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<\/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":"2026-04-22T00:30:01-05:00","updated_at":"2026-04-22T03:36:11-05:00","timestamp":"2026-04-22T09:25:17-05:00"},{"id":161,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/161","is_boosted":false,"title":"Skyphos (Drinking Cup)","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhBwAFAPUAABEREiAgISYmJycnKXd3eHt7fI2Nj4+PkZCQkpOSlJOTlaCgoqGho7W1uLa2ube3ubm5ur6+wcDAwcDAwsTDxMTDxsTExcTExsXFx8fGx8fHyMfHycjIycvLzMzLzc3Nz8\/P0AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACH5BAAAAAAALAAAAAAHAAUAAAYfQMgEg6FEHo\/FIYFYPDCJAUBgwHBAhQDho+kUhxpPEAA7","width":6407,"height":4805,"alt_text":"A wide-mouthed drinking cup glazed in black with two handles extending from opposite sides."},"main_reference_number":"1889.14","has_not_been_viewed_much":false,"boost_rank":null,"date_start":-410,"date_end":-400,"date_display":"410-400 BCE","date_qualifier_title":"","date_qualifier_id":null,"artist_display":"Greek; Athens","place_of_origin":"Cales","description":"
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":"
On loan<\/p>","gallery_title":null,"gallery_id":null,"nomisma_id":null,"artwork_type_title":"Vessel","artwork_type_id":23,"department_title":"Arts of Greece, Rome, and Byzantium","department_id":"PC-4","artist_id":2601,"artist_title":"Ancient Greek","alt_artist_ids":[],"artist_ids":[2601],"artist_titles":["Ancient Greek"],"category_ids":["PC-4"],"category_titles":["Arts of Greece, Rome, and Byzantium"],"term_titles":["drinking vessel","terracotta","greek","black (color)","ceramics","vessel","ancient art","ancient"],"style_id":"TM-4408","style_title":"greek","alt_style_ids":["TM-8542"],"style_ids":["TM-4408","TM-8542"],"style_titles":["greek","ancient"],"classification_id":"TM-11734","classification_title":"drinking vessel","alt_classification_ids":["TM-46","TM-27","TM-1392"],"classification_ids":["TM-11734","TM-46","TM-27","TM-1392"],"classification_titles":["drinking vessel","ceramics","vessel","ancient art"],"subject_id":"TM-11845","alt_subject_ids":[],"subject_ids":["TM-11845"],"subject_titles":["black (color)"],"material_id":"TM-2433","alt_material_ids":[],"material_ids":["TM-2433"],"material_titles":["terracotta"],"technique_id":null,"alt_technique_ids":[],"technique_ids":[],"technique_titles":[],"theme_titles":[],"image_id":"1bc27523-6b27-d9b1-4ea0-ec436d6fd95e","alt_image_ids":["2c4d7eb3-4817-2b18-05a7-9f1561400e64","a20c2372-77b6-d8b3-bfd8-bb75ccdb447e"],"document_ids":[],"sound_ids":[],"video_ids":[],"text_ids":[],"section_ids":[],"section_titles":[],"site_ids":[],"suggest_autocomplete_all":[{"input":["1889.14"],"contexts":{"groupings":["accession"]}},{"input":["Skyphos (Drinking Cup)"],"weight":67451,"contexts":{"groupings":["title"]}}],"source_updated_at":"2026-04-22T00:30:01-05:00","updated_at":"2026-04-22T03:36:10-05:00","timestamp":"2026-04-22T09:25:17-05:00"},{"id":4758,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/4758","is_boosted":true,"title":"Stoke-by-Nayland","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhBwAFAPUAADYpHTcwHzIrID8tIDgyIT0yJjs0JDw1Jj40J0I3JkE4KUY8Lkk8LUk\/L0xDL1JJMlpJNFhLNVhJNmVYO1pfXW1hQ2dlVX93XGtsZHFvYXp7bGpxcG16gHSBh3eJk4mXnZqjoaKyu7zJygAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACH5BAAAAAAALAAAAAAHAAUAAAYhwI4nBLJoKpyPKEO4PCgbTMAxMSgiC8EhAUA0JBBGYRAEADs=","width":8690,"height":6397,"alt_text":"Large English country landscape painting, farmers with horses, green trees."},"main_reference_number":"1922.4453","has_not_been_viewed_much":false,"boost_rank":null,"date_start":1836,"date_end":1836,"date_display":"1836","date_qualifier_title":"","date_qualifier_id":null,"artist_display":"John Constable (English, 1776-1837)","place_of_origin":"England","description":"
\u201cWhat say you to a summer morning?\u201d John Constable wrote of this painting in a letter to a friend. Even after many years living in London, Constable continued to portray the countryside, dear to him from boyhood. Stoke-by-Nayland lies a few miles from his native village of East Bergholt in Suffolk. In this view, he divided the canvas between a brilliant, airy vista toward the hamlet on the left and a shady, tunnel-like country lane leading off to the right. Constable explained in his letter that the painting depicted a speci\ufb01c time, a morning in \u201cJuly or August, at eight or nine o\u2019clock, after a slight shower during the night, to enhance the dews in the shadowed part of the picture.\u201d The artist emphasized the abundance of water through his painting technique, \ufb02ecking the surface with white highlights to create an effect of sparkling wetness. Here, the whole scene appears dewy, with a stream and puddles in the foreground and a central tree that droops from the weight of rainwater, emphasizing the fertile land.<\/p>\n
Painted as much with a palette knife as with brushes, Stoke-by-Nayland<\/em> lacks the \ufb01nish of pictures Constable exhibited publicly; it was meant as a full-scale sketch for a work that he never realized. Nonetheless, this canvas seems to capture Constable\u2019s delight in freely scribbling and scraping the image into existence\u2014what it lacks in detail it gains in atmosphere. The roughness of the surface evokes the textures of real landscape, and the coexistence of natural and built elements in the scene embodies an ideal of harmony indicative of Constable\u2019s vision of rural England.<\/p>\n","short_description":"John Constable produced this full-size oil sketch for an unrealized painting near the end of his life. Its subject\u2014the countryside of Constable's youth in Suffolk, England\u2014was one of the artist's favorites. To achieve the effect of sparkling wetness and fresh earth and air, Constable painted with a palette knife, flecking the surface with white highlights as he sketched and scraped the picture into existence.","dimensions":"126 \u00d7 169 cm (49 5\/8 \u00d7 66 1\/2 in.); Framed: 170.2 \u00d7 212.1 \u00d7 16.6 cm (67 \u00d7 83 1\/2 \u00d7 6 1\/2 in.)","dimensions_detail":[{"depth":null,"width":169,"height":126,"diameter":null,"clarification":null},{"depth":16,"width":212,"height":170,"diameter":null,"clarification":"Framed"}],"medium_display":"Oil on canvas","inscriptions":null,"credit_line":"Mr. and Mrs. W. W. Kimball Collection","catalogue_display":null,"publication_history":"C[harles] R[obert] Leslie, Memoirs of the Life of John Constable, Esq. R. A. (London: James Carpenter, 1843), 104\u2013105.\n\nC. J. Holmes, Constable and his Influence on Landscape Painting (Westminster: Archibald Constable, 1902), 249\n\n\u201cAccessions and Loans: August\u2013November, 1922,\u201d Bulletin of the Art Institute of Chicago (Dec. 1922), 98.\n\nMarguerite B. Williams, \u201cValuable Collection of Paintings Added to Chicago\u2019s Art Treasures,\u201d America Today\u2013Fort Dearborn Magazine (1924): 10\u201311, 26.\n\nA Guide to the Paintings in the Permanent Collection (Chicago: Art Institute, 1925), 131 no. 750.\n\n\u201cConstable\u2019s Stoke-by-Nayland,\u201d Bulletin of the Art Institute of Chicago (April 1926), 51\u201353.\n\nKimball Gallery of Paintings: 17th to 19th century (Chicago: Art Institute, nd), 37\u201338.\n\nCharles Holmes, \u201cMr. Shirley on Lucas and the Lucas Constable,\u201d Burlington Magazine 58 (May 1931): 253\n\nA Guide to the Paintings in the Permanent Collection (Chicago: Art Institute, 1932), 89 (ill.).\n\nC. H. Collins Baker, British Painting (London: The Medici Society, 1933), 160 (ill.).\n\nAlfred M. Frankfurter, \u201cArt in the Century of Progress,\u201d The Fine Arts (June 1933): 26 (ill.), 61.\n\nR. H. Wilenski, English Painting (London: Faber and Faber, 1933), pl. 115, 218.\n\nA Century of Progress Exhibition of Paintings and Sculpture, exh. cat. (Chicago: Art Institute, 1933), 30 cat. 190.\n\nA Century of Progress Exhibition of Paintings and Sculpture, exh. cat. (Chicago: Art Institute, 1934), 24 cat. 136.\n\nA Brief Illustrated Guide to the Collections (Chicago: Art Institute, 1935), 26.\n\nC[harles] R[obert] Leslie, Memoirs of the Life of John Constable, R. A., Andrew Shirley, ed. (London, The Medici Society, 1937), 339, pl. 124a.\n\nA Brief Illustrated Guide to the Collections (Chicago: Art Institute, 1941), 32.\n\nAn Exhibition of Paintings, Drawings and Prints by J. M. W. Turner, John Constable, R. P. Bonington, exh. cat. (Boston, Museum of Fine Arts, 1946, 51\u201352 under cat. 146.\n\nMasterpieces of English Painting: William Hogarth, John Constable, J. M. W. Turner, exh. cat. (Chicago: Art Institute, 1946), 32 cat. 44, pl. 25.\n\nMartin Davies, The British School (London: National Gallery, 1946), 31\u201332.\n\nAndrew Shirley, John Constable, R.A. (London, The Medici Society, 1948), 25 no. 124a, pl. 124a.\n\nAndrew Shirley, The Rainbow: A Portrait of John Constable (London: Michael Joseph, 1949), 199\u2013200.\n\nAn Illustrated Guide to the Collections of the Art Institute of Chicago (Chicago: Art Institute, 1956), 31 (ill.), 32.\n\nA Brief Guide to the Collections (Chicago: Art Institute, 1956), 32.\n\nAndrew Carnduff Richie, Masters of British Painting, 1800\u20131950, exh. cat. (New York: Museum of Modern Art, 1956), 30, 33 (ill.), 135 cat. 27.\n\nHelen Comstock, \u201cConstable in America,\u201d The Connoisseur 137, no. 544 (June 1956): 285\n\nJohn Canaday, Mainstreams of Modern Art (New York: Henry Holt, 1959), 265 fig. 312, 267\u201368. [2nd ed. New York: Holt, Rinehart and Winston, 1981, p. 90\u201391 fig. 106, 92\u201393.\n\nGraham Reynolds, Catalogue of the Constable Collection (London: Her Majesty\u2019s Stationery Office, 1960), 195.\n\nPaintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago: Art Institute, 1961), 82, 237 (ill.).\n\nGraham Reynolds, Constable: The Natural Painter (New York; Toronto; London: McGraw-Hill, 1965), 130, 146 no. 78, pl. 78.\n\nSketches by Constable from the Victoria and Albert Museum (Washington, D.C.: Smithsonian Institution, 1966), 13.\n\nFrederick A. Sweet, \u201cGreat Chicago Collectors,\u201d Apollo (Sep. 1966): 193 fig. 11, 196. \n\nR. B. Beckett, ed., John Constable\u2019s Correspondence, vol. 5, Various Friends, with Charles Boner and the Artist\u2019s Children (Suffolk: Suffolk Records Society, 1967), 44\u201345\n\nJohn Maxon, The Art Institute of Chicago (New York: Harry N. Abrams, 1970), 264 (ill.), 279\n\nKatherine Kuh, \u201cThese are a few of my favorite things,\u201d Chicago Tribune, April 23, 1972, 33 (ill.), 34.\n\nBasil Taylor, Constable: Paintings, Drawings and Watercolors (London: Phaidon Press, 1973), no. 63 pl. 165.\n\nM. Rosenthal, \u201cReview: Catalogue of the Constable Collection\u2026\u201d Connoisseur 186 (June 1974): 151.\n\nRobert Hoozee, L\u2019opera completa di John Constable (Milan: Rizzoli, 1979), 145 no. 564 (ill.).\n\nJohn Morse, Old Master Paintings in North America: Over 3,000 Masterpieces by 50 Great Artists (Nw York: Abbeville Press, 1979), 56.\n\nGraham Reynolds, Constable\u2019s England, exh. cat. (New York: Metropolitan Museum of Art, 1983), 166 cat. 60 (ill).\n\nLeslie Parris, The Tate Gallery Constable Collection (London: Tate Gallery, 1987), 63 fig. 7, 64, 64n6.\n\nCharles S. Rhyne, \u201cConstable\u2019s Last Major Oil Sketch: The Chicago \u2018Stoke-by-Nayland\u2019,\u201d unpublished manuscript, [1987?].\n\nLawrence Cunningham and John Reich, Culture and Values: A Survey of the Western Humanities, vol. 2 (New York: Holt, Rinehart and Winston, 1982), 316, 317 fig. 203.\n\nMichael Rosenthal, Constable: The Painter and his Landscapes (New Haven and London: Yale University Press, 1983), 236, fig. 263.\n\nGraham Reynolds, The Later Paintings and Drawings of John Constable, 2 vols. (New Haven and London: Yale University Press, 1984), v. 1, 292 no. 36.19; v. 2, pl. 1070.\n\nIan Leming-Williams and Leslie Parris, The Discovery of Constable (London: Hamish Hamilton, 1984), 80, 114\u201315.\n\nRichard R. Brettell and Steven Starling, The Art of the Edge: European Frames 1300-1900, exh. cat. (Chicago: Art Institute, 1986), 104 cat. 59, inaccurately numbered 1922.4433.\n\nMalcolm Cormack, Constable (London: Cambridge University Press, 1986), 225 fig. 213, 228.\n\nJames N. Wood and Katherine C. Lee, Master paintings in the Art Institute of Chicago (Chicago: Art Institute of Chicago, 1988), 50.\n\nIan Fleming-Williams, Constable and his Drawings (London: Philip Wilson Publishers, 1990), 299\u2013301 fig. 277.\n\nCharles S. Rhyne, \u201cConstable\u2019s First Two Six-foot Landscapes,\u201d in Studies in the History of Art 24 (Hanover and London: University Press of New England, 1990), pl. 2, 119\u201321, 125n3, 128n45.\n\nLeslie Paris and Ian Fleming-Williams, Constable, exh. cat. (London: Tate Gallery, 1991), 15,348, 359, 380\u201381 cat. 218, 472.\n\nMalcolm Warren, \u201cJohn Constable,\u201d unpublished manuscript, [1992?].\n\nJon Margolis, \u201cWhen Paintings talk\u2026,\u201d Chicago Tribune Magazine (Sep. 17, 1995): 21\n\nJohn Gage, Constable: le choix de Lucian Freud, exh cat. (Paris: R\u00e9union des mus\u00e9es nationaux, 2002), 256 (detail ill.), 257, 267\u201368 cat. 190.\n\nLucian Freud and William Feaver, Lucian Freud on John Constable, exh. cat. (London: British Council, 2003), 54, cat. 50.\n\nAnne Lyles, Constable: The Great Landscapes, exh. cat. (London: Tate, 2006), 193 cat. 68 (ill.).\n\nWilliam Feaver, \u201cI was Lucian Freud\u2019s spare pair of eyes,\u201d The Guardian, Sep. 8, 2019 https:\/\/www.theguardian.com\/artanddesign\/2019\/sep\/08\/i-was-lucian-freuds-spare-pair-of-eyes<\/a> [accessed Sep. 16, 2019]\n\nJames Rondeau, ed., Paintings at the Art Institute of Chicago: Highlights of the collection (New Haven and London: Yale University Press, 2025), 57 (ill.).\n\nAmy Concannon, ed., Turner and Constable: Rivals and Originals, exh. cat. (London: Tate, 2025), 50, 209, 218, 243, cat. 176.","exhibition_history":"Art Institute of Chicago, A Century of Progress, June 1\u2013Nov. 1, 1933, cat. 190.\n\nArt Institute of Chicago, A Century of Progress, June 1\u2013Nov. 1, 1934, cat. 136.\n\nArt Institute of Chicago, Masterpiece of the Month, April 1940, no cat.\n\nArt Institute of Chicago, Masterpieces of English Painting: Hogarth, Constable, Turner, Oct. 15\u2013Dec. 22, 1946.\n\nNew York, Museum of Modern Art, Masters of British Painting, 1800\u20131950, Oct. 2\u2013Dec. 2, 1956, cat. 27; St. Louis, City Art Museum, Jan. 10\u2013Mar. 2, 1957; San Francisco, California Palace of the Legion of Honor, Mar. 28\u2013May 12, 1957 [New York only].\n\nNew York, Metropolitan Museum of Art, Constable's England, Apr. 13\u2013Sep. 4, 1983.\n\nArt Institute of Chicago, The Art of the Edge: European Frames 1300-1900, Oct. 17\u2013Dec. 14, 1986, cat. 59, inaccurately numbered 1922.4433.\n\nLondon, Tate Gallery, John Constable, June 12-Sep. 15, 1991, cat. 218.\n\nParis, Galeries Nationales du Grand Palais, Constable: le choix de Lucian Freud, Oct. 8, 2002\u2013Jan. 13, 2003, cat. 190.\n\nLondon, Tate Britain, Constable: The Great Landscapes, June 1\u2013Aug. 28, 2006, cat. 68; Washington, D.C., the National Gallery, Oct. 1\u2013 Dec. 31, 2006; San Marino, Huntington Library, Feb. 3\u2013Apr. 29, 2007.\n\nLondon, Tate Britain, Turner and Constable: Rivals and Originals, November 27, 2025\u2013April 12, 2026, cat. 176, as c. 1835\u20137.","provenance_text":"Sold, the artist\u2019s estate sale, Foster and Sons, London, May 16, 1838, lot 40 together with a sketch of the Opening of Waterloo Bridge to Joy [Graves 1918 and Day 1968]. Miss Morris; sold June 26, 1860 lot 108 to Cox [annotated sale cat. in the Nederlands Instituut voor Kunstgeschiedenisn, The Haag; copy in curatorial object file. See also Redford 1888]. Jonathan Nield (1790\u20131887), Dunster House, Rochdale, England; sold, Christie\u2019s, London, May 3, 1879, lot 13 to Permain [annotated sale cat. in curatorial object file. See also Redford 1888, Graves 1918 and Day 1968]. Sir Frederick Thorpe Mappin (1821\u20131910); sold, his estate sale, Christie\u2019s, London, June 17, 1910, lot 14 to Arthur J. Sulley & Company, London [this and the following according to Knoedler Stock Book 5, no. 12466, Getty Research Institute, Los Angeles; copy in curatorial object file. 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(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. 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Guggenheim Museum, Gabriele M\u00fcnter: Contours of a World, Nov. 7, 2025-Apr. 26, 2026, no cat. no.","provenance_text":"The artist, Munich; sold to Arthur Jerome Eddy (1859-1920), Chicago, 1914 [Barnett 2022]; by descent to his wife Lucy O. Eddy (1863-1931) and son Jerome O. Eddy (1891-1951), 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 \/ VG Bild-Kunst, Bonn","has_multimedia_resources":false,"has_educational_resources":false,"has_advanced_imaging":false,"colorfulness":64.2327,"color":{"h":43,"l":47,"s":74,"percentage":0.045982284937236766,"population":445},"latitude":null,"longitude":null,"latlon":null,"is_on_view":false,"on_loan_display":" On loan to Solomon R. Guggenheim Museum in New York City for Gabriele M\u00fcnter: Contours of a World<\/i><\/p>","gallery_title":null,"gallery_id":null,"nomisma_id":null,"artwork_type_title":"Painting","artwork_type_id":1,"department_title":"Modern Art","department_id":"PC-11","artist_id":44013,"artist_title":"Gabriele M\u00fcnter","alt_artist_ids":[],"artist_ids":[44013],"artist_titles":["Gabriele M\u00fcnter"],"category_ids":["PC-11"],"category_titles":["Modern Art"],"term_titles":["painting","interiors","Modern Art Highlights","Century of Progress","world's fairs","Chicago World's Fairs","dresses","fashion","interior design","plants","still life","queens","royalty","women","flowers","dolls","puppets"],"style_id":null,"style_title":null,"alt_style_ids":[],"style_ids":[],"style_titles":[],"classification_id":"TM-9","classification_title":"painting","alt_classification_ids":["TM-14404"],"classification_ids":["TM-9","TM-14404"],"classification_titles":["painting","Modern Art Highlights"],"subject_id":"TM-12285","alt_subject_ids":["TM-12169","TM-11299","TM-12176","TM-12529","TM-8663","TM-12215","TM-12058","TM-8937","TM-8791","TM-12150","TM-8735","TM-10482","TM-8856","TM-14414"],"subject_ids":["TM-12285","TM-12169","TM-11299","TM-12176","TM-12529","TM-8663","TM-12215","TM-12058","TM-8937","TM-8791","TM-12150","TM-8735","TM-10482","TM-8856","TM-14414"],"subject_titles":["interiors","Century of Progress","world's fairs","Chicago World's Fairs","dresses","fashion","interior design","plants","still life","queens","royalty","women","flowers","dolls","puppets"],"material_id":null,"alt_material_ids":[],"material_ids":[],"material_titles":[],"technique_id":null,"alt_technique_ids":[],"technique_ids":[],"technique_titles":[],"theme_titles":[],"image_id":"6b5916ab-baa7-caa0-fcc2-314f6ec268bc","alt_image_ids":[],"document_ids":[],"sound_ids":[],"video_ids":[],"text_ids":[],"section_ids":[],"section_titles":[],"site_ids":[],"suggest_autocomplete_all":[{"input":["1931.521"],"contexts":{"groupings":["accession"]}},{"input":["Still Life with Queen"],"weight":3595,"contexts":{"groupings":["title"]}}],"source_updated_at":"2026-04-22T00:30:01-05:00","updated_at":"2026-04-22T03:36:06-05:00","timestamp":"2026-04-22T09:25:17-05:00"},{"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":"2026-04-22T00:30:01-05:00","updated_at":"2026-04-22T03:36:05-05:00","timestamp":"2026-04-22T09:25:17-05:00"},{"id":11723,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/11723","is_boosted":true,"title":"Woman at Her Toilette","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhBwAFAPUAAE9MQV1XRl5YRmNdT2JgVGplV3RtW3JsX35wXW9rYHl3cX17eYJ4a4+Hd4GBfoaDf4iEfY6JgYmKhZuXjZWSkJaSkJydlpqZmZqamp+dmpqbnamelqCemqShk6Cgm6ujnK6nn7m0rbSzsgAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACH5BAAAAAAALAAAAAAHAAUAAAYhwABDYnBYOgTFAvHAcA6JyIZyyQwAFZHGMykIPiEQpBEEADs=","width":4946,"height":3703,"alt_text":"Painted portrait dominated by loose, large brushstrokes of a woman, seen from the back, wearing a gauzy white off-the-shoulder dress and black choker, blond hair swept up, examining herself in a mirror at left. The background is a feathered swirl suggesting floral pattern in cool pale tones of gray, purple, pink, and blue."},"main_reference_number":"1924.127","has_not_been_viewed_much":false,"boost_rank":null,"date_start":1870,"date_end":1880,"date_display":"1875\u201380","date_qualifier_title":"","date_qualifier_id":null,"artist_display":"Berthe Morisot (French, 1841\u20131895)","place_of_origin":"France","description":" In Woman at Her Toilette<\/em>, Berthe Morisot provided a glimpse into the private life of a Parisienne\u2014one of the fashionable, urban women who epitomized modernity in late nineteenth-century France. The \ufb01gure is shown at her vanity table after a ball, still wearing her earrings and a velvet ribbon around her neck as she reaches up to take down her chignon hairstyle. In the background, Morisot\u2019s soft, feathery brushstrokes suggest a \ufb02 oral-patterned bedspread and wallpaper. The artist applied the same gauzy technique to the mirror, obscuring the \ufb01 gure\u2019s re\ufb02ection and thus disrupting the trope of women gazing into mirrors as a symbol of vanity. Morisot signed her name along the bottom of the mirror, an enigmatic detail that may suggest that the \ufb01gure is a stand-in for the artist herself.<\/p>\n Consistent with the Impressionist aesthetic that Morisot fervently espoused, In Woman at Her Toilette<\/em> attempts to capture the essence of modern life in summary, understated terms. Morisot exhibited in seven of the eight Impressionist group shows; in 1880 this painting was included in the \ufb01fth exhibition, where her work received high acclaim. In addition to domestic interiors such as this one, Morisot\u2019s pictorial realm included studies of women and children, gardens, \ufb01elds, and vacation homes by the sea.<\/p>\n","short_description":"Rendered with feathery brushstrokes in shades of lavender, pink, blue, white, and gray, this Impressionist painting captures a subject often explored by male artists of the day but seldom broached by the period's few women artists. Morisot presents a decidely female perspective, intimate yet not eroticized. She signed her name along the bottom of the mirror, as if to suggest that the image in her painting is as ephemeral as a silvery re\ufb02ection.","dimensions":"60.3 \u00d7 80.4 cm (23 3\/4 \u00d7 31 5\/8 in.); Framed: 85.8 \u00d7 105.5 \u00d7 10.5 cm (33 3\/4 \u00d7 41 1\/2 \u00d7 4 1\/8 in.)","dimensions_detail":[{"depth":null,"width":80,"height":60,"diameter":null,"clarification":null},{"depth":10,"width":105,"height":85,"diameter":null,"clarification":"Framed"}],"medium_display":"Oil on canvas","inscriptions":"Inscribed lower left: Berthe Morisot","credit_line":"Stickney Fund","catalogue_display":null,"publication_history":"W. Dewhurst, \u201cImpressionist Painting: Its Genesis and Development,\u201d International Studio 19 (May, 1903), pp. 165, 168 (ill.).\n\nRoger Marx, \u201cLes Femmes Peintres et l\u2019impressionisme, Berthe Morisot,\u201d Gazette des Beaux-Arts, per. 3, vol. 38 (December 1907), pp. 497 (ill.), 498.\n\nThe Art Institute of Chicago Annual Report 1924 (Chicago, 1924), ill.\n\nR.M.F., \u201c A Painting by Berthe Morisot,\u201d The Art Institute of Chicago Bulletin 18 (1924), pp. 50, 51, (ill.)\n\nThe Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection, (Chicago, 1925), p. 65 (ill.).\n\nMonique Angoulvent, Berthe Morisot (Paris, 1931), pp. 55, 121, no. 83.\n\nThe Art Institute of Chicago, Handbook (Chicago, 1932), pp. 62, ill. 164.\n\nD.C. Rich, \u201cFranz\u00f6sische Impressionisten im Art Institute zu Chicago,\u201d Pantheon 11 (March 1933), pp. 77 (ill.),78.\n\nLionello Venturi, Les Archives de l\u2019impressionisme vol. 2 (Paris, 1939), p. 257.\n\nHans Huth, \u201cImpressionism Comes to America,\u201d Gazette des Beaux-Arts, s\u00e9r. 6, vol. 29 (April, 1946), pp. 225-252, fig. 17.\n\nThe Art Institute of Chicago, A Brief Guide to the Collections (Chicago, 1956), p. 34. \n\nThe Art Institute of Chicago, Paintings in the Art Institute, A Catalogue of the Picture Collection (Chicago, 1961), pp. 340, ill. p. 288.\n\nM.-L. Bataille and Georges Wildenstein, Berthe Morisot: Catalogue des peintures, pastels, aquarelles (Paris, 1961), no. 84, pl. 37.\n\nJean Dominique Rey, Berthe Morisot (New York, 1982), pp. 29, 35 (ill.), 37, 51.\n\nRichard R. Brettell, French Impressionists (Chicago, 1987), pp. 24 (det. ill.), 25, 27 (ill.), 118.\n\nAnne Higonnet, Berthe Moristot\u2019s Images of Women (Cambridge, 1992), pp. 106, 155, pl. 7.\n\nAlain Clairet et al., Berthe Morisot 1841-1895: Catalogue raisonn\u00e9 de l\u2019oeuvre peint (Montolivet, 1997), no. 85 (ill.).\n\nWendy Slatkin, Women Artists in History: From Antiquity to the Present (Upper Saddle River, 1997), pp. 137-139 (ill.).\n\nRichard R. Brettell et al., Impression: Painting Quickly in France, 1860-1890, exh. cat. (London, The National Gallery and Williamston, Mass., Sterling and Francine Clark Art Institute, 2001), p. 91 (ill.).\n\nRichard R. Brettell and Anne-Brigitte Fonsmark, Gauguin and Impressionism, exh. cat. (Copenhagen, Ordrugpgaard, 2005\/Forth Worth, Kimbell Art Museum, 2005-6), p. 85, fig. 62.\n\nThe Age of Impressionism at the Art Institute of Chicago (New Haven and London, 2008), cat. 19, pp. 58\u201359 (ill.).\n\nSylvie Patry, ed., Inventing Impressionism: Paul Durand-Ruel and the Modern Market (London: National Gallery Company, 2015), 134-35 (detail ill.), 145 fig. 95, 260 cat. 60.\n\nKang, Cindy, et. al., Berthe Morisot: Woman Impressionist, exh. cat. (Rizzoli Electa, 2018), 76, 78, 91, 93, 110, cat. 30.\n\nJason Farago, \"Images for a Hazy New Age: Mapping a Transformation in the Depiction of Women,\" New York Times, Nov. 23, 2018, c20 ill.\n\nSylvie Patry in Berthe Morisot, exh. cat. (Paris: Flammarion, 2019), 81, 86-87 cat. 37.\n\nNicole R. Myers, \"Morisot et la ffemme moderne,\" in Berth Morisot, exh. cat. (Paris: Flammarion, 2019), 180.\n\nMarianne Mathieu, ed., Berthe Morisot: Shaping Impressionism, exh. cat. (London: Dulwich Picture Gallery, 2023), 1 (detail), 20, 33, 56, 65, 102-03 cat. 7.\n\nJames Rondeau, ed., Paintings at the Art Institute of Chicago: Highlights of the collection (New Haven and London: Yale University Press, 2025), 75 (ill.).\n\nEmily A. Beeny, ed., Manet & Morisot, exh. cat. (New Haven and London: Yale University Press, 2025), 45\u201346, 52 (detail ill.), 127, 227\u201328, 257, 297, pl. 45.","exhibition_history":"Possibly Paris, 2\u00e9me Exposition de Peinture (1), Apr. 1876. [see D. Rouart, Correspondence de Berthe Morisot (Paris, 1950), pp. 98, 257]\n\nParis, 5me Expostition de Peinture, 1880, cat. 115.\n\nParis, Durand-Ruel, Berthe Morisot, Exposition de son oeuvre, Mar. 1896, cat. 68.\n\nLondon, Durand-Ruel at the Grafton Galleries, A Selection From the Pictures by Boudin, C\u00e9zanne, Degas, Manet, Monet, Morisot, Pissarro, Renoir, Sisley, cat. 162 (ill.).\n\nPittsburgh, Penn., Carnegie Institute, Exhibition of Paintings \u00c9douard Manet, Pierre Renoir, Berthe Morisot, Oct.-Dec. 1924, cat. 29 (ill.).\n\nThe Arts Club of Chicago, Exhibitions of Paintings of Three Woman Painters, Nov. 1931, not listed in cat.\n\nThe Art Institute of Chicago, A Century of Progress: Exhibition of Paintings and Sculpture, June 1-Nov. 1, 1933, cat. 334 (ill.).\n\nThe Art Institute of Chicago, A Century of Progress: Exhibition of Paintings and Sculpture, June 1-Nov. 1, 1934, cat. 257.\n\nThe Toledo Museum of Art, French Impressionists and Post-Impressionists, Nov. 1934, cat. 11.\n\nNew York, The Metropolitan Museum of Art, French Painting from David to Toulouse-Lautrec, Feb.-Mar. 1941, cat. 95 (ill.).\n\nThe Arts Club of Chicago, Berthe Morisot, Mar.-Apr. 1943, cat. 1.\n\nNew York, Wildenstien and Co., Berthe Morisot, Nov.-Dec. 10, 1960, cat. 12 (ill.).\n\nNew York, Wildenstein and Co., Paris\u2013New York: A Continuing Romance, Nov. 3-Dec. 19, 1977, cat. 76 (ill.).\n\nSouthampton, New York, The Parrish Art Museum, William Merritt Chase in the Company of Friends, May 12- July 29, 1979, cat. 79 (ill.). \n\nSt. Petersburg, Florida, Museum of Fine Arts, Paris in the Belle Epoque: People and Places, Mar. 1-Apr. 6, 1980, cat. 56 (ill.).\n\nAlbi, Mus\u00e9e Toulouse- Lautrec, Tr\u00e9sors impressionnistes du Mus\u00e9e de Chicago, June 27-Aug. 31, 1980, cat. 23 (ill.).\n\nTokyo, The Seibu Museum of Art, The Impressionist Tradition: Masterpieces from the Art Institute of Chicago, Oct. 18-Dec. 17, 1985, cat. 21 (ill.); Fukuoka Art Museum, Jan. 5-Feb. 2, 1986 and Kyoto Municipal Museum of Art, Mar. 4-Apr. 13, 1986.\n\nWashington, D.C., National Gallery of Art, The New Painting: Impressionism 1874-1886, Jan. 17- Apr. 6, 1986, cat. 96 (ill.); Fine Art Museum of San Francisco, M.H. de Young Memorial Museum, Apr. 19- July 6, 1986.\n\nWashington, D.C., National Gallery of Art, Berthe Morisot: Impressionist, Sep. 6-Nov. 29, 1987, cat. 35; Fort Worth, Kimbell Art Museum, Dec. 12, 1987-Feb. 21, 1988; Mount Holyoke College Art Museum, Mar. 14-May 9, 1988, shown in Washington and Forth Worth only.\n\nLeningrad [St. Petersburg], Hermitage Museum, Ot Delakrua do Matissa: shedevry frantsuzsko\u012d zhivopici XIX-nachala XX veka, iz Muieia Metropoliten v Niu-\u012corke i Khudozhestvennogo Instituta v Chikago [From Delacroix to Matisse: Great Paintings From the XIX century to the Beginning of the XXth century From Metropolitan Museum of Art in New York and the Art Institute of Chicago], Mar. 15-May 19, 1988, cat. 18; Moscow, Pushkin Museum, June 10-July 30, 1988.\n\nLille, Palais de Beaux-Arts de Lille, Berthe Morisot 1841-1895, Mar. 10-June 9, 2002, cat .49 (ill.); Martigny, Fondation Pierre Gianadda, June 20-Nov. 19, 2002.\n\nCopenhagen, Ny Carlsberg Glyptotek, Woman in Impressionism: From Mythical Feminine to Modern Woman, Oct. 6, 2006-Jan. 21, 2007, cat. 71 (ill.).\n\nFort Worth, Tex., Kimbell Museum of Art, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29\u2013Nov. 2, 2008, cat. 19 (ill.).\n\nParis, Mus\u00e9e Luxembourg, Inventing Impressionism: Paul Durand-Ruel and the Modern Market, Oct. 9, 2014-Feb. 8, 2015, cat. 60; London, National Gallery, Mar. 4-May 31, 2015; Philadelphia Museum of Art, Inventing Impressionism, June 18-Sep. 13, 2015.\n\nWilliamstown, MA, Clark Art Institute, Women Artists in Paris, June 8 - Sep. 3, 2018\n\nPhiladelphia, Barnes Foundation, Berthe Morisot, Woman Impressionist, Oct. 20, 2018 - Jan. 14, 2019, cat. 30; Dallas Museum of Art, Feb. 24 - May 26, 2019; Paris, Mus\u00e9e d'Orsay, June 17 - Sep. 22, 2019, cat. 30.\n\nParis, Mus\u00e9e d'Orsay, Berthe Morisot, June 18-Sep. 22, 2019, cat. 37.\n\nLondon, Dulwich Picture Gallery, Berthe Morisot: Shaping Impressionism, Apr. 5 - Sep. 10, 2023, cat. 7; Paris, Mus\u00e9e Marmottan Monet, Oct. 18, 2023 - Mar. 10, 2024.\n\nFine Arts Museums of San Francisco, Legion of Honor, Manet & Morisot, Oct. 11, 2025-Feb. 15, 2026, no cat. no., pl. 45; Cleveland Museum of Art, Mar. 29\u2013July 5, 2026 (San Francisco only)","provenance_text":"William Merritt Chase, New York; his sale, New York, American Art Galleries, 1896, lot 1093 [according to Clairet 1997]. Mary Cassatt, 1896 [see Paris 1896]. Durand-Ruel, Paris, 1905 [see London 1905]. Wildenstein & Co., New York [according to Chicago 1933]. Paul Rosenberg, New York by 1924; sold to the Art Institute, 1924.","edition":null,"publishing_verification_level":"Web Cataloged","internal_department_id":14,"fiscal_year":1924,"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":16.6011,"color":{"h":207,"l":57,"s":51,"percentage":0.0011279616041869934,"population":6},"latitude":41.8795584763067,"longitude":-87.6232921901436,"latlon":"41.879558476307,-87.623292190144","is_on_view":false,"on_loan_display":" On loan to Cleveland (Ohio). 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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<\/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":"2026-04-22T00:30:01-05:00","updated_at":"2026-04-22T03:36:04-05:00","timestamp":"2026-04-22T09:25:17-05:00"},{"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<\/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":"2026-04-22T00:30:01-05:00","updated_at":"2026-04-22T03:36:03-05:00","timestamp":"2026-04-22T09:25:17-05:00"},{"id":14591,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/14591","is_boosted":true,"title":"Woman Reading","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhBAAFAPQAAB8bHCAdHjQwLTgyLEQ+N0dORUVJSFtRSlRbTE5UWmFbTWVvWXBrX21saH15a35\/c4qGe4WIfoqKfYiOfQAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACH5BAAAAAAALAAAAAAEAAUAAAUR4LQUiPQcRhNBCeMQgTIIQAgAOw==","width":12091,"height":14939,"alt_text":"A young woman in a dark hat and coat with light ruffled collar sits reading a large periodical held up in her gloved hands. Flowers and foliage are suggested behind her."},"main_reference_number":"1933.435","has_not_been_viewed_much":false,"boost_rank":null,"date_start":1880,"date_end":1882,"date_display":"1880\u201382","date_qualifier_title":"","date_qualifier_id":null,"artist_display":"\u00c9douard Manet (French, 1832\u20131883)","place_of_origin":"France","description":" During the late nineteenth century, Parisian caf\u00e9s were the gathering places of artists and writers and were ideal locations for observing the urban scene. Many Impressionist paintings depict the Caf\u00e9 Nouvelle-Ath\u00e8nes on the rue Pigalle, where two tables were reserved for \u00c9douard Manet and his circle\u2014a group that included the painters Edgar Degas<\/a>, Claude Monet<\/a>, Camille Pissarro<\/a>, and Pierre-Auguste Renoir<\/a>, and the writers Charles Baudelaire and \u00c9mile Zola<\/a>.<\/p>\n At first glance, this fashionably dressed young woman appears to have been captured sitting at a favorite caf\u00e9: the marble tabletop, beer mug, and magazine attached to a wooden bar suggest such a setting, and her heavy clothing and kid gloves indicate that she is at an outdoor table and that the weather is cool. However, the floral background is actually one of Manet's paintings and the caf\u00e9 a re-creation in his studio.<\/p>\n Woman Reading<\/em> is one of the most Impressionist of Manet\u2019s images; the quick, free brushstrokes and light colors are characteristic of his technique late in his career. Painted only a few years before his death, this work admirably captures a fleeting moment, the sense of modern life that Manet and his contemporaries sought to represent.<\/p>\n","short_description":"\u00c9douard Manet was a pivotal figure in the development of Impressionism and modern art. Here, an elegantly dressed Parisian woman reads a magazine, a beer close at hand\u2014a scene that would have struck contemporary viewers as fashionable and modern. While the woman appears to be outdoors, one of Manet\u2019s paintings serves as a backdrop and other props suggest the scene was staged in Manet\u2019s studio.","dimensions":"61.2 \u00d7 50.7 cm (24 1\/16 \u00d7 19 7\/8 in.); Framed: 83.2 \u00d7 73.1 \u00d7 9.9 cm (32 3\/4 \u00d7 28 3\/4 \u00d7 3 7\/8 in.)","dimensions_detail":[{"depth":null,"width":50,"height":61,"diameter":null,"clarification":null},{"depth":9,"width":73,"height":83,"diameter":null,"clarification":"Framed"}],"medium_display":"Oil on canvas","inscriptions":"Inscribed lower left: Manet","credit_line":"Mr. and Mrs. Lewis Larned Coburn Memorial Collection","catalogue_display":null,"publication_history":"Th\u00e9odore Duret, Histoire d\u2019\u00c9douard Manet et de son oeuvre (Paris, 1902), no. 255.\n\nTh\u00e9odore Duret, Manet and the French Impressionists (London, 1910), p. 251, no. 255.\n\nL\u00e9on Leenhoff, Manet: Ensemble de notes et de documents sur le peintre, c. 1910. Biblioth\u00e8que nationale de France, Estampes et photographie, RESERVE 8-YB3-2401, fol. 81, https:\/\/gallica.bnf.fr\/ark:\/12148\/btv1b10548955r\n\nEtienne Moreau-N\u00e9laton, Manet: Racont\u00e9 par lui-m\u00eame vol. 2 (Paris, 1926), p. 53, fig. 241, 346 (ill.).\n\n\u201cAus der soeben er\u00f6ffneten Impressionisten-Sonderausstellung,\u201d Der Cicerone 20, 3 (February 1928), p. 113 (ill.).\n\nArt News 27, 40 (September 1929), p. 12 (ill.).\n\n\u201cChicago Women Acquires a Famous Manet,\u201d Art Digest 4 (October 1, 1929), p. 11 (ill.).\n\n\u201cModern Art in New York,\u201d Kunst und K\u00fcnstler 28, 2 (November 1929), p. 82 (ill.).\n\nThe Art 16, 6 (1930), p. 411 (ill.).\n\nA. Tabarant, Manet: Histoire catalographique (Paris, 1931), p. 341, no. 293.\n\nPaul Jamot and Georges Wildenstein, Manet (Paris, 1932), vol. 1, p. 161, no. 334, vol. 2, p. 71, fig. 158.\n\n\u201cMasterpieces of the French Impressionists,\u201d The Fine Arts 19, 1 (June 1932), p. 23 (ill.).\n\nDaniel Catton Rich, \u201cThe Bequest of Mrs. L. L. Coburn,\u201d Art Institute of Chicago Bulletin 26 (1932), pp. 67 (ill.), 68.\n\n\u201cL\u2019Exposition d\u2019Art fran\u00e7ais de l\u2019Art Institute of Chicago,\u201d Formes 33 (1933), p. 382.\n\nThe Art Institute of Chicago, A Brief Guide to the Collections (Chicago, 1936), p. 34.\n\nTh\u00e9odore Duret, Manet, trans. J. E. Crawford Flitch (New York, 1937), pl. 37.\n\nA. M. Franfurter, \u201cManet, First American Retrospective,\u201d Art News (March 20, 1937), p. 24.\n\nArts and Dekorations 46 (April 1937), p. 19 (ill.).\n\nRobert Rey, Manet (New York, 1938), pp. 69 (ill.) 162, no. 69.\n\nA. Tabarant, Manet et ses oeuvres (Paris, 1947), pp. 237, 328, 541, no. 297 (ill.).\n\nCharles Fabens Kelley, \u201cChicago: Record Years,\u201d Art News 51, 4 (1952), p. 107.\n\n\u201cFrench Painters: VIII. Edouard Manet,\u201d Apollo (February 1953), pp. 49\u201352, (ill.) 49.\n\nEric Newton, \u201cFrench Painters, VIII-\u00c9douard Manet,\u201d Apollo 57 (1953), p. 49.\n\nThe Art Institute of Chicago, A Brief Guide to the Collections (Chicago, 1956), p. 34.\n\nThe Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), pp. 27, (ill.) 259.\n\nFrederick A. Sweet, \u201cGreat Chicago Collectors, \u201c Apollo 84 (September 1966), pp. 203, (ill) 201, fig. 29.\n\nGeorge Heard Hamilton, \u201cIs Manet Still Modern?,\u201d Art News 31 (1966), p. 162.\n\nThe Art Institute of Chicago, Calendar 61, 1 (January 1967), pp. 4, 5 (ill.).\n\nPhoebe Pool and Sandra Orienti, The Complete Paintings of Manet (New York, 1967), no. 261 (ill.).\n\nDenis Rouart and Daniel Wildenstein, Edouard Manet: Catalogue raisonn\u00e9: Peintures vol. 1 (Paris, 1975), p. 244, no. 313 (ill.).\n\nAnne Coffin Hanson, Manet and the Modern Tradition (New York, 1977), pp. 66, 174, pl. 7, fig. 113.\n\nDiane Kelder, Great Book of Impressionism (New York, 1980), p. 113 (ill.).\n\nKathleen Adler, Manet (Oxford, 1986), pp. 200-1 (ill.).\n\nRichard R. Brettell, French Impressionists (Chicago, 1987), ill.\n\nThe Art Institute of Chicago, Master Paintings in The Art Institute of Chicago (Chicago, 1988), p. 62 (ill.).\n\nRobert Snell, \u201cSeen Through A Temperament,\u201d Times Literary Supplement (December 15, 2000), p. 17.\n\nThe Age of Impressionism at the Art Institute of Chicago (New Haven and London, 2008), cat. 21, p. 61 (ill.).\n\n\u201cManet, Cat. 19, Woman Reading: Tombstone,\u201d in Manet Paintings and Works on Paper at the Art Institute of Chicago (Art Institute of Chicago, 2017), https:\/\/publications.artic.edu\/manet\/reader\/manetart\/section\/140020L<\/a>.\n\nScott Allan, Emily A. Beeny, and Gloria Groom, Manet and Modern Beauty: The Artist\u2019s Last Years (Los Angeles: Getty, 2019), iv (detail), 13, 80, 87n 42, 87n44, 152, 158n14, 238 cat. 56, 303-04.\n\nJames Rondeau, ed., Paintings at the Art Institute of Chicago: Highlights of the collection (New Haven and London: Yale University Press, 2025), 95 (ill.).\n\nEmily A. Beeny, ed., Manet & Morisot, exh. cat. (New Haven and London: Yale University Press, 2025), 54, 147, 299, pl. 63.","exhibition_history":"Paris, Ecole Nationale des Beaux-Arts, Exposition des Oeuvres de \u00c9douard Manet, January 1884, cat. 92.\n\nPittsburgh, Carnegie Institute, Exhibition of Paintings: \u00c9douard Manet, Pierre Renoir, Berthe Morisot, October\u2013December 1924, cat. 37 (ill.).\n\nParis, Bernheim-Jeune, Exposition des Oeuvre de Manet, 1925, cat. 78.\n\nParis, Bernheim-Jeune, Exposition des Oeuvre de Manet, April\u2013May 1928, cat. 25 (ill.).\n\nBerlin, Goldschmidt Galerie, Impressionisten Sondersusstellung, 1928.\n\nThe Art Institute of Chicago, Mrs. L. L. Coburn Collection, 1932, cat. 17 (ill.).\n\nThe Art Institute of Chicago, Century of Progress Exhibition of Paintings and Sculpture, June 1\u2013November 1, 1933, cat. 328.\n\nThe Art Institute of Chicago, Century of Progress Exhibition of Paintings and Sculpture, June 1\u2013November 1, 1934, cat. 249.\n\nNew York, Wildenstein & Co., Edouard Manet: A Retrospective Loan Exhibition for the Benefit of French Hospitals, March\u2013April 1937, cat. 29 (ill.).\n\nSan Francisco, Palace of Fine Arts, Golden Gate International Exposition 1940, cat. 276 (ill.).\n\nNew York, Metropolitan Museum of Art, French Painting From David Toulouse-Lautrec, February\u2013March 1941, cat. 81.\n\nDes Moines, Iowa, Art Center, 19th and 20th Century European and American Art, 1948, no cat.\n\nBirmingham, Ala., Museum of Art, Catalogue of the Opening Exhibition, April 8\u2013June 3, 1951, p. 29.\n\nThe Philadelphia Museum of Art, Manet, November 3\u2013December 11, 1966, cat. 161 (ill.); traveled to The Art Institute of Chicago, February 13\u201319, 1967.\n\nThe Art Institute of Chicago, Art at the Time of the Centennial, June 19\u2013August 8, 1976, extended to August 15, 1976, no cat. \n\nAlbi, Mus\u00e9e Toulouse-Lautrec, Tr\u00e9sors Impressionnistes du Mus\u00e9e de Chicago, June 27\u2013August 31, 1980, cat. 4 (ill.).\n\nWashington D.C., National Gallery of Art, Manet and Modern Paris, December 5, 1982\u2013March 6, 1983, cat. 22 (ill.).\n\nParis, Galeries nationales du Grand Palais, Manet: 1832\u20131883, April 22\u2013August 1, 1983, cat. 174 (ill.); traveled to New York, Metropolitan Museum of Art, September 10\u2013November 27, 1983.\n\nTokyo, Seibu, Museum of Art, The Impressionist Tradition: Masterpieces from The Art Institute of Chicago, October 18\u2013December 17, 1985, cat. 34 (ill.); traveled to Fukuoka, Art Museum, January 5\u2013February 2, 1986; and Kyoto, Municipal Museum of Art, March 4\u2013April 13, 1986.\n\nTokyo, ASAHI, Masterworks of Modern Art From The Art Institute of Chicago, 1994, cat. 9 (ill.); traveled to Nagaoka, Niiagata Prefectural Museum of Modern Art; Nagoya, Aichi Prefectural Museum of Art; and Yokohama Museum of Art, 1994-1995. \n\nLondon, National Gallery, Impressions: Painting Quickly in France, 1860-1890, November 1, 2000-January 28, 2001, no cat. no. (ill.); Amsterdam, Van Gogh Museum, March 2-May 20, 2001; Williamstown, Mass., Sterling and Francine Clark Art Institute, June 16-September 9, 2001. \n\nFort Worth, Tex., Kimbell Museum of Art, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29\u2013November 2, 2008, cat. 21 (ill.).\n\nThe Art Institute of Chicago, Manet and Modern Beauty, May 26 - September 8, 2019, cat no. 56; The J. Paul Getty Museum, October 8, 2019\u2013January 12, 2020.\n\nFine Arts Museums of San Francisco, Legion of Honor, Manet & Morisot, Oct. 11, 2025-Feb. 15, 2026, no cat. no., pl. 63; Cleveland Museum of Art, Mar. 29\u2013July 5, 2026 (Cleveland only)","provenance_text":"The artist; sold to Jean-Baptiste Faure (d. 1914), Paris, March 1882 [per Leenhoff, c. 1910, published online, fol. 81, https:\/\/gallica.bnf.fr\/ark:\/12148\/btv1b10548955r]; by descent to his son, Maurice Faure (1862-1915), Paris, probably through 1928 [per Tabarant 1931, p. 341; according to Bernheim-Jeune exhibition label on the stretcher from 1928, the painting was possibly still with the family]. Possibly Galerie Bernheim-Jeune, Paris, 1928 or 1929 [per Allan, Beeny, and Groom, 2019, p. 303]. Howard Young Galleries, New York, by 1929; sold to Mrs. Lewis Larned Coburn (n\u00e9e Annie Swan, d. 1932), Chicago, 1929 [per Art News 27, 40 (Sept. 14, 1929), p. 12]; 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":0,"color":{"h":37,"l":50,"s":12,"percentage":0.10883350068191702,"population":956},"latitude":null,"longitude":null,"latlon":null,"is_on_view":false,"on_loan_display":" On loan to Cleveland (Ohio). Museum of Art in Cleveland for Morisot\/Manet<\/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":35577,"artist_title":"\u00c9douard Manet","alt_artist_ids":[],"artist_ids":[35577],"artist_titles":["\u00c9douard Manet"],"category_ids":["PC-10"],"category_titles":["Painting and Sculpture of Europe"],"term_titles":["oil on canvas","oil painting","everyday life (genre)","oil paint (paint)","Impressionism","table","reading","painting","magazine","floral","fashion","black (color)","nineteenth century","19th century","painting techniques","painting","painting","paint","canvas","french","paint","oil paintings (visual works)","tankard","beer","painting","european painting","painting (image making)","women","portraits","leisure","urban life","Century of Progress","world's fairs","Chicago World's Fairs"],"style_id":"TM-7543","style_title":"Impressionism","alt_style_ids":["TM-15636","TM-13203"],"style_ids":["TM-7543","TM-15636","TM-13203"],"style_titles":["Impressionism","nineteenth century","19th century"],"classification_id":"TM-66","classification_title":"oil on canvas","alt_classification_ids":["TM-14976","TM-10387","TM-78","TM-9","TM-54"],"classification_ids":["TM-66","TM-14976","TM-10387","TM-78","TM-9","TM-54"],"classification_titles":["oil on canvas","french","paint","oil paintings (visual works)","painting","european painting"],"subject_id":"TM-10096","alt_subject_ids":["TM-14175","TM-12651","TM-12737","TM-13309","TM-12217","TM-8663","TM-11845","TM-14177","TM-12650","TM-8735","TM-8658","TM-10094","TM-10126","TM-12169","TM-11299","TM-12176"],"subject_ids":["TM-10096","TM-14175","TM-12651","TM-12737","TM-13309","TM-12217","TM-8663","TM-11845","TM-14177","TM-12650","TM-8735","TM-8658","TM-10094","TM-10126","TM-12169","TM-11299","TM-12176"],"subject_titles":["everyday life (genre)","table","reading","painting","magazine","floral","fashion","black (color)","tankard","beer","women","portraits","leisure","urban life","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-14210","TM-3891"],"technique_ids":["TM-4273","TM-3971","TM-14210","TM-3891"],"technique_titles":["oil painting","painting techniques","painting","painting (image making)"],"theme_titles":[],"image_id":"fd991fea-0c13-8444-7879-aba467f1d9db","alt_image_ids":[],"document_ids":["bdee9d09-17d2-c873-2f06-687dd91eb7c3"],"sound_ids":["bdee9d09-17d2-c873-2f06-687dd91eb7c3"],"video_ids":[],"text_ids":[],"section_ids":[39219322395],"section_titles":["Cat. 19 \u00a0Woman Reading, 1880\/82"],"site_ids":[],"suggest_autocomplete_boosted":"Woman Reading","suggest_autocomplete_all":[{"input":["1933.435"],"contexts":{"groupings":["accession"]}},{"input":["Woman Reading"],"weight":12477,"contexts":{"groupings":["title"]}}],"source_updated_at":"2026-04-22T00:30:01-05:00","updated_at":"2026-04-22T03:36:02-05:00","timestamp":"2026-04-22T09:25:17-05:00"},{"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), 118 (detail ill.), 119 cat. 74, 140.","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; 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":"2026-04-22T00:30:01-05:00","updated_at":"2026-04-22T03:36:01-05:00","timestamp":"2026-04-22T09:25:17-05:00"}],"info":{"license_text":"The `description` field in this response is licensed under a Creative Commons Attribution 4.0 Generic License (CC-By) and the Terms and Conditions of artic.edu. 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