Jean-Achille Benouville, Paris 1815 – 1891 Paris, View of Lake Nemi with the Town of Genzano in the Background, c. 1845, Fondation Custodia

Published since 1963

Master Drawings is the leading international periodical for the study of drawings from the fourteenth century to the present in Europe and the Americas.

Vol. 61
Summer 2023

Giuseppe Piattoli, “Execution of Mettius Fufetius (?)” New York, Metropolitan Museum of Art

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Master Drawings, Summer 2023

<img data-lazy-fallback="1" src="https://i0.wp.com/masterdrawings.org/wp-content/uploads/2023/05/Lundbye_Sunrise_Over_the_Sea_1838-scaled.jpg?fit=300%2C244&ssl=1" class="vc_gitem-zone-img" alt="Master Drawings, Summer 2023" />

June 1, 2023

Master Drawings, Summer 2023

<img data-lazy-fallback="1" src="https://i0.wp.com/masterdrawings.org/wp-content/uploads/2023/05/exhibition_1064x-scaled.jpg?fit=300%2C198&ssl=1" class="vc_gitem-zone-img" alt=""Si Lewen: The Parade" on View at the Menil Drawing Institute" />

May 24, 2023

“Si Lewen: The Parade” on View at the Menil Drawing Institute

Peck Drawings Symposium on Dutch and Flemish Drawings at the Rijksmuseum, June 1-2

<img data-lazy-fallback="1" src="https://i0.wp.com/masterdrawings.org/wp-content/uploads/2023/05/2017.1.67-scaled-e1684519337622.jpg?fit=300%2C166&ssl=1" class="vc_gitem-zone-img" alt="Peck Drawings Symposium on Dutch and Flemish Drawings at the Rijksmuseum, June 1-2" />

May 19, 2023

Peck Drawings Symposium on Dutch and Flemish Drawings at the Rijksmuseum, June 1-2

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Delve into the first-ever issue of MASTER DRAWINGS

Delve into the first-ever issue of MASTER DRAWINGS devoted to Danish drawings (Vol. 61, no. 2)! Its publication coincides with a celebratory year of the nation’s artistic endeavors, most notably the exhibition “Beyond the Light: Identity and Place in Nineteenth-century Danish Art” at the Metropolitan Museum of Art in New York and the J. Paul Getty Museum in Los Angeles.
This issue of MASTER DRAWINGS kicks off with an article on one of the best-known artists of the Danish Golden Age, C. W. Eckersberg, focusing on the preparatory studies for his perspective treatise. Other essays range from the theoretical framework for drawing within the country as seen in Christen Købke’s oeuvre to an account reconstructing one of Thomas Lundbye’s most treasured sketchbooks, the “Long Book.” A study of three unusual drawings also by Lundbye furthers our understanding of this artist’s work.
Johan Christian Dahl is examined for his part in the nation’s art scene as well as his encouragement of Danish artists in their discovery of the wild and sublime landscapes of Norway. Views of Denmark are the subject of a study of a sketchbook at Yale by John La Farge, one of the only nineteenth-century American artists to visit Denmark as part of his Grand Tour. Finally, the last article discusses contemporary domestic relationships between men and women as explored in the psychologically-charged drawings of interiors by Peter Ilsted.
The issue concludes with two stimulating reviews. One looks at the Cleveland Museum of Art’s exhibition and catalogue for “Tales of the City: Drawings in the Netherlands from Bosch to Bruegel.” The second reviews the three-part presentation “Ways of Seeing: Three Takes on the Jack Shear Drawing Collection,” at the Drawing Center, New York.
Subscribe now (https://masterdrawings.org/subscribe/) and start reading right away! Digital access is free with your subscription.
(Cover Image: Johan Thomas Lundbye, “A Man Looking at a Woman and Two Children by Arre Lake, 1840 (detail),” Nationalmuseum, Stockholm)
#masterdrawings #danishnineteenthcenturydrawings #beyondthelight #lundbye

<img data-lazy-fallback="1" src="https://i0.wp.com/masterdrawings.org/wp-content/plugins/instagram-feed/img/placeholder.png?w=900&ssl=1" alt="Delve into the first-ever issue of MASTER DRAWINGS devoted to Danish drawings (Vol. 61, no. 2)! Its publication coincides with a celebratory year of the nation’s artistic endeavors, most notably the exhibition “Beyond the Light: Identity and Place in Nineteenth-century Danish Art” at the Metropolitan Museum of Art in New York and the J. Paul Getty Museum in Los Angeles. This issue of MASTER DRAWINGS kicks off with an article on one of the best-known artists of the Danish Golden Age, C. W. Eckersberg, focusing on the preparatory studies for his perspective treatise. Other essays range from the theoretical framework for drawing within the country as seen in Christen Købke’s oeuvre to an account reconstructing one of Thomas Lundbye’s most treasured sketchbooks, the “Long Book.” A study of three unusual drawings also by Lundbye furthers our understanding of this artist’s work. Johan Christian Dahl is examined for his part in the nation’s art scene as well as his encouragement of Danish artists in their discovery of the wild and sublime landscapes of Norway. Views of Denmark are the subject of a study of a sketchbook at Yale by John La Farge, one of the only nineteenth-century American artists to visit Denmark as part of his Grand Tour. Finally, the last article discusses contemporary domestic relationships between men and women as explored in the psychologically-charged drawings of interiors by Peter Ilsted. The issue concludes with two stimulating reviews. One looks at the Cleveland Museum of Art’s exhibition and catalogue for “Tales of the City: Drawings in the Netherlands from Bosch to Bruegel.” The second reviews the three-part presentation “Ways of Seeing: Three Takes on the Jack Shear Drawing Collection,” at the Drawing Center, New York. Subscribe now (https://masterdrawings.org/subscribe/) and start reading right away! Digital access is free with your subscription. (Cover Image: Johan Thomas Lundbye, “A Man Looking at a Woman and Two Children by Arre Lake, 1840 (detail),” Nationalmuseum, Stockholm) #masterdrawings #danishnineteenthcenturydrawings #beyondthelight #lundbye" data-recalc-dims="1" />

“Georgia O’Keeffe, To See Takes Time,” @them

“Georgia O’Keeffe, To See Takes Time,” @themuseumofmodernart (MoMA) in New York,
reveals a lesser-known side of this artist, foregrounding O’Keeffe’s persistently modern process on paper. More than 120 works created over four decades—including key examples from MoMA’s collection—demonstrate the ways in which O’Keeffe developed, repeated, and changed motifs that blur the boundary between observation and abstraction. This exhibition, on view until August 12, is the first to reunite drawings that are most often seen individually, in order to illuminate O'Keeffe's innovative serial practice. Seen together, these works demonstrate how drawing in series allowed O’Keeffe to revisit and rework subjects throughout her career and reveal the thoughtful material choices behind her compositions.
⠀⠀⠀⠀⠀⠀⠀⠀⠀
(Image: Georgia O’Keeffe, “No. 12 Special, 1916,” charcoal on paper, the Museum of Modern Art, New York)
#masterdrawings #toseetakestime #georgiaokeefe

<img data-lazy-fallback="1" src="https://i0.wp.com/masterdrawings.org/wp-content/plugins/instagram-feed/img/placeholder.png?w=900&ssl=1" alt="“Georgia O’Keeffe, To See Takes Time,” @themuseumofmodernart (MoMA) in New York, reveals a lesser-known side of this artist, foregrounding O’Keeffe’s persistently modern process on paper. More than 120 works created over four decades—including key examples from MoMA’s collection—demonstrate the ways in which O’Keeffe developed, repeated, and changed motifs that blur the boundary between observation and abstraction. This exhibition, on view until August 12, is the first to reunite drawings that are most often seen individually, in order to illuminate O'Keeffe's innovative serial practice. Seen together, these works demonstrate how drawing in series allowed O’Keeffe to revisit and rework subjects throughout her career and reveal the thoughtful material choices behind her compositions. ⠀⠀⠀⠀⠀⠀⠀⠀⠀ (Image: Georgia O’Keeffe, “No. 12 Special, 1916,” charcoal on paper, the Museum of Modern Art, New York) #masterdrawings #toseetakestime #georgiaokeefe" data-recalc-dims="1" />

“Si Lewen: The Parade,” at our partner institu

“Si Lewen: The Parade,” at our partner institution the Menil Drawing Institute in Houston, presents a series of sixty-three drawings by the Polish-born artist immigrant made in preparation for Lewen’s groundbreaking graphic novel, “The Parade” (1957). Without a single written word, the drawings created for the book speak to cycles of war informed by the final days of World War I; the armistice parades after that conflict, the rise of Nazism, and the brutal violence of World War II. This compelling and prescient exhibition, on view until September 3, is the first in the United States to bring together the complete set of works from “The Parade.”
(Image: Si Lewen, “Untitled drawing from Si Lewen, ‘The Parade,’” charcoal, crayon, and tusche on gessoed board, Collection of the International Institute for Restorative Practices. © International Institute for Restorative Practices, Bethlehem, PA)
#masterdrawings #menildrawinginstitute #silewen #theparade #graphicnovel #IIRP @menilcollection

<img data-lazy-fallback="1" src="https://i0.wp.com/masterdrawings.org/wp-content/plugins/instagram-feed/img/placeholder.png?w=900&ssl=1" alt="“Si Lewen: The Parade,” at our partner institution the Menil Drawing Institute in Houston, presents a series of sixty-three drawings by the Polish-born artist immigrant made in preparation for Lewen’s groundbreaking graphic novel, “The Parade” (1957). Without a single written word, the drawings created for the book speak to cycles of war informed by the final days of World War I; the armistice parades after that conflict, the rise of Nazism, and the brutal violence of World War II. This compelling and prescient exhibition, on view until September 3, is the first in the United States to bring together the complete set of works from “The Parade.” (Image: Si Lewen, “Untitled drawing from Si Lewen, ‘The Parade,’” charcoal, crayon, and tusche on gessoed board, Collection of the International Institute for Restorative Practices. © International Institute for Restorative Practices, Bethlehem, PA) #masterdrawings #menildrawinginstitute #silewen #theparade #graphicnovel #IIRP @menilcollection" data-recalc-dims="1" />

“Light and Flow: Liliane Lijn’s ‘Crossing Ma

“Light and Flow: Liliane Lijn’s ‘Crossing Map’” is the focus of the Thaw Annual Lecture to be given by Jennifer Mundy at 6pm on Friday, June 9, at our partner institution, @themorganlibrary & Museum. Liliane Lijn is an American-born contemporary artist, whose widely varied work spans more than six decades. This lecture will look at a pivotal period within Lijn’s evolution, focusing on her 1983 artist book, “Crossing Map” and specifically its 150 or so original drawings, executed mainly in pencil, that have not been discussed in literature on the artist or seen publicly for forty years. Mundy, formerly Head of Art Historical Research at Tate, London and now a Thaw Senior Fellow, will explore what this book and its drawings reveal about Lijn’s development as an artist at a critical point in her career, and why she described “Crossing Map” as her ‘credo as a woman.’
Tickets are free but registration is required at https://www.eventbrite.com/e/light-and-flow-liliane-lijns-crossing-map-tickets-634943040727
(Image: Liliane Lijn, “Untitled,” from “Crossing Map” (detail), Tate Museum, London)
#masterdrawings #thawlecture #lilianelijn #lightandflow #crossingmap

<img data-lazy-fallback="1" src="https://i0.wp.com/masterdrawings.org/wp-content/plugins/instagram-feed/img/placeholder.png?w=900&ssl=1" alt="“Light and Flow: Liliane Lijn’s ‘Crossing Map’” is the focus of the Thaw Annual Lecture to be given by Jennifer Mundy at 6pm on Friday, June 9, at our partner institution, @themorganlibrary & Museum. Liliane Lijn is an American-born contemporary artist, whose widely varied work spans more than six decades. This lecture will look at a pivotal period within Lijn’s evolution, focusing on her 1983 artist book, “Crossing Map” and specifically its 150 or so original drawings, executed mainly in pencil, that have not been discussed in literature on the artist or seen publicly for forty years. Mundy, formerly Head of Art Historical Research at Tate, London and now a Thaw Senior Fellow, will explore what this book and its drawings reveal about Lijn’s development as an artist at a critical point in her career, and why she described “Crossing Map” as her ‘credo as a woman.’ Tickets are free but registration is required at https://www.eventbrite.com/e/light-and-flow-liliane-lijns-crossing-map-tickets-634943040727 (Image: Liliane Lijn, “Untitled,” from “Crossing Map” (detail), Tate Museum, London) #masterdrawings #thawlecture #lilianelijn #lightandflow #crossingmap" data-recalc-dims="1" />

“Quiet Beauty: The Watercolors of Léon Bonvin @

“Quiet Beauty: The Watercolors of Léon Bonvin @thewaltersartmuseum in Baltimore, showcases sixteen of the nineteenth-century French artist’s watercolors. Over a nearly 30-year period, William Walters created what is now the largest collection of Bonvin works in existence. The collection was bequeathed to the city of Baltimore by his son, Henry, making Baltimore the
center for the preservation, study, and appreciation of Bonvin’s work. In 2022, the Walters lent an unprecedented number of Bonvin’s works to our partner institution, the Fondation Custodia
in Paris, for a major exhibition, “Drawn to the Everyday, Léon Bonvin (1834–1866).” The Walters exhibition is dedicated to the memory of the director of the @fondationcustodia, Ger Luijten, who died suddenly in December 2022. These beautiful watercolors are on view until August 13.
(Image: Léon Bonvin, “Country Road with Peasant,” the Walters Art Museum, Baltimore MD)
#masterdrawings #léonbonvin #quietbeauty #nineteenthcenturywatercolors #williamwalterscollection

<img data-lazy-fallback="1" src="https://i0.wp.com/masterdrawings.org/wp-content/plugins/instagram-feed/img/placeholder.png?w=900&ssl=1" alt="“Quiet Beauty: The Watercolors of Léon Bonvin @thewaltersartmuseum in Baltimore, showcases sixteen of the nineteenth-century French artist’s watercolors. Over a nearly 30-year period, William Walters created what is now the largest collection of Bonvin works in existence. The collection was bequeathed to the city of Baltimore by his son, Henry, making Baltimore the center for the preservation, study, and appreciation of Bonvin’s work. In 2022, the Walters lent an unprecedented number of Bonvin’s works to our partner institution, the Fondation Custodia in Paris, for a major exhibition, “Drawn to the Everyday, Léon Bonvin (1834–1866).” The Walters exhibition is dedicated to the memory of the director of the @fondationcustodia, Ger Luijten, who died suddenly in December 2022. These beautiful watercolors are on view until August 13. (Image: Léon Bonvin, “Country Road with Peasant,” the Walters Art Museum, Baltimore MD) #masterdrawings #léonbonvin #quietbeauty #nineteenthcenturywatercolors #williamwalterscollection" data-recalc-dims="1" />

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