During the course of the 5th and 4th centuries BCE, black vessels (commonly called black-glaze vessels) were made with increasing frequency in both Greece and South Italy. Many of them replicate the shape of metal vessels. Others have detailing that is molded or incised. While the quality of these vessels varies greatly, all would have been less expensive than vessels decorated in other contemporary techniques, for example, in red-figure.<\/p>\n","short_description":null,"dimensions":"9.2 \u00d7 22.5 \u00d7 16.2 cm (3 5\/8 \u00d7 8 7\/8 \u00d7 6 3\/8 in.)","dimensions_detail":[{"depth":16,"width":22,"height":9,"diameter":null,"clarification":null}],"medium_display":"terracotta, black-glaze with impressed decoration","inscriptions":null,"credit_line":"Gift of Philip D. Armour and Charles L. Hutchinson","catalogue_display":null,"publication_history":"W.M.R. French, 1889-?. Notes [on a] journey to Europe with Mr. and Mrs. C.L. Hutchinson starting from New York Sat'y, 1889-?, (unpublished manuscript in Art Institute of Chicago Archives), p. 26. \n\nArt Institute of Chicago, Preliminary Catalogue of Metal Work, Graeco-Italian Vases, and Antiquities, December 9, 1889 (Chicago: Early & Halla Printing Company, 1889), p. 38, no. 304.\n\nHomer A. Thompson, \"Two Centuries of Hellenistic Pottery,\" Hesperia: The Journal of the American School of Classical Studies at Athens 3, 4 (1934), p. 429. \n\nKaren B. Alexander, \"From Plaster to Stone: Ancient Art at the Art Institute of Chicago,\" in Karen Manchester, Recasting the Past: Collecting and Presenting Antiquities at the Art Institute of Chicago (Chicago: Art Institute of Chicago; New Haven: Yale University Press, 2012), p. 18.","exhibition_history":"The Art Institute of Chicago, \"Of Gods and Glamour: The Mary and Michael Jaharis Galleries of Greek,\" Roman, and Byzantine Art, Gallery 151, November 11, 2012-present.","provenance_text":"Augusto Mele, Naples, Italy; sold to the Art Institute of Chicago through J.C. Fletcher as agent, 1889; price reimbursed by Charles Hutchinson and Philip D. Armour, 1889.","edition":null,"publishing_verification_level":"Web Cataloged","internal_department_id":941,"fiscal_year":null,"fiscal_year_deaccession":null,"is_public_domain":true,"is_zoomable":true,"max_zoom_window_size":-1,"copyright_notice":null,"has_multimedia_resources":false,"has_educational_resources":false,"has_advanced_imaging":false,"colorfulness":0,"color":{"h":239,"l":52,"s":1,"percentage":0.00019489609358390697,"population":60},"latitude":null,"longitude":null,"latlon":null,"is_on_view":false,"on_loan_display":"
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Hind 124 I\/III<\/p>
Focillon 840<\/p>
Marini 124<\/p>
Ficacci 995<\/p>
Wilton-Ely 257<\/p>","publication_history":null,"exhibition_history":null,"provenance_text":null,"edition":null,"publishing_verification_level":"Web Basic","internal_department_id":3,"fiscal_year":null,"fiscal_year_deaccession":null,"is_public_domain":true,"is_zoomable":true,"max_zoom_window_size":-1,"copyright_notice":null,"has_multimedia_resources":false,"has_educational_resources":false,"has_advanced_imaging":false,"colorfulness":12.4697,"color":null,"latitude":null,"longitude":null,"latlon":null,"is_on_view":false,"on_loan_display":"
On loan to Hong Kong Museum of Art in Hong Kong for Rejoicing in Woods and Springs: A Journey through Garden Cultures in China and the Wider World<\/i><\/p>","gallery_title":null,"gallery_id":null,"nomisma_id":null,"artwork_type_title":"Print","artwork_type_id":18,"department_title":"Prints and Drawings","department_id":"PC-13","artist_id":36210,"artist_title":"Giovanni Battista Piranesi","alt_artist_ids":[],"artist_ids":[36210],"artist_titles":["Giovanni Battista Piranesi"],"category_ids":["PC-13"],"category_titles":["Prints and Drawings"],"term_titles":["etching","paper (fiber product)","print","prints and drawing"],"style_id":null,"style_title":null,"alt_style_ids":[],"style_ids":[],"style_titles":[],"classification_id":"TM-18","classification_title":"etching","alt_classification_ids":["TM-17","TM-4"],"classification_ids":["TM-18","TM-17","TM-4"],"classification_titles":["etching","print","prints and drawing"],"subject_id":null,"alt_subject_ids":[],"subject_ids":[],"subject_titles":[],"material_id":"TM-2982","alt_material_ids":[],"material_ids":["TM-2982"],"material_titles":["paper (fiber product)"],"technique_id":null,"alt_technique_ids":[],"technique_ids":[],"technique_titles":[],"theme_titles":[],"image_id":"a76844cc-cec8-6026-5609-50d3961aed4c","alt_image_ids":[],"document_ids":[],"sound_ids":[],"video_ids":[],"text_ids":[],"section_ids":[],"section_titles":[],"site_ids":[],"suggest_autocomplete_all":[{"input":["1887.255"],"contexts":{"groupings":["accession"]}},{"input":["Villa Pamphili outside Porta S. Pancrazio, from Views of Rome"],"weight":204687,"contexts":{"groupings":["title"]}}],"source_updated_at":"2026-07-25T00:30:01-05:00","updated_at":"2026-07-25T00:33:31-05:00","timestamp":"2026-07-25T00:35:06-05:00"},{"id":2848,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/2848","is_boosted":false,"title":"Scene from Bohemian Life","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhBQAFAPQAAG1kV3tsV3hsW4FwWI97X4h5Y41+aJGBapSDbKeOaqWPcq2Uc6qUdpWMga6fjKyfj6+hj7alkL6rkr+tlsOymuPf3eTg3+Pg4OXh4AAAAAAAAAAAAAAAAAAAAAAAAAAAACH5BAAAAAAALAAAAAAFAAUAAAUVYCUtkeUkxTABxiEgTaAQzwUxFBYCADs=","width":5306,"height":5326,"alt_text":"A work made of pen and black ink and black watercolor over graphite, with touches of white opaque paint (discolored), on tan laid paper laid down on cream board."},"main_reference_number":"1956.350","has_not_been_viewed_much":false,"boost_rank":null,"date_start":1855,"date_end":1857,"date_display":"1855\/57","date_qualifier_title":"","date_qualifier_id":null,"artist_display":"James McNeill Whistler\nAmerican, 1834-1903","place_of_origin":"United States","description":null,"short_description":null,"dimensions":"22.4 \u00d7 24 cm (8 7\/8 \u00d7 9 1\/2 in.)","dimensions_detail":[{"depth":null,"width":24,"height":22,"diameter":null,"clarification":null}],"medium_display":"Pen and black ink and black watercolor over graphite, with touches of white opaque paint (discolored), on tan laid paper laid down on cream board","inscriptions":"Signed recto, lower right, in image, in ink: \"J. Whistler\"","credit_line":"Gift of John F. O'Connell","catalogue_display":"
MacDonald 213<\/p>","publication_history":"Nancy D. Pressly, \"Whistler in America: An Album of Early Drawings,\" Metropolitan Museum Journal V (1972), fig. 33.\n\nFrances Spalding, Whistler (Oxford, 1979), pp. 9-12 (ill.).\n\nMargaret F. MacDonald, James McNeill Whistler: Drawings, Pastels, and Watercolours: A Catalogue Raisonn\u00e9 (New Haven, 1995), p. 65, no. 213 (ill.).\n\nThe Lithographs of James McNeill Whistler: A Catalogue Raisonne, ed. Harriet K. Stratis and Martha Tedeschi (Chicago, 1998), p. 35.\n\nDaniel Sutherland, Whistler: A Life for Art\u2019s Sake (New Haven and London, 2014), p. 41.\n\nMeg Hausberg and Victoria Sancho Lobis. Whistler and Roussel: Linked Visions. Department of Publishing of The Art Institute of Chicago, 2015 (https:\/\/publications.artic.edu\/whistler\/reader\/linkedvisions; Accessed August 24, 2013), checklist para. 10, cat. 9.1 (ill.).","exhibition_history":"Art Institute of Chicago, \"James McNeill Whistler,\" 1968, pp. 20, 98-99, cat. 75 (ill.); also Utica, NY, Munson-Williams-Procter Institute, 1968.\n\nBerlin, Nationalgalerie, \"James McNeill Whistler,\" 1969, cat. 62.\n\nArt Gallery of Ontario, \"The Etchings of James McNeill Whistler,\" Nov. 24, 1984-Jan. 11, 1985.\n\nParis, Grand Palais, \"Boh\u00e8mes: De L\u00e9onard de Vinci \u00e0 Picasso,\" Sept. 26, 2012- Jan. 14, 2013, p. 266, cat. 119 (ill.).\n\nArt Institute of Chicago, \"Whistler and Roussel: Linked Visions,\" June 20-Sept. 27, 2015, checklist para. 10, cat. 9.1 (ill.).\n\nTate Britain, London, \"James McNeill Whistler\", May 21 - September 27, 2026, traveled to Amsterdam, Van Gogh Museum, October 16, 2026 - January 10, 2027, Washington, National Museum of Asian Art, February 6 - July 5, 2027, p. 13 (ill.), cat. by Carol Jacobi, et. al.","provenance_text":"Given by John F. O'Connell, Chicago, to the Art Institute of Chicago, 1956.","edition":null,"publishing_verification_level":"Web Cataloged","internal_department_id":3,"fiscal_year":1957,"fiscal_year_deaccession":null,"is_public_domain":true,"is_zoomable":true,"max_zoom_window_size":-1,"copyright_notice":null,"has_multimedia_resources":true,"has_educational_resources":false,"has_advanced_imaging":false,"colorfulness":30.7702,"color":{"h":303,"l":91,"s":4,"percentage":0.3607794968437052,"population":2573},"latitude":null,"longitude":null,"latlon":null,"is_on_view":false,"on_loan_display":"
On loan to Tate Britain in London for James McNeill Whistler<\/i><\/p>","gallery_title":null,"gallery_id":null,"nomisma_id":null,"artwork_type_title":"Drawing and Watercolor","artwork_type_id":14,"department_title":"Prints and Drawings","department_id":"PC-13","artist_id":37279,"artist_title":"James McNeill Whistler","alt_artist_ids":[],"artist_ids":[37279],"artist_titles":["James McNeill Whistler"],"category_ids":["PC-13"],"category_titles":["Prints and Drawings"],"term_titles":["pen and ink drawings","paper (fiber product)","ink","wash","paper","graphite","watercolor","drawings (visual works)","prints and drawing","laid paper"],"style_id":null,"style_title":null,"alt_style_ids":[],"style_ids":[],"style_titles":[],"classification_id":"TM-212","classification_title":"pen and ink drawings","alt_classification_ids":["TM-145","TM-5","TM-4"],"classification_ids":["TM-212","TM-145","TM-5","TM-4"],"classification_titles":["pen and ink drawings","paper","drawings (visual works)","prints and drawing"],"subject_id":null,"alt_subject_ids":[],"subject_ids":[],"subject_titles":[],"material_id":"TM-2982","alt_material_ids":["TM-2398","TM-2399","TM-2410","TM-2403","TM-3070"],"material_ids":["TM-2982","TM-2398","TM-2399","TM-2410","TM-2403","TM-3070"],"material_titles":["paper (fiber product)","ink","wash","graphite","watercolor","laid paper"],"technique_id":null,"alt_technique_ids":[],"technique_ids":[],"technique_titles":[],"theme_titles":[],"image_id":"15c13ae6-7fe8-d06b-7462-aee0c985b220","alt_image_ids":[],"document_ids":[],"sound_ids":[],"video_ids":[],"text_ids":[],"section_ids":[2938],"section_titles":["Cat. 6\u00a0Scene from Bohemian Life, 1855\/57"],"site_ids":[],"suggest_autocomplete_all":[{"input":["1956.350"],"contexts":{"groupings":["accession"]}},{"input":["Scene from Bohemian Life"],"weight":1055,"contexts":{"groupings":["title"]}}],"source_updated_at":"2026-07-25T00:30:01-05:00","updated_at":"2026-07-25T00:33:30-05:00","timestamp":"2026-07-25T00:35:06-05:00"},{"id":7988,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/7988","is_boosted":false,"title":"Claude Monet","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhBAAFAPQAAElSU01VU1ZbW2NqXFllYGFoZmNsZWJsaWhua2tubG5xbnJybnJxcnRycnN5dn57f32BeY2Ph4+Ji6KXkwAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACH5BAAAAAAALAAAAAAEAAUAAAURIOREg7AQQTMpQCIxhfEgRwgAOw==","width":6694,"height":9096,"alt_text":"A work made of oil on canvas."},"main_reference_number":"1923.149","has_not_been_viewed_much":false,"boost_rank":null,"date_start":1922,"date_end":1922,"date_display":"1922","date_qualifier_title":"","date_qualifier_id":null,"artist_display":"Albert Andr\u00e9 (French, 1869-1954)","place_of_origin":"France","description":null,"short_description":null,"dimensions":"129.5 \u00d7 96.5 cm (51 \u00d7 38 in.); Framed: 158.3 \u00d7 125.8 \u00d7 12.1 cm (62 5\/16 \u00d7 49 1\/2 \u00d7 4 3\/4 in.)","dimensions_detail":[{"depth":null,"width":96,"height":129,"diameter":null,"clarification":null},{"depth":12,"width":125,"height":158,"diameter":null,"clarification":"Framed"}],"medium_display":"Oil on canvas","inscriptions":null,"credit_line":"The Stickney Fund","catalogue_display":null,"publication_history":"M. B. W., \"Portrait of Monet by Andr\u00e9,\" Bulletin of the Art Institute of Chicago 17 no. 3 (March 1923): 32-33 (ill.).\n\n\"Accessions and Loans,\" Bulletin of the Art Institute of Chicago 17 no. 3 (March 1923): 35.\n\nArt Institute of Chicago Newsletter (December 1921-December 1923): 127 no. 5.\n\n\u201cAndre\u2019s \u2018Monet\u2019 for Chicago Institute,\u201d Art News 21 (February 17, 1923): 1.\n\nMuriel Ciolkowska, \u201cThe Art of Andr\u00e9,\u201d International Studio 76 (1923) plate opp. 455 (color ill.).\n\nM. C., \"Monets in the Art Institute,\" Bulletin of the Art Institute of Chicago 19, no. 2 (1925): 18 (ill.), 21.\n\nArt Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago: Art Institute: 1925), 74, 125 no. 620, as Claude Monet (in his Garden at Giverny).\n\nMarius Mermillon, Albert Andr\u00e9 (Paris: G. Cr\u00e8s & cie, c. 1927) plate 37.\n\nArt Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago: Art Institute: 1932) 75, 141, as Claude Monet (in his Garden at Giverny).\n\nPictures on Exhibit 8, no. 10 (July 1946): 2 (ill.).\n\nA. C., \u201cHomage to Claude Monet,\u201d The Art Institute of Chicago Quarterly LI, no. 2 (April 1, 1957): 28 (ill.).\n\n\u201cMonet and the Giverny Group,\u201d Bulletin of the Dayton Art Institute, 19, no. 3 (December 1960) n.p. (ill.).\n\nArt Institute of Chicago, Paintings in the Art Institute: A Catalogue of the Picture Collection (Chicago: Art Institute of Chicago, 1961), 15.\n\nA. James Speyer, Twentieth-Century European Paintings, compiled by Courtney Graham Donnell. (Chicago and London: The University of Chicago Press, 1980), 13, 31 no. 1A4, plate 1A4.\n\nEvelyne Yeatman, Albert Andr\u00e9 (Association pour l\u00e9tude de l'oeuvre d'Albert Andr\u00e9, 1990), 29 (ill.).\n\nRejoicing in Woods and Springs: A Journey through Garden Cultures in China and the Wider World, exh. cat. (Beijing: Gu gong chu ban she, 2025), 252 (ill.), cat. 153.","exhibition_history":"Dayton, Ohio, Dayton Art Institute, Monet and the Giverny Group, Jan. 6 \u2013 Feb. 12, 1961, cat. 1; Davenport, Iowa, Municipal Art Gallery, Mar. 11 \u2013 Apr. 5, 1961; Tucson, University of Arizona, Apr. 19 \u2013 May 10, 1961; Reno, University of Nevada, Oct. 21\u2013Nov. 11, 1961; San Diego, California, Fine Arts Gallery, Nov. 30 \u2013 Dec. 23, 1961; Atlanta, Georgia, Atlanta Art Association, Jan. 7\u201328, 1962.\n\nShort term loan to Mr. and Mrs. B.E. Bensinger, Chicago, January 17 \u2013 April 6, 1973.\n\nShort term loan to Mr. and Mrs. B.E. Bensinger, Chicago, April 18 \u2013 May 18, 1973.\n\nBeijing, Palace Museum, Garden Cultures of China and the West, Apr. 1\u2013June 30, 2025; Suzhou Museum, July 19\u2013Oct. 31, 2025; Ningbo Museum, Dec. 5, 2025\u2013Mar. 8, 2026; Hong Kong Museum of Art, Apr. 23\u2013July 29, 2026.\n\nBeijing, Palace Museum, Rejoicing in Woods and Springs: A Journey through Garden Cultures in China and the Wider World, Apr. 1\u2013June 30, 2025, cat. 153; Suzhou China, Suzhou Museum, July 19\u2013Oct. 31, 2025; Ningbo, China, Ningbo Museum, Dec. 5, 2025\u2013Mar. 8, 2026; Hong Kong Museum of Art, Apr. 23\u2013July 29, 2026.","provenance_text":"The artist; sold to Durand-Ruel, Paris, July, 20, 1922 [this and the following according to correspondence with France Daguet, Durand-Ruel & Cie., Mar. 7, 1986, in curatorial object file]; sent to Galerie Durand-Ruel, New York, Nov. 2, 1922; sold to the Art Institute of Chicago, Feb. 14, 1923.","edition":null,"publishing_verification_level":"Web Cataloged","internal_department_id":14,"fiscal_year":1923,"fiscal_year_deaccession":null,"is_public_domain":false,"is_zoomable":false,"max_zoom_window_size":843,"copyright_notice":null,"has_multimedia_resources":false,"has_educational_resources":false,"has_advanced_imaging":false,"colorfulness":11.4024,"color":{"h":149,"l":42,"s":7,"percentage":0.1439027801519837,"population":1389},"latitude":null,"longitude":null,"latlon":null,"is_on_view":false,"on_loan_display":"
On loan to Hong Kong Museum of Art in Hong Kong for Rejoicing in Woods and Springs: A Journey through Garden Cultures in China and the Wider World<\/i><\/p>","gallery_title":null,"gallery_id":null,"nomisma_id":null,"artwork_type_title":"Painting","artwork_type_id":1,"department_title":"Painting and Sculpture of Europe","department_id":"PC-10","artist_id":33421,"artist_title":"Albert Andr\u00e9","alt_artist_ids":[],"artist_ids":[33421],"artist_titles":["Albert Andr\u00e9"],"category_ids":["PC-10"],"category_titles":["Painting and Sculpture of Europe"],"term_titles":["oil on canvas","oil paint (paint)","painting","20th Century","portrait","portrait","canvas","oil painting","painting (image making)","painting techniques","Impressionism","artist","Male","man","portraits","portraits: male subject","european painting","painting","modern and contemporary art"],"style_id":"TM-13130","style_title":"20th Century","alt_style_ids":["TM-7543"],"style_ids":["TM-13130","TM-7543"],"style_titles":["20th Century","Impressionism"],"classification_id":"TM-66","classification_title":"oil on canvas","alt_classification_ids":["TM-12855","TM-54","TM-9","TM-155"],"classification_ids":["TM-66","TM-12855","TM-54","TM-9","TM-155"],"classification_titles":["oil on canvas","portrait","european painting","painting","modern and contemporary art"],"subject_id":"TM-14105","alt_subject_ids":["TM-15228","TM-12945","TM-14974","TM-8658","TM-8581"],"subject_ids":["TM-14105","TM-15228","TM-12945","TM-14974","TM-8658","TM-8581"],"subject_titles":["portrait","artist","Male","man","portraits","portraits: male subject"],"material_id":"TM-2451","alt_material_ids":["TM-3124"],"material_ids":["TM-2451","TM-3124"],"material_titles":["oil paint (paint)","canvas"],"technique_id":"TM-14210","alt_technique_ids":["TM-4273","TM-3891","TM-3971"],"technique_ids":["TM-14210","TM-4273","TM-3891","TM-3971"],"technique_titles":["painting","oil painting","painting (image making)","painting techniques"],"theme_titles":[],"image_id":"3dcb169e-b73e-6d52-6ac5-525b67e5b8b7","alt_image_ids":[],"document_ids":[],"sound_ids":[],"video_ids":[],"text_ids":[],"section_ids":[],"section_titles":[],"site_ids":[],"suggest_autocomplete_all":[{"input":["1923.149"],"contexts":{"groupings":["accession"]}},{"input":["Claude Monet"],"weight":957,"contexts":{"groupings":["title"]}}],"source_updated_at":"2026-07-25T00:30:01-05:00","updated_at":"2026-07-25T00:33:29-05:00","timestamp":"2026-07-25T00:35:06-05:00"},{"id":9637,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/9637","is_boosted":false,"title":"View of an Italian Villa and Gardens (the Belvedere of the Vatican)","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhBwAFAPUAAIR5Z4h7aIl9bIp\/bpOHc5SHc5KGdJiLdZqOepyOeaGTfKKVfqWXf6aYgqucg6yehq+gha+hh7CghrChhrmqj7ysj7iqkb+wlMa4n869n9C+n8u8odPAoNLAodTEpNjIqNzMruDQsgAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACH5BAAAAAAALAAAAAAHAAUAAAYhwIznA\/p0OBXIw7IJaRKGgaCBUSwOBACiEJhQLhEHQxIEADs=","width":3000,"height":2049,"alt_text":"A work made of brush and gray wash heightened with white gouache, over traces of black chalk, on ivory laid paper."},"main_reference_number":"1959.45","has_not_been_viewed_much":true,"boost_rank":null,"date_start":1700,"date_end":1799,"date_display":"1765\/66","date_qualifier_title":"","date_qualifier_id":null,"artist_display":"Jean Jacques de Boissieu\nFrench, 1736-1810","place_of_origin":"France","description":null,"short_description":null,"dimensions":"24.7 \u00d7 36.2 cm (9 3\/4 \u00d7 14 5\/16 in.)","dimensions_detail":[{"depth":null,"width":36,"height":24,"diameter":null,"clarification":null}],"medium_display":"Brush and gray wash heightened with white gouache, over traces of black chalk, on ivory laid paper","inscriptions":null,"credit_line":"Gift of Mr. John L. Strauss","catalogue_display":null,"publication_history":null,"exhibition_history":"Beijing, China, Palace Museum, \"Rejoicing in Woods and Springs: A Journey through Garden Cultures in China and the Wider World\", April 1 - June 30, 2025, traveled to Hong Kong Museum, April 23 - July 29, 2026.","provenance_text":"John L. Strauss, Glencoe, Ill., by 1959; given to the Art Institute, 1959.","edition":null,"publishing_verification_level":"Web Cataloged","internal_department_id":3,"fiscal_year":null,"fiscal_year_deaccession":null,"is_public_domain":true,"is_zoomable":true,"max_zoom_window_size":-1,"copyright_notice":null,"has_multimedia_resources":false,"has_educational_resources":false,"has_advanced_imaging":false,"colorfulness":20.723,"color":{"h":44,"l":93,"s":83,"percentage":0.07674454587652793,"population":372},"latitude":null,"longitude":null,"latlon":null,"is_on_view":false,"on_loan_display":"
On loan to Hong Kong Museum of Art in Hong Kong for Rejoicing in Woods and Springs: A Journey through Garden Cultures in China and the Wider World<\/i><\/p>","gallery_title":null,"gallery_id":null,"nomisma_id":null,"artwork_type_title":"Drawing and Watercolor","artwork_type_id":14,"department_title":"Prints and Drawings","department_id":"PC-13","artist_id":40447,"artist_title":"Jean Jacques de Boissieu","alt_artist_ids":[],"artist_ids":[40447],"artist_titles":["Jean Jacques de Boissieu"],"category_ids":["PC-13"],"category_titles":["Prints and Drawings"],"term_titles":["ink or chalk wash","paper (fiber product)","wash","coating (material)","gouache","watercolor","water-base paint","paint","chalk sticks","black chalk","chalk","inorganic material","drawings (visual works)","prints and drawing"],"style_id":null,"style_title":null,"alt_style_ids":[],"style_ids":[],"style_titles":[],"classification_id":"TM-217","classification_title":"ink or chalk wash","alt_classification_ids":["TM-5","TM-4"],"classification_ids":["TM-217","TM-5","TM-4"],"classification_titles":["ink or chalk wash","drawings (visual works)","prints and drawing"],"subject_id":null,"alt_subject_ids":[],"subject_ids":[],"subject_titles":[],"material_id":"TM-2982","alt_material_ids":["TM-2399","TM-3238","TM-2404","TM-2403","TM-3343","TM-2577","TM-2413","TM-2414","TM-3782","TM-2600"],"material_ids":["TM-2982","TM-2399","TM-3238","TM-2404","TM-2403","TM-3343","TM-2577","TM-2413","TM-2414","TM-3782","TM-2600"],"material_titles":["paper (fiber product)","wash","coating (material)","gouache","watercolor","water-base paint","paint","chalk sticks","black chalk","chalk","inorganic material"],"technique_id":null,"alt_technique_ids":[],"technique_ids":[],"technique_titles":[],"theme_titles":[],"image_id":"462c6fe2-40a4-ed8d-772c-4fb9ae78265f","alt_image_ids":[],"document_ids":[],"sound_ids":[],"video_ids":[],"text_ids":[],"section_ids":[],"section_titles":[],"site_ids":[],"suggest_autocomplete_all":[{"input":["1959.45"],"contexts":{"groupings":["accession"]}},{"input":["View of an Italian Villa and Gardens (the Belvedere of the Vatican)"],"weight":167,"contexts":{"groupings":["title"]}}],"source_updated_at":"2026-07-25T00:30:01-05:00","updated_at":"2026-07-25T00:33:28-05:00","timestamp":"2026-07-25T00:35:06-05:00"},{"id":9024,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/9024","is_boosted":false,"title":"Sleeping Muse","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhBwAFAPUAADg4ODo6OkM7KFtPJFNJL0BAQENDQ0FDRkpKTFhSQVRUVGthSWdnZnVza3Z3eH19e7OcUZSMd6OTabahbcqzcICAgZeXl5iZnZ2ena2trbW2trq7vry8vcGyj8S5n8jIyMnJyc3Ny9TV1QAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACH5BAAAAAAALAAAAAAHAAUAAAYhQIBBgTgUAoyGpxOpODIJCGUi0XweA4JgEQJxLhbMRhQEADs=","width":3000,"height":2242,"alt_text":"A work made of bronze."},"main_reference_number":"1931.523","has_not_been_viewed_much":false,"boost_rank":null,"date_start":1910,"date_end":1910,"date_display":"1910","date_qualifier_title":"","date_qualifier_id":null,"artist_display":"Constantin Brancusi\nRomanian, active France, 1876\u20131957","place_of_origin":"France","description":"
Brancusi sculpted his first \u201csleeping head\u201d in 1907, and within three years had developed the tapered, egg-shaped form seen here, which he initially executed in marble. Placed on its side in an unconventional manner, yet in a way that feels natural to the subject of sleep, the sculpture imparts an essential poetry between the slumbering figure and the unencumbered way Brancusi chose to present its form. On one hand, the absence of a base suggests that the sculpture may have toppled over; on the other hand, it shows the muse in a posture of both physical and metaphorical rest, as if cheek to pillow.<\/p>\n","short_description":"Sculptor Constantin Br\u00e2ncu\u0219i made graceful works that found beauty in the simplification of forms. He created his first \u201csleeping head\u201d in 1907 and spent the next 20 years on the subject. Here, the tapered, egg-shaped head is given relaxed features created through smooth, curved lines. Its lack of a base suggests, on one hand, that the sculpture may have toppled over; on the other, it shows the muse as if in both physical and metaphorical rest.","dimensions":"16.1 \u00d7 27.7 \u00d7 19.3 cm (6 5\/16 \u00d7 10 7\/8 \u00d7 7 9\/16 in.)","dimensions_detail":[{"depth":19,"width":27,"height":16,"diameter":null,"clarification":null}],"medium_display":"Bronze","inscriptions":null,"credit_line":"Arthur Jerome Eddy Memorial Collection","catalogue_display":null,"publication_history":"Fry, Roger, The Nation, London, (Aug. 2, 1913).\n\nConstantine [sic] Brancusi (New York: Gallery of the Photo-Secession, 1914), n.p. (cat. 4,) as Sleeping Muse.\n\nEddy, Arthur Jerome, Cubists and Post Impressionism (Chicago: A. C. McClurg and Company, 1914), 182\u201383, as Sleeping Muse.\n\nArt Institute of Chicago, Arthur Jerome Eddy Collection exh. cat. (Chicago: Art Institute of Chicago, 1922), n.p. (cat. 8), as Sleeping Muse. \n\nRich, Daniel Catton, Arthur Jerome Eddy Collection of Modern Paintings and Sculpture exh. cat. (Chicago: Art Institute of Chicago, 1931), 28 (cat. 21), 30, as Sleeping Muse, 1910.\n\nBarr, Alfred H., Jr., Cubism and Abstract Art exh. cat. (New York: Museum of Modern Art, 1936), 205 (cat. 16), as Sleeping Muse, 1910.\n\nSiple, Walter H., Pictures for Peace: A Retrospective Exhibition Organized from the Armory Show of 1913 exh. cat. (Cincinnati: Cincinnati Art Museum, 1944), n.p. (cat. 3), as Sleeping Muse.\n\nSt. Louis Art Museum Bulletin, no. 4 (1961).\n\nJianou, Ionel, Brancusi (New York: Tudor Publishing Co., 1963), 93 (no. VII), 143 (ill., fig. 25), as Sleeping Muse (VII), 1910.\n\nde Micheli, Mario, Constantin Brancusi (Milan, 1966), pl. 1 (ill.).\n\nSpear, Athena Tacha, \u201cA Contribution to Brancusi Chronology,\u201d The Art Bulletin, 48, 1 (March 1966): 47, 53 (cat. 34c), as Sleeping Muse, 1910.\n\nSpear, Athena Tacha, \u201cLetters to the Editor,\u201d The Art Bulletin, 48, nos. 3\/4 (September\u2013December, 1966): 465 (cat. 34c), as Sleeping Muse.\n\nFabbri, Dino, Con I maestri del colore: La pi\u00f9 grande collana d\u2019arte del mondo (Milan: Fratelli Fabbri Editori, 1967), n.p. (ill., pl. I), as La musa addormentata, 1910.\n\nGeist, Sidney, Brancusi: A Study of the Sculpture (New York: Grossman Publishers, 1968), pp. 35 (ill.), 218 (cat. 57a), as Sleeping Muse, 1910.\n\nGeist, Sidney, Constantin Brancusi 1876\u20131957: A Retrospective Exhibition exh. cat. (New York: Solomon R. Guggenheim Museum, 1969), pp. 44 (ill.), as Sleeping Muse, 1910.\n\nBrezianu, Barbu, and Elena Cumpanasu, Constantin Brancusi 1876\u20131957 exh. cat. (Bucharest: Museum of Art of the Socialist Republic of Romania, 1970), pp. 34, 94 (ill.), 95 (cat. 20), as Muza Adormita, 1910.\n\nGemeentemuseum, Constantin Brancusi 1876\u20131957 exh. cat. (The Hague: Gemeentemuseum, 1970), 50 (cat. 11), 81 (ill.), as Slapende muze, 1910.\n\nTucker, William, \u201cFour Sculptors (part I): Brancusi,\u201d Studio International, 179, 921 (April 1970): 158\u2013159 (ill., fig. 6), as Sleeping Muse, 1910.\n\nSpear, Athena T., \u201cExhibition Review: Constantin Brancusi,\u201d The Art Quarterly XXXIV, 2 (1971): 238-240, as Sleeping Muse.\n\nOprea, Petre, C. Brancusi (Bucharest: Muzeul de Arta al Republicii Socialiste Rom\u00e2nia, 1972), n.p. (ill.), as Muza Adormita \/ Muse endormie \/ Sleeping Muse.\n\nGeist, Sidney, Brancusi: The Sculpture and Drawings (New York: Harry N. Abrams, 1975), (ill.), 177\u20138 (cat. 72b), 195, as Sleeping Muse, 1910.\n\nDeborah Menaker Magid, \"A Note on Brancusi and the London Salon,\" Art Journal 35, no. 2 (Winter 1975-1976): 105.\n\nBrancusi, Constantin, Omagiu lui Brancusi (Sibiu: Rivista Tribuna, 1976), n.p. (ill.), as Muza Adormita.\n\nPaleolog, V. G., Brancusi\u2013Brancusi vol. 1 (Craiova: Scrisul Romanesc, 1976), 56 (ill., fig. 29), as Muza Adormita.\n\nGrigorescu, Dan, Brancusi (Bucharest: Editura Meridiane, 1980), n.p. (ill., fig. 29), Muza adormita, 1910.\n\nDeac, Mirca, Br\u00e2ncusi: Surse Archetipale (Iasi: Romania, 1982), n.p. (ill.), as Muza adormita.\n\nGeist, Sidney, Brancusi: A Study of the Sculpture (New York: Hacker Art Books, 1983), 35 (ill.), 218 (cat. 57a), 258 (cat. 72b), as Sleeping Muse, 1910.\n\nJianu, Ionel, Constantin Brancusi: Viata si opera (Bucharest: Editura stiintifica si enciclopedica, 1983), n.p. (ill., fig. 23), as Muza Adormita, 1910.\n\nHulten, Pontus, Natalia Dumitresco, and Alexandre Istrati, Brancusi (Paris: Flammarion, 1986), 284 (cat. 62b), as La Muse endormie I, 1910.\n\nBach, Friedrich Teja, Constantin Brancusi: Metamorphosen Plasticher Form (Cologne: Dumont Buchverlag, 1987), 338 (ill., fig. 368), 430 (ill., cat. 99b), as Schlummernde Muse (La Muse endormie), 1910.\n\nOsgood, Charles, \u201cChicago Arts: Musing,\u201d The Chicago Tribune (Sunday, June 14, 1987), 28 (ill.), as Muse, 1910.\n\nAndreotti, Margherita, \u201cBrancusi\u2019s Golden Bird: A New Species of Modern Sculpture,\u201d Museum Studies 19, 2 (1993), 198 (n. 1), as Sleeping Muse, 1910.\n\nVoltz-Locher, Christa, Constantin Brancusi (Kultur Verlag\/Austria, 1994).\n\nRowell, Margit, Friedrich Teja Bach, and Ann Temkin, Constantin Brancusi: 1876\u20131957 exh. cat. (Paris: Gallimard\/Centre Georges Pompidou, 1995), 105 (cat. 17, ill.), as Muse endormie, 1910.\n\nSilber, Evelyn, Gaudier-Brzeska: Life and Art (New York: Thames and Hudson Limited, 1996), 124, 125 (ill., fig. 93), as Sleeping Muse, 1910.\n\nWood, James N. and Teri J. Edelstein, The Art Institute of Chicago: Twentieth-Century Painting and Sculpture (Chicago: Art Institute of Chicago, 1996), 23 (ill.), 158, as Sleeping Muse, 1910.\n\nWood, James N. and Debra N. Mancoff, Treasures from The Art Institute of Chicago (Chicago: Art Institute of Chicago, 2000), 243 (ill.), as Sleeping Muse, 1910.\n\nVivian Endicott Barnett, The Chicago Lawyer Arthur Jerome Eddy and His Eclectic Art Collection (Philadelphia: American Philosophical Society Press, 2022), 95, 96, fig. 11.1 (color ill.), as Sleeping Muse, 1910.","exhibition_history":"London, Allied Artists Association, Royal Albert Hall, Sixth London Salon, July 1913, cat. 1167.\n\nNew York, Gallery of the Photo-Secession, Constantine [sic] Brancusi, March 12\u2013April 1, 1914, n.p., (cat. 4), as Sleeping Muse.\n\nChicago, The Art Institute of Chicago, Arthur Jerome Eddy Collection, September 19\u2013October 22, 1922, n.p. (cat. 8), as Sleeping Muse. \n\nChicago, The Art Institute of Chicago, Arthur Jerome Eddy Collection of Modern Paintings and Sculpture, December 22, 1931\u2013January 17, 1932, p. 28 (cat. 21), 30, as Sleeping Muse, 1910.\n\nChicago, Renaissance Society, A Selection of Works by Twentieth-Century Artists, June 20\u2013August 20, 1934, n.p. (cat. 4), as Sleeping Muse, 1909. \n\nNew York, Museum of Modern Art, Cubism and Abstract Art, March 2\u2013April 19, 1936, p. 205 (cat. 16), as Sleeping Muse, 1910.\n\nCincinnati, Cincinnati Art Museum, Pictures for Peace: A Retrospective Exhibition Organized from the Armory Show of 1913, March 18\u2013April 16, 1944, n.p. (cat. 3), as Sleeping Muse. \n\nSolomon R. Guggenheim Museum (organizer), Constantin Brancusi 1876\u20131957: A Retrospective Exhibition, p. 44 (ill.), as Sleeping Muse, 1910; traveled to Philadelphia Museum of Art, September 23\u2013November 15, 1969; New York, Solomon R. Guggenheim Museum, November 21, 1969\u2013February 15, 1970; Art Institute of Chicago, March 14\u2013April 26, 1970.\n\nBucharest, Museum of Art of the Socialist Republic of Romania, Constantin Brancusi 1876\u20131957, June 1970, pp. 34, 94 (ill.), 95 (cat. 20), as Muza Adormita, 1910; traveled to The Hague, Gemeentemuseum, September 19\u2013November 29, 1970, pp. 50 (cat. 11), 81 (ill.), as Slapende muze, 1910.\n\nParis, Mus\u00e9e national d'art moderne, Centre Georges Pompidou, Constantin Brancusi, April 11\u2013August 21, 1995, p. 105 (cat. 17, ill), as Muse endormie, 1910; traveled to Philadelphia Museum of Art, October 8\u2013December 31, 1995.\n\nFort Worth, Kimbell Art Museum,\u00a0The Age of Picasso and Matisse: Modern Masters from the Art Institute of Chicago, Oct.\u00a06, 2013\u2013Feb.\u00a016, 2014, no cat.\u00a0no.\n\nRotterdam, Museum Boijmans Van Beuningen, Brancusi, Rosso, Man Ray - Framing Sculpture, Feb. 8, 2014\u2013 May 25, 2014.","provenance_text":"The artist, Paris; sold to Arthur Jerome Eddy (1859\u20131920), Chicago, July 1913 [Eddy 1914 and Barnett 2022]; by descent to his wife, Lucy O. Eddy (1863\u20131931) and son, Jerome O. Eddy (1891\u20131951), Chicago, 1920; given to the Art Institute of Chicago, 1931.","edition":null,"publishing_verification_level":"Web Cataloged","internal_department_id":246,"fiscal_year":1930,"fiscal_year_deaccession":null,"is_public_domain":false,"is_zoomable":true,"max_zoom_window_size":1280,"copyright_notice":"\u00a9 2018 Artists Rights Society (ARS), New York \/ ADAGP, Paris","has_multimedia_resources":false,"has_educational_resources":false,"has_advanced_imaging":false,"colorfulness":35.3315,"color":{"h":48,"l":45,"s":49,"percentage":0.027867216479316125,"population":148},"latitude":null,"longitude":null,"latlon":null,"is_on_view":false,"on_loan_display":"
On loan to Neue Nationalgalerie in Tiergarten for Constantin Brancusi<\/i><\/p>","gallery_title":null,"gallery_id":null,"nomisma_id":null,"artwork_type_title":"Sculpture","artwork_type_id":3,"department_title":"Modern Art","department_id":"PC-11","artist_id":33735,"artist_title":"Constantin Brancusi","alt_artist_ids":[],"artist_ids":[33735],"artist_titles":["Constantin Brancusi"],"category_ids":["PC-11"],"category_titles":["Modern Art"],"term_titles":["bronze","heads","metal","sculpture","modern and contemporary art","muses","sleep"],"style_id":null,"style_title":null,"alt_style_ids":[],"style_ids":[],"style_titles":[],"classification_id":"TM-28","classification_title":"bronze","alt_classification_ids":["TM-33","TM-13","TM-155"],"classification_ids":["TM-28","TM-33","TM-13","TM-155"],"classification_titles":["bronze","metal","sculpture","modern and contemporary art"],"subject_id":"TM-12196","alt_subject_ids":["TM-12685","TM-12201"],"subject_ids":["TM-12196","TM-12685","TM-12201"],"subject_titles":["heads","muses","sleep"],"material_id":null,"alt_material_ids":[],"material_ids":[],"material_titles":[],"technique_id":null,"alt_technique_ids":[],"technique_ids":[],"technique_titles":[],"theme_titles":[],"image_id":"38e4ddb6-35d0-e854-66c5-0d44b9d8c11f","alt_image_ids":[],"document_ids":[],"sound_ids":[],"video_ids":[],"text_ids":[],"section_ids":[],"section_titles":[],"site_ids":[],"suggest_autocomplete_all":[{"input":["1931.523"],"contexts":{"groupings":["accession"]}},{"input":["Sleeping Muse"],"weight":11044,"contexts":{"groupings":["title"]}}],"source_updated_at":"2026-07-25T00:30:01-05:00","updated_at":"2026-07-25T00:33:28-05:00","timestamp":"2026-07-25T00:35:06-05:00"},{"id":14245,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/14245","is_boosted":false,"title":"Three Types of Chrysanthemums","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhBwAFAPUAAKOagbOehbasj7Cqk76tlbyxk7yyl7i8pr+9p8G6o8i9qMbAq8bFrsrBqsjCq8vFr8\/Fr8fGsMvHssnIs83Iss7Js87ItNHLtdPNt9HNudPOu9TQu9XQu9bRvdbSvdfTvtvYxAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACH5BAAAAAAALAAAAAAHAAUAAAYhwMWDUqE4EhZM57PJSDQcjgcEUTQuEcaEEDAICgfAABEEADs=","width":3337,"height":2418,"alt_text":"A work made of color woodblock print; surimono."},"main_reference_number":"1962.299","has_not_been_viewed_much":true,"boost_rank":null,"date_start":1785,"date_end":1795,"date_display":"c. 1790","date_qualifier_title":"","date_qualifier_id":null,"artist_display":"Kitao Shigemasa\nJapanese, 1739-1820","place_of_origin":"Japan","description":null,"short_description":null,"dimensions":"33.5 \u00d7 46.4 cm (13 3\/16 \u00d7 18 1\/4 in.)","dimensions_detail":[{"depth":null,"width":46,"height":33,"diameter":null,"clarification":null}],"medium_display":"Color woodblock print; surimono","inscriptions":"signed Kitao Kosuisai","credit_line":"Gift of Mr. and Mrs. Harold G. Henderson","catalogue_display":null,"publication_history":null,"exhibition_history":null,"provenance_text":"Harold Gould Henderson (1889\u20131974) and Mary A. Henderson (1905\u20131998), New York; given to the Art Institute of Chicago, 1962.","edition":null,"publishing_verification_level":"Web Cataloged","internal_department_id":8,"fiscal_year":1962,"fiscal_year_deaccession":null,"is_public_domain":true,"is_zoomable":true,"max_zoom_window_size":-1,"copyright_notice":null,"has_multimedia_resources":false,"has_educational_resources":false,"has_advanced_imaging":false,"colorfulness":20.2548,"color":{"h":16,"l":31,"s":86,"percentage":0.0021356196112007424,"population":11},"latitude":null,"longitude":null,"latlon":null,"is_on_view":false,"on_loan_display":"
On loan to Hong Kong Museum of Art in Hong Kong for Rejoicing in Woods and Springs: A Journey through Garden Cultures in China and the Wider World<\/i><\/p>","gallery_title":null,"gallery_id":null,"nomisma_id":null,"artwork_type_title":"Print","artwork_type_id":18,"department_title":"Arts of Asia","department_id":"PC-7","artist_id":23776,"artist_title":"Kitao Shigemasa","alt_artist_ids":[],"artist_ids":[23776],"artist_titles":["Kitao Shigemasa"],"category_ids":["PC-7"],"category_titles":["Arts of Asia"],"term_titles":["woodblock print","Japanese (culture or style)","print","asian art"],"style_id":"TM-13407","style_title":"Japanese (culture or style)","alt_style_ids":[],"style_ids":["TM-13407"],"style_titles":["Japanese (culture or style)"],"classification_id":"TM-402","classification_title":"woodblock print","alt_classification_ids":["TM-17","TM-26"],"classification_ids":["TM-402","TM-17","TM-26"],"classification_titles":["woodblock print","print","asian art"],"subject_id":null,"alt_subject_ids":[],"subject_ids":[],"subject_titles":[],"material_id":null,"alt_material_ids":[],"material_ids":[],"material_titles":[],"technique_id":null,"alt_technique_ids":[],"technique_ids":[],"technique_titles":[],"theme_titles":[],"image_id":"16d375bc-7537-c424-14a6-be96908096bc","alt_image_ids":[],"document_ids":[],"sound_ids":[],"video_ids":[],"text_ids":[],"section_ids":[],"section_titles":[],"site_ids":[],"suggest_autocomplete_all":[{"input":["1962.299"],"contexts":{"groupings":["accession"]}},{"input":["Three Types of Chrysanthemums"],"weight":67,"contexts":{"groupings":["title"]}}],"source_updated_at":"2026-07-25T00:30:01-05:00","updated_at":"2026-07-25T00:33:25-05:00","timestamp":"2026-07-25T00:35:06-05:00"},{"id":14630,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/14630","is_boosted":false,"title":"Venice, Palazzo Dario","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhBgAFAPQAAFhYWVtbW11aX1NjX29kXl5eYlRjZWRpYGRjaGVnamlraGhramttbXNqZmtwa2F4bXFxbml2cmpzdmZxeGl3e2x2eGp1fW14fWx7fW14f2x3gWqDg3OBhoCFhAAAAAAAACH5BAAAAAAALAAAAAAGAAUAAAUYYEMES8cVAqA4BpIw0DFc1SRFj2ZRGbaFADs=","width":5715,"height":4671,"alt_text":"A work made of oil on canvas."},"main_reference_number":"1933.446","has_not_been_viewed_much":false,"boost_rank":null,"date_start":1908,"date_end":1908,"date_display":"1908","date_qualifier_title":"","date_qualifier_id":null,"artist_display":"Claude Monet (French, 1840\u20131926)","place_of_origin":"France","description":"
Claude Monet was reluctant to visit and paint Venice due to the proliferation of images of the city on the art market. When he was finally persuaded to travel there in 1908, however, he found himself inspired by the colors and atmosphere. Although he still worried about producing only trite \u201csouvenir\u201d images of the city, his handling of paint and color here shows his unique perspective on the well-known Palazzo Dario: he depicted the square\u2019s sturdy marble buildings in the same way as the water, subtly dissolving the forms as if they are floating in the Venetian haze.<\/p>\n","short_description":null,"dimensions":"66.2 \u00d7 81.8 cm (26 1\/16 \u00d7 32 3\/16 in.); Framed: 79.7 \u00d7 94 \u00d7 6.1 cm (31 3\/8 \u00d7 37 \u00d7 2 3\/8 in.)","dimensions_detail":[{"depth":null,"width":81,"height":66,"diameter":null,"clarification":null},{"depth":6,"width":94,"height":79,"diameter":null,"clarification":"Framed"}],"medium_display":"Oil on canvas","inscriptions":"Inscribed lower left: Claude Monet 1908","credit_line":"Mr. and Mrs. Lewis Larned Coburn Memorial Collection","catalogue_display":"
Wildenstein, Claude Monet, biographie et catalogue raisonn\u00e9, 1979 1757<\/p>
Wildenstein, Claude Monet, cat rais. 1996 1757<\/p>","publication_history":"Bernheim-Jeune, Claude Monet: \u201cVenise,\u201d with a preface by Octave Mirbeau, exh. cat. (Bernheim-Jeune, [1912]), cat. 19.\n\nGustave Geffroy, \u201cLa Venise de Claude Monet,\u201d La d\u00e9p\u00eache de Toulouse, May 30, 1912, p. 1.\n\n\u201cArt et curiosit\u00e9: Une f\u00e9erie de lumi\u00e8re et de couleur; Venise vue par Cl. Monet,\u201d Le temps, June 11, 1912, p. 4.\n\nHenri Genet, \u201cBeaux-Arts et curiosit\u00e9. Les \u2018Venise\u2019 de Cl. Monet,\u201d L\u2019opinion, June 1, 1912, p. 698.\n\nAmerican Art Association, New York, Illustrated Catalogue of Highly Important Old and Modern Paintings of Sterling Artistic Distinction belonging to Mr. Arthur B. Emmons, Newport, to the Estate of the Late Thatcher M. Adams, New York, to the Private Collector Mr. Joseph F. Flanagan, Boston, Collections of the late Mr. Henry Sayles, Boston and Mrs. Harris B. Dick, New York, and Other Estates and Private Owners (American Art Association, Jan. 14, 1920), lot 42 (ill.).\n\n\n\u201cRevue des ventes. New York,\u201d Le journal des arts, Feb. 21, 1920, p. 3.\n\n\u201cCollections Emmons, Flanagan Sayles et autres \u00e0 New York,\u201d La chronique des arts 4 (Feb. 29, 1920), p. 32.\n\nGustave Geffroy, Claude Monet: Sa vie, son temps, son oeuvre (G. Cr\u00e8s, 1922), opp. p. 312 (ill.).\n\nArt Institute of Chicago, Exhibition of the Mrs. L. L. Coburn Collection: Modern Paintings and Watercolors, exh. cat. (Art Institute of Chicago, 1932), p. 20, cat. 26.\n\nArt Institute of Chicago, Catalogue of \u201cA Century of Progress\u201d: Exhibition of Paintings and Sculpture, 1934, ed. Daniel Catton Rich, exh. cat. (Art Institute of Chicago, 1934), p. 38, cat. 221.\n\nOscar Reutersw\u00e4rd, Monet: En konstn\u00e4rshistorik (Bonniers, 1948), pp. 254, fig. 121; 255; 288.\n\nArt Center in La Jolla, Great French Paintings, 1870\u20131910, exh. cat. (Art Center in La Jolla, 1956), p. 13, cat. 10 (ill.).\n\nArt Institute of Chicago, \u201cCatalogue,\u201d Art Institute of Chicago Quarterly 51, 2 (Apr. 1, 1957), p. 34.\n\nWilliam C. Seitz, Claude Monet: Seasons and Moments, exh. cat. (Museum of Modern Art, New York\/Los Angeles County Museum of Art\/Doubleday, 1960), p. 63, cat. 97.\n\nArt Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Art Institute of Chicago, 1961), p. 322.\n\nJames Speyer, \u201cTwentieth-Century European Paintings and Sculpture,\u201d Apollo 84, 55 (Sept. 1966), p. 222.\n\nSusan Wise, ed., Paintings by Monet, exh. cat. (Art Institute of Chicago, 1975), p. 170, cat. 113 (ill.).\n\nJames Speyer and Courtney Graham Donnell, Twentieth-Century European Paintings (University of Chicago Press, 1980), p. 59, cat. 3B4; microfiche 3, no. B4 (ill.).\n\nDaniel Wildenstein, Claude Monet: Biographie et catalogue raisonn\u00e9, vol. 4, Peintures, 1899\u20131926 (Biblioth\u00e8que des Arts, 1985), pp. 240; 241, cat. 1757 (ill.); 385, letter 2012a; 430, pi\u00e8ces justificatives 239, 240, 241; 431, pi\u00e8ce justificative 294; 432, pi\u00e8ce justificative 313.\n\nDaniel Wildenstein, Claude Monet: Catalogue raisonn\u00e9, vol. 5, Suppl\u00e9ment aux peintures: Dessins; Pastels; Index (Wildenstein Institute, 1991), p. 118, cat. D404.\nAndrew Forge, Monet, Artists in Focus (Art Institute of Chicago, 1995), pp. 65; 103, pl. 32; 109.\n\nDaniel Wildenstein, Monet, or The Triumph of Impressionism, cat. rais., vol. 1 (Taschen\/Wildenstein Institute, 1996), p. 389, cat. 1757 (ill.).\n\nDaniel Wildenstein, Monet: Catalogue raisonn\u00e9, vol. 4, Nos. 1596\u20131983 et les grandes d\u00e9corations (Taschen\/Wildenstein Institute, 1996), pp. 822\u201324, cat. 1757 (ill.).\n\nPablo Garc\u00eda Sainz, ed., \u201cLos Pintores de Venecia,\u201d Saber ver: Lo contempor\u00e1neo del arte 37 (Nov.\u2013Dec. 1997), pp. 71, 72 (ill.).\n\nJoachim Pissarro, Monet and the Mediterranean, exh. cat. (Kimbell Art Museum\/Rizzoli, 1997), pp. 164; 167, pl. 93.\n\nMatthias Arnold, Claude Monet, Rowohlts Monographien (Rowohlt, 1998), p. 141 (ill.). Translated by Anne Wyburd, Monet (Haus, 2005), p. 145 (detail).\n\nNorio Shimada and Keiko Sakagami, Kur\u014ddo Mone meigash\u016b: Hikari to kaze no kiseki [Claude Monet: 1881\u20131926], vol. 2 (Nihon Bijutsu Ky\u014diku Sent\u0101, 2001), pp. 130, no. 253 (ill.); 191.\n\nKatharine Lochnan, \u201cTurner, Whistler, Monet: An Artistic Dialogue,\u201d in Turner; Whistler; Monet: Impressionist Visions, ed. Katharine Lochnan, exh. cat. (Art Gallery of Ontario\/Tate Publishing, 2004), p. 35.\n\nJohn House, \u201cTinted Steam: Turner and Impressionism,\u201d in Turner; Whistler; Monet: Impressionist Visions, ed. Katharine Lochnan, exh. cat. (Art Gallery of Ontario\/Tate Publishing, 2004), p. 49.\n\nSylvie Patin, \u201cThe Last Act: Turner, Whistler and Monet in Venice,\u201d in Turner; Whistler; Monet: Impressionist Visions, ed. Katharine Lochnan, exh. cat. (Art Gallery of Ontario\/Tate Publishing, 2004), pp. 206; 212; 213, no. 88; 214, no. 88 (ill.).\n\nStephen F. Eisenman, \u201cDeath and Tourism: Claude Monet\u2019s Paintings of Venice,\u201d in Value: Art: Politics: Criticism, Meaning and Interpretation after Postmodernism, ed. Jonathan Harris (Liverpool University Press, 2007), p. 141, fig. 11.\n\nGloria Groom and Douglas Druick, with the assistance of Dorota Chudzicka and Jill Shaw, The Impressionists: Master Paintings from the Art Institute of Chicago, exh. cat. (Art Institute of Chicago\/Kimbell Art Museum, 2008), p. 171, cat. 89 (ill.). Simultaneously published as Gloria Groom and Douglas Druick, with the assistance of Dorota Chudzicka and Jill Shaw, The Age of Impressionism at the Art Institute of Chicago (Art Institute of Chicago\/Yale University Press, 2008), p. 171, cat. 89 (ill.). \n\nPhilippe Piguet, Monet et Venise, rev. and complete ed. (Herscher, 2008), pp. 110-11 (ill.).\n\nS\u00e9gol\u00e8ne Le Men, \u201cUn horizon de peinture,\u201d in Sylvain Amic, Eblouissants reflets: Cent chefs-d\u2019\u0153uvre impressionnistes, exh. cat. (R\u00e9union des Mus\u00e9es Nationaux-Grand Palais\/Mus\u00e9e de la Ville de Rouen, 2013), pp. 281; 284, cat. 155 (ill.).\n\n\u201cCat. 45: Venice, Palazzo Dario, 1908\u201d in Monet Paintings and Drawings at the Art Institute of Chicago, ed. Gloria Groom and Jill Shaw (Art Institute of Chicago, 2014), https:\/\/publications.artic.edu\/monet\/reader\/paintingsanddrawings\/section\/135470<\/a>.\n\nRichard Thomson, Monet and Architecture, exh. cat. (National Gallery Company London\/ Yale University Press, 2018), pp. 204, 205, plate193 (ill), 229, 248.\n\nGloria Groom, et. al. Monet and Chicago, exh. Cat. (Chicago: Art Institute, 2020), 20, 31, 118 (detail ill.), 119 cat. 74, 140.\n\nLisa Small and Melissa E. Buron, eds., Monet and Venice, exh. cat. (New York: Rizzoli Electa, 2025), 18, 26, 52, 102 (detail ill.), 103 (ill.), 129, 131, 140, 154 (detail ill.), 257 no. 19, pl. 21.","exhibition_history":"Paris, Bernheim-Jeune, Claude Monet: \u201cVenise,\u201d May 28\u2013June 8, 1912, cat. 19, as Le Palais Dario.\n\nBoston, Brooks Reed Gallery, Monet. Venise, late Oct. 1912.\n\nBoston, Brooks Reed Gallery, Tableaux Durand-Ruel, Mar. 1921.\n\nArt Institute of Chicago, Exhibition of the Mrs. L. L. Coburn Collection: Modern Paintings and Watercolors, Apr. 6\u2013Oct. 9, 1932, cat. 26.\n\nArt Institute of Chicago, \u201dA Century of Progress\u201d: Loan Exhibition of Paintings and Sculpture for 1934, June 1\u2013Oct. 31, 1934, cat. 221.\n\nUniversity of Chicago, Lexington Hall, Nov. 28\u2013Dec. 19, 1951, no cat.\n \nChicago, Remington Rand, window display, Apr. 14\u201330, 1952, no cat.\n\nUniversity of Chicago, Lexington Hall, Mar. 1\u201320, 1954, no cat.\n\nUniversity of Chicago, Lexington Hall, Feb. 25\u2013Mar. 11, 1955, no cat.\n\nUniversity of Chicago, College of Humanities, Feb. 27\u2013Mar. 16, 1956, no cat.\n\nPark Forest (Ill.) Art Center, Mar. 25\u2013Apr. 22, 1956, no cat.\n\nArt Center in La Jolla (Calif.), Great French Paintings, 1870\u20131910, June 15\u2013July 26, 1956, cat. 10 (ill.).\n\nArt Institute of Chicago, The Paintings of Claude Monet, Apr. 1\u2013June 15, 1957, no cat. no.\n\nNew York, Museum of Modern Art, Claude Monet: Seasons and Moments, Mar. 9\u2013May 15, 1960, cat. 97; Los Angeles County Museum, June 14\u2013Aug. 7, 1960.\n\nArt Institute of Chicago, Paintings by Monet, Mar. 15\u2013May 11, 1975, cat. 113 (ill.). \n\nFort Worth, Tex., Kimbell Art Museum, Monet and the Mediterranean, June 8\u2013Sept. 7, 1997, cat. 93 (ill.); New York, Brooklyn Museum of Art, Oct. 10, 1997\u2013Jan. 4, 1998.\n\nToronto, Art Gallery of Ontario, Turner; Whistler; Monet, June 12\u2013Sept. 12, 2004, cat. 88 (ill.); Paris, Galeries Nationales du Grand Palais, Oct. 12, 2004\u2013Jan. 17, 2005; London, Tate Britain, Feb. 10\u2013May 15, 2005.\n\nFort Worth, Tex., Kimbell Art Museum, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29\u2013Nov. 2, 2008, cat. 89 (ill.).\n\nRouen, Mus\u00e9e des Beaux-Arts, \u00c9blouissants reflets: Cent chefs-d\u2019oeuvre impressionnistes, Apr. 29\u2013Sept. 30, 2013, cat. 155 (ill.).\n\nLondon, The National Gallery, Monet & Architecture, Apr. 9-July 9, 2018, plate 193 (ill).\n\nArt Institute of Chicago, Monet and Chicago, September 5, 2020-June 14, 2021, cat. 74.\n\nBrooklyn Museum, Monet and Venice, Oct. 10, 2025\u2013Feb. 15, 2026, pl. 19; Fine Arts Museums of San Francisco, de Young Museum, Mar. 21\u2013July 26, 2026.","provenance_text":"The artist (d. 1926); sold in half-shares, to Bernheim-Jeune, Paris, and Durand-Ruel, Paris, Apr. 10, 1912, for 10,000 francs [per Durand-Ruel, Paris, stock book for 1901\u201313 (no. 10000, as Palais Dario), as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Feb. 21, 2013, curatorial object file]; sold to Durand-Ruel, New York, Oct. 11, 1912, or Oct. 17, 1912 [The Paris and New York Durand-Ruel stock books record different dates for the sale. The Paris stock book states: \u201cSold to DR New York on 11 October 1911.\u201d The New York stock book for 1904\u201324 states: \u201cPurchased by DR New York on 17 October 1912 as Venise, Palais Dario, 1908 \/ Stock DR New York no. 3542,\u201d as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Feb. 21, 2013, curatorial object file]; sold to Arthur B. Emmons, Newport, Rhode Island, Dec. 26, 1912, for $7,500 [per Durand-Ruel, New York, stock book for 1904\u201324 (no. 3542, as Venise, Palais Dario, 1908), as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Feb. 21, 2013, curatorial object file]; sold back to Durand-Ruel, New York, May 27, 1913, for 37,600 francs [this and the following per Durand-Ruel, New York, stock book for 1904\u201324 (no. 3647, as Venise, Palais Dario, 1908), as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Feb. 21, 2013, curatorial object file]; sold back to Arthur B. Emmons, Newport, Rhode Island, May 27, 1913, for $6,500; sold at the Arthur B. Emmons, Newport, Rhode Island, sale, American Art Association, New York, Jan. 14, 1920, lot 42, to Durand-Ruel, New York, and Knoedler, New York, in half-shares, for $5,800 [per Durand-Ruel Archives and the Durand-Ruel, New York, stock book 1904\u20131924, as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Feb. 21, 2013, curatorial object file]; sold to Annie Swan Coburn (d. 1932), Chicago, Feb. 8, 1923, for $9,735 + tax [per Durand-Ruel, New York, stock book for 1904\u201324 (no. 4408, as Venise, Palais Dario, 1908), as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Feb. 21, 2013, curatorial object file]; bequeathed to the Art Institute of Chicago, 1933.","edition":null,"publishing_verification_level":"Web Cataloged","internal_department_id":14,"fiscal_year":1940,"fiscal_year_deaccession":null,"is_public_domain":true,"is_zoomable":true,"max_zoom_window_size":-1,"copyright_notice":null,"has_multimedia_resources":true,"has_educational_resources":false,"has_advanced_imaging":false,"colorfulness":15.1229,"color":{"h":199,"l":33,"s":36,"percentage":0.005165049145442619,"population":30},"latitude":null,"longitude":null,"latlon":null,"is_on_view":false,"on_loan_display":" On loan to Fine Arts Museums of San Francisco, de Young Museum in San Francisco for Monet & Venice<\/i><\/p>","gallery_title":null,"gallery_id":null,"nomisma_id":null,"artwork_type_title":"Painting","artwork_type_id":1,"department_title":"Painting and Sculpture of Europe","department_id":"PC-10","artist_id":35809,"artist_title":"Claude Monet","alt_artist_ids":[],"artist_ids":[35809],"artist_titles":["Claude Monet"],"category_ids":["PC-10"],"category_titles":["Painting and Sculpture of Europe"],"term_titles":["painting","oil painting","Venice, Italy","Impressionism","oil paint (paint)","20th Century","painting techniques","painting (image making)","painting","painting","paint","canvas","paint","oil paintings (visual works)","oil on canvas","french","european painting","Italy","boats","building","buildings","blue","blue (color)","green (color)","doorway","window","modern and contemporary art","landscapes","urban life","water","Century of Progress","world's fairs","Chicago World's Fairs"],"style_id":"TM-7543","style_title":"Impressionism","alt_style_ids":["TM-13130"],"style_ids":["TM-7543","TM-13130"],"style_titles":["Impressionism","20th Century"],"classification_id":"TM-9","classification_title":"painting","alt_classification_ids":["TM-10387","TM-78","TM-66","TM-14976","TM-54","TM-155"],"classification_ids":["TM-9","TM-10387","TM-78","TM-66","TM-14976","TM-54","TM-155"],"classification_titles":["painting","paint","oil paintings (visual works)","oil on canvas","french","european painting","modern and contemporary art"],"subject_id":"TM-12239","alt_subject_ids":["TM-12619","TM-8737","TM-14683","TM-15031","TM-15162","TM-11843","TM-11849","TM-15009","TM-14921","TM-8657","TM-10126","TM-8681","TM-12169","TM-11299","TM-12176"],"subject_ids":["TM-12239","TM-12619","TM-8737","TM-14683","TM-15031","TM-15162","TM-11843","TM-11849","TM-15009","TM-14921","TM-8657","TM-10126","TM-8681","TM-12169","TM-11299","TM-12176"],"subject_titles":["Venice, Italy","Italy","boats","building","buildings","blue","blue (color)","green (color)","doorway","window","landscapes","urban life","water","Century of Progress","world's fairs","Chicago World's Fairs"],"material_id":"TM-2451","alt_material_ids":["TM-13502","TM-2577","TM-3124"],"material_ids":["TM-2451","TM-13502","TM-2577","TM-3124"],"material_titles":["oil paint (paint)","painting","paint","canvas"],"technique_id":"TM-4273","alt_technique_ids":["TM-3971","TM-3891","TM-14210"],"technique_ids":["TM-4273","TM-3971","TM-3891","TM-14210"],"technique_titles":["oil painting","painting techniques","painting (image making)","painting"],"theme_titles":[],"image_id":"64c38f6d-f0d5-b553-a27e-3552550f351a","alt_image_ids":[],"document_ids":[],"sound_ids":[],"video_ids":[],"text_ids":[],"section_ids":[36744623038],"section_titles":["Cat. 45\u00a0\u00a0Venice, Palazzo Dario, 1908"],"site_ids":[],"suggest_autocomplete_all":[{"input":["1933.446"],"contexts":{"groupings":["accession"]}},{"input":["Venice, Palazzo Dario"],"weight":10211,"contexts":{"groupings":["title"]}}],"source_updated_at":"2026-07-25T00:30:01-05:00","updated_at":"2026-07-25T00:33:24-05:00","timestamp":"2026-07-25T00:35:06-05:00"},{"id":16568,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/16568","is_boosted":true,"title":"Water Lilies","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhBQAFAPQAAEZcaFFfdVtqbk9ldFBlcVFocllrcFlrd11rdl9sdFZtf15wcWV0d2R2eGByfmd6eGl6e2t9elZxiGF4kWB4kmJ9kGJ8lWeCkWSAnQAAAAAAAAAAAAAAAAAAAAAAAAAAACH5BAAAAAAALAAAAAAFAAUAAAUVoJBADXI4TLRMWHU9hmRRCjAURBACADs=","width":8808,"height":8460,"alt_text":"Painting of a pond seen up close spotted with thickly painted pink and white water lilies and a shadow across the top third of the picture."},"main_reference_number":"1933.1157","has_not_been_viewed_much":false,"boost_rank":null,"date_start":1906,"date_end":1906,"date_display":"1906","date_qualifier_title":"","date_qualifier_id":null,"artist_display":"Claude Monet (French, 1840\u20131926)","place_of_origin":"France","description":" Little did Claude Monet know that the water garden he created three years after buying his Giverny, France, property in 1890 would become his primary inspiration over the next two and a half decades. These paintings, numbering around 250, mark Monet\u2019s artistic journey from more straightforward depictions of the pond spanned by the wooden Japanese bridge to the monumental and near-abstract series on the water lily theme he made in preparation for his murals at the Mus\u00e9e de l\u2019Orangerie in Paris between 1914 and 1926.<\/p>\n Water Lilies<\/em>, one of a group of paintings on the subject made between 1903 and 1908, comes at the midpoint of Monet\u2019s developing style and spatial experimentations. The nearly square format underscores his move away from painting the conventional zones of land, sky, and water to focus solely on the water\u2019s surface. Clusters of water lilies at bottom left and top right frame a watery path, while the water\u2019s surface reflects trees and clouds. Although the dreamlike quality of floating forms might seem to be a natural development for the artist, he considered these works \u201can obsession,\u201d a sentiment borne out by technical examinations on the Art Institute\u2019s canvas, revealing many significant changes made to the painting in progress.<\/p>\n","short_description":null,"dimensions":"89.9 \u00d7 94.1 cm (35 3\/8 \u00d7 37 1\/16 in.); Framed: 103.2 \u00d7 107 \u00d7 5.8 cm (40 5\/8 \u00d7 42 1\/8 \u00d7 2 1\/4 in.)","dimensions_detail":[{"depth":null,"width":94,"height":89,"diameter":null,"clarification":null},{"depth":5,"width":107,"height":103,"diameter":null,"clarification":"Framed"}],"medium_display":"Oil on canvas","inscriptions":"Inscribed lower right: Claude Monet 1906","credit_line":"Mr. and Mrs. Martin A. Ryerson Collection","catalogue_display":null,"publication_history":"Galeries Durand-Ruel, Les nymph\u00e9as, s\u00e9ries de paysages d\u2019eau par Claude Monet, exh. cat. (Galeries Durand-Ruel, 1909), cat. 15. \n\nArt Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Art Institute of Chicago, 1925), p. 162, cat. 2139. \n\nGustave Geffroy, \u201cClaude Monet,\u201d L\u2019art et les artistes 2, 11 (Nov. 1920), p. 73 (ill.).\n\nM. C., \u201cMonets in the Art Institute,\u201d Bulletin of the Art Institute of Chicago 19, 2 (Feb. 1925), p. 20.\n\nDaniel Catton Rich, \u201cFranz\u00f6sische Impressionisten im Art Institute zu Chicago,\u201d Pantheon: Monatsschrift f\u00fcr freunde und sammler der kunst 11, 3 (Mar. 1933), p. 77. Translated by C. C. H. Drechsel as \u201cFrench Impressionists in the Art Institute of Chicago,\u201d Pantheon\/Cicerone (Mar. 1933), p. 18.\n\nToledo Museum of Art, Catalogue: Paintings by French Impressionists and Post-Impressionists (Toledo Museum of Art, 1937), cat. 16 (ill.).\n\nGeorge Slocombe, \u201cGiver of Light,\u201d Coronet (Mar. 1938), p. 26 (ill.).\n\nScottish Rite Temple, Central Illinois Art Exposition, exh. cat. (Scottish Rite Temple, 1939), p. 13, cat. 26.\n\nArts Club of Chicago, Origins of Modern Art, exh. cat. (Arts Club of Chicago, 1940), p. 15, cat. 63.\n\nOscar Reutersw\u00e4rd, Monet: En konstn\u00e4rshistorik (Bonniers, 1948), p. 288.\n\nWichita Art Museum, Three Centuries of French Painting, exh cat. (Wichita Art Museum, 1954), p. 3, cat. 17.\n\nArt Institute of Chicago, \u201cCatalogue,\u201d Art Institute of Chicago Quarterly 51, 2 (Apr. 1, 1957), p. 34.\n\nArt Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Art Institute of Chicago, 1961), p. 322.1679\n\nA. James Speyer, \u201cTwentieth-Century European Paintings and Sculpture,\u201d Apollo 84, no. 55 (Sept. 1966), p. 222.\n\nDenis Rouart and Jean-Dominique Rey, Monet, nymph\u00e9as, ou Les miroirs du temps, with a cat. rais. by Robert Maillard (Hazan, 1972), p. 159 (ill.). Translated by David RadzinowiczasMonet, Water Lilies: The Complete Series, rev. ed., with a cat. rais. by Julie Rouart with Camille Sourisse (Flammarion\/Rizzoli, 2008), p. 124 (ill.).\n\nGrace Seiberling, \u201cThe Evolution of an Impressionist,\u201d in Paintings by Monet, ed. Susan Wise, exh. cat. (Art Institute of Chicago, 1975), pp. 37, 38.\n\nSusan Wise, ed., Paintings by Monet, exh. cat. (Art Institute of Chicago, 1975), p. 167, cat. 110 (ill.).\n\nGrace Seiberling, Monet\u2019s Series (Garland, 1981), pp. 228; 407, no. 33; fig. 33.\n\nA. James Speyer and Courtney Graham Donnell, Twentieth-Century European Paintings (University of Chicago Press, 1980), p. 59, cat. 3B3; microfiche 3, no. B3 (ill.).\n\nMus\u00e9e Toulouse-Lautrec and Art Institute of Chicago, Tr\u00e9sors impressionnistes du Mus\u00e9e de Chicago, exh. cat. (Mus\u00e9e Toulouse-Lautrec, 1980), p. 35, no. 15 (ill.); 67.\n\nArt Institute of Chicago, Seibu Museum of Art, Kyoto Municipal Museum of Art, and Fukuoka Art Museum, eds., Shikago bijutsukan insho-ha ten [The Impressionist tradition: Masterpieces from the Art Institute of Chicago], exh. cat. (Nippon Television Network, 1985), pp. 126, cat. 64 (ill.); 127 (detail); 161.\n\nCharles F. Stuckey, ed., Monet: A Retrospective (Hugh Lauter Levin, 1985), pp. 255; 263, pl. 103.\n\nDaniel Wildenstein, Claude Monet: Biographie et catalogue raisonn\u00e9, vol. 4, Peintures, 1899\u20131926 (Biblioth\u00e8que des Arts, 1985), pp. 214; 215, cat. 1683 (ill.); 376, letters 1885, 1887, 1888, 1890, 1891; 377, letter 1897; 429, pi\u00e9ces justificative 213, 215.\n\nChristian Geelhaar, et al., Claude Monet: Nymph\u00e9as, Impression, Vision, exh. cat. (Kunstmuseum Basel, 1986), pp. 52, cat. 22 (ill.); 173.\n\nRichard R. Brettell, Post-Impressionists (Art Institute of Chicago\/Abrams, 1987), pp. 111; 115 (ill.); 118. \n\nCharles F. Stuckey, Monet, Water Lilies (Hugh Lauter Levin, 1988), p. 37, pl. 12.\n\nAndrew Forge, Monet, Artists in Focus (Art Institute of Chicago, 1995), pp. 63 (detail); 65; 102, pl. 31; 109.\n\nCharles F. Stuckey, with the assistance of Sophia Shaw, Claude Monet, 1840\u20131926, exh. cat. (Art Institute of Chicago\/Thames & Hudson, 1995), pp. 152, cat. 130 (ill.); 241; 243.\n\nPaul Hayes Tucker, \u201cPassion and Patriotism in Monet\u2019s Late Work,\u201d in New Orleans Museum of Art and Fine Arts Museums of San Francisco, Monet: Late Paintings of Giverny from the Mus\u00e9e Marmottan, exh. cat. (New Orleans Museum of Art\/Fine Arts Museums of San Francisco\/Abrams, 1995), pp. 37, fig. 10; 40.\n\nDaniel Wildenstein, Monet, or The Triumph of Impressionism, cat. rais., vol. 1 (Taschen\/Wildenstein Institute, 1996), p. 358, cat. 1683 (ill.).\n\nDaniel Wildenstein, Monet: Catalogue raisonn\u00e9\/Werkverzeichnis, vol. 4, Nos. 1596\u20131983 et les grandes d\u00e9corations (Taschen\/Wildenstein Institute, 1996), p. 764, cat. 1638 (ill.); 765.\n\nJames N. Wood and Teri J. Edelstein, The Art Institute of Chicago: Twentieth-Century Painting and Sculpture (Art Institute of Chicago, 1996), p. 11 (ill.).\n\nLynn Gamwell, \u201cArcadian Impulses in Avant-Garde Art,\u201d in Donald Kuspit and Lynn Gamwell, Health and Happiness in 20th-Century Avant-Garde Art, exh. cat. (Cornell University Press\/Binghamton University Art Museum, State University of New York, 1996), pp. 52; 55, fig. 37.\n\nDonald Kuspit, \u201cHappiness, Health, and Related Anomalies of Avant-Garde Art,\u201d in Donald Kuspit and Lynn Gamwell, Health and Happiness in 20th-Century Avant-Garde Art, exh. cat. (Cornell University Press\/Binghamton University Art Museum, State University of New York, 1996), p. 44.\n\nGenevieve Morgan, ed., Monet: The Artist Speaks (Collins, 1996), pp. 81 (ill.), 95.\n\nMeyer Schapiro, Impressionism: Reflections and Perceptions (Braziller, 1997), pp. 198\u201399, fig. 98; 220.\n\nVictor I. Stoichita, A Short History of the Shadow (Reaktion, 1997), pp. 107\u201308, ill. 36; 109; 208\n\nWarren Adelson, \u201cIn the Modernist Camp,\u201d in Sargent Abroad: Figures and Landscapes, by Warren Adelson, Donna Seldin Janis, Elaine Kilmurray, Richard Ormond, and Elizabeth Oustinoff (Abbeville, 1997), pp. 28; 29, pl. 16; 39.\n\nRichard Ormond, \u201cIn the Alps,\u201d in Warren Adelson, Donna Seldin Janis, Elaine Kilmurray, Richard Ormond, and Elizabeth Oustinoff, Sargent Abroad: Figures and Landscapes (Abbeville, 1997), p. 100.\n\nVivian Russell, Monet\u2019s Water Lilies (Little, Brown\/Frances Lincoln, 1998), pp. 64\u201365 (ill.), 93.\n\nGeorge T. M. Shackelford and MaryAnne Stevens, \u201cWater Lilies (Series of Water Landscapes), 1903\u20131909,\u201d in Paul Hayes Tucker, with George T. M. Shackelford and MaryAnne Stevens, Monet in the 20th Century, exh. cat. (Royal Academy of Arts, London\/Museum of Fine Arts, Boston\/Yale University Press, 1998), pp. 148; 158 (detail); 159, cat. 32 (ill.).\n\nPaul Hayes Tucker, \u201cThe Revolution in the Garden: Monet in the Twentieth Century,\u201d in Paul Hayes Tucker, with George T. M. Shackelford and MaryAnne Stevens, Monet in the 20th Century, exh. cat. (Royal Academy of Arts, London\/Museum of Fine Arts, Boston\/Yale University Press, 1998), pp. 44\u201345.\n\nConnaissance des Arts and Pierre Georgel, \u201cMonet: L\u2019art de la m\u00e9taphore,\u201d Connaissance des arts 561 (May 1999), pp. 44\u201345, fig. 2.\n\n\u201cMonet, les nymph\u00e9as: L\u2019exposition,\u201d special issue, Connaissance des arts, 137 (Soci\u00e9t\u00e9 Fran\u00e7aise de Promotion Artistique, 1999), pp. 14\u201315, ill. 13.\n\nPierre Geogel, with the assistance of Chantal Georgel and Jacqueline S\u00e9journ\u00e9, Monet: Le cycle des Nymph\u00e9as, Catalogue sommaire, exh. cat. (Mus\u00e9e National de l\u2019Orangerie\/R\u00e9union des Mus\u00e9es Nationaux, 1999), pp. 38; 92, cat. 15 (ill.).\n\nArt Institute of Chicago, Impressionism and Post-Impressionism in the Art Institute of Chicago, selected by James N. Wood (Art Institute of Chicago\/Hudson Hills, 2000), p. 163 (ill.).\n\nDebra N. Mancoff, Monet\u2019s Garden in Art (Viking Studio, 2001), pp. 60 (detail), 66\u201367 (detail), 143.\n\nKarin Sagner-D\u00fcchting, \u201cMonet\u2019s Late Work from the Vantage Point of Modernism,\u201d in Monet and Modernism, ed. Karin Sagner-D\u00fcchting, exh. cat. (Prestel, 2001), p. 25.\n\nKarin Sagner-D\u00fcchting, \u201cThe Waterlilies in Giverny and the Grande D\u00e9coration,\u201d in Monet and Modernism, ed. Karin Sagner-D\u00fcchting, exh. cat. (Prestel, 2001), pp. 68, 76 (ill.).\n\nJames Tanaka, Daniel Weiskopf, and Pepper Williams, \u201cThe Role of Color in High-Level Vision,\u201d TRENDS in Cognitive Sciences 5, 5 (May 2001), p. 213, fig. 1.\n\nSothebys, New York, Impressionist and Modern Art, Part One, sale cat. (Sotheby\u2019s, Nov. 5, 2002), pp. 45, fig. 3; 46.\n\nDebra N. Mancoff, Monet: Nature into Art (Publications International, 2003), pp. 103, 111 (ill.).\n\nLisa Stein, \u201cSeeing Beyond the Must-Sees,\u201d Chicago Tribune, Apr. 18, 2003, section 7, p. 1 (ill.).\n\nArt Institute of Chicago, The Essential Guide,rev. ed., selected by James N. Wood (Art Institute of Chicago, 2003), p. 246 (ill.)\n\nMargaret Werth, \u201c\u2018A Long Entwined Effort\u2019: Colonizing Giverny,\u201d in Impressionist Giverny: A Colony of Artists, 1885\u20131915, ed. Katherine M. Bourguignon, exh. cat. (Terra Foundation for American Art\/Mus\u00e9e d\u2019Art Am\u00e9ricain Giverny\/University of Chicago Press, 2007), p. 70, fig. 13.\n\nEric M. Zafran, \u201cMonet in America,\u201d in Wildenstein and Co., Claude Monet (1840\u20131926): A Tribute to Daniel Wildenstein and Katia Granoff, exh. cat. (Wildenstein, 2007), p. 113.\n\nGloria Groom and Douglas Druick, with the assistance of Dorota Chudzicka and Jill Shaw, The Impressionists: Master Paintings from the Art Institute of Chicago, exh. cat. (Art Institute of Chicago\/Kimbell Art Museum, 2008), pp. 161; 163; 174\u201375, cat. 91 (ill.). Simultaneously published as Gloria Groom and Douglas Druick, with the assistance of Dorota Chudzicka and Jill Shaw, The Age of Impressionism at the Art Institute of Chicago (Art Institute of Chicago\/Yale University Press, 2008), pp. 161; 163; 174\u201375, cat. 91 (ill.). \n\nArt Institute of Chicago, The Essential Guide (Art Institute of Chicago, 2009), p. 232 (ill.).\n\n\u201cCat. 44: Water Lilies, 1906\u201d in Monet Paintings and Drawings at the Art Institute of Chicago, ed. Gloria Groom and Jill Shaw (Art Institute of Chicago, 2014), https:\/\/publications.artic.edu\/monet\/reader\/paintingsanddrawings\/section\/135470<\/a>.\n\nAnne-Birgitte Fonsmark and Dorthe Vangsgaard Nielsen, Monet: Beyond Impressionism, exh. cat. (Charlottenlund: Ordrupgaard, 2016) 161, 214, fig. 116.\n\nGeorge T. M. Shackelford, Monet:The Late Years, exh. cat. (New Haven: Yale University Press, 2019), 62-63 (detail ill.), 114, 118 cat. 6, 210\n\nGloria Groom, et. al. Monet and Chicago, exh. Cat. (Chicago: Art Institute, 2020), cover ill., 29, 30 fig. 9, 123 cat. 78, 141.\n\nJames Rondeau, ed., Paintings at the Art Institute of Chicago: Highlights of the collection (New Haven and London: Yale University Press, 2025), 89 (ill.).\n\nAdriano Pedrosa and Fernando Oliva, eds., Monet's Ecology, exh. cat. (S\u00e3o Paulo: Museu de Arte de S\u00e3o Paulo Assis Chateaubriand, 2005), 39 fig. 26, 40.\n\nRejoicing in Woods and Springs: A Journey through Garden Cultures in China and the Wider World, exh. cat. (Beijing: Gu gong chu ban she, 2025), 253 (ill.), cat. 154.\n\nJames Rondeau, ed., Highlights of the Art Institute of Chicago (New Haven and London: Yale University Press, 2026), 152, 262, no. 111, (ill.).","exhibition_history":"Paris, Galeries Durand-Ruel, Les nymph\u00e9as: S\u00e9ries de paysages d\u2019eau par Claude Monet, May 6\u2013June 5, 1909, cat. 15, as S\u00e9rie 1906. \n\nSaint Louis, Noonan-Kocian Gallery, Tableaux Durand-Ruel (circuit exhibition, held Oct. 1911\u2013Jan. 1912); Chicago, Auditorium Hotel; Cincinnati, no cat. no. \n\nToledo (Ohio) Museum of Art, Paintings by French Impressionists and Post-Impressionists, Nov. 7\u2013Dec. 12, 1937, cat. 16 (ill.).\n\nBloomington, Ill., Scottish Rite Temple, Central Illinois Art Exposition, Mar. 19\u2013Apr. 8, 1939, cat. 26.\n\nChicago, Arts Club of Chicago, Origins of Modern Art, Apr. 2\u201330, 1940, cat. 63.\n\nSioux City (Iowa) Art Center, Three Old Masters from Art Institute of Chicago, Sept. 4\u2013end Sept. 1949, no cat. \n\nPittsburgh, Carnegie Institute, An Experimental Gallery Featuring the Art Historical Background to Impressionism, Oct. 12, 1953\u2013Mar. 31, 1954, no cat. \n\nWichita (Kans.) Art Museum, Three Centuries of French Painting, May 9\u201323, 1954, cat. 17.\n\nUniversity of Chicago, Renaissance Society, Painters in Color, Oct. 14\u2013Nov. 14, 1956, no cat. \n\nArt Institute of Chicago, The Paintings of Claude Monet, Apr. 1\u2013June 15, 1957, no cat. no. \n\nArt Institute of Chicago, Paintings by Monet, Mar. 15\u2013May 11, 1975, cat. 110 (ill.). \n\nAlbi, Mus\u00e9e Toulouse-Lautrec, Tr\u00e9sors impressionnistes du Mus\u00e9e de Chicago, June 27\u2013Aug. 31, 1980, cat. 15 (ill.).\n\nHighland Park, Ill., Neison Harris, July 12\u2013Dec. 19, 1984, no cat. \n\nTokyo, Seibu Museum of Art, Shikago bijutsukan insho-ha ten [The impressionist tradition: Masterpieces from the Art Institute of Chicago], Oct. 18\u2013Dec. 17, 1985, cat. 64 (ill.); Fukuoka Art Museum, Jan. 5\u2013Feb. 2, 1986; Kyoto Municipal Museum of Art, Mar. 4\u2013Apr. 13, 1986.\n\nBasel, Kunstmuseum Basel, Claude Monet: Nymph\u00e9as, July 20\u2013Oct. 19, 1986, cat. 22 (ill.).\n\nArt Institute of Chicago, Chicago\u2019s Dream, a World\u2019s Treasure: The Art Institute of Chicago 1893\u20131993, Nov. 1\u2013Jan. 9, 1994, no cat. no. \n\nChicago, Art Institute of Chicago, Claude Monet 1840\u20131926, July 22\u2013Nov. 26, 1995, cat. 130 (ill.). \n\nBoston, Museum of Fine Arts, Monet in the 20th Century, Sept. 20\u2013Dec. 27, 1998, cat. 32 (ill.); London, Royal Academy of Arts, Jan. 23\u2013Apr. 18, 1999; Kunsthaus Zurich, May 6-August 8, 1999.\n\nParis, Mus\u00e9e National de l\u2019Orangerie, Monet: Le cycle des Nymph\u00e9as, May 6\u2013Aug. 2, 1999, cat. 15 (ill.).\n\nFort Worth, Tex., Kimbell Art Museum, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29\u2013Nov. 2, 2008, cat. 91 (ill.).\n\nCharlottenlund, Ordrupgaard, Monet: Beyond Impressionism, August 24-December 4, 2016, fig. 106. \n\nSan Francisco, De Young Museum, Monet: The Late Years, February 16 - May 27 2019, cat. 6; Fort Worth, Texas, Kimbell Art Museum, June 6 - September 15 2019. \n\nArt Institute of Chicago, Monet and Chicago, September 5, 2020-June 14, 2021, cat. 78.\n\nBeijing, Palace Museum, Garden Cultures of China and the West, Apr. 1\u2013June 30, 2025; Suzhou Museum, July 19\u2013Oct. 31, 2025; Ningbo Museum, Dec. 5, 2025\u2013Mar. 8, 2026; Hong Kong Museum of Art, Apr. 23\u2013July 29, 2026.\n\nBeijing, Palace Museum, Rejoicing in Woods and Springs: A Journey through Garden Cultures in China and the Wider World, Apr. 1\u2013June 30, 2025, cat. 154; Suzhou China, Suzhou Museum, July 19\u2013Oct. 31, 2025; Ningbo, China, Ningbo Museum, Dec. 5, 2025\u2013Mar. 8, 2026; Hong Kong Museum of Art, Apr. 23\u2013July 29, 2026.","provenance_text":"The artist (d. 1926); sold to Durand-Ruel, Paris (3\/4 interest), and Bernheim-Jeune, Paris (1\/4 interest), June 3, 1909, for 14,000 francs [this and the following per Durand-Ruel, Paris, stock book for 1901\u201313 (no. 9082, as Les nymph\u00e9as, paysage d\u2019eau, s\u00e9rie de 1906), as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Feb. 21, 2013, curatorial object file]; sold to Henri Bernstein, Paris, May 29, 1909, for 20,000 francs [see previous: the Durand-Ruel Archives notes that \u201cthe apparent chronological anomaly between the dates of the purchase and of the sale is not unusual\u201d]; sold to Durand-Ruel, Paris, Aug. 9, 1909, for 20,000 francs [per Durand-Ruel, Paris, stock book for 1901\u201313 (no. 9134, as Les nymph\u00e9as, paysage d\u2019eau, s\u00e9rie de 1906), as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Feb. 21, 2013, curatorial object file]; on deposit to Durand-Ruel, New York, Apr. 1911 [per Durand-Ruel, New York, deposit book for 1894\u20131925 (no. 7606, as Les nymph\u00e9as, paysage d\u2019eau, s\u00e9rie de 1906), as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Feb. 21, 2013, curatorial object file]; sold to Durand-Ruel, New York, Feb. 10, 1914 [this and the following per Durand-Ruel, New York, stock book for 1904\u201324 (no. 3768, as Les nymph\u00e9as, paysage d\u2019eau, s\u00e9rie de 1906), as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Feb. 21, 2013, curatorial object file]; sold to Martin A. Sold by Durand-Ruel, New York, to Martin A. Ryerson (d. 1932), Chicago, Feb. 10, 1914, for $5,000 [see previous; also a purchase receipt on Durand-Ruel letterhead, dated February 10, 1914, details that this painting (no. 3768, Monet, Les nymph\u00e9as, paysage d\u2019eau, 1906) was acquired by M. A. Ryerson, in addition to two other paintings (no. 3668, Monet, La cabane de douaniers, 1897 (cat. 35); and no. 3646, Monet, Waterloo Bridge, London,1903) (cat. 39) for $20,000, photocopy in curatorial object file]; bequeathed to the Art Institute of Chicago, 1933.","edition":null,"publishing_verification_level":"Web Cataloged","internal_department_id":14,"fiscal_year":1933,"fiscal_year_deaccession":null,"is_public_domain":true,"is_zoomable":true,"max_zoom_window_size":-1,"copyright_notice":null,"has_multimedia_resources":true,"has_educational_resources":false,"has_advanced_imaging":false,"colorfulness":27.0599,"color":{"h":197,"l":37,"s":41,"percentage":0.08651191298367858,"population":590},"latitude":41.8796613236854,"longitude":-87.6228482845517,"latlon":"41.879661323685,-87.622848284552","is_on_view":false,"on_loan_display":" On loan to Hong Kong Museum of Art in Hong Kong for Rejoicing in Woods and Springs: A Journey through Garden Cultures in China and the Wider 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