EssentiaLine

Schjerfbeck, green then black

My tracing beside Schjerfbeck's 1895 self-portrait Left: my tracing, green then black. Right: Helene Schjerfbeck, Self-Portrait, 1895, oil on canvas — Ekenäs Museum Center EKTA, Ekenäs (Tammisaari), Finland. Public domain.

La Scapigliata and Raphael’s Prato

My tracing beside Leonardo's La Scapigliata Left: my tracing. Right: Leonardo da Vinci, La Scapigliata (“Lady with Dishevelled Hair”), c. 1506–1508, oil, umber and white lead on poplar panel, Galleria Nazionale di Parma — public domain.

Sargent’s Violet, in pencil

My tracing beside Sargent's Violet Left: my tracing. Right: John Singer Sargent, Violet Sargent, c. 1883, graphite on off-white wove paper, 18 13/16 × 13 15/16 in. (47.8 × 35.4 cm), The Metropolitan Museum of Art — public domain.

Botticelli’s Idealization Simonetta Vespucci

My tracing beside Botticelli's Simonetta Vespucci Left: my tracing. Right: Sandro Botticelli, Ritratto di giovane donna, c. 1480–1485, mixed technique on poplar wood, Städel Museum, Frankfurt am Main — public domain.

Christiaan Tonnis’s Female Warriors

Tracing beside Tonnis's Female Warrior #14 "Extinction," 1981 Left: my tracing. Right: Christiaan Tonnis, Female Warrior #14 “Extinction”, pencil and colored pencil on paper, 1981 — CC BY-SA 2.0, via Wikimedia Commons.

Vallein Tercinier VSOP

De László’s Doña Graziella, 1928

My line tracing over de László's 1928 Graziella Over a crop of a Christie’s auction.

Matisse’s Lydia: hard line and smoky tone

Tracing beside Matisse's finished oil, Portrait au manteau bleu, 1935 Left: my tracing of Matisse’s charcoal study of 19 November 1935 (not shown — no open reproduction of that exact sheet exists; see below, and a related but different Matisse charcoal of Lydia from the same year for reference). Right: Portrait au manteau bleu, December 1935, oil on canvas — Wikimedia Commons, public domain.