CMA: Drawings

Hermit in a Wooded Landscape

Hermit in a Wooded Landscape https://clevelandart.org/art/1983.92

Figures in a Landscape

Figures in a Landscape https://clevelandart.org/art/1969.44

Soldier in a Trench

Soldier in a Trench https://clevelandart.org/art/1924.331.a

Figure Studies (verso)

Figure Studies (verso) https://clevelandart.org/art/2009.153.b

Sketch of the Dead Christ Lying by the Sepulchre

Sketch of the Dead Christ Lying by the Sepulchre https://clevelandart.org/art/1982.371

Italian Sketchbook: Bridge with Figures (page 95 & 96)

Italian Sketchbook: Bridge with Figures (page 95 & 96) https://clevelandart.org/art/1951.422.pp

Verona Sketchbook: Drapery studies (page 17)

Verona Sketchbook: Drapery studies (page 17) https://clevelandart.org/art/1952.223.q

The Truffle Gatherers

The Truffle Gatherers https://clevelandart.org/art/2010.159

Italian Sketchbook: Two Standing Women (page 123)

Italian Sketchbook: Two Standing Women (page 123) https://clevelandart.org/art/1951.422.ww

Cropsey practiced architecture but painted in his spare time, exhibiting a landscape painting to favorable reviews at the National of Design, New York, in 1843. This view of Orange County, New York, is one of Cropsey’s earliest known works. Commanding trees and rocks in the foreground are rapidly indicated, while carefully rendered topographical details in the distant landscape reveal greater attention to nature’s complexity and expanse. This drawing provided the basis for an oil painting of 1845, View of Greenwood Lake, New Jersey. Cropsey became a leading artist of the Hudson River school in the 1840s and 1850s.

A View from Bald Mountain, Orange County, N. Y. https://clevelandart.org/art/1933.401

Man with a Large Hat

Man with a Large Hat https://clevelandart.org/art/1977.1032

Study for "Venus Verticordia"

Study for "Venus Verticordia" https://clevelandart.org/art/1946.345

Telemachus, Urged by Mentor, Leaving the Island of Calypso

Telemachus, Urged by Mentor, Leaving the Island of Calypso https://clevelandart.org/art/2014.14

Verona Sketchbook: Male head (page 76)

Verona Sketchbook: Male head (page 76) https://clevelandart.org/art/1952.223.xxx

The Seed Received Among the Thorns, from the Parable of the Sower

The Seed Received Among the Thorns, from the Parable of the Sower https://clevelandart.org/art/2012.4

For Mulready, drawing was a lifelong preoccupation. These two sheets were drawn from models in the Royal Academy’s life school when the artist was 73. He was one of the Academy’s most devoted teachers, positioning the model for his students and then drawing alongside them. Closely observed and meticulously crafted, both drawings attest to Mulready’s consummate skill as a draftsman. The sensuality of the female nude and the weather-beaten face of the male model are as arresting today as they were in Victorian London.

Female Nude, Seated, Three Quarter View from Front https://clevelandart.org/art/1978.53

At the Ball (recto)

At the Ball (recto) https://clevelandart.org/art/1942.927.a

Landscape with Mist

Landscape with Mist https://clevelandart.org/art/1928.126

Sketch of Two Men and Other Various Figures

Sketch of Two Men and Other Various Figures https://clevelandart.org/art/1939.666.b

Hunt was one of the first American artists to draw with charcoal rather than chalk or graphite pencil. In 1877, he visited North Easton, Massachusetts to paint a portrait of the financier and art patron, Oliver Ames. At this time Hunt made several drawings of the town of North Easton, viewed from across a millpond. This drawing portrays the scene around mid-afternoon. William Morris Hunt (American, 1824–1879)

North Easton, Massachusetts https://clevelandart.org/art/1943.327

The Circus

The Circus https://clevelandart.org/art/1958.13

Sketchbook, page 85: Study of a Ship and Buoy

Sketchbook, page 85: Study of a Ship and Buoy https://clevelandart.org/art/1992.344.eeee

Chariot Drawn by Lions with Amorini (recto) Partial Architectural Study (verso)

Chariot Drawn by Lions with Amorini (recto) Partial Architectural Study (verso) https://clevelandart.org/art/1954.693

The most important French painter of his generation, Antoine Coypel worked during the period of transition from the monarchy of Louis XIV (reigned 1643-1715) through the Regency (1715-1723) and the ascendance of Louis XV (reigned 1715-1774). A beautiful colorist also steeped in the academic tradition of drawing, Coypel used red, black, and white chalk together on this sheet to achieve tonal range. The drawing is connected to Coypel's greatest achievement: the series of large painted decorations for the Gallery of Aeneas in the Palais Royal in Paris. This study of facial expression shows one of the mourners attending the funeral of Pallas, a scene from Virgil's (70-19 bc) Aeneid. Though this painting still exists in the collection of the Louvre Museum, it is in a ruined state. Most of the paintings for the Gallery of Aeneas did not survive at all, but there are numerous drawings for the project.

Head of a Young Man https://clevelandart.org/art/2008.342

The Funeral of Decius Mus

The Funeral of Decius Mus https://clevelandart.org/art/1980.17

Italian Sketchbook: Seated Woman (page 114)

Italian Sketchbook: Seated Woman (page 114) https://clevelandart.org/art/1951.422.tt

Reclining Woman Leaning on Her Arm (verso)

Reclining Woman Leaning on Her Arm (verso) https://clevelandart.org/art/1991.59.b

The Assumption of the Virgin

The Assumption of the Virgin https://clevelandart.org/art/1970.18

Christ on the Mount of Olives

Christ on the Mount of Olives https://clevelandart.org/art/1963.242.1

Dêbut de la manoeuvre de la Marne

Dêbut de la manoeuvre de la Marne https://clevelandart.org/art/1974.181