Painting of One Hundred Themes (obverse) — artist unrecorded — The Cleveland Museum of Art · Bequest of Gordon K. Mott · CC0. Museum object record ↗

Painting study · Ink painting

Painting of One Hundred Themes (obverse)late 1800s · Study 1998.286.a

Artist not recorded
late 1800s

Recorded as Ten-panel folding screen affixed with album leaves (obverse), calligraphy (reverse), ink and color on silk, this vertical work measures 33.5 × 117.7 cm using the museum’s image dimensions. Explore the museum’s context and compare the format with a wall of your choice.

Explore its scale ↓Shop Lei-Kol paintings

Museum collection reference. This work is not offered for sale by Physical Art For Crypto. Museum attribution does not imply a partnership or endorsement.

Context from the museum

This screen depicts paintings on one side and poems on the other—an economical format often used in Korea to allow the viewer to enjoy both sides of one screen. The front features an assortment of bird-and-flower, landscape, and figural paintings executed according to the brush manner of more than 50 artists. A calligrapher has brushed several Chinese poems about the four seasons on the reverse side, among them "Composing in the Daytime of Summer" by Tang poet Liu Zongyuan (773–819) and "Composing when Spring Begins" by Song scholar Zhang Shi (1133–1180).

Museum description reproduced from its CC0 open-access record. Read the original catalog entry.

A detail to notice

Depicting small images of various subjects became one of the most popular types of painting toward the end of the 19th century.

Observation supplied by the Cleveland Museum of Art.

Read the dimensions before the image

The selected image measurement for Painting of One Hundred Themes (obverse) is 33.5 cm wide and 117.7 cm high, equivalent to approximately 13.2 × 46.3 inches. Dividing width by height gives a format ratio of 0.28:1. The rectangular bounding area is 0.39 square meters; it describes the measured footprint, not the amount of paint or the monetary value.

On an illustrative 300 cm wall, the recorded width occupies 11.2% of the span before adding a frame. A centered placement leaves approximately 133.3 cm on each side before adding a frame. These are calculations by Physical Art For Crypto using museum measurements. They are not the museum’s display recommendations.

Questions to bring to your own collection

With Painting of One Hundred Themes (obverse) in view, identify one feature you can point to, then distinguish what the museum records from your personal response. Keep its medium, Ten-panel folding screen affixed with album leaves (obverse), calligraphy (reverse), ink and color on silk, in your notes when comparing contemporary works.

Which part of this vertical composition catches your eye first?
Would a 33.5 cm width still suit the space after allowing for furniture and a frame?
What surface detail would you need to see in person or in a close photograph?

Explore physical scale

How large would this format feel on your wall?

Use this museum work’s recorded format as a reference. Adjust a blank wall and optional frame allowance to compare proportions. The museum painting is an educational reference and is not for sale here.

Units

Wall width (cm)

Wall height (cm)

Frame each side (cm)

11.2%of wall width, including allowance

33.5 × 117.7 cmmodeled outside dimensions

Within the entered wall dimensions133.3 cm each side when centered

Calculation: outside width = recorded width + twice your frame allowance. This is a proportion study, not an installation assessment. It excludes furniture, hardware, load capacity, depth and delivery clearance. The display image may include margins absent from the recorded measurement.

Compare formats with the studio collection

These Lei-Kol works have the closest width-to-height ratios in the current catalog. This is a geometry comparison, not a claim of artistic similarity, equivalent value, or association with the museum artist.