Provenance

Curtis O. Baer

American, 1898 - 1976

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See all 25 works of art
The image shows a bust portrait of a man facing left in profile. The man has a prominent nose, high forehead, and defined cheekbones. His hair is styled back and appears gray with waves and curls. He wears formal attire, including a cravat and a high-collared coat. The background is neutral, and the image is framed in a circular border with text around the edge.
Jacques-Louis David, Thirius de Pautrizel, June or July 1795, pen and gray ink with gray wash and pale brown wash (on the face) over touches of graphite, heightened with white gouache on laid paper, laid down on an old circular mount, Gift of Walter H. and Leonore Annenberg, in Honor of the 50th Anniversary of the National Gallery of Art, 1990.47.2

Thirius de Pautrizel

Jacques-Louis David · June or July 1795 · pen and gray ink with gray wash and pale brown wash (on the face) over touches of graphite, heightened with white gouache on laid paper, laid down on an old circular mount ·  Accession ID  1990.47.2

The image features a tree viewed from a side perspective, showcasing the intricate structure of the tree with long, cascading branches. The horizon is not defined in the composition, as the focus is on the tree itself with its drooping branches covering much of the visual field. The drawing is done in a sketch-like style using dark, expressive lines on a textured, muted blue-green background. The brushstrokes are loose, creating a sense of natural movement in the branches and foliage. The color palette is dominated by dark lines against the subdued blue-green paper, emphasizing the tree's form and texture while creating a serene yet slightly somber visual impact.
Paula Modersohn-Becker, Fruit Tree in Bloom, 1900/1902, charcoal on blue laid paper, Gift of Mr. and Mrs. James T. Dyke, 1995.33.1

Fruit Tree in Bloom

Paula Modersohn-Becker · 1900/1902 · charcoal on blue laid paper ·  Accession ID  1995.33.1

This is a drawing of an ornate architectural structure. The detailed drawing portrays a richly-embellished facade featuring classical architectural elements like columns with elaborate capitals, putti or cherubs within decorative niches, and intricate scrollwork. The drawing captures a sense of grandiosity and complexity with its highly detailed etchings, creating a texture reminiscent of Renaissance architecture. The columns are adorned with decorative motifs, and reliefs accentuate the vertical elements of the building. There are two figures—one in the lower portion appears to be gesticulating upwards, framed by elaborate panels, and another is positioned higher up in the composition, integrated into the architectural setting.
Jan Gossaert, Two Kings and a Woman Leaving an Elaborate Palace, 1503/1508, pen and black ink on laid paper, Ailsa Mellon Bruce Fund and Gift of Dian Woodner, 2008.76.1

Two Kings and a Woman Leaving an Elaborate Palace

Jan Gossaert · 1503/1508 · pen and black ink on laid paper ·  Accession ID  2008.76.1

The image features a sketch of various full-body figures drawn with minimalistic lines. The figures are standing and include both men and women. The facial features are simple and not detailed, with only some outlines hinting at eyes, noses, or mouths. Various hairstyles are shown, with some women having their hair styled in buns or veils, while men are wearing hats. The clothing appears to be historical or formal, with men in coats, breeches, and wide-brimmed hats, and women in long, flowing dresses or cloaks, some with head coverings. One figure is depicted on horseback, showing more dynamic movement. The background is a plain sheet of paper with no additional details or context provided, aside from some lines indicating ground or shadow under the figures.
Luis Paret y Alcázar, Historical Costumes, 1780, pen and black ink on laid paper, Gift of Alexandra Baer and Jason Iahn, 2005.39.1

Historical Costumes

Luis Paret y Alcázar · 1780 · pen and black ink on laid paper ·  Accession ID  2005.39.1

The image is a landscape sketch depicting a view from an elevated point. The horizon is positioned at the vertical center, with undulating lines suggesting distant hills or tree lines. There is a horizontal axis across the center, adding depth to the landscape. The sketch features expressive brushstrokes, swirling lines representing foliage and water movement. The color palette is monotone, using sepia tones for an antique look. The foreground has curved lines indicating flowing water or terrain, while detailed strokes suggest vegetation and rocky outcrops in the distance. The grid overlay serves as a structured backdrop, indicating the drawing may be a study.
Nicolas Poussin, Road along a Winding River, c. 1648?, pen and brown ink, squared in black chalk, on laid paper, Gift of Dr. and Mrs. George Baer, 1986.96.2

Road along a Winding River

Nicolas Poussin · c. 1648? · pen and brown ink, squared in black chalk, on laid paper ·  Accession ID  1986.96.2

Antoine Watteau, The Wedding Procession, c. 1712, red chalk over red chalk counterproof on laid paper, Margaret Mellon Hitchcock Fund, 2000.8.1

The Wedding Procession

Antoine Watteau · c. 1712 · red chalk over red chalk counterproof on laid paper ·  Accession ID  2000.8.1

The image shows the head of a person facing the viewer directly. The facial features include a round face, rounded cheeks, a defined nose, and a neutral expression on their lips. The person's eyes are open and gazing directly forward. They wear a cap slightly slouched to the side, with hair peeking out showing gentle waves or curls. The individual has on a garment with a loose-fitting collar tied in the front with a bow. The background is a plain, textured paper. No jewelry or additional objects are visible.
French 18th Century, A Boy Wearing a Military Cap, black chalk heightened with white on blue laid paper, Ailsa Mellon Bruce Fund, 1992.77.1

A Boy Wearing a Military Cap

French 18th Century · · black chalk heightened with white on blue laid paper ·  Accession ID  1992.77.1

The image displays a pencil drawing of a male figure in multiple poses on textured paper. On the left, the man is seated, leaning slightly forward with his right hand on his left knee. His head is turned to the side, revealing detailed muscular arms and back. His hair is swept back, and facial features are not fully drawn. On the right, the man is shown from a different angle, focusing on his upper body. His face in profile shows closed eyes and full lips. His right arm is raised, bent at the elbow as he holds his head, emphasizing arm and chest musculature. The figure is unclothed, and the background is plain, highlighting the male anatomy.
Eugène Delacroix, Male Nude Posing for Figures in the "Frise de la Guerre", c. 1835, graphite on laid paper, Ailsa Mellon Bruce Fund, 2003.49.1

Male Nude Posing for Figures in the "Frise de la Guerre"

Eugène Delacroix · c. 1835 · graphite on laid paper ·  Accession ID  2003.49.1

Maerten van Heemskerck, The Triumph of Job, 1559, pen and brown ink with traces of chalk and incising throughout on laid paper, Gift of Walter H. and Leonore Annenberg, in Honor of the 50th Anniversary of the National Gallery of Art, 1990.47.3

The Triumph of Job

Maerten van Heemskerck · 1559 · pen and brown ink with traces of chalk and incising throughout on laid paper ·  Accession ID  1990.47.3

The image depicts a landscape with two figures near a tree on the left and a large tree on the right. In the background, there is a body of water with a boat and various buildings near mountains. The horizon is high, showing a sky with clouds and birds. The art style is pen and ink with energetic cross-hatching, using shades of brown and gray.
Jacques de Gheyn III, Landscape with Gnarled Trees and Fisherman, 1620s?, pen and dark brown ink on laid paper, Ailsa Mellon Bruce Fund, 2009.77.1

Landscape with Gnarled Trees and Fisherman

Jacques de Gheyn III · 1620s? · pen and dark brown ink on laid paper ·  Accession ID  2009.77.1

Bibliography

1985

  • Zafran, Eric. Master Drawings from Titian to Picasso: The Curtis O. Baer Collection. Atlanta, The High Museum of Art, 1985 and tour.