Landscape with Wooded Stream and Boulder

Landscape with Wooded Stream and Boulder https://clevelandart.org/art/1968.283

Shops at Chester

Shops at Chester https://clevelandart.org/art/1924.211

Verona Sketchbook: Putto in profile (page 64)

Verona Sketchbook: Putto in profile (page 64) https://clevelandart.org/art/1952.223.lll

Head of a Young Man Wearing a Hat

Head of a Young Man Wearing a Hat https://clevelandart.org/art/1931.58

Album with Views of Rome and Surroundings, Landscape Studies, page 29a: Landscape Study

Album with Views of Rome and Surroundings, Landscape Studies, page 29a: Landscape Study https://clevelandart.org/art/1989.13.ii

Album with Views of Rome and Surroundings, Landscape Studies, page 40a: Roman Landscape

Album with Views of Rome and Surroundings, Landscape Studies, page 40a: Roman Landscape https://clevelandart.org/art/1989.13.xx

Fragment of an Arch (tracing from recto) (verso)

Fragment of an Arch (tracing from recto) (verso) https://clevelandart.org/art/1989.235.b

Passengers for Rhine Steamer (recto)

Passengers for Rhine Steamer (recto) https://clevelandart.org/art/1958.11.a

Isabey was primarily known for his watercolors and paintings of marine and beach scenes. As a young artist, he met and befriended Eugene Delacroix and Richard Parkes Bonington and traveled with them to England in 1825 where he was able to study the work of J. M. W. Turner and the English watercolorists. Isabey was one of the first French painters to work en plein air, or directly from nature. He proved to be an important French landscapist whose life spanned almost the entire 19th century. He contributed illustrations to the Voyage pittoresques et romantiques and became a sought-after watercolorist and painter of historical landscapes.

Cliffs by the Sea at Cézembre, Brittany https://clevelandart.org/art/1993.218

The Thought of Death alone, the Fear Destroys

The Thought of Death alone, the Fear Destroys https://clevelandart.org/art/1932.318

Although the sheet is inscribed "Flor. 1857" in the artist’s own hand, the date is incorrect. Degas visited Florence for the first time in 1858 and must have written the inscription many years later. The fragmented, disassociated imagery makes the drawing a beguiling document of artistic process and the young artist’s engagement with the art of the past. The refined female head drawn in graphite was copied from a drawing then attributed to Leonardo da Vinci in the Uffizi Gallery. Other sketches show Degas’s responses to Florentine sculpture. The small study in the upper right was likely made from life, perhaps an impromptu portrait of his cousin Giulia Bellelli.

Sheet of Studies and Sketches https://clevelandart.org/art/1951.430

Christ and His Disciples

Christ and His Disciples https://clevelandart.org/art/1954.664

Reconquered Territory

Reconquered Territory https://clevelandart.org/art/1925.1187.a

Dancer at Rest

Dancer at Rest https://clevelandart.org/art/1924.329

Extreme Unction (recto); Three Heads and Other Sketches (verso)

Extreme Unction (recto); Three Heads and Other Sketches (verso) https://clevelandart.org/art/1983.197

Gifford was an American landscape painter belonging to the second generation of Hudson River school artists. Based in New York City with a studio at the Tenth Street Studio Building, Gifford took annual summer trips to the Catskills, the Adirondacks, and other scenic locations in New England. This sketchbook accompanied the artist on his expedition in 1859 to New Hampshire and Maine, where he drew sites such as Dixville Notch, the White Mountains, and Peaks Island, Casco Bay. Gifford used such graphite studies as the basis for oil paintings worked up in his studio, such as A Home in the Wilderness (1866).

Sketchbook, page 12: "White Mountians from foot of Randolph Hill" https://clevelandart.org/art/1971.116.k

Eighteen Views of Rome: The Basilica of Santa Maria Maggiore

Eighteen Views of Rome: The Basilica of Santa Maria Maggiore https://clevelandart.org/art/1943.259

This notable recent acquisition is the work of John Frederick Lewis, who moved to Cairo in 1841 and stayed for almost a decade. He made this drawing on an expedition up the Nile that he took with his wife in 1849–50, around the same time that the first photographers arrived in Egypt. At that time,the temple complex at Edfu was buried to a depth of almost 40 feet. Lewis’s watercolor carefully renders the ruins and records the hieroglyphic inscription,but transcends archaeological description to evoke the thrill of exploration and discovery.Photographers,influenced by painters such as David Roberts and Lewis, often chose similar viewpoints and framing for their depictions.

The Temple of Edfu: The Door of the Pylon https://clevelandart.org/art/2015.73

Reclining Male Nude

Reclining Male Nude https://clevelandart.org/art/1962.19

Seated Italian Woman

Seated Italian Woman https://clevelandart.org/art/2010.164

One of the most influential landscape painters of the 1830s, Dupré was among the leaders of the Barbizon school, a group of artists who painted the landscape and rural subjects in and around the Forest of Fontainebleau, about 40 miles southeast of Paris. He frequently made drawings in black chalk heightened with white chalk or pastel on tan or brown paper, as seen here. Dupré’s special interest in atmospheric conditions is apparent in the luminosity of the sky and the reflected light on the surrounding landscape.

A Seated Shepherdess https://clevelandart.org/art/2009.314

Seated Female Nude

Seated Female Nude https://clevelandart.org/art/1954.658

Venus Disarming Mars, Drapery Study

Venus Disarming Mars, Drapery Study https://clevelandart.org/art/1970.37.b

Album with Views of Rome and Surroundings, Landscape Studies, page 48a: Roman Panoramic View

Album with Views of Rome and Surroundings, Landscape Studies, page 48a: Roman Panoramic View https://clevelandart.org/art/1989.13.fff

Lower Half of Skeleton from the Front

Lower Half of Skeleton from the Front https://clevelandart.org/art/1964.380.4

Opening Page of Book VIII of Valerius Maximus's Facta et dicta memorabilia

Opening Page of Book VIII of Valerius Maximus's Facta et dicta memorabilia https://clevelandart.org/art/1952.274.1

This study relates to the figure of the mother in <em>The Fisherman's Family</em>, a painting first shown in the 1875 Salon exhibition, and which the artist also painted in reduced scale in 1887. While Puvis represented his female figure completely nude in the study, in the painting he left bare just a breast, shoulder, and arm.

Study for the Mother in The Fisherman's Family https://clevelandart.org/art/2008.390

Design for Two Vases, Two Coats of Arms, and a Bull (recto) Several Line Borders (verso)

Design for Two Vases, Two Coats of Arms, and a Bull (recto) Several Line Borders (verso) https://clevelandart.org/art/1924.589

Italian Sketchbook: Sailboat (page 60)

Italian Sketchbook: Sailboat (page 60) https://clevelandart.org/art/1951.422.dd

Album with Views of Rome and Surroundings, Landscape Studies, page 07a: "Villla Barberini in Rome"

Album with Views of Rome and Surroundings, Landscape Studies, page 07a: "Villla Barberini in Rome" https://clevelandart.org/art/1989.13.i