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74,228 | 2020.113 | CC0 | Fishmarket, 1902. Camille Pissarro (French, 1830–1903). Oil on canvas; unframed: 66 x 81.3 cm (26 x 32 in.). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift 2020.113 | null | Fishmarket | null | null | null | 1902 | 1,902 | 1,902 | [
"Jewish artists",
"male"
] | [
"France, 20th century"
] | oil on canvas | [] | Modern European Painting and Sculpture | Mod Euro - Painting 1800-1960 | Painting | Unframed: 66 x 81.3 cm (26 x 32 in.) | {
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} | null | null | null | [
{
"inscription": "signed and dated lower left: 1902 C. Pissarro",
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"current": [
{
"description": "<i>Impressionism to Modernism: The Keithley Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 11, 2022-January 8, 2023).",
"id": 396695,
"opening_date": "2022-09-11T04:00:00",
"title": "Impressionism to Modernism: The Keithley Collection"
}
],
"legacy": [
{
"description": "<em>Inaugural Exposition of French Art</em>. California Palace of the Legion of Honor, San Francisco (1915).",
"opening_date": "1915-01-01T00:00:00"
},
{
"description": "<em>Masterpieces of the Ex-Matsukata Collection</em>. National Museum of Western Art, Tokyo (May 14-July 10,1960).",
"opening_date": "2014-05-01T00:00:00"
},
{
"description": "<em>Treasured Masterpieces of the XIXth Century Painting.</em> Galerie Fujikawa, Osaka; Yomiuri Shimbun, Tokyo (1973).",
"opening_date": "1973-01-01T00:00:00"
},
{
"description": "<em>Western Painting and Modern Western Style Painting in Japan: One Century from Imitation to Creation.</em> Shizuoka Prefectural Museum of Art, Shizuoka City, Japan (August 15-September 26,1986).",
"opening_date": "2015-08-01T00:00:00"
},
{
"description": "<em>The Triumph of French Painting: Masterpieces from Ingres to Matisse</em>. Baltimore Museum of Art, Baltimore (March 12-July 16, 2000); Philbrook Museum of Art, Tulsa (August 13-November 26, 2000); Norton Museum of Art, West Palm Beach (January 6-March 11, 2001); Royal Academy of Arts, London (June 30-September 23, 2001); Albright Knox Gallery, Buffalo (November 3, 2001-January 6, 2002).",
"opening_date": "2000-03-12T00:00:00"
},
{
"description": "<em>XIXth and XXth Century Master Paintings and Sculpture</em>. Acquavella Galleries, New York, NY (March 1-May 1, 2002).",
"opening_date": "2002-03-01T00:00:00"
}
]
} | [
{
"citations": [],
"date": null,
"description": "Possibly Georges Petit [1856-1920] Paris, France",
"footnotes": null,
"sortorder": 1
},
{
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"date": "1918",
"description": "(possibly sold to dealer Duval-Fleury, Paris, France, February 14, 1918)",
"footnotes": [
"<div><!--block-->Provenance until 1918 is according to Joachim Pissarro and Claire Durand-Ruel Snollaerts, <em>Pissarro: Critical Catalogue of Paintings</em> (Paris: Wildenstein Institute Publications, 2005), vol. III, p. 879, cat. no. 1439. <br><br>Wilhelm Hansen was known to work with Duval-Fleury on other art purchases and may have bought this painting directly from the French dealer. See: Denys Sutton, “The Degas Sales and England,” <em>Burlington Magazine</em> 131, no. 1033 (April 1989), pp. 266-272. </div>"
],
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},
{
"citations": [],
"date": "1918–1923",
"description": "Wilhelm Hansen [1868-1936] Copenhagen, Denmark, sold to Baron Kojiro Matsudata",
"footnotes": [],
"sortorder": 3
},
{
"citations": [],
"date": "1923–1927",
"description": "Baron Kojiro Matsukata [1865–1950] Kobe, Japan, sold to the 15th Bank of Japan",
"footnotes": [
"<div><!--block-->In 1927, Baron Matsukata was forced to dispose of his own property to sustain his company through an economic crisis. See: Libby Horner, “The collection of Kojiro Matsukata (1865-1950) The fire at the London Pantechnicon in 1939,” The British Art Journal 19, no. 1 (Spring 2018), pp. 84-90. According to the 2003 Sotheby’s sale catalogue, the 5th Bank of Japan owned the painting until 1928.</div>"
],
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},
{
"citations": [],
"date": "1927–1928",
"description": "The 15th Bank, Tokyo, Japan",
"footnotes": null,
"sortorder": 5
},
{
"citations": [],
"date": "after 1928–before 1971",
"description": "Kyuzaemon Wada [1890–1968] Osaka, Japan",
"footnotes": [],
"sortorder": 6
},
{
"citations": [],
"date": "1971–1974",
"description": "(Fujikawa Galleries, Tokyo, Japan, sold to Private Collection)",
"footnotes": [
"<div><!--block-->Provenance 1918-2003 is according to the 2003 Sotheby’s sale catalogue. </div>"
],
"sortorder": 7
},
{
"citations": [],
"date": "2003",
"description": "(sold at Sotheby’s, New York, NY, November 5, 2003, lot 5)",
"footnotes": null,
"sortorder": 8
},
{
"citations": [],
"date": "2004",
"description": "(Acquavella Galleries, New York, NY, sold to Nancy F. and Joseph P. Keithley)",
"footnotes": [],
"sortorder": 9
},
{
"citations": [],
"date": "2004–2020",
"description": "Nancy F. and Joseph P. Keithley, Cleveland, OH, given to the Cleveland Museum of Art",
"footnotes": [],
"sortorder": 10
},
{
"citations": [],
"date": "2020–",
"description": "The Cleveland Museum of Art, Cleveland, OH",
"footnotes": [],
"sortorder": 11
}
] | null | [] | [] | Pissarro painted this work from an upper level hotel room in Dieppe. He was suffering from a recurring eye infection at the time that prevented him from working outdoors. | This impressive view of a bustling fish market belongs to a series of paintings that Pissarro made during the summer of 1902 depicting the harbor at Dieppe. Borrowing from the Impressionist method of portraying a modern city from a high vantage point, he enlivened the scene with rich, vibrant colors applied with energetic, broken brushstrokes. Ever concerned with the fleeting effects of atmosphere, Pissarro painted the interpenetration of industrial steam with the clouds in the brilliant, sunlit sky. | {
"internet_archive": [
"https://archive.org/details/clevelandart-2020.113-fishmarket"
],
"wikidata": [
"https://www.wikidata.org/wiki/Q87480807"
]
} | [
{
"citation": "California Palace of the Legion of Honor. <em>Catalogue, Inaugural Exposition of French Art in the California Palace of the Legion of Honor, Lincoln Park, San Francisco, California, 1924-1925</em>. San Francisco: Press of the James H. Barry, 1924-1925.",
"page_number": "Mentioned: P. 20, no. 46; Reproduced: no. 46",
"url": null
},
{
"citation": "Pissarro, Ludovico Rodo, and Lionello Venturi. <em>Camille Pissarro; son art--son œuvre</em>. Paris: P. Rosenberg, 1939.",
"page_number": "Mentioned: Vol. 1, p. 254, no. 1249; Reproduced: Vol. 2, pl. 244, no. 1249",
"url": null
},
{
"citation": "<em>Matsukata korekushon meisaku senbatsuten zuroku</em>. Tokyo: Kokuritsu Seiyō Bijutsukan, 1960.",
"page_number": "Reproduced: no. 105",
"url": null
},
{
"citation": "Shizuoka Kenritsu Bijutsukan. <em>Kindai Nihon no yōga to seiyō: mohō to sōzō no isseiki </em>(Western painting and modern Western style painting in Japan: One century from imitation to creation). Shizuoka-shi, Japan: Shizuoka Kenritsu Bijutuskan, 1986.",
"page_number": "Mentioned and Reproduced: P. 80, no. 38",
"url": null
},
{
"citation": "Brettell, Richard, Joachim Pissarro, and Mary Anne Stevens. <em>The Impressionist and the City: Pissarro's Series Paintings</em>. New Haven: Yale University Press, 1992.",
"page_number": "Reproduced: p. 191, no. 143",
"url": null
},
{
"citation": "Acquavella Galleries. <em>XIX & XX Century Master Paintings and Sculpture: An Exhibition, March 18th to April 27th, 2002. </em>New York: Acquavella Galleries, 2002.",
"page_number": "Mentioned and reproduced: Pl. 6",
"url": ""
},
{
"citation": "Pissarro, Joachim and Claire Durand-Ruel Snollaerts. <em>Pissarro: critical catalogue of paintings</em>. Paris: Wildenstein Institute Publications, 2005.",
"page_number": "Mentioned and Reproduced: Vol. III, P. 879, no. 1439",
"url": null
},
{
"citation": "“A Historic Gift. Longtime CMA supporters Joseph and Nancy Keithley give 114 works, the largest gift in more than 60 years.” <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>60, no. 3 (Summer 2020): Cover, 6-9.",
"page_number": "Reproduced and Mentioned: P. 8.",
"url": null
},
{
"citation": "Griswold, William M. “Recent Acquisitions (2013-20) at the Cleveland Museum of Art.” <em>Burlington Magazine </em>163, no. 1414 (January 2021): 93-104.",
"page_number": "Mentioned and reproduced: P. 97, no. 8; mentioned: P. 93",
"url": ""
},
{
"citation": "\"Exhibitions: Transformative Gift.\" <em>Art & Antiques </em>XLV, no. 10 (November 2022): 48-53.",
"page_number": "Mentioned and reproduced: p. 52",
"url": ""
}
] | null | https://clevelandart.org/art/2020.113 | {
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} | [] | Nancy F. and Joseph P. Keithley Collection Gift | null | null | null | [
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"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 École des Beaux-Arts in 1856 and three years later attended the Académie Suisse, where he befriended artists such as Cézanne (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 Émile Zola's \"Thursdays\" (weekly literary gatherings) and associated with Manet's (q.v.) artistic circle that gathered in the Café 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 Cézanne. Around 1869 Pissarro began painting in a purely impressionist style, and in 1874 he helped organize the first impressionist exhibition. He moved to Éragny-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.",
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] | 2025-02-08 21:57:34.713000 |
74,539 | 2015.449 | CC0 | A Miller's Carriage, c. 1895. Albert-Charles Lebourg (French, 1849–1928). Black and white chalk with stumping on beige wove paper; sheet: 33.2 x 49.7 cm (13 1/16 x 19 9/16 in.). The Cleveland Museum of Art, Bequest of Muriel Butkin 2015.449 | null | A Miller's Carriage | null | null | null | c. 1895 | 1,890 | 1,900 | [
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"France, 19th-20th century"
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} | null | null | null | [
{
"inscription": "Verso: upper right in green ink: 80355 / circular estate stamp (Lugt 1664b) ",
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] | {
"current": [],
"legacy": [
{
"description": "<em>Exposition de Lebourg.</em> Musée de Rouen (1932).",
"opening_date": "1932-01-01T00:00:00"
}
]
} | [
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{
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"date": "1977-2008",
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{
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] | null | [] | [] | Albert Lebourg was the leader of an artistic movement called the Rouen School for the fact that they worked independently and outside the Parisian art scene. | Albert Rouen was known for his work in charcoal, the medium used for this drawing. It likely depicts a scene from his native Rouen, a port city in northern France. He examined the city and provincial life around it frequently in his works. Here, four horses pull a carriage before a bridge, likely along the banks of the Seine River. | {
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} | [] | Bequest of Muriel Butkin | null | null | null | [
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] | 2025-02-08 21:57:35.217000 |
74,540 | 2015.451 | CC0 | Leda and the Swan, c. 1846–83. Adolphe Yvon (French, 1817–1893). Charcoal and gouache with touches of pastel ; sheet: 39.7 x 54.5 cm (15 5/8 x 21 7/16 in.). The Cleveland Museum of Art, Bequest of Muriel Butkin 2015.451 | null | Leda and the Swan | null | null | null | c. 1846–83 | 1,834 | 1,893 | [
"male"
] | [
"France, 19th century"
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{
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{
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} | [] | null | [] | [] | null | In the late 1520s Michelangelo made a painting depicting Leda and the swan, a mythological story in which Zeus assumes the form of a swan to seduce the mortal woman Leda, producing two children with her. Michelangelo’s version was undeniably more erotic and sensuous than most previous treatments of the subject, as well as more famous. Although the original was lost, several copies of the composition were made from a cartoon (full-scale drawing) that was taken to France by one of Michelangelo’s pupils in the 1530s. This drawing by Adolphe Yvon suggests that Michelangelo’s distinctive sensual rendering of the subject persisted into the 1800s. | {
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74,551 | 2018.1059 | CC0 | The Monks, c. 1802–30. François Marius Granet (French, 1775–1849). Watercolor, pen and brown ink on laid paper; sheet: 35 x 25.2 cm (13 3/4 x 9 15/16 in.); primary mount: 37 x 27.4 cm (14 9/16 x 10 13/16 in.); secondary mount: 43.4 x 37.1 cm (17 1/16 x 14 5/8 in.). The Cleveland Museum of Art, Bequest of Muriel Butkin 2018.1059 | null | The Monks | null | null | null | c. 1802–30 | 1,797 | 1,835 | [
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{
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{
"inscription": "on mount, at center, in black ink: “GRANET.”",
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{
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} | [
{
"citations": [],
"date": null,
"description": "Georges Martin du Nord/Galerie B.G. Verte, Paris, France",
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{
"citations": [],
"date": "December 3, 2018",
"description": "the Cleveland Museum of Art, Cleveland, OH",
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] | null | [] | [] | In addition to working as an artist, Granet served as curator of the Musée du Louvre beginning in 1824. | The French artist François Granet traveled to Rome in 1802, where he became fascinated by the lives of monks and priests, and the cloistered interiors where they lived and worked. For most of his career, these figures and settings remained the primary subject of his work. This drawing shows one such group in the midst of private study and contemplation. | {
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{
"biography": "Son of a master mason, Granet received early artistic training from J.-A. Constantin (1756-1844) at the free drawing academy in Aix. A fellow pupil was the highborn Auguste de Forbin (1777-1841), who became his most important friend and patron. In 1793 Granet participated in the siege of Toulon, where he met Bonaparte and worked as a draftsman with the artillery battery. Three years later he made his first visit to Paris, where he admired and copied Dutch and Flemish paintings in the Louvre. In 1798 Granet returned to Paris to join Forbin in the atelier of David (q.v.), but he had to leave after a few months from lack of funds. The next year, however, he showed at the Salon; his successful Little Cloister of the Feuillants (untraced), a Parisian monastery interior, announced the dominant theme of his subsequent work, which owed more to his study of seventeenth-century northern masters than it did to the brief stay in David's studio. In 1802 Granet and Forbin went to Rome, where Granet remained generally for the next twenty-two years, making a living during the first years by selling views of ancient monuments. His internationally acclaimed Choir of the Capuchin Church in Rome (possibly the work dated 1815 in the Metropolitan Museum of Art, New York), of which the Cleveland painting is a late variant, sealed the artist's success. In 1819 Granet was named knight of the Legion of Honor and in 1822 knight of the Order of St. Michael. His precisely painted pictures appealed through their dramatic chiaroscuro and masterful articulation of architectural forms. In the Italian and French countryside Granet also created many fluid oil and watercolor landscape sketches, whose simplified forms and subtle light effects prefigured the art of Corot (q.v.). By the end of the 1830s the vogue for Granet's quietly religious paintings waned. In the meantime he had begun an important career as a museum official. Having left Rome in 1824 to accept a position offered by Forbin, Granet became chief curator at the Louvre in 1826 and then curator of Louis-Philippe's new Musée Historique de Versailles in 1833. He was also named, in 1844, honorary director of the museum in his hometown of Aix. His long-time friend Forbin died in 1841, and in 1843 Granet married the recently widowed Marie-Madeleine Appoloni (\"Nena\"), whom he had known since the early days in Rome. Upon her death in 1847 Granet went to his country residence in Aix, where he remained after the revolution of 1848. The next year's bequeathal of studio and collection to the Aix museum constitutes a rare example of the preservation of an artists's atelier at the time.",
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] | 2025-02-08 21:57:36.226000 |
74,553 | 2018.1060 | CC0 | Study Sheet, c. 1870–80. Alfred Dehodencq (French, 1822–1882). Pen and dark brown ink, watercolor with graphite on lightweight wove paper; sheet: 18.5 x 22 cm (7 5/16 x 8 11/16 in.). The Cleveland Museum of Art, Bequest of Muriel Butkin 2018.1060 | null | Study Sheet | null | null | null | c. 1870–80 | 1,865 | 1,885 | [
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] | null | [] | [] | Dehodencq used drawing as a means to record his travels throughout France, Spain, and Morocco. | Alfred Dohodencq was a prolific draftsman, often combining multiple sketches on a single page as seen here. At right, an intimate sketch of a boy—perhaps the artist’s son—appears in watercolor, alongside a cavalier drawn in pen and ink. Over the man and his horse, the artist lightly penciled in a face with closed eyes, perhaps reusing the sheet for another composition. | {
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74,554 | 2015.447 | CC0 | Un Borreau (An Executioner), c. 1848. Auguste Raffet (French, 1804–1860). Watercolor, gouache and black chalk ; sheet: 32.8 x 25 cm (12 15/16 x 9 13/16 in.). The Cleveland Museum of Art, Bequest of Muriel Butkin 2015.447 | null | Un Borreau (An Executioner) | null | null | null | c. 1848 | 1,843 | 1,853 | [
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} | [] | null | [] | [] | null | This portrait bust is a counterproof: the reverse image of a composition, made by placing blank paper on top of a drawing and transferring the design with pressure. Eighteenth-century artists frequently made counterproofs of their drawings to replicate their work. This process also enabled them to experience how their images would appear if they were reproduced as prints. | {
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74,571 | 2018.1061 | CC0 | Two Dolls or Puppets Sitting on Cushions, c. 1870–80. Henri Joseph Harpignies (French, 1819–1916). Watercolor with graphite underdrawing on heavily textured wove paper; sheet: 38.6 x 28.5 cm (15 3/16 x 11 1/4 in.). The Cleveland Museum of Art, Bequest of Muriel Butkin 2018.1061 | null | Two Dolls or Puppets Sitting on Cushions | null | null | null | c. 1870–80 | 1,865 | 1,885 | [
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] | null | [] | [] | Harpignies made this drawing as an example for one of his pupils to study and emulate. | Henri Harpignies was best known for landscapes, and this sheet is a rare example of his still life practice. It belongs to a group of drawings created for his pupil, the Comtesse de Kermaingant, providing her with instruction in watercolor. Two dolls or puppets are propped on a pillow, allowing the comtesse to study the drapery of their costume and shadows of their placement on cushions. | {
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"citation": "Rohowsky, Peter S. French Nineteenth Century Drawings, Pastels, Watercolors: Nov. 1977-Feb. 1978. New York: Shepherd Gallery Associates, 1977.",
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74,572 | 2018.42 | CC0 | The Temptation of St. Anthony, 19th century. Julien Léopold Boilly (French, 1796–1874). Black chalk with white, pink, orange, ochre, and brown chalks on blue paper; sheet: 28.6 x 32.7 cm (11 1/4 x 12 7/8 in.). The Cleveland Museum of Art, Bequest of Muriel Butkin 2018.42 | null | The Temptation of St. Anthony | null | null | null | 19th century | 1,800 | 1,899 | [
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} | [] | null | [] | [] | null | Boilly’s scene represents the Temptations of Saint Anthony, a biblical subject. While embarking on his desert pilgrimage through Egypt, Anthony experienced a series of supernatural trials. Here, Boilly illustrated a nude nymph attempting to seduce him. Anthony’s horrified reaction to the woman’s embrace and the prominent crucifix on the right create a humorous juxtaposition between piety and lustful desire. | {
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] | 2025-02-08 21:57:39.007000 |
74,576 | 2015.446 | CC0 | The Pipes of Pan, 1865. Mariano Fortuny (Spanish, 1838–1874). Watercolor with traces of pen and black ink; border in graphite ; sheet: 37 x 27.3 cm (14 9/16 x 10 3/4 in.). The Cleveland Museum of Art, Bequest of Muriel Butkin 2015.446 | null | The Pipes of Pan | null | null | null | 1865 | 1,865 | 1,865 | [
"male"
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74,580 | 2018.43 | CC0 | Costume Study, before 1852. Henri Lehmann (French, 1814–1882). Graphite with some stumping; sheet: 30.2 x 20.7 cm (11 7/8 x 8 1/8 in.). The Cleveland Museum of Art, Bequest of Muriel Butkin 2018.43 | null | Costume Study | null | null | null | before 1852 | 1,834 | 1,852 | [
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"current": [],
"legacy": []
} | [] | null | [] | [] | null | Lehmann’s drawing belongs to a pair in which the artist explored a male figure represented in his Hôtel de Ville murals. This sheet examines the relationship between drapery and the body—a traditional object of study during an artist’s training. Lehmann paid particular attention to the undulating texture and shadows formed by the folds of the robe. | {
"internet_archive": [
"https://archive.org/details/clevelandart-2018.43-costume-study"
],
"wikidata": [
"https://www.wikidata.org/wiki/Q78617348"
]
} | [
{
"citation": "Lehmann, Henri, and Marie-Madeleine Aubrun. Henri Lehmann, 1814-1882: portraits et décors parisiens : 7 juin-4 septembre 1983, Musée Carnavalet. [Paris]: Le Musée, 1983.",
"page_number": "p. 219, entry # D.921",
"url": null
}
] | null | https://clevelandart.org/art/2018.43 | {
"annotation": null,
"full": {
"filename": "2018.43_full.tif",
"filesize": "81507228",
"height": "6232",
"url": "https://openaccess-cdn.clevelandart.org/2018.43/2018.43_full.tif",
"width": "4358"
},
"print": {
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"filesize": "2327497",
"height": "3400",
"url": "https://openaccess-cdn.clevelandart.org/2018.43/2018.43_print.jpg",
"width": "2378"
},
"web": {
"filename": "2018.43_web.jpg",
"filesize": "202313",
"height": "900",
"url": "https://openaccess-cdn.clevelandart.org/2018.43/2018.43_web.jpg",
"width": "629"
}
} | [
{
"annotation": "",
"date_created": "2019-02-15T11:37:53",
"full": {
"filesize": "80872836",
"height": "6241",
"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.43/2018.43_alt0_full.tif",
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},
"print": {
"filesize": "1407149",
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"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.43/2018.43_alt0_print.jpg",
"width": "2352"
},
"web": {
"filesize": "102691",
"height": "900",
"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.43/2018.43_alt0_web.jpg",
"width": "623"
}
}
] | Bequest of Muriel Butkin | null | null | null | [
{
"biography": "Student of John-Auguste-Dominique Ingres, teacher of Camille Pissarro, Jean Jacques Rousseau and Georges Seurat",
"birth_year": "1814",
"death_year": "1882",
"description": "Henri Lehmann (French, 1814–1882)",
"extent": null,
"id": 53819,
"name_in_original_language": null,
"qualifier": null,
"role": "artist"
}
] | 2025-02-08 21:57:40.044000 |
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in Data Studio
Cleveland Museum of Art Open Access Dataset
This dataset contains the complete Cleveland Museum of Art Open Access collection data, originally sourced from the ClevelandMuseumArt/openaccess GitHub repository and reuploaded for broader distribution, Parquet generation for high-performance analytics, and seamless integration with data science workflows.
Dataset Description
The Cleveland Museum of Art provides open access to information on more than 61,000 artworks in its collection, along with image assets for approximately 30,000 works. This dataset includes metadata for each artwork, including:
- Artwork titles, descriptions, and classifications
- Artist information and biographical data
- Creation dates, periods, and cultural contexts
- Physical dimensions and materials
- Provenance and acquisition information
- Digital image permalinks where available
- Exhibition and publication history
Important Notes
Uploader Disclaimer
This dataset is uploaded by an independent contributor and is not officially affiliated with or endorsed by The Cleveland Museum of Art.
Acknowledgments
This dataset redistribution is made possible by The Cleveland Museum of Art's commitment to open access and their generous CC0 release. Special thanks to CMA's digital initiatives team and their Open Access program.
The Cleveland Museum of Art was founded in 1913 "for the benefit of all the people forever" and continues to fulfill this mission through initiatives like their Open Access program.
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