Category Archive

drawing 45
scene 4

drawing

Rousseau’s Portrait de Monsieur X, in line and colour

Michelangelo’s Testa della Vergine, in line

My tracing beside Michelangelo's Testa della Vergine Left: my tracing, Friday 2 October — fine liner, then blue, brown and peach brush pen. Right: Michelangelo Buonarroti, Testa della Vergine (The head of the Virgin), c. 1540 — black chalk, 21.2 × 14.2 cm, Royal Collection Trust, RCIN 912764 recto. Wikimedia Commons, public domain (Michelangelo d. 1564).

Leonardo’s Volto di fanciulla, in line

My two tracings either side of Leonardo's Volto di fanciulla Left: my first tracing, Tuesday 4 August. Centre: Leonardo da Vinci, Volto di fanciulla (Head of a Young Woman), study for the angel of the Vergine delle Rocce (Virgin of the Rocks), c. 1483–85 — silverpoint heightened with white on prepared paper, 18.1 × 15.9 cm, Biblioteca Reale, Torino (Turin), inv. 15572 recto. Wikimedia Commons, public domain (Leonardo d. 1519). Right: my second tracing, Thursday 1 October.

Munch’s Døden i sykeværelset, in line

My tracing beside Munch's Døden i sykeværelset Left: my tracing, Wednesday 30 September. Right: Edvard Munch, Døden i sykeværelset (Death in the Sickroom), 1893, oil on canvas, 134 × 160 cm — Munchmuseet, Oslo, MM.M.00418 (image: Google Art Project via Wikimedia Commons). Public domain.

Goya’s ¿A qué vendrá el faldellín y los calzones?, in line

My tracing beside Goya's ¿A qué vendrá el faldellín y los calzones? Left: my tracing, Monday 28 September. Right: Francisco de Goya, ¿A qué vendrá el faldellín y los calzones? (What is the use of the overskirt and the bloomers?), Álbum C, sheet 3, brush and ink wash on paper — Museo Nacional del Prado, Madrid, D03944 (image: Wikimedia Commons). Public domain.

Goya’s Cabeza de ángel, in line

My tracing beside Goya's Cabeza de ángel Left: my tracing, Sunday 27 September. Right: Francisco de Goya, Cabeza de ángel (Angel’s head), 1772, red chalk on paper — Museo Nacional del Prado, Madrid (image: Museo Nacional del Prado). Public domain.

Goya’s El coloso, in line

My tracing beside El coloso, attributed to Goya Left: my tracing, Saturday 26 September. Right: attributed to Francisco de Goya, El coloso (The Colossus), c. 1808–1812, oil on canvas — Museo Nacional del Prado, Madrid, P002785 (image: Wikimedia Commons). Public domain.

Waterhouse’s The Lady of Shalott, in line

My tracing beside Waterhouse's The Lady of Shalott Left: my tracing, Friday 25 September. Right: John William Waterhouse, The Lady of Shalott, 1888, oil on canvas — Tate, London, N01543 (image: Wikimedia Commons). Public domain.

Raphael’s Saint Michel terrassant le démon, in line

My tracing beside Raphael's Saint Michel terrassant le démon Left: my tracing, Thursday 24 September. Right: Raffaello Santi, called Raphael, Saint Michel terrassant le démon, dit Le Grand Saint Michel (Saint Michael Vanquishing Satan), 1518, oil on canvas (transferred from panel) — Musée du Louvre, INV 610. Public domain.

Sargent’s Violet, again, in line

Two tracings of the same drawing, two and a half months apart, flanking John Singer Sargent's Violet Sargent Left: my first tracing, Saturday 11 July. Center: John Singer Sargent, Violet Sargent , ca. 1883, graphite on off-white wove paper — The Metropolitan Museum of Art (detail). Right: my second tracing of the same sheet, Wednesday 23 September. Public domain.

Mucha’s Fate, in line

My tracing beside Alfons Mucha's Fate Left: my tracing, Monday 21 September. Right: Alfons Mucha, Fate , 1920 — Wikimedia Commons. Public domain (Mucha d. 1939).

Klimt’s Sitzend nach rechts, Halbbild, in line

My tracing beside Klimt's Sitzend nach rechts, Halbbild (Seated Woman) Left: my tracing, Sunday 20 September. Right: Gustav Klimt, Sitzend nach rechts, Halbbild (Seated Woman) , c. 1915 — pencil and colored pencil on paper, 19 3/4 × 12 7/8” (50.1 × 32.7 cm), Museum of Modern Art, New York — Gift of J.B. Neumann, 1964 (accession 3.1964). Public domain (Klimt d. 1918). Photo: MoMA’s own collection image, converted to grayscale with the paper tone flattened and contrast raised so the very faint pencil reads.

Leonardo’s Tête de femme presque de profil, in line

My tracing beside Leonardo's Tête de femme presque de profil Left: my tracing, Thursday 17 September. Right: Leonardo da Vinci, Tête de femme presque de profil et croquis d’homme (Head of a Woman Almost in Profile, and Sketch of a Man), c. 1488/1490 — metalpoint (silverpoint) on light gray prepared paper with white heightening, 17.9 × 16.8 cm, Musée du Louvre (INV 2376, Recto). Public domain (Leonardo d. 1519).

Gauguin’s Crouching Tahitian Woman, in line

My tracing beside Gauguin's Crouching Tahitian Woman Left: my tracing, Wednesday 16 September. Right: Paul Gauguin, Crouching Tahitian Woman (related to the painting Nafea faa ipoipo [When Will You Marry?]), 1891/93 — pastel over charcoal, squared in black chalk, on wove paper, 55.5 × 48 cm, Art Institute of Chicago (acc. 1944.578r). Public domain (Gauguin d. 1903).

Renoir’s Jeune Fille endormie, in line

My tracing beside Renoir's Jeune Fille endormie (Sleeping Girl with a Cat) Left: my tracing, Monday 14 September. Right: Pierre-Auguste Renoir, Jeune Fille endormie (Sleeping Girl with a Cat, also known as Jeune Fille au chat), 1880 — oil on canvas, 120 × 94 cm, Sterling and Francine Clark Art Institute, Williamstown, MA (acc. 1955.598). Public domain (Renoir d. 1919).

Van Eyck’s La Vierge du chancelier Rolin, in line

My tracing beside Van Eyck's La Vierge du chancelier Rolin (The Virgin of Chancellor Rolin) Left: my tracing, Sunday 13 September. Right: Jan van Eyck, La Vierge du chancelier Rolin (The Virgin of Chancellor Rolin), c. 1430–1435 — oil on oak panel, 66 × 62 cm, Musée du Louvre, Paris (inv. INV 1271; MR 705). Public domain (Van Eyck d. 1441).

Toulouse-Lautrec’s Der junge Routy, in line

My tracing beside Toulouse-Lautrec's Der junge Routy auf Schloss Céleyran (Young Routy at Céleyran) Left: my tracing, Friday 11 September. Right: Henri de Toulouse-Lautrec, Der junge Routy auf Schloss Céleyran (Young Routy at Céleyran), 1882 — oil on canvas, 61 × 49.8 cm, Neue Pinakothek München (inv. 14928/ESK 2). CC BY-SA 4.0.

Klimt’s Zwei Mädchen mit Oleander, in line

My tracing beside Klimt's Zwei Mädchen mit Oleander (Two Girls with an Oleander) Left: my tracing, Saturday 12 September. Right: Gustav Klimt, Zwei Mädchen mit Oleander (Two Girls with Oleander), c. 1890–92 — oil on canvas, Wadsworth Atheneum Museum of Art, Hartford, CT — The Douglas Tracy Smith and Dorothy Potter Smith Fund and The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund, 1993.96. Public domain (Klimt d. 1918). Photo: Daderot, Wikimedia Commons, 9 December 2017, CC0 — taken at the Legion of Honor, San Francisco, during Klimt & Rodin: An Artistic Encounter (14 October 2017 – 28 January 2018); the painting’s home is the Wadsworth.

Modigliani’s Ritratto di giovane donna, in line

My tracing beside Modigliani's Ritratto di giovane donna (Portrait of a Young Woman) Left: my tracing, Thursday 10 September. Right: Amedeo Modigliani, Ritratto di giovane donna (Portrait of a Young Woman), 1918 — oil on canvas, 45.7 × 27.9 cm, Yale University Art Gallery (1948.123, Bequest of Kate L. Brewster). Public domain.

Sargent’s Study of Drapery, in line

My tracing beside Sargent's drapery studies of an Arab woman Left: my tracing, Tuesday 8 September. Right: John Singer Sargent, drapery studies of an Arab woman, c. 1890–91 — graphite on wove paper, one side of a sheet also worked in charcoal, sheet 33.3 × 24.8 cm, Philadelphia Museum of Art (Gift of Miss Emily Sargent and Mrs. Francis Ormond, 1931). Public domain.

Schiele’s Selbstbildnis (Self-Portrait), in line

My tracing beside Schiele's 1914 drypoint Selbstbildnis Left: my tracing, Saturday 5 September. Right: Egon Schiele, Selbstbildnis (Self-Portrait), 1914 — drypoint, plate 12.7 × 10.7 cm, The Metropolitan Museum of Art (Bequest of Scofield Thayer, 1982), from the portfolio Das graphische Werk von Egon Schiele (The Graphic Work of Egon Schiele), 1922. Public domain.

Degas’s Hortense Valpinçon, in line

My tracing beside Degas's Portrait of Hortense Valpinçon Left: my tracing, Sunday 6 September. Right: Edgar Degas, Portrait of Hortense Valpinçon (Mme. Jacques Fourchy), 1883 — black conté crayon, 25 × 16.3 cm, The Metropolitan Museum of Art (Bequest of Walter C. Baker, 1971). Inscribed by Degas lower right: “Hortense / Ménil-Hubert / août 1883.” Public domain.

Botticelli’s Madonna del Libro, in line

My tracing of the Madonna's head beside Botticelli's Madonna del Libro Left: my tracing, Thursday 4 September — the Madonna’s head only. Right: Sandro Botticelli, Madonna del Libro (Madonna of the Book), c. 1480–81, tempera on panel, Museo Poldi Pezzoli, Milano — public domain, cropped to the head.

Klimt’s Brustbild nach links, in line

My tracing beside Klimt's Brustbild nach links Left: my tracing, Thursday 3 September. Right: Gustav Klimt, Brustbild nach links (Bust Portrait Facing Left) — pencil on paper, dated 1915 in the plate. Reproduced in Maria Peitcheva, Klimt: Drawings 126 Colour Plates (2016).

Caravaggio’s Il martirio di sant’Orsola, in line

My 31 August tracing beside a detail of Caravaggio's Il martirio di sant'Orsola Left: my tracing, Monday 31 August. Right: a detail of Michelangelo Merisi da Caravaggio, Il martirio di sant’Orsola (The Martyrdom of Saint Ursula), 1610, oil on canvas, Gallerie d’Italia, Napoli — public domain.

Julia Margaret Cameron’s Julia Jackson, drawn

Two drawings of Julia Jackson flanking Julia Margaret Cameron's 1867 photograph Left: 14 July, blue and gold. Centre: Julia Margaret Cameron, Julia Jackson, 1867, albumen silver print, 27.4 × 20.6 cm, The Metropolitan Museum of Art (1996.99.2) — public domain. Right: 30 August, brush pen.

Ingres’s Mademoiselle Caroline Rivière, in line

My tracing beside Ingres's Mademoiselle Caroline Rivière Left: my tracing. Right: Jean-Auguste-Dominique Ingres, Mademoiselle Caroline Rivière, 1806, oil on canvas, 100 × 70 cm, Musée du Louvre, Paris (MI 1447) — public domain.

Modigliani’s L’Amazone, reduced to line

My tracing beside Modigliani's head study for L'Amazone Left: my tracing. Right: Amedeo Modigliani, a study for L’Amazone (The Amazon) — public domain (Modigliani d. 1920). Reproduced in the Kindle compilation Amedeo Modigliani: 140 Master Drawings. See Background.

Munch’s Dance of Life, in two sittings

My tracing of the woman in black beside her detail from Munch's The Dance of Life Left: my tracing. Right: detail, the lone woman in black, from Edvard Munch, The Dance of Life, 1899–1900, oil on canvas, 125 × 191 cm, National Museum of Norway (Nasjonalmuseet), Oslo — public domain.

Munch’s Alexandra and Inger, in line

My tracing beside Munch's Alexandra Thaulow Left: my tracing. Right: Edvard Munch, Alexandra Thaulow, 1891, oil on canvas — public domain.

Munch’s Madonna

My tracing beside Munch's Madonna, cropped to the face Left: my tracing. Right: Edvard Munch, Madonna, 1894, oil on canvas, National Museum of Norway (Nasjonalmuseet), Oslo (NG.M.00841) — public domain. Cropped to the face, matching the scope of the tracing.

Munch’s Laura, straight and three-quarter

My tracing beside Munch's Laura Munch, three-quarter view Left: my tracing. Right: Edvard Munch, Laura Munch, 1882, oil on board, 18 × 15 cm, Munch Museum, Oslo (MM.M.01045) — public domain.

Leonardo’s Madonna dei Fusi, the bust study

My tracing beside a study for the Madonna dei Fusi Left: my tracing. Right: Leonardo da Vinci, Studio per la Madonna dei Fusi (Study for the Madonna with the Yarnwinder), c. 1501, red chalk and silverpoint on rose-prepared paper, 25.7 × 20.3 cm, Gallerie dell’Accademia, Venezia (Venice) — public domain.

Leonardo’s Testa di Leda, three attempts

My first tracing beside Leonardo's Testa di Leda Left: my first tracing. Right: Leonardo da Vinci, Testa di Leda (The Head of Leda), a detail of the sheet, pen and ink, Royal Collection Trust, Windsor (RCIN 912516) — public domain.

Leonardo’s Battaglia di Anghiari, in line

My tracing beside Leonardo's studies of horsemen for the Battaglia di Anghiari Left: my tracing. Right: Leonardo da Vinci, Studi di battaglie a cavallo (studies of battles on horseback), preparatory studies for the Battaglia di Anghiari, c. 1503–04, pen and ink, Galleria degli Uffizi, Firenze — public domain.

Leonardo’s Testa di fanciulla, a hatching study

My tracing beside Leonardo's Testa di fanciulla Left: my tracing. Right: Leonardo da Vinci, Testa di fanciulla (Head of a Young Woman), c. 1483–85, silverpoint heightened with white on prepared paper, 18.1 × 15.9 cm, Biblioteca Reale, Torino (Turin), inv. 15572 recto — public domain.

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.

Muybridge’s Waltz, reduced to gesture

My tracing of the waltz sequence, gesture only My tracing of Eadweard Muybridge’s Animal Locomotion, Plate 195, “Nude woman dancing a waltz,” 1887 — reduced to weighted gesture lines. Source plate linked, not reproduced (see note below).

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.

scene

Manet’s The Ship’s Deck, in line

My tracing beside Édouard Manet's The Ship's Deck Left: my tracing, Tuesday 22 September. Right: Édouard Manet, The Ship’s Deck , c. 1860 — National Gallery of Victoria, Melbourne. Public domain (Manet d. 1883).

View Along the River, in line

My drawing beside an 1875 photograph, "View along the river" Left: my drawing from reference, Tuesday 4 August. Right: “View along the river,” unknown artist, 1875–1878, albumen print — Museum of Photographic Arts, San Diego (Catherine and Ralph Benkaim Collection, 2006.045.007) — public domain.

Vermeer’s Het Straatje, in line

My tracing beside Vermeer's Het Straatje Left: my tracing. Right: Johannes Vermeer, Het Straatje (The Little Street / Gezicht op huizen in Delft), c. 1658, oil on canvas, 54.3 × 44 cm, Rijksmuseum, Amsterdam (SK-A-2860) — public domain.

Egon Schiele’s Plum Tree, in line

My tracing beside Schiele's Pflaumenbaum Left: my tracing. Right: Egon Schiele, Pflaumenbaum, 1909–10, oil on canvas, 57 × 50 cm, Hessisches Landesmuseum Darmstadt — public domain.