{"pagination":{"total":132681,"limit":15,"offset":0,"total_pages":8846,"current_page":1,"next_url":"https:\/\/api.artic.edu\/api\/v1\/artworks?page=2&limit=15"},"data":[{"id":9021,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/9021","is_boosted":false,"title":"The Bewitched Mill","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhAwAFAPMAAD1ta11eS15XVlVdWW1zYaVoYWBognd3gJaNiIuUmZiYmomfqrG4tbe7t7C5vgAAACH5BAAAAAAALAAAAAADAAUAAAQL0CSi2CgtICfAOhEAOw==","width":6100,"height":8830,"alt_text":"Vibrantly colored geometric painting of a central white and blue waterfall with birds visible through it. A stylized red jungle cat and black wild boar drink at bottom right. Red water wheel at left, angular blue and white cityscape top at left, tree top at right."},"main_reference_number":"1931.522","has_not_been_viewed_much":false,"boost_rank":null,"date_start":1913,"date_end":1913,"date_display":"1913","date_qualifier_title":"","date_qualifier_id":null,"artist_display":"Franz Marc\nGerman, 1880\u20131916","place_of_origin":"Germany","description":"

Among the German Expressionists, artists who used strong color and exaggerated form to express emotional content, Franz Marc was especially committed to his empathic interest in the life of animals. "Is there a more mysterious idea," he asked, "than to imagine how nature is reflected in the eyes of animals?" Beginning in 1905, he devoted himself to representing the world with a fresh and purifying vision. Marc painted The Bewitched Mill<\/em> following a sojourn to the Italian town of Merano in the southern Tirol. The work's title refers to the "magical" harmony he sensed there between human life, represented by the houses and mill on the left, and nature, embodied by the lyrical region of trees and animals on the right.<\/p>\n","short_description":"Among the German Expressionists, who used strong color and exaggerated form to express emotional content, Franz Marc was unique in his empathic interest in animal life. He painted this work following a sojourn to the Italian town of Merano. Its title refers to the \"magical\" harmony he sensed there between human life, represented by the houses and mill on the left, and nature, embodied by the lyrical region of trees and animals on the right.","dimensions":"Without frame: 130.2 \u00d7 90.8 cm (51 5\/16 \u00d7 35 3\/4 in.); 130.2 \u00d7 91.2 cm (51 1\/4 \u00d7 35 7\/8 in.)","dimensions_detail":[{"depth":null,"width":90,"height":130,"diameter":null,"clarification":"Without frame"},{"depth":null,"width":91,"height":130,"diameter":null,"clarification":null}],"medium_display":"Oil on canvas","inscriptions":"inscribed, l.l.: \"M.\"","credit_line":"Arthur Jerome Eddy Memorial Collection","catalogue_display":null,"publication_history":"Eddy, Arthur Jerome, Cubists and Post-impressionism (Chicago: A. C. McClurg, 1919), p. 115. \n\nArt Institute of Chicago, Exhibition of Paintings from the Collection of the Late Arthur Jerome Eddy, exh. cat. (Chicago: Art Institute of Chicago, 1922), cat. 50. \n\nArt Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago: Art Institute of Chicago, 1932), p. 33 (ill.).\n\nArt Institute of Chicago, The Arthur Jerome Eddy Collection of Modern Paintings and Sculpture, exh. cat. (Chicago: Art Institute of Chicago, 1932), cat. 12 (ill.).\n\nBulliet, C. J., \u201cThe Eddy Gift to Chicago,\u201d Creative Art 10 (March 1932), pp. 213, 215 (ill.). \n\nArt Institute of Chicago, Catalogue of a Century of Progress Exhibition of Paintings and Sculpture, exh. cat. (Chicago: Art Institute of Chicago, 1933), cat. 757.\n\nRich, Daniel Catton, \u201cGerman Art in Chicago,\u201d American-German Review 1 (June 1935), pp. 37 (ill.), 38.\n\nSchardt, Alois Jakob, Franz Marc (Berlin: Rembrandt-Verlag, 1936), p. 164, cat. 1-1913-3. \n\nInstitute of Contemporary Art, Contemporary German Art, exh. cat. (Boston: Institute of Contemporary Art, 1939), cat. 40a.\n\nMilliken, William M., \u201cExpressionism Exhibited,\u201d Art News 37, 20 (February 11, 1939), pp. 7, 8 (ill.). \n\nGoldwater, Robert, Franz Marc, exh. cat. (New York: Buchholz Gallery, 1940), n. pag., cat. 16 (ill.).\n\nUniversity Gallery, University of Minnesota, German Expressionism in Art, 1905-1935: Painting, Sculpture, Prints, exh. cat. (Minneapolis: University Gallery, University of Minnesota, 1950), cat. 81.\n\nCurt Valentin Gallery, Der Blaue Reiter, exh. cat. (New York: Curt Valentin Gallery, 1954), cat. 44.\n\nBusch-Reisinger Museum, Harvard University, Artists of the Blaue Reiter, exh. cat. (Cambridge, Mass.: Busch-Reisinger Museum, 1955), cat. 54 (ill.), p. 11.\n\nSelz, Peter, German Expressionist Painting (Berkeley: University of California Press, 1957), pl. 101.\n\nWilliam Rockwell Nelson Gallery of Art and Mary Atkins Museum of Fine Art, Some Points of View in Modern Painting, exh. cat. (Kansas City: William Rockwell Nelson Gallery of Art and Mary Atkins Museum of Fine Art, 1957), p. 4, cat. 13.\n\nArt Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago: Art Institute of Chicago, 1961), p. 273. \n\nColumbus Gallery of Fine Arts, German Expressionism, exh. cat. (Columbus, Ohio: Columbus Gallery of Fine Arts, 1961), cat. 53.\n\nKunstverein in Hamburg, Franz Marc: Gem\u00e4lde, Gouachen, Zeichnungen, Skulpturen, exh. cat. (Hamburg: Kunstverein, 1963), cat. 46 (ill.). \n\nSt\u00e4dtische Galerie im Lenbachhaus, Franz Marc, exh. cat. (Munich: St\u00e4dtische Galerie im Lenbachhaus, 1963), cat. 152.\n\nSpeyer, A. James, \u201cTwentieth-Century European Paintings and Sculpture,\u201d Apollo 84, 55 (September 1966), p. 225.\n\nLankheit, Klaus, Franz Marc: Katalog der Werke (Cologne: DuMont Schauberg, 1970), p. 69, cat. 196 (ill.).\n\nJ\u00e4hner, Horst, Franz Marc: Malerei und Werk (Dresden: Verlag der Kunst, 1972), pp. 19, pl. 10 (ill.), 32.\n\nLankheit, Klaus, Franz Marc: Sein Leben und seine Kunst (Cologne: DuMont, 1976), p. 161, color pl. 30.\n\nRosenthal, Mark, Franz Marc: 1880-1916, exh. cat. (Berkeley: University Art Museum, University of California, Berkeley, 1979), cat. 30.\n\n___, \u201cGallery Programs\/Exhibitions: Franz Marc: Pioneer of Spiritual Abstraction,\u201d University Art Museum Berkeley Calendar (December 1979), p. 2 (ill.).\n\nGollek, Rosel, ed., Franz Marc, 1880-1916, exh. cat. (Munich: St\u00e4dtische Galerie im Lenbachhaus and Prestel-Verlag, 1980), p. 83 (ill.).\n\nSpeyer, A. James, and Courtney Graham Donnell, Twentieth Century European Painting (Chicago: University of Chicago Press, 1980), p. 53, no. 2E11.\n\nTobien, Felicitas, Franz Marc (Ramerding: Berghaus Verlag, 1982), p. 15 (ill.).\n\nStadler, Wolfgang, Mit den Augen der Tiere: 25 Gem\u00e4lde (Freiburg: Herder, 1986), color ill. 21. \n\nTobien, Felicitas, Der Blaue Reiter (Kirchdorf-Inn: Berghaus, 1986), p. 64 (color ill.).\n\nKruty, Paul, \u201cArthur Jerome Eddy and His Collection: Prelude and Postscript to the Armory Show,\u201d Arts Magazine 61, 6 (February 1987), ill. 12.\n\nPese, Claus, Franz Marc: Leben und Werk (Stuttgart: Belser, 1989), color pl. 88.\n\nRosenthal, Mark, Franz Marc (Munich: Prestel, 1989), pp. 29, 30, 34, 38, color pl. 39. \n\nPartsch, Susanna, Franz Marc (K\u00f6ln: Taschen, 1990), p. 52 (color ill.).\n\nD\u00fcchting, Hajo, Franz Marc (K\u00f6ln: DuMont Buchverlag, 1991), p. 128 (color ill. 26).\n\nSchulz-Hoffman, Carla, ed., Sammlung Etta und Otto Stangl, von Klee bis Poliakoff, exh. cat. (Bayerischen Staatsgem\u00e4ldesammlungen\/Staatsgalerie Moderner Kunst\/Hatje, 1993), p. 194f.\n\nArt Institute of Chicago and Prefectural Museum of Modern Art, Masterworks of Modern Art from the Art Institute of Chicago, exh. cat. (Tokyo: Asahi Shimbun, 1994).\n\nArt Institute of Chicago, Twentieth-Century Painting and Sculpture (Chicago: Art Institute of Chicago, 1996), pp. 29 (color ill.), 159. \n\nBr\u00fccke Museum, Berlin, Der Blaue Reiter und seine K\u00fcnstler, exh. cat. (Munich: Hirmer, 1998), cat. 70 (color ill.).\n\nOtto, Almut, et. al., Das XX. Jahrhundert: ein Jahrhundert Kunst in Deutschland, exh. cat. (Berlin: Nationalgalerie Berlin, 1999), cat. 164 (color ill.).\n\nSotheby\u2019s, London, German & Austrian Art, sale cat. (Sotheby\u2019s, October 6, 1999), p. 60 (ill.).\n\nHoberg, Annegret, and Isabelle Jansen, Franz Marc: The Complete Works (London: Philip Wilson; New York: Distributed in the USA by Palgrave Macmillan, 2004), p. 240, cat. 207 (color ill.).\n\nFranz Marc: The Retrospective, (Prestel), p. 165 (ill.), cat. 76.\n\nVivian Endicott Barnett, ed. Franz Marc and August Macke: 1909\u20131914, exh. cat. (Neu Galerie\/Prestel, 2018), pp. 2 (color ill.); 56; 155, cat. 48 (color ill.); 182.","exhibition_history":"Chicago, Art Institute, Exhibition of Paintings from the Collection of the Late Arthur Jerome Eddy, September 19-October 22, 1922, cat. 50. \n\nChicago, Art Institute, The Arthur Jerome Eddy Collection of Modern Paintings and Sculpture, December 22, 1931-January 17, 1932, cat. 12 (ill.).\n\nChicago, Art Institute, A Century of Progress Exhibition of Paintings and Sculpture, June 1-November 1, 1933, cat. 757.\n\nCleveland Museum of Art, Expressionism and Related Movements, January 26-February 28, 1939, no cat.\n\nBoston, Institute of Contemporary Art, Contemporary German Art, November 2-December 9, 1939, cat. 40a. \n\nNew York, Buchholz Gallery, Franz Marc, November 11-December 7, 1940, n. pag., cat. 16 (ill.).\n\nCambridge, Mass., Germanic Museum, Harvard University, Exhibition, February 4-March 4, 1941, cat. 408.1940.\n\nLincoln, University of Nebraska, Survey of Modern European Painting, March 3-31, 1946, no cat.\n\nMinneapolis, University Gallery, University of Minnesota, German Expressionism in Art, 1905-1935: Painting, Sculpture, Prints, October 23-November 27, 1950, cat. 81.\n\nChicago, Main Street Bookstore, April 14-30, 1952.\n\nChicago, University of Chicago, May 6, 1952-June 6, 1952.\n\nChicago, University of Chicago, August 22-25, 1952.\n\nNew York, Curt Valentin Gallery, September 20-October 1954.\n\nCambridge, Mass., Busch-Reisinger Museum, Harvard University, November 1-December 11, 1954.\n\nNew York, Curt Valentin Gallery, Der Blaue Reiter, December 7, 1954-January 8, 1955, cat. 44. \n\nCambridge, Mass., Busch-Reisinger Museum, Harvard University, Artists of the Blaue Reiter, January 21-February 24, 1955, cat. 54 (ill.), p. 11.\n\nKansas City, William Rockwell Nelson Gallery of Art and Mary Atkins Museum of Fine Art, Some Points of View in Modern Painting, February 10-March 10, 1957, p. 4, cat. 13.\n\nColumbus, Ohio, Gallery of Fine Arts, German Expressionism, February 10-March 9, 1961, cat. 53. \n\nMunich, St\u00e4dtische Galerie im Lenbachhaus, Franz Marc, August 10-October 13, 1963, cat. 152.\n\nHamburg, Kunstverein, Franz Marc: Gem\u00e4lde, Gouachen, Zeichnungen, Skulpturen, November 9, 1963-January 5, 1964, cat. 46 (ill.). \n\nBerkeley, University of California Art Museum, Franz Marc: Pioneer of Spiritual Abstraction, December 5, 1979-February 3, 1980, cat. 30; traveled to Fort Worth Art Museum, February 23-April 13, 1980, and Minneapolis, Walker Art Center, May 4-June 15, 1980.\n\nNiigata, Japan, Prefectural Museum of Modern Art, Masterworks of Modern Art from the Art Institute of Chicago, April 20-May 29, 1994; traveled to Aichi Prefectural Museum of Art, June 10-July 24, 1994, and Yokohama Museum of Art, August 6-September 25, 1994.\n\nBerlin, Br\u00fccke Museum, Der Blaue Reiter und seine K\u00fcnstler, October 3, 1998-January 3, 1999, cat. 70 (color ill.); traveled to Tubingen, Kunsthalle, January 16, 1999-March 28, 1999.\n\nBerlin, Neue Nationalgalerie, Das XX. Jahrhundert: ein Jahrhundert Kunst in Deutschland, September 4, 1999-January 9, 2000, cat. 164 (color ill.).\n\nMunich, St\u00e4dtische Galerie im Lenbachhaus and Kunstbau, Franz Marc: The Retrospective, September 17, 2005\u2013January 8, 2006, cat. 76.\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.\u00a0\n\nNew York, Neue Galerie, Franz Marc and August Macke: 1909\u20131914, Oct. 4, 2018\u2013Jan. 21, 2019, cat. 48; Paris, Mus\u00e9e de l'Orangerie, Mar. 6\u2013June 17, 2019.","provenance_text":"The artist, Munich; sold to Arthur Jerome Eddy (1859\u20131920), 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":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":43.0038,"color":{"h":4,"l":52,"s":61,"percentage":0.033059136962059775,"population":340},"latitude":null,"longitude":null,"latlon":null,"is_on_view":false,"on_loan_display":null,"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":16157,"artist_title":"Franz Marc","alt_artist_ids":[],"artist_ids":[16157],"artist_titles":["Franz Marc"],"category_ids":["PC-11"],"category_titles":["Modern Art"],"term_titles":["oil on canvas","Century of Progress","painting","modern and contemporary art","world's fairs","Chicago World's Fairs","deers","animals","birds","trees","cities","mechanical","mills","rivers","water"],"style_id":null,"style_title":null,"alt_style_ids":[],"style_ids":[],"style_titles":[],"classification_id":"TM-66","classification_title":"oil on canvas","alt_classification_ids":["TM-9","TM-155"],"classification_ids":["TM-66","TM-9","TM-155"],"classification_titles":["oil on canvas","painting","modern and contemporary art"],"subject_id":"TM-12169","alt_subject_ids":["TM-11299","TM-12176","TM-12684","TM-12218","TM-11211","TM-11205","TM-12657","TM-12655","TM-12683","TM-12423","TM-8681"],"subject_ids":["TM-12169","TM-11299","TM-12176","TM-12684","TM-12218","TM-11211","TM-11205","TM-12657","TM-12655","TM-12683","TM-12423","TM-8681"],"subject_titles":["Century of Progress","world's fairs","Chicago World's Fairs","deers","animals","birds","trees","cities","mechanical","mills","rivers","water"],"material_id":null,"alt_material_ids":[],"material_ids":[],"material_titles":[],"technique_id":null,"alt_technique_ids":[],"technique_ids":[],"technique_titles":[],"theme_titles":[],"image_id":"6829aab0-8d0e-9438-aebf-a1a379572951","alt_image_ids":[],"document_ids":[],"sound_ids":[],"video_ids":[],"text_ids":[],"section_ids":[],"section_titles":[],"site_ids":[],"suggest_autocomplete_all":[{"input":["1931.522"],"contexts":{"groupings":["accession"]}},{"input":["The Bewitched Mill"],"weight":14018,"contexts":{"groupings":["title"]}}],"source_updated_at":"2026-08-29T00:30:10-05:00","updated_at":"2026-08-29T03:32:11-05:00","timestamp":"2026-08-30T01:51:20-05:00"},{"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. 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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":"2026-08-29T00:30:10-05:00","updated_at":"2026-08-29T03:32:11-05:00","timestamp":"2026-08-30T01:51:20-05:00"},{"id":14837,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/14837","is_boosted":false,"title":"Netting the Fish","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhBwAFAPUAADAqKTAsLDgxMDs0Mj04Nz04OEc\/PUU\/PkhAPklDQVFJRlNKR1ZOTFdPTFdPTV1VUl5VUl1WU19XU19XVGlhXmxiX2tiYG1kYG5lYXVrZ3pyb350cH92cYB3cod+epiOipmRjcC1rgAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACH5BAAAAAAALAAAAAAHAAUAAAYhwIECgslsFgDDhZKpIAoRh8UjaWhABMGkwwkwEofHJxQEADs=","width":11135,"height":7811,"alt_text":"A work made of transparent watercolor, heightened with opaque white watercolor, with rewetting, blotting, and scraping, over graphite, on moderately thick, slightly textured, cream wove paper."},"main_reference_number":"1933.526","has_not_been_viewed_much":false,"boost_rank":null,"date_start":1889,"date_end":1889,"date_display":"1889","date_qualifier_title":"","date_qualifier_id":null,"artist_display":"Winslow Homer\nAmerican, 1836-1910","place_of_origin":"United States","description":"

An avid angler and sportsman, Homer often depicted fishing and hunting scenes in his artwork. Many of his watercolors that explore these subjects were painted on frequent trips to the Adirondack Mountains. Netting the Fish<\/em> is unusual in its focus on a gentleman sportsman. Young, well groomed, and neatly attired, the fisherman in this watercolor stands in contrast to the rustic guides featured in many of the artist\u2019s other Adirondacks works. Homer\u2019s fluid brushstrokes describe the smooth surface of the water, and his background washes evoke the wooded shoreline seen at a distance. Netting the Fish<\/em> is one of Homer\u2019s few grisaille, or monochrome, watercolors, painted as a study of values in preparation for the etching Fly Fishing, Saranac Lake<\/em><\/a>.<\/p>\n","short_description":null,"dimensions":"35.3 \u00d7 50.8 cm (13 15\/16 \u00d7 20 in.)","dimensions_detail":[{"depth":null,"width":50,"height":35,"diameter":null,"clarification":null}],"medium_display":"Transparent watercolor, heightened with opaque white watercolor, with rewetting, blotting, and scraping, over graphite, on moderately thick, slightly textured, cream wove paper","inscriptions":"Signed recto, lower right, in pen and brown ink: \"Winslow Homer 1890, Copyright 1889\"","credit_line":"Olivia Shaler Swan Memorial Collection","catalogue_display":null,"publication_history":"Theodore Bolton, \u201cWater Colors by Homer: Critique and Catalogue,\u201d The Fine Arts 18: 5 (April 1932), p. 54, as 'Man Fishing'.\n\nGordon Hendricks, The Life and Work of Winslow Homer (New York, 1979), pp. 200\u201301 and 286, fig. 302.\n\nDavid Tatham, Winslow Homer in the Adirondacks (Syracuse, 1996), pp. 99\u2013100 and 140, fig. 34.","exhibition_history":"Art Institute of Chicago, \"Watercolors lent by Mrs. L. L. Coburn,\" July 24\u2013Oct 12, 1930, no cat.\n\nArt Institute of Chicago, \"Water Colors and Drawings by Winslow Homer,\" October 14\u2013December 4, 1944 (Gallery 13), no cat.\n\nNew York, Whitney Museum of American Art, \"The Graphic Art of Winslow Homer,\" November 1968\u2013June 1970, cat. 105A, pl. 101.\n\nFort Worth, Tex., Amon Carter Museum, and Fine Arts Museum of San Francisco, California Palace of the Legion of Honor, \"Casting a Spell: Winslow Homer, Artist and Angler,\" December 7, 2002\u2013February 9, 2003, April 11\u2013June 22, 2003, pp. 44 and 229, cat. 20 (ill.), cat. by Patricia Junker et al.\n\nArt Institute of Chicago, \"Watercolors by Winslow Homer: The Color of Light,\" February 16-May 11, 2008, pp. 16, 23, 94, 139, 142, 143 (ill.), 145, 212, chap. 4 n. 17, cat. by Martha Tedeschi and Kristi Dahm.","provenance_text":"Mr. and Mrs. Lewis Larned Coburn, Chicago, by May 1, 1930 [Chicago 1930; see R4492]; given to the Art Institute of Chicago, 1933.","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":7.2805,"color":{"h":347,"l":13,"s":5,"percentage":0.2611346604642124,"population":1290},"latitude":null,"longitude":null,"latlon":null,"is_on_view":false,"on_loan_display":"

On loan to Portland Museum of Art in Portland for Winslow Homer on Paper<\/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":34988,"artist_title":"Winslow Homer","alt_artist_ids":[],"artist_ids":[34988],"artist_titles":["Winslow Homer"],"category_ids":["PC-143","PC-13"],"category_titles":["Winslow Homer: Behind the Scenes","Prints and Drawings"],"term_titles":["ink or chalk wash","boats","paper (fiber product)","animals","wash","coating (material)","drawings (visual works)","prints and drawing","people","fishing","graphite","scraping","wove paper","wilderness","aquarelle","gouache"],"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":"TM-8737","alt_subject_ids":["TM-12218","TM-8810","TM-12106","TM-12599"],"subject_ids":["TM-8737","TM-12218","TM-8810","TM-12106","TM-12599"],"subject_titles":["boats","animals","people","fishing","wilderness"],"material_id":"TM-2982","alt_material_ids":["TM-2399","TM-3238","TM-2410","TM-3074","TM-2404"],"material_ids":["TM-2982","TM-2399","TM-3238","TM-2410","TM-3074","TM-2404"],"material_titles":["paper (fiber product)","wash","coating (material)","graphite","wove paper","gouache"],"technique_id":null,"alt_technique_ids":["TM-3852","TM-4269"],"technique_ids":["TM-3852","TM-4269"],"technique_titles":["scraping","aquarelle"],"theme_titles":[],"image_id":"3d3c78e3-3360-f2d1-894d-556b5e289dab","alt_image_ids":[],"document_ids":["07f5cb1a-27a0-bbc5-5a34-39322f2a430a"],"sound_ids":["07f5cb1a-27a0-bbc5-5a34-39322f2a430a"],"video_ids":[],"text_ids":[],"section_ids":[],"section_titles":[],"site_ids":[],"suggest_autocomplete_all":[{"input":["1933.526"],"contexts":{"groupings":["accession"]}},{"input":["Netting the Fish"],"weight":3067,"contexts":{"groupings":["title"]}}],"source_updated_at":"2026-08-29T00:30:10-05:00","updated_at":"2026-08-29T03:32:10-05:00","timestamp":"2026-08-30T01:51:20-05:00"},{"id":30629,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/30629","is_boosted":false,"title":"Tankard (Hanap) with Ships","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhBAAFAPQAAJykp5moraSjp6SiqKakq6qnrKOurqursq2ys66zt6q0t7Cxt7Wxtri2ubu3u7m4vcfExsbFysfFy8\/O0wAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACH5BAAAAAAALAAAAAAEAAUAAAURIME4Q6EkwoIEh2QAzwQ1UQgAOw==","width":1927,"height":2250,"alt_text":"A work made of iznik ware, fritware with underglaze painting in blue, lavender, red, and black."},"main_reference_number":"1939.367","has_not_been_viewed_much":false,"boost_rank":null,"date_start":1550,"date_end":1599,"date_display":"Ottoman dynasty (1299\u20131923), late 16th century","date_qualifier_title":"","date_qualifier_id":null,"artist_display":"Turkey\nIznik","place_of_origin":"Turkey","description":null,"short_description":null,"dimensions":"21.1 \u00d7 16.8 \u00d7 12.1 cm (8 5\/16 \u00d7 6 5\/8 \u00d7 8 5\/16 in.)","dimensions_detail":[{"depth":12,"width":16,"height":21,"diameter":null,"clarification":null}],"medium_display":"Iznik ware, fritware with underglaze painting in blue, lavender, red, and black","inscriptions":null,"credit_line":"Gift of Mrs. Joseph L. Valentine","catalogue_display":null,"publication_history":null,"exhibition_history":null,"provenance_text":null,"edition":null,"publishing_verification_level":"Web Basic","internal_department_id":8,"fiscal_year":1939,"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":27.9225,"color":{"h":192,"l":38,"s":92,"percentage":0.01314025595771972,"population":109},"latitude":null,"longitude":null,"latlon":null,"is_on_view":false,"on_loan_display":"

For 30 years, Marcel Duchamp and Mary Reynolds<\/a> enjoyed a close relationship as artistic collaborators, lovers, and friends. After Reynolds died in 1950, Duchamp planned the relocation of her Paris-based library and bookbindings with her brother Frank B. Hubachek, an Art Institute of Chicago trustee. The two memorialized the gift with great care. Duchamp designed a bookplate (a decorative label designating ownership) featuring an elegant line drawing of Reynolds\u2019s face in profile to label the books that came from her library. Letters between Duchamp and Hubachek held in the museum\u2019s archives reveal a touching level of attention given to every decision. Duchamp even insisted on revising a proof of the bookplate, dissatisfied with the way the engraving distorted the profile of her nose.<\/p>\n

The drawing features Reynolds\u2019s initials MR stylized as a dangling earring and designed by artist Alexander Calder, also a close friend of Reynolds. The earring expresses Calder\u2019s playful and spare drawing style, which he employed in a sketch, Mary Reynolds with Her Cats,<\/em><\/a> of Reynolds also held in the museum\u2019s collection.<\/p>\n","short_description":null,"dimensions":"35.8 \u00d7 27.7 cm (14 1\/8 \u00d7 10 15\/16 in.)","dimensions_detail":[{"depth":null,"width":27,"height":35,"diameter":null,"clarification":null}],"medium_display":"Pen and black ink, heightened with white gouache, over graphite, on off-white wove paper","inscriptions":null,"credit_line":"Gift of Frank B. Hubachek","catalogue_display":null,"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":false,"is_zoomable":true,"max_zoom_window_size":1280,"copyright_notice":"\u00a9 2018 Artists Rights Society (ARS), New York \/ ADAGP, Paris \/ Succession Marcel\nDuchamp","has_multimedia_resources":false,"has_educational_resources":false,"has_advanced_imaging":false,"colorfulness":0,"color":{"h":215,"l":89,"s":11,"percentage":2.666754776244474e-6,"population":2},"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":34316,"artist_title":"Marcel Duchamp","alt_artist_ids":[],"artist_ids":[34316],"artist_titles":["Marcel Duchamp"],"category_ids":["PC-13"],"category_titles":["Prints and Drawings"],"term_titles":["pen and ink drawings","paper (fiber product)","ink","gouache","watercolor","water-base paint","paint","graphite","drawings (visual works)","prints and drawing"],"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-5","TM-4"],"classification_ids":["TM-212","TM-5","TM-4"],"classification_titles":["pen and ink drawings","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-2404","TM-2403","TM-3343","TM-2577","TM-2410"],"material_ids":["TM-2982","TM-2398","TM-2404","TM-2403","TM-3343","TM-2577","TM-2410"],"material_titles":["paper (fiber product)","ink","gouache","watercolor","water-base paint","paint","graphite"],"technique_id":null,"alt_technique_ids":[],"technique_ids":[],"technique_titles":[],"theme_titles":[],"image_id":"d84b46e6-aaac-eca3-2be0-5511e1cbed8c","alt_image_ids":[],"document_ids":[],"sound_ids":[],"video_ids":[],"text_ids":[],"section_ids":[],"section_titles":[],"site_ids":[],"suggest_autocomplete_all":[{"input":["1971.923"],"contexts":{"groupings":["accession"]}},{"input":["Study for Mary Louise Reynolds Collection Label"],"weight":263,"contexts":{"groupings":["title"]}}],"source_updated_at":"2026-08-29T00:30:10-05:00","updated_at":"2026-08-29T03:32:08-05:00","timestamp":"2026-08-30T01:51:20-05:00"},{"id":44892,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/44892","is_boosted":true,"title":"Fish (Still Life)","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhBgAFAPQAAB4ZGC8oHi0pJC0qJDMqIzUsIzQtJDsrITcxKUlCNkhBO1RCMlhPP1ZQQmphUHltWHt3aYFoV4Z0YY2IZpeOfpqNfJuWfKGdiKqghq2ljKmllbankrCqlQAAAAAAAAAAACH5BAAAAAAALAAAAAAGAAUAAAUYYFAgwmAkTQMchBNt1cI8EqVZE5ZxF6SEADs=","width":16704,"height":13234,"alt_text":"Still-life painting, fish, open oysters, eel, lemon on tablecloth."},"main_reference_number":"1942.311","has_not_been_viewed_much":false,"boost_rank":null,"date_start":1864,"date_end":1864,"date_display":"1864","date_qualifier_title":"","date_qualifier_id":null,"artist_display":"\u00c9douard Manet (French, 1832\u20131883)","place_of_origin":"France","description":"

Although still-life ensembles were an important element in many of the major paintings of the avant-garde artist \u00c9douard Manet, his most sustained interest in the genre itself was from 1864 to 1865, when Fish<\/em> was painted. Manet\u2019s focus on still lifes coincided with the gradual reacceptance of the genre during the nineteenth century, due in part to the growth of the middle class, whose tastes ran to intimate, moderately priced works. This painting, like many of Manet\u2019s still-life compositions, recalls seventeenth-century Dutch models. The directness of execution, bold brushwork, and immediacy of vision displayed in the canvas, however, suggest why the public found Manet\u2019s work so unorthodox and confrontational. While Fish<\/em> is indeed an image of \u201cdead nature\u201d (nature morte<\/em> is the French term for still life), there is nothing still about the work: the produce seems fresh and the handling of paint vigorous. Further enlivening the composition is the placement of the carp, which offsets the strong diagonal of the other elements. Manet never submitted his still lifes to the official French Salon but rather sold them through the burgeoning network of art galleries in Paris and gave them to friends.<\/p>\n","short_description":"This painting, like many of Manet\u2019s still lifes, recalls 17th-century Dutch models. The directness of execution, bold brushwork, and immediacy of vision, however, suggest why the public found Manet\u2019s work so unorthodox and confrontational. While this painting depicts \u201cdead nature\u201d (nature morte<\/em> is French for still life), there is nothing still about the work: the produce seems fresh and the handling of the paint vigorous.","dimensions":"73.5 \u00d7 92.4 cm (28 15\/16 \u00d7 36 3\/8 in.); Framed: 108.6 \u00d7 127 \u00d7 12.7 cm (42 3\/4 \u00d7 50 \u00d7 5 in.)","dimensions_detail":[{"depth":null,"width":92,"height":73,"diameter":null,"clarification":null},{"depth":12,"width":127,"height":108,"diameter":null,"clarification":"Framed"}],"medium_display":"Oil on canvas","inscriptions":"Signed lower right: Manet","credit_line":"Mr. and Mrs. Lewis Larned Coburn Memorial Collection","catalogue_display":null,"publication_history":"Paris, Ecole Nationale des Beaux-Arts, Exposition des oeuvres d\u2019\u00c9douard Manet, January 1884, cat. 31.\n\nTh\u00e9odore Duret, Histoire d\u2019\u00c9douard Manet et de son oeuvre (Paris, 1902), no. 70.\n\nTh\u00e9odore Duret, Manet and the French Impressionists (London, 1910), p. 220, no. 220.\n\nAntonin Proust, \u00c9douard Manet: Souvenirs (Paris, 1913), p. 54, no. 38.\n\nTh\u00e9odore Duret, Histoire de \u00c9douard Manet et de son oeuvre (Paris, 1926), no. 70 (ill.).\n\n\u00c9tienne Moreau-Nelaton, Manet: Racont\u00e9 par Lui-M\u00eame (Paris, 1926), vol. 1, pp. 63, 79, fig. 69, vol. 2, fig. 344.\n\nAdolphe Tabarant, Manet, Histoire Catalographique (Paris, 1931), p. 131, no. 90.\n\nPaul Jamot and Georges Wildenstein, Manet (Paris, 1932), vol. 1, p. 128, no. 96, vol. 2, p. 197, fig. 406.\n\nTh\u00e9odore Duret, Manet, trans. J. E. Crawford Flitch, 1937, pl. 39 (ill.).\n\nGotthard Jedlicka, \u00c9douard Manet (Erlenbach-Zurich, 1941), p. 197.\n\nArt News 41 (February 1, 1943), p. 31, (ill.).\n\nArt News 42 (January 1, 1944), p. 27 (ill.).\n\nF. A. Sweet, \u201cAn Important Stiff Life by \u00c9douard Manet,\u201d Art Institute Bulletin 38 (1944), pp. 35\u201337 (ill.).\n\nThe Art Institute of Chicago, Masterpiece of the Month: Notes and Bibliography, (February 1944), pp. 82, 83.\n\nThe Art Institute of Chicago, An Illustrated Guide to the Collection of The Art Institute of Chicago (Chicago, 1945), pp. 36-37 (ill.). \n\nA. Tabarant, Manet et ses oeuvres (Paris, 1947), pp. 97, 98, 518, 535, 605, no. 90 (ill.).\n\nJ.-L. Vaudoyer, E. Manet (Paris, 1955), pl. 20.\n\nThe Art Institute of Chicago, A Brief Guide to the Collections (Chicago, 1956), pp. 32 (ill.), 35.\n\nThe Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection, 1961, pp. 267\u2013268.\n\nPierre Courthion, \u00c9douard Manet (New York, 1962), pp. 84\u201385.\n\nPhoebe Pool and Sandra Orienti, The Complete Paintings of Manet (New York, 1967), pl. VIb.\n\nJohn Maxon, The Art Institute of Chicago (New York, 1970), pp. 77 (ill.).\n\nDenis Rouart and Daniel Wildenstein, Edouard Manet: Catalogue raisonn\u00e9: Peintures vol. 1 (Paris, 1975), no. 80 (ill.).\n\nAnne Coffin Hanson, Manet and the Modern Tradition (New York, 1977), p. 70, pl. 27.\n\nThe Art Institute of Chicago 100 Masterpieces (Chicago, 1978), p. 85, no. 43 (ill.).\n\nGabriel P. Weisberg and William S. Talbot, Chardin and the Still-Life Tradition in France (Cleveland, 1979), p. 39, fig. 26.\n\nRichard R. Brettell, French Salon Artists 1800-1900 (Chicago, 1987), pp. 55-56 (ill.).\n\nKathleen Adler, Manet (Oxford, 1986), pp. 189\u2013191, fig. 179.\n\nJ. Patrice Marandel, \u201cA Note on Bazille\u2019s \u2018Still Life with Fish,\u2019\u201d Bulletin of the Detroit Institute of Arts 65, 4 (1990), p. 6, 7, 11, fig.2, no. 8.\n\nFr\u00e9d\u00e9ric Bazille exh. cat. (Montpellier, Mus\u00e9e Fabre and New York, The Brooklyn Museum, 1992), p. 93, under cat. 12.\n\nManuela B. Mena Marqu\u00e9s, ed., Manet en el Prado (Madrid, Museo National del Prado, 2003-4), p. 222 (ill.), under cat. 59.\n\nThe Age of Impressionism at the Art Institute of Chicago (New Haven and London, 2008), cat. 1, pp. 28\u201329 (ill.).\n\n\u201cManet, Cat. 2, Fish (Still Life),\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\/140020<\/a>.\n\nJames Ensor: In Your Wildest Dreams; Beyond Impressionism, exh. cat. (Antwerp: KMSKA; Hannibal, 2024), fig . 42.\n\nAnita Haldemann, ed., Helen Frankenthaler, exh. cat. (Berlin: Deutscher Kunstverlag, 2026), 62, 91 (ill.), cat. 40a, as Poissons, Fusche.","exhibition_history":"Paris, Galerie Martinet, 1865, cat. 5.\n\nParis, Place de l\u2019Alma, Exhibition Manet Particuli\u00e8re, May 1867, cat. 38.\n\nParis, Ecole Nationale des Beaux-Arts, Exposition des oeuvres d\u2019\u00c9douard Manet, Jan. 1884, cat. 31.\n\nParis, Exposition Internationale Universelle, Exposition Centennale de l\u2019Art Fran\u00e7ais, 1880\u20131889, 1900, cat. 31.\n\nParis, Manzi, Joyant et Cie, Exposition d\u2019art moderne, 1912, cat. 27.\n\nNew York, Durand-Ruel Gallery, Paintings by \u00c9douard Manet, Nov. 29-Dec. 13, 1913, cat. 6.\n\nNew York, M. Knoedler & Co., Loan Exhibition of Old Masters, Nov. 29-Dec. 11, 1920, cat. 9.\n\nPittsburgh, Carnegie Institute, Paintings, \u00c9douard Manet, Pierre Renoir, Berthe Morisot, Oct. 15-Dec. 1, 1924, cat. 37; Cleveland Museum of Art, Dec. 9, 1924-Jan. 15, 1925.\n\nCleveland Museum of Art, Catalogue of the Twentieth Anniversary Exhibition of the Cleveland Museum of Art: The Official Art Exhibit of the Great Lakes Exposition, June 26\u2013Oct. 4, 1936, cat. 286.\n\nNew York, Wildenstein & Co., \u00c9douard Manet: A Retrospective Exhibition for the Benefit of French Hospitals, Mar.\u2013Apr. 1937, cat. 7.\n\nNew York, Wildenstein & Co., organized by Institute of Modern Art, The Sources of Modern Painting, Apr.\u2013May 1939, cat. 9a (ill.).\n\nNew York, World\u2019s Fair, Masterpieces of Art, May\u2013October 1940, cat. 282 (ill.).\n\nThe Art Institute of Chicago, Masterpiece of the Month, Feb. 1944, no cat.\n\nPhiladelphia Museum of Art, Manet, Nov. 3\u2013Dec. 11, 1965, cat. 95 (ill.); Art Institute of Chicago, Jan. 13-Feb. 19, 1966.\n\nNew York, Brooklyn Museum of Art, The Triumph of Realism, 1967, cat. 5; Richmond, VA, Museum of Fine Arts, Dec. 11, 1967\u2013Jan. 14, 1968; San Francisco, Feb. 17\u2013Mar. 31, 1968, cat. 5.\n\nAlbi, France, Mus\u00e9e Toulous-Lautrec, Tr\u00e9sors impressionists du mus\u00e9e de Chicago, June 27\u2013Aug. 31, 1980, cat. 1 (ill.).\n\nParis, Galeies Nationales du Grand Palais, Manet (1832\u20131883), Apr. 22\u2013Aug. 1, 1983, cat. 81 (ill.); New York, Metropolitan Museum of Art, Sep. 10\u2013Nov. 27, 1983.\n\nCopenhagen, Ordrupgaard, Edouard Manet, Sep. 15-Dec. 10, 1989, cat. 8 (ill.).\n\nParis, Mus\u00e9e d\u2019Orsay, Manet les natures mortes, Oct. 9, 2000-Jan. 7, 2001, cat. 17 (ill.); Baltimore, The Walters Art Gallery, Jan. 30-Apr. 22, 2001.\n\nThe Art Institute of Chicago, Manet and the Sea, Oct. 20, 2003-Jan. 19, 2004, no cat. no., pl. 18; Philadelphia Museum of Art, Feb. 15-May 30, 2004; Amsterdam, Van Gogh Museum, Amsterdam, June 18-Sep. 26, 2004.\n\nFort Worth, Tex., Kimbell Museum of Art, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29\u2013Nov. 2, 2008, cat. 1 (ill.).\n\nToledo, OH, Toledo Museum of Art, ONE EACH: Still Lifes by Pissarro, C\u00e9zanne, Manet, & Friends, Jan. 18-Apr. 12, 2020, no cat.; Cincinnati Art Museum, Mar. 11-May 8, 2022.\n\nAntwerp, Royal Museum of Fine Arts, In Your Wildest Dreams: James Ensor Beyond Impressionism, Sep. 27, 2024\u2013Jan. 5, 2025, fig . 42.\n\nKunstmuseum Basel, Helen Frankenthaler, Apr. 18\u2013Aug. 23, 2026, cat. 40a, as Poissons, Fusche.","provenance_text":"The artist; possibly sold to Basset, Paris, 1867 [this and the following per emails from Juliet Wilson-Bareau to the Art Institute of Chicago, November 11, 2016 and April 24, 2017; copies in curatorial object file]; sold to Durand-Ruel, Paris, April 1872, for 250 francs [per Durand-Ruel, Paris, stock book for 1868\u201373 (no. 1228); copy of reference in curatorial object file]; possibly sold to Jean-Baptiste Faure (d. 1914), Paris, November 16, 1874, for 1,500 francs. F\u00e9lix G\u00e9rard, Paris, by 1884 [lent to Paris, 1884, cat. 31]. Galerie Manzi-Joyant, Paris, by 1900 [Paris, 1900, cat. 449, p. 210]. John W. Simpson (d. 1920), New York, by November 22, 1913 [Simpson placed the picture on deposit at Durand-Ruel, New York (deposit no. 7731) on that day until December 23, 1913]; by descent to Mrs. John W. Simpson (n\u00e9e Kate Seney), New York, 1920; Knoedler and Co., New York, April 18, 1942 [M. Knoedler and Co., New York, Commission Book 3, Getty Research Institute Research Library, Los Angeles]; sold to the Art Institute of Chicago, July 1942.","edition":null,"publishing_verification_level":"Web Cataloged","internal_department_id":14,"fiscal_year":1943,"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":52,"l":47,"s":62,"percentage":0.006925650478402625,"population":39},"latitude":null,"longitude":null,"latlon":null,"is_on_view":false,"on_loan_display":null,"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","PC-831"],"category_titles":["Painting and Sculpture of Europe","Essentials"],"term_titles":["oil on canvas","19th century","oil painting","oil paint (paint)","still life","tablecloth","table","pot","knife","nineteenth century","Impressionism","painting techniques","painting","painting","paint","paint","oil paintings (visual works)","french","still life","painting (image making)","canvas","painting","european painting","kitchenware","death","food","eels","fruit","lemons","oysters","fish"],"style_id":"TM-13203","style_title":"19th century","alt_style_ids":["TM-15636","TM-7543"],"style_ids":["TM-13203","TM-15636","TM-7543"],"style_titles":["19th century","nineteenth century","Impressionism"],"classification_id":"TM-66","classification_title":"oil on canvas","alt_classification_ids":["TM-10387","TM-78","TM-14976","TM-15338","TM-9","TM-54"],"classification_ids":["TM-66","TM-10387","TM-78","TM-14976","TM-15338","TM-9","TM-54"],"classification_titles":["oil on canvas","paint","oil paintings (visual works)","french","still life","painting","european painting"],"subject_id":"TM-8937","alt_subject_ids":["TM-15423","TM-14175","TM-14523","TM-15434","TM-12517","TM-12097","TM-8673","TM-12819","TM-11204","TM-12818","TM-12817","TM-9135"],"subject_ids":["TM-8937","TM-15423","TM-14175","TM-14523","TM-15434","TM-12517","TM-12097","TM-8673","TM-12819","TM-11204","TM-12818","TM-12817","TM-9135"],"subject_titles":["still life","tablecloth","table","pot","knife","kitchenware","death","food","eels","fruit","lemons","oysters","fish"],"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":["Essentials"],"image_id":"0cbe27e8-2fec-3445-bc48-ce40a8f2dc25","alt_image_ids":[],"document_ids":[],"sound_ids":[],"video_ids":[],"text_ids":[],"section_ids":[39213441156],"section_titles":["Cat. 2 \u00a0Fish (Still Life), 1864"],"site_ids":[],"suggest_autocomplete_boosted":"Fish (Still Life)","suggest_autocomplete_all":[{"input":["1942.311"],"contexts":{"groupings":["accession"]}},{"input":["Fish (Still Life)"],"weight":16122,"contexts":{"groupings":["title"]}}],"source_updated_at":"2026-08-29T00:30:10-05:00","updated_at":"2026-08-29T03:32:05-05:00","timestamp":"2026-08-30T01:51:20-05:00"},{"id":56905,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/56905","is_boosted":true,"title":"Nocturne: Blue and Gold\u2014Southampton Water","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhCAAFAPUAAEpORE9SRVFTR1FSSVJTSlJVS1VWSVJUTFJWTFVXTVRXT1VXT1VYTFdZT1dbUVdaUlhaUVhbUVlcU11fUltdVFteVV1gV19iWV5iWmJlXGhsXmRnYGdqYGdqYWhrY2hsYGxuYnBzZnN1a3V4bQAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACH5BAAAAAAALAAAAAAIAAUAAAYlwNBI5OFwPhrMBtTJUBoTh+VSgSwGBoSk8lgsEgxAIaI4EASBIAA7","width":6442,"height":4256,"alt_text":"A sparsely painted waterside scene in dark tones with minimal ghostly shapes suggesting ships, yellow glitches of paint for light reflections, and the orb of an orange moon overhead."},"main_reference_number":"1900.52","has_not_been_viewed_much":false,"boost_rank":null,"date_start":1872,"date_end":1872,"date_display":"1872","date_qualifier_title":"","date_qualifier_id":null,"artist_display":"James McNeill Whistler (American, 1834\u20131903)","place_of_origin":"London","description":"

In the early 1870s James McNeill Whistler took a radical step toward abstraction with his Nocturnes series. In keeping with his art-for-art\u2019s-sake creed, these works capture the stillness of evening while evoking a connection to music. Unlike his earlier marine paintings, the subject of this work\u2014an inlet along the English Channel near Southampton\u2014is obscured by the approaching night. Large shipping vessels appear as ghostly shapes, reduced to shadowy forms by the deepening twilight, while the only points of brightness come from the subtle reflections of lights and the fragmented orb of the moon. The setting thus serves primarily as a vehicle for Whistler\u2019s interest in the harmonies of muted color amid darkness.<\/p>\n","short_description":"In the 1870s James McNeill Whistler took a radical step toward abstraction with his \"Nocturnes\" series. In keeping with his art-for-art\u2019s-sake creed, these works capture the stillness of evening while evoking the artistry of music. The subject of this work\u2014an inlet along the English Channel\u2014is obscured by the approaching night, allowing Whistler to fully explore the tonal harmonies of darkness.","dimensions":"51 \u00d7 76.7 cm (20 1\/16 \u00d7 30 3\/16 in.)","dimensions_detail":[{"depth":null,"width":76,"height":51,"diameter":null,"clarification":null}],"medium_display":"Oil on canvas","inscriptions":"Artist insignia recto, right-bottom, on water, in yellow paint: [butterfly].","credit_line":"Stickney Fund","catalogue_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":"Painting","artwork_type_id":1,"department_title":"Arts of the Americas","department_id":"PC-3","artist_id":37279,"artist_title":"James McNeill Whistler","alt_artist_ids":[],"artist_ids":[37279],"artist_titles":["James McNeill Whistler"],"category_ids":["PC-109","PC-831","PC-3"],"category_titles":["Art Institute Icons","Essentials","Arts of the Americas"],"term_titles":["painting","landscapes","oil paint (paint)","Impressionism","oil painting","organic material","american arts","water","weather\/seasons","night scenes","Century of Progress","world's fairs","Chicago World's Fairs","painting (image making)","Modernism"],"style_id":"TM-7543","style_title":"Impressionism","alt_style_ids":["TM-5981"],"style_ids":["TM-7543","TM-5981"],"style_titles":["Impressionism","Modernism"],"classification_id":"TM-9","classification_title":"painting","alt_classification_ids":["TM-2191"],"classification_ids":["TM-9","TM-2191"],"classification_titles":["painting","american arts"],"subject_id":"TM-8657","alt_subject_ids":["TM-8681","TM-10095","TM-8868","TM-12169","TM-11299","TM-12176"],"subject_ids":["TM-8657","TM-8681","TM-10095","TM-8868","TM-12169","TM-11299","TM-12176"],"subject_titles":["landscapes","water","weather\/seasons","night scenes","Century of Progress","world's fairs","Chicago World's Fairs"],"material_id":"TM-2451","alt_material_ids":["TM-2601"],"material_ids":["TM-2451","TM-2601"],"material_titles":["oil paint (paint)","organic material"],"technique_id":"TM-4273","alt_technique_ids":["TM-3891"],"technique_ids":["TM-4273","TM-3891"],"technique_titles":["oil painting","painting (image making)"],"theme_titles":["Art Institute Icons","Essentials"],"image_id":"50034c7f-ce51-00f1-430e-a6f7efc233fc","alt_image_ids":[],"document_ids":["3e365fa3-fe02-4fc6-a2f3-75221d6cebe0","f85bee6b-d18b-5577-a9e6-f429421b4654"],"sound_ids":["3e365fa3-fe02-4fc6-a2f3-75221d6cebe0"],"video_ids":[],"text_ids":["f85bee6b-d18b-5577-a9e6-f429421b4654"],"section_ids":[11110],"section_titles":["Cat. 16 Nocturne: Blue and Gold\u2014Southampton Water, 1872"],"site_ids":[],"suggest_autocomplete_boosted":"Nocturne: Blue and Gold\u2014Southampton Water","suggest_autocomplete_all":[{"input":["1900.52"],"contexts":{"groupings":["accession"]}},{"input":["Nocturne: Blue and Gold\u2014Southampton Water"],"weight":30653,"contexts":{"groupings":["title"]}}],"source_updated_at":"2026-08-29T00:30:10-05:00","updated_at":"2026-08-29T03:32:03-05:00","timestamp":"2026-08-30T01:51:20-05:00"},{"id":47141,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/47141","is_boosted":false,"title":"Nude Seated in a Bathtub","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhBAAFAPQAADs9O0xHNnVKNFBOR1FSR2daT3tdTGJbWWFgWW1mZXp2cIRXP5NkRYVkXZ19d4+JfqmMfZeOg6GMgLumngAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACH5BAAAAAAALAAAAAAEAAUAAAURIGMsAiQ5TTQlxXAAAYEoTwgAOw==","width":6415,"height":8253,"alt_text":"A work made of oil on canvas."},"main_reference_number":"1974.227","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":"Marcel Duchamp\nAmerican, born France, 1887\u20131968","place_of_origin":"France","description":null,"short_description":null,"dimensions":"92.1 \u00d7 73.1 cm (36 1\/4 \u00d7 28 3\/4 in.)","dimensions_detail":[{"depth":null,"width":73,"height":92,"diameter":null,"clarification":null}],"medium_display":"Oil on canvas","inscriptions":null,"credit_line":"Gift of Mrs. Marcel Duchamp","catalogue_display":null,"publication_history":"Sidney Janis Gallery, 5th Anniversary Exhibition, exh. cat. (New York: Sidney Janis Gallery, 1953), n.p., fig. 71 (ill.). \n\nRobert Lebel, Marcel Duchamp (New York: 1959), p. 109, p. 18 (ill.).\n\nRichard Hamilton, ed., The Almost Complete Works of Marcel Duchamp, exh. cat. (London: The Arts Council of Great Britain, 1966), 22, cat. 53 (ill.). \n\nMus\u00e9e national d\u2019art moderne, Raymond Duchamp-Villon \/ Marcel Duchamp, exh. cat. (Paris: Mus\u00e9e national d\u2019art moderne, 1967), 46, cat. 43 (not ill.), as Femme nue assise dans un tub. \n\nArturo Schwarz, The Complete Works of Marcel Duchamp (New York, 1969), 221 and 416, pl. 21 (ill.), cat. 131\n\n\u201cPublic Museum News,\u201d Art Journal 35, no. 1 (Autumn 1975), 54 (not ill.).\n\nA. James Speyer, ed., 7th American Exhibition, exh. cat. (Chicago: The Art Institute of Chicago, 1982), 14 (ill.).\n\nAnne Rorimer, \u201cMichael Asher: Kontext als Inhalt,\u201d Texte zur Kunst (Herbst 1990).\n\nDalia Judovitz, Unpacking Duchamp: Art in Transit (Berkeley: University of California Press, 1995) p. 20, fig. 1 and p. 21.\n\nArturo Schwarz, The Complete Works of Marcel Duchamp (New York: Delano Greenidge Editions, 1997), 529, cat. 183 (ill.).\n\nMarielle Tabart, ed., Les carnets de l\u2019atelier Brancusi: Brancusi & Duchamp, Regards historiques, exh. cat. (Paris: Centre Georges Pompidou, 2000), 57 (not ill.).\n\nPaul B. Franklin, ed., Etant donn\u00e9, vol. 8, Marcel Duchamp & Mary Reynolds (2007), 103 (not ill.). \n\nAlejandra Perdomo Daniels, Die Verwandlung der Dinge: Zur \u00c4sthetik der Aneignung in der New Yorker Kunstszene Mitte des 20. Jahrhunderts (Bielefeld: Transcript Verlag, 2014), p. 184.\n\nAnne Rorimer, \u201cRemembering Michael Asher at the Art Institute of Chicago, 1982,\u201d October 149 (Summer 2014), p. 196 and 197 (gallery installation view).\n\nC\u00e9cile Debray, ed., Marcel Duchamp: La peinture, m\u00eame, exh. cat. (Paris: Centre Georges Pompidou, 2014), 72, 75 (color ill.), 305, no cat. no., as Femme nue assise dans un tub.","exhibition_history":"New York, Sidney Janis Gallery, Brancusi to Duchamp, Sept. 17\u2013Oct. 27, 1951, cat. 7.\n\nNew York, Sidney Janis, Marcel Duchamp, Apr 6.\u2013May 2, 1959.\n\nPasadena, Pasadena Art Museum, Marcel Duchamp: A Retrospective Exhibition, Oct. 8\u2013Nov. 3, 1963, cat. 8.\n\nLondon, Tate Gallery, The Almost Complete Works of Marcel Duchamp, June 18\u2013July 31, 1966, cat. 53.\n\nParis, Mus\u00e9e nationale d\u2019art moderne, Raymond Duchamp-Villon \/ Marcel Duchamp, June\u2013July 1967, cat. 43.\n\nPhiladelphia, Philadelphia Museum of Art, Marcel Duchamp, Sept. 22\u2013Nov. 11, 1973, checklist no. 59 (not in cat.); New York, Museum of Modern Art, Dec. 3, 1973\u2013Feb. 10, 1974; Art Institute of Chicago, Mar. 9\u2013Apr. 21, 1974.\n\nParis, Centre Georges Pompidou, Marcel Duchamp. 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