Morning

1760

Claude Joseph Vernet (French, 1714–1789)

Status: On View, Gallery 216
Department: Painting and Sculpture of Europe

Artist: Claude Joseph Vernet
Title: Morning
Place: France (Artist's nationality:)
Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.: 1760
Medium: Oil on canvas
Inscriptions: Inscribed lower right: J. Vernet f 1760
Dimensions: 65.7 × 96.8 cm (25 7/8 × 38 1/8 in.); Framed: 72.3 × 103.6 cm (28 7/16 × 40 3/4 in.)
Credit Line: Mr. and Mrs. Martin A. Ryerson Collection
Reference Number: 1933.1101
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.: https://api.artic.edu/api/v1/artworks/16439/manifest.json

Léon Lagrange, Les Vernet: Joseph Vernet et la peinture au XVIIIe siècle (Paris, 1864), p. 342, C.184, p. 364, R.104, p. 385.
Maurice Meaudre de Lapouyade, Voyage d’un allemand à Bordeaux en 1801 (Bordeaux, 1912), pp. 44-45.
“La Curiosité,” New York Herald, Paris ed., May 28, 1924, p. 5.
Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago, 1925), p. 161, no. 2086.
Rose Mary Fischkin, Martin A. Ryerson Collection of Paintings and Sculpture, XIII to XVIII Century, Loaned to The Art Institute of Chicago, unpub. MS, 1926, Ryerson Library, The Art Institute of Chicago, p. 149.
Florence Ingersoll-Smouse, Joseph Vernet, peintre de marine, 1714–1789: Etude critique suivie d’un catalogue raisonné de son oeuvre peint avec trois cent cinquante-sept reproductions, (Paris, 1926), vol. 1, p. 92, no. 732, fig. 180, vol. 2, p. 15, under no. 873, p. 132.
Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago, 1932), p. 183.
William R. Valentiner, Paintings in the Collection of Martin A. Ryerson, unpub. MS [1932], Archives, The Art Institute of Chicago, n. pag.
Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), p. 461.
Peter Murray, Dulwich Picture Gallery: A Catalogue (London, 1980), p. 133, under no. 300.
Le Port des lumières: La Peinture à Bordeaux, 1750–1800, exh. cat. (Musée des Beaux-Arts de Bordeaux, 1989), p. 36, fig. 7.
Christopher Wright, The World’s Master Paintings from the Early Renaissance to the Present Day: A Comprehensive Listing of Works by 1,300 Painters and a Complete Guide to Their Locations Worldwide (New York, 1991), vol. 1, p. 464, vol. 2, pp. 62, 639.
Susan Wise in Susan Wise and Malcolm Warner, French and British Paintings from 1600 to 1800 in The Art Institute of Chicago (Chicago, 1996), pp. 152–56, ill.
Werner Hofmann, Das entzweite Jahrhundert. Kunst zwischen 1750 und 1830 (Munich, 1995), pp. 344-46, fig. 281 (Une époque en rupture. 1750-1830, trans. Miguel Couffon, Paris, 1995, pp. 344-46, 714, fig. 281).

Paris, Ecole des Beaux-Arts, Les Vernet, [1897–98], no. 37.
The Art Institute of Chicago, Selected Works of Eighteenth-Century French Art in the Collections of The Art Institute of Chicago, 1976, no. 10.

Presumably one of four paintings commissioned by Monsieur Journû, Bordeaux, in 1759 [proposed by Ingersoll-Smouse 1926, p. 92; see Lagrange 1864 for this commission]; by descent to Bernard Journu-Auber, comte de Tustal, Bordeaux, until at least 1801 [see Meaudre de Lapouyade 1912]. Probably Baron Schickler, Paris, by 1897 [according to Ingersoll-Smouse, it was lent by him to Paris, 1897/1898, no. 37]. Sold Hôtel Drouot, Paris, February 21, 1910, no. 47 with its companion pieces, nos. 46, 48, 49 to Théodore Bonjean, Paris [annotated copy of the sale catalogue at Durand-Ruel, Paris, copy in curatorial file]. Edmond Noël, Paris; sold Galerie Georges Petit, Paris, May 27, 1924, no. 25, to Durand-Ruel, Paris, acting on behalf of Martin A. Ryerson, for Fr 23,000 [the companion pieces, no. 26, Le Soir, no. 27, La Tempête, no. 28, La Nuit were sold to other buyers; see annotated copy of sale catalogue in Durand-Ruel archives and New York Herald 1924, copies in curatorial file]; Martin A. Ryerson, Chicago (died 1932); on loan to the Art Institute, 1924–33; bequeathed to the Art Institute, 1933.

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world.

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