The National Gallery — Part 1: Old Master Prints and Drawings

This is one of a multi-part series dedicated to sharing new and inspiring discoveries at the National Gallery of Art in Washington, DC this summer.

A group of friends from the Art League decided that a Black Friday was a Friday without art education. The void in Fridays from the end of our spring term session to the start of the fall was simply unbearable. A natural leader among us took action and set up an appointment with the Associate Curator of Old Master Prints and Drawings at the NGA so that we could view and study a selection of artwork.

The pieces we saw are part of the NGA permanent collection housed in The East Wing but not on display. They are stored but available for view by special request. The group submitted its request and the curator graciously assembled them for us to see and study at leisure.

Since the works are part of the Permanent Collection, we were allowed to photograph them without use of flash.

The experience was invaluable. The curator allowed us to examine each piece up-close with a magnifying glass and study the intricate details of silverpoint and other drawing media without the disturbing glare of glass.

Below are some pieces by great masters that we requested and saw:

 

Raphael, Marchigian, 1483 – 1520

The Prophets Hosea and Jonah, c. 1510
pen and brown ink with brown wash over charcoal and blind stylus, heightened with white gouache and squared for transfer with blind stylus and red chalk, on laid paper
overall: 26.2 x 20 cm (10 5/16 x 7 7/8 in.)
The Armand Hammer Collection 1991.217.4

 

 

 

A Marble Horse on the Quirinal Hill [recto], c. 1513

red chalk and pen and brown ink, with stylus underdrawing and traces of leadpoint on laid paper

overall: 21.9 x 27.4 cm (8 5/8 x 10 13/16 in.)

Woodner Collection 1993.51.3.a

 

 

 

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Dürer, Albrecht, German, 1471 – 1528

Young Woman in Netherlandish Dress, 1521

brush and brown and white ink on gray-violet prepared paper
overall: 28.3 x 19.8 cm (11 1/8 x 7 13/16 in.)

Widener Collection 1942.9.658

 

 

 

Tuft of Cowslips, 1526

gouache on vellum

overall: 19.3 x 16.8 cm (7 5/8 x 6 5/8 in.)

The Armand Hammer Collection 1991.217.1

 

 

 

An Oriental Ruler Seated on His Throne, c. 1495

pen and black ink on laid paper

overall: 30.6 x 19.7 cm (12 1/16 x 7 3/4 in.)

Ailsa Mellon Bruce Fund 1972.22.1.a

 

 

 

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Leonardo da Vinci, Florentine, 1452 – 1519

Sheet of Studies [recto], probably 1470/1480

pen and brown ink over black chalk on laid paper

overall: 16.4 x 13.9 cm (6 7/16 x 5 1/2 in.)

The Armand Hammer Collection 1991.217.2.a

 

 

 

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Rubens, Peter Paul, Sir, Flemish, 1577 – 1640

Lion, c. 1612-1613

black chalk, heightened with white, yellow chalk in the background

overall: 25.2 x 28.3 cm (9 15/16 x 11 1/8 in.)

Ailsa Mellon Bruce Fund 1969.7.1

 

 

 

Young Woman in Profile, c. 1613

black chalk heightened with white

overall: 37.5 x 25.1 cm (14 3/4 x 9 7/8 in.)

Ailsa Mellon Bruce Fund 1978.18.1

 

 

 

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Rembrandt van Rijn, Dutch, 1606 – 1669

Head of an Old Man (recto), c. 1631

red chalk, with touches of black chalk, on laid paper

overall: 13.7 x 13.8 cm (5 3/8 x 5 7/16 in.)

Gift of Mrs. Lessing J. Rosenwald 1987.20.11.a

 

 

 

Seated Old Man, 1630

red chalk on laid paper

overall: 15.7 x 14.7 cm (6 3/16 x 5 13/16 in.)

Rosenwald Collection 1943.3.7047

 

 

 

Bust of an Elderly Man in a Flat Cap, 1635/1637

pen and brown ink on laid paper

overall: 8.4 x 6.9 cm (3 5/16 x 2 11/16 in.)

Widener Collection 1942.9.677

 

 

 

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Meissonier, Jean-Louis-Ernest, French, 1815 – 1891

The Herald of Murcia and Other Studies (recto), c. 1860

pen and brown ink on wove paper
overall: 14.9 x 22.4 cm (5 7/8 x 8 13/16 in.)
Gift of Athena Tacha and Richard Spear 2004.152.1.a

 

 

 

 

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Manet, Edouard, French, 1832 – 1883

The Man in the Tall Hat, 1858/1859

watercolor and graphite

overall: 35.7 x 25.7 cm (14 1/16 x 10 1/8 in.)

Rosenwald Collection 1943.3.5753

 

 

 

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Prud’hon, Pierre Paul, French, 1758 – 1823

Male Nude Study

charcoal heightened with white chalk on blue paper

overall: 45.3 x 25 cm (17 13/16 x 9 13/16 in.)

Gift of Howard Sturges 1956.9.11

 

 

 

All of the photos of the works listed above were captured with an iPhone6. They have been digitized on the NGA website with far greater quality, but there is no substitute for seeing these drawings in person. It is the best way to study the paper and the materials and techniques used by each artist. The certainty of Messonier’s ink strokes leaves no doubt of his expertise depicting horses and riders with fluid motion and energy. We see strength and energy in Prud’hon’s nude, as well, but the manner in which the charcoal meaningfully dissolves into the background as the light rolls around the form is indescribable other than through first-hand experience. Likewise, Rembrandt’s strong red chalk juxtaposed with Rubens’s ephemeral black chalk demonstrates through contrast the absolute mastery of each artist. Durer’s gouache makes you want to touch the velveting leaves of the cowslip, while his playful treatment of the Oriental Ruler seems whimsical despite its carefree precision. Raphael’s commanding portrayal of both prophets and horse on small pieces of paper reflects the restrained force of his statuesque subjects. Adjectives and verbs aren’t enough here. However, experiencing these great works is possible for free just by asking for an appointment!