Chalk Drawings and Studies

A collection of chalk drawings and sketches illustrating various allegorical subjects and biblical figures, with emphasis on contours and expressions.

Bishop by Carlo Maratta, pencil, gouache on paper, 1625-1713, Russia, Voronezh, Regional I. Kramskoi Art Museum

A chalk drawing on blue paper depicting Isaac with his sons, enhanced with white chalk highlights.

The Trinity and the Virgin Appearing to Ecclesiastics. Dimensions: Overall (approximate): 28.7 x 41.5 cm (11 5/16 x 16 5/16 in.) support: 40 x 53.7 cm (15 3/4 x 21 1/8 in.). Medium: pen and brown and black ink over black chalk. Museum: National Gallery of Art, Washington DC. Author: Theodor Boeyermans.

Allegorical Figures on Mount Parnassus: Study for the etching Triumph of Painting 1612-50 Pietro Testa Italian. Allegorical Figures on Mount Parnassus: Study for the etching Triumph of Painting 341604

Study for Saint Benedict Receiving Gifts from the Peasants 1599-1609 Italy. Black chalk, heightened with traces of white chalk, on tan laid paper with blue fibers, laid down on ivory laid paper . Guido Reni

Bishop by Carlo Maratta, pencil, gouache on paper, 1625-1713, Russia, Voronezh, Regional I. Kramskoi Art Museum

Italian Comedians Performing in a Public Square 1635-91 Jacob Matthias Weyer German. Italian Comedians Performing in a Public Square 334997

The Adoration of the Shepherds 1524-27 Parmigianino (Girolamo Francesco Maria Mazzola) Italian In comparison with a similar composition in the British Museum, London (inv. 1853,0108.3), this fairly detailed design shows the kneeling Virgin facing to the right rather than to the left, and the agitated poses of the shepherds now tamed into classical balance and restraint. The Metropolitan Museum sheet also offers evidence for a dating of the Adoration of the Shepherds drawings early rather than late in Parmigianino's Roman years, because the pose of the large standing nude man drawn in red chalk on the recto of a drawing in Cambridge (Harvard Art Museum inv. 1969.32) is echoed in the shepherd standing here on the left, and the general idea for the seated shepherds seen on the left in the recto of a sheet in a private collection (Popham no. 747), bearing a Parmese watermark, is also taken up here. The finished drawing by Parmigianino in Weimar (Popham no. 631) for Jacopo Caraglio's engrav

A chalk drawing by Ciro Ferri showing three philosophers or prophets in conversation, with an angelic putto holding a large book behind them, on stainless paper.

Drawing, Project for a Corner Motif of a Painted Ceiling; François Boucher (French, 1703-1770); France; pen and brown ink, black chalk on thin tracing paper; 27.9 x 22.2 cm (11 x 8 3/4 in.)

Maarten of Heemskerck (1498-1574), Kristus Paa Oilbjerget, 1548

Black and white chalk drawing on tinted paper by Victor Honoré Jansens depicting the mythological marriage of Amor and Psyche with fold marks and brown spots.

Judith Decapitating Holofernes 1511-74 Giorgio Vasari Italian. Judith Decapitating Holofernes 340939

"La Colere de Neptune," fontaine 1767 Gabriel de Saint-Aubin French. "La Colere de Neptune," fontaine 369091

Siege of the Huis van Lot, Giovanni Andrea Donducci, 1680 - 1720 drawing prepared paper. chalk the two angels intervene and strike the mob that surround Lot's house with blindness. a crowd surrounds Lot's house

Diana and Actaeon Bartholomeus Spranger Netherlandish ca. 1580-85 This drawing represents the story of Diana and Actaeon, as told in Ovid's Metamorphoses (Book III: 138-253). Perched atop a rocky outcropping at upper left, Actaeon looks down upon Diana, who is bathing in the company of nymphs in an enclosed wooded setting. As the bathers attempt to cover themselves, Diana splashes water at the intruder, who is being transformed into a stag as punishment. Although the function served by the drawing is not known for certain, it is likely to have been made as a study for a cabinet painting. The conception of this subject in vertical format is unusual and would be well suited for this purpose.Born in Antwerp, Spranger was summoned to Prague in 1580 by Emperor Rudolf II to serve as one of his most important court artists, assuming a role that may be described as that of chief painter. He had a workshop located within the imperial palace, and developed a close relationship with the emperor,

Bisschop (Saint Martin) A man brings back to life, Bernard van Orley (School of), 1498 drawing paper. ink pen / brush miraculous healings of St. Martin. archbishop, bishop, etc. (Roman Catholic)

The Marriage of the Virgin (Lunette) 1580-1600 Giorgio Picchi, the Younger Italian Rhoda Eitel-Porter was the first to propose the attribution of this drawing to Giorgio Picchi, one of the followers of Barocci, along with Antonio Viviviani, and Antonio Cimatori (note on the mount). The attribution of the Marriage of the Virgin has been confirmed with conviction by Denis Morganti (written communication, July 24, 2014), who is working on an article on Picchi's drawings. The MMA sheet is a finished modello for a Marriage of the Virgin: a further preliminary study for the same composition is in the Albertina, Vienna (inv. 610, Birke and Kertesz 1992, vol. 1, p/ 332 as "Schule von Siena"). The Albertina drawing, of a smaller scale (16 x 27.7 cm), has been squared and transferred onto the larger MMA sheet. A further drawing that was a preliminary sketch for this composition is in a private collection (written communication by Denis Morganti, July 24, 2014)(Furio Rinaldi). The Marriage of the

Red and white chalk drawing by Mattheus Terwesten depicting Perseus freeing Andromeda, with black chalk traces on brownish tinted paper.

Scene of Witchcraft and Devil Worship. Attributed to David Teniers the Younger (Flemish, 1610-1690); or Remigio Cantagalina (Italian, 1582-1656). Date: 1635-1690. Dimensions: 248 × 338 mm. Pen and brown ink with brush and brown wash, over traces of black chalk, on brown laid paper, laid down on ivory laid paper. Origin: Flanders. Museum: The Chicago Art Institute, USA.

A black chalk drawing showing Ulysses leaving Kirkes island, with light brown dirt in the corners of the sheet.

A drawing by Raymond Lafage depicting the Brazen Serpent, executed in brown ink with traces of black chalk.

The Holy Family, Giovanni Benedetto Castiglione, Italian, 1609-1664, Graphite, red chalk, pen and ink, brush and sepia wash on paper, The Holy Family, with the Christ Child and St. John, are grouped near a tree (composition indicated as circular). Below, a reclining male nude and child. Verso: studies of twelve heads of mother and child, and a bearded man., Genoa, Italy, 1620-30, figures, Drawing, Drawing

An Old Man on His Deathbed Tempted by Demons (recto); Back View of a Male Nude (verso) 1675-1749 Aureliano Milani Italian. An Old Man on His Deathbed Tempted by Demons (recto); Back View of a Male Nude (verso) 340792

The Marriage of the Virgin (Lunette). Artist: Giorgio Picchi, the Younger (Italian, Casteldurante Urbania ca. 1555-1605 Casteldurante Urbania). Dimensions: 9 3/4 x 14 13/16in. (24.8 x 37.7cm). Date: 1580-1600.Rhoda Eitel-Porter was the first to propose the attribution of this drawing to Giorgio Picchi, one of the followers of Barocci, along with Antonio Viviviani, and Antonio Cimatori (note on the mount). The attribution of the Marriage of the Virgin has been confirmed with conviction by Denis Morganti (written communication, July 24, 2014), who is working on an article on Picchi's drawings. The MMA sheet is a finished modello for a Marriage of the Virgin: a further preliminary study for the same composition is in the Albertina, Vienna (inv. 610, Birke and Kertesz 1992, vol. 1, p/ 332 as "Schule von Siena"). The Albertina drawing, of a smaller scale (16 x 27.7 cm), has been squared and transferred onto the larger MMA sheet. A further drawing that was a preliminary sketch for this

Red chalk drawing by Polidoro Caldara da Caravaggio from 1527-1528 depicting a landscape with multiple figures, showing topography, human activity, and spatial arrangement.

Drawing, Martyrdom of St. Ursula; Follower of Luigi Rodriguez; Italy; brush and brown wash, white gouache, pen and brown ink, black chalk on brown paper; 23.3 x 29.9 cm (9 3/16 x 11 3/4 in.)

A coal drawing by Pietro da Cortona from the early 1630s depicting an allegory of truth, with Prudentia unmasking Fraus.

Sacrifice Offered before a Statue of Jupiter. Artist: Louis de Boullogne the Elder (French, Paris 1609-1674 Paris). Dimensions: 12 1/2 x 16 3/4 in. (31.8 x 42.6 cm). Date: 17th century.Louis de Boullogne The Elder (French, Paris 1609-1674 Paris) travelled to Rome in 1631 where he stayed until 1637. There, he studied with Sebastien Bourdon, a painter whose influence can be felt in Boullogne's work. In 1648, Boullogne was one of the twelve founding members of the Académie Royale de Peinture et de Sculpture, where he would attain the position of Professor in 1656. In this vigorous drawing, the artist used a strong ink line to emphasize the elegant contours of the figures, which he then heightened with thinned white gouache. The translucent white washes allow the free black chalk underdrawing to show through, adding to the appeal of the sheet. Figures draped and coiffed in a Roman style are arranged in a sober antique architectural setting, indicated only by two steps, a sacrificial alta

Taddeo Zuccaro, Alexander the Great and Bucephalus, c 1553 Alexander the Great and Bucephalus

Pen and brush drawing by Peter Paul Rubens depicting saints of the church for All Saints' Day, showing individual figures, gestures, attire, and arrangement, executed in brown pen, gray-brown laved wash, and graphite pencil in 1614.

Achilles and the Daughters of Lycomedes 1647-1726 Gregorio de' Ferrari Italian. Achilles and the Daughters of Lycomedes 338650

Susanna and the Elders 18th century Laurent Cars French. Susanna and the Elders 341324

The generosity of Scipio, draughtsman: Charles de Lafosse, (possibly), 1650 - 1716, paper, brush, h 241 mm × w 309 mm

Maarten van Heemskerck (1498-1574), Samson's BegreVelse, 1568

Christ and the Daughter of the Centurion 16th century After Perino del Vaga (Pietro Buonaccorsi) Italian. Christ and the Daughter of the Centurion 342326

Anonymous / 'Susannah and the Elders'. XVI century. Grey wash, White lead, Charcoal on brown paper. Museum: Museo del Prado, Madrid, España.

Van Diepenbeeck's black chalk and red drawing depicts Ulysses ordering punishment for unfaithful maids, emphasizing figures, gesture, and compositional detail, with minor damage and brownish spots in corners.

Hercules and Omphale, 17th century, Attributed to Gerrit van Honthorst; Artist: after Alessandro Turchi (called Orbetto), Dutch, 1592-1656, 10 3/4 x 14 13/16 in. (27.31 x 37.62 cm) (sheet)11 3/4 x 15 7/8 in. (29.85 x 40.32 cm) (sight)19 3/4 x 23 11/16 in. (50.17 x 60.17 cm) (outer frame), Red and white chalk on laid paper, Netherlands, 17th century

Hymenaeus, pulled by eroten, dispels Eigenbaat and passes the Envy (in box with 43 drawings), (story of) Hymen (aeus), Louis Fabritius Dubourg, 1703 - 1775, paper, ink, pencil, brush, h 148 mm × w 147 mm

Christ and the Children 17th century Anonymous, Italian, Roman-Bolognese, 17th century Italian. Christ and the Children 340188

Fame Crowning aGeneral. Artist: Justus van Egmont, Flemish, 1601-1674

Study for Vignette in Fontenelle's (attr.) Les Amours de Mirtil , Canto II 1751-1773 France . Hubert François Gravelot

Unchastity, Heinrich Aldegrever, 1551, Design for a print., draughtsman: Heinrich Aldegrever, 1551, paper, pen, brush, h 104 mm × w 62 mm

Christ and the Daughter of the Centurion. Artist: Anonymous, Italian, 16th century (Italian, active Central Italy, ca. 1550-1580); After Perino del Vaga (Pietro Buonaccorsi) (Italian, Florence 1501-1547 Rome). Dimensions: 7 3/8 x 7 7/8in. (18.7 x 20cm). Date: 16th century. Museum: Metropolitan Museum of Art, New York, USA.

Maarten van Heemskerck (1498-1574), Syndfloden, 1559

Brown pen drawing by Abraham Bloemaert depicting mythological gods observing the transformation of Daphne, with laved details emphasizing figures and drapery.

Study for King Josiah Rending his Garments, c. 1730. James Thornhill (British, 1675-1734). Pen and brown ink over black chalk;

Two Women with Sun and Bird (recto); Two Men Fighting and a Fallen Horse (verso) 16th century Anonymous, Italian, Florentine, 16th century Italian. Two Women with Sun and Bird (recto); Two Men Fighting and a Fallen Horse (verso) 341837

Venus, Adonis in Cupid.

Raymond Lafage studies of male figures, executed in brown pen with graphite inscriptions.

Anonymous drawing titled 'Ascension' in an oval format, executed with chalk and pen in gray.

The TrojanHorse, 17thcentury, Pen and dark brown-black ink, brown wash, 25.7 × 35.4 cm (10 1/8 × 13 15/16in.), Italian, 17thcentury(?), Works on Paper - Drawings andWatercolors

Allegory 1532-77 Orazio Samacchini Italian. Allegory 341160

A 16th-century drawing depicting Joachim meeting Anna and, to the right, the birth of Mary, executed with feather and wash, including architectural columns and amphorae.

Chalk drawing by Carlo Sacchi of multiple figures, including a seated man, a standing elder, and a young woman leading a child, on brown-primed paper with white laved highlights.

Pastoral Journey with Flocks and Herds at a Stream 1660-64 Giovanni Benedetto Castiglione (Il Grechetto) Italian. Pastoral Journey with Flocks and Herds at a Stream 335664

Women Looking at Religious Tablets Artist's working dates 1644-1703 Italy. Black chalk with brush and brown wash, heightened with lead white (discolored), on tan laid paper, laid down on ivory laid paper . Lazzaro Baldi

Maarten van Heemskerck (1498-1574), Peter Verkekker Tabita, 1573

Sketches of Figures and Heads. Pieter de Molijn; Dutch, 1595-1661. Date: 1615-1661. Dimensions: 240 x 180 mm. Pen and brown ink on tan laid paper. Origin: Netherlands. Museum: The Chicago Art Institute, Chicago, USA.

Francesco Solimena depicts a godfather carried by angels, using chalk, feather, red chalk, and lavated techniques.

The Nativity with the Dream of Joseph, c. 1527/30. Parmigianino (Italian, 1503-1540). Pen and brown and black ink and brush and brown wash, with traces of brush and black wash, heightened with lead white (oxidized); sheet: 8.6 x 7.5 cm (3 3/8 x 2 15/16 in.); secondary support: 14.9 x 13.4 cm (5 7/8 x 5 1/4 in.).

Job on the manure heap; History of Job. Job sits on a manure heap and is visited and mocked by his friends and his wife. His friends are in pocket and ash: they have sprinkled ashes on their head. Under the show an explanatory text in Latin. This print is part of an album.

Maarten van Heemskkk (1498-1574), women at the grave, 1548

Solomon 17th century Johan Carl Loth German. Solomon 334916

Holofernes before Nebuchadnezzar (Judith 2:4-13). Artist: Maerten de Vos (Netherlandish, Antwerp 1532-1603 Antwerp). Dimensions: sheet: 7 13/16 x 10 9/16 in. (19.8 x 26.9 cm). Date: 1587. Museum: Metropolitan Museum of Art, New York, USA.

The Six Prophets of the Coming of Christ. Artist: Jan van der Straet, called Stradanus (Netherlandish, Bruges 1523-1605 Florence). Dimensions: 16 3/16 x 11 5/16 in. (41.1 x 28.7 cm). Former Attribution: Denijs Calvaert (Netherlandish, Antwerp ca. 1540-1619 Bologna); Hendrick Goltzius (Netherlandish, Mühlbracht 1558-1617 Haarlem). Date: mid-16th-early 17th century. Museum: Metropolitan Museum of Art, New York, USA.

De Sabijnse Virgin Roof, Johannes Voorhout (I), 1657 - 1723 drawing paper. pencil brush rape of the Sabine women: they are carried off by Romulus and his men during a feast

Drawing by Jean-Honoré Fragonard with brush in brown wash over black chalk, showing a riding lesson scene with horse and instructor.

Whom I, Catherine Picart, after Pellegrino Tibaldi, 1700 - 1800 drawing paper. chalk Neptune Quieting the Storm, whom I '(Virgil, Aeneid 1 135)

Fragment of a Composition with a Reclining Semi-Nude Man Surrounded by Soldiers and Other Onlookers in a Landscape. Artist: Attributed to Luca Giordano (Italian, Naples 1634-1705 Naples). Dimensions: 15 11/16 x 8 11/16in. (39.8 x 22.1cm). Date: 1634-1705. Museum: Metropolitan Museum of Art, New York, USA.

Sebastiano Ricci illustrated the biblical scene of the baptism of the three kings using chalk, feather, and lavis.

The mystic marriage of Saint Catherine ca. 1550 Andrea Schiavone (Andrea Meldola) Italian. The mystic marriage of Saint Catherine 396454

The Last Judgment. Dimensions: Overall (approximate): 25.4 x 19.4 cm (10 x 7 5/8 in.) support: 30 x 23.5 cm (11 13/16 x 9 1/4 in.). Medium: pen and brown ink with brown wash over graphite. Museum: National Gallery of Art, Washington DC. Author: GIOVANNI BATTISTA DELLA ROVERE.

Allegorical Figure of Summer Flanked by Pomona and Ceres 1625-1635 France. Red chalk on cream laid paper . Pierre Brebiette

A drawing of the Holy Family with John the Baptist as a boy, executed in feather on bluish tinted paper with laved washes, showing composition and figure arrangement.

Studies of Details from Trajan's Column ca. 1635 Nicolas Poussin French. Studies of Details from Trajan's Column 371932

Lot and His Family Led Out of Sodom 1597-1640 Flanders. Red chalk, on tan laid paper . Peter Paul Rubens

Funeral Procession of the Young Pallas, Aeneid Book XI. Julien de Parme; French, 1736-1799. Date: 1762. Dimensions: 422 × 556 mm. Pen and brown ink with brush and brown wash, over graphite, on ivory laid paper. Origin: France. Museum: The Chicago Art Institute, Chicago, USA. Author: JULIEN DE PARME.

Drawing of a Roman Emperor Receiving a Petition. Artist: After Federico Zuccaro (Zuccari) (Italian, Sant'Angelo in Vado 1540/42-1609 Ancona). Date: n.d.. Museum: Metropolitan Museum of Art, New York, USA.

Frontispiece 18th century Anonymous, Italian, Bolognese 18th century artist Italian. Frontispiece 389608

Netherlands, Angel takes child by the hand, An angel takes a child by the arm and points him to heaven. Print is part of an album., print, picture, album sheet, prints, pictures, height 168 mm, width 127 mm, print maker, printmaker, 1600 - 1700, paper, etching

Fragment of a Composition with a Reclining Semi-Nude Man Surrounded by Soldiers and Other Onlookers in a Landscape 1634-1705 Attributed to Luca Giordano Italian. Fragment of a Composition with a Reclining Semi-Nude Man Surrounded by Soldiers and Other Onlookers in a Landscape 338900

Drawing by Noël Cochin the Younger showing an explanation scene, executed with redel traces and brown pen on coated paper with black border.

Bacchic revel with Silenus riding a goat in the centre ca. 1540-43 Andrea Schiavone (Andrea Meldola) Italian. Bacchic revel with Silenus riding a goat in the centre 361922

The Incredulity of Thomas (recto); Study for the Figure of Thomas (verso). Pellegrino Tibaldi (Italian (Bolognese), 1527 - 1596)

Faun and Nymphs. possibly after Raymond de Lafage; French, 1656-1690. Date: 1676-1750. Dimensions: 293 × 410 mm. Pen and brown ink, with brush and brown wash, on gray laid paper. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

Red chalk and brown feather drawing by Noël Cochin the Younger depicting a fishing scene on Lake Genezareth, with black chalk border remnants on fitted paper.

The Triumph of Galatea. Artist: Pietro Testa (Italian, Lucca 1612-1650 Rome). Dimensions: 10-11/16 x 14-15/16 in. (27.1 x 37.9 cm). Date: 1612-50. Museum: Metropolitan Museum of Art, New York, USA.

Study sheet with figures.

De Stoning van Stefanus, Jan van Scorel (workshop of), 1525 - 1600 drawing paper. ink pen the stoning of Stephen; the witnesses lay down their clothes at Saul's feet

Giovanni Battista Tiepolo, Saint Jerome in the Desert Listening to the Angels, c 1732 Saint Jerome in the Desert Listening to the Angels

Saint Francis de Sales (canonized 1665). Artist: Anonymous, Italian, Roman-Bolognese, 17th century. Dimensions: 13-7/8 x 9-3/4 in. (35.3 x 24.8 cm). Date: 17th century. Museum: Metropolitan Museum of Art, New York, USA.

Polidoro Caldara da Caravaggio's red chalk drawing depicts the Marriage of Mariae, highlighting figures, gestures, and spatial composition.

Untitled, Thomas Stothard, 1755-1834, British, undated, Brown wash, brown ink and graphite on medium, slightly textured, blued white laid paper, Sheet: 4 3/16 × 2 3/4 inches (10.6 × 7 cm), historical subject, urn

Lodovico Cardis reddish feather drawing depicts studies of the worship of kings and the worship of the Madonna, rendered with red laved shading.

Depiction of the biblical scene 'The Escape to Egypt', drawn with chalk on brown primed paper with white highlights.

Suzanna and the two elders, Jan Swart van Groningen, 1540 - 1550 drawing The naked Suzanna is sitting with her feet in a lake. She looks up at the two old men who have given themselves access to the court and bend to her. In front of a stone base on which a sponge and one can stand. Rear right can be seen a castle. Design for a glass pan. paper. ink pen / brush Susanna bathing, usually in or near a fountain and sometimes accompanied by two female servants

Apotheosis of Four Martyred Saints (Four Crowned Martyrs). Artist: Antonio Cavallucci (Italian, Sermoneta 1752-1795 Rome). Dimensions: 14-3/4 x 6-1/8 in. (37.5 x 15.6 cm). Date: 17th century. Museum: Metropolitan Museum of Art, New York, USA.

Drawing by Eustache Le Sueur showing Eliezer and Rebecca at the fountain, executed with lead and squared for transfer.

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