CMA: Drawings @cma-drawing - Tumblr Blog

Armored Figure on Horseback (recto); Horse in Front of a Barn (verso), Eugène Delacroix , c. 1828, Cleveland Museum of Art: Drawings

Size: Sheet: 27 x 39.7 cm (10 5/8 x 15 5/8 in.) Medium: graphite and brush and brown wash

https://clevelandart.org/art/1933.418

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Soldier in a Trench (recto) Reclining Woman (verso), Jean Louis Forain , 1915, Cleveland Museum of Art: Drawings

Size: Sheet: 20.5 x 19.1 cm (8 1/16 x 7 1/2 in.) Medium: pen and brown ink and brush and brown wash

https://clevelandart.org/art/1924.331

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Sketchbook: "Landscape with Sailboats", Samuel Prout , 1814, Cleveland Museum of Art: Drawings

John Ruskin (also in this gallery) admired Prout’s strength as a draftsman. Like the topographical watercolorists of the 18th century, Prout emphasized form over color in his watercolors, as is evident in the monochromatic, delicate English views in this sketchbook. Size: Each page: 13.5 x 23.4 cm (5 5/16 x 9 3/16 in.) Medium: graphite on two pages

https://clevelandart.org/art/1954.648.i

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Butterfly, Mary Altha Nims , Cleveland Museum of Art: Drawings

Medium: watercolor

https://clevelandart.org/art/1934.140

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Album with Views of Rome and Surroundings, Landscape Studies, page 48b: Roman Landscape, Franz Johann Heinrich Nadorp , Cleveland Museum of Art: Drawings

Medium: graphite

https://clevelandart.org/art/1989.13.ggg

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cma-modern-european-art

Seaside (July: Specimen of a Portrait), James Tissot , 1878, Cleveland Museum of Art: Modern European Painting and Sculpture

This painting belongs to a series of allegories representing various months of the year. The sitter’s relaxed pose and the distant beach suggest a summer vacation by the sea. Bright sunlight is reflected off the sand and filtered through the awning into the room, where it rebounds from the woman’s ruffled dress onto her face. The model has been identified as Kathleen Newton, Tissot’s British mistress from 1876 until her death in 1882. Size: Framed: 112.1 x 85.4 x 6.4 cm (44 1/8 x 33 5/8 x 2 ½ in.); Unframed: 87.5 x 61 cm (34 7/16 x 24 in.) Medium: oil on fabric

https://clevelandart.org/art/1980.288

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Aristomenes Mourning the Death of Socrates from the Bewitchment of Meroë (from Book 1 of Apuleius, "The Golden Ass"), Antoine-Denis Chaudet , 1795, Cleveland Museum of Art: Drawings

This scene represents the end of a complex episode from the Roman writer Apuleius's (2nd century ad) story The Golden Ass. Aristomenes narrates a tale to the book's main character, Lucius, about a friend named Socrates, whom he meets during his travels. After a disastrous affair with a witch named Meroë, Socrates dies from a wound she inflicts to his throat, and the scene shown here is the moment just after his death. Chaudet is mainly known as a sculptor, but he also designed a number of book illustrations for the most important publisher of the neoclassic period, the Didot firm. Although we know he did a number of drawings for The Golden Ass, the project was never realized as a book. Size: Sheet: 27.9 x 21.3 cm (11 x 8 3/8 in.); Image: 19.8 x 10.3 cm (7 13/16 x 4 1/16 in.) Medium: brush and black and gray wash, heightened with white gouache, over graphite

https://clevelandart.org/art/2008.374

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mauritshuis-museum

Mercury, Hendrick Goltzius, 1611, Mauritshuis Museum

https://www.europeana.eu/portal/record/2021672/resource_document_mauritshuis_44.html?utm_source=api&utm_medium=api&utm_campaign=j4AoMQNzp

#mauritshuis #europeana #mauritshuismuseum #museumarhive #artmuseum

Peasant's Cottage (recto); Bridge and Gate (verso), Abraham Bloemaert , c. 1600, Cleveland Museum of Art: Drawings

Abraham Bloemaert, active in Utrecht, was a painter, prolific draftsman, print designer, and important teacher. Bloemaert was an important precursor of the new wave of realism in Dutch art in the 1620s. Artist and author Karel van Mander (1548-1606) wrote the following description of Bloemaert=s drawings in 1604 which seems to correspond very closely to this work: With art lovers there are also by him very attractive landscapes with some attractive and funny farmhouses, farm tools, trees, and backgrounds, things to be seen around Utrecht in great numbers and variety, for he does very much from life, having a very attractive way of drawing and handling with the pen, to which he then adds some succulent touches of colors for a special seemliness. Size: Sheet: 17.2 x 27.2 cm (6 3/4 x 10 11/16 in.) Medium: pen and brown ink with brush and brown, blue, red and yellow wash, over black and red chalk

https://clevelandart.org/art/1940.737

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Landscape with Two Monks, François Edouard Bertin , c. 1840, Cleveland Museum of Art: Drawings

Bertin studied initially with Girodet and later with Ingres and from them acquired a grounding in classical landscape. He began his career by submitting a historical landscape to the Salon of 1827, but shortly thereafter he broke with classical tradition and devoted himself to painting and drawing from nature. He traveled widely in Europe, particularly in Italy, where he lived for more than a decade. In this drawing on blue paper, two monks populate an Italian roadside scene. Bertin combined a close examination of nature in the specific rendering of the trees and rocks with a clear, almost abstract organization of the planes that belies his classical training. Size: Sheet: 27.4 x 32.2 cm (10 13/16 x 12 11/16 in.) Medium: graphite heightened with white chalk; framing lines (arched at top) in graphite

https://clevelandart.org/art/1990.79

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Landscape with Buildings and Figures, Onorio Marinari , second half 1600s(?), Cleveland Museum of Art: Drawings

Size: Sheet: 16.8 x 16.6 cm (6 5/8 x 6 9/16 in.); Secondary Support: 18.1 x 17.9 cm (7 1/8 x 7 1/16 in.) Medium: pen and brown ink; framing lines in brown ink

https://clevelandart.org/art/1951.263

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radishshev-art-museum

Сельский вид, 1880, Radishshev Art Museum

Дерево, масло

http://ogis.sgu.ru/ogis/katalog/cgi-bin/museum.cgi-picid=sid-pac=va-id=g-166-bpicid=a-bid=83-bl=a-bs=0.htm

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harvard-art-museums-prints

The Death Chase, P. Grenier, 19th century, Harvard Art Museums: Prints

Harvard Art Museums/Fogg Museum, Gift of Belinda L. Randall from the collection of John Witt Randall

https://www.harvardartmuseums.org/collections/object/240593

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Saint Deicolus and the Boar, Johann Wolfgang Baumgartner , 1747-1748, Cleveland Museum of Art: Drawings

Baumgartner's innovations in rococo design are magnificently demonstrated in this sheet showing the story of Saint Deicolus and the Boar. The format of the work imitates that of a decorative cartouche, an ornamental framework surrounding an open field usually reserved for an inscription or emblem. Baumgartner ingeniously adapted the cartouche form for this scene: the framing elements seem to grow out of the landscape but are clearly artificial, and have the appearance of exuberant metalwork intertwined with vegetation and rocks. Deicolus was an Irish saint who founded an abbey in the Burgundy region of France. Baumgartner shows an incident in which Deicolus saved a boar from the hunting party of the ruler Clotaire II. Size: Sheet: 52.2 x 73.5 cm (20 9/16 x 28 15/16 in.) Medium: pen and brown and gray ink and brush and gray wash heightened with white gouache; incised, verso coated with red chalk

https://clevelandart.org/art/1967.22

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