- line 46
- portrait 33
- video 26
- figure 6
- munch 5
- leonardo 4
- sargent 3
- klimt 3
- goya 3
- prado 3
- auction 2
- oil 2
- botticelli 2
- raphael 2
- schiele 2
- modigliani 2
- perspective 2
- photography 2
- davinci 2
- matisse 1
- charcoal 1
- de-laszlo 1
- paris 1
- cognac 1
- still-life 1
- neolucida 1
- morandi 1
- tonnis 1
- muybridge 1
- motion 1
- da-vinci 1
- schjerfbeck 1
- color 1
- tree 1
- vermeer 1
- architecture 1
- ingres 1
- cameron 1
- caravaggio 1
- landscape 1
- degas 1
- toulouse-lautrec 1
- van-eyck 1
- renoir 1
- gauguin 1
- mucha 1
- manet 1
- marine 1
- louvre 1
- waterhouse 1
- tate 1
- pre-raphaelite 1
- romanticism 1
- red chalk 1
- head 1
- crosshatching 1
- album c 1
- ink wash 1
- brush pen 1
- family 1
- interior 1
- michelangelo 1
- rousseau 1
- french 1
line
Michelangelo’s Testa della Vergine, in line
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
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
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
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
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
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
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
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
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.
Manet’s The Ship’s Deck, in line
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).
Mucha’s Fate, in line
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
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
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
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
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
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
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
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
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
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
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
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.
View Along the River, in line
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.
Botticelli’s Madonna del Libro, in line
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
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
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
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
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.
Vermeer’s Het Straatje, in line
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.
Modigliani’s L’Amazone, reduced to line
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.
Egon Schiele’s Plum Tree, in line
Left: my tracing. Right: Egon Schiele,
Pflaumenbaum,
1909–10, oil on canvas, 57 × 50 cm, Hessisches Landesmuseum
Darmstadt — public domain.
Munch’s Dance of Life, in two sittings
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
Left: my tracing. Right: Edvard Munch, Alexandra Thaulow, 1891, oil on canvas — public domain.
Munch’s Madonna
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
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
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
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
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
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
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
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
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 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
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
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.
Matisse’s Lydia: hard line and smoky tone
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.
portrait
Rousseau’s Portrait de Monsieur X, in line and colour
Michelangelo’s Testa della Vergine, in line
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
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.
Sargent’s Violet, again, in line
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
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
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
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
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
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
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
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
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
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.
Schiele’s Selbstbildnis (Self-Portrait), in line
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
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
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
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
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
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
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
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 Alexandra and Inger, in line
Left: my tracing. Right: Edvard Munch, Alexandra Thaulow, 1891, oil on canvas — public domain.
Munch’s Madonna
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
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
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
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 Testa di fanciulla, a hatching study
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
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
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
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
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
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.
De László’s Doña Graziella, 1928
Over a crop of a Christie’s auction.
video
Michelangelo’s Testa della Vergine, in line
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
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.
Leonardo’s Tête de femme presque de profil, in line
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
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
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
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
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
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
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
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
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
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.
View Along the River, in line
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.
Botticelli’s Madonna del Libro, in line
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
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
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
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
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.
Vermeer’s Het Straatje, in line
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.
Modigliani’s L’Amazone, reduced to line
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.
Egon Schiele’s Plum Tree, in line
Left: my tracing. Right: Egon Schiele,
Pflaumenbaum,
1909–10, oil on canvas, 57 × 50 cm, Hessisches Landesmuseum
Darmstadt — public domain.
Munch’s Dance of Life, in two sittings
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 Laura, straight and three-quarter
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
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
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 Testa di fanciulla, a hatching study
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.
figure
Goya’s ¿A qué vendrá el faldellín y los calzones?, in line
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 El coloso, in line
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
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
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.
Munch’s Dance of Life, in two sittings
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.
Muybridge’s Waltz, reduced to gesture
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).
munch
Munch’s Døden i sykeværelset, in line
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.
Munch’s Dance of Life, in two sittings
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
Left: my tracing. Right: Edvard Munch, Alexandra Thaulow, 1891, oil on canvas — public domain.
Munch’s Madonna
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
Left: my tracing. Right: Edvard Munch, Laura Munch, 1882, oil on board, 18 × 15 cm, Munch Museum, Oslo (MM.M.01045) — public domain.
leonardo
Leonardo’s Madonna dei Fusi, the bust study
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
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
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
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.
sargent
Sargent’s Violet, again, in line
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.
Sargent’s Study of Drapery, in line
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.
Sargent’s Violet, in pencil
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.
klimt
Klimt’s Sitzend nach rechts, Halbbild, in line
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.
Klimt’s Zwei Mädchen mit Oleander, in line
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.
Klimt’s Brustbild nach links, in line
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).
goya
Goya’s ¿A qué vendrá el faldellín y los calzones?, in line
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
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
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.
prado
Goya’s ¿A qué vendrá el faldellín y los calzones?, in line
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
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
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.
auction
De László’s Doña Graziella, 1928
Over a crop of a Christie’s auction.
Matisse’s Lydia: hard line and smoky tone
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.
oil
Munch’s Døden i sykeværelset, in line
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.
De László’s Doña Graziella, 1928
Over a crop of a Christie’s auction.
botticelli
Botticelli’s Madonna del Libro, in line
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.
Botticelli’s Idealization 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.
raphael
Raphael’s Saint Michel terrassant le démon, in line
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.
La Scapigliata and Raphael’s Prato
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.
schiele
Schiele’s Selbstbildnis (Self-Portrait), in line
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.
Egon Schiele’s Plum Tree, in line
Left: my tracing. Right: Egon Schiele,
Pflaumenbaum,
1909–10, oil on canvas, 57 × 50 cm, Hessisches Landesmuseum
Darmstadt — public domain.
modigliani
Modigliani’s Ritratto di giovane donna, in line
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.
Modigliani’s L’Amazone, reduced to line
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.
perspective
View Along the River, in line
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
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.
photography
View Along the River, in line
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.
Julia Margaret Cameron’s Julia Jackson, drawn
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.
davinci
Leonardo’s Volto di fanciulla, in line
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.
Leonardo’s Tête de femme presque de profil, in line
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).
matisse
Matisse’s Lydia: hard line and smoky tone
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.
charcoal
Matisse’s Lydia: hard line and smoky tone
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.
de-laszlo
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still-life
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Christiaan Tonnis’s Female Warriors
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.
muybridge
Muybridge’s Waltz, reduced to gesture
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).
motion
Muybridge’s Waltz, reduced to gesture
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).
da-vinci
La Scapigliata and Raphael’s Prato
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.
schjerfbeck
Schjerfbeck, green then black
Left: my tracing, green then black. Right: Helene Schjerfbeck, Self-Portrait, 1895, oil on canvas — Ekenäs Museum Center EKTA, Ekenäs (Tammisaari), Finland. Public domain.
color
Schjerfbeck, green then black
Left: my tracing, green then black. Right: Helene Schjerfbeck, Self-Portrait, 1895, oil on canvas — Ekenäs Museum Center EKTA, Ekenäs (Tammisaari), Finland. Public domain.
tree
Egon Schiele’s Plum Tree, in line
Left: my tracing. Right: Egon Schiele,
Pflaumenbaum,
1909–10, oil on canvas, 57 × 50 cm, Hessisches Landesmuseum
Darmstadt — public domain.
vermeer
Vermeer’s Het Straatje, in line
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.
architecture
Vermeer’s Het Straatje, in line
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.
ingres
Ingres’s Mademoiselle Caroline Rivière, in line
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.
cameron
Julia Margaret Cameron’s Julia Jackson, drawn
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.
caravaggio
Caravaggio’s Il martirio di sant’Orsola, in line
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.
landscape
View Along the River, in line
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.
degas
Degas’s Hortense Valpinçon, in line
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.
toulouse-lautrec
Toulouse-Lautrec’s Der junge Routy, in line
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.
van-eyck
Van Eyck’s La Vierge du chancelier Rolin, in line
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).
renoir
Renoir’s Jeune Fille endormie, in line
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).
gauguin
Gauguin’s Crouching Tahitian Woman, in line
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).
mucha
Mucha’s Fate, in line
Left: my tracing, Monday 21 September. Right: Alfons Mucha, Fate , 1920 — Wikimedia Commons. Public domain (Mucha d. 1939).
manet
Manet’s The Ship’s Deck, in line
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).
marine
Manet’s The Ship’s Deck, in line
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).
louvre
Raphael’s Saint Michel terrassant le démon, in line
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.
waterhouse
Waterhouse’s The Lady of Shalott, in line
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.
tate
Waterhouse’s The Lady of Shalott, in line
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.
pre-raphaelite
Waterhouse’s The Lady of Shalott, in line
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.
romanticism
Goya’s El coloso, in line
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.
red chalk
Goya’s Cabeza de ángel, in line
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.
head
Goya’s Cabeza de ángel, in line
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.
crosshatching
Goya’s Cabeza de ángel, in line
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.
album c
Goya’s ¿A qué vendrá el faldellín y los calzones?, in line
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.
ink wash
Goya’s ¿A qué vendrá el faldellín y los calzones?, in line
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.
brush pen
Goya’s ¿A qué vendrá el faldellín y los calzones?, in line
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.
family
Munch’s Døden i sykeværelset, in line
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.
interior
Munch’s Døden i sykeværelset, in line
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.
michelangelo
Michelangelo’s Testa della Vergine, in line
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).