice Dauberville, letter to Victoria Sears Goldman, Oct. 13, 2015, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Ho\u0302tel Drouot. <em>Tableaux modernes, aquarelles, pastels, dessins par Bonnard, Boudin, Ce\u0301ria, Ce\u0301zanne, Chagall, Corot, Coubine, Courbet, Cross, Degas, Derain, R. Dufy, Dufresne, Eberl, Gauguin, Van Gogh, Guillaumin, Laglenne, Marquet, Modigliani, Monet, Monticelli, Pascin, Picasso, Pissarro, Quizet, Renoir, Rouault, Signac, Souverbie, Utrillo, Vallotton, Vlaminck</em>. 1935.", "page_number": null, "url": null}, {"citation": "Pissarro, Joachim, Joachim Pissarro, and Claire Durand-Ruel Snollaerts. <em>Pissarro: critical catalogue of paintings</em>. Paris: Wildenstein Institute Publications, 2005.", "page_number": null, "url": null}, {"citation": "Guy-Patrice Dauberville, letter to Victoria Sears Goldman, July 28, 2015, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Ho\u0302tel Drouot. T<em>ableaux modernes, aquarelles, pastels, dessins par Bonnard, Boudin, Ce\u0301ria, Ce\u0301zanne</em>... June 20, 1935.", "page_number": null, "url": null}, {"citation": "Ho\u0302tel Drouot. T<em>ableaux modernes, aquarelles, pastels, dessins par Bonnard, Boudin, Ce\u0301ria, Ce\u0301zanne</em>... June 20, 1935.", "page_number": null, "url": null}, {"citation": "Pissarro, Joachim, Joachim Pissarro, and Claire Durand-Ruel Snollaerts. <em>Pissarro: critical catalogue of paintings</em>. Paris: Wildenstein Institute Publications, 200", "page_number": null, "url": null}, {"citation": "Pissarro, Ludovico Rodo, and Lionello Venturi. <em>Camille Pissarro; son art--son \u0153uvre</em>. Paris: P. Rosenberg, 1939.", "page_number": null, "url": null}, {"citation": "Sylvie Brame, email to Victoria Sears Goldman, Jan. 30, 2015, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Sylvie Brame, email to Victoria Sears Goldman, Jan. 29, 2015, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "D'Hervilly, Ernest. \"Exposition des Impressionistes.\" <em>Le Rappel </em>(April 11, 1879): 2.", "page_number": "Mentioned: p. 2", "url": null}, {"citation": "Pissarro, Ludovico Rodo, and Lionello Venturi. <em>Camille Pissarro; Son Art--Son Oeuvre</em>. Paris: P. Rosenberg, 1939.", "page_number": "Mentioned: vol. 1, no. 489; reproduced: vol. 2, no. 489, pl. 99", "url": null}, {"citation": "Francis, Henry S. \"Le Fond de l'Hermitage by Camille Pissarro.\" <em>The Bulletin of the Cleveland Museum of Art</em> 39, no. 4 (April 1952): 64-66.", "page_number": "Reproduced: p. 62", "url": null}, {"citation": "<em> Art et Style </em>34 (1955): 22.", "page_number": "Reproduced: p. 22", "url": null}, {"citation": "Muse\u0301e de l'Orangerie. <em>De David a\u0300 Toulouse-Lautrec; chefs-d'\u0153uvres des collections ame\u0301ricaines</em>. Paris: [Presses artistiques], 1955.", "page_number": "Referenced: cat. no. 45, Reproduced: pl. 44", "url": null}, {"citation": "Cleveland Museum of Art, \u201cCleveland Owned Paintings Will Go to France,\u201d April 20, 1955, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr4556"}, {"citation": "The Cleveland Museum of Art. <em>The Cleveland Museum of Art Handbook.</em> Cleveland, OH: The Cleveland Museum of Art, 1958.", "page_number": "Mentioned and Reproduced: cat. no. 505", "url": "https://archive.org/details/CMAHandbook1958/page/n93"}, {"citation": "Milliken,William Mathewson. <em>The Cleveland Museum of Art.</em> New York: H.N. Abrams, 1958.", "page_number": "Reproduced: p. 54", "url": null}, {"citation": "Cleveland Museum of Art. <em>In Memoriam: Leonard C. Hanna, Jr. </em>Cleveland: The Museum, 1958.", "page_number": "Reproduced: no. 69", "url": null}, {"citation": "Henning, E. B. \u201cCleveland Museum of Art: From Turner to Guston.\u201d <em>Apollo: The International Magazine for Collectors</em> 78 (December 1963): 481\u2013488.", "page_number": "Reproduced: p. 484", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 174", "url": "https://archive.org/details/CMAHandbook1966/page/n198"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 174", "url": "https://archive.org/details/CMAHandbook1969/page/n198"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 215", "url": "https://archive.org/details/CMAHandbook1978/page/n235"}, {"citation": "Brettell, Richard R. and Christopher Lloyd. <em>A Catalogue of the Drawings by Camille Pissarro in the Ashmolean Museum, Oxford. </em>Oxford: Clarendon Press, 1980.", "page_number": "Mentioned: p. 140-141, nos. 132, 133", "url": null}, {"citation": "<em>Pissarro: Camille Pissarro, 1830-1903 : Hayward Gallery, London, 30 October 1980-11 January 1981, Grand Palais, Paris, 30 January-27 April 1981, Museum of Fine Arts, Boston, 19 May-9 August 1981</em>. London, United Kingdom: Arts Council of Great Britain, 1980.", "page_number": "Reproduced: p. 43", "url": null}, {"citation": "Lucie-Smith, Edward. \"Impressions of Pissarro.\" <em>Illustrated London News </em>268 (December 1980): 75.", "page_number": "Mentioned and reproduced: p. 75", "url": null}, {"citation": "Lloyd, Christopher. <em>Camille Pissarro</em>. New York: Rizzoli, 1981.", "page_number": "Mentioned and reproduced: p. 80-81", "url": null}, {"citation": "Henning, Edward B. \u201c\u2018Woman in the Waves\u2019 by Paul Gauguin.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 71, no. 8 (October 1984): 280\u2013289.", "page_number": "Mentioned and reproduced: p. 281, fig. 3", "url": "http://www.jstor.org/stable/25159880"}, {"citation": "Bernard, Bruce. <em>The Impressionist Revolution.</em> London: Orbis, 1986.", "page_number": "Reproduced: p. 232; mentioned: p. 263", "url": null}, {"citation": "Brettell, Richard R. <em>Pissarro and Pontoise: The Painter in a Landscape</em>. New Haven: Yale University Press, 1990.", "page_number": "Mentioned and reproduced: p. 192-193, pl. 166", "url": null}, {"citation": "Zimmermann, Michael F. <em>Seurat and the Art Theory of His Time</em>. Antwerp: Fonds Mercator, 1991.", "page_number": "Reproduced: p. 104, fig. 170", "url": null}, {"citation": "Kapos, Martha. <em>The Impressionists, a Retrospective.</em> [Southport, Conn.]: Hugh Lauter Levin Associates, 1991.", "page_number": "Reproduced: pl. 57", "url": null}, {"citation": "Cleveland Museum of Art. <em>Masterpieces from East and West</em>. New York, NY: Rizzoli International, 1992.", "page_number": "Mentioned and reproduced: p. 152-153", "url": null}, {"citation": "Pissarro, Joachim. <em>Camille Pissarro.</em> New York: H.N. Abrams, 1993.", "page_number": "Mentioned: p. 121; reproduced: p. 132, fig. 138", "url": null}, {"citation": "Chong, Alan. <em>European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogue. </em>Cleveland, Ohio: Cleveland Museum of Art, 1993.", "page_number": "Reproduced: p. 183", "url": null}, {"citation": "Benedetti, Maria Teresa. <em>L'Impressionismo: Dentro l'Immagine.</em> Milano: A. Mondadori, 1993.", "page_number": "Mentioned and reproduced: p. 178-181", "url": null}, {"citation": "Reid, Martin. <em>Pissarro.</em> London, England: Studio Editions, 1993.", "page_number": "Mentioned and reproduced: p. 96-97", "url": null}, {"citation": "Ewers-Schultz, Martina. <em>Die Franzo\u0308sischen Grundlagen des \"Rheinischen Expressionismus\" 1905 bis 1914: Stellenwert und Bedeutung der franzo\u0308sischen Kunst in Deutschland und ihre Rezeption in den Werken der Bonner Ausstellungsgemeinschaft von 1913. </em>Mu\u0308nster: Lit, 1996.", "page_number": "Reproduced: p. 369, pl. 5", "url": null}, {"citation": "Berson, Ruth. <em>The New Painting: Impressionism, 1874-1886: Documentation.</em> [San Francisco, CA]: Fine Arts Museums of San Francisco, 1996.", "page_number": "Mentioned: Vol. 1, p. 206-207, 224; Vol. 2, p. 117; Reproduced: Vol. 2, p. 137", "url": null}, {"citation": "Benedetti, Maria Teresa. \"Pissarro: Il Periodo Impressionista.\" <em>Art e Dossier</em> 132 (March 1998): 16-33", "page_number": "Reproduced: p. 28; mentioned: p, 30", "url": null}, {"citation": "Museum of Fine Arts, Boston.<em> Mone, Runowa\u0304ru to insho\u0304ha no fu\u0304kei: kaikan kinen dai ikkai kikakuten = Monet, Renoir, and the Impressionist Landscape.</em> [Japan]: Nagoya Bosuton Bijutsukan, 1999.", "page_number": "Reproduced: p. 146, fig. 26", "url": null}, {"citation": "D Argencourt, Louise, and Roger Diederen. <em>Catalogue of Paintings. Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1999.", "page_number": "Mentioned and reproduced: p. 494-496, no. 172", "url": null}, {"citation": "Shackelford, George T. M. <em>Monet, Renoir, and the Impressionist Landscape.</em> Ottawa: National Gallery of Canada, 2000.", "page_number": "Mentioned and reproduced: p. 146, fig. 37", "url": null}, {"citation": "Eisenman, Stephen. <em>Nineteenth Century Art: A Critical History.</em> New York, N.Y.: Thames &amp; Hudson, 2002.", "page_number": "Mentioned: p. 297; reproduced: p. 292, fig. 13.11", "url": null}, {"citation": "Christie. <em>Impressionist and Modern Art (Evening Sale).</em> London: Christie's, 2002.", "page_number": "Reproduced: p. 29, fig.4", "url": null}, {"citation": "Mancoff, Debra N.<em> Impressionism: Reflections of Beauty.</em> Lincolnwood, Ill: Publications International, Ltd, 2003.", "page_number": "Mentioned and reproduced: p. 72", "url": null}, {"citation": "Pissarro, Joachim. <em> Pioneering Modern Painting: Ce\u0301zanne &amp; Pissarro, 1865-1885.</em> New York: Museum of Modern Art, 2005.", "page_number": "Reproduced: p. 212, no. 105", "url": null}, {"citation": "Legrand, Francois. \"Conversation en Peinture.\" <em>Connaissance des Arts Hors-Serie</em> 275 (2006): 24-35.", "page_number": "Reproduced: p. 29", "url": null}, {"citation": "Eisenman, Stephen. <em>Nineteenth Century Art: A Critical History.</em> London: Thames &amp; Hudson, 2007.", "page_number": "Mentioned and reproduced: p. 344, fig. 15.13", "url": null}, {"citation": "Fonsmark, Anne-Birgitte. <em>Pissarro: et m\u00f8de pa\u030a Skt. Thomas.</em> K\u00f8benhavn: Ordrupgaard, 2017.", "page_number": "Reproduced: p. 168, fig. 161", "url": null}, {"citation": "<em>Paintings in the Cleveland Museum of Art: Picture Book No. 4 .</em> [Cleveland]: The Cleveland Museum of Art, 1952.", "page_number": "Reproduced: p. 39", "url": "https://archive.org/details/CMAPaintings1952"}], "url": "https://clevelandart.org/art/1951.356", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1951.356/1951.356_web.jpg", "width": "900", "height": "690", "filesize": "388399", "filename": "1951.356_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1951.356/1951.356_print.jpg", "width": "3400", "height": "2605", "filesize": "5555080", "filename": "1951.356_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1951.356/1951.356_full.tif", "width": "15203", "height": "11648", "filesize": "531286664", "filename": "1951.356_full.tif"}}, "alternate_images": [{"web": {"url": "https://openaccess-cdn.clevelandart.org/1951.356/1951.356_alt0_web.jpg", "width": "900", "height": "675", "filesize": "400419"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1951.356/1951.356_alt0_print.jpg", "width": "3400", "height": "2550", "filesize": "5723993"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1951.356/1951.356_alt0_full.tif", "width": "16000", "height": "12000", "filesize": "576032700"}, "date_created": "2017-07-19T14:45:08", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1951.356/1951.356_alt1_web.jpg", "width": "1177", "height": "893", "filesize": "963035"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1951.356/1951.356_alt1_print.jpg", "width": "3400", "height": "2580", "filesize": "8189061"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1951.356/1951.356_alt1_full.tif", "width": "5899", "height": "4476", "filesize": "79244524"}, "date_created": "2009-07-01T15:21:36", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1951.356/1951.356_alt2_web.jpg", "width": "1076", "height": "893", "filesize": "857813"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1951.356/1951.356_alt2_print.jpg", "width": "3400", "height": "2822", "filesize": "8445305"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1951.356/1951.356_alt2_full.tif", "width": "5674", "height": "4710", "filesize": "80207920"}, "date_created": "2009-07-01T15:23:21", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1951.356/1951.356_alt3_web.jpg", "width": "1167", "height": "893", "filesize": "916861"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1951.356/1951.356_alt3_print.jpg", "width": "3400", "height": "2602", "filesize": "8002541"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1951.356/1951.356_alt3_full.tif", "width": "5525", "height": "4228", "filesize": "70113452"}, "date_created": "2007-10-29T14:35:17", "annotation": ""}], "creditline": "Gift of the Hanna Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Nancy F. and Joseph P. Keithley Gallery", "athena_id": 128392, "creators": [{"id": 1836, "description": "Camille Pissarro (French, 1830\u20131903)", "extent": null, "qualifier": null, "role": "artist", "biography": "Camille Pissarro's parents ran a general merchandise business on St. Thomas. After attending boarding school in Paris, Pissarro returned to the West Indies to work for his father from 1847 until 1852. As an artist he was largely self-taught, receiving some instruction from Fritz Melbye (1826-1896), a Danish artist with whom he traveled to Venezuela in 1852. When Pissarro returned to Paris in 1855, he shared a studio with Anton Melbye (1818-1875), Fritz's brother, and with David Jacobsen (1821-1871). He took classes at the \u00c9cole des Beaux-Arts in 1856 and three years later attended the Acad\u00e9mie Suisse, where he befriended artists such as C\u00e9zanne (q.v.), Monet (q.v.), and Guillaumin (q.v.). Corot (q.v.) encouraged him to paint landscapes around Paris, and he was listed as Corot's pupil in the catalogues of the Salons of 1864 and 1865. He had met Julie Vellay in 1860, with whom he would have eight children; they married in 1871. Pissarro exhibited regularly at the Salons from 1859 to 1870, although his work received little attention and he sold hardly anything. In 1866 he settled in Pontoise, often returning to Paris where he kept a studio. He frequented \u00c9mile Zola's \"Thursdays\" (weekly literary gatherings) and associated with Manet's (q.v.) artistic circle that gathered in the Caf\u00e9 Guerbois. During the Franco-Prussian War (1870-71) Pissarro fled with his family, first to Montfoucault and then to London, where he worked with Monet and Daubigny (q.v.) and was introduced to the dealer Durand-Ruel. In 1872 he returned to Pontoise, where he painted with C\u00e9zanne. Around 1869 Pissarro began painting in a purely impressionist style, and in 1874 he helped organize the first impressionist exhibition. He moved to \u00c9ragny-sur-Epte in 1884, where he came into contact with Seurat (q.v.) and Paul Signac (1863-1935) and subsequently began to work in a pointillist style. He eventually found this technique too limiting, and returned to an impressionist mode, often working in series. By the end of his career his landscapes and depictions of city life sold well, and in 1892 he was given a retrospective exhibition at Durand-Ruel. By now, the artist had developed strongly anarchist convictions. Pissarro not only painted and made drawings, he also experimented with etching and lithography.", "name_in_original_language": null, "birth_year": "1830", "death_year": "1903", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1951-08-19T00:00:00", "sortable_date": 1879, "date_added_to_oa": null, "date_text": "1879", "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": ["Le Fond de l'Hermitage"], "is_highlight": false, "updated_at": "2026-06-10 17:59:29.576000"}, {"id": 140208, "accession_number": "1964.2", "share_license_status": "Copyrighted", "tombstone": "Composition Concrete (Study for Mural), 1957\u201360. Stuart Davis (American, 1894\u20131964). Oil on canvas; framed: 130.5 x 72 x 9.5 cm (51 3/8 x 28 3/8 x 3 3/4 in.); unframed: 108.6 x 50.8 cm (42 3/4 x 20 in.). The Cleveland Museum of Art, Contemporary Collection of The Cleveland Museum of Art, 1964.2. \u00a9  Estate of Stuart Davis / Licensed by VAGA at Artists Rights Society (ARS), NY", "current_location": "226B American Modern", "title": "Composition Concrete (Study for Mural)", "creation_date": "1957\u201360", "creation_date_earliest": 1957, "creation_date_latest": 1960, "artists_tags": ["male"], "culture": ["United States"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 130.5 x 72 x 9.5 cm (51 3/8 x 28 3/8 x 3 3/4 in.); Unframed: 108.6 x 50.8 cm (42 3/4 x 20 in.)", "dimensions": {"framed": {"height": 1.305, "height_inch": 51, "height_inch_fraction": 0.375, "width": 0.72, "width_inch": 28, "width_inch_fraction": 0.375, "depth": 0.095, "depth_inch": 3, "depth_inch_fraction": 0.75}, "unframed": {"height": 1.086, "height_inch": 42, "height_inch_fraction": 0.75, "width": 0.508, "width_inch": 20, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  Estate of Stuart Davis / Licensed by VAGA at Artists Rights Society (ARS), NY", "inscriptions": [{"inscription": "Signed middle right (in script): Stuart Davis; signed, dated and inscribed on stretcher: Stuart Davis  May 1957/ Mural--Lobby Wall/ scale 2 1/2\" to 1'/ Heinz Res'ch Lab. Pitts. Pa.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304723, "title": "Year in Review (1964)", "description": "<i>Year in Review (1964)</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 8, 1964-January 31, 1965).", "opening_date": "1964-12-08T05:00:00"}, {"id": 320892, "title": "Stuart Davis Memorial Exhibition, 1894-1964", "description": "<i>Stuart Davis Memorial Exhibition, 1894-1964</i>. National Collection of Fine Arts, Washington, DC (organizer) (May 28-July 5, 1965); The Art Institute of Chicago, Chicago, IL (July 30-August 29, 1965); Whitney Museum of American Art, New York, NY (September 14-October 17, 1965); University of California, Los Angeles (October 31-November 28, 1965).", "opening_date": "1965-05-28T04:00:00"}, {"id": 310260, "title": "American Cities: The Artist's View", "description": "<i>American Cities: The Artist's View</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 17, 1989-January 7, 1990).", "opening_date": "1989-10-17T04:00:00"}, {"id": 211664, "title": "Stuart Davis", "description": "<i>Stuart Davis</i>. Peggy Guggenheim Collection, Palazzo Venier dei Leoni, Venice (June 3-September 28, 1997); Palazzo delle Esposizioni, Rome (October 22, 1997-January 12, 1998); Stedelijk Museum, Amsterdam (February 1-May 1, 1998); National Museum of American Art, Washington, DC (May 30-September 1, 1998).", "opening_date": "1997-06-03T00:00:00"}, {"id": 181802, "title": "The Persistence of Geometry: Form, Content and Culture in the Collection of the Cleveland Museum of Art", "description": "<i>The Persistence of Geometry: Form, Content and Culture in the Collection of the Cleveland Museum of Art</i>. Museum of Contemporary Art Cleveland (MOCA), Cleveland, OH (June 9-August 20, 2006).", "opening_date": "2006-06-09T00:00:00"}], "legacy": [{"description": "The Downtown Gallery, New York, Stuart Davis: Exhibition of Ten of the Paintings Used as Color Illustrations in \"Stuart Davis\" by Rudy Blesh, May 10-June 4, 1960 (pamphlet), no. 10 as Study for Mural -- Heinz Co. Research Center.", "opening_date": "1960-05-10T00:00:00"}, {"description": "The Downtown Gallery, New York, Group Show - 1st Floor, November 8-December 3, 1960 (checklist) as Mural-Lobby Wall.", "opening_date": "1960-11-08T00:00:00"}, {"description": "The Corcoran Gallery of Art, Washington, D.C., Twenty Seventh Biennial Exhibition of Contemporary American Painting, January 14-February 26, 1961 (booklet), no. 24 as Lobby Wall.", "opening_date": "1961-01-14T00:00:00"}, {"description": "The Butler Institute of American Art, Youngstown, Ohio, 26th Annual Mid-year Show, July 2-September 4, 1961, no. 39 as Mural Lobby.", "opening_date": "1961-07-02T00:00:00"}, {"description": "Mary Washington College, Fredericksburg, Virginia, Mary Washington Annual, October 1962 (as Mural--Lobby Wall).", "opening_date": "1962-10-01T00:00:00"}]}, "provenance": [{"description": "The artist; (The Downtown Gallery, New York, NY), January 4, 1964", "citations": [], "footnotes": [], "date": "1964", "sortorder": null}, {"description": "(The Downtown Gallery, New York, NY, December 1964, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "1964", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1964-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Davis was one of the first artists to incorporate elements from advertising in his work.", "early_education_description": null, "artlens_description": null, "description": "Davis\u2019s dynamic abstraction is a study for a large mural he created for the H. J. Heinz Research Center in Pittsburgh. The numerals 1957\u2014placed sideways with the last two digits playfully inverted\u2014are visible at the lower left of the composition. Here the artist not only refers to the year he started this painting, but also wittily riffs on the famous Heinz slogan \u201c57 Varieties.\u201d<br><br>Davis remarked that this painting\u2019s title evokes \u201cconcrete music,\u201d an avant-garde composition consisting of seemingly random combinations of pre-recorded sound. With its apparently improvised shapes and colors, his canvas<br>visualizes this experimental concept.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60469162"], "internet_archive": []}, "citations": [{"citation": "Munro, Cynthia, \"We Hitch Our Wagons: Stuart Davis and Cynthia.\" (interview with the artist). <em>Mademoiselle</em>, vol. 45, no. 4, August 1957.", "page_number": "Reproduced: p. 266", "url": null}, {"citation": "Stuart Davis: Exhibition of Ten of the Paintings Used as Color Illustrations in \"Stuart Davis\" by Rudi Blesh (exhibition pamphlet). New York: The Downtown Gallery, 1960.", "page_number": "Reproduced: cover", "url": null}, {"citation": "<em>Twenty Seventh Biennial Exhibition of Contemporary American Painting </em>(exhibition booklet). Washington, D.C.: The Corcoran Gallery of Art, 1961.", "page_number": "Reproduced: cat n. 24", "url": null}, {"citation": "Cleveland Museum of Art, \u201cRecent Acquisitions Press Release,\u201d February 19, 1964, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr1209"}, {"citation": "Henning, Edward B. \"The Language of Art.\" <em>CMA Bulletin</em> 51 (November, 1964), pp. 224-225, repr. p. 225, color illus. p 209.", "page_number": "Mentioned: p. 224; Reproduced: p. 209, 225", "url": null}, {"citation": "Kozloff, Max. \"Larry Rivers, Stuart Davis and Slang Idiom.\" <em>Artforum</em> 4 (November, 1965).", "page_number": "Reproduced: p. 24", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 203", "url": "https://archive.org/details/CMAHandbook1966/page/n227"}, {"citation": "\"Recent Accessions in the American Field.\" <em>Art in America</em> 54 (May-June, 1966).", "page_number": "Reproduced: p. 46", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 203", "url": "https://archive.org/details/CMAHandbook1969/page/n227"}, {"citation": "Cleveland Museum of Art. <em>Art of the Twentieth Century in the Cleveland Museum of Art</em>. Cleveland, OH: Dept. of Art History &amp; Education, CMA, 1969.", "page_number": "Mentioned: p. 4", "url": "https://archive.org/details/20thCenturyArtCMA/page/n5"}, {"citation": "Kelder, Diane, ed. <em>Stuart Davis.</em> New York: Praeger Publishers, 1971.", "page_number": "Reproduced: plate 26", "url": null}, {"citation": "Urdang, Beth. <em>Stuart Davis: Murals. </em>Zabriskie Gallery exhibition catalog, January 27- February 14, 1976.", "page_number": "Mentioned: p. 4; Reproduced: n. 17", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 253", "url": "https://archive.org/details/CMAHandbook1978/page/n273"}, {"citation": "Teilman,Herdis B. \"Composition Concrete, 1957, by Stuart Davis.\" <em>Carnegie Magazine </em>(May, 1980).", "page_number": "Mentioned: p. 9; Reproduced: p. 8", "url": null}, {"citation": "Wilkin, Karen. <em>Stuart Davis. </em>New York Abbeville Press Publishers, 1987.", "page_number": "Reproduced: p. 193", "url": null}, {"citation": "<em>CMA Handbook</em>, 1991.", "page_number": "Mentioned: p. 154", "url": null}, {"citation": "Sims, Lowery Stokes. <em>Stuart Davis: American Painter. </em>New York: The Metropolitan Museum of Art, 1991.", "page_number": "Mentioned: 142,296; Reproduced: p. 297", "url": null}, {"citation": "Rylands, Philip, ed. <em>Stuart Davis.</em> Milan, Electa, 1997. p. 180, 181, cat. no. 54.", "page_number": "Mentioned: p. 180; Reproduced: p. 181, n. 54", "url": null}, {"citation": "Sims, Lowery Stokes.<em> The Persistence of Geometry: Form, Content and Culture in the Collection of the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2006.", "page_number": "Mentioned: p. 121; Reproduced: p. 34, n. 96", "url": null}, {"citation": "\"Year in Review for 1964.\" <em>CMA Bulletin</em> 51 (December, 1964).", "page_number": "Reproduced: p. 266, n. 156", "url": null}], "url": "https://clevelandart.org/art/1964.2", "images": {}, "alternate_images": [], "creditline": "Contemporary Collection of The Cleveland Museum of Art", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Hammond Hemmelgarn Family Gallery", "athena_id": 140208, "creators": [{"id": 3420, "description": "Stuart Davis (American, 1894\u20131964)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1894", "death_year": "1964", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1964-12-19T00:00:00", "sortable_date": 1957, "date_added_to_oa": null, "date_text": "1957\u201360", "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": ["Study for Mural"], "is_highlight": false, "updated_at": "2026-10-13 11:16:16.200000"}, {"id": 143656, "accession_number": "1968.110", "share_license_status": "Copyrighted", "tombstone": "Number 99, 1959\u201360. Morris Louis (American, 1912\u20131962). Acrylic resin (Magna) on canvas; unframed: 251.3 x 360.5 cm (98 15/16 x 141 15/16 in.). The Cleveland Museum of Art, Contemporary Collection of The Cleveland Museum of Art, 1968.110. \u00a9  Maryland Institute College of Art (MICA), Rights Administered by Artist Rights Society (ARS), New York, All Rights Reserved.", "current_location": "227 Abstract Expressionism", "title": "Number 99", "creation_date": "1959\u201360", "creation_date_earliest": 1959, "creation_date_latest": 1960, "artists_tags": ["male", "Jewish artists"], "culture": ["United States"], "technique": "acrylic resin (Magna) on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Unframed: 251.3 x 360.5 cm (98 15/16 x 141 15/16 in.)", "dimensions": {"unframed": {"height": 2.513, "height_inch": 98, "height_inch_fraction": 0.9375, "width": 3.605, "width_inch": 141, "width_inch_fraction": 0.9375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  Maryland Institute College of Art (MICA), Rights Administered by Artist Rights Society (ARS), New York, All Rights Reserved.", "inscriptions": [{"inscription": "written on back of stretcher (in pencil):  Louis 99", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301285, "title": "Year in Review for 1968", "description": "<i>Year in Review for 1968</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 29-March 9, 1969).", "opening_date": "1969-01-29T05:00:00"}, {"id": 302330, "title": "Heritage and Horizon: American Painting 1776 - 1976", "description": "<i>Heritage and Horizon: American Painting 1776 - 1976</i>. Buffalo AKG Art Museum, Buffalo, NY (organizer) (March 7-April 11, 1976); The Detroit Institute of Arts, Detroit, MI (May 2-June 13, 1976); The Toledo Museum of Art, Toledo, OH (July 4-August 15, 1976); The Cleveland Museum of Art, Cleveland, OH (September 8-October 10, 1976).", "opening_date": "1976-03-07T05:00:00"}, {"id": 444160, "title": "Morris Lewis: The Veil Cycle", "description": "<i>Morris Lewis: The Veil Cycle</i>. Walker Art Center, Minneapolis, MN (organizer) (February 6-March 27, 1977); Denver Art Museum, Denver, CO (April 15-May 29, 1977); Modern Art Museum of Fort Worth, Fort Worth, TX (June 19-July 31, 1977); Everson Museum of Art, Syracuse, NY (September 11-October 23, 1977); The Baltimore Museum of Art, Baltimore, MD (November 29, 1977-January 22, 1978).", "opening_date": "1977-02-06T05:00:00"}, {"id": 224241, "title": "Morris Louis Now: An American Master Revisited", "description": "<i>Morris Louis Now: An American Master Revisited</i>. High Museum of Art, Atlanta, GA (organizer) (October 28, 2006-January 21, 2007); Museum of Contemporary Art, San Diego, La Jolla, CA (February 10-May 6, 2007); Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC (September 19, 2007-January 6, 2008).", "opening_date": "2006-10-28T00:00:00"}], "legacy": [{"description": "High Museum of Art (10/28/2006 - 1/21/2007), Museum of Contemporary Art, San Diego (2/10/2007 - 5/6/2007), and the Hirshorrn Museum and Sculpture Garden, Washington, DC (9/19/2007 - 1/6/2008):  \"Morris Louis Now: An American Master Revisited\"", "opening_date": "2006-10-28T00:00:00"}]}, "provenance": [{"description": "(Park International, Inc., New York)", "citations": [], "footnotes": [], "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Astonishingly, Louis painted his large canvases in his modest 12 x 14-foot dining room.", "early_education_description": null, "artlens_description": null, "description": "Louis is associated with the Washington Color School, a group of painters based in Washington, DC, during the 1960s and '70s. These artists tended to create large colorful compositions with repeated shapes, often using diluted paint.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60469892"], "internet_archive": []}, "citations": [{"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 204", "url": "https://archive.org/details/CMAHandbook1969/page/n228"}, {"citation": "Cleveland Museum of Art. <em>Art of the Twentieth Century in the Cleveland Museum of Art</em>. Cleveland, OH: Dept. of Art History &amp; Education, CMA, 1969.", "page_number": "Mentioned: p. 5", "url": "https://archive.org/details/20thCenturyArtCMA/page/n5"}, {"citation": "Henning, Edward B. \u201cMorris Louis, Number 99.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 56, no. 2 (February 1969): 81\u201387.", "page_number": "Mentioned and reproduced: p. 81-87, fig. 10", "url": "http://www.jstor.org/stable/25152259"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 256", "url": "https://archive.org/details/CMAHandbook1978/page/n276"}], "url": "https://clevelandart.org/art/1968.110", "images": {}, "alternate_images": [], "creditline": "Contemporary Collection of The Cleveland Museum of Art", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Frank H. and Nancy L. Porter Gallery", "athena_id": 143656, "creators": [{"id": 3532, "description": "Morris Louis (American, 1912\u20131962)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1912", "death_year": "1962", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1969-01-22T00:00:00", "sortable_date": 1959, "date_added_to_oa": null, "date_text": "1959\u201360", "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": "2026-10-07 12:13:21.298000"}, {"id": 108555, "accession_number": "1926.26", "share_license_status": "CC0", "tombstone": "Nymphs and a Satyr (Amor Vincit Omnia), c. 1625\u201327. Nicolas Poussin (French, 1594\u20131665). Oil on canvas; framed: 121 x 152 x 7 cm (47 5/8 x 59 13/16 x 2 3/4 in.); unframed: 97 x 127.5 cm (38 3/16 x 50 3/16 in.). The Cleveland Museum of Art, Gift of J. H. Wade, 1926.26", "current_location": "212 Baroque Painting and Sculpture", "title": "Nymphs and a Satyr (Amor Vincit Omnia)", "creation_date": "c. 1625\u201327", "creation_date_earliest": 1625, "creation_date_latest": 1627, "artists_tags": ["male"], "culture": ["France"], "technique": "oil on canvas", "support_materials": [], "department": "European Painting and Sculpture", "collection": "P - French 17th Century", "type": "Painting", "measurements": "Framed: 121 x 152 x 7 cm (47 5/8 x 59 13/16 x 2 3/4 in.); Unframed: 97 x 127.5 cm (38 3/16 x 50 3/16 in.)", "dimensions": {"framed": {"height": 1.21, "height_inch": 47, "height_inch_fraction": 0.625, "width": 1.52, "width_inch": 59, "width_inch_fraction": 0.8125, "depth": 0.07, "depth_inch": 2, "depth_inch_fraction": 0.75}, "unframed": {"height": 0.97, "height_inch": 38, "height_inch_fraction": 0.1875, "width": 1.275, "width_inch": 50, "width_inch_fraction": 0.1875}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 346817, "title": "Art of the Seventeenth and Eighteenth Centuries", "description": "<i>Art of the Seventeenth and Eighteenth Centuries</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 9-December 2, 1934).", "opening_date": "1934-11-09T05:00:00"}, {"id": 312517, "title": "The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition", "description": "<i>The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 26-October 4, 1936).", "opening_date": "1936-06-26T04:00:00"}, {"id": 312341, "title": "The Silver Jubilee Exhibition", "description": "<i>The Silver Jubilee Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-September 28, 1941).", "opening_date": "1941-06-23T04:00:00"}, {"id": 300859, "title": "The Venetian Tradition", "description": "<i>The Venetian Tradition</i>. The Cleveland Museum of Art, Cleveland, OH (November 8, 1956-January 1, 1957).", "opening_date": "1956-11-08T05:00:00"}, {"id": 520844, "title": "Our Neighboring Museums", "description": "<i>Our Neighboring Museums</i>. Akron Art Museum, Akron, OH (organizer) (December 1, 1964-January 3, 1965).", "opening_date": "1964-12-01T05:00:00"}, {"id": 445802, "title": "Baroque Art, Era of Elegance", "description": "<i>Baroque Art, Era of Elegance</i>. Denver Art Museum, Denver, CO (organizer) (October 3-November 15, 1971).", "opening_date": "1971-10-03T04:00:00"}, {"id": 442676, "title": "Man and Nature: A View of the Seventeenth Century", "description": "<i>Man and Nature: A View of the Seventeenth Century</i>. Art Gallery of Hamilton, Hamilton, Canada (organizer) (August 17-September 28, 1980).", "opening_date": "1980-08-17T04:00:00"}, {"id": 220985, "title": "The First Roman Years of Nicolas Poussin", "description": "<i>The First Roman Years of Nicolas Poussin</i>. Palazzo delle Esposizioni, Rome (November 26, 1998-March 1, 1999).", "opening_date": "1998-11-26T00:00:00"}, {"id": 207318, "title": "Poussin and Nature", "description": "<i>Poussin and Nature</i>. Bilbao Fine Arts Museum, 48011 Bilbao, Spain (October 8, 2007-January 13, 2008); The Metropolitan Museum of Art, New York, NY (organizer) (February 11-May 11, 2008).", "opening_date": "2007-10-08T00:00:00"}], "legacy": [{"description": "Paris, Petit Palais, 1925: \"Exposiion du Paysage Francais de Poussin \u00e0 Corot,\" cat. no. 270.", "opening_date": "1925-01-01T00:00:00"}, {"description": "CMA, 1936: \"the Twentieth Anniverary Exhibiton of the CMA,\" cat. no. 227, repr.", "opening_date": "1936-01-01T00:00:00"}, {"description": "Rochester, New York, Memoril Art Gallery, Dec. 4-Dec. 31, 1936: \"Rebels in Art,\" (no catalogue).", "opening_date": "1936-12-04T00:00:00"}, {"description": "New York, m. Knoedler &amp; co., April 10-may 6, 1939: \"Loan Exhibition, Pollaiuolo to Picasso-Classics of the Nude,\" cat. no. 12, repr. pl. 12.", "opening_date": "1939-04-10T00:00:00"}, {"description": "Columbus (Ohio) Gallery of Fine Art, October 5-November 5, 1939: \"A Concert of Masterpieces,\" catalogue: Colmbus Gallery of Fine Arts Monthly Bulletin, October, 1939, no. 8.", "opening_date": "1939-10-05T00:00:00"}, {"description": "New York, Durlacher Brothers, March 13-April 6, 1940: \"Exhibition of Paintings and Drawings by Nicolas Poussin,\" (no catalogue; for the benefit of the Institute of Fine Arts, New York University).", "opening_date": "1940-03-13T00:00:00"}, {"description": "New York, World's Fair, May 11-October 28, 1940: \"Masterpieces of Art,\" cat. no. 58,", "opening_date": "1940-05-11T00:00:00"}, {"description": "CMA, 1956: \"The Venetian Tradition,\" cat. no. 31, repr. (catalogue by Henry S Francis).", "opening_date": "1956-01-01T00:00:00"}, {"description": "Akron (Ohio) Art Institute, December 1, 1964-January 3, 1965: \"Our Neighboring Museum,\" (no catalogue).", "opening_date": "1964-12-01T00:00:00"}, {"description": "Paris 1960, no. 33", "opening_date": "1960-01-01T00:00:00"}, {"description": "Rome, Italy; Comune di Roma-Palazzo delle Esposizioni, 11/26/98 - 3/1/99 \"The first Roman Years of Nicolas Poussin\" (I primi anni romani.) Exhibition catalog no. 20, p. 72.", "opening_date": "1998-11-26T00:00:00"}, {"description": "Museo de Bellas Artes de Bilbao (10/8/2007 - 1/13/2008) and Metropolitan Museum of Art (2/11/2008 - 5/11/2008):  \"Poussin and Nature\", ex. cat. no. 14, p.158-159.", "opening_date": "2007-10-08T00:00:00"}]}, "provenance": [{"description": "Cassiano dal Pozzo (Rome, Italy) to Gabriele dal Pozzo (1695, 1740)", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "Lord Radstock, sold, Christie's, London, May 13, 1826, lot 27)", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "Private collection, sold Phillips, London, 1829)", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "Lord Northwick, Thirlestane House, near Cheltenham, by 1837, sold, Phillips, London, August 24, 1859, lot 1809)", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "J. S. W.S. Erle Drax, Esq., Olantigh Towers, Wye, Kent, sold Christie's,London, February 19 and 21, 1910, lot 105, to Cohen", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "Cohen", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "David Horner, London, by 1925", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "Durlacher Brothers (London, England), sold to the Cleveland Museum of Art, 1926.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "After arriving in Rome and experiencing financial instability, Nicolas Poussin turned to painting more popular, lucrative mythological scenes, such as those depicting nymphs and satyrs.", "early_education_description": null, "artlens_description": null, "description": "Like his colleague Claude Lorrain, Poussin depicted historical and mythological subjects in landscapes inspired by the countryside around Rome. His themes were often complex, and frequently incorporated witty allusions to classical texts. Here, a playful cupid tugs Pan, the goatlegged Greek god of the woods, toward Venus, the goddess of love. The painting cleverly illustrates the Latin phrase amor vincit omnia, or \u201clove conquers all\u201d (in Greek, pan means \u201call\u201d). The woodland setting represents the idyllic paradise of Pan\u2019s home.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60503645"], "internet_archive": ["https://archive.org/details/clevelandart-1926.26-nymphs-and-a-satyr-a"]}, "citations": [{"citation": "\"The Last Gift of J. H. Wade: Landscape with Nymphs and Satyrs by Nicolas Poussin.\" <em>The Bulletin of the Cleveland Museum of Art </em>13, no.4 (April 1926): 86-89", "page_number": "Mentioned: p. 88-89", "url": ""}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 1928.", "page_number": "Reproduced: p. 34", "url": "https://archive.org/details/CMAHandbook1928/page/n38"}, {"citation": "Milliken, William. \"Silver Jubilee Exhibition.\" <em>The Bulletin of the Cleveland Museum of Art </em>28, no.6 (June 1941): 88-108", "page_number": "Mentioned: p. 90", "url": "https://www.jstor.org/stable/25140932"}, {"citation": "<em>Paintings in the Cleveland Museum of Art.</em> [Cleveland]: The Cleveland Museum of Art, 1945.", "page_number": "Reproduced: p. 28", "url": "https://archive.org/details/CMAPaintings1945/page/n36"}, {"citation": "Francis, Henry. \"'Roman Campagna near Tivoli' by Claude Gell\u00e9e de Lorrain.\" <em>The Bulletin of the Cleveland Museum of Art </em>33, no. 10 (December 1946): 178-180.", "page_number": "Mentioned: p. 179", "url": "https://www.jstor.org/stable/25141321"}, {"citation": "Francis, Henry Sayles. <em>Venetian Tradition: Catalogue of the Exhibition.</em> [Cleveland, Ohio]: The Cleveland Museum of Art, 1956.", "page_number": "Mentioned: p. 28, no. 31; Reproduced: pl. XVII", "url": ""}, {"citation": "The Cleveland Museum of Art. <em>The Cleveland Museum of Art Handbook.</em> Cleveland, OH: The Cleveland Museum of Art, 1958.", "page_number": "Mentioned and Reproduced: cat. no. 479", "url": "https://archive.org/details/CMAHandbook1958/page/n88"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 116", "url": "https://archive.org/details/CMAHandbook1966/page/n140"}, {"citation": "The Cleveland Museum of Art. <em>The Cleveland Museum of Art Catalogue of Paintings, Part 3: European Paintings of the 16th, 17th, and 18th Centuries</em>. Cleveland, OH: The Cleveland Museum of Art, 1982.", "page_number": "Reproduced: p. 118; Mentioned: p. 119-120", "url": null}, {"citation": "Coen, Paolo, ed. T<em>he Art Market in Rome in the Eighteenth Century: A Study in the Social History of Art. </em>Leiden; Boston: Brill, 2019.", "page_number": "Mentioned: p. 77; Reproduced: p.79", "url": null}, {"citation": "Albl, Stefan, and Pietro Testa. Pietro Testa: Maler in Rom und Lucca (1612-1650). 2021.", "page_number": "Reproduced: p. 270, A. 18.", "url": ""}, {"citation": "Rosenberg, Pierre, and Christel Dupy. <em>Nicolas Poussin: Catalogue Raisonn\u00e9 de L\u2019Oeuvre Peint.</em> [Paris]: Flammarion, 2026.", "page_number": "Mentioned and reproduced: p. 243-245, no. 52, Vol. II", "url": ""}], "url": "https://clevelandart.org/art/1926.26", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1926.26/1926.26_web.jpg", "width": "1177", "height": "893", "filesize": "665574", "filename": "1926.26_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1926.26/1926.26_print.jpg", "width": "3400", "height": "2580", "filesize": "5494409", "filename": "1926.26_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1926.26/1926.26_full.tif", "width": "4840", "height": "3672", "filesize": "53347080", "filename": "1926.26_full.tif"}}, "alternate_images": [{"web": {"url": "https://openaccess-cdn.clevelandart.org/1926.26/1926.26_alt0_web.jpg", "width": "1093", "height": "893", "filesize": "804443"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1926.26/1926.26_alt0_print.jpg", "width": "3400", "height": "2779", "filesize": "6937561"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1926.26/1926.26_alt0_full.tif", "width": "4237", "height": "3463", "filesize": "44063076"}, "date_created": "2008-06-23T18:32:54", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1926.26/1926.26_alt1_web.jpg", "width": "1177", "height": "893", "filesize": "670438"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1926.26/1926.26_alt1_print.jpg", "width": "4400", "height": "3338", "filesize": "8785047"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1926.26/1926.26_alt1_full.tif", "width": "4840", "height": "3672", "filesize": "53347080"}, "date_created": "2006-07-27T14:47:51", "annotation": ""}], "creditline": "Gift of J. H. Wade", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Reinberger Gallery", "athena_id": 108555, "creators": [{"id": 1946, "description": "Nicolas Poussin (French, 1594\u20131665)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1594", "death_year": "1665", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1926-02-18T00:00:00", "sortable_date": 1625, "date_added_to_oa": null, "date_text": "c. 1625\u201327", "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": "2026-07-25 11:42:17.171000"}, {"id": 136680, "accession_number": "1961.219", "share_license_status": "CC0", "tombstone": "Saint Jerome, c. 1638\u201340. Jusepe de Ribera (Spanish, 1591\u20131652). Oil on canvas; framed: 150 x 121.5 x 9 cm (59 1/16 x 47 13/16 x 3 9/16 in.); unframed: 129 x 100.3 cm (50 13/16 x 39 1/2 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1961.219", "current_location": "212 Baroque Painting and Sculpture", "title": "Saint Jerome", "creation_date": "c. 1638\u201340", "creation_date_earliest": 1638, "creation_date_latest": 1640, "artists_tags": ["Latine and Hispanic Artists", "male"], "culture": ["Spain"], "technique": "oil on canvas", "support_materials": [], "department": "European Painting and Sculpture", "collection": "P - Spanish before 1800", "type": "Painting", "measurements": "Framed: 150 x 121.5 x 9 cm (59 1/16 x 47 13/16 x 3 9/16 in.); Unframed: 129 x 100.3 cm (50 13/16 x 39 1/2 in.)", "dimensions": {"framed": {"height": 1.5, "height_inch": 59, "height_inch_fraction": 0.0625, "width": 1.215, "width_inch": 47, "width_inch_fraction": 0.8125, "depth": 0.09, "depth_inch": 3, "depth_inch_fraction": 0.5625}, "unframed": {"height": 1.29, "height_inch": 50, "height_inch_fraction": 0.8125, "width": 1.003, "width_inch": 39, "width_inch_fraction": 0.5}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right: \"Jusepe de Ribera espa[\u00f1ol]. F.\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 302039, "title": "Year in Review (1961)", "description": "<i>Year in Review (1961)</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 1-26, 1961).", "opening_date": "1961-11-01T05:00:00"}, {"id": 519416, "title": "El Greco to Goya, A Loan Exhibition of Spanish Paintings of the Seventeenth and Eighteenth Centuries", "description": "<i>El Greco to Goya, A Loan Exhibition of Spanish Paintings of the Seventeenth and Eighteenth Centuries</i>. Indianapolis Museum of Art at Newfields, Indianapolis, IN (organizer) (February 10-March 24, 1963); Rhode Island School of Design, Providence, RI (February 10-March 24, 1963).", "opening_date": "1963-02-10T05:00:00"}, {"id": 515799, "title": "700 Years of Spanish Art", "description": "<i>700 Years of Spanish Art</i>. Cummer Museum of Art, Jacksonville, FL (organizer) (October 28-November 30, 1965).", "opening_date": "1965-10-28T04:00:00"}, {"id": 309864, "title": "Baroque Imagery", "description": "<i>Baroque Imagery</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 6, 1984-January 6, 1985).", "opening_date": "1984-11-06T05:00:00"}], "legacy": [{"description": "<em>Caravaggio and His Followers</em>, Cleveland Museum of Art, Cleveland, Ohio (October 29, 1971\u2013January 2, 1972).", "opening_date": "1971-10-29T04:00:00Z"}, {"description": "Fort Worth, Texas, The Kimbell Art Museum, 1982\u201383: \"The Tangible World of the Spirit: The Paintings of Jusepe de Ribers,\" repr. p. 128, no. 29, p. 199.", "opening_date": "1982-01-01T00:00:00"}]}, "provenance": [{"description": "The Cleveland Museum of Art, Cleveland, Ohio.", "citations": [], "footnotes": null, "date": "1961\u2013present", "sortorder": 1}, {"description": "(F. Kleinberger & Co., New York, sold to the Cleveland Museum of Art).", "citations": [], "footnotes": null, "date": "1960\u20131961", "sortorder": 2}, {"description": "(Alessandro Morandotti, Zurich, sold to F. Kleinberger in 1960).", "citations": [], "footnotes": ["<div><!--block-->In Richard Spear\u2019s <em>Caravaggio and his Followers, </em>as well as in the museum\u2019s files, the owner of the painting prior to F. Kleinberger was cited as a private collector in Italy.&nbsp; The Kleinberger stock card for this painting reveals that the gallery purchased the painting from \u201cMorandotti,\u201d presumably Alessandro Morandotti, a dealer based in Zurich.&nbsp; A letter from Harry G. Sperling, the president of F. Kleinberger, to former CMA curator Henry S. Francis suggests that Morandotti sold the painting to Kleinberger on behalf of this unnamed private collector: \u201cThe Ribera was purchased by me officially in Zurich, Switzerland.&nbsp; I had seen it for the first time in Italy and agreed to buy it if it was offered to me in Zurich\u2026The painting came directly from private hands, where supposedly it was in the family for generations. I was not given the name of the family.\u201d&nbsp; When Morandotti died in 1979, his archives were dismantled. &nbsp;</div>"], "date": "until 1960", "sortorder": 3}, {"description": "Private collection, Italy, probably consigned to Alessandro Morandotti.", "citations": [], "footnotes": ["<div><!--block-->According to Harry G. Sperling, the president of F. Kleinberger, &amp; Co., the painting had been in an unknown private collection in Italy for generations.</div>"], "date": "until c. 1960?", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Ribera signed the painting on the spine of the book in which Jerome will write.", "early_education_description": null, "artlens_description": null, "description": "Saint Jerome (about ad 347\u2013420) translated biblical texts into Latin. Although he sometimes appears as a scholar in his study, Ribera represents him here as a penitent who withdrew to the desert, beating his chest with a stone to emulate Christ\u2019s suffering and contemplating a skull symbolizing human vanity. Working in Naples, Ribera enthusiastically adapted Caravaggio\u2019s characteristic use of light and dark and naturalistic models.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60465928"], "internet_archive": ["https://archive.org/details/clevelandart-1961.219-saint-jerome"]}, "citations": [{"citation": "Harry G. Sperling, letter to Henry S. Francis, Oct. 6, 1961, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Stock cards, 1897\u20131973, and clipping file, F. Kleinberger, &amp; Co., European Paintings, the Metropolitan Museum of Art, New York, NY.", "page_number": null, "url": null}, {"citation": "Cleveland Museum of Art. <em>European Paintings of the 16th, 17th, and 18th Centuries</em>. Cleveland: Cleveland Museum of Art, 1982.", "page_number": null, "url": null}, {"citation": "Cummer Gallery of Art. <em>700 Years of Spanish Art : Commemorating the St. Augustine Quadricentennial.</em> Jacksonville, Fla.: Cummer Gallery of Art, 1965.", "page_number": "cat. no. 31", "url": ""}, {"citation": "Fort Worth, Texas, The Kimbell Art Museum. \"The Tangible World of the Spirit: The Paintings of Jusepe de Ribera,\" 1982\u201383.", "page_number": "Mentioned: p. 199; Reproduced: p. 128, no. 29", "url": ""}, {"citation": "Lee, Sherman E. \u201cYear in Review 1961.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 48, no. 9 (1961): 219\u201351.", "page_number": "Mentioned: p. 250; Reproduced: p. 218", "url": "http://www.jstor.org/stable/25142473"}, {"citation": "Lee, Sherman E. \u201cYear in Review 1961.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 48, no. 9 (1961): 219\u201351.", "page_number": "", "url": "http://www.jstor.org/stable/25142473"}, {"citation": "John Herron Art Institute, and Rhode Island School of Design Museum. El Greco to Goya; a Loan Exhibition of Spanish Painting of the Seventeenth and Eighteenth Centuries, under the High Patronage of His Excellency Se\u00f1or Don Antonio Garrigues. [Indianapolis], 1963.", "page_number": "cat. no. 68, pl. 68", "url": ""}, {"citation": "John Herron Art Institute, and Rhode Island School of Design Museum. <em>El Greco to Goya; a Loan Exhibition of Spanish Painting of the Seventeenth and Eighteenth Centuries, under the High Patronage of His Excellency Se\u00f1or Don Antonio Garrigues</em>. [Indianapolis], 1963.", "page_number": "cat. no. 68, pl. 68", "url": ""}, {"citation": "Cummer Gallery of Art. <em>700 Years of Spanish Art : Commemorating the St. Augustine Quadricentennial.</em> Jacksonville, Fla.: Cummer Gallery of Art, 1965.", "page_number": "", "url": ""}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 131", "url": "https://archive.org/details/CMAHandbook1966/page/n155"}, {"citation": "Francis, Henry S. \u201cJusepe de Ribera: The Death of Adonis.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 53, no. 9 (November 1966): 339\u2013347.", "page_number": "Mentioned and Reproduced: p. 339\u201340, fig. 2", "url": "http://www.jstor.org/stable/25152120"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 131", "url": "https://archive.org/details/CMAHandbook1969/page/n155"}, {"citation": "Spear, Richard E. <em>Caravaggio and His Followers</em>. New York: Harper &amp; Row, 1975.", "page_number": "p. 154, no. 57", "url": null}, {"citation": "Spear, Richard E. <em>Caravaggio and His Followers</em>. Rev. ed. New York: Harper &amp; Row, 1975.", "page_number": "Reproduced: p. 155", "url": ""}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 151", "url": "https://archive.org/details/CMAHandbook1978/page/n171"}, {"citation": "The Cleveland Museum of Art<em>. The Cleveland Museum of Art Catalogue of Paintings, Part 3: European Paintings of the 16th, 17th, and 18th Centuries</em>. Cleveland, OH: The Cleveland Museum of Art, 1982.", "page_number": "Mentioned: pp. 504\u201306; Reproduced: p. 505", "url": null}, {"citation": "Schloder, John E., and Cleveland Museum of Art.<em> Baroque Imagery.</em> [Cleveland]: Cleveland Museum of Art, 1984.", "page_number": "Mentioned: p. 23\u20134; Reproduced: p. 24", "url": ""}, {"citation": "Schloder, John E., and Cleveland Museum of Art. <em>Baroque Imagery.</em> [Cleveland]: Cleveland Museum of Art, 1984.", "page_number": "Mentioned: pp. 23\u20134; Reproduced p. 24", "url": ""}, {"citation": "Spinosa, Nicola, and Jusepe de Ribera. <em>Ribera</em>. Napoli: Electa Napoli, 2003.", "page_number": "p. 164, cat. A265", "url": ""}, {"citation": "Port\u00fas P\u00e9rez, Javier. <em>Ribera</em>. Barcelona: Pol\u00edgrafa, 2011.", "page_number": "Reproduced: p. 44, fig. 28", "url": ""}, {"citation": "Ximo Company and Mari\u0301a Antonia Argelich, <em>Jose\u0301 de Ribera, San Jero\u0301nimo estudiando</em>. Lleida: Centre d'Art d'E\u0300poca Moderna, Universitat de Lleida, 2013.", "page_number": "Reproduced: p. 25, fig. 40", "url": null}, {"citation": "Marshall, Christopher R. <em>Baroque Naples and the Industry of Painting: The World in the Workbench</em>. New Haven, CT: Yale University Press, 2016.", "page_number": "Mentioned and Reproduced: p. 56, fig. 41", "url": null}], "url": "https://clevelandart.org/art/1961.219", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1961.219/1961.219_web.jpg", "width": "693", "height": "893", "filesize": "339844", "filename": "1961.219_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1961.219/1961.219_print.jpg", "width": "2640", "height": "3400", "filesize": "4996100", "filename": "1961.219_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1961.219/1961.219_full.tif", "width": "4270", "height": "5500", "filesize": "70486056", "filename": "1961.219_full.tif"}}, "alternate_images": [{"web": {"url": "https://openaccess-cdn.clevelandart.org/1961.219/1961.219_alt0_web.jpg", "width": "731", "height": "893", "filesize": "84426"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1961.219/1961.219_alt0_print.jpg", "width": "2784", "height": "3400", "filesize": "1751931"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1961.219/1961.219_alt0_full.tif", "width": "5244", "height": "6404", "filesize": "100771656"}, "date_created": "2013-07-24T08:10:49", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1961.219/1961.219_alt1_web.jpg", "width": "743", "height": "893", "filesize": "87806"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1961.219/1961.219_alt1_print.jpg", "width": "2829", "height": "3400", "filesize": "1098453"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1961.219/1961.219_alt1_full.tif", "width": "5467", "height": "6570", "filesize": "143703804"}, "date_created": "2013-07-24T09:04:53", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1961.219/1961.219_alt2_web.jpg", "width": "730", "height": "893", "filesize": "67022"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1961.219/1961.219_alt2_print.jpg", "width": "2780", "height": "3400", "filesize": "1086899"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1961.219/1961.219_alt2_full.tif", "width": "5197", "height": "6355", "filesize": "99104852"}, "date_created": "2013-07-23T15:51:45", "annotation": ""}], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Reinberger Gallery", "athena_id": 136680, "creators": [{"id": 2403, "description": "Jusepe de Ribera (Spanish, 1591\u20131652)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1591", "death_year": "1652", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1961-10-07T00:00:00", "sortable_date": 1638, "date_added_to_oa": null, "date_text": "c. 1638\u201340", "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": "2026-07-24 11:49:02.005000"}, {"id": 150841, "accession_number": "1982.247", "share_license_status": "CC0", "tombstone": "A Painter, 1855. Ernest Meissonier (French, 1815\u20131891). Oil on mahogany; framed: 39 x 33.5 x 6.5 cm (15 3/8 x 13 3/16 x 2 9/16 in.); unframed: 27 x 21.1 cm (10 5/8 x 8 5/16 in.). The Cleveland Museum of Art, Gift of Mrs. Noah L. Butkin, 1982.247", "current_location": "220 19th Century European", "title": "A Painter", "creation_date": "1855", "creation_date_earliest": 1855, "creation_date_latest": 1855, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on mahogany", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 39 x 33.5 x 6.5 cm (15 3/8 x 13 3/16 x 2 9/16 in.); Unframed: 27 x 21.1 cm (10 5/8 x 8 5/16 in.)", "dimensions": {"framed": {"height": 0.39, "height_inch": 15, "height_inch_fraction": 0.375, "width": 0.335, "width_inch": 13, "width_inch_fraction": 0.1875, "depth": 0.065, "depth_inch": 2, "depth_inch_fraction": 0.5625}, "unframed": {"height": 0.27, "height_inch": 10, "height_inch_fraction": 0.625, "width": 0.211, "width_inch": 8, "width_inch_fraction": 0.3125}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right: EMeissonier. 1855 [EM in monogram]\r\n\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 309669, "title": "The Year in Review for 1983", "description": "<i>The Year in Review for 1983</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 22-April 8, 1984).", "opening_date": "1984-02-22T05:00:00"}, {"id": 441330, "title": "Ernest Meissonier: R\u00e9trospective", "description": "<i>Ernest Meissonier: R\u00e9trospective</i>. Mus\u00e9e des Beaux-Arts de Lyon, 69001 Lyon, France (organizer) (March 25-June 27, 1993).", "opening_date": "1993-03-25T05:00:00"}], "legacy": [{"description": "<em>Salon</em>. Palais des Champs-Elys\u00e9es, Paris, France (1857).", "opening_date": null}, {"description": "International Exhibition. London, United Kingdom (1871).", "opening_date": null}, {"description": "<em>The Artist and the Studio in the Eighteenth and Nineteenth Centuries. </em>The Cleveland Museum of Art, Cleveland, OH (April 5 -August 13, 1978).", "opening_date": "1978-04-05T00:00:00"}, {"description": "Metropolitan Museum, New York, NY (1902)", "opening_date": "1902-01-01T00:00:00"}]}, "provenance": [{"description": "Countess Lehon [1808-1880], Paris, France, her sale, April 2-3,1861, lot 10, sold to Vente X . . . de Vienne", "citations": [], "footnotes": [], "date": "1861", "sortorder": 1}, {"description": "Vente X . . . de Vienne, 1861, (possibly Georg Plach [1818-1885], Vienna, Austria", "citations": [], "footnotes": ["<div><!--block-->There are at least two sales at Drouot, 20 April and 1-2 May 1861, though neither catalogue lists a painting by Meissonier.</div>"], "date": "1861-1871", "sortorder": 2}, {"description": "G. Simpson, by 1871", "citations": [], "footnotes": null, "date": "by 1871", "sortorder": 3}, {"description": "John Grant Morris [1811-1897], Allerton Priory, Liverpool, United Kingdom,1883, sold to Samuel P. Avery", "citations": [], "footnotes": null, "date": "1883-1884", "sortorder": 4}, {"description": "(Samuel P. Avery, New York, NY, by 1884, sold to William H. Vanderbilt)", "citations": [], "footnotes": null, "date": "by 1884", "sortorder": 5}, {"description": "William H. Vanderbuilt [1821-1885], New York, NY, by descent to his son, George W. Vanderbuilt", "citations": [], "footnotes": [], "date": null, "sortorder": 6}, {"description": "George W. Vanderbilt [1862-1914], New York, NY, by descent to Cornelius Vanderbilt III", "citations": [], "footnotes": null, "date": null, "sortorder": 7}, {"description": "Cornelius Vanderbilt III [1983-1942], New York, NY by descent to his widow, Mrs. Cornelius Vanderbilt III", "citations": [], "footnotes": null, "date": "1919-1945", "sortorder": 8}, {"description": "Mrs. Cornelius Vanderbilt III, his widow', [1870-1953], New York, NY, consigned to Parke-Bernet for sale", "citations": [], "footnotes": null, "date": "1945", "sortorder": 9}, {"description": "(Parke-Bernet Galleries, New York, NY, April 18-19, 1945, sold to Mrs. Derek Spence)", "citations": [], "footnotes": null, "date": "1945", "sortorder": 10}, {"description": "Mrs. Derek Spence [1905-1984], New York, NY, February 1976,  consigned to Hammer Gallery", "citations": [], "footnotes": null, "date": "1945-1976", "sortorder": 11}, {"description": "(Hammer Gallery, New York, NY, July 1976, sold to Shepherd Gallery)", "citations": [], "footnotes": null, "date": "1976", "sortorder": 12}, {"description": "(Shephard Gallery, New York, NY, July 1976, sold to Mr. and Mrs. Noah L. Butkin)", "citations": [], "footnotes": [], "date": "1976", "sortorder": 13}, {"description": "Mrs. Noah L. Butkin [1915-2008], Shaker Heights, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1976-1982", "sortorder": 14}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1982-", "sortorder": 15}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The fashionable attire worn by the subject of this painting is from the previous century. In order to ensure authenticity in his paintings, Meissionier collected accessories from local costume markets to assemble a \u201cwork library.\u201d", "early_education_description": null, "artlens_description": null, "description": "Meissonier often depicted artists and musicians of the 1600s and 1700s engaged in their work. This artist is busy painting a small canvas depicting a nymph and satyr. The artist\u2019s 18th-century costume\u2014nearly 100 years out of date at the time of the painting\u2019s creation\u2014transforms the scene into a charming historical fiction. Meissonier exhibited the painting at the Paris Salon of 1857.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60474936"], "internet_archive": ["https://archive.org/details/clevelandart-1982.247-a-painter"]}, "citations": [{"citation": "Auvray, Louis.<em> Exposition des Beaux Arts Salon 1859 par Louis Auvray.</em> Paris: Emile Allard, 1857.", "page_number": "Mentioned: P. 49", "url": null}, {"citation": "Camp, M. de. <em>Le Salon de 1857: Peinture, Sculpture</em>. Paris: Librairie Nouvelle, 1857.", "page_number": "Mentioned: P. 54", "url": null}, {"citation": "Burty, Philippe. \"Les Oeuvres de M. Meissonier et les Photographies de M. Bingham.\" <em>Gazette des Beaux-arts </em>20 (1866):78-87.", "page_number": "Mentioned: P. 86", "url": null}, {"citation": "Mollett, John W. <em>Meissonier</em>. New York, NY: Scribner and Welford, 1882.", "page_number": null, "url": null}, {"citation": "Shinn, Earl. <em>Mr. Vanderbilt's House and Collection, Described by Edward Strahan [Pseud.]</em>. Boston, MA: G. Barrie, 1883.", "page_number": "Reproduced: p. 48, vol. 4", "url": null}, {"citation": "Waters, Clara Erskine Clement, and Laurence Hutton. <em>Artists of the Nineteenth Century and Their Works. A Handbook Containing Two Thousand and Fifty Biographical Sketches</em>. Boston, MA: Ticknor, 1884.", "page_number": "Reproduced: p. 209, vol. 2", "url": null}, {"citation": "<em>The Complete Works of E. Meissonier: With Biography</em>. New York. NY: J.W. Bouton, 1884.", "page_number": "Reproduced: pl.xxxviii", "url": null}, {"citation": "Durand-Greville, E. \"La Peinture aux Etats-Unis: Les Galeries Privees.\" <em>Gazette des Beaux-arts </em>36 (1887): 250-255.", "page_number": "Reproduced: P. 252", "url": null}, {"citation": "Chaumelin, Marius. <em>Portraits d'Artistes</em>. Paris: C. Marpon et E. Flammarion, 1887.", "page_number": "Mentioned: P. 43, no. 55", "url": null}, {"citation": "Stranahan, Clara Cornelia (Harrison). <em>A History of French Painting from Its Earliest to Its Latest Practice: Including an Account of the French Academy of Painting, Its Salons, Schools of Instruction and Regulations</em>. London, United Kingdom: Sampson Low, Marston, Searle, and Rivington, 1889.", "page_number": null, "url": null}, {"citation": "Gre\u0301ard, Octave. <em>Meissonier, His Life and His Art</em>. New York, NY: A.C. Armstrong, 1897.", "page_number": "Reproduced: p. 229", "url": null}, {"citation": "Avery, Samuel Putnam, Madeleine Fidell-Beaufort, H. L. Kleinfield, and Jeanne K. Welcher. <em>The Diaries, 1871-1882, of Samuel P. Avery, Art Dealer</em>. New York, NY: Arno Press, 1979.", "page_number": "Mentioned: p. 726-728; Reproduced: fig. 75", "url": null}, {"citation": "Lee, Sherman E. \" Annual Report for 1982.\" <em>The Bulletin of The Cleveland Museum of Art LXX, </em>no. 6 (June, 1983): 230-232.", "page_number": "Reproduced: p. 231", "url": null}, {"citation": "Turner, Evan H. \"Year in Review for 1983.\" <em>The Bulletin of The Cleveland Museum of Art LXXI </em>no. 2 (February, 1984): 39-64.", "page_number": "Reproduced: p. 61, fig. 19;", "url": null}, {"citation": "Vanderbilt, William H. <em>Collection of W.H. Vanderbilt, 640 Fifth Avenue. </em>New York. 1884.", "page_number": "Mentioned: P. 25, no. 41", "url": null}, {"citation": "Patterson, Jerry E. <em>The Vanderbilts</em>. New York: H.N. Abrams, 1989.", "page_number": "Mentioned: P. 105", "url": null}, {"citation": "Placidi, Kathleen S. \"Beyond Bootblacks: \"The Boat Builder\" and the Art of John George Brown.\" The Bulletin of the Cleveland Museum of Art 77, no. 10 (1990): 366-82.", "page_number": "Reproduced and Mentioned: p. 377-78", "url": "https://www.jstor.org/stable/25161306"}, {"citation": "Chong, Alan. <em>European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogu</em>e. Cleveland, Ohio: Cleveland Museum of Art, 1993.", "page_number": "Reproduced: P. 152", "url": null}, {"citation": "Gotlieb, Marc. <em>The Plight of Emulation: Ernest Meissonier and French Salon Painting</em>. Princeton, NJ.: Princeton University Press, 1996.", "page_number": "Reproduced: p. 230, no. 53, fig. 38", "url": null}, {"citation": "Becker, Edwin, and Elizabeth Prettejohn. <em>Sir Lawrence Alma-Tadema</em>. New York, NY: Rizzoli, 1997.", "page_number": "Reproduced: p. 94", "url": null}, {"citation": "D'Argencourt, Louise and Roger Diederen. T<em>he Cleveland Museum of Art: Catalogue of Paintings, Part Four; European Paintings of the 19th Century. </em>Cleveland, OH: The Cleveland Museum of Art, 1999.", "page_number": "Reproduced: p. 148", "url": null}, {"citation": "Hungerford, Constance Cain, and Jean Louis Ernest Meissonier. <em>Ernest Meissonier: Master in His Genre</em>. Cambridge, United Kingdom: Cambridge University Press, 1999.", "page_number": "Reproduced: p. 67, fig. 28", "url": null}, {"citation": "Antigu\u0308edad, Ma. Dolores, and Amaya Alzaga Ruiz. <em>Colecciones, expolio, museos y mercado arti\u0301stico en Espan\u0303a en los siglos XVIII y XIX</em>. Madrid, Spain: Editorial Universitaria Ramo\u0301n Areces, 2011.", "page_number": "Reproduced: p. 321, fig. 2", "url": null}, {"citation": "David Pullins, review of Delicious Decadence. The Rediscovery of French Eighteenth-Century Painting in the Nineteenth Century, ed. by Guillaume Faroult, Monica Preti and Christoph Vogtherr. The Burlington Magazine 157, no. 1349 (August 2015): 550.", "page_number": "Reproduced: P. 550, fig. 27", "url": null}], "url": "https://clevelandart.org/art/1982.247", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1982.247/1982.247_web.jpg", "width": "702", "height": "893", "filesize": "394981", "filename": "1982.247_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1982.247/1982.247_print.jpg", "width": "2674", "height": "3400", "filesize": "5614437", "filename": "1982.247_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1982.247/1982.247_full.tif", "width": "4719", "height": "6000", "filesize": "84973676", "filename": "1982.247_full.tif"}}, "alternate_images": [], "creditline": "Gift of Mrs. Noah L. Butkin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Victoire and Alfred Rankin Jr. Gallery", "athena_id": 150841, "creators": [{"id": 1661, "description": "Ernest Meissonier (French, 1815\u20131891)", "extent": null, "qualifier": null, "role": "artist", "biography": "Ernest Meissonier had little formal or institutional artistic training, having studied only briefly in Cogniet's (q.v.) studio. Meissonier began his career making woodcuts for book illustrations, which must have served his craftsmanship and influenced his tendency toward working in a small format. From the beginning he was inspired by seventeenth-century Dutch and Flemish genre painters, as attested by his first Salon painting, Dutch Burghers (1834, Wallace Collection, London). His subjects would eventually have a more typical French flavor, representing artists, musicians, or members of the bourgeoisie involved in leisurely activities, and mostly in eighteenth-century settings. Meissonier joined the French army during the Austro-Italian War (1859), after which he frequently painted military scenes, such as Napoleon III at Solferino (1863, Mus\u00e9e National du Ch\u00e2teau de Compi\u00e8gne). Along with the many small depictions of the soldier's life, Meissonier also produced some military paintings on a grand scale. Such works were his attempt to make history paintings and served to counter the criticism that his subjects were frivolous. His military paintings culminated in a partly finished project of four large canvases depicting events in Napoleon I's military career that occupied him from 1864 through 1876. But no matter the size or subject of his paintings, they were always meticulously executed. The Franco-Prussian War also inspired some important works, such as Ruins of the Tuileries (1871, Mus\u00e9e National du Ch\u00e2teau de Compi\u00e8gne). Meissonier's work was extremely popular with the upwardly mobile mercantile elite who appreciated his craftsmanship. Criticism came from artists like Degas (q.v.) and Manet (q.v.), who advocated a more Courbet-like realism, addressing contemporary issues rather than painting idealized reflections of the past. Meissonier led the jury that excluded Courbet (q.v.) from the Salon of 1872 because of his involvement in the Paris Commune in 1871. Yet in 1889 Meissonier was also involved in founding the more progressive artist's organization and exhibitions of the Soci\u00e9t\u00e9 Nationale des Beaux-Arts that seceded from the traditional Soci\u00e9t\u00e9 des Artistes Fran\u00e7ais. Meissonier received many honors and was the first artist to be promoted to the grand croix, the highest rank of the Legion of Honor (1899).", "name_in_original_language": null, "birth_year": "1815", "death_year": "1891", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1982-12-20T00:00:00", "sortable_date": 1855, "date_added_to_oa": null, "date_text": "1855", "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": "2026-05-29 07:47:07.341000"}, {"id": 172954, "accession_number": "1931.2647", "share_license_status": "Copyrighted", "tombstone": "Hills, South Truro, 1930. Edward Hopper (American, 1882\u20131967). Oil on canvas; framed: 83 x 123.5 x 6.5 cm (32 11/16 x 48 5/8 x 2 9/16 in.); unframed: 69.5 x 109.5 cm (27 3/8 x 43 1/8 in.). The Cleveland Museum of Art, Hinman B. Hurlbut Collection, 1931.2647. \u00a9  Heirs of Josephine N. Hopper / Licensed by Artists Rights Society (ARS), NY", "current_location": "226A American Modern", "title": "Hills, South Truro", "creation_date": "1930", "creation_date_earliest": 1930, "creation_date_latest": 1930, "artists_tags": ["male"], "culture": ["United States"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 83 x 123.5 x 6.5 cm (32 11/16 x 48 5/8 x 2 9/16 in.); Unframed: 69.5 x 109.5 cm (27 3/8 x 43 1/8 in.)", "dimensions": {"framed": {"height": 0.83, "height_inch": 32, "height_inch_fraction": 0.6875, "width": 1.235, "width_inch": 48, "width_inch_fraction": 0.625, "depth": 0.065, "depth_inch": 2, "depth_inch_fraction": 0.5625}, "unframed": {"height": 0.695, "height_inch": 27, "height_inch_fraction": 0.375, "width": 1.095, "width_inch": 43, "width_inch_fraction": 0.125}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9  Heirs of Josephine N. Hopper / Licensed by Artists Rights Society (ARS), NY", "inscriptions": [{"inscription": "signed lower left:  EDWARD HOPPER", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 360881, "title": "An Exhibition of Paintings, Water Colors, and Etchings by Edward Hopper", "description": "<i>An Exhibition of Paintings, Water Colors, and Etchings by Edward Hopper</i>. Carnegie Institute, Pittsburgh, PA (organizer) (March 11-April 25, 1937).", "opening_date": "1937-03-11T05:00:00"}, {"id": 312462, "title": "Exhibition of American Painting from 1860 Until Today", "description": "<i>Exhibition of American Painting from 1860 Until Today</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-October 4, 1937).", "opening_date": "1937-06-23T04:00:00"}, {"id": 312341, "title": "The Silver Jubilee Exhibition", "description": "<i>The Silver Jubilee Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-September 28, 1941).", "opening_date": "1941-06-23T04:00:00"}, {"id": 310299, "title": "Reckoning with Winslow Homer: His Late Works and Their Influence", "description": "<i>Reckoning with Winslow Homer: His Late Works and Their Influence</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 19-November 25, 1990); Columbus Museum of Art, Columbus, OH (December 16, 1990-February 10, 1991); Corcoran Gallery of Art, Washington, DC (March 16-May 12, 1991).", "opening_date": "1990-09-19T04:00:00"}, {"id": 441857, "title": "The Truth of the Real, Edward Hopper and Photography", "description": "<i>The Truth of the Real, Edward Hopper and Photography</i>. Museum Folkwang, 45128 Essen, Germany (organizer) (June 28-September 27, 1992).", "opening_date": "1992-06-28T04:00:00"}, {"id": 227084, "title": "Made in U.S.A., l'art am\u00e9ricain, 1908-1943, entre nationalisme et internationalisme [FRAME]", "description": "<i>Made in U.S.A., l'art am\u00e9ricain, 1908-1943, entre nationalisme et internationalisme [FRAME]</i>. Mus\u00e9e des Beaux-Arts de Bordeaux, F-33000 Bordeaux, France (organizer) (October 5-December 31, 2001); Mus\u00e9e des Beaux-Arts de Rennes, Rennes, France (January 17-March 31, 2002); Mus\u00e9e Fabre, Montpellier, France (April 10-June 25, 2002).", "opening_date": "2001-10-05T00:00:00"}, {"id": 229563, "title": "Edward Hopper Retrospective", "description": "<i>Edward Hopper Retrospective</i>. Tate Modern, London, United Kingdom of Great Britain and Northern Ireland (organizer) (May 27-September 5, 2004); Museum Ludwig,  K\u00f6ln, Germany (October 9, 2004-January 9, 2005).", "opening_date": "2004-05-27T00:00:00"}, {"id": 179631, "title": "CMA Highlights", "description": "<i>CMA Highlights</i>. The Cleveland Museum of Art (organizer) (June 21-September 11, 2005).", "opening_date": "2005-06-21T00:00:00"}, {"id": 177342, "title": "Edward Hopper", "description": "<i>Edward Hopper</i>. Museum of Fine Arts, Boston, Boston, MA (organizer) (May 6-August 19, 2007); National Gallery of Art, Landover, MD (September 16, 2007-January 21, 2008); The Art Institute of Chicago, Chicago, IL (February 16-May 11, 2008).", "opening_date": "2007-05-06T00:00:00"}, {"id": 396894, "title": "Train Zug Treno Tren. Voyages imaginaires", "description": "<i>Train Zug Treno Tren. Voyages imaginaires</i>. Plateforme 10 /Mus\u00e9e cantonal des Beaux-Arts, Lausanne, Switzerland (organizer) (June 17-September 25, 2022) https://www.mcba.ch/en/exhibitions/voyages-imaginaires/#description.", "opening_date": "2022-06-17T04:00:00"}], "legacy": [{"description": "<em>The Eleventh Exhibition of Contemporary American Oils. </em>Cleveland Museum of Art, Cleveland, OH (June 12-July 12, 1931).", "opening_date": "1931-06-12T00:00:00"}, {"description": "<em>Edward Hopper: Retrospective Exhibition. </em>The Museum of Modern Art, New York, NY (November 1-December 7, 1933).", "opening_date": "1933-11-01T05:00:00Z"}, {"description": "<em>Exhibitions of Painting by Edward Hopper. </em>The Arts Club of Chicago, Chicago, IL (January 2-January 16, 1934).", "opening_date": "1934-01-02T00:00:00"}, {"description": "<em>An American Show: The Cincinnati Art Museum Presents a Selection of Paintings by Six Living American Artists: Louis Bouche, Edward Hopper, Walt Kuhn, Yasuo Kuniyoshi, John Marin, Max Weber. </em>The Cincinnati Art Museum, Cincinnati, OH (October 1-November 5, 1948).", "opening_date": "1948-10-01T00:00:00"}, {"description": "<em>Edward Hopper: Retrospective Exhibition. </em>Whitney Museum of American Art, New York, NY (February 11-March 26, 1950); Museum of Fine Arts, Boston, MA (April 13-May 14, 1950); Detroit Institute of Arts, Detroit, MI (June 4-July 2, 1950).", "opening_date": "1950-02-11T00:00:00"}, {"description": "<em>Five Painters of America: Louis Bouch\u00e9, Edward Hopper, Ben Shahn, Charles Sheeler, Andrew Wyeth. </em>Worcester Art Museum, Worcester, MA (February 17-April 3, 1955).", "opening_date": "1955-02-17T00:00:00"}, {"description": "<em>Works of Hopper and Corbino. </em>Rhode Island School of Design, Providence, RI (March 7-March 28, 1956).", "opening_date": "1956-03-07T00:00:00"}, {"description": "<em>Living New England Artists Associated with the New England Coast. </em>Currier Gallery of Art, Manchester, NH (July 18-September 2, 1956).", "opening_date": "1956-07-18T00:00:00"}, {"description": "<em>Sesquicentennial Celebration. </em>Miami University, Miami, OH (May 15-June 15, 1959).", "opening_date": "1959-05-15T00:00:00"}, {"description": "<em>American Landscape, 1760-1960</em>. Flint Institute of Arts, Flint, MI (March 3-April 3, 1960).", "opening_date": "1960-03-03T00:00:00"}, {"description": "<em>A Retrospective Exhibition of Oils and Watercolors by Edward Hopper. </em>The University of Arizona Art Gallery, Tucson, AZ (April 20-May 19, 1963).", "opening_date": "1963-04-20T00:00:00"}, {"description": "<em>Edward Hopper</em>. Whitney Museum of American Art, New York, NY (September 29-November 29, 1964); The Art Institute of Chicago (December 18, 1964-January 31, 1965); Detroit Institute of Art, Detroit, MA (February 18-March 21, 1965); City Art Museum of St. Louis, St. Louis, MO (April 7-May 9, 1965).", "opening_date": "1964-09-29T00:00:00"}, {"description": "<em>America, ca. 1930. </em>The Ohio State University School of Art Gallery, Columbus, OH (October 13-October 31, 1968).", "opening_date": "1968-10-13T00:00:00"}, {"description": "<em>Edward Hopper und die Fotografie. </em>Museum Folkwang, Essen, Germany (June 28-September 27, 1992).", "opening_date": "1992-06-28T00:00:00"}, {"description": "<em>CMA Highlights. </em>Cleveland Museum of Art, Cleveland, OH (June 21-September 11, 2005).", "opening_date": "2005-06-21T00:00:00"}, {"description": "<em>American Icons: American Masterworks from the 1930s. </em>Cleveland Museum of Art, Cleveland, OH (March 1-June 1, 2006).", "opening_date": "2006-03-01T00:00:00"}, {"description": "<em>Hopper Drawing. </em>Whitney Museum of American Art, New York, NY (May 23-October 6, 2013).", "opening_date": "2013-05-23T00:00:00"}]}, "provenance": [{"description": "(Rehn Gallery, New York, 1931).", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": ["2585.1931", "2647.1931"], "did_you_know": "Hopper loved this area of Cape Cod so much that he later built his home there.", "early_education_description": null, "artlens_description": null, "description": "A deeply reserved individual and intensely independent artist, Hopper sought to capture, in his words, \"the sad desolation\" of America. His works\u2014including this Cape Cod landscape of a lone house next to a railroad track amid a backdrop of rolling hills\u2014typically inject mundane scenes with a profound sense of solitude. The painter Charles Burchfield once described Hopper\u2019s art as \"silent poetry.\"", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117230202"], "internet_archive": []}, "citations": [{"citation": "Pe\u0300ne du Bois, Guy. <em>Edward Hopper</em>. New York: Whitney Museum of American Art, 1931.", "page_number": "Mentioned: p. 10-11; Reproduced: fig. 20", "url": null}, {"citation": "Milliken, William M. \"The Eleventh Exhibition of Contemporary American Oils.\" <em>The Bulletin of the Cleveland Museum of Art</em> 18, no. 6 (June 1931).", "page_number": "Mentioned: p. 111; Reproduced", "url": null}, {"citation": "Kelly, Grace. \"Oil Painting Exhibition at Art Museum Represents Current American Trends.\" <em>Cleveland Plain Dealer, </em>June 14, 1931.", "page_number": "Mentioned: p. 14", "url": null}, {"citation": "Kelly, Grace. \"Concerning Landscapes in Exhibit.\" <em>Cleveland Plain Dealer, </em>June 28, 1931.", "page_number": "Mentioned: p. 11", "url": null}, {"citation": "Kelly, Grace. \"Interest in Prints Grows at the Museum of Art Among Cleveland Residents.\" <em>Cleveland Plain Dealer, </em>July 12, 1931.", "page_number": "Mentioned: p. 11", "url": null}, {"citation": "Frary, JT. \"Oils Lead Water Colors in 'Area' at Art Museum\". <em>Cleveland Plain Dealer, </em>August 9, 1931.", "page_number": "Mentioned: p. 14", "url": null}, {"citation": "Francis, Henry Sayles. \"A New England Landscape by Edward Hopper.\" <em>The Bulletin of the Cleveland Museum of Art </em>19, no. 6 (February 1932).", "page_number": "Mentioned: 22-23; Reproduced", "url": null}, {"citation": "\"Museum Accessions.\" <em>The American Magazine of Art </em>24, no. 3 (March 1932).", "page_number": "Reproduced: p. 224", "url": null}, {"citation": "Museum of Modern Art. <em>Edward Hopper: Retrospective Exhibition, November 1-December 7, 1933</em>. New York: The Museum of Modern Art, 1933.", "page_number": "Mentioned: p. 26", "url": null}, {"citation": "Sherburne, E. C. \"The Hopper Exhibition.\" <em>Christian Science Monitor</em>, November 6, 1933.", "page_number": "Mentioned", "url": null}, {"citation": "Arts Club of Chicago. <em>Paintings by Edward Hopper: Arts Club of Chicago, January Second to Sixteenth, Nineteen Hundred Thirty-Four</em>. Chicago: The Club, 1934.", "page_number": "Mentioned", "url": null}, {"citation": "\"Hills, South Truro.\" <em>The Christian Science Monitor, </em>April 6, 1934.", "page_number": "Mentioned; Reproduced", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Catalogue of an Exhibition of American Painting from 1860 until Today at the Cleveland Museum of Art</em>. Cleveland: Printed by the Artcraft Printing, 1937.", "page_number": "Mentioned: p. 27, no. 95", "url": null}, {"citation": "Hopper, Edward. <em>Edward Hopper</em>. New York: American Artists Group, 1945.", "page_number": "Reproduced", "url": null}, {"citation": "Bouche\u0301, Louis, Edward Hopper, Walt Kuhn, Yasuo Kuniyoshi, John Marin, and Max Weber. <em>An American Show: The Cincinnati Art Museum Presents a Selection of Paintings by Six Living American Artists: Louis Bouche\u0301, Edward Hopper, Walt Kuhn, Yasuo Kuniyoshi, John Marin, Max Weber</em>. Cincinnati: Cincinnati Art Museum, 1948.", "page_number": "Mentioned", "url": null}, {"citation": "Goodrich, Lloyd. <em>Edward Hopper Retrospective Exhibition</em>. New York: Whitney Museum of American Art, 1950.", "page_number": "Mentioned: p. 55", "url": null}, {"citation": "Burchfield, Charles. \"Portrait of a Realist: Edward Hopper at Sixty-Seven.\" <em>Art News</em> (March 1950).", "page_number": "Mentioned: p.62", "url": null}, {"citation": "Worcester Art Museum. <em>Five Painters of America: A Loan Exhibition,</em> 1955.", "page_number": "Mentioned: p. 2", "url": null}, {"citation": "The Cleveland Museum of Art. <em>The Cleveland Museum of Art Handbook.</em> Cleveland, OH: The Cleveland Museum of Art, 1958.", "page_number": "Mentioned; Reproduced n. 551", "url": "https://archive.org/details/CMAHandbook1958/page/n102"}, {"citation": "Flint Institute of Arts. <em>American Landscape, 1760-1960</em>. Flint, MI: The Institute, 1960.", "page_number": "Mentioned", "url": null}, {"citation": "University of Arizona. <em>The University of Arizona Art Gallery Presents a Retrospective Exhibition of Oils and Watercolors by Edward Hopper, April 20-May 19, 1963</em>. Tucson: University of Arizona, 1963.", "page_number": "Mentioned: p. 35; Reproduced: p. 7", "url": null}, {"citation": "Goodrich, Lloyd. <em>Edward Hopper, Exhibition and Catalogue</em>. Tucson: University of Arizona, 1964.", "page_number": "Mentioned: p. 38, 28", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 192", "url": "https://archive.org/details/CMAHandbook1966/page/n216"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 192", "url": "https://archive.org/details/CMAHandbook1969/page/n216"}, {"citation": "Gillies, Jean. \"The Timeless Space of Edward Hopper.\" <em>Art Journal</em> 31, no. 4 (Summer 1972).", "page_number": "Mentioned: p. 411-412; Reproduced: p. 411", "url": null}, {"citation": "Adams, Celeste, Rita Myers, and Adele Z. Silver. <em>An Introduction to American Art in the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 1972.", "page_number": "Mentioned p. 17; Reproduced p. 17", "url": null}, {"citation": "Heller, Nancy, and Julia Williams. <em>The Regionalists</em>. New York: Watson-Guptill Publications,1976.", "page_number": "Reproduced: p. 67", "url": null}, {"citation": "Johnson, Mark M. \"American Landscapes...Scenes as Divergent as the Land Itself.\" <em>Arts and Activities </em>82, no. 4 (December 1977).", "page_number": "Mentioned: p. 6; Reproduced p. 6", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 238", "url": "https://archive.org/details/CMAHandbook1978/page/n258"}, {"citation": "Billeter, Erika. \"Edward Hopper und die Amerikanische Szene.\" <em>Du, Die Kunstzeitschrift </em>4 (1980).", "page_number": "Mentioned; Reproduced", "url": null}, {"citation": "Levin, Gail. <em>Edward Hopper: The Art and the Artist. </em>New York; London: Norton in association with the Whitney Museum of American Art, 1980.", "page_number": "Mentioned: p. 46-50, 61-64; Reproduced: p. 282", "url": null}, {"citation": "Goodrich, Lloyd. <em>Edward Hopper.</em> New York: Abradale Press, 1983.", "page_number": "Mentioned: p. 89; Reproduced: p. 88", "url": null}, {"citation": "Goodrich, Lloyd. <em>Edward Hopper</em>. New York: H.N. Abrams, 1989.", "page_number": "Mentioned: 119-124; Reproduced: p. 121", "url": null}, {"citation": "Robertson, Bruce. <em>Reckoning with Winslow Homer: His Late Paintings and their Influence</em>. Cleveland: Cleveland Museum of Art in cooperation with Indiana University Press, 1990.", "page_number": "Mentioned: p. 133; Reproduced: p. 134", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of The Cleveland Museum of Art.</em> Cleveland, OH: The Cleveland Museum of Art, 1991.", "page_number": "Reproduced: p.148", "url": null}, {"citation": "Robertson, Bruce. \"Edward Hopper.\" In <em>Masterpieces from East and West</em>. New York, NY: Rizzoli International, 1992.", "page_number": "Mentioned: p. 170; Reproduced p. 171", "url": null}, {"citation": "Ko\u0308ltzsch, Georg-Wilhelm, and Gerd Blum. <em>Edward Hopper und die Fotografie: die Wahrheit des Sichtbaren: Museum Folkwang Essen, 28. Juni - 27. September 1992</em>. Ko\u0308ln: DuMont, 1992.", "page_number": "Reproduced: p. 51", "url": null}, {"citation": "Little, Carl. <em>Edward Hopper's New England. </em>San Francisco: Pomegranate Artbooks, 1993.", "page_number": "Mentioned: 6, 13-15; Reproduced: fig. 21", "url": null}, {"citation": "Chong, Alan. <em>European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogue</em>. Cleveland, Ohio: Cleveland Museum of Art, 1993.", "page_number": "Reproduced: p. 108", "url": null}, {"citation": "Levin, Gail. <em>Edward Hopper: A Catalogue Raisonne\u0301</em>. New York: Whitney Museum of American Art, 1995.", "page_number": "Reproduced: p. 203", "url": null}, {"citation": "Costantino, Maria. <em>Edward Hopper</em>. New York: Barnes &amp; Noble, 1995.", "page_number": "Reproduced: p. 62", "url": null}, {"citation": "Levin, Gail. <em>Edward Hopper: An Intimate Biography</em>. New York: Knopf, 1995.", "page_number": "Mentioned: p. 230-234", "url": null}, {"citation": "Lyons, Deborah, and Brian O'Doherty. <em>Edward Hopper: A Journal of His Work</em>. New York: Whitney Museum of American Art in association with W.W. Norton &amp; Co, 1997.", "page_number": "Mentioned: p. 31, 40", "url": null}, {"citation": "Kranzfelder, Ivo, and Edward Hopper. <em>Edward Hopper, 1882-1967: Vision of Reality</em>. Ko\u0308ln: B. Taschen, 1998.", "page_number": "Reproduced: p. 29", "url": null}, {"citation": "Harris, Patricia, and David Lyon. <em>Massachusetts: The Spirit of America</em>. New York: H.N. Abrams, 1999.", "page_number": "Mentioned: p. 22-23; Reproduced: p. 23", "url": null}, {"citation": "Chassey, E\u0301ric de. <em>Made in USA l'art ame\u0301ricain, 1908-1947. </em>Paris: Re\u0301union des Muse\u0301es Nationaux, 2001.", "page_number": "Reproduced: p. 168", "url": null}, {"citation": "Anfam, David, and Sheena Wagstaff. <em>Edward Hopper</em>. London: Tate Publishing, 2004.", "page_number": "Mentioned: p. 246; Reproduced: p. 158-159", "url": null}, {"citation": "Donley, Gregory M., \"World Travelers\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 46 no. 01, January 2006", "page_number": "Mentioned & reproduced: p. 8", "url": "https://archive.org/details/CMAMM2006-01/page/8"}, {"citation": "Troyen, Carol, Judith A. Barter, Janet L. Comey, Elliot Bostwick Davis, and Ellen E. Roberts. <em>Edward Hopper</em>. Boston, MA: MFA Publications, 2007.", "page_number": "Mentioned: p. 147-155; Reproduced: p. 151", "url": null}, {"citation": "Wells, Walter. <em>Silent Theater: The Art of Edward Hopper</em>. London: Phaidon Press, 2007.", "page_number": "Mentioned: p.154; Reproduced: p. 155", "url": null}, {"citation": "Zezima, Katie. \"A Town Tries to Protect an Artist's Inspiration.\" <em>The New York Times, </em>September 19, 2007.", "page_number": "Mentioned; Reproduced", "url": null}, {"citation": "Klinkenborg, Verlyn. \"The Hopper Landscape.\" <em>The New York Times, </em>September 26, 2007. <a href=\"https://www.nytimes.com/2007/09/26/opinion/26weds4.html\">https://www.nytimes.com/2007/09/26/opinion/26weds4.html</a>.", "page_number": "Mentioned: p. A 26", "url": null}, {"citation": "Simon, L. Marcia. Letter to the editor. <em>The New York Times, </em>October 2, 2007.", "page_number": "Mentioned: p. A 24", "url": null}, {"citation": "Adams, Henry. <em>What's American About American Art?: A Gallery Tour in the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2008.", "page_number": "Mentioned : p. 136; Reproduced: 136-137", "url": null}, {"citation": "Vincent, Marc. \"Essays Shed Light on Complex American Artist.\" <em>The Plain Dealer, </em>February 17, 2008.", "page_number": "Mentioned: p. M5", "url": null}, {"citation": "Farre\u0301s, Ernest, and Lawrence Venuti. <em>Edward Hopper: Poems</em>. Saint Paul, MN: Graywolf Press, 2009.", "page_number": "Mentioned: p. 93, 134", "url": null}, {"citation": "Little, Carl. <em>Edward Hopper's New England</em>. San Francisco: Pomegranate, 2011.", "page_number": "Mentioned: p. 16; Reproduced", "url": null}, {"citation": "Foster, Carter E., and Daniel S. Palmer. <em>Hopper Drawing</em>. New York: Whitney Museum of American Art, 2013.", "page_number": "Mentioned: p. 180; Reproduced: p. 181", "url": null}], "url": "https://clevelandart.org/art/1931.2647", "images": {}, "alternate_images": [], "creditline": "Hinman B. Hurlbut Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Dr. Robert B. Benyo Trust Gallery", "athena_id": 172954, "creators": [{"id": 6568, "description": "Edward Hopper (American, 1882\u20131967)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1882", "death_year": "1967", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1931-06-18T00:00:00", "sortable_date": 1930, "date_added_to_oa": null, "date_text": "1930", "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": "2026-10-17 11:22:15.451000"}, {"id": 167456, "accession_number": "2009.269", "share_license_status": "Copyrighted", "tombstone": "Rock at Sea, 1920\u201322. Raymond Jonson (American, 1891\u20131982). Oil on canvas; unframed: 88.9 x 104.2 cm (35 x 41 in.). The Cleveland Museum of Art, Severance and Greta Millikin Purchase Fund, 2009.269", "current_location": "226A American Modern", "title": "Rock at Sea", "creation_date": "1920\u201322", "creation_date_earliest": 1920, "creation_date_latest": 1922, "artists_tags": ["male"], "culture": ["United States"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Unframed: 88.9 x 104.2 cm (35 x 41 in.)", "dimensions": {"unframed": {"height": 0.889, "height_inch": 35, "height_inch_fraction": 0.0, "width": 1.042, "width_inch": 41, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right inscribed into wet paint: Raymond Jonson 19 (CJ) 22; (written on the reverse of the backing board): Raymond Jonson, Rock at Sea 1922, Ogunguit, Maine; Oct. 1945 - varnished Taylor's Dammar Dull + Webers ", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 283968, "title": "Higher States: Lawren Harris and His American Contemporaries", "description": "<i>Higher States: Lawren Harris and His American Contemporaries</i>. McMichael Canadian Art Collection, Kleinburg, Canada (organizer) (February 4-September 4, 2017); Glenbow Museum, Calgary, Canada (October 7, 2017-January 7, 2018).", "opening_date": "2017-02-04T05:00:00"}], "legacy": [{"description": "<em>Exhibition of Paintings by Raymond Jonson. </em>Omaha Society of Fine Arts, Public Library Galleries, Omaha (March 24-April 20, 1924).", "opening_date": "1924-03-24T00:00:00"}, {"description": "<em>An Exhibit of Paintings by Raymond Jonson. </em>Kansas City Art Institute, Kansas City (May 1-May 31, 1924).", "opening_date": "1924-05-01T00:00:00"}]}, "provenance": [{"description": "The artist", "citations": [], "footnotes": [], "date": "1922-1978", "sortorder": 1}, {"description": "Edward and Bettie Moran, Alameda, NM", "citations": [], "footnotes": null, "date": "1978-2002", "sortorder": 2}, {"description": "(Bob Copland, Santa Fe, NM)", "citations": [], "footnotes": [], "date": "2002", "sortorder": 3}, {"description": "Private collector, ME", "citations": [], "footnotes": null, "date": "2002-by 2008", "sortorder": 4}, {"description": "(Hirschl & Adler Galleries, Inc., New York, NY)", "citations": [], "footnotes": [], "date": "by 2008-2009", "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2009-", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Jonson admired this composition, recycling it years later for a mountainous New Mexico landscape painting.", "early_education_description": null, "artlens_description": null, "description": "The radically stylized tendencies in <em>Rock at Sea </em>were motivated by Jonson\u2019s earlier work as an avant-garde scenic and lighting designer for the esteemed Chicago Little Theatre. Inspired by the jagged coast of Ogunquit, Maine, the painting\u2019s visionary rendering of nature embodies the artist\u2019s long-standing interest in communicating mystical concepts. Later, Jonson would move to Albuquerque, New Mexico, and co-found the Transcendental Painting Group, an association of artists dedicated to expressing the imaginative and spiritual realms through abstract art.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60480481"], "internet_archive": ["https://archive.org/details/clevelandart-2009.269-rock-at-sea"]}, "citations": [{"citation": "<em>Exhibition of Paintings by Raymond Jonson: March 24 to April 20, 1924. </em>Omaha: Omaha Society of Fine Arts, 1924.", "page_number": null, "url": null}, {"citation": "\"Museum Notes.\" <em>The Evening Bee: Omaha </em>(Omaha, NE), March 28, 1924.", "page_number": null, "url": null}, {"citation": "<em>An Exhibit of Paintings by Raymond Jonson. </em>Kansas City: The Kansas City Art Institute, 1924.", "page_number": "Mentioned: p. 3", "url": null}, {"citation": "\"Acquisitions Highlights.\" <em>Cleveland Art</em> 49 (November 2009).", "page_number": "Mentioned: p. 11; Reproduced: p. 11", "url": null}, {"citation": "Mann, Griffith C. \"Acquisitions 2009.\" <em>Cleveland Art</em> 50 (March/April 2010).", "page_number": "Mentioned: p. 17-18; Reproduced: p. 17", "url": "https://archive.org/details/CMAMM2010-02/page/n15/mode/2up"}, {"citation": "Litt, Steven. \"Close Up: Painter's Interest in Abstraction Leaves Him Teetering at the Edge,\" <em>The Plain Dealer</em>, February 12, 2012.", "page_number": "Mentioned: E5; Reproduced: E5", "url": null}, {"citation": "Nasgaard, Roald, Gwendolyn Owens, and Lawren Harris. <em>Higher States:</em> <em>Lawren Harris and His American Contemporaries.</em> Kleinburg, Ontario: McMichael Canadian Art Collection, 2017.", "page_number": "Mentioned: p. 94; Reproduced: p. 14-15", "url": null}, {"citation": "Hartel, Herbert R. <em>Raymond Jonson and the Spiritual in Modernist and Abstract Painting.</em> New York and London: Routledge, Taylor &amp; Francis Group, 2018.", "page_number": "Mentioned: p. 36-38; Reproduced: p. 37", "url": null}, {"citation": "Marshall, Jennifer Jane. \"Routes to Modernism: 1913-1943.\" In <em>Art in Chicago: A History from the Fire to Now</em>. Maggie Taft and Robert Cozzolino, editors. Chicago: University of Chicago Press, 2018.", "page_number": "Reproduced; p. 64", "url": null}, {"citation": "Raymond Jonson Papers, 1910-1964. Archives of American Art, Smithsonian Institution. Microfilm.", "page_number": "Mentioned: RJ-8, frames 6198-6200, RJ-10, frame 7122", "url": null}], "url": "https://clevelandart.org/art/2009.269", "images": {}, "alternate_images": [], "creditline": "Severance and Greta Millikin Purchase Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Dr. Robert B. Benyo Trust Gallery", "athena_id": 167456, "creators": [{"id": 58611, "description": "Raymond Jonson (American, 1891\u20131982)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1891", "death_year": "1982", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2009-09-14T00:00:00", "sortable_date": 1920, "date_added_to_oa": null, "date_text": "1920\u201322", "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": "2026-09-25 19:31:03.617000"}, {"id": 162080, "accession_number": "2001.34", "share_license_status": "Copyrighted", "tombstone": "The Dream, 1931. Salvador Dal\u00ed (Spanish, 1904\u20131989). Oil on canvas; framed: 120 x 120 x 7.7 cm (47 1/4 x 47 1/4 x 3 1/16 in.); unframed: 96 x 96 cm (37 13/16 x 37 13/16 in.). The Cleveland Museum of Art, John L. Severance Fund, 2001.34. \u00a9 Salvador Dali, Gala-Salvador Dali Foundation / Artists Rights Society (ARS), New York", "current_location": "225 German Expressionism & Surrealism", "title": "The Dream", "creation_date": "1931", "creation_date_earliest": 1931, "creation_date_latest": 1931, "artists_tags": ["Latine and Hispanic Artists", "male"], "culture": ["Spain (Catalonia), 20th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 120 x 120 x 7.7 cm (47 1/4 x 47 1/4 x 3 1/16 in.); Unframed: 96 x 96 cm (37 13/16 x 37 13/16 in.)", "dimensions": {"framed": {"height": 1.2, "height_inch": 47, "height_inch_fraction": 0.25, "width": 1.2, "width_inch": 47, "width_inch_fraction": 0.25, "depth": 0.077, "depth_inch": 3, "depth_inch_fraction": 0.0625}, "unframed": {"height": 0.96, "height_inch": 37, "height_inch_fraction": 0.8125, "width": 0.96, "width_inch": 37, "width_inch_fraction": 0.8125}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Salvador Dali, Gala-Salvador Dali Foundation / Artists Rights Society (ARS), New York", "inscriptions": [], "exhibitions": {"current": [{"id": 227242, "title": "La R\u00e9volution surr\u00e9aliste", "description": "<i>La R\u00e9volution surr\u00e9aliste</i>. Centre national d'art et de culture Georges Pompidou, Paris cedex O4, France (organizer) (March 6-June 24, 2002).", "opening_date": "2002-03-06T00:00:00"}, {"id": 222595, "title": "Dal\u00ed", "description": "<i>Dal\u00ed</i>. Palazzo Grassi spa, 30124 Venice, Italy (organizer) (September 12, 2004-January 16, 2005); Philadelphia Museum of Art, Philadelphia, PA (February 16-May 30, 2005).", "opening_date": "2004-09-12T00:00:00"}, {"id": 179631, "title": "CMA Highlights", "description": "<i>CMA Highlights</i>. The Cleveland Museum of Art (organizer) (June 21-September 11, 2005).", "opening_date": "2005-06-21T00:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. Vancouver Art Gallery, Vancouver, Canada (June 9-September 16, 2007); The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008); Frist Art Museum, Nashville, TN (February 15-June 1, 2008); Utah Museum of Fine Arts, Salt Lake City, UT (June 22-September 21, 2008); The Detroit Institute of Arts, Detroit, MI (October 12, 2008-January 18, 2009).", "opening_date": "2006-05-27T00:00:00"}, {"id": 206339, "title": "Barcelona & Modernity: Picasso, Gaud\u00ed, Mir\u00f3, Dal\u00ed (1868-1939)", "description": "<i>Barcelona & Modernity: Picasso, Gaud\u00ed, Mir\u00f3, Dal\u00ed (1868-1939)</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 15, 2006-January 7, 2007); The Metropolitan Museum of Art, New York, NY (co-organizer) (March 4-June 3, 2007).", "opening_date": "2006-10-15T00:00:00"}, {"id": 536572, "title": "Surr\u00e9alisme", "description": "<i>Surr\u00e9alisme</i>. Centre national d'art et de culture Georges Pompidou, Paris cedex O4, France (organizer) (September 4, 2024-January 13, 2025).", "opening_date": "2024-09-04T04:00:00"}, {"id": 683149, "title": "Dreamworld: Surrealism at 100", "description": "<i>Dreamworld: Surrealism at 100</i>. Philadelphia Museum of Art, Philadelphia, PA (organizer) (November 8, 2025-February 16, 2026) https://philamuseum.org/calendar/exhibition/dreamworld-surrealism.", "opening_date": "2025-11-08T05:00:00"}], "legacy": [{"description": "<em>CMA Highlights</em>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 21, 2005 - September 11, 2005).", "opening_date": "2005-06-21T00:00:00"}]}, "provenance": [{"description": "Vicomte Charles [1891-1981] and Vicomtesse Marie-Laure de Noailles [1902-1970], Paris, by exchange to F\u00e9lix Labisse", "citations": [], "footnotes": ["<div><!--block-->The Vicomte Charles de Noailles, Dal\u00ed's most important patron during his early Surrealist years, may have purchased the painting directly from Dal\u00ed, although further research is required to confirm or disprove this speculation.&nbsp; The Noailles certainly owned the painting by 1931, when they are listed as its owners in an exhibition at the Galerie Pierre Colle in Paris. &nbsp;</div>"], "date": "c. 1930 - c. 1945-1951", "sortorder": 1}, {"description": "F\u00e9lix Labisse [1905-1982], Neuilly-sur-Seine, France", "citations": [], "footnotes": ["<div><!--block-->Fran\u00e7oise Hersaint, wife of Surrealist collector Claude Hersaint and good friend of Labisse, thought that Labisse had acquired <em>The Dream </em>from the Noailles by exchange between 1945 and 1951, and recalled that when she first visited Labisse's home in 1952, the painting was already in his collection.&nbsp; Labisse certainly had the painting by 1956, when he is listed as its owner in a Dal\u00ed exhibition at the Casino de Knokke in Belgium.</div>"], "date": "By 1952 - at least 1972", "sortorder": 2}, {"description": "Gerrit Lansing [1942-2010] New York", "citations": [], "footnotes": null, "date": "Before 1999", "sortorder": 3}, {"description": "Daniel Filipacchi [b. 1928] Paris/New York, sold to the Cleveland Museum of Art \nTransfer Mode: \nUnknown", "citations": [], "footnotes": ["<div><!--block-->Weisberger, Edward. <em>Surrealism, Two Private Eyes: The Nesuhi Ertegun and Daniel Filipacchi Collections</em>. New York, N.Y.: Guggenheim Museum, 1999.</div>"], "date": "By 1999 - 2001", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, Ohio", "citations": [], "footnotes": null, "date": "2001-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Dali and other Surrealist artists created images depicting strange juxtapositions that are sometimes referred to as \"dreamscapes.\"", "early_education_description": null, "artlens_description": null, "description": "<em>The Dream</em> gives visual form to the strange, often disturbing world of dreams and hallucinations. Ants cluster over the face of the central figure, obscuring the mouth, while the sealed, bulging eyelids suggest the sensory confusion and frustration of a dream. The man at the far left\u2014with a bleeding face and amputated left foot\u2014refers to the classical myth of Oedipus, who unwittingly killed his father and married his mother. The column that grows from the man\u2019s back and sprouts into a bust of a bearded man refers to the Freudian father, the punishing superego who suppresses the son\u2019s sexual fantasies. In the distance, two men embrace, one holding a golden key or scepter symbolizing access to the unconscious. Behind them, a naked man reaches into a permeable red form, as if trying to enter it.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60478246"], "internet_archive": []}, "citations": [{"citation": "Pierre Colle (Firm).  <em>Exposition Salvador Dal\u00ed: du 3 au 15 juin 1931.  </em>Paris: Pierre Colle, 1931.", "page_number": null, "url": null}, {"citation": "Exposition internationale du surre\u0301alisme, and Andre\u0301 Breton. <em>The International Surrealist Exhibition: Thursday, June 11th to Saturday, July 4th, 1936, New Burlington Galleries</em>. London: International Surrealist Exhibition, English Committee, 1936.", "page_number": null, "url": null}, {"citation": "Pauwels, Louis.  <em>Salvador Dal\u00ed Exposition, Knokke Le Zoute-Albert Plage, Casino Communal, 1 juillet-10 septembre 1956.  </em>Bruxelles: \u00c9ditions de la Connaissance, 1956.", "page_number": null, "url": null}, {"citation": "<em>Der surrealismus 1922-1942</em>. Mu\u0308nchen: Ausstellunseitung Hans der Kunst, 1972.<ul><li><a href=\"http://cmaweb14.clevelandart.org/field-collection/field-citations/4030/edit?destination=node/331\">Edit</a></li><li><a href=\"http://cmaweb14.clevelandart.org/field-collection/field-citations/4030/delete?destination=node/331\">Delete</a></li></ul>", "page_number": null, "url": null}, {"citation": "Martin-Me\u0301ry, Gilberte. <em>Bosch, Goya, et le fantastique; catalogue. Bordeaux, 20 mai-31 juillet, 1957</em>. [Bordeaux]: [Imprimeries Delmas], 1957.<br><br><em><br></em>", "page_number": null, "url": null}, {"citation": "Sylvain Bellenger, email to William Robinson, April 13, 2001, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "May, Sally Ruth, Jane Takac, and Barbara J. Bradley. <em>Knockouts: A Pocket Guide</em>. Cleveland, Ohio: Cleveland Museum of Art, 2001.", "page_number": "Reproduced: p. 59' Mentioned: p. 58-59, 118", "url": null}, {"citation": "\"A Selection of Museum Acquisitions.\" <em>Apollo: The International Magazine for Collectors</em> (December 2001): 56.", "page_number": "Reproduced: p. 56", "url": null}, {"citation": "Cleveland Museum of Art, \u201cMajor Salvador Dali Painting Acquired by the Cleveland Museum of Art,\u201d April 20, 2001, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr4385"}, {"citation": "\"Major Acquisition.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 41, no. 6 (Summer 2001): 2.", "page_number": "Mentioned and reproduced: p. 2", "url": "https://archive.org/details/CMAMM2001-06/page/n1/mode/2up?"}, {"citation": "Spies, Werner. <em>La re\u0301volution surre\u0301aliste: exposition pre\u0301sente\u0301e au Centre Pompidou, Galerie 1, 6 mars-24 juin 2002</em>. Paris, France: Centre Pompidou, 2002.", "page_number": "Reproduced: p. 205", "url": null}, {"citation": "Spies, Werner. <em>Die surrealistische Revolution</em>. Ostfildern-Ruit, Germany: Hatje Cantz, 2002.", "page_number": "Reproduced: p. 209", "url": null}, {"citation": "Spies, Werner. <em>Der Surrealismus: Kanon einer Bewegung</em>. Ko\u0308ln, Germany: DuMont, 2003.", "page_number": "Reproduced: p. 119", "url": null}, {"citation": "Ades, Dawn. <em>Dali\u0301: The Centenary Retrospective</em>. London, United Kingdom: Thames &amp; Hudson, 2004.", "page_number": "Reproduced: p. 152-153", "url": null}, {"citation": "\"Major Acquisitions 2000-2005.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 45, no. 6 (July/August 2005): 6-17.", "page_number": "Mentioned and reproduced: p. 13-14", "url": "https://archive.org/details/CMAMM2005-06/page/14/mode/2up"}, {"citation": "Robinson, William H., Jordi Falga\u0300s, Carmen Belen Lord, and Josefina Alix Trueba. <em>Barcelona and Modernity: Picasso, Gaudi\u0301, Miro\u0301, Dali\u0301</em>. Cleveland, OH: Cleveland Museum of Art in association with Yale University Press, 2006.", "page_number": "Reproduced: p. 352", "url": null}, {"citation": "Kolberg, Gerhard. <em>Salvador Dali\u0301: la Gare de Perpignan ; Pop, Op, Yes-yes, Pompier ; [Museum Ludwig, Ko\u0308ln, 18. Ma\u0308rz bis 25. Juni 2006]</em>. Ostfildern. Germany: Hatje Cantz, 2006.", "page_number": "Reproduced: p, 53, fig. 58", "url": null}, {"citation": "<em>Treasures of the Cleveland Museum of Art</em>. London, United Kingdom: Scala Books, 2012.", "page_number": "Reproduced and mentioned: p. 314-315", "url": null}, {"citation": "Grenier, Catherine, and David Radzinowicz. <em>Salvador Dali\u0301: The Making of an Artist.</em> Paris: Flammarion, 2012.", "page_number": "Reproduced: P. 113", "url": null}, {"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. 300", "url": ""}, {"citation": "\u201cA Walking Tour: The entire new museum wing by wing, with curators calling out a few favorite works in the collection.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 54, no. 1 (January/February 2014): 8-33.", "page_number": "Reproduced and Mentioned: p. 21", "url": "https://archive.org/details/CMAMM2014-01"}, {"citation": "Cleveland Museum of Art. <em>Museum Masters: 2016-17 Companion Guide.</em> [Cleveland, Ohio]: Cleveland Museum of Art, 2016.", "page_number": "Mentioned and reproduced: P. 23", "url": ""}, {"citation": "Bergez, Daniel, and Kate Deimling. <em>Painting the Dream: From the Biblical Dream to Surrealism</em>. New York; London: Abbeville Press Publishers, 2018.", "page_number": "Reproduced: P. 234, no. 177", "url": null}, {"citation": "Poullain, Christine, Dir. <em>Le re\u0302ve</em>. Paris: R\u00e9union des mus\u00e9es nationaux-Grand Palais, 2016.", "page_number": "Reproduced: p. 21, fig. 3", "url": null}, {"citation": "Rogla\u0301n, Mark A.<em> Spanish Art in America</em>. Madrid, Spain : Ediciones El Viso 2016.", "page_number": "Reproduced: p. 83", "url": null}, {"citation": "Bergez, Daniel.<em> Peindre le re\u0302ve: des re\u0302ves bibliques au surre\u0301alisme.</em> <br>Paris : Citadelles &amp; Mazenod, 2017.", "page_number": "Mentioned: p. 233; reproduced p. 234.", "url": null}, {"citation": "Descharnes, Robert, and Gilles Ne\u0301ret.<em> Salvador Dali: The Paintings 1904-1989. </em>Ko\u0308ln: Taschen, 2019.", "page_number": "Reproduced: P. 165, no. 361", "url": ""}, {"citation": "Dialer, Corinne. <em>Oneirische Oszillation: Zum Neuzeitlichen Bildthema des Ku\u0308nstlertraums</em>. Hildesheim: Olms; [Mu\u0308nchen]: UB, Universita\u0308tsbibliothek Ludwig-Maximilians-Universita\u0308t Mu\u0308nchen, 2022.", "page_number": "Mentioned: P. 104, abb. 57; Reproduced: P. 244, abb. 57", "url": ""}, {"citation": "Breton, Andre\u0301, and Centre Georges Pompidou. <em>Surrealism.</em> Edited by Didier Ottinger and Marie Sarre\u0301. [England]: ACC Art Books, 2024.", "page_number": "Reproduced: p. 29", "url": ""}, {"citation": "Affron, Matthew. <em>Dreamworld: Surrealism at 100. </em>Philadelphia: Philadelphia Art Museum, 2025.", "page_number": "Mentioned: p. 126; Reproduced: p. 136", "url": ""}], "url": "https://clevelandart.org/art/2001.34", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 162080, "creators": [{"id": 12809, "description": "Salvador Dal\u00ed (Spanish, 1904\u20131989)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1904", "death_year": "1989", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2001-04-18T00:00:00", "sortable_date": 1931, "date_added_to_oa": null, "date_text": "1931", "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": true, "updated_at": "2026-08-22 11:53:17.308000"}, {"id": 126059, "accession_number": "1948.28", "share_license_status": "Copyrighted", "tombstone": "Sunday Afternoon in the Country, 1917. Florine Stettheimer (American, 1871\u20131944). Oil on canvas; framed: 139 x 103.5 x 8.3 cm (54 3/4 x 40 3/4 x 3 1/4 in.); unframed: 128 x 92.5 cm (50 3/8 x 36 7/16 in.). The Cleveland Museum of Art, Gift of Ettie Stettheimer, 1948.28", "current_location": "226A American Modern", "title": "Sunday Afternoon in the Country", "creation_date": "1917", "creation_date_earliest": 1917, "creation_date_latest": 1917, "artists_tags": ["female", "Jewish artists"], "culture": ["United States"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 139 x 103.5 x 8.3 cm (54 3/4 x 40 3/4 x 3 1/4 in.); Unframed: 128 x 92.5 cm (50 3/8 x 36 7/16 in.)", "dimensions": {"framed": {"height": 1.39, "height_inch": 54, "height_inch_fraction": 0.75, "width": 1.035, "width_inch": 40, "width_inch_fraction": 0.75, "depth": 0.083, "depth_inch": 3, "depth_inch_fraction": 0.25}, "unframed": {"height": 1.28, "height_inch": 50, "height_inch_fraction": 0.375, "width": 0.925, "width_inch": 36, "width_inch_fraction": 0.4375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower left: \"19 FS 17 [FS in monogram]\"\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 520340, "title": "Florine Stettheimer: One Man Show", "description": "<i>Florine Stettheimer: One Man Show</i>. Durlacher Brothers, New York, NY (organizer) (October 29-November 23, 1963).", "opening_date": "1963-10-29T05:00:00"}, {"id": 443032, "title": "Florine Stettheimer: Still Lifes, Portraits, and Pageants, 1910-1942", "description": "<i>Florine Stettheimer: Still Lifes, Portraits, and Pageants, 1910-1942</i>. The Institute of Contemporary Art, Boston, Boston, MA (organizer) (March 4-April 27, 1980).", "opening_date": "1980-03-04T05:00:00"}, {"id": 232658, "title": "Florine Stettheimer", "description": "<i>Florine Stettheimer</i>. Lenbachhaus, M\u00fcnchen, Germany (organizer) (September 27, 2014-January 4, 2015).", "opening_date": "2014-09-27T00:00:00"}], "legacy": [{"description": "New York, The Museum of Modern Art, Florine Stettheimer (1946); traveled to Chicago, Arts Club (1947); to San Francisco, De Young Memorial Museum (1947); illus. plate 14, listed p. 54; ownership attributed to Durlacher Bros, New York.", "opening_date": "1946-01-01T00:00:00"}, {"description": "Detroit, Detroit Institute of Arts (3-27 April 1951), no catalogue but see Bulletin of the Detroit Institute of Arts (Annual Report, 1951-1952) vol. 31, no. 2, p. 29.", "opening_date": "1951-04-03T00:00:00"}, {"description": "New York, Durlacher Bros., Florine Stettheimer: One Man Show (29 October-23 November 1963).", "opening_date": "1963-10-29T00:00:00"}, {"description": "Boston, Institute of Contemporary Art, Florine Stettheimer: Still Lifes, Portraits and Pageants 1910 to 1942 (4 March-27 April 1980); traveled to San Antonio, TX, Marion Koogler McNay Art Institute (7 July-15 August 1980); to Poughkeepsie, NY, Vassar College Art Gallery (28 September-9 November 1980); illus. fig. 6, listed. cat. no. 8.", "opening_date": "1980-03-04T00:00:00"}, {"description": "New York, Whitney Museum of American Art, Florine Stettheimer: Manhattan Fantastica (13 July-5 November 1995) illus. p. 36; listed p. 138.", "opening_date": "1995-07-13T00:00:00"}, {"description": "Munich, Germany, Lenbachhaus, Florine Stettheimer (27 September 2014-1 April 2015).", "opening_date": "2014-09-27T00:00:00"}]}, "provenance": [{"description": "Ettie Stettheimer (Durlacher Brothers, New York), given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?\u20131948", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1948\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Although on her deathbed Florine Stettheimer instructed that all her paintings be destroyed, her family did not grant the wish.", "early_education_description": null, "artlens_description": null, "description": "Born into a cosmopolitan German-Jewish family, Florine Stettheimer hosted numerous gatherings for cutting-edge New York cultural figures. These events often provided subject matter for her paintings, as in this rendering of a weekend picnic held at her family\u2019s summer home on the banks of the Hudson River. In the background at the upper right, Stettheimer portrays herself working at her easel, recording the varied activities taking place. Dismissed as not being serious art in their day, almost all her paintings remained unsold when she died. Afterward, her sister Ettie\u2014seen here standing at lower left in a red coat\u2014donated many of them to selected museums, including this work.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60515579"], "internet_archive": []}, "citations": [{"citation": "Mulcahy, Susan, \"Why Were So Many Stettheimer Art Works Up for Sale? Not All Were Real,\" <em>New York Times</em>, February 7, 2021.<em><br></em>", "page_number": "P. C-1", "url": null}, {"citation": "\"Florine Stettheimer,\" <em>Artnews</em> 45 (November 1946).", "page_number": "Mentioned, p. 59.", "url": ""}, {"citation": "\"Part II. Annual Report Issue for the Year 1948.\" <em>The Bulletin of the Cleveland Museum of Art</em> 36, no. 6 (June 1949): 111-42.", "page_number": "Mentioned: P. 113", "url": "http://www.jstor.org/stable/25141566"}, {"citation": "Tyler, Parker. <em>Florine Stettheimer: A Life in Art.</em> New York: Farrar, Straus, 1963.", "page_number": "Reproduced: P. 34-36; Mentioned: P. 90, 131-134, 176", "url": null}, {"citation": "\"Reviews and Previews.\" <em>ARTnews </em>62, no. 8 (December 1963): 10-14, 50-58, 68.", "page_number": "Reproduced: P. 13", "url": null}, {"citation": "Cullinan, Helen. \"Art &amp; Artists: Brotherly Love for Sisters.\" <em>The Plain Dealer</em> (June 9, 1974): 16E.", "page_number": "Mentioned and reproduced: P. 16E", "url": null}, {"citation": "Nochlin, Linda. \u201cFlorine Stettheimer: Rococo Subversive.\u201d <em>Art in America</em> 68, no. 7 (September 1980): 64\u201383.", "page_number": "Reproduced: P. 71", "url": null}, {"citation": "Rosenblum, Naomi. <em>A World History of Photography.</em> New York, N.Y.: Abbeville Press, 1984.", "page_number": "Mentioned and reproduced: P. 507-508, fig. 653", "url": null}, {"citation": "Rosenblum, Naomi. <em>A World History of Photography</em>. New York: Abbeville Press, 1989.", "page_number": "Mentioned and reproduced: P. 507-508, fig. 653", "url": null}, {"citation": "Watson, Steven. <em>Strange Bedfellows: The First American Avant-Garde.</em> New York: Abbeville Press, 1991.", "page_number": "Reproduced: P. 119", "url": null}, {"citation": "Watson, Steven. \u201cThree Sisters.\u201d <em>Art &amp; Antiques</em> 9, no. 5 (May 1992): 60\u201367.", "page_number": "Reproduced: P. 65", "url": null}, {"citation": "Bloemink, Barbara J. <em>The Life and Art of Florine Stettheimer.</em> New Haven: Yale University Press, 1995.", "page_number": "Reproduced: P. 77, no. 46", "url": null}, {"citation": "Winkfield, Trevor. 1996. \u201cVery Rich Hours.\u201d <em>Art in America</em> 84 (July 1996): 64\u201369.", "page_number": "Reproduced: P. 67", "url": null}, {"citation": "Rosenblum, Naomi. <em>A World History of Photograph</em>y. New York: Abbeville Press, 1997.", "page_number": "Mentioned and reproduced: P. 508-509, fig. 653", "url": null}, {"citation": "Marquis, Alice Goldfarb. <em>Marchel Duchamp: The Bachelor Stripped Bare : a Biography</em>. Boston: MFA Publications, 2002.", "page_number": "Mentioned and reproduced: P. 117-118", "url": null}, {"citation": "Thum, Carol. \"Personal Favorite.\" <em>Cleveland Museum of Art </em>44, no. 5 (May 2004): 15.", "page_number": "Mentioned and reproduced: P. 15", "url": null}, {"citation": "Mu\u0308hling, Matthias, Karin Althaus, Susanne Bo\u0308ller, Gerrit Jackson, and Florine Stettheimer. <em>Florine Stettheimer</em>. Munich, Germany: Hirmer, 2014.", "page_number": "Mentioned and reproduced: P. 22-23, no. 11", "url": null}, {"citation": "Brown, Stephen, Georgiana Uhlyarik, Cecily Brown, and Jens Hoffmann. <em>Florine Stettheimer: Painting Poetry</em>. New Haven, CT: Yale University Press, 2017.", "page_number": "Reproduced: P. 105", "url": null}, {"citation": "Cristia, Cintia. \"Painting Jazz: Sound, Music, and Rhythm In the Work of Florine Stettheimer.\" In <em>Florine Stettheimer: New Directions in Multimodal Modernism</em>. Irene Gammel, and Suzanne Zelazo, 179-199. Toronto: Book*hug Press, 2019.", "page_number": "Mentioned and Reproduced: P. 187-188, fig. 9.3", "url": null}, {"citation": "Althaus, Karin, Florine Stettheimer, Susanne Bo\u0308ller, and Russell Stockman. Florine Stettheimer: the great masters of art. 2020, 22.", "page_number": "Reproduced; p. 22, fig 10.", "url": ""}], "url": "https://clevelandart.org/art/1948.28", "images": {}, "alternate_images": [], "creditline": "Gift of Ettie Stettheimer", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Dr. Robert B. Benyo Trust Gallery", "athena_id": 126059, "creators": [{"id": 3297, "description": "Florine Stettheimer (American, 1871\u20131944)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1871", "death_year": "1944", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1948-01-28T00:00:00", "sortable_date": 1917, "date_added_to_oa": null, "date_text": "1917", "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": "2026-10-16 11:51:24.292000"}, {"id": 148758, "accession_number": "1976.2", "share_license_status": "CC0", "tombstone": "The Crucifixion of Saint Andrew, 1606\u20137. Caravaggio (Italian, 1571\u20131610). Oil on canvas; framed: 233.5 x 184 x 12 cm (91 15/16 x 72 7/16 x 4 3/4 in.); unframed: 202.5 x 152.7 cm (79 3/4 x 60 1/8 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1976.2", "current_location": "217 Italian Baroque", "title": "The Crucifixion of Saint Andrew", "creation_date": "1606\u20137", "creation_date_earliest": 1606, "creation_date_latest": 1607, "artists_tags": ["male"], "culture": ["Italy, Naples"], "technique": "oil on canvas", "support_materials": [], "department": "European Painting and Sculpture", "collection": "P - Italian 16th & 17th Century", "type": "Painting", "measurements": "Framed: 233.5 x 184 x 12 cm (91 15/16 x 72 7/16 x 4 3/4 in.); Unframed: 202.5 x 152.7 cm (79 3/4 x 60 1/8 in.)", "dimensions": {"framed": {"height": 2.335, "height_inch": 91, "height_inch_fraction": 0.9375, "width": 1.84, "width_inch": 72, "width_inch_fraction": 0.4375, "depth": 0.12, "depth_inch": 4, "depth_inch_fraction": 0.75}, "unframed": {"height": 2.025, "height_inch": 79, "height_inch_fraction": 0.75, "width": 1.527, "width_inch": 60, "width_inch_fraction": 0.125}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 302374, "title": "Year in Review, 1976", "description": "<i>Year in Review, 1976</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 1-March 6, 1977).", "opening_date": "1977-02-01T05:00:00"}, {"id": 442218, "title": "Painting in Naples from Caravaggio to Giordano", "description": "<i>Painting in Naples from Caravaggio to Giordano</i>. Royal Academy of Arts, London, United Kingdom of Great Britain and Northern Ireland (organizer) (October 2-December 12, 1982).", "opening_date": "1982-10-02T04:00:00"}, {"id": 213644, "title": "Caravaggio: The Last Years", "description": "<i>Caravaggio: The Last Years</i>. Museo di Capodimonte, Naples, Italy (October 23, 2004-January 23, 2005); National Gallery, London, London, United Kingdom of Great Britain and Northern Ireland (organizer) (February 23-May 22, 2005).", "opening_date": "2004-10-23T00:00:00"}, {"id": 215387, "title": "Rembrandt - Caravaggio", "description": "<i>Rembrandt - Caravaggio</i>. Van Gogh Museum, 1070 AJ Amsterdam, Netherlands (February 25-June 16, 2006).", "opening_date": "2006-02-25T00:00:00"}, {"id": 222394, "title": "Masterpieces of European Painting from The Cleveland Museum of Art", "description": "<i>Masterpieces of European Painting from The Cleveland Museum of Art</i>. Frick Collection, New York, NY (organizer) (November 8, 2006-January 28, 2007).", "opening_date": "2006-11-08T00:00:00"}, {"id": 179662, "title": "Masterpieces of European Painting from the Cleveland Museum of Art", "description": "<i>Masterpieces of European Painting from the Cleveland Museum of Art</i>. Maltz Museum of Jewish Heritage, Beachwood, OH (March 29-July 8, 2007).", "opening_date": "2007-03-29T00:00:00"}, {"id": 205251, "title": "Conservation in Focus: Caravaggio's Crucifixion of Saint Andrew", "description": "<i>Conservation in Focus: Caravaggio's Crucifixion of Saint Andrew</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 3-September 14, 2014).", "opening_date": "2014-06-03T00:00:00"}], "legacy": [{"description": "<em>Michelangelo Merisi da Caravaggio: Come nascono i Capolavori, </em>Galleria Palatina, Palazzo Pitti, Florence, Italy (December 12, 1991\u2013March 15, 1992); Palazzo Ruspoli, Rome, Italy (March 26\u2013May 29, 1992).", "opening_date": "1991-12-12T05:00:00Z"}]}, "provenance": [{"description": "Don Juan Alonso Pimentel y Herrera, Eighth Conde de Benavente, Spanish viceroy in Naples.", "citations": [], "footnotes": [], "date": "1603\u20131610", "sortorder": null}, {"description": "Don Juan Francisco Alonso Pimentel y Ponce de L\u00e9on (grandson of above, inherited and lived 1584\u20131652) Tenth Conde de Benavente, Valladolid.", "citations": [], "footnotes": [], "date": "until c. 1652\u20133", "sortorder": null}, {"description": "An unidentified convent in Castilla, Spain.", "citations": [], "footnotes": [], "date": null, "sortorder": null}, {"description": "A. Tors, Madrid.", "citations": [], "footnotes": [], "date": null, "sortorder": null}, {"description": "Jos\u00e9 Manuel Arnaiz, Madrid.", "citations": [], "footnotes": [], "date": "1973", "sortorder": null}, {"description": "Legatt Brothers (London) sold by Arnaiz to the Cleveland Museum of Art.", "citations": [], "footnotes": null, "date": "24 February 1976", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Although Saint Andrew is typically associated with an X-shaped cross, here he is depicted on a standard vertical cross.", "early_education_description": null, "artlens_description": null, "description": "Saint Andrew\u2019s efforts to introduce Christianity to Greece in the first century CE were met with hostility from local authorities. He was sentenced to die on the cross because he refused to acknowledge pagan gods. For two days, Andrew preached from his martyr\u2019s station to an increasingly sympathetic crowd. Bowing to public demand, Andrew\u2019s would-be executioners attempted to untie him, but their hands were mysteriously paralyzed. Andrew\u2019s desire for martyrdom was thus fulfilled and he died enveloped in divine light. Caravaggio\u2019s innovative interpretation involves the viewer more closely in the event by presenting the crucifixion as intimate and private, rather than as a gruesome public spectacle. Bold contrasts of light and dark suggest the presence of God. A masterpiece of Baroque painting, Caravaggio\u2019s <em>Crucifixion of Saint Andrew</em> is the only altarpiece by the artist in America.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q3221991"], "internet_archive": ["https://archive.org/details/clevelandart-1976.2-the-crucifixion-of-s"]}, "citations": [{"citation": "Zahn, Leopold, and Georg Kirsta. <em>Caravaggio</em>. Berlin: Albertusverlag, 1928.", "page_number": "Mentioned: p. 55", "url": null}, {"citation": "Longhi, Roberto. \"Ultimi Studi Sul Caravaggio e la Sua Cerchia.\" <em>Proporzioni </em>I (1943): 5\u201363.", "page_number": "Mentioned: pp.17\u201318", "url": null}, {"citation": "Garci\u0301a Chico, Esteban. \"El palacio del Conde de Benavente\" In <em>Boletin de la Academia de Bellas Artes de la Purisma Concepcion de Valladolid </em>IX (1946): 13\u201330.", "page_number": "Reproduced: no. 18", "url": null}, {"citation": "Garci\u0301a Chico, Esteban. \"Varios Inventarios.\" <em>Documentos Para el Estudio del Arte en Castilla </em>3, pt. 1 (1946): 385\u201399.", "page_number": "Mentioned: p. 393", "url": null}, {"citation": "Ainaud, J. \"Ribalta Y Caravaggio.\" <em>Anales Y Boleti\u0301n De Los Museos De Arte De Barcelona / Ayuntamiento De Barcelona</em> V (1947): 345\u2013413.", "page_number": "Mentioned: pp. 366, 380, 381 no. 59, 382, 406", "url": null}, {"citation": "Green, Otis H., and Denis Mahon. \"Caravaggio's Death: A New Document.\" <em>The Burlington Magazine</em> 93, no. 579 (June 1951): 202\u201304.", "page_number": "Mentioned: p. 203, no. 5", "url": "http://www.jstor.org/stable/870609."}, {"citation": "Mahon, Denis. \"Addenda to Caravaggio.\" <em>The Burlington Magazine</em> 94, no. 586 (January 1952): 3\u201323.", "page_number": "Mentioned: p. 19", "url": "http://www.jstor.org/stable/870727."}, {"citation": "Hinks, Roger. <em>Michelangelo Merisi Da Caravaggio: His Life, His Legend, His Works</em>. London: Faber and Faber, 1953.", "page_number": "Mentioned: p. 120; Reproduced: plate no. 96", "url": null}, {"citation": "Baumgart, Fritz. <em>Caravaggio: Kunst und Wirklichkeit</em>. Berlin: Gebr. Mann, 1955.", "page_number": "Mentioned: pp. 44, 108; Reproduced: plate no. 61", "url": null}, {"citation": "Re\u0301au, Louis.<em> Iconographie de l'Art Chre\u0301tien</em>. Paris: Presses Universitaires de France, 1955.", "page_number": "Mentioned: Vol. III, pt. 1, pp. 80, 83", "url": null}, {"citation": "Soehner, Halldohr. \"Die Malerei in Spanien und Frankreich um Caravaggio.\" <em>Kunstchronik</em> VIII (1955): 249\u2013253.", "page_number": "Mentioned: p. 250", "url": null}, {"citation": "Ainaud, Juan. 1955. \"Le Caravagisme en Espagne\". <em>Cahiers De Bordeaux/ Journe\u0301es Internationales D'Etudes D'Art </em>II (1955): 21\u201326.", "page_number": "Mentioned: p. 22", "url": null}, {"citation": "Friedlaender, Walter. 1955. \"Re\u0301flexions sur les Proble\u0300mes Pose\u0301s a\u0300 l'Exposition\". <em>Cahiers De Bordeaux/Journe\u0301es Internationales D'Etudes D'Art </em>II (1955): 27\u201330.", "page_number": null, "url": null}, {"citation": "Jullian, Rene. \"Caravage a Naples.\" <em>La Revue des Arts </em>V (June 1955): 79\u201390.", "page_number": "Mentioned: pp. 84, 88, 90, no. 21", "url": null}, {"citation": "\"Ein Hauptwerk Caravaggios Wiederentdeckt.\" <em>Die Weltkunst</em> XXV, no. 14 (July 15, 1955): 9.", "page_number": "Mentioned and Reproduced: p. 9", "url": null}, {"citation": "Merisi da, Michelangelo and Costantino Baroni. <em>Tutta la pittura del Caravaggio. A cura di Costantino Baroni</em>. Milano, Italy: Rizzoli, 1956.", "page_number": "Reproduced: p. 24", "url": null}, {"citation": "Samek Ludovici, Sergio. <em>Vita del Caravaggio: dalle testimonianze del suo tempo</em>. Milano, Italy: Edizioni del Milione, 1956.", "page_number": "Reproduced: p. 69, no. 105", "url": null}, {"citation": "Wagner, Hugo. <em>Michelangelo da Caravaggio</em>. Bern, Switzerland: Eicher, 1958.", "page_number": "Reproduced: p. 233", "url": null}, {"citation": "Back-Vega, Emmerich, and Christa Back-Vega. \"A Lost Masterpiece by Caravaggio.\" <em>The Art Bulletin</em> 40, no. 1 (March 1958): 65\u20136.", "page_number": "Mentioned: p. 65\u201366", "url": "https://www.jstor.org/stable/3047748"}, {"citation": "Longhi, Roberto. \"Un'Opera Estrema del Caravaggio.\" <em>Paragone </em>IX, no. 111 (March 1959): 21\u201332.", "page_number": "Mentioned: pp. 27\u201329", "url": null}, {"citation": "Guinard, Paul. <em>Zurbara\u0301n et les peintres espagnols de la vie monastique</em>. Paris, France: E\u0301ditions du Temps, 1960.", "page_number": "Reproduced: p. 19", "url": null}, {"citation": "Longhi, Roberto. \"Un Originale del Caravaggio a Rouen e il Problema Delle Copie Caravaggesche.\" <em>Paragone </em>XI, no. 121 (January 1960): 23\u201336.", "page_number": "Mentioned: p. 35", "url": null}, {"citation": "Jullian, Rene\u0301. <em>Caravage</em>. Paris, Lyon: Editions IAC, 1961.", "page_number": "Mentioned: p. 174; Reproduced: p. 181, no. 37", "url": null}, {"citation": "Delogu, Giuseppe. <em>Caravaggio</em>. Milano, Italy: \"Silvana\" Editoriale d'Arte, 1962.", "page_number": "Reproduced: p. 158", "url": null}, {"citation": "Venturi, Lionello. <em>Il Caravaggio</em>. Novara: Istituto geografico de Agostini, 1963.", "page_number": "Mentioned: p. 33", "url": null}, {"citation": "Kitson, Michael. <em>The Complete Paintings of Caravaggio</em>. New York. NY: Harry N. Abrams, Inc, 1967.", "page_number": "Reproduced: p, 105, under no. 77", "url": null}, {"citation": "Moir, Alfred. <em>The Italian Followers of Caravaggio</em>. Cambridge, MA: Harvard University Press, 1967.", "page_number": "Reproduced: pl. 158, vol. I", "url": null}, {"citation": "Bodart, Didier. <em>Louis Finson / Bruges, avant 1580-Amsterdam, 1617</em>. Brussels, Belgium: Palais des Academies, 1970.", "page_number": "Reproduced: p. 15; Mentioned: p. 137", "url": null}, {"citation": "Caravaggio, Michelangelo Merisi da, Gian Alberto Dell'Acqua, and Mia Cinotti. <em>Il Caravaggio e le sue grandi opere da San Luigi dei Francesi</em>. Milano, Italy: Rizzoli, 1971.", "page_number": "Reproduced: pp. 136, and 199 no. 512", "url": null}, {"citation": "Valdivieso, Enrique. <em>La Pintura en Valladolid en el siglo XVII.</em> Valladolid: [Diputacio\u0301n Provincial], 1971.", "page_number": "Mentioned: p. 19, no. 2", "url": null}, {"citation": "Marini, Maurizio. \"Tre Proposte per il Caravaggio Meridionale.\" <em>Arte Illustrata</em> XLIII-XLIV (Sept/Oct 1971): 56\u201365.", "page_number": "Mentioned: pp. 56\u201358", "url": null}, {"citation": "Causa, Raffaello. <em>La Pittura del Seicento a Napoli dal Naturalismo al Barocco; La Natura Morta a Napoli nel Sei e nel Settecento</em>. [Napoli]: Societa\u0300 Editrice Storia di Napoli, 1972.", "page_number": "Mentioned: p. 916", "url": null}, {"citation": "Marini, Maurizio. I<em>o Michelangelo da Caravaggio.</em> Roma: Studio B di Bestetti e Bozzi, 1973.", "page_number": "Mentioned: pp. 235, 433\u20135; Reproduced: p. 235, no. 72", "url": null}, {"citation": "Cinotti, Mia. <em>Immagine del Caravaggio. Mostra didattica itinerante. Catalogo</em>. Cinisello Balsamo: Pizzi, 1973.", "page_number": "Mentioned: p. 99, no. 60", "url": null}, {"citation": "Mariani, Valerio. <em>Caravaggio</em>. Roma, Italy: Istituto poligrafico dello Stato, Libreria, 1973.", "page_number": "Reproduced: p. 112", "url": null}, {"citation": "Sanchez, Alfonso E. Pe\u0301rez. <em>Caravaggio y el naturalismo espan\u0303ol: exposicio\u0301n realizada con motivo del XXIII Congreso Internacional de Historia del Arte, Sevilla, Sala de Armas de los Reales Aleazares, septiembre-octubre 1973</em>. Madrid, Spain: Comisari\u0301a General de Exposiciones, Direccio\u0301n General de Bellas Artes, Ministerio de Educacio\u0301n y Ciencia, 1973.", "page_number": "Mentioned in unpaginated introduction.", "url": null}, {"citation": "Borea, Evelina. \"Caravaggio e la Spagna: osservazioni su una mostra a Siviglia.\" <em>Bollettino D'Arte</em> LIX, n. 1\u20132, ser. V (1974): 43\u201352.", "page_number": "Mentioned: p. 44", "url": null}, {"citation": "Friedlaender, Walter. <em>Caravaggio Studies</em>. Princeton, NJ: Princeton University Press, 1974.", "page_number": "Reproduced: p. 254; Mentioned: p. 210", "url": null}, {"citation": "Harris, Enriqueta. \"Caravaggio e il Naturalismo Spagnolo.\" <em>Arte Illustrata</em> VII, no. 58 (1974): 233\u2013245.", "page_number": "Reproduced: p. 237, fig. 3", "url": null}, {"citation": "Nicolson, Benedict. \"Caravaggio and the Caravaggesques: Some Recent Research.\" <em>The Burlington Magazine </em>116.859 (October 1974): 603\u2013616.", "page_number": "Mentioned: pp. 602, 605, 607\u2013608; Reproduced: p. 605, no. 55", "url": null}, {"citation": "Bellori, Giovan Pietro. <em>Le vite de' pittori, scultori e architetti moderni.</em> Edited by Evelina Borea. Torino: Giulio Einaudi, 1976.", "page_number": "pp. 232\u20133", "url": null}, {"citation": "\"Notizen.\" <em>Alte und Moderne Kunst </em>XXI, no. 146 (1976): 42\u201343.", "page_number": "Mentioned and Reproduced: p. 42\u201343", "url": null}, {"citation": "Cleveland Museum of Art, \u201cRecent Acquisition Press Release,\u201d April 8, 1976, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr2350"}, {"citation": "Llewellyn, Briony, and Charles McCorquodale. \"In the Light of Caravaggio.\" <em>The Connoisseur</em> (June 1976): 110\u2013113.", "page_number": "Mentioned: p. 113", "url": null}, {"citation": "\"La Vie des Arts.\"<em> L'\u0152il </em>251 (June 1976): 48\u201354.", "page_number": "Mentioned and Reproduced: p. 48", "url": null}, {"citation": "\"Patrimoine.\" <em>Connaissance des Arts </em>(July 1976): 15.", "page_number": "Mentioned and Reproduced: p. 15", "url": null}, {"citation": "Butler, Joseph T. \"America: Recent Major Museum Acquisitions.\" <em>Connoisseur </em>(August 1976).", "page_number": "Mentioned: p. 312\u2013313", "url": null}, {"citation": "\"Chronique des Arts.\" <em>Gazette des Beaux-Arts </em>88 (September 1976): 5\u20139.", "page_number": "Mentioned: p. 7", "url": null}, {"citation": "Lurie, Ann Tzeutschler in collaboration with Dennis Mahon. \"Caravaggio's Crucifixion of Saint Andrew from Valladolid.\" <em>The Bulletin of The Cleveland</em> <em>Museum of Art LXIV</em>, no. 1 (January, 1977): 3\u201324.", "page_number": "Reproduced: cover, p. 4, fig. 1; Detail: pp. 6\u201324", "url": null}, {"citation": "\u201cOther Museum News and Comments.\u201d <em>Art Journal</em> 36, no. 4 (July 15, 1977): 344\u201354.", "page_number": "Mentioned: p. 352", "url": null}, {"citation": "Pacelli, Vincenzo. \"New Documents Concerning Caravaggio in Naples.\" <em>The Burlington Magazine</em> 119, no. 897 (December 1977): 819\u201329.", "page_number": "Mentioned: pp. 826, 829, no. 33", "url": "http://www.jstor.org/stable/879030."}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 135", "url": "https://archive.org/details/CMAHandbook1978/page/n155"}, {"citation": "Bardon, Franc\u0327oise. <em>Caravage: ou, L'expe\u0301rience de la matie\u0300re</em>. Paris, France: Presses universitaires de France, 1978.", "page_number": "Reproduced: p. 208\u201309, no. 25", "url": null}, {"citation": "Marini, Maurizio. <em>Michael Angelus Caravaggio Romanus: rassegna degli studi e proposte</em>. Roma, Italy: De Luca, 1978.", "page_number": "Mentioned: pp. 16\u201319, 22, 36, 43", "url": null}, {"citation": "Prohaska, Wolfgang. \"Beitr\u00e4ge zu Giovanni Battista Caracciolo.\"<em>Jahrbuch der Kunsthistorischen Sammlungen in Wien</em> LXXIV (N. F. XXXVIII) (1978): 153\u2013269.", "page_number": "Mentioned and Reproduced: p. 176, fig. 152", "url": null}, {"citation": "Borowitz, Helen. \"Making Rounds at The Cleveland Museum of Art.\" <em>The Bulletin of the Cleveland Medical Library </em>XXIV, no. 3 (July 1978): 53\u201367.", "page_number": "Reproduced: p. 60", "url": null}, {"citation": "Lopez-Rey, Jose. Velazquez: <em>The Artist As a Maker, with a Catalogue Raisonne\u0301 of His Extant Works.</em> Lausanne; Paris: Bibliothe\u0301que des Arts, 1979.", "page_number": "pp. 24, 156", "url": null}, {"citation": "Nicolson, Benedict. <em>The International Caravaggesque Movement: Lists of Pictures by Caravaggio and His Followers Throughout Europe from 1590 to 1650</em>. Oxford, United Kingdom: Phaidon, 1979.", "page_number": "Reproduced: p. 32; Detail: p. 4", "url": null}, {"citation": "Guillaume, Marguerite. <em>Peintures italiennes: catalogue raisonne\u0301 du Muse\u0301e des beaux-arts de Dijon</em>. Dijon, France: Le Muse\u0301e, 1980.", "page_number": "Reproduced: p. 17\u201318 under no. 27", "url": null}, {"citation": "Gash, John. <em>Caravaggio</em>. London, United Kingdom: Jupiter, 1980.", "page_number": "Mentioned: p. 110\u2013111, Reproduced: no. 54", "url": null}, {"citation": "Marini, Maurizio. <em>Caravaggio e il Naturalismo Internazionale</em>. Torino: Einaudi, 1981.", "page_number": "Mentioned: p. 369, n. 24; Reproduced: p. 417, fig. 238", "url": null}, {"citation": "Moir, Alfred. <em>Caravaggio.</em> New York: H.N. Abrams, 1982.", "page_number": "Mentioned: p. 142\u20133; Reproduced: p. 143, color pl. 40", "url": null}, {"citation": "The Cleveland Museum of Art. <em>The Cleveland Museum of Art Catalogue of Paintings, Part 3: European Paintings of the 16th, 17th, and 18th Centuries</em>. Cleveland, OH: The Cleveland Museum of Art, 1982.", "page_number": "Mentioned: pp. 319\u2013323; Reproduced: p. 320", "url": null}, {"citation": "Wood, Jeremy. \"London, Royal Academy of Art Exhibition: Painting in Naples from Caravaggio to Giordano.\" <em>Pantheon</em> XL, no. 4 (October\u2013December 1982): 330\u2013331.", "page_number": "Mentioned: p. 30", "url": null}, {"citation": "Whitfield, Clovis, and Jane Martineau. <em>Painting in Naples, 1606\u20131705: From Caravaggio to Giordano</em>. London: Royal Academy of Arts in association with Weidenfield and Nicolson, 1982.", "page_number": "Mentioned: pp. 21, 37, 38, 40, 70, 128\u201330; Reproduced: p. 70, no. 17", "url": null}, {"citation": "Von Gehren, Georg. \"Malerei in Neapel von Caravaggio bis Giordano.\" <em>Die Weltkunst. The World-art Review </em>LII (December 1982): 3470\u20133473.", "page_number": "Mentioned and Reproduced: p. 3471", "url": null}, {"citation": "Hibbard, Howard. <em>Caravaggio</em>. New York: Harper &amp; Row, 1983.", "page_number": "Mentioned: pp. 219, 220, 221, 223, 249, 291, 324\u20135, 328, 330; Reproduced: p. 220, no. 144", "url": null}, {"citation": "Cinotti, Mia, and Gian Alberto Dell'Acqua. \"Michelangelo Merisi detto il Caravaggio\". <em>I Pittori Bergamaschi</em> 4,1 (1983): 203\u2013641.", "page_number": "Mentioned: pp. 420\u2013423; Reproduced: p. 620, fig. 1", "url": null}, {"citation": "Borowitz, Helen O. \"A Medical Tour Through The Cleveland Museum of Art.\" <em>Cleveland Clinic Quarterly</em> 50, no. 4 (Winter 1983): Cleveland: Cleveland Clinic, 1959.", "page_number": "Mentioned: p. 426", "url": null}, {"citation": "Pacelli, Vincenzo. <em>Caravaggio, le sette opere di misericordia</em>. Salerno, Italy: 10/17, 1984.", "page_number": "Mentioned: p. 79; Reproduced: p. 105, no. 12, fig. 51", "url": null}, {"citation": "Bonsanti, Giorgio, Michelangelo Merisi da Caravaggio, and Karin Stephan. <em>Caravaggio</em>. Antella, Florence, Italy: Scala, 1984.", "page_number": "Mentioned: p. 59; Reproduced: p. 66, pl. 64", "url": null}, {"citation": "Spinosa, Nicola. <em>La Pittura napoletana del '600</em>. Milano, Italy: Longanesi, 1984.", "page_number": "Reproduced: p. 533", "url": null}, {"citation": "Brigstocke, Hugh. <em>The Burlington Magazine</em> 126, no. 970 (January 1984): 42\u201345.", "page_number": "Mentioned: p. 45", "url": "http://www.jstor.org/stable/881518."}, {"citation": "Schloder, John E. <em>Baroque Imagery</em>. Cleveland, OH: Cleveland Museum of Art, 1984.", "page_number": "Mentioned: pp. 39\u201341; Reproduced: p. 54, no. 15", "url": null}, {"citation": "Metropolitan Museum of Art. New York, NY and Museo e gallerie nazionali di Capodimonte, Naples, Italy. <em>The Age of Caravaggio</em>. New York, NY: Metropolitan Museum of Art, 1985.", "page_number": "Mentioned: pp. 21, 47, 345\u20139; Reproduced: p. 349", "url": null}, {"citation": "Harris, Dale. \"Rebel with a Cause: Caravaggio Defied the Conventions of Life and Art\". <em>Connoisseur</em> (February 1985).", "page_number": "Mentioned: pp. 52\u20134, 56", "url": null}, {"citation": "Spike, John T. \u201cThe Age of Caravaggio.\u201d <em>Apollo: The International Magazine for Collectors</em> 121 (June 1985): 415\u201317.", "page_number": "Mentioned: p. 417", "url": null}, {"citation": "Sutton, Peter C. <em>A Guide to Dutch Art in America</em>. Washington, DC: Netherlands-American Amity Trust, 1986.", "page_number": "Reproduced: p. 64", "url": null}, {"citation": "Christiansen, Keith. \"Caravaggio and \"L'esempio Davanti Del Naturale\".\" <em>The Art Bulletin</em> 68, no. 3 (September 1986): 421\u201345.", "page_number": "Mentioned: p. 436", "url": null}, {"citation": "Marini, Maurizio. C<em>aravaggio: Michelangelo Merisi da Caravaggio \"pictor praestantissimus\": la tragica esistenza, la raffinata cultura, il mondo sanguigno del primo Seicento, nell'iter pittorico completo di uno dei massimi rivoluzionari dell'arte di tutti i tempi</em>. Roma: Newton Compton, 1987.", "page_number": "Reproduced: p. 272\u2013273; Mentioned p. 520\u2013524", "url": null}, {"citation": "Calvesi, Maurizio, and Lucia Trigilia. <em>L'Ultimo Caravaggio: e la cultura artistica a Napoli, in Sicilia e a Malta</em>. Siracusa, Italy: EDIPRINT, 1987.", "page_number": null, "url": null}, {"citation": "Ottino Della Chiesa, Angela. <em>Tout l'oeuvre peint du Caravage</em>. Paris, France: Flammarion, 1988.", "page_number": null, "url": null}, {"citation": "<em>La Pittura in Italia</em>. Milano: Electa, 1988.", "page_number": "Mentioned: vol. II, p. 464", "url": null}, {"citation": "Milesi, Silvana. <em>Caravaggio.</em> Bergamo: Corponove, 1989.", "page_number": "Reproduced: p. 194, no. 3", "url": null}, {"citation": "Calvesi, Maurizio. <em>Le realta del Caravaggio</em>. Torino: G. Einaudi, 1990.", "page_number": "Mentioned: pp. 144\u2013145, 149, 163, 373, 381, 427; Reproduced: p. 427, no. 241", "url": null}, {"citation": "Nicolson, Benedict, Luisa Vertova, and Benedict Nicolson. <em>Caravaggism in Europe</em>. Torino, Italy: U. Allemandi, 1990.", "page_number": "Reproduced: p. 80, vol. 2, pl. 65; Detail: pl. 73", "url": null}, {"citation": "Heimburger, Minna. \"Interpretazioni Delle Pitture di Genere del Caravaggio Secondo il Metodo Neerlandese.\" <em>Paragone: Mensile di Arte Figurativa e Letteratura </em>XLI, no. 24 (November 1990): 3\u2013110.", "page_number": "Reproduced: fig. 17", "url": null}, {"citation": "Spear, Richard E. <em>Caravaggio and His Followers</em>. Cleveland, OH: Cleveland Museum of Art, 1971.", "page_number": "Reproduced: p. 93", "url": null}, {"citation": "Cleveland Museum of Art. <em>Interpretations: Sixty-Five Works from the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 1991.", "page_number": "Reproduced: no. 17", "url": null}, {"citation": "Gregori, Mina. <em>Michelangelo Merisi da Caravaggio: come nascono i capolavori</em>. Milano, Italy: Electa, 1991.", "page_number": "Mentioned: pp. 22, 32, 36, 301; Reproduced: figs. 23, 25, 29, 344", "url": null}, {"citation": "Cinotti, Mia. <em>Caravaggio: la vita e l'opera</em>. Bergamo, Italy: Edizioni Bolis, 1991.", "page_number": "Mentioned: p. 219; Reproduced: no. 69", "url": null}, {"citation": "Bologna, Ferdinando, and Battistello Caracciolo. <em>Battistello Caracciolo e il primo naturalismo a Napoli</em>. Napoli, Italy: Electa, 1991.", "page_number": "Reproduced: p. 33, fig. 31", "url": null}, {"citation": "Pe\u0301rez Sa\u0301nchez, Alfonso E. <em>El Siglo de Oro de la pintura espan\u0303ola</em>. Madrid, Spain: Mondadori Espan\u0303a, 1991.", "page_number": "Reproduced: p. 53, fig. 3", "url": null}, {"citation": "Bologna, Ferdinando. <em>L'incredulita\u0300 del Caravaggio e l'esperienza delle \"cose naturali\"</em>. Torino, Italy: Bollati Boringhieri, 1992.", "page_number": "Mentioned: p. 333\u2013334; Reproduced: pl. 30, no. 70", "url": null}, {"citation": "Chong, Alan. <em>European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogue</em>. Cleveland, OH: Cleveland Museum of Art, 1993.", "page_number": "Reproduced: p. 28", "url": null}, {"citation": "Pacelli, Vincenzo. <em>L'ultimo Caravaggio: dalla Maddalena a mezza figura ai due san Giovanni (1606\u20131610).</em> Todi (Perugia): Ediart, 1994.", "page_number": "Mentioned: pp. 38\u20139, 50, 52\u20133, 80, 146; Reproduced: p. 38, no. 16; Details: p. 50, no. 24\u20136", "url": null}, {"citation": "Gilbert, Creighton. <em>Caravaggio and His Two Cardinals</em>. University Park, PA: Pennsylvania State University Press, 1995.", "page_number": "Mentioned: pp. 23, 169, 266", "url": null}, {"citation": "Fre\u0300ches, Jose\u0301. <em>Le Caravage, peintre et assassin</em>. Paris, France: Gallimard, 1995.", "page_number": "Mentioned: p. 116; Reproduced: p. 117", "url": null}, {"citation": "<em>Caravaggio: eine Fondacc-Forschung : Verifikation 1995</em>. Hof, Austria: Fondacc-Forschung, 1995.", "page_number": "Mentioned: p. 31; Reproduced: p. 136", "url": null}, {"citation": "Macioce, Stefania. <em>Michelangelo Merisi da Caravaggio: la vita e le opere attraverso i documenti : atti del Convegno internazionale di studi</em>. Roma, Italy: Logart Press, 1996.", "page_number": "Reproduced: p. 307, fig. 146", "url": null}, {"citation": "Ko\u0308nig, Eberhard. <em>Michelangelo Merisi Da Caravaggio 1571\u20131610</em>. Cologne: Ko\u0308nemann, 1997.", "page_number": "Reproduced: p. 124, no. 108", "url": null}, {"citation": "Jeromack, Paul. \"Met Buys Caravaggio By Installments.\" <em>The Art Newspaper</em> 72 (July\u2013August 1997).", "page_number": "Mentioned: p. 9", "url": null}, {"citation": "Puglisi, Catherine R. <em>Caravaggio. </em>London: Phaidon, 1998.", "page_number": "Mentioned: p. 347\u20138; Reproduced: p. 340, no. 173", "url": null}, {"citation": "Weller, Dennis P., Leonard J. Slatkes, and Roger B. Ward.<em> Sinners &amp; Saints: Darkness and Light : Caravaggio and His Dutch and Flemish Followers. </em>Raleigh, NC: North Carolina Museum of Art, 1998.", "page_number": "Reproduced: p. 206, no. 5", "url": null}, {"citation": "Mormando, Franco. <em>Saints &amp; Sinners: Caravaggio &amp; the Baroque Image</em>. Chestnut Hill, MA: McMullen Museum of Art, Boston College, 1999.", "page_number": "Reproduced: p. 201, fig. 23", "url": null}, {"citation": "Causa, Stefano. \"Gli Amici Nordici Del Caravaggio a Napoli.\" <em>Prospettiva</em>, no. 93/94 (January-April 1999): 142\u201357.", "page_number": "Mentioned and Reproduced: p. 150, fig. 14", "url": "http://www.jstor.org/stable/24432795"}, {"citation": "Marini, Maurizio. \"Caravaggio y Espa\u00f1a: Momentos de Historia y de Pintura entre la Naturaleza y la Fe.\" In <em>Caravaggio: Museo Nacional del Prado, 21 septiembre\u201321 noviembre, 1999: Museo de Bellas Artes de Bilbao, 29 noviembre, 1999\u201323 enero, 2000</em>. Claudio M. Strinati, and Rossella Vodret Adamo, eds., 29\u201348. Madrid: Sociedad Electa de Espan\u0303a, 1999.", "page_number": "Reproduced: p. 35", "url": null}, {"citation": "Causa, Stefano.<em> Battistello Caracciolo: l'opera completa</em>. Naples: Electa Napoli, 2000.", "page_number": "Mentioned: pp. 40\u201341, 129, 361; Reproduced: p. 40, no. 40", "url": null}, {"citation": "Resca, Giuseppe. <em>La spada e la misericordia: Caravaggio e il demone della violenza</em>. Roma: Armando, 2001.", "page_number": "Mentioned: pp. 20, 67, 175; Reproduced: p. 175, fig. 47", "url": null}, {"citation": "Hall &amp; Knight Ltd, and Nicholas H. J. Hall. <em>MMI. </em>Exh. cat. Hall &amp; Knight Ltd., London, New York. London: Hall &amp; Knight Ltd, 2001.", "page_number": "Reproduced: p. 21, fig. 16", "url": null}, {"citation": "May, Sally Ruth, Jane Takac, and Barbara J. Bradley. <em>Knockouts: A Pocket Guide</em>. Cleveland, OH: Cleveland Museum of Art, 2001.", "page_number": "Reproduced: p. 37, no. 33", "url": null}, {"citation": "Hall, Nicholas H. J. <em>MMI: [Exhibition].</em> New York: London: Hall &amp; Knight Ltd, 2001.", "page_number": "Reproduced: p. 21, fig. 16", "url": null}, {"citation": "Pacelli, Vincenzo, and Michelangelo Merisi da Caravaggio. <em>L'ultimo Caravaggio, 1606\u20131610: il giallo della morte: omicidio di Stato?</em> Todi Perugia, Iitaly: Ediart, 2002.", "page_number": "Reproduced: pl. V, VI", "url": null}, {"citation": "Gash, John. <em>Caravaggio</em>. London: Chaucer, 2003.", "page_number": "Reproduced: p. 109, no. 61", "url": null}, {"citation": "Cassani, Silvia and Maria Sapio. <em>Caravaggio: l'ultimo tempo, 1606\u20131610</em>. Napoli, Italy: Electa Napoli, 2004.", "page_number": "Reproduced: p. 31, fig. 6 and p. 173, fig. 9", "url": null}, {"citation": "Harris, Ann Sutherland. <em>Seventeenth-Century Art &amp; Architecture.</em> London: Laurence King Publishing Ltd., 2005.", "page_number": "Mentioned: p. 134\u20135; Reproduced: p. 135, no. 1.134.", "url": null}, {"citation": "Pagano, Denise Maria. <em>Caravaggio a Napoli: dalle Opere di Misericordia alla Sant'Orsola trafitta tecnica e restauri</em>. Naples, Italy: Electa Napoli, 2005.", "page_number": "Reproduced: p. 173, no. 9", "url": null}, {"citation": "L\u00f3pez, Mercedes Simal. \"Don Juan Alfonso Pimentel, VIII Conde-Duque de Benavente, y el Coleccionismo de Antig\u00fcedades: Inquietudes de un Virrey de N\u00e1poles (1603\u20131610).\" <em>Reales Sitios</em> XLII, no. 164 (2005): 30\u201349.", "page_number": "Mentioned and Reproduced: p. 37", "url": null}, {"citation": "Cassani, Silvia, Maria Sapio, Paolo Altieri, Enrica D'Aguanno, Gianni Manna, Mark Weir, and Ferdinando Bologna. <em>Caravaggio: the final years. </em>Naples: Electra Napoli, 2005.", "page_number": "Reproduced: p. 173, no. 9", "url": null}, {"citation": "Morel, Guillaume. \"La Sublime Violence du Caravage.\" <em>L'\u0152il </em>(May 2005): 70\u201375.", "page_number": "Mentioned and reproduced: pp. 72\u20133", "url": null}, {"citation": "Varriano, John L. <em>Caravaggio: The Art of Realism.</em> University Park, Pa: Pennsylvania State University Press, 2006.", "page_number": "Mentioned: pp. 57, 112, 240; Reproduced: p. 240, fig. 49", "url": null}, {"citation": "Miyashita, Kikuro. <em>Karavajjo.</em> Tokyo: Shogakukan, 2006.", "page_number": "Reproduced: p. 110", "url": null}, {"citation": "Harten, Ju\u0308rgen, Jean Hubert Martin, and Denis Mahon. <em>Caravaggio: Originale und Kopien im Spiegel der Forschung</em>. Ostfildern: Hatje Cantz, 2006.", "page_number": "Reproduced: pp. 173\u2013174", "url": null}, {"citation": "Dibbits, Taco. \"Prologue: Caravaggio, the Utrecht Caravaggisti and the Young Rembrandt.\" In <em>Rembrandt, Caravaggio</em>. Duncan Bull, ed., 30\u201351. Zwolle: Waanders, 2006.", "page_number": "Reproduced: pp. 30, 33", "url": null}, {"citation": "Donley, Gregory M., \"World Travelers\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 46 no. 01, January 2006", "page_number": "Mentioned and Reproduced: p. 6", "url": "https://archive.org/details/CMAMM2006-01/page/6"}, {"citation": "Iacono, Margaret, ed. <em>Masterpieces of European Painting from the Cleveland Museum of Art.</em> New York: The Frick Collection, 2006.", "page_number": "Mentioned: pp. 36\u201339; Reproduced: p. 36, no. 6", "url": null}, {"citation": "Gabriel, Theodore, and Ron Geaves.<em> ...isms: Understanding Religion</em>. New York: Universe, 2007.", "page_number": "Reproduced: p. 38", "url": null}, {"citation": "Sgarbi, Vittorio. <em>Caravaggio.</em> Milano: Skira; London: Thames &amp; Hudson, 2007.", "page_number": "Mentioned: p. 158\u20139", "url": null}, {"citation": "Jover, Manuel. <em>Caravaggio</em>. Paris: Terrail, 2007.", "page_number": "Mentioned: p. 220\u201321; Reproduced: p. 221", "url": null}, {"citation": "Pichler, Wolfram. \"Il dubbio e il doppio: le evidenze in Caravaggio.\" In <em>Caravaggio e il suo ambiente: ricerche e interpretazioni,</em> edited by S. Ebert-Schifferer and Veronika Birbaumer. Cinisello Balsamo, Milano: Silvana, 2007.", "page_number": "Mentioned: pp. 9, 11; Reproduced: p. 11, no. 3", "url": null}, {"citation": "Ferriss, J. Barry. T<em>he Many Reasons Why Goiter Is Seen in Old Paintings: Commentary</em>. New York: Mary Ann Liebert, Inc, 2008.", "page_number": "Mentioned: pp. 389, 391; Reproduced: p. 391, fig. 10", "url": null}, {"citation": "Mun\u0303oz Gonza\u0301lez, Mari\u0301a Jesu\u0301s. <em>El mercado espan\u0303ol de pinturas en el siglo XVII</em>. Madrid: Fundacio\u0301n Caja Madrid, 2008.", "page_number": "Reproduced: p. 183, no. 112", "url": null}, {"citation": "Harris, Ann Sutherland. <em>Seventeenth-Century Art &amp; Architecture</em>. London: Laurence King Pub, 2008.", "page_number": "Reproduced: p. 134, no. 1.137", "url": null}, {"citation": "Venier, Pierpaolo, and Fernando Noris. <em>Caravaggio Drammaturgo: Lettura teatrale dell'opera pittorica</em>. Azzano San Paolo (Bergamo): Bolis, 2009.", "page_number": "Mentioned: p. 132\u20133; Reproduced: p. 133", "url": null}, {"citation": "Zuccari, Alessandro. <em>Caravaggio Controluce: Ideali e Capolavori.</em> Milano: Skira, 2011.", "page_number": "Reproduced: p. xviii, fig. 22", "url": null}, {"citation": "Vodret Adamo, Rossella. <em>Caravaggio.</em> Cinisello Balsamo (Milano): Silvana, 2009.", "page_number": "Mentioned: p. 200\u2013201; Reproduced: p. 201, no. 119", "url": null}, {"citation": "Schutze, Sebastian. <em>Caravaggio: The Complete Works</em>. Cologne: Taschen, 2009.", "page_number": "Mentioned: pp. 203, 277\u20138", "url": null}, {"citation": "Damia\u0300 Bautista, Joan. <em>L'here\u0300ncia formal de Caravaggio.</em> Artana: Joan Damia\u0300 Bautista i Garcia, 2009.", "page_number": "Reproduced: p. 99, fig. 245.", "url": null}, {"citation": "Spinosa, Nicola. <em>Pittura del Seicento a Napoli: da Caravaggio a Massimo Stanzione</em>. Napoli: Arte'm Srl., 2010.", "page_number": "Reproduced: p. 351, no. 330", "url": null}, {"citation": "Papa, Rodolfo. <em>Caravaggio: le origini, i modelli.</em> Firenze: Giunti, 2010.", "page_number": "p. 23", "url": null}, {"citation": "Milesi, Silvana. <em>Caravaggio incomparabile, 1610-2010.</em> Bergamo: Corponove, 2010.", "page_number": "Reproduced: p. 143", "url": null}, {"citation": "Graham-Dixon, Andrew. <em>Caravaggio: A Life Sacred and Profane</em>. London; New York, Allen Lane, 2010.", "page_number": "Reproduced: p. xvii, no. 73; pp. 347\u20139, 350, 358, 379, 398", "url": null}, {"citation": "Fried, Michael. <em>The Moment of Caravaggio</em>. Princeton, N.J.: Princeton University Press, 2010.", "page_number": "Reproduced: p. 158, fig. 5.10", "url": null}, {"citation": "Spike, John T., Michelangelo Merisi da Caravaggio, and Miche\u0300le K. Spike. <em>Caravaggio.</em> 2nd rev. ed. New York: Abbeville Press, 2010.", "page_number": "Mentioned and Reproduced: p. 202\u201303, cat. 55", "url": ""}, {"citation": "Clark, Carol Zeller, and Orlo H. Clark. <em>The Remarkables: Endocrine Abnormalities in Art</em>. Berkeley: UC Medical Humanities Consortium, 2011.", "page_number": "Mentioned: pp. 84\u20135; Reproduced: p. 85, fig. 2\u201314.", "url": null}, {"citation": "Franklin, David. <em>Director's Choice</em>: The Cleveland Museum of Art. London: Scala Publisherts Ltd, 2012.", "page_number": "pp. 3435", "url": null}, {"citation": "Franklin, David, and C. Griffith Mann. <em>Treasures from the Cleveland Museum of Art.</em> Cleveland, OH: Cleveland Museum of Art; London: Scala Publishers Ltd, 2012.", "page_number": "p.184\u20135", "url": null}, {"citation": "Pacelli, Vincenzo, and Gianluca Forgione. <em>Caravaggio tra arte e scienza</em>. Pozzuoli, Italy: Paparo, 2012.", "page_number": "Reproduced: pp. 40\u201343: fig. 4, 5; p. 282: fig. 62; p. 395\u20136: fig. A46", "url": null}, {"citation": "Cappelletti, Francesca. <em>Zurbaran</em>. Florence: Giunti, 2013.", "page_number": "Reproduced: p. 9", "url": null}, {"citation": "Denunzio, Antonio Ernesto. \"La Giuditta, Louis Finson e un probabile committente.\" In <em>Giuditta decapita Oloferne: Louis Finson interprete di Caravaggio.</em> Louis Finson, and Giovanna Capitelli., eds., 44\u201352. Napoli: Arte'm, 2013.", "page_number": "Mentioned and reproduced: pp. 44\u20135", "url": null}, {"citation": "Rivero, Ignacio Cano, and Gabriele Finaldi. <em>Francisco de Zurbara\u0301n (1598\u20131664)</em>. Antwerpen: Mercatorfonds, 2014.", "page_number": "Reproduced: p. 44, fig.19", "url": null}, {"citation": "Pacelli, Vincenzo, and Gianluca Forgione. <em>Caravaggio: le Sette opere di Misericordia</em>. Napoli: Artstudiopaparo, 2014.", "page_number": "Mentioned and Reproduced: pp. 112\u2013116", "url": ""}, {"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. 181", "url": ""}, {"citation": "\"Real Time Restoration Forms New Exhibition.\" <em>The Art Newspaper </em>23, no. 258 (June 2014): 47.", "page_number": "Reproduced: p. 45: Detail: p. 47", "url": null}, {"citation": "Yoder, Dean. \u201cCaravaggio in Focus: A rare opportunity for an up-close look at the conservation process.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>54, no. 3 (May/June 2014): 9\u201310.", "page_number": "Reproduced and Mentioned: p. 9\u201310", "url": "https://archive.org/details/CMAMM2014-02"}, {"citation": "Wismer, Beat, Odile Delenda and Mari\u0301a del Mar Borobia Guerrero. <em>Zurbara\u0301n</em>. Dusseldorf and Munchen: Museum Kunstpalais, 2015.", "page_number": "Reproduced: p. 234, fig. 1", "url": null}, {"citation": "Papi, Gianni. Caravaggio: <em>La Crocifissione di sant'Andrea Back-Vega = The Back-Vega Crucifixion of St Andrew</em>.Milano: Skira, 2016.", "page_number": "Mentioned: pp. 6, 10, 34, 56, 80; Reproduced: p. 12, fig. 3; p. 30, fig, 17 (detail); p. 33, fig. 20 (detail); p. 38, fig, 24 (detail); p. 41, fig, 30 (detail); p. 43, fig. 32 (detail); p. 44, fig. 34 (detail); p. 47, fig. 36 (detail); p. 48, (fig. 38 (detail); p. 49, fig. 40 (detail)", "url": null}, {"citation": "Mart\u00ednez, Javier G\u00f3mez. <em>Museograf\u00eda al filo del milenio: tendencias y recurrencias. </em>Somonte-Cenero, Gij\u00f3n (Asturias): Ediciones Trea, 2016.", "page_number": "Mentioned: p. 331", "url": null}, {"citation": "Ebert-Schifferer, Sybille. \"Caravaggio in Neapel: Kurze Zeit, grosse Wirkung.\" In Forster, Peter, et. al. <em>Caravaggios Erben: Barock in Neapel.</em> M\u00fcnchen: Hirmer, 2016, 48\u201365.", "page_number": "Reproduced: p. 57, fig. 7", "url": null}, {"citation": "Zuffi, Stefano. <em>Caravaggio in Detail.</em> New York: Abrams, 2016.", "page_number": "Reproduced: p. 25, no. 44; Detail: p. 76\u20137", "url": null}, {"citation": "Spinosa, Nicola, and James M. Bradburne.<em> Attorno a Caravaggio: una questione di attribuzione.</em> Ginevr ; Milano: Skira, 2016.", "page_number": "Reproduced: pp. 27\u20138, fig. 1", "url": null}, {"citation": "Duffy-Zeballos, Lisa and Sharon Flescher. \"A Long-Lost Caravaggio? Not so Fast Doubters Say But France embargoes Export Just in Case.\" <em>IFAR Journal, </em>17 no. 1 (2016): 2\u20135.", "page_number": "Reproduced and Mentioned; p. 4, fig 4.", "url": ""}, {"citation": "Cleveland Museum of Art. <em>Museum Masters: 2016-17 Companion Guide.</em> [Cleveland, Ohio]: Cleveland Museum of Art, 2016.", "page_number": "Mentioned and Reproduced: pp. 48\u201350", "url": ""}, {"citation": "Yoder, Dean. \"Conserving Caravaggio: After an intensive process of cleaning and restoration, a masterpiece is back on view.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 56, no. 5 (September/October 2016): 16\u201318.", "page_number": "Reproduced and Mentioned: pp. 16, 17, 18", "url": "https://archive.org/details/CMAMM2016-05"}, {"citation": "Bowron, Edgar Peters. \"Introduction: The Critical Fortunes of Italian Baroque Painting in America.\" In <em>Buying Baroque: Italian Seventeenth-Century Paintings Come to America</em>. Edited by Edgar Peters Bowron, 2\u201315. University Park, Pennsylvania: The Frick Collection, The Pennsylvania State University Press, 2017.", "page_number": "Mentioned: p. 11", "url": null}, {"citation": "Benay, Erin E. <em>Exporting Caravaggio: The Crucifixion of Saint Andrew</em>. Cleveland, Ohio: Cleveland Museum of Art; London: Giles, 2017.", "page_number": null, "url": null}, {"citation": "Scaletti, Fabio.<em> Caravaggio: catalogo ragionato delle opere autografe, attribuite e controverse: con un regesto completo delle repliche e delle copie</em>. 2 vols. [Naples] :Artstudiopaparo, 2017.", "page_number": "Mentioned and reproduced: pp. 25, 198\u2013201, no. OR61", "url": null}, {"citation": "Garci\u0301a Cueto, David.<em> Las copias de obras maestras de la pintura en las colecciones de los Austrias y el Museo del Prado: actas del Congreso internacional = proceedings of the international Symposium</em>. 2021, 93.", "page_number": "Mentioned and Reproduced: p. 92\u20133, fig. 1.", "url": ""}, {"citation": "Caravaggio a Montserrat (Conference), Michelangelo Merisi da Caravaggio, Artur Ramon, and Clara Beltra\u0301n Catala\u0301n. Cent anys del Sant Jeroni de Caravaggio a Montserrat. 2019, 92.", "page_number": "Mentioned and Reproduced: pp. 91\u20132, fig. 1.", "url": ""}, {"citation": "Zuffi, Stefano, and Philippe Daverio. <em>Discovering Caravaggio: the Art Lover's Guide to Understanding Symbols in his Paintings</em>. New York: Rizzoli International, 2010.", "page_number": "pp. 210\u2013213", "url": null}, {"citation": "\"The Cleveland Caravaggio.\" <em>New Lugano Review</em> 8.9 (1976).", "page_number": "Mentioned: pp. 36\u20137, 65", "url": null}, {"citation": "\"New in the Galleries.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 57, no. 6 (November/December 2017): Back cover.", "page_number": "Reproduced: Back cover", "url": "https://archive.org/details/CMAMM2017-06"}, {"citation": "Bray, Xavier. \"Ribera: The Shock of the Real.\" In <em>Ribera: Art of Violence.</em> Edward Payne, and Xavier Bray, 35-54. Lewes, UK : Giles : Imprint of D. Giles Limited, 2018. London : Dulwich Picture Gallery : in association with D. Giles Limited, 2018.", "page_number": "Mentioned and Reproduced: p. 36\u20137, fig. 3.1", "url": ""}, {"citation": "Spear, Richard E. \"Caravaggio's 'Crucifixion of St Andrew' and the Problem of Autograph Replicas.\" <em>The Burlington Magazine</em> 160, no.1383 (June 2018): 454\u201361.", "page_number": "Reproduced: p. 456, fig. 3", "url": null}, {"citation": "Osnabrugge, Marije.<em> The Neapolitan Lives and Careers of Netherlandish Immigrant Painters (1575\u20131655).</em> Amsterdam: Amsterdam University Press, 2019.", "page_number": "Mentioned: p. 80; Reproduced: p. 81", "url": null}, {"citation": "Hall, Marcia B. T<em>he Power of Color: Five Centuries of European Painting. </em>New Haven: Yale University Press, 2019.", "page_number": "Mentioned: p. 99; Reproduced: p. 100. fig. 2.38", "url": null}, {"citation": "Terzaghi, Maria Cristina , et. al.<em> Caravaggio, Napoli</em>. Milano: Electa, 2019.", "page_number": "Reproduced: p. 38, fig. 4", "url": null}, {"citation": "Sallandrouze, Aure\u0301lie, and Michelangelo Merisi da Caravaggio. <em>Caravaggio: Judith et Holopherne</em> : <em>vente aux enche\u0300res</em>, Toulouse, 27 juin 2019. 2019, 63.", "page_number": "Mentioned and Reproduced: p. 63, fig. 39.", "url": ""}, {"citation": "Pacelli, Vincenzo, and Michelangelo Merisi da Caravaggio. <em>Caravaggio a Napoli: studi e ricerche</em>. Roma : Editori Paparo, 2019.", "page_number": "Reproduced: p. 22, fig, 13; Mentioned: p. 26", "url": ""}, {"citation": "Porzio, Giuseppe. <em>Antichi maestri a Napoli: dipinti del Sei e Settecento</em>. <br>Napoli, Italia : Porcini, 2019.", "page_number": "Mentioned: p. 8; Reproduced: p. 10, no.2", "url": ""}, {"citation": "Dinelli, Pier Paolo, and Michelangelo Merisi da Caravaggio. C<em>aravaggio dall'ombra al dettaglio</em>. 2020, 145.", "page_number": "Reproduced: p. 145.", "url": ""}, {"citation": "Nuovi dati e nuove idee (Conference), and Maria Cristina Terzaghi. <em>Caravaggio a Napoli: nuovi dati nuove idee : atti del convegno di Capodimonte</em> : 13\u201314 gennaio 2020. Todi (Perugia) : Ediart, luglio, 2021.", "page_number": "Mentioned: p. 83; Reproduced: p. 80, fig. 14", "url": ""}, {"citation": "Gengler, Matthew. \u201cYou Ask, We Answer.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>60, no. 1 (January/February 2020): 22.", "page_number": "Reproduced and Mentioned: p. 22", "url": "https://archive.org/details/CMAMM2020-01/page/n11/mode/2up"}, {"citation": "Dal Bello, Mario, and Nicola Ciola. <em>La Trinita\u0300 nell'arte. Roma : Dei Merangoli</em>, 2021, 160.", "page_number": "Mentioned and Reproduced: p. 160", "url": ""}, {"citation": "Saraceno, Francesca, and Michelangelo Merisi da Caravaggio. <em>Caravaggio: emozioni e impressioni</em>. Lesmo (MB) : Etabeta, 2022.", "page_number": "Reproduced: p. 409", "url": ""}, {"citation": "Zirpolo, Lilian H., and Michelangelo Merisi da Caravaggio.<em> Caravaggio: A Reference Guide to His Life and Works</em>. 2023.", "page_number": "Mentioned and Reproduced: p. 95\u20136", "url": ""}, {"citation": "Caravaggio, Michelangelo Merisi da. <em>Caravaggio and How to Find Him : At the Galleria Borghese, in Rome, and around the World. </em>Edited by Francesca Cappelletti. Napoli: Editori Paparo, 2023.", "page_number": "Mentioned and Reproduced: p. 87, no. 34", "url": ""}, {"citation": "Cipriani, Andrea, Claudio Falcucci, and Claudio Giusti. <em>Caravaggio : The \u201cEcce Homo\u201d Unveiled.</em> Edited by Keith Christiansen, Gianni Papi, Giuseppe Porzio, and Maria Cristina Terzaghi. Translated by Helen Glanville. First edition. Venezia: Marsilio arte, 2023.", "page_number": "Reproduced: p. 90 and 92, fig. 11; Mentioned: pp. 92\u20133.", "url": ""}, {"citation": "Penco, Sara, and Michelangelo Buonarroti. <em>Maria Maddalena Nel Giudizio Di Michelangelo = Mary Magdalene in Michelangelo\u2019s Judgement</em>. Bologna, Italy: Scripta maneant editore, 2024.", "page_number": "Reproduced: p. 54", "url": ""}, {"citation": "Smee, Sebastian. \u201cA Rare U.S. Caravaggio Masterpiece Shows How a Murderer Painted Death.\u201d <em>Washington Post</em>, June 27, 2024.", "page_number": "", "url": "https://www.washingtonpost.com/entertainment/interactive/2024/caravaggio-crucifixion-of-saint-andrew/"}, {"citation": "Zafran, Eric M. \"Caravaggio in America \u2013 Part 3,\" <em>Nicholashall.art </em>(September 24, 2024).", "page_number": "", "url": "https://www.nicholashall.art/journal/caravaggio-in-america-part-3/"}, {"citation": "Olson, Todd. <em>Ribera\u2019s Repetitions : Paper and Canvas in Seventeenth-Century Spanish Naples</em>. University Park, Pennsylvania: The Pennsylvania State University Press, 2025.", "page_number": "Mentioned and reproduced: pp. 75\u20136, fig. 34", "url": ""}, {"citation": "Porzio, Giuseppe. \"Caravaggio: The Years in the South.\" In <em>Caravaggio 2025</em>, edited by Francesca Cappelletti and Maria Cristina Terzaghi, 60\u201379. Venice: Marsilio Arte srl, 2025.", "page_number": "Mentioned and Reproduced: p. 66\u20138, fig. 9", "url": ""}, {"citation": "Vodret Adamo, Rossella, and Claudio Falcucci. <em>Caravaggio: 1571\u20131610.</em> Cinisello Balsamo, Milano: Silvana Editoriale, 2025.", "page_number": "Mentioned and Reproduced: p. 97\u20138, fig. 17; p. 294\u20135, no. 59", "url": ""}, {"citation": "Currie, Elizabeth. <em>Street Style: Art and Dress in the Time of Caravaggio</em>. London: Reaktion Books, 2025.", "page_number": "Mentioned and Reproduced: p. 117\u2013119, fig. 70", "url": ""}, {"citation": "Porzio, Giuseppe, ed. <em>Pittura a Napoli Intorno a Caravaggio, 1606-1610. </em>[Naples]: Arte\u2019m, 2026.", "page_number": "Mentioned: p. 18; Reproduced: p. 62, 66, nos. 33, 37", "url": ""}], "url": "https://clevelandart.org/art/1976.2", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1976.2/1976.2_web.jpg", "width": "678", "height": "900", "filesize": "223048", "filename": "1976.2_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1976.2/1976.2_print.jpg", "width": "2563", "height": "3400", "filesize": "2852637", "filename": "1976.2_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1976.2/1976.2_full.tif", "width": "11447", "height": "15187", "filesize": "521573284", "filename": "1976.2_full.tif"}}, "alternate_images": [{"web": {"url": "https://openaccess-cdn.clevelandart.org/1976.2/1976.2_alt0_web.jpg", "width": "726", "height": "900", "filesize": "282364"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1976.2/1976.2_alt0_print.jpg", "width": "2742", "height": "3400", "filesize": "3030831"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1976.2/1976.2_alt0_full.tif", "width": "6000", "height": "7440", "filesize": "133969016"}, "date_created": "2016-04-14T13:34:10", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1976.2/1976.2_alt1_web.jpg", "width": "665", "height": "893", "filesize": "395349"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1976.2/1976.2_alt1_print.jpg", "width": "2531", "height": "3400", "filesize": "5981460"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1976.2/1976.2_alt1_full.tif", "width": "4466", "height": "6000", "filesize": "80419072"}, "date_created": "2007-02-15T19:47:04", "annotation": ""}], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Donna and James Reid Gallery", "athena_id": 148758, "creators": [{"id": 2065, "description": "Caravaggio (Italian, 1571\u20131610)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1571", "death_year": "1610", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1976-02-24T00:00:00", "sortable_date": 1606, "date_added_to_oa": null, "date_text": "1606\u20137", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": "Beginning in 2014 and completed in 2016, the painting received a comprehensive conservation treatment to address lingering and critical aesthetic issues that were created by a restoration from 1974\u2014two years before the painting entered the CMA collection. In an attempt to create a more even and level surface, the 1974 treatment used layers of different varnish coatings to fill in the heavily cracked paint layer. Over time, this strategy failed, as movement in the underlying original paint and ground layers telegraphed through, creating a dense network of distracting surface cracking in the varnish. Because of the painting\u2019s importance, a three-month conservation exhibition in the Julia and Larry Pollock Focus Gallery was designed to explain the conservation issues to the public and allow visitors to observe the initial removal of the old varnish. The rest of the treatment was completed in the paintings conservation lab over the next two years. While the main focus of the conservation was to correct the aesthetic problems created by the previous treatment, the opportunity to conduct the first in-depth technical and scientific analysis of the painting was equally important. This extensive study, entitled <em>Conserving Caravaggio\u2019s Crucifixion of Saint Andrew: A Technical Study</em>, was originally published on a digital platform for iPads and tablets. Caravaggio used a single piece of a diamond weave canvas, possibly a tablecloth linen, which can easily be seen when zooming in on the X-radiograph. This canvas was carefully prepared with a double ground. First, a thick, aqueous, brown ground composed of earth pigments was applied over the canvas. This was followed by a second, thinner, and slightly darker ground layer composed of the same pigment mixture, though bound in a drying oil. After the preparation of the ground, Caravaggio began laying out the composition by cutting fine incisions into the ground layer. These fine incisions were used to roughly establish the position of the figures and can be found in several other paintings by the artist. These allusive incisions are apparent in raking light and in the X-ray where lead white was used to initially lay in the highlights of the drapery folds and anatomy of the figures. These initial strokes of the lead white (X-ray blocking) pigment, also referred to as the <em>abozzo</em>, were laid over top, filling in the incisions, which is why they are visible in the X-ray. Around the same time the abozzo was applied, darker, nearly black outlines were used around the figures. These dark paint strokes can be seen in the infrared reflectogram (IRR). After these highlights and shadows were positioned, Caravaggio skillfully manipulated opaque and transparent pigments to create gradations and nuances in the figures, garments, and draperies. Caravaggio used a fairly limited palette for this painting. The red cloth over Saint Andrew was found to contain lead white, umber, and vermilion with glazes of red lake. Small amounts of azurite added to earth pigments were used in the gown of the old woman on the left. The trousers of the executioner on the ladder contains lead-tin yellow type II. The garment of the figure on the far right is composed of red ochre with dark red lake glazes in the darker folds. Flesh tones are mostly composed of lead white, yellow ochre, and red ochre with trace amounts of green earth in the figure of Saint Andrew. Once prior varnishes and overpaint were removed from the original surface, the paint layer could finally be properly saturated with a reversible conservation-grade varnish. Areas of loss were filled and textured to match the aged and cracked surface of the original paint layer. After the fills were sufficiently textured, they were toned to match the dark umber color of the original ground as a base for inpainting, which was executed with a reversible conservation paint. The entire painting then received an overall application of a final varnish to produce the desired amount of surface gloss. For more in-depth information about Caravaggio\u2019s pigments and about the treatment of this painting, please refer to the <a href=\"https://archive.org/details/caravaggio-app\">archived application</a>.", "has_conservation_images": true, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": [], "is_highlight": true, "updated_at": "2026-09-22 12:35:55.083000"}, {"id": 159976, "accession_number": "1997.246", "share_license_status": "Copyrighted", "tombstone": "Marilyn x 100, 1962. Andy Warhol (American, 1928\u20131987). Screenprint ink and synthetic polymer paint on canvas; framed: 210.2 x 573.2 x 6.4 cm (82 3/4 x 225 11/16 x 2 1/2 in.); unframed: 205.7 x 567.7 cm (81 x 223 1/2 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, and Anonymous Gift, 1997.246. \u00a9 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York", "current_location": "229A Contemporary", "title": "Marilyn x 100", "creation_date": "1962", "creation_date_earliest": 1962, "creation_date_latest": 1962, "artists_tags": ["LGBTQ+ (after 1900)", "male"], "culture": ["America"], "technique": "screenprint ink and synthetic polymer paint on canvas", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "measurements": "Framed: 210.2 x 573.2 x 6.4 cm (82 3/4 x 225 11/16 x 2 1/2 in.); Unframed: 205.7 x 567.7 cm (81 x 223 1/2 in.)", "dimensions": {"framed": {"height": 2.102, "height_inch": 82, "height_inch_fraction": 0.75, "width": 5.732, "width_inch": 225, "width_inch_fraction": 0.6875, "depth": 0.064, "depth_inch": 2, "depth_inch_fraction": 0.5}, "unframed": {"height": 2.057, "height_inch": 81, "height_inch_fraction": 0.0, "width": 5.677, "width_inch": 223, "width_inch_fraction": 0.5}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York", "inscriptions": [], "exhibitions": {"current": [{"id": 393229, "title": "Contemporary Installation", "description": "<i>Contemporary Installation</i>. The Cleveland Museum of Art (organizer).", "opening_date": "2021-04-12T04:00:00"}], "legacy": [{"description": "<em>Art of Our Time</em>. Royal Scottish Academy, Edinburgh, 1980.", "opening_date": "1980-01-01T00:00:00"}, {"description": "<em>Andy Warhol: A Retrospective</em>. Museum of Modern Art, New York (organizer) (February 5-May 2, 1989); The Art Institute of Chicago, Chicago, Illinois (Jun 3-August 13, 1989); the Hayward Gallery, London (September-November 1989); The Museum Ludwig, Cologne (November 1989-February 1990); Palazzo Reale, Milan (February-May 1990); Mus\u00e9e National d'Art Moderne, Centre Georges Pompidou, Paris (June 21-September 10 1990)", "opening_date": "1990-09-10T00:00:00"}]}, "provenance": [{"description": "Collection of the artist", "citations": [], "footnotes": [], "date": "1962-1984", "sortorder": 1}, {"description": "Saatchi Collection, London", "citations": [], "footnotes": [], "date": "1984-1991", "sortorder": 2}, {"description": "Private Collection, Japan", "citations": [], "footnotes": [], "date": "1991-1997", "sortorder": 3}, {"description": "Sold at auction to CMA, Sotheby's, New York, 1997.", "citations": [], "footnotes": [], "date": "1997-present", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This work's palette suggests clashing representations of Marilyn Monroe: technicolor filmstrip and black-and-white newsreel footage of the 1940s and \u201950s.", "early_education_description": null, "artlens_description": null, "description": "The image of Marilyn Monroe in <em>Marilyn x 100,</em> the largest of Andy Warhol's many paintings featuring the celebrity, comes from a publicity still for the 1953 film <em>Niagara.</em> Warhol reproduces this iconic image through silk screening, a commercial printing technique from which the artist's hand is absent, on top of a unique underpainting made by Warhol. As was common throughout Warhol's work, <em>Marilyn x 100</em> explores the relationship\u2014and suggests overlaps\u2014among mass media, technology, pop culture, and fine art.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60477452"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art. <em>Museum Masters: 2016-17 Companion Guide.</em> [Cleveland, Ohio]: Cleveland Museum of Art, 2016.", "page_number": "Mentioned and reproduced: P. 25", "url": ""}, {"citation": "Baker, Kenneth. \"Report from London: the Saatchi Museum Opens\" <em>Art in America </em>73, no. 7 (July 1985): 23-27.", "page_number": "Reproduced: p. 24; mentioned: p. 25", "url": null}, {"citation": "Cleveland Museum of Art, \u201cMajor Andy Warhol Painting Added to CMA\u2019s Permanent Collection,\u201d December 3, 1997, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr4166"}, {"citation": "Bergman, Robert, \"A Defining Signifier\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 38 no. 09, November 1998", "page_number": "Mentioned & reproduced: p. 8-9", "url": "https://archive.org/details/CMAMM1998-09/page/8"}, {"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. 115", "url": ""}, {"citation": "Bergman, Robert P. \u201cA Defining Signifier.\u201d <em>The Bulletin of the Cleveland Museum of Art </em>(November 1998)", "page_number": "Reproduced p. 8-9.", "url": null}, {"citation": "McShine, Kynaston, ed. <em>Andy Warhol, a retrospective</em>. Exh. Cat. New York: Museum of Modern Art, 1989.", "page_number": "Reproduced p. 216, plate 205.", "url": null}, {"citation": "Franklin, David, and C. Griffith Mann. <em>Treasures from the Cleveland Museum of Art</em>. Cleveland: The Cleveland Museum of Art; London Scala, 2012.", "page_number": "Reproduced p. 329; mentioned p. 328.", "url": null}, {"citation": "Frei, Georg and Neil Printz, eds. and Sponsored by the Thomas Ammann Fine Art Ag Zurich and The Andy Warhol Foundation for the Visual Arts, Inc., New York. <em>The Andy Warhol Catalogue Raisonn\u00e9: Paintings and Sculpture 1961-1963</em>. London: Phaidon, 2002", "page_number": "Reproduced p. 246, Plate 236; mentioned 234-235.", "url": null}, {"citation": "\u201cSotheby\u2019s Contemporary Art, Part 1, Andy Warhol\u2019s Marilyn x 100, Evening Session: Tuesday, November 17, 1992, Lot 25.\u201d New York: Sotheby\u2019s, 1992.", "page_number": "Reproduced on cover", "url": null}, {"citation": "Hicks, Alistair, ed. <em>Art of Our Time. Royal Scottish Academy</em>. Exh. Cat. Edinburgh: The Royal Scottish Academy, 1980.", "page_number": "Reproduced front and back covers and on p. 73", "url": null}, {"citation": "Arendsee, M., and M. Steinman-Arendsee. \"Take the CAN disability aesthetics tour, at the Cleveland Museum of art.\" <em>CAN Journal</em> (Winter 2019/20): 76-87.", "page_number": "Mentioned: p.87", "url": null}, {"citation": "Agee, William C., Max Weber, and Pamela N. Koob. Max Weber &amp; American Cubism. New York, NY : Rizzoli Electa, 2023.", "page_number": "Mentioned: p. 266, 268; Reproduced: p. 264-265, fig. 166", "url": ""}], "url": "https://clevelandart.org/art/1997.246", "images": {}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund, and Anonymous Gift", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Toby's Gallery for Contemporary Art", "athena_id": 159976, "creators": [{"id": 3748, "description": "Andy Warhol (American, 1928\u20131987)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1928", "death_year": "1987", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1997-12-01T00:00:00", "sortable_date": 1962, "date_added_to_oa": null, "date_text": "1962", "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": true, "updated_at": "2026-10-15 11:29:44.259000"}, {"id": 144338, "accession_number": "1969.15", "share_license_status": "Copyrighted", "tombstone": "Filtered Yellow, 1968. Julian Stanczak (American, 1928\u20132017). Acrylic on canvas; unframed: 182.8 x 243.8 cm (71 15/16 x 96 in.). The Cleveland Museum of Art, Contemporary Collection of The Cleveland Museum of Art, 1969.15. \u00a9 Julian Stanczak", "current_location": "228A Cleveland Artists", "title": "Filtered Yellow", "creation_date": "1968", "creation_date_earliest": 1968, "creation_date_latest": 1968, "artists_tags": ["male", "Cleveland Institute of Art (alumni)", "Cleveland School"], "culture": ["America"], "technique": "acrylic on canvas", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "measurements": "Unframed: 182.8 x 243.8 cm (71 15/16 x 96 in.)", "dimensions": {"unframed": {"height": 1.828, "height_inch": 71, "height_inch_fraction": 0.9375, "width": 2.438, "width_inch": 96, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Julian Stanczak", "inscriptions": [], "exhibitions": {"current": [{"id": 301313, "title": "Year in Review: 1969", "description": "<i>Year in Review: 1969</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 27-February 22, 1970).", "opening_date": "1970-01-27T05:00:00"}, {"id": 302349, "title": "Materials and Techniques of 20th-Century Artists", "description": "<i>Materials and Techniques of 20th-Century Artists</i>. The Cleveland Museum of Art, Cleveland, OH (November 17, 1976-January 2, 1977).", "opening_date": "1976-11-17T05:00:00"}, {"id": 309579, "title": "The Cleveland Institute of Art: 100 Years", "description": "<i>The Cleveland Institute of Art: 100 Years</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 22, 1982-January 30, 1983).", "opening_date": "1982-12-22T05:00:00"}, {"id": 309861, "title": "Contemporary Art and Textiles Collection", "description": "<i>Contemporary Art and Textiles Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 13-August 26, 1984).", "opening_date": "1984-07-13T04:00:00"}], "legacy": [{"description": "Cleveland Museum of Art, (04//11/2011 - 02/26/2012); \"Op Art\"", "opening_date": "2012-02-26T00:00:00"}]}, "provenance": [{"description": "Purchased from Martha Jackson Gallery, New York, NY.", "citations": [], "footnotes": null, "date": "1969", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH.", "citations": [], "footnotes": null, "date": "1969\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "After losing the use of his right arm in a Siberian labor camp during World War II, Julian Stanczak fled to a Polish refugee camp in Uganda where he learned how to paint and write left-handed.", "early_education_description": null, "artlens_description": null, "description": "For more than a half century, Julian Stanczak maintained a distinguished career as an abstract painter interested in how vision works. <em>Filtered Yellow</em> features hundreds of alternating reddish and greenish razor-sharp vertical bands that create the illusion of a yellow shape, despite the absence of pure yellow paint. As typical of his work, it emphasizes a high level of technical mastery rivaled by few.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60470411"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art. <em>Art of the Twentieth Century in the Cleveland Museum of Art</em>. Cleveland, OH: Dept. of Art History &amp; Education, CMA, 1969.", "page_number": "Mentioned: p. 4", "url": "https://archive.org/details/20thCenturyArtCMA/page/n5"}, {"citation": "Cole, Mark. \"Good Vibrations: A New Exhibition Celebrates the Dazzling Op Art Movement Centered in Cleveland.\" <em>Cleveland Art Members Magazine</em> (Mar/Apr 2011): 6-7.", "page_number": "Mentioned and reproduced: p. 7", "url": "http://www.clevelandart.org/magazine/cleveland-art-2011-highlights/good-vibrations"}, {"citation": "Lee, Sherman E. \"The Year in Review for 1969.\" <em>The Bulletin of the Cleveland Museum of Art</em> 57, no. 1 (1970): 26.", "page_number": "26", "url": "http://www.jstor.org/stable/25152307"}, {"citation": "McClelland, Elizabeth. \"Julian Stanczak.\" <em>Arts Magazine</em> 51, no. 1 (Jan 1976): 9.", "page_number": "9", "url": ""}], "url": "https://clevelandart.org/art/1969.15", "images": {}, "alternate_images": [], "creditline": "Contemporary Collection of The Cleveland Museum of Art", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "David and Helen Kangesser Gallery", "athena_id": 144338, "creators": [{"id": 3643, "description": "Julian Stanczak (American, 1928\u20132017)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1928", "death_year": "2017", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1969-12-13T00:00:00", "sortable_date": 1968, "date_added_to_oa": null, "date_text": "1968", "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": "2026-05-10 02:25:37.408000"}, {"id": 147955, "accession_number": "1974.53", "share_license_status": "Copyrighted", "tombstone": "New Shoes for H, 1973\u201374. Don Eddy (American, 1944-). Acrylic on canvas; framed: 122.7 x 133 x 8.2 cm (48 5/16 x 52 3/8 x 3 1/4 in.); unframed: 111.7 x 121.9 cm (44 x 48 in.). The Cleveland Museum of Art, Purchased with a grant from the NEA and matched by gifts from members of The Cleveland Society for Contemporary Art, 1974.53", "current_location": "001A ArtLens Exhibition", "title": "New Shoes for H", "creation_date": "1973\u201374", "creation_date_earliest": 1973, "creation_date_latest": 1974, "artists_tags": ["male"], "culture": ["America"], "technique": "acrylic on canvas", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "measurements": "Framed: 122.7 x 133 x 8.2 cm (48 5/16 x 52 3/8 x 3 1/4 in.); Unframed: 111.7 x 121.9 cm (44 x 48 in.)", "dimensions": {"framed": {"height": 1.227, "height_inch": 48, "height_inch_fraction": 0.3125, "width": 1.33, "width_inch": 52, "width_inch_fraction": 0.375, "depth": 0.082, "depth_inch": 3, "depth_inch_fraction": 0.25}, "unframed": {"height": 1.117, "height_inch": 44, "height_inch_fraction": 0.0, "width": 1.219, "width_inch": 48, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed and dated on back of painting:  Don Eddy, 1973-74", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 444754, "title": "Selections in Contemporary Realism", "description": "<i>Selections in Contemporary Realism</i>. Akron Art Museum, Akron, OH (organizer) (October 27-December 1, 1974).", "opening_date": "1974-10-27T04:00:00"}, {"id": 444303, "title": "Image, Color, and Form", "description": "<i>Image, Color, and Form</i>. The Toledo Museum of Art, Toledo, OH (organizer) (January 11-February 9, 1975).", "opening_date": "1975-01-11T05:00:00"}, {"id": 302084, "title": "Year in Review: 1974", "description": "<i>Year in Review: 1974</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 11-April 6, 1975).", "opening_date": "1975-03-11T04:00:00"}, {"id": 444323, "title": "Don Eddy: Recent Paintings and Drawings", "description": "<i>Don Eddy: Recent Paintings and Drawings</i>. Williams College Museum of Art, Williamstown, MA (organizer) (April 7-May 7, 1975).", "opening_date": "1975-04-07T04:00:00"}, {"id": 302349, "title": "Materials and Techniques of 20th-Century Artists", "description": "<i>Materials and Techniques of 20th-Century Artists</i>. The Cleveland Museum of Art, Cleveland, OH (November 17, 1976-January 2, 1977).", "opening_date": "1976-11-17T05:00:00"}, {"id": 187192, "title": "Object in Focus: New Shoes for H by Don Eddy", "description": "<i>Object in Focus: New Shoes for H by Don Eddy</i>. The Cleveland Museum of Art (organizer) (August 3-October 3, 1999).", "opening_date": "1999-08-03T00:00:00"}], "legacy": [{"description": "<em>One Eye View: Impact of Photography on Paintings and Prints Since 1960</em>. Ann Arbor, MI, The University of Michigan Museum of Art. (1976).", "opening_date": "1976-01-01T05:00:00Z"}, {"description": "<em>Partner's in Purchase: Ohio Museum and the National Endowment for the Art</em>s. Columbus Museum of Art, Columbus, OH (September 23\u201329, 1985).", "opening_date": "1985-09-23T04:00:00Z"}, {"description": "Arts Day USA, Jun 7, 1990 (covered in black to encourage people to support the NEA and NEH).", "opening_date": "1990-06-07T00:00:00"}, {"description": "<em>Hyperrealismes USA 1965-1975</em>. Musee d'Art moderne et contemporain de Strasbourg (June 27\u2013Oct. 5, 2003).", "opening_date": "2003-06-27T00:00:00"}]}, "provenance": [{"description": "(Nancy Hoffman Gallery, NY)", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The storefront in <em>New Shoes for H</em> depicts Simco Shoes, a store that once stood on the corner of University and East 14th Street in New York City.", "early_education_description": null, "artlens_description": null, "description": "Don Eddy numbers among the American painters called \"Photorealists.\" These artists used photographs as inspiration for skillfully rendered representational images, but in reality, their work did not report the factual accuracy that a photograph implies. Eddy once explained, \"You can either look through the window, or at the window, or at the reflection in the window. Nobody ever looks at all three at once, because it is impossible to focus on all three.\" In New Shoes for H, however, Eddy tried to accomplish this feat. Rather than creating a realistic representation of the matter, Eddy re-interpreted the image, exaggerated colors, and combined elements of several different photographs. Although rendered in a realistic style, the resulting painting is a product of the artist's creativity and interpretation.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60472669"], "internet_archive": []}, "citations": [{"citation": "Doty, Robert M, New Gallery of Contemporary Art, Akron Art Institute, New Gallery (Cleveland, Ohio), and Akron Art Institute. 1974. <em>Selections in Contemporary Realism</em>. Akron, Ohio: Akron Art Institute.", "page_number": "Reproduced: cover;  p. 11", "url": ""}, {"citation": "Toledo Museum of Art and Toledo Modern Art Group. 1975. <em>Image, Color, and Form : Recent Paintings by Eleven Americans : January 12 through February 9, 1975 : Organized by the Toledo Museum of Art and the Toledo Modern Art Group</em>. Toledo, Ohio: Toledo Museum of Art.", "page_number": "cat. no. 13", "url": ""}, {"citation": "Lee, Sherman E. \u201cThe Year in Review for 1974.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 62, no. 3 (March 1975): 62\u2013102.", "page_number": "Mentioned: p. 101, no. 174; Reproduced: p. 85", "url": "http://www.jstor.org/stable/25152580"}, {"citation": "Hinson, Tom E. \u201cEddy: New Shoes for H.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 62, no. 10 (December 1975): 291\u2013299.", "page_number": "Mentioned: p. 291-299; Reproduced: p. 292-293, fig. 1-4", "url": "http://www.jstor.org/stable/25152614"}, {"citation": "Weisberg, Gabriel P, Cleveland State University, and Cleveland Museum of Art, 1976. <em>Materials and Techniques of 20th-Century Artists : An Exhibition</em>. Themes in Art. Cleveland: Dept. of Art History &amp; Education, Cleveland Museum of Art.", "page_number": "Cat no. 16, reproduced on frontispiece, detail on cover.", "url": ""}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 257", "url": "https://archive.org/details/CMAHandbook1978/page/n277"}, {"citation": "Lebensztejn, Jean Claude, Patrick Javault, and Mus\u00e9e d\u2019art moderne et contemporain de Strasbourg. 2003. <em>Hyperre\u0301alismes Usa, 1965-1975 : Muse\u0301e D\u2019art Moderne Et Contemporain De Strasbourg, 27 Juin-5 Octobre 2003</em>. Paris: Hazan.", "page_number": "exh. cat. p. 189", "url": ""}, {"citation": "Buser, Thomas. <em>Experiencing Art Around Us</em>. Australia; United States: Thomson Wadsworth, 2006.", "page_number": "Mentioned and Reproduced: p. 14, fig 1-13", "url": null}], "url": "https://clevelandart.org/art/1974.53", "images": {}, "alternate_images": [], "creditline": "Purchased with a grant from the NEA and matched by gifts from members of The Cleveland Society for Contemporary Art", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Maltz Family Foundation ArtLens Gallery", "athena_id": 147955, "creators": [{"id": 3432, "description": "Don Eddy (American, 1944-)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1944", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1974-05-21T00:00:00", "sortable_date": 1973, "date_added_to_oa": null, "date_text": "1973\u201374", "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": "2026-07-25 11:42:21.168000"}, {"id": 142298, "accession_number": "1966.13", "share_license_status": "CC0", "tombstone": "Antiochus and Stratonice, c. 1838. Jean-Auguste-Dominique Ingres (French, 1780\u20131867). Oil on linen; framed: 74.5 x 91.5 x 11 cm (29 5/16 x 36 x 4 5/16 in.); unframed: 48.1 x 63.9 cm (18 15/16 x 25 3/16 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1966.13", "current_location": "202 French Neoclassical Decorative Arts", "title": "Antiochus and Stratonice", "creation_date": "c. 1838", "creation_date_earliest": 1833, "creation_date_latest": 1843, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on linen", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 74.5 x 91.5 x 11 cm (29 5/16 x 36 x 4 5/16 in.); Unframed: 48.1 x 63.9 cm (18 15/16 x 25 3/16 in.)", "dimensions": {"framed": {"height": 0.745, "height_inch": 29, "height_inch_fraction": 0.3125, "width": 0.915, "width_inch": 36, "width_inch_fraction": 0.0, "depth": 0.11, "depth_inch": 4, "depth_inch_fraction": 0.3125}, "unframed": {"height": 0.481, "height_inch": 18, "height_inch_fraction": 0.9375, "width": 0.639, "width_inch": 25, "width_inch_fraction": 0.1875}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 300917, "title": "Golden Anniversary of Acquisitions", "description": "<i>Golden Anniversary of Acquisitions</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 10-October 16, 1966).", "opening_date": "1966-09-10T04:00:00"}, {"id": 361190, "title": "Ingres: Centennial Exhibition, 1867-1967. Drawings, Watercolors and Oil Sketches from American Collections", "description": "<i>Ingres: Centennial Exhibition, 1867-1967. Drawings, Watercolors and Oil Sketches from American Collections</i>. Fogg Art Museum/Harvard University, Cambridge, MA (organizer) (February 12-April 9, 1967).", "opening_date": "1967-02-12T05:00:00"}, {"id": 198256, "title": "The Last Days of Pompeii: Decadence, Apocalypse, Resurrection", "description": "<i>The Last Days of Pompeii: Decadence, Apocalypse, Resurrection</i>. Getty Villa, Pacific Palisades, CA (September 12, 2012-January 7, 2013); The Cleveland Museum of Art, Cleveland, OH (organizer) (February 24-July 7, 2013).", "opening_date": "2012-09-03T00:00:00"}], "legacy": [{"description": "London, New Burlington Galleries. Exhibition of Masters of French 19th Century Painting (1936), no. 1, lent by Alphonse Kann.", "opening_date": "1936-01-01T00:00:00"}, {"description": "Cambridge, Mass., Fogg Art Museum. Ingres Centennial Exhibition 1867-1967 (1967), no. 78, 79 (repr.).", "opening_date": "1967-01-01T00:00:00"}, {"description": "New York, Frick Collection. Ingres and the Comtesse d'Haussonville (1985-86), no. 55, 72-76 (repr.).", "opening_date": "1985-01-01T00:00:00"}, {"description": "Getty Villa (9/12/2012 - 1/7/2013), The Cleveland Museum fo Art (2/24/2013 - 5/19/2013), Mus\u00e9e des Beaux-Arts, Qu\u00e9bec (6/13/2013 - 9/8/2013):  \"The Last Days of Pompeii: Decadence, Apocalypse, Resurrection\"", "opening_date": "2012-09-12T00:00:00"}, {"description": "The Cleveland Museum of Art (09/ 12/2012 - 01/07/2013 Getty Villa Malibu, CA; 02/24/2013 - 07/07/2013 Cleveland Museum of Art); \"The Last Days of Pompeii: Decadence, Apocalypse, Resurrection\"", "opening_date": "2013-01-07T00:00:00"}]}, "provenance": [{"description": "Ingres estate sale, Paris, Drouot, 27 April 1867 (lot 6), Stratonice, R\u00e9p\u00e9tition presque termin\u00e9e du m\u00eame sujet [Stratonice], 1834, ff 4,220. Mme Ingres. Louis Bazille, Montpellier (1870). Pierre Leenhardt, Paris sale, Georges Petit, 4 May 1922 (lot 29, repr.), Stratonice, ou la maladie d'Antiochus. Alphonse Kann, Paris. Seized by the Germans in 1941. Recovered after WWII. Sold by Kann's heirs. Anonymous sale, Paris, Galerie Charpentier, 12 May 1950 (lot 30, repr.), Stratonice, ou la maladie d'Antiochus. Jacques Seligmann, New York. Purchased by the cma on 3 January 1966.", "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": "Struck by a mysterious illness, Antiochus lies in bed near death. His grieving father, who has recently taken Stratonice as his wife, summons a doctor. Noticing that the sight of the young woman quickens Antiochus\u2019s pulse and that passion causes his sickness, the doctor describes the youth\u2019s predicament to his father, who selflessly offers Stratonice to his son. The subject, both a love story and an example of parental devotion, enjoyed considerable popularity well into the 1800s.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60469545"], "internet_archive": ["https://archive.org/details/clevelandart-1966.13-antiochus-and-strato"]}, "citations": [{"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 165", "url": "https://archive.org/details/CMAHandbook1966/page/n189"}, {"citation": "Cleveland Museum of Art, \u201cGolden Anniversary Acquisition,\u201d 1966, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr1434"}, {"citation": "Stechow, Wolfgang. \"Cleveland's Golden Anniversary Acquisitions.\" <em>Artnews</em> 65, no. 5 (September 1966): 30-64.", "page_number": "Reproduced: p. 41; Mentioned p. 62-63", "url": null}, {"citation": "Lee, Sherman E. \u201cGolden Anniversary Acquisitions: September 10 through October 16.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 53, no. 7 (September 1966): 181\u2013284.", "page_number": "Reproduced: p. 233; Mentioned: p. 280, no. 62", "url": "http://www.jstor.org/stable/25152110"}, {"citation": "Francis, Henry S. \u201cJean Auguste Dominique Ingres: Antiochus and Stratonice.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 55, no. 4 (April 1968): 103\u2013112.", "page_number": "Reproduced: Cover; Mentioned: p. 103-106", "url": "http://www.jstor.org/stable/25152209"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 165", "url": "https://archive.org/details/CMAHandbook1969/page/n189"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 204", "url": "https://archive.org/details/CMAHandbook1978/page/n224"}, {"citation": "Real, William A. \u201cExploring New Applications for Infrared Reflectography.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 72, no. 8 (December 1985): 390\u2013412.", "page_number": "Mentioned and reproduced: p. 404-406, figs. 16-18b", "url": "http://www.jstor.org/stable/25159923"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 364-369, Vol. II, no. 128", "url": ""}, {"citation": "Vigne, Georges. \"Stratonice, Le Belle Silencieuse d'Ingres.\" In <em>Ingres: l'Artiste et Ses Princes </em>edited by Mathieu Deldicque and Nicole Garnier-Pelle, 108-133. Exh. cat. Paris: In Fine, 2023.", "page_number": "Reproduced: p. 122, fig. 7.", "url": ""}], "url": "https://clevelandart.org/art/1966.13", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1966.13/1966.13_web.jpg", "width": "900", "height": "674", "filesize": "169721", "filename": "1966.13_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1966.13/1966.13_print.jpg", "width": "3400", "height": "2547", "filesize": "2274586", "filename": "1966.13_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1966.13/1966.13_full.tif", "width": "7519", "height": "5633", "filesize": "127086812", "filename": "1966.13_full.tif"}}, "alternate_images": [{"web": {"url": "https://openaccess-cdn.clevelandart.org/1966.13/1966.13_alt0_web.jpg", "width": "900", "height": "670", "filesize": "140371"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1966.13/1966.13_alt0_print.jpg", "width": "3400", "height": "2531", "filesize": "2578352"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1966.13/1966.13_alt0_full.tif", "width": "7892", "height": "5874", "filesize": "139096072"}, "date_created": "2013-11-12T11:58:25", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1966.13/1966.13_alt1_web.jpg", "width": "900", "height": "679", "filesize": "230053"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1966.13/1966.13_alt1_print.jpg", "width": "3400", "height": "2564", "filesize": "3449742"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1966.13/1966.13_alt1_full.tif", "width": "7807", "height": "5888", "filesize": "137926104"}, "date_created": "2013-11-12T12:01:23", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1966.13/1966.13_alt2_web.jpg", "width": "900", "height": "728", "filesize": "229876"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1966.13/1966.13_alt2_print.jpg", "width": "3400", "height": "2749", "filesize": "2532445"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1966.13/1966.13_alt2_full.tif", "width": "6832", "height": "5524", "filesize": "113248404"}, "date_created": "2013-11-12T10:33:27", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1966.13/1966.13_alt3_web.jpg", "width": "1196", "height": "893", "filesize": "694436"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1966.13/1966.13_alt3_print.jpg", "width": "3400", "height": "2539", "filesize": "5281833"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1966.13/1966.13_alt3_full.tif", "width": "5127", "height": "3828", "filesize": "58910228"}, "date_created": "2007-01-18T19:56:16", "annotation": ""}], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "M. Roger and Anne Clapp Gallery", "athena_id": 142298, "creators": [{"id": 1685, "description": "Jean-Auguste-Dominique Ingres (French, 1780\u20131867)", "extent": null, "qualifier": null, "role": "artist", "biography": "A leading exponent of French neoclassicism and the academic tradition, Jean-Auguste-Dominique Ingres was born in Montauban in 1780. At the age of ten he began studying art and music in Toulouse. In 1797 he entered the Paris studio of David (q.v.), where he became a favorite pupil and assistant. Barely a year later a dispute prompted Ingres to leave the studio and enroll in the \u00c9cole des Beaux-Arts. In 1801 he won the Prix de Rome, but lack of funds prevented him from departing for Italy until 1806. During fourteen years in Rome and four in Florence, Ingres painted romantic troubadour themes and became an admirer of Raphael. In 1824 he returned to Paris and exhibited at the Salon, where a fierce debate erupted between his supporters and those of Delacroix (q.v.). The controversial Salon of 1824 signaled Ingres's emergence as the leader of the neoclassical movement in France. At that point he effectively assumed the role of his former teacher David, now in exile. In 1833 the French government appointed Ingres vice president of the \u00c9cole des Beaux-Arts and president the following year. In 1834 he accepted the directorship of the French Academy in Rome and spent the next seven years painting and studying antique art in Italy. In 1841 he returned to Paris, where his paintings were greeted with thunderous critical acclaim. A major retrospective at the Exposition Universelle of 1855 confirmed his reputation but also aroused the hostility of young artists opposed to academic rules and conventions. During his later years Ingres continued his bitter rivalry with Delacroix, successfully blocking the latter's admission to the academy until 1857. Ingres died in 1867, leaving behind a circle of followers and a remarkable drawing style that was to inspire later artists, including Degas (q.v.) and Pablo Picasso (1881-1973).", "name_in_original_language": null, "birth_year": "1780", "death_year": "1867", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1966-01-03T00:00:00", "sortable_date": 1833, "date_added_to_oa": null, "date_text": "c. 1838", "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": ["Antiochus and Stratonice (The Sickness of Antiochus)"], "is_highlight": false, "updated_at": "2026-07-04 11:16:28.855000"}, {"id": 140139, "accession_number": "1964.142", "share_license_status": "Copyrighted", "tombstone": "Red Blue, 1962. Ellsworth Kelly (American, 1923\u20132015). Oil on canvas; framed: 230 x 178 x 4 cm (90 9/16 x 70 1/16 x 1 9/16 in.); unframed: 228.6 x 176.4 cm (90 x 69 7/16 in.). The Cleveland Museum of Art, Contemporary Collection of The Cleveland Museum of Art, 1964.142. \u00a9 Ellsworth Kelly", "current_location": "224A Contemporary Corridor", "title": "Red Blue", "creation_date": "1962", "creation_date_earliest": 1962, "creation_date_latest": 1962, "artists_tags": ["male", "LGBTQ+ (after 1900)"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "Contemporary Art", "collection": "CONTEMP - Painting", "type": "Painting", "measurements": "Framed: 230 x 178 x 4 cm (90 9/16 x 70 1/16 x 1 9/16 in.); Unframed: 228.6 x 176.4 cm (90 x 69 7/16 in.)", "dimensions": {"framed": {"height": 2.3, "height_inch": 90, "height_inch_fraction": 0.5625, "width": 1.78, "width_inch": 70, "width_inch_fraction": 0.0625, "depth": 0.04, "depth_inch": 1, "depth_inch_fraction": 0.5625}, "unframed": {"height": 2.286, "height_inch": 90, "height_inch_fraction": 0.0, "width": 1.764, "width_inch": 69, "width_inch_fraction": 0.4375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Ellsworth Kelly", "inscriptions": [{"inscription": "Signed, dated and titled on back of cardboard backing", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304723, "title": "Year in Review (1964)", "description": "<i>Year in Review (1964)</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 8, 1964-January 31, 1965).", "opening_date": "1964-12-08T05:00:00"}, {"id": 301294, "title": "Works from the Contemporary Collection", "description": "<i>Works from the Contemporary Collection</i>. The Cleveland Museum of Art, Cleveland, OH (July 1-October 15, 1969).", "opening_date": "1969-07-01T04:00:00"}, {"id": 393229, "title": "Contemporary Installation", "description": "<i>Contemporary Installation</i>. The Cleveland Museum of Art (organizer).", "opening_date": "2021-04-12T04:00:00"}], "legacy": [{"description": "<em>The Dunn International</em>. Beaverbrook Art Gallery, Fredericton, New Brunswick, Canada; (September 7\u2013 October 6, 1963); The Tate Gallery, London, England (November 14-December 22, 1963)", "opening_date": "1963-11-14T00:00:00"}]}, "provenance": [{"description": "(Betty Parsons Gallery, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "1964", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1964\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Kelly's abstract shapes were often based on observed reality, such as the plants that he kept in his studio.", "early_education_description": null, "artlens_description": null, "description": "Red Blue is all about the relation of two different colors and two different forms. On the surface of the canvas, two elements come together, interact with each other, and affect each other\u2019s appearance. The arrangement of the two colors red and blue, which work to intensify one another, is one essential component of the work. The other is the confrontation of two different forms: The edges of one shape-the blue rectangle-are given by the edges of the canvas and are therefore logical and measurable, while the organic form of the red color field, despite the clean, precise rendering, seems to breathe and float, activating the composition as a whole. In this way, even though there is no trace of the artist\u2019s hand, the painting refers to very natural and organic forms and ways of perception.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60469125"], "internet_archive": []}, "citations": [{"citation": "Richardson, John. Dunn International; An Exhibition of Contemporary Painting Sponsored by the Sir James Dunn Foundation. Great Britain, Arts Council. Catalogues. 1963. Volume 2. [London]: Arts Council, 1963.", "page_number": "Reproduced: fig. 41", "url": null}, {"citation": "Greenberg, Clement. \u201cPost Painterly Abstraction,\u201d Art International 8 (Summer 1964).", "page_number": "Reproduced: p. 64", "url": null}, {"citation": "Henning, Edward B. \u201cThe Language of Art,\u201d Bulletin of The Cleveland Museum of Art (November 1964).", "page_number": "Reproduced: p. 226; Mentioned p. 227", "url": null}, {"citation": "\u201cYear in Review for 1964,\u201d Bulletin of The Cleveland Museum of Art (December 1964).", "page_number": null, "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 203", "url": "https://archive.org/details/CMAHandbook1966/page/n227"}, {"citation": "\u201cRecent Accessions in the American Field,\u201d Art in America 54 (May/June 1966).", "page_number": "Reproduced: p. 48", "url": null}, {"citation": "Handbook of The Cleveland Museum of Art (1969).", "page_number": "Reproduced: p. 203", "url": null}, {"citation": "Cleveland Museum of Art. Art of the Twentieth Century in the Cleveland Museum of Art. [Cleveland]: Dept. of Art History &amp; Education, CMA, 1969.", "page_number": "Mentioned and Reproduced: p. 5", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 203", "url": "https://archive.org/details/CMAHandbook1969/page/n227"}, {"citation": "Cleveland Museum of Art. <em>Art of the Twentieth Century in the Cleveland Museum of Art</em>. Cleveland, OH: Dept. of Art History &amp; Education, CMA, 1969.", "page_number": "Mentioned and Reproduced: p. 5", "url": "https://archive.org/details/20thCenturyArtCMA/page/n5"}, {"citation": "Henning, Edward B. \u201cReconstruction: A Painting by Jasper Johns,\u201d Bulletin of The Cleveland Museum of Art (October 1973).", "page_number": "Mentioned p. 239; Reproduced: p. 241", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 254", "url": "https://archive.org/details/CMAHandbook1978/page/n274"}, {"citation": "Greenberg, Clement. \u201cAvant-Garde Attitudes: New Art in the Sixties,\u201d American Art-Readings from the Colonial Era to the Present (New York: Charles Scribner\u2019s Sons, 1980).", "page_number": "Mentioned p. 326; Reproduced: p. 327", "url": null}, {"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. 116", "url": ""}, {"citation": "Paik, Tricia Y., Ellsworth Kelly, Gavin Delahunty, Gary Garrels, Richard Shiff, and Robert Storr. Ellsworth Kelly, 2015.", "page_number": "Reproduced: p. 183, 362", "url": null}], "url": "https://clevelandart.org/art/1964.142", "images": {}, "alternate_images": [], "creditline": "Contemporary Collection of The Cleveland Museum of Art", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Betty and Max Ratner Gallery", "athena_id": 140139, "creators": [{"id": 3488, "description": "Ellsworth Kelly (American, 1923\u20132015)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1923", "death_year": "2015", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1964-12-19T00:00:00", "sortable_date": 1962, "date_added_to_oa": null, "date_text": "1962", "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": "2026-08-21 12:43:16.373000"}, {"id": 125234, "accession_number": "1947.196", "share_license_status": "CC0", "tombstone": "Low Tide at Pourville, near Dieppe, 1882, 1882. Claude Monet (French, 1840\u20131926). Oil on fabric; framed: 65.4 x 106.7 x 10.5 cm (25 3/4 x 42 x 4 1/8 in.); unframed: 59.9 x 81.3 cm (23 9/16 x 32 in.). The Cleveland Museum of Art, Gift of Mrs. Henry White Cannon, 1947.196", "current_location": "222 Impressionism & Post-Impressionism", "title": "Low Tide at Pourville, near Dieppe, 1882", "creation_date": "1882", "creation_date_earliest": 1882, "creation_date_latest": 1882, "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: 65.4 x 106.7 x 10.5 cm (25 3/4 x 42 x 4 1/8 in.); Unframed: 59.9 x 81.3 cm (23 9/16 x 32 in.)", "dimensions": {"framed": {"height": 0.654, "height_inch": 25, "height_inch_fraction": 0.75, "width": 1.067, "width_inch": 42, "width_inch_fraction": 0.0, "depth": 0.105, "depth_inch": 4, "depth_inch_fraction": 0.125}, "unframed": {"height": 0.599, "height_inch": 23, "height_inch_fraction": 0.5625, "width": 0.813, "width_inch": 32, "width_inch_fraction": 0.0}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right: 82 Claude Monet \r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 311945, "title": "The Sea", "description": "<i>The Sea</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 23-October 25, 1950).", "opening_date": "1950-09-23T04:00:00"}, {"id": 338130, "title": "Claude Monet: a loan exhibition", "description": "<i>Claude Monet: a loan exhibition</i>. Saint Louis Art Museum (organizer) (September 25-October 22, 1957); Minneapolis Institute of Art (November 1-December 1, 1957).", "opening_date": "1957-09-25T04:00:00"}, {"id": 338456, "title": "Impressionism and its Roots", "description": "<i>Impressionism and its Roots</i>. University of Iowa Museum of Art, Iowa City, IA (organizer) (November 8-December 6, 1964).", "opening_date": "1964-11-08T05:00:00"}, {"id": 520810, "title": "Impressionism and its Roots", "description": "<i>Impressionism and its Roots</i>. University of Iowa Museum of Art, Iowa City, IA (organizer) (November 8-December 6, 1964).", "opening_date": "1964-11-08T05:00:00"}, {"id": 304401, "title": "The Monet Triptych: Water Lilies", "description": "<i>The Monet Triptych: Water Lilies</i>. The Cleveland Museum of Art, Cleveland, OH (September 18, 1979-February 17, 1980).", "opening_date": "1979-04-05T05:00:00"}, {"id": 304561, "title": "Visions of Landscape: East and West", "description": "<i>Visions of Landscape: East and West</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 17-March 21, 1982).", "opening_date": "1982-02-17T05:00:00"}, {"id": 442204, "title": "Paris autour de 1882 (Paris around 1882)", "description": "<i>Paris autour de 1882 (Paris around 1882)</i>. Museum of Fine Arts, Gifu, Gifu City, Japan (organizer) (November 3-December 19, 1982); Museum of Modern Art, Kamakura, Kanagawa, Japan (January 15-February 20, 1983).", "opening_date": "1982-11-03T05:00:00"}, {"id": 226271, "title": "Monet: The Seine and the Sea, Vetheuil and Normandy, 1878-1883", "description": "<i>Monet: The Seine and the Sea, Vetheuil and Normandy, 1878-1883</i>. Gallery of the Royal Scottish Academy, Edinburgh, Scotland (August 6-October 26, 2003).", "opening_date": "2003-08-06T00:00:00"}, {"id": 229548, "title": "Boudin, Monet and the Sea Painters of Normandy", "description": "<i>Boudin, Monet and the Sea Painters of Normandy</i>. The Bowes Museum, County Durham, United Kingdom of Great Britain and Northern Ireland (organizer) (May 29-August 30, 2004).", "opening_date": "2004-05-29T00:00:00"}, {"id": 184132, "title": "Masterworks from The Phillips Collection", "description": "<i>Masterworks from The Phillips Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 20-May 29, 2005).", "opening_date": "2005-02-20T00:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. Vancouver Art Gallery, Vancouver, Canada (June 9-September 16, 2007); The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008); Frist Art Museum, Nashville, TN (February 15-June 1, 2008); Utah Museum of Fine Arts, Salt Lake City, UT (June 22-September 21, 2008); The Detroit Institute of Arts, Detroit, MI (October 12, 2008-January 18, 2009).", "opening_date": "2006-05-27T00:00:00"}, {"id": 208590, "title": "Monet in Normandy", "description": "<i>Monet in Normandy</i>. Fine Arts Museum of San Francisco, Legion of Honor, San Francisco, CA (June 17-September 17, 2006); North Carolina Museum of Art, Raleigh, NC (October 8, 2006-January 14, 2007); The Cleveland Museum of Art, Cleveland, OH (February 18-May 28, 2007).", "opening_date": "2006-06-17T00:00:00"}, {"id": 220678, "title": "Claude Monet", "description": "<i>Claude Monet</i>. Galeries Nationales du Grand Palais, 75008 Paris, France (September 20, 2010-January 24, 2011).", "opening_date": "2010-09-20T00:00:00"}, {"id": 224362, "title": "Monet - Reflections and Shadows", "description": "<i>Monet - Reflections and Shadows</i>. Fondation Beyeler, CH-4125 Riehen/Basel, Switzerland (organizer) (January 22-May 28, 2017).", "opening_date": "2017-01-22T00:00:00"}, {"id": 297110, "title": "Monet/Boudin", "description": "<i>Monet/Boudin</i>. Museo Nacional Thyssen-Bornemisza, Madrid, Spain (organizer) (June 26-September 30, 2018).", "opening_date": "2018-06-26T04:00:00"}, {"id": 679183, "title": "Monet and Venice", "description": "<i>Monet and Venice</i>. The Brooklyn Museum, Brooklyn, NY (organizer) (October 10, 2025-February 1, 2026) https://www.brooklynmuseum.org/exhibitions/monet-venice; Fine Arts Museums of San Francisco, de Young Museum, San Francisco, CA (March 21-July 26, 2026) https://www.famsf.org/exhibitions/monet-venice.", "opening_date": "2025-10-10T04:00:00"}], "legacy": [{"description": "Durand-Ruel, Paris, France: 1883. no. 9 (according to Wildenstein 1979; cannot be confirmed by Durand-Ruel),", "opening_date": "1979-01-01T00:00:00"}, {"description": "<em>Pictures by Claude Monet.</em> Lotos Club, New York, NY (1899).", "opening_date": null}]}, "provenance": [{"description": "Possibly bought from the artist in 1882 by Durand-Ruel, Paris, France (this information from the Wildenstein catalogue raisonn\u00e9 cannot be confirmed by Durand-Ruel as their files on this matter are not conclusive).", "citations": [], "footnotes": [], "date": "?1882", "sortorder": 1}, {"description": "Henry White Cannon [1850-1934], New York, NY, 1899.", "citations": [], "footnotes": [], "date": "1889", "sortorder": 2}, {"description": "Mrs. Henry White Cannon [1861-1954] New York, NY, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1947", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1947-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The narrow strokes of black paint along the the edge of the water at the base of the cliff indicate bathers.", "early_education_description": null, "artlens_description": null, "description": "This is one of several views Claude Monet painted of Pourville, a fishing village on the north coast of France in Normandy. Pourville featured a boardwalk, a broad beach, and stunning cliffs. According to the artist's correspondence, the village was nothing special, but he was inspired by the landscape: \"One could not be any closer to the sea than I am, on the pebbled beach itself and the waves beat at the foot of the house.\" During the spring of 1882 in Pourville, Monet stayed in a small hotel similar to the dwellings seen at the foot of the cliff to the right in this painting.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60515388"], "internet_archive": ["https://archive.org/details/clevelandart-1947.196-low-tide-at-pourvill"]}, "citations": [{"citation": "Francis, Henry S. \"Two Landscapes by Claude Monet.\" <em>The Bulletin of the Cleveland Museum of Art XXXV,</em> no. 1 (January,1948): 4-7.", "page_number": "Mentioned: p. 4-7", "url": null}, {"citation": "City Art Museum of St. Louis. <em>Claude Monet, a Loan Exhibition</em>. 1957.", "page_number": "Referenced: cat. no. 52, Reproduced: Pl. 52", "url": null}, {"citation": "University of Iowa. <em>Impressionism and Its Roots</em>. Iowa City, Iowa: University of Iowa, Gallery of Art, 1964.", "page_number": "Referenced:c at. no. 36, Reproduced", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 175", "url": "https://archive.org/details/CMAHandbook1966/page/n199"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 175", "url": "https://archive.org/details/CMAHandbook1969/page/n199"}, {"citation": "Wildenstein, Daniel. <em>Claude Monet: Biographie et Catalogue Raisonne\u0301.</em> Lausanne: La Bibliothe\u0300que des Arts, 1974.", "page_number": "Reproduced: vol. 2, no. 716", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 216", "url": "https://archive.org/details/CMAHandbook1978/page/n236"}, {"citation": "Bortolatto, Luigina Rossi. <em>Tout l'\u0153uvre peint de Monet, 1870-1889.</em> Paris: Flammarion, 1981.", "page_number": "Reproduced: p. 103, fig. 228", "url": null}, {"citation": "Borowitz, Helen O. \" The Rembrandt and Monet of Marcel Proust.\" <em>The Bulletin of the Cleveland Museum of Art VXX, </em>no. 2 (February, 1983): 83.", "page_number": "Reproduced: p. 84, Figure 9", "url": null}, {"citation": "House, John. <em>Monet, Nature into Art. </em>New Haven<em>, </em>CT: Yale University Press, 1986.", "page_number": "Reproduced: p. 190", "url": null}, {"citation": "Wildenstein, Daniel. <em>Monet.</em> Ko\u0308ln: Taschen, 1996.", "page_number": "Reproduced: Vol. 1, 179; vol. 2, 716", "url": null}, {"citation": "Zeidler, Birgit. <em>Claude Monet: Leben und Werk.</em> Ko\u0308ln, Germany: Ko\u0308nemann, 1998.", "page_number": "Reproduced: p. 57", "url": null}, {"citation": "D' Argencourt, Louise and Roger Diederen. <em>The Cleveland Museum of Art: Catalogue of Paintings, Part II; European Paintings of the 19th Century. </em>Cleveland, OH: The Cleveland Museum of Art, 1999.", "page_number": "Reproduced: p. 455", "url": null}, {"citation": "Monet, Claude, Norio Shimada, and Keiko Sakagami. Kuro\u0304do Mone meigashu\u0304: hikari to kaze no kiseki. To\u0304kyo\u0304, Japan: Nihon Bijutsu Kyo\u0304iku Senta\u0304, 2001.", "page_number": "Reproduced: p. 12", "url": null}, {"citation": "Clarke, Michael, and Richard Thomson. <em>Monet: The Seine and the Sea, 1878-1883</em>. Exh. Cat. Edinburgh, Scotland: National Galleries of Scotland, 2003.", "page_number": "Reproduced: p. 53", "url": null}, {"citation": "Barker, Amy, Joanna Hashagen, and Lesley Taylor. <em>Boudin, Monet and the</em> <em>Sea Painters of Normandy</em>. [County Durham, England]: Bowes Museum, 2004.", "page_number": "Reproduced: p. 28-29", "url": null}, {"citation": "Burgess, Margaret B., \"Side by Side\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 45 no. 05, May/June 2005", "page_number": "Mentioned & reproduced: p. 6-7", "url": "https://archive.org/details/CMAMM2005-05/page/6"}, {"citation": "Lemonedes, Heather, Lynn Federle Orr, and David H. Steel. <em>Monet in Normandy</em>. New York, NY: Rizzoli International Publications, Inc., 2006.", "page_number": "Reproduced: p. 89", "url": null}, {"citation": "Noce, Vincent. <em>Monet, l'oeil et l'eau</em>. Paris, France: Re\u0301union des Muse\u0301es nationaux, 2010.", "page_number": "Reproduced: front cover", "url": null}, {"citation": "Baillio, Joseph. <em>Claude Monet, 1840-1926</em>: Exh. Cat. Paris, France: Galeries Nationales, Grand Palais, Re\u0301union des muse\u0301es nationaux, 2010.", "page_number": "Reproduced: p. 179", "url": null}, {"citation": "Ulf Ku\u0308ster, ed. <em>Monet: Light, Shadow, and Reflection</em>. Basel: Fondation Beyeler; Berlin: Hatje Cantz, 2017.", "page_number": "Reproduced: p. 89", "url": null}, {"citation": "Lefebvre, Ge\u0301raldine. <em>Monet/Boudin</em>. Madrid: Museo Nacional Thyssen-Bornemisza, 2018.", "page_number": "Reproduced: p. 31, 130, cat. no. 63", "url": null}, {"citation": "Goldin, Marco. <em>Il Giardino e la Luna: Arte dell'Ottocento dal Romanticismo all'Impressionismo. </em>Milano : La nave di Teseo, 2021.", "page_number": "Reproduced: P. 503", "url": ""}, {"citation": "\"Leave a Legacy.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>vol. 62, no. 3 (September 2022): 38.", "page_number": "Reproduced: P. 38.", "url": ""}, {"citation": "Small, Lisa. \"Monet in Venice: Anxiety and Enchantment.\" In <em>Monet and Venice, </em>Brooklyn Museum, and Fine Arts Museums of San Francisco, 30-69. New York: Rizzoli Electa, 2025.", "page_number": "Reproduced: p. 65, fig. 77; Mentioned: p. 58", "url": ""}], "url": "https://clevelandart.org/art/1947.196", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1947.196/1947.196_web.jpg", "width": "900", "height": "664", "filesize": "261130", "filename": "1947.196_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1947.196/1947.196_print.jpg", "width": "3400", "height": "2508", "filesize": "4906385", "filename": "1947.196_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1947.196/1947.196_full.tif", "width": "15254", "height": "11254", "filesize": "515035628", "filename": "1947.196_full.tif"}}, "alternate_images": [{"web": {"url": "https://openaccess-cdn.clevelandart.org/1947.196/1947.196_alt0_web.jpg", "width": "900", "height": "724", "filesize": "369075"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1947.196/1947.196_alt0_print.jpg", "width": "3400", "height": "2735", "filesize": "6109143"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1947.196/1947.196_alt0_full.tif", "width": "14916", "height": "12000", "filesize": "537007360"}, "date_created": "2017-06-06T15:34:52", "annotation": ""}, {"web": {"url": "https://openaccess-cdn.clevelandart.org/1947.196/1947.196_alt1_web.jpg", "width": "1204", "height": "893", "filesize": "787475"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1947.196/1947.196_alt1_print.jpg", "width": "3400", "height": "2521", "filesize": "6341444"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1947.196/1947.196_alt1_full.tif", "width": "5173", "height": "3835", "filesize": "59544988"}, "date_created": "2005-09-26T15:47:03", "annotation": ""}], "creditline": "Gift of Mrs. Henry White Cannon", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Nancy F. and Joseph P. Keithley Gallery", "athena_id": 125234, "creators": [{"id": 1844, "description": "Claude Monet (French, 1840\u20131926)", "extent": null, "qualifier": null, "role": "artist", "biography": "Claude Monet spent his youth in Le Havre in Normandy, where his father worked as a wholesale grocer. By the age of sixteen, he had exhibited some of his caricatures in an art supply store, leading to his acquaintance with Boudin (q.v.). It was Boudin who first encouraged him to paint out of doors. In 1859 Monet traveled to Paris, where he saw Boudin's salon debut and met Constant Troyon (1810-1865). A year later he joined the Acad\u00e9mie Suisse, where he was introduced to Pissarro (q.v.), but his studies were interrupted in 1861 when he was drafted for a seven-year stint in the military. His family would pay for his release from military duties only if he gave up painting. Finding this unacceptable, Monet served for one year in Algeria before an early return to France to convalesce after a severe illness. In 1862 he met Jongkind (q.v.), another important influence on the young painter's development. Monet's father then allowed him to pursue his art career in Paris, where he entered the studio of the Swiss painter Charles Gleyre (1806-1874). He studied with Gleyre until 1864 and befriended Fr\u00e9d\u00e9ric Bazille (1841-1870), Renoir (q.v.), and Sisley (q.v.), with whom he painted in the forest of Fontainebleau (D\u00e9jeuner sur l'herbe, 1865, two fragments in Mus\u00e9e d'Orsay, Paris). Monet first exhibited at the Salon of 1865 and would do so again in 1866, 1868, and 1880. In 1868 he shared a studio with Bazille and Renoir but was soon forced to leave Paris to escape his creditors. He took his mistress, Camille Doncieux, and their son, Jean, to F\u00e9camp, then \u00c9tretat, and finally Saint-Michel. There Renoir provided hospitality, and the two also painted at the boating and bathing center of La Grenouill\u00e8re on the Seine. In 1870 Monet married Camille and, to escape the Franco-Prussian War, left for London, where he remained for nine months and met Durand-Ruel, his first dealer. In the summer of 1871 he visited the Netherlands and then settled in Argenteuil, to the west of Paris. He converted a boat into a studio, as Daubigny (q.v.) had done before him, allowing him to explore different viewpoints for his landscapes. He assisted in the organization of the First Impressionist Exhibition in 1874, partly because Durand-Ruel's worsened business situation had prevented the dealer from buying his art. The following year he participated in the H\u00f4tel Drouot sale with Morisot (q.v.), Renoir, and Sisley. In 1878 Monet and his wife moved to V\u00e9theuil with the Hosched\u00e9s, who had previously commissioned some works. Camille died the following year, and, while Ernest Hosched\u00e9 spent most of his time in Paris trying to settle his precarious financial situation, Monet stayed behind with Ernest's wife, Alice. In 1881 he moved with her and her children to Poissy and within two years was living at Giverny, where he would remain for the rest of his life. He painted some of his famous scenes-the haystack and poplar series, for example- in 1890-91. Ernest Hosched\u00e9 died in 1891, and Monet married Alice the following year. At Giverny, Monet explored the themes of his garden and water lilies. He continued to travel, going to Norway in 1895, making three trips to London from 1899 through 1901, and taking Alice to Venice in 1908. The final years of his life were mainly spent working on his Great Decorations, large paintings of a water lily pond designed for two oval rooms at the Paris Orangerie. Monet is generally considered the most typical exponent of impressionism.", "name_in_original_language": null, "birth_year": "1840", "death_year": "1926", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1947-07-18T00:00:00", "sortable_date": 1882, "date_added_to_oa": null, "date_text": "1882", "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": "2026-10-02 11:49:13.492000"}]}