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Explore Selected Works

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Antonie van den Wyngaerde, View of the Janiculum Hill Seen from the Tiber (recto), 1553, pen and brown ink over black chalk on laid paper, Gift of Ladislaus and Beatrix von Hoffmann, 2011.117.1.a

View of the Janiculum Hill Seen from the Tiber (recto)

Antonie van den Wyngaerde · 1553 · pen and brown ink over black chalk on laid paper ·  Accession ID  2011.117.1.a

Netherlandish 16th Century, Antonie van den Wyngaerde, The Church of S. Gregorio Magno on the Celian Hill (verso), 1553, pen and brown ink over black chalk on on laid paper, Gift of Ladislaus and Beatrix von Hoffmann, 2011.117.1.b

The Church of S. Gregorio Magno on the Celian Hill (verso)

Netherlandish 16th Century, Antonie van den Wyngaerde · 1553 · pen and brown ink over black chalk on on laid paper ·  Accession ID  2011.117.1.b

Karl Bodmer, Ruined Towers Overlooking the Rhine, c. 1835, pen and black ink and brush and gray ink with gray wash and graphite on wove paper, The Armand Hammer Collection, 1988.10.1

Ruined Towers Overlooking the Rhine

Karl Bodmer · c. 1835 · pen and black ink and brush and gray ink with gray wash and graphite on wove paper ·  Accession ID  1988.10.1

The dark, forest-green canopies of trees to our right are silhouetted against a sky that warms from pale blue along the top edge of the composition to butter yellow along the horizon, which comes about a quarter of the way up this horizontal landscape painting. The scene is loosely painted so many details are vague and difficult to make out. Closest to us, a diagonal band of caramel brown leading from the lower left corner back to the dark green could be the thick trunk of a felled tree, indicating that we look along the trunk into the massive canopy of an old tree, or the light brown could loosely suggest a forest. The horizon beyond is lined with a band of smoky purple, which could be a mountain range in the deep distance. Pale plum-purple clouds edged with shell pink angle from the horizon to the upper right corner against the golden sky.
Jean Honoré Fragonard, Mountain Landscape at Sunset, c. 1765, oil on paper, Chester Dale Fund, 1997.22.1

Mountain Landscape at Sunset

Jean Honoré Fragonard · c. 1765 · oil on paper ·  Accession ID  1997.22.1

Achille Laugé, The Artist's Mother, 1893/1896, charcoal and black chalk with stumping and erasing on laid paper, laid down, Purchased as a Gift in Memory of Melvin R. Seiden, 2013.101.1

The Artist's Mother

Achille Laugé · 1893/1896 · charcoal and black chalk with stumping and erasing on laid paper, laid down ·  Accession ID  2013.101.1

Jacopo da Empoli, Saint Nicholas of Bari, c. 1610, pen and brown ink with brush and blue wash, over black chalk, squared in red chalk, Purchased as the Gift of the Krugman Family Foundation, Ann and Matthew Nimetz, and Robert B. Loper , 2018.94.1

Saint Nicholas of Bari

Jacopo da Empoli · c. 1610 · pen and brown ink with brush and blue wash, over black chalk, squared in red chalk ·  Accession ID  2018.94.1

Paolo Gerolamo Piola, The Presentation in the Temple, c. 1720/1724, pen and brown ink with brown wash, heightened with white gouache on blue-green laid paper, Joseph F. McCrindle Endowment Fund, 2020.135.1

The Presentation in the Temple

Paolo Gerolamo Piola · c. 1720/1724 · pen and brown ink with brown wash, heightened with white gouache on blue-green laid paper ·  Accession ID  2020.135.1

Alessandro Vittoria, Saint Jerome, 1565/1570, pen and brown ink over red chalk over leadpoint, reworked with reed pen and brown ink, Ailsa Mellon Bruce Fund, 1995.8.1

Saint Jerome

Alessandro Vittoria · 1565/1570 · pen and brown ink over red chalk over leadpoint, reworked with reed pen and brown ink ·  Accession ID  1995.8.1

We look across the tops of trees down onto the roofs of a cluster of buildings and then a grassy expanse, a body of water, and rolling hills in this notably wide landscape painting. The trees are painted with shades of pine and olive green. At the center of the composition, the roofs are muted terracotta red with white chimneys except for the farthest structure, which has a gray roof around a lantern, perhaps indicating a church. Smoke puffs out of one chimney there. Trees with round canopies dot the pale, grassy field beyond that, which leads back to rows of tall, dark green cypress trees. A ribbon of ice blue across the left third of the painting indicates a body of water before russet-brown and muted sage-green hills roll into the deep, hazy distance. The horizon comes about two-thirds of the way up the painting, and glimpses of pale blue sky are visible through breaks in a blanket of pale gray and cream-white clouds above.
Théodore Rousseau, Panoramic Landscape near the River Moselle, c. 1830, oil on canvas, Chester Dale Fund, 2003.40.1

Panoramic Landscape near the River Moselle

Théodore Rousseau · c. 1830 · oil on canvas ·  Accession ID  2003.40.1

Louis de Boullogne the Younger, Seated Faun, 1700/1705, red and black chalk heightened with white chalk on blue laid paper, Gift of Lois and Georges de Ménil, in Honor of the 50th Anniversary of the National Gallery of Art, 1989.65.1

Seated Faun

Louis de Boullogne the Younger · 1700/1705 · red and black chalk heightened with white chalk on blue laid paper ·  Accession ID  1989.65.1