CMA: Drawings

Christ Administering the Host

Christ Administering the Host https://clevelandart.org/art/1963.246

Louis XIV Captured by Venus

Louis XIV Captured by Venus https://clevelandart.org/art/1969.29

Sketchbook, page 88: Seascape and Figure

Sketchbook, page 88: Seascape and Figure https://clevelandart.org/art/1992.344.gggg

The Annunciation

The Annunciation https://clevelandart.org/art/1967.133

Design for a Candlestick

Design for a Candlestick https://clevelandart.org/art/1927.362

Study of a Male Nude

Study of a Male Nude https://clevelandart.org/art/1961.318.b

"They Are Burning Everything - They must be about to Retreat"

"They Are Burning Everything - They must be about to Retreat" https://clevelandart.org/art/1925.1186

The inscription at the upper left of the sheet states that Géricault executed these studies at the spring of the Magdelaine, near the forest of Fontainebleau, which he visited in 1819. The male figures closely resemble the earlier studies he made while in Italy of peasants during horse races at annual Roman carnivals. Here, men struggle to keep control of their unseen animals during the moments before the race. The verso female figures, visible though the paper, derive directly from Pompeiian paintings of bacchanals, or revelers participating in festivals honoring Bacchus, the god of wine.

Sheet of Sketches (verso) https://clevelandart.org/art/1964.28.b

The son of Antoine Coypel (whose drawing is on view nearby), Charles Coypel was a playwright as well as an artist, so his understanding of the theater was profound. This is the only known drawing for the series of prints Coypel designed after scenes from famous works by the great playwright Molière (about 1622-1673). For the subject of this drawing, Coypel chose a famous scene from The Learned Ladies, in which the pompous tutor, Trissotin, reads his own work to his pretentious female admirers, Philaminte, Bélise, and Armande, all of whom have been duped by his pseudo-intellectualism. The overly enthusiastic gestures of these women contrast with the quiet dejection of Henrietta at the far right. The sensitive daughter of Philaminte, she is the only one not taken in by Trissotin's pretensions.

Trissotin Reading to Philaminte, Bélise, and Armande (from act 3, scene 2 of Molière's "Les Femmes Savantes" https://clevelandart.org/art/2008.401

Alpins en ambuscade

Alpins en ambuscade https://clevelandart.org/art/1974.184

Singing Guitarist (recto); Reclining Woman Leaning on Her Arm (verso)

Singing Guitarist (recto); Reclining Woman Leaning on Her Arm (verso) https://clevelandart.org/art/1991.59

Eighteen Views of Rome: The Piazza Barberini (recto)

Eighteen Views of Rome: The Piazza Barberini (recto) https://clevelandart.org/art/1943.265.a

Portrait of a Lady

Portrait of a Lady https://clevelandart.org/art/1960.133

The Fiddling Beggar

The Fiddling Beggar https://clevelandart.org/art/1700.1946

Partial Architectural Study

Partial Architectural Study https://clevelandart.org/art/1954.693.b

Album with Views of Rome and Surroundings, Landscape Studies, page 19a: Seated Female Figure

Album with Views of Rome and Surroundings, Landscape Studies, page 19a: Seated Female Figure https://clevelandart.org/art/1989.13.w

Victoria Dubourg

Victoria Dubourg https://clevelandart.org/art/1951.483

Verona Sketchbook: Architectural motifs with female head (page 45)

Verona Sketchbook: Architectural motifs with female head (page 45) https://clevelandart.org/art/1952.223.ss

It Was Our House

It Was Our House https://clevelandart.org/art/1956.730

Head of a Young Woman Seen from Below

Head of a Young Woman Seen from Below https://clevelandart.org/art/1976.21

Eighteen Views of Rome: The Quirinale

Eighteen Views of Rome: The Quirinale https://clevelandart.org/art/1943.260

Torso of a Nude Woman

Torso of a Nude Woman https://clevelandart.org/art/1956.229.b

Traunstein River on the Road to Empfig, Bavaria

Traunstein River on the Road to Empfig, Bavaria https://clevelandart.org/art/2018.32

Peasants with a Farm-cart

Peasants with a Farm-cart https://clevelandart.org/art/1937.568

A Hunting Party at Marly

A Hunting Party at Marly https://clevelandart.org/art/2017.211

Italian Sketchbook: Notes (page 97)

Italian Sketchbook: Notes (page 97) https://clevelandart.org/art/1951.422.qq

Verona Sketchbook: Female head and left hand (page 42)

Verona Sketchbook: Female head and left hand (page 42) https://clevelandart.org/art/1952.223.pp

Sketchbook, page 76: Study of a Horse

Sketchbook, page 76: Study of a Horse https://clevelandart.org/art/1992.344.vvv

Verona Sketchbook: Study of a left foot and drapery study with right arm (page 79)

Verona Sketchbook: Study of a left foot and drapery study with right arm (page 79) https://clevelandart.org/art/1952.223.aaaa

Redon’s oeuvre can be roughly divided into two sections: the black works of his early career—when he used charcoal and lithography—and the colored works of his mature period—when, prompted by a yearning for color, he transitioned to pastel and oil painting. As a drawing material, pastel is similar to charcoal; both are capable of rendering sharp lines and dense forms, as well as diffused edges and powdery evanescence. Here, Redon utilized the velvety tones of pastel to create an image of hypnotic suggestiveness. The head of the poet and musician Orpheus floats on his lyre down the River Hebrus, while a glittering Mount Parnassus—the home of Apollo and the Muses—soars heavenward.

Orpheus https://clevelandart.org/art/1926.25