Ask the Scholar
Page 1 of 4
I can add historical knowledge about this page.
Page image
Document source description
During an 1886-89 stay in Paris, this Boston painter experimented with working in oils outdoors. He gradually abandoned the dark-toned palette of the Barbizon masters for the brighter colors of the French Impressionists. Hassam named this study of a nude model, painted as if posed on a cliff, after the siren in the German poet Heinrich Heine's "Die Lorelei" (1827). In the poem, the Lorelei, a water spirit dwelling in the treacherous rocks along the Rhine River, lures ships to their destruction with her tantalizing singing:Night falls as I linger, dreaming, And calmly flows the Rhine;The Peaks of the mountains gleaming In the golden sunset shine.A wondrous lovely maiden Sits high in glory there;Her robe with gems is laden, And she combs out her golden hair.
Page data
- Page
- 1
- Source index
- 0
- Type
- photo
- Media ID
- 59d558c3a78ad52d
- Size
- unknown
Document data
- ID
- 39695
- Core
- obj
- Type
- drawing
DTO data
{
"id": "39695",
"sourceUrl": "https://purl.thewalters.org/art/37.310",
"contentType": "drawing",
"stage": "normalized",
"title": "The Lorelei",
"description": "During an 1886-89 stay in Paris, this Boston painter experimented with working in oils outdoors. He gradually abandoned the dark-toned palette of the Barbizon masters for the brighter colors of the French Impressionists. Hassam named this study of a nude model, painted as if posed on a cliff, after the siren in the German poet Heinrich Heine's \"Die Lorelei\" (1827). In the poem, the Lorelei, a water spirit dwelling in the treacherous rocks along the Rhine River, lures ships to their destruction with her tantalizing singing:Night falls as I linger, dreaming, And calmly flows the Rhine;The Peaks of the mountains gleaming In the golden sunset shine.A wondrous lovely maiden Sits high in glory there;Her robe with gems is laden, And she combs out her golden hair.",
"provenance": "Purchased by Henry Walters, Baltimore, possibly 1905 [1]; by bequest to Walters Art Museum, 1931.[1] this painting was possibly acquired at the National Academy of Design exhibition of 1905, where it won the Thomas B. Clarke Prize",
"date": "1904",
"citationUrl": "https://purl.thewalters.org/art/37.310",
"rightsUri": "CC0",
"language": "en",
"genreSpecific": [
"Painting & Drawing",
"oil paintings (visual works)"
],
"iiifBase": "https://art.thewalters.org/images/art/PL7_37.310_Fnt_BW_H63.jpg",
"thumbnailUrl": "https://art.thewalters.org/images/art/PL7_37.310_Fnt_BW_H63.jpg",
"largeImageUrl": "https://art.thewalters.org/images/art/PL7_37.310_Fnt_BW_H63.jpg",
"imageCount": 4,
"pageCount": 4,
"source": "import",
"dimensions": [
{
"units": "cm",
"width": 63.8,
"height": 53.5
}
],
"dimensionsRaw": "H: 25 1/8 x W: 21 1/16 in. (63.8 x 53.5 cm); Framed H: 38 × W: 32 11/16 × D: 3 3/8 in. (96.5 × 83 × 8.5 cm)"
}
Context sent to Scholar
Document identity
{
"localId": "39695",
"label": "The Lorelei",
"core": "obj",
"dtoType": "drawing",
"citationUrl": "https://purl.thewalters.org/art/37.310"
}
Document source metadata
{
"id": "39695",
"sourceUrl": "https://purl.thewalters.org/art/37.310",
"contentType": "drawing",
"stage": "normalized",
"title": "The Lorelei",
"description": "During an 1886-89 stay in Paris, this Boston painter experimented with working in oils outdoors. He gradually abandoned the dark-toned palette of the Barbizon masters for the brighter colors of the French Impressionists. Hassam named this study of a nude model, painted as if posed on a cliff, after the siren in the German poet Heinrich Heine's \"Die Lorelei\" (1827). In the poem, the Lorelei, a water spirit dwelling in the treacherous rocks along the Rhine River, lures ships to their destruction with her tantalizing singing:Night falls as I linger, dreaming, And calmly flows the Rhine;The Peaks of the mountains gleaming In the golden sunset shine.A wondrous lovely maiden Sits high in glory there;Her robe with gems is laden, And she combs out her golden hair.",
"provenance": "Purchased by Henry Walters, Baltimore, possibly 1905 [1]; by bequest to Walters Art Museum, 1931.[1] this painting was possibly acquired at the National Academy of Design exhibition of 1905, where it won the Thomas B. Clarke Prize",
"date": "1904",
"citationUrl": "https://purl.thewalters.org/art/37.310",
"rightsUri": "CC0",
"language": "en",
"genreSpecific": [
"Painting & Drawing",
"oil paintings (visual works)"
],
"iiifBase": "https://art.thewalters.org/images/art/PL7_37.310_Fnt_BW_H63.jpg",
"thumbnailUrl": "https://art.thewalters.org/images/art/PL7_37.310_Fnt_BW_H63.jpg",
"largeImageUrl": "https://art.thewalters.org/images/art/PL7_37.310_Fnt_BW_H63.jpg",
"imageCount": 4,
"pageCount": 4,
"source": "import",
"dimensions": [
{
"units": "cm",
"width": 63.8,
"height": 53.5
}
],
"dimensionsRaw": "H: 25 1/8 x W: 21 1/16 in. (63.8 x 53.5 cm); Framed H: 38 × W: 32 11/16 × D: 3 3/8 in. (96.5 × 83 × 8.5 cm)"
}
Document source extras
{
"inscriptions": "[Signature] Lower right: Childe Hassam; [Date] Lower right: 1904",
"med": "oil on canvas",
"creator_ids": [
"2444"
],
"collection_ids": [
"EAN"
],
"exhibition_ids": [
"2728"
]
}
Page context
{
"seq": 1,
"pageIndex": 0,
"type": "photo",
"url": "https://art.thewalters.org/images/raw/PS1_37.310_Fnt_DD_T14.jpg",
"mediaId": "59d558c3a78ad52d"
}