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 Subject |
| Artist |
| Timelines/Regions |
| Thematic Essays |
| Accession Number |
| Lists of Rulers |
| Useful Links |
| Selected Readings |
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Église du Saint Esprit, New York City (front elevation and plan), 1831–34, Alexander J. Davis (American); Town & Davis, Watercolor and ink on paper (24.66.82)
Église du Saint Esprit, New York City (section and two plans), 1831–34, Alexander J. Davis (American); Town & Davis, Watercolor and ink on paper (24.66.84) |
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A Corridor in the Asylum, late May or early June 1889, Vincent van Gogh (Dutch), Black chalk and gouache on pink Ingres paper (48.190.2) |
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A Domestic Scene, Annibale Carracci (Italian, Bolognese), Pen and black ink, brush and gray and brown wash (1972.133.2) |
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A Dominican Friar [Petrus de Cruce?] and a Companion below the Dragon's Tower, ca. 1417–20,
Fra Angelico (Italian),
Pen and brush with brown ink, on parchment (1972.118.260) |
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A Fisherman Pulling a Net, 1774,
Jean-Honoré Fragonard (French),
Red chalk (2006.353.1);
A Fisherman Leaning on an Oar, 1774,
Jean-Honoré Fragonard (French),
Red chalk (2006.353.2) |
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A Gathering at Woods' Edge, ca. 1760–80, Jean-Honoré Fragonard (French), French, Red chalk (1995.101) |
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A Large Tree, Salvator Rosa (Italian, Neapolitan), Pen and brown ink, on brown paper (11.66.7) |
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Albert Gallatin, ca. 1796, James Sharples (American), Pastel on light gray wove paper (08.144) |
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Aman-Jean, 1883,
Georges Seurat (French),
Conté crayon on paper (61.101.16) |
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American Institute, New York City (front elevation), ca. 1834–35 (project), Alexander J. Davis (American); Town & Davis, Watercolor, ink, and graphite on paper (24.66.438) |
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Anatomical Studies: A Left Forearm in Two Positions and a Right Forearm, 1600–1608, Peter Paul Rubens (Flemish), Drawing, pen and brown ink (1996.75) |
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Angel of the Revelation, ca. 1803–5, William Blake (British), Watercolor, pen and black ink, over traces of graphite (14.81.1) |
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Annunciation, ca. 1522–25, Correggio (Antonio Allegri) (Italian, Parma), Pen and black ink, brush and gray wash, highlighted extensively with white gouache squared in red chalk, on pink-washed paper (19.76.9) |
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Architectural Study: Search for Volumes in an Isolated Building, ca. 1919, Virgilio Marchi (Italian), Pencil and watercolor on paper (1984.91) |
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Artist's gridded sketch, New Kingdom, Dynasty 18, reign of Hatshepsut, ca. 1479–1458 B.C., Egyptian; From western Thebes, Limestone and ink (23.3.4) |
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Astor Hotel, New York City (perspective), ca. 1830 (project), Alexander J. Davis (American), Watercolor, ink, and graphite on paper (24.66.30) |
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Autumn, ca. 1594, Hendrick Goltzius (Netherlandish), Pen and brown ink, red-brown wash, over black chalk, heightened with white (61.25.2) |
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Bacchanal, ca. 1635–36, Nicolas Poussin (French), French, Pen and brown ink, brush and brown wash, over faint black chalk underdrawing (1998.225) |
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Bengal River Fish, ca. 1804, India; Calcutta School, Pencil, gouache, watercolor, and gilding on paper (2004.176) |
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Bishop Saint in Prayer Seen in Bust-length, ca. 1527–30, Parmigianino (Girolamo Francesco Maria Mazzola) (Italian, Parma), Brush with brown and gray-brown wash over stylus-ruled lines and charcoal; some contours stylus-incised (now flattened), on three glued sheets of paper (1995.306) |
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Bottle and Wine Glass on a Table, 1912, Pablo Picasso (Spanish), Charcoal, ink, cut and pasted newspaper, and graphite on paper (49.70.33) |
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Bust of a Woman with an Elaborate Coiffure, Rosso Fiorentino (Italian, Florentine), Black chalk, certain contours reinforced in pen and brown ink, background tinted in brown wash (52.124.2) |
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Charles the Great's Entrance into Pavia, 1840,
Julius Schnorr von Carolsfeld (German),
Black chalk, graphite, brown watercolor washes, red chalk, red chalk washes; squared for transfer in graphite with numerical indications of vertical divisions at the lower edge (2003.85) |
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Christ and the Apostles Entering the Temple in Jerusalem in an Initial D, ca. 1411–13,
Lorenzo Monaco (Piero di Giovanni) (Italian, Florentine); Fra Angelico(?) (Italian),
Pen and ink on parchment (1999.391)
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Christ and the Pharisees, Anthony van Dyck (Flemish), Pen and brown ink, brush and brown wash (1980.515) |
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Collect Pond, New York City, 1798, Attributed to Archibald Robertson (American), , Watercolor and black chalk on off-white laid paper (54.90.168) |
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Conversion of Saint Paul, 1587–89, Ludovico Carracci (Italian, Bolognese), Pen and brown ink, brush and brown wash, highlighted with white gouache and cream color oil paint over some black chalk underdrawing (2002.33) |
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Cottage among Trees, 1648–50, Rembrandt (Rembrandt Harmensz. van Rijn) (Dutch), Dutch, Pen and brown ink, brush and brown wash, on paper washed with brown (29.100.939) |
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Cow, 1914,
Arthur Dove (American),
Pastel on canvas (49.70.72) |
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Crowning with Thorns, ca. 1520–30, Attributed to Lucas van Leyden (Netherlandish), Pen and brown ink, on paper washed pink (2001.167) |
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Crucifixion, ca. 1570, Hans Speckaert (Flemish), Pen and brown and brownish black iron gall inks, brush and iron ink washes, heightened with white (1999.85) |
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Daniel Strobel, Jr., ca. 1799, John Vanderlyn (American), Probably Conte crayon, black chalk, and white gouache on off-white wove paper (17.134.1) |
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Decorative Cartouche with a River God and Symbols of Francis I, 16th century, Anonymous, School of Fontainebleau, French, Pen and brown ink, brush and gray brown wash, over red chalk underdrawing (2001.514) |
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Design for a Saddle Plate, ca. 1575–80, Italian (Parma or Milan), Pen and colored washes on paper (1993.234) |
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Design for a Sword Hilt, ca. 1540, German (probably Nuremberg), Pen, ink, and wash on paper (2000.27) |
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Design for Henry Field Memorial Gallery at the Art Institute of Chicago, ca. 1893–94,
Louis Comfort Tiffany (American); Tiffany Glass and Decorating Company,
Watercolor, pen and silver- and copper-colored metallic inks, brown and black inks, and graphite on off-white wove watercolor paper (67.654.4) |
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Diagram of the Colors Used to Paint the Portrait of Queen Victoria, ca. 1838, Thomas Sully (American), Brown ink and oil on paper (L.1994.29.6) |
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Diana and Actaeon, ca. 1590–95, Made by Bartholomeus Spranger (Netherlandish), Pen and brown ink, brush and brown and gray wash, white heightening, over traces of black chalk (1997.93) |
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Dirty Bride, or, The Wedding of Mopsus and Nisa, ca. 1566, Pieter Bruegel the Elder (Netherlandish), Pen and black-brown ink on white-prepared partially carved block of applewood (32.63) |
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Drawing XIII, 1915, Georgia O'Keeffe (American), Charcoal on paper (50.236.2) |
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Dutch Fishing Boats, Verso: Sketches of Boats,
Johan Barthold Jongkind (Dutch),
Watercolor over black chalk on paper; verso black chalk (17.120.238) |
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Dyer Sharp Wynkoop, 1800, Charles Balthazar J. F. Saint-Mémin (American), Conte crayon, charcoal (?), and white chalk heightening on off-white laid paper coated with gouache (66.112) |
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Eastern Coast of Rügen Island with Shepherd, ca. 1805–6,
Caspar David Friedrich (German),
Sepia-colored ink, sepia-colored wash, white gouache, and graphite on off-white wove paper (2002.260) |
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Embroidery: The Artist's Mother, 1882–83,
Georges-Pierre Seurat (French),
Conté crayon on paper (55.21.1) |
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Ericstan for John J. Herrick, Tarrytown, New York (rear elevation), 1855–59, Alexander J. Davis (American), Watercolor, ink, and graphite on paper (24.66.10) |
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Feeding the Turkey, ca. 1872–80, Eastman Johnson (American), Pastel on wove paper, mounted on canvas on a wooden stretcher (46.47) |
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Figure Studies, ca. 1638–39,
Rembrandt (Rembrandt Harmensz. van Rijn) (Dutch),
Pen and brown ink (2005.330.16) |
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Figures in One of Michelangelo's Niches on the Apse of Saint Peter's, Rome, Hubert Robert (French), Red chalk; framing lines in pen and brown ink (1972.118.229) |
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First Fruits of the Earth Offered to Saturn, Giorgio Vasari (Italian), Pen and brown ink, brown wash, over traces of red chalk (1971.273) |
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Fishing Boats, Le Pouliguen, 1828,
Paul Signac (French),
Watercolor and graphite on paper (1975.1.718) |
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Fragment of A Long Tale for an Autumn Night, Nanbokucho period, late 14th century,
Japan,
Ink and color on paper (2005.312)
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Fraktur Motifs, ca. 1770–1800, Johann Heinrich Otto (American), Watercolor, pen and iron gall ink, and graphite on off-white laid paper (66.242.1) |
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Gardens of the Villa d'Este at Tivoli, Charles-Joseph Natoire (French), Pen and brown ink, brown and gray wash, watercolor, heightened with touches of white, over black and red chalk (65.65) |
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Gate Lodge for Amos G. Hull, Newburgh, New York (front elevation), 1849, Alexander J. Davis (American), Watercolor, ink, and graphite on paper (24.66.71) |
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Glen Ellen for Robert Gilmor, Towson, Maryland (perspective, elevation, and plan), 1832–33, Alexander J. Davis (American), Watercolor, ink, and graphite on paper (24.66.17) |
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Grace Hill for Edwin C. Litchfield, Brooklyn, New York (front elevation), 1854, Alexander J. Davis (American), Watercolor, ink, and graphite on paper (24.66.67) |
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Gustavus Hamilton (1710–1746), Second Viscount Boyne, in Masquerade Costume, Rosalba Carriera (Italian, Venetian) Pastel on blue paper, laid on canvas (2002.22) |
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Hanako, probably ca. 1908, Auguste Rodin (French), Graphite, pen and brown ink, gouache, and traces of red chalk (10.66.2) |
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Head of a Man, ca. 1718, Jean Antoine Watteau (French), French, Red and black chalk (37.165.107) |
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Head of a Woman in Profile to Lower Left, Follower of Leonardo da Vinci (Italian), Italian, Metalpoint, heightened with white, on pale blue-green prepared paper (19.76.3) |
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Head of a Young Man in Three-Quarter View Facing Left, Looking Upward, 1750–60,
Giovanni Battista Tiepolo (Italian, Venetian),
Red chalk, highlighted with white chalk, on blue-gray paper (2005.330.7) |
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Head of a Young Woman, Albrecht Dürer (German), Black chalk heightened with white chalk on green prepared paper (1975.1.859) |
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Head of the Virgin in Three-Quarter View Facing Right, 1508–12, Leonardo da Vinci (Italian), Italian, Charcoal, black and red chalks; traces of framing line in pen and brown ink at upper right (51.90) |
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Here, This Is Stieglitz Here, 1915, Francis Picabia (French), Pen and ink on paper (49.70.14) |
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Holy Family, ca. 1510–20, Jan Gossaert (Netherlandish), Pen and two colors of light brown ink, over remains of black chalk, on vellum (2001.190) |
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Hugh Mercer, Jr. (Study for The Death of General Mercer at the Battle of Princeton, January 3, 1777), 1791, John Trumbull (American), Graphite on off-white laid paper (06.1346.2) |
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Insect Study, Joris Hoefnagel (Flemish), Pen and brown ink, colored washes, and gold paint on vellum (63.200.4) |
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Italian Landscape with an Old Woman Holding a Spindle (after Domenico Campagnola), ca. 1715, Jean Antoine Watteau (French), Red chalk (1972.118.237) |
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Jeremiah Dictating the Word of God to Baruch, Peter Paul Rubens (Flemish), after Raphael (Italian), Red chalk, brush and red wash, body color, heightened with white, on paper washed with pink (1995.401) |
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John Marin and Alfred Stieglitz, ca. 1912–13, Marius de Zayas (Mexican), Charcoal on paper (49.70.183) |
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Justice, ca. 1427–28,
Fra Angelico (Italian),
Pen and brown ink, with brush and brown wash on paper (1975.1.264) |
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Kav-92, 1992,
Jacob El Hanani (Israeli, born Morocco),
Pen and ink on paper (1993.265) |
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Lady in Green, 1901, Pablo Picasso (Spanish), Pastel on paper (61.85) |
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Lamentation over the Dead Christ. Nicolas Poussin (French), Pen and brown ink (61.123.1)
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Lamentation, ca. 1510–20, Attributed to Jan de Beer (Netherlandish), Pen and black ink, over traces of black chalk (2001.189) |
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Landscape with a Tree and a Farm Building, Anthony van Dyck (Flemish), Pen and brown ink, brush and brown wash (2003.27) |
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Landscape with Architecture, ca. 1730, Isaac de Moucheron (Netherlandish), Pen and brown ink, brush and brown and black ink over traces of black chalk (61.21.2) |
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Landscape with Goat, Titian (Tiziano Vecellio) (Italian, Venetian), Italian, Pen and brown ink (1991.462) |
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Landscape with Trees, Aelbert Cuyp (Dutch, Black chalk, gray wash, watercolored in brown, yellow, and green, partly brushed with gum arabic (07.282.14) |
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Landscape with Wine Harvest, 1630s, Pietro da Cortona (Pietro Berrettini) (Italian), Brush and gray wash, touches of pen and brown ink, over traces of black chalk, with an illusionistic frame drawn in yellow and brown wash, on off-white laid paper (2003.101) |
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Landscape, 1892,
Hilaire-Germain-Edgar Degas (French),
Monotype in oil colors, heightened with pastel (1972.636) |
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Leonidas at Thermopylae, ca. 1814,
Jacques-Louis David (French),
Black chalk, squared in black chalk (63.1) |
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Lion and Dragon in Combat, mid-17th century; Safavid, Signed by Muhammad Baqir, Iran, Ink and transparent color on paper (1974.20) |
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Louise Tiffany, Reading, 1888,
Louis Comfort Tiffany (American),
Pastel on buff-colored wove paper (2003.606) |
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Lucretia, 1483–1520, Raphael (Raffaello Sanzio or Santi) (Italian, Marchigian), Italian, Pen and brown ink over black chalk, partially incised with a stylus (1997.153) |
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Lyndhurst for George Merritt, Tarrytown, New York (first floor plan), 1870, Alexander J. Davis (American), Watercolor, ink, and graphite on paper (24.66.42) |
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Lyndhurst for George Merritt, Tarrytown, New York (west [rear] elevation and plan), 1865, Alexander J. Davis (American), Watercolor, ink, and graphite on paper (24.66.14) |
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Machinery, 1920,
Charles Demuth (American),
Tempera and pencil on cardboard (49.59.2)
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Madame X (Madame Pierre Gautreau), 1883–84, John Singer Sargent (American), Graphite on off-white wove paper (1970.47) |
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Madonna and Child with the Infant Saint John the Baptist; Study for the Right Arm of the Infant Saint John (upper left); Study for Drapery (upper right), Raphael (Raffaello Sanzio or Santi) (Italian, Marchigian), Red chalk (64.47) |
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Man Protected by the Shield of Faith, 1559, Maarten van Heemskerck (Netherlandish), Pen and brown ink, over traces of black chalk, on paper (2000.150) |
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Martyrdom of Saint Lawrence, Attributed to Anthony van Dyck (Flemish), Black chalk, pen and brown ink, brown wash, heightened with white; contours traced with stylus for transfer (61.68) |
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Maternity, 1784, Benjamin West (American), Red chalk on thin off-white laid paper, mounted on off-white laid paper (2002.1) |
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Mederic-Louis-Elie Moreau de Saint-Méry, 1798, James Sharples (American), Pastel and black chalk (or black pastel) on toned (now oxidized) wove paper (24.109.89) |
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Mother Playing with Child, ca. 1897, Mary Cassatt (American), Pastel on wove paper, mounted on cardboard (22.16.23) |
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Mounted Hunter with Dog, 16th century; Safavid, Iran, Ink and transparent colors on paper (1975.192.17) |
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Mrs. Daniel Strobel, Jr. (Anna Church Strobel) and Her Son George, ca. 1799, John Vanderlyn (American), Probably Conte crayon on off-white laid wove paper (17.134.3) |
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Mrs. Pierre Bacot (Marianne Fleur Du Gue), ca. 1708–10, Henrietta Johnston (American), Pastel, red and black chalk on toned laid paper (47.103.23) |
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Mrs. William Morris (Jane Burden, 1840–1914),
Dante Gabriel Rossetti (British),
Red, black, and white chalk on paper (47.66) |
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Nero, ca. 1900–1905, Auguste Rodin (French), Graphite with wash of watercolor and gouache on cream paper (10.66.5) |
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Nicolo Paganini, Jean-Auguste-Dominique Ingres (French), Counterproof strengthened with graphite and white chalk on paper (43.85.10) |
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Note in Pink and Brown, ca. 1880, James Abbott McNeill Whistler (American), Charcoal and pastel on dark brown wove paper (17.97.5) |
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Nursery on the Schenkweg, April 1882, Vincent van Gogh (Dutch), Reed pen and iron gall ink; brush and wash; touches of gouache and scraping on laid paper (1972.118.281) |
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Osage Warrior, 1805–7, Charles Balthazar J. F. Saint-Mémin (American), Watercolor and graphite on off-white wove paper (54.82) |
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Otto, Count of Nassau and His Wife Adelheid van Vianen, 1530–35, Bernaert van Orley (Flemish), Pen and brown ink, watercolor over traces of black chalk (1995.12) |
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Peter and John Heal a Cripple at the Gate of the Temple, Bartholomeus Spranger (Netherlandish), Pen and brown ink and wash, heightened with white, over red chalk on blue paper (2001.107b) |
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Pierre Bacot, ca. 1708–10, Henrietta Johnston (American), Pastel, red and black chalk on off-white laid paper (47.103.24) |
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Portrait of a Man, Jean-Étienne Liotard (Swiss), Red and black chalk (2000.7) |
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Portrait of a Woman (recto); Study of a Girl (verso), Agostino Carracci (Italian, Bolognese), Red chalk, over traces of black chalk, on light brown paper (1994.143) |
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Portrait of Agata Dolci, 1616–86, Carlo Dolci (Italian, Florentine), Red and black chalk on pale gray paper (1994.383) |
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Portrait of an Ecclesiastic, ca. 1430–81, Jean Fouquet (French), Made in France, Metalpoint; black chalk on white prepared paper (49.38) |
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Portrait of Nicolas Trigault in Chinese Costume, Peter Paul Rubens (Flemish), Black, red, and white chalk, blue pastel, and pen and brown ink on light brown laid paper (1999.222) |
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Portrait of Sergei I. Shchukin, 1912, Henri Matisse (French), Charcoal on paper (2002.456.38) |
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Poynter Apollo, 1501–3, Albrecht Dürer (German), Pen and brown and black ink (63.212) |
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Project for a Wall Tomb for Pope Julius II, Michelangelo Buonarroti (Italian), Pen and brown ink, brush and brown wash, over leadpoint or black chalk and ruling (62.93.1) |
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Queen Esther Approaching the Palace of Ahasuerus, 1658, Claude Lorrain (Claude Gellée) (French), Pen and brown ink, brown wash over black chalk, heightened with white (1997.156) |
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Reclining Figure of Day, after Michelangelo (recto); Another Study of the Same Figure (verso), Tintoretto (Jacopo Robusti) (Italian, Venetian), Black chalk, heightened with white, on blue paper (54.125) |
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Road in Etten, 1881, Vincent van Gogh (Dutch), Chalk, pencil, pastel, watercolor (1975.1.774) |
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Rose and nightingale (gul-o-bul-bul) drawing, 19th century; Qajar, Iran, Ink and color on paper (1993.98) |
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Sailing Vessels at Wilders Plads, Copenhagen, 1830,
Christoffer Wilhelm Eckersberg (Danish),
Pen and gray ink with brown wash (2003.180) |
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Saint Celestine V Renouncing the Papacy (after Mattia Preti), 1761, Jean-Honoré Fragonard (French), Black chalk over a black chalk counterproof (1987.239) |
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Saint John the Evangelist (recto), Saint Mark (verso), Francesco Salviati (Francesco de' Rossi) (Italian, Florentine), Charcoal, highlighted with white chalk on blue paper; outlines heavily stylus-incised on recto, and partly so on verso (2001.409) |
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Samson, ca. 1612–16, Jacques Bellange (French), Pen and brown ink, brush and brown and gray wash, on tan antique laid paper1 (2001.568) |
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Savoyarde, ca. 1715, Jean Antoine Watteau (French), Red and black chalk (1978.12.1) |
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Seated Male Nude (Study for the Martyrdom of Saint Lawrence), 1565–69,
Bronzino (Agnolo di Cosimo di Mariano) (Italian, Florentine),
Black chalk (2005.354) |
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Seated Man Reading, ca. 1773–74, Jean-Honoré Fragonard (French), Red chalk (1978.516.1) |
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Seated River God, Nymph with an Oar, and Putto, 1696–1770, Giovanni Battista Tiepolo (Italian), Pen and brown ink, brush with pale (yellow) and dark brown wash, over black chalk (37.165.32) |
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Seated Woman, 1716–17, Jean Antoine Watteau (French), Black, red, and white chalk (1975.1.763) |
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Seated Young Woman, Adam Elsheimer (German), Gouache on brown paper (1997.373) |
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Self-Portrait, 1892,
Charles Angrand (French),
Conté crayon on laid paper (1975.1.566) |
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Sentimental Music, ca. 1913,
Arthur Dove (American),
Pastel on paper, mounted on plywood (49.70.77) |
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Set of Fifty-Two Playing Cards, ca. 1470–1480, South Netherlandish; Made in Burgundian Territories, Pasteboard with pen and ink, tempera, applied gold and silver (1983.515.1-52) |
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Sheep Shearing Beneath a Tree, ca. 1854, Jean-François Millet (French), Conté crayon with stumping, pen and brown ink, heightened with white on beige wove paper (40.12.3) |
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Silhouette of David Roentgen in Saint Petersburg, ca. 1784–86, Johann Friedrich Anthing (German, active in Russia), Russian; Saint Petersburg, Cut paper, ink, watercolor, gold foil (48.73.1) |
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Sketch for Jesus the Son of Man, ca. 1923,
Gibran Khalil Gibran (American, born Lebanon),
Pencil and watercolor on paper (32.45.5) |
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Standing Draped Male Figure, 1611–89, Baldassare Franceschini ("Il Volterrano") (Italian), Black chalk, highlighted wtih white, on blue-green paper, deckled edges; glued onto secondary paper support (1996.142.3) |
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Standing Female Nude, 1910, Pablo Picasso (Spanish), Charcoal on paper (49.70.34) |
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Standing Nude Man Holding Bottles, ca. 1715–16, Jean Antoine Watteau (French), Red, black, and white chalk (1972.118.238) |
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Standing Youth with Hands Behind His Back, and a Seated Youth Reading, ca. late 1470s–early 1480s, Filippino Lippi (Italian, Florentine), Metalpoint, highlighted with white gouache, on pink prepared paper (36.101.1) |
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Start of the Race of the Barbieri Horses, Rome, 1860,
Jean-Baptiste Carpeaux (French),
Pen and ink, watercolor, and gouache on wove paper (2000.105) |
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Street in Saintes-Maries, ca. July 17, 1888, Vincent van Gogh (Dutch), Pens (including reed pen), brush, and iron gall ink over chalk on wove paper (backed with wove paper) (48.190.1) |
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Studies after Pietro da Cortona, Jacques-Louis David (French), Black chalk (63.92.1) |
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Studies for the Movements of Water, Male Nude Sheathing or Unsheathing a Sword, and Hercules Holding a Club Seen in Frontal View (recto); Study of Hercules Holding a Club Seen in Rear View (verso), 1506–8, Leonardo da Vinci (Italian), Charcoal or soft black chalk; pen and dark brown ink, on off-white laid paper (2000.328a,b) |
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Studies of a Seated Youth in Armor, Attributed to Vittore Carpaccio (Carpathius, Scarpazza) (Italian, Venetian), Italian, Point of brush and gray wash, highlighted with white, on blue paper (54.119) |
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Study for Song, 1938, Henri Matisse (French), Charcoal on paper (2002.456.45) |
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Study for The Ascension, 1774, John Singleton Copley (American), Ink ("Bistre") washes, pen and ink, black chalk, and graphite on off-white laid paper (60.44.16) |
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Study for The Siege of Gibraltar: three figures, 1785–86, John Singleton Copley (American), Black and red chalk on blue laid paper (60.44.19) |
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Study for a Portrait of a Lady, Anthony van Dyck (Flemish), Black chalk heightene (1972.118.279) |
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Study for a Triton (recto); Anatomical Studies (?) (verso), 1642–44, Gian Lorenzo Bernini (Italian), Drawing in red chalk, background tinted with an almost imperceptible pale brown wash, framing lines in pen and brown ink (recto); black chalk (verso) (1973.265) |
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Study for Distortions; Isometric Systems in Isotropic Space—Map Projections: The Cube, 1978, Agnes Denes (American), Watercolor on graph paper, pen and ink on clear plastic overlay (1983.501.3) |
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Study for the Astor Library (front elevation), 1843, Alexander J. Davis (American), Watercolor and ink on paper (24.66.419) |
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Study for the Fonte Gaia, Siena, Jacopo della Quercia (Italian), Pen and brown ink, brush and brown wash, on vellum (49.141) |
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Study for the Modeling Stand of the Ugolino Group, ca. 1860,
Jean-Baptiste Carpeaux (French),
Pen and brown ink (1975.98.1) |
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Study for two residential rows facing across a court, New York City (perspective), ca. 1831, Alexander J. Davis (American), Watercolor and ink on paper (24.66.1291) |
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Study of a double townhouse (front elevation), ca. 1843, Alexander J. Davis (American), Watercolor and ink on paper (24.66.55) |
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Study of a Tree Trunk, Roelandt Savery (Netherlandish), Graphite, charcoal dipped in oil, brush and gray wash, red chalk (1999.223) |
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Study of Count Albert of Arenberg, Anthony van Dyck (Flemish), Pen and brown ink (40.91.16) |
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Study of Queen Victoria's Neckline (Study for Portrait of Queen Victoria), ca. 1838, Thomas Sully (American), Graphite on paper (L.1994.29.1) |
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Study of Queen Victoria's Train (Study for Portrait of Queen Victoria), ca. 1838, Thomas Sully (American), Graphite on paper (L.1994.29.3 recto) |
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Study of the Belvedere Torso, ca. 1601–2, Peter Paul Rubens (Flemish), Red chalk (2002.12b) |
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Study of the Queen's Robes (Study for Portrait of Queen Victoria), ca. 1838, Thomas Sully (American), Graphite on paper (L.1994.29.4 recto) |
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Study of the Queen's Robes (Study for Portrait of Queen Victoria), ca. 1838, Thomas Sully (American,), Graphite on paper (L.1994.29.2) |
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Study of the Throne in the House of Lords (Study for Portrait of Queen Victoria), ca. 1838, Thomas Sully (American, Graphite on paper (L.1994.29.5 recto) |
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Tahitian Faces (Frontal View and Profiles), ca. 1899, Paul Gauguin (French), Charcoal on laid paper (1996.418) |
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Temptation of Saint Anthony (recto); Fantastic Landscape (verso), ca. 1510–20, Jan Wellens de Cock (Netherlandish), Pen, or point of the brush, and gray ink, heightened with white, on green prepared paper (1972.118.276) |
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The Age of Gold, ca. 1878?, Auguste Rodin (French), Black chalk and traces of white chalk on gray paper (63.92.3) |
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The Angel of the Annunciation, ca. 1500, Raffaellino del Garbo (Raffaelle di Bartolommeo di Giovanni di Carlo) (Italian, Florentine), Pen and brown ink and wash with white gouache over black chalk (12.56.5a) |
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The Bay of Naples with Vesuvius in the Background, 1843,
Christen Købke (Danish),
Pen and black ink over pencil (2003.179) |
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The Burial of Punchinello, ca. 1800, Giovanni Domenico Tiepolo (Italian, Venetian), Pen and brown ink, brown and yellow wash, over black chalk (1975.1.473) |
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The Drunken Silenus ("The Tazza Farnese"), ca. 1600, Annibale Carracci (Italian, Bolognese), Engraving from a silver plate printed in brown ink (27.78.1.150); Study for The Drunken Silenus ("The Tazza Farnese"), 1597–1601, Annibale Carracci (Italian, Bolognese), Pen and brown ink and wash over black chalk, incised for transfer (1972.133.4) |
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The Evening Dress, before 1926, Thomas Wilmer Dewing (American), Pastel on brown paper cardboard (66.157) |
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The Fall of Phaeton: From the series The Metamorphoses, ca. 1588, Hendrick Goltzius (Netherlandish), Pen and red-brown ink, brush and brown wash, heightened with white, indented for transfer (1992.376) |
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The Flesh Eaters, 1952, William Baziotes (American), Oil and charcoal on canvas (1995.234) |
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The Fountain, No. 1: The Wounded Indian Slaking His Death Thirst, 1843, Thomas Cole (American), Graphite and white gouache on green wove paper (1977.182.7) |
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The Garden of Love (two parts), Peter Paul Rubens (Flemish); Christoffel Jegher (Flemish), Pen and brown ink, brown and green wash, heightened with light body color, over black chalk (58.96.1,.2) |
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The Girandola at the Castel Sant'Angelo, ca. 1783, Francesco Piranesi (Italian) and Louis-Jean Desprez (French), Etching with colored washes (69.510) |
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The Lictors Bringing Brutus the Bodies of His Sons, 1787,
Jacques-Louis David (French),
Black chalk, pen and black and brown ink, brush and gray and brown wash, heightened with white gouache (2006.264) |
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The Parable of the Wise and Foolish Virgins, ca. 1803–5, William Blake (British), Watercolor, brush and gray wash, pen and black ink over graphite (14.81.2) |
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The Presentation in the Temple, Peter Paul Rubens (Flemish), Pen, brush, and brown ink on pale tan paper; reverse, black chalk and brown ink (52.214.3) |
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The Scene of the Two Carriages,
Claude Gillot (French),
Pen and black ink, brush and red wash (2006.93) |
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The Sorcerer Altante Abducting Pinabello's Lady, Nicolas Poussin (French), Pen and brown ink (1972.118.224) |
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The Swing, 1796–97, Francisco de Goya y Lucientes (Spanish), Brush and gray wash on laid Netherlandish paper (35.103.2) |
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The Virgin Adored by Saints, ca. 1627, Peter Paul Rubens (Flemish), Pen and brown ink (2002.12a) |
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Three Standing Figures (recto); Seated Woman and a Male Hermit in Half-length (verso), 1374–1438, Stefano da Verona (Stefano di Giovanni) (Italian), Pen and brown ink over traces of charcoal or black chalk on laid off-white paper (1996.364a,b) |
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Three Studies for the Christ Child, Raphael (Raffaello Sanzio or Santi) (Italian, Marchigian), Red chalk (1997.75) |
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Triton Sounding a Conch Shell, ca. 1597–1602, Annibale Carracci (Italian, Bolognese), Black chalk on blue paper (1970.15) |
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Turkish Lancer and Onlookers Approaching a Town, ca. 1760–70,
Giovanni Domenico Tiepolo (Italian, Venetian),
Pen and brown ink, brush and pale brown wash, over traces of black chalk; framing outlines by the artist in pen and brown ink on paper (37.165.67) |
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Two Satyrs in a Landscape, Titian (Tiziano Vecellio) (Italian), Pen and brown ink, highlighted and corrected with white gouache, on off-white laid paper (1999.28) |
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Two Winged Putti, ca. 1748–50, François Boucher (French), Black chalk, brush and gray wash, heightened with white chalk, on beige paper (60.175.1) |
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Untitled, 1990,
Moshe Kupferman (Israeli, born Poland),
Pastel, gouache, graphite, and charcoal on paper (1992.301.2) |
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Vertumnus and Pomona, ca. 1760–70, François Boucher (French), Brown chalk (60.176.2) |
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View of Rome, Seen from the Janiculum Hill, Anton van den Wyngaerde (Flemish), Pen and brown ink, brown wash (52.124.1) |
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View of St. Peter's and the Vatican from the Janiculum (Gianicolo), 1754, Richard Wilson (British), British, Black and white chalks with stumping, on gray paper laid down on original artist's mount, colored with purple wash (1972.118.294) |
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View of the Queen's Theatre from the Rotunda, ca. 1739, Jacques Rigaud (French), Ink and wash (42.79.7) |
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Virgin and Child Attended by Angels, ca. 1495–1500, Attributed to Filippino Lippi (Italian, Florentine), Pen and brown ink, brush and brown wash, highlighted with white gouache (68.204) |
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Virgin and Child with Saint Elizabeth, the Infant Baptist, Saint Anthony of Padua, and a Female Martyr, Jacopo da Pontormo (Jacopo Carucci) (Italian), Red chalk, brush and red wash (19.76.11) |
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Warwick Castle: The East Front, 1752, Canaletto (Giovanni Antonio Canal) (Italian, Venetian), Pen and brown ink, gray wash (1975.1.297) |
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Woman from Altmark, 1570, Melchior Lorch (Danish), Pen and brown ink (1995.299) |
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Young Communards in Prison (Les Fédérés à la Conciergerie), Gustave Courbet (French), Black chalk (rubbed) on wove paper (1999.251) |
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