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We are now accepting entries for our Sixth Annual

We are now accepting entries for our Sixth Annual Ricciardi prize! The award is given to the best new and unpublished article on a drawing topic (of any period) by a scholar under the age of 40. The deadline for submissions is November 15, 2023.
The winning author will receive $5,000, be published in a 2024 issue of MASTER DRAWINGS, and will be the featured speaker at our annual symposium during Master Drawings Week New York in January.
Visit https://masterdrawings.org/ricciardi-prize/ for essay requirements or scan the QR code included here (second image). You can also learn about the broad range of research by past winners of the prize.
(Image: Guercino (Giovanni Francesco Barbieri), “A Man Reading at a Table, “brown ink and brown wash on beige antique laid paper, Harvard Art Museums/Fogg Museum, Cambridge MA)
#masterdrawings #ricciardiprize #drawingscholarship #scholarsunder40

<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="We are now accepting entries for our Sixth Annual Ricciardi prize! The award is given to the best new and unpublished article on a drawing topic (of any period) by a scholar under the age of 40. The deadline for submissions is November 15, 2023. The winning author will receive $5,000, be published in a 2024 issue of MASTER DRAWINGS, and will be the featured speaker at our annual symposium during Master Drawings Week New York in January. Visit https://masterdrawings.org/ricciardi-prize/ for essay requirements or scan the QR code included here (second image). You can also learn about the broad range of research by past winners of the prize. (Image: Guercino (Giovanni Francesco Barbieri), “A Man Reading at a Table, “brown ink and brown wash on beige antique laid paper, Harvard Art Museums/Fogg Museum, Cambridge MA) #masterdrawings #ricciardiprize #drawingscholarship #scholarsunder40" data-recalc-dims="1" />

“Pastels: From Millet to Redon,” @museeorsay i

“Pastels: From Millet to Redon,” @museeorsay in Paris, features some hundred pastels from its collection of 500 works. The exhibit, on view until July 2nd, features works by Millet, Degas, Manet, Cassatt, Redon, Lévy-Dhurmer and many others. It is organized around eight major themes emphasizing the revival of pastel that began in the second half of the nineteenth-century.
(Image: Mary Cassatt, “Mother and Child on a Green Background in Maternity,” Musée d'Orsay, Paris)
#masterdrawings #pastelsfrommillettoredon #manet #cassatt

<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="“Pastels: From Millet to Redon,” @museeorsay in Paris, features some hundred pastels from its collection of 500 works. The exhibit, on view until July 2nd, features works by Millet, Degas, Manet, Cassatt, Redon, Lévy-Dhurmer and many others. It is organized around eight major themes emphasizing the revival of pastel that began in the second half of the nineteenth-century. (Image: Mary Cassatt, “Mother and Child on a Green Background in Maternity,” Musée d'Orsay, Paris) #masterdrawings #pastelsfrommillettoredon #manet #cassatt" data-recalc-dims="1" />

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" />

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