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Susan Schulman

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The image shows a bust-length section of a person from the upper chest up. The person is in a profile view, facing towards the right. Their facial features include a rounded nose, slightly open lips, and a defined jawline, with their gaze directed upwards. The hair is styled in an elaborate manner with curls and appears tied back. The person is draped in fabric that covers their shoulders, rendered in soft folds. The background consists of a textured pattern with diagonal lines.
Louis-Marin Bonnet, Jean-Baptiste Deshays, Tête de Putiphar (Head of Potiphar's Wife), 1773, chalk manner printed from two plates in black and white on blue laid paper, Purchase as the Gift of Ivan and Winifred Phillips in Honor of Margaret Morgan Grasselli, 2017.6.2

Tête de Putiphar (Head of Potiphar's Wife)

Louis-Marin Bonnet, Jean-Baptiste Deshays · 1773 · chalk manner printed from two plates in black and white on blue laid paper ·  Accession ID  2017.6.2

This drawing features a mythological figure seated on a barrel or drum, with a smaller scene framed inside. The central figure is depicted as a classical or mythological character, adorned with leaves and vines and holding a tray in one hand and a bottle or jug in the other. The figure's lower part forms an arch around another scene within a circular frame that shows an elegantly dressed person seated inside a richly decorated interior. The drawing has intricate line work characteristic of engraving, and its monochromatic palette emphasizes the detail in the figures and the textures of the drapery and barrel.
Ange-Laurent de Lalive de Jully, Secret derobé à un ami (Secret Stolen from a Friend), 1760s, etching on laid paper, inlaid in nineteenth-century paper mount, Katharine Shepard Fund, 2019.124.1

Secret derobé à un ami (Secret Stolen from a Friend)

Ange-Laurent de Lalive de Jully · 1760s · etching on laid paper, inlaid in nineteenth-century paper mount ·  Accession ID  2019.124.1

This is a black and white illustration featuring a hooded figure dressed in long robes standing next to an elderly individual seated in an ornate chair. The setting is a room with large windows showing a landscape with the sun.
Alfred Rethel, Hugo Bürkner, Hermann Michels, Breitkopf und Härtel, Der Tod als Freund (Death as a Friend), 1831, wood engraving on brown wove paper [third edition], Ruth and Jacob Kainen Memorial Acquisition Fund, 2015.103.3

Der Tod als Freund (Death as a Friend)

Alfred Rethel, Hugo Bürkner, Hermann Michels, Breitkopf und Härtel · 1831 · wood engraving on brown wove paper [third edition] ·  Accession ID  2015.103.3

This is a drawing of a series of interconnected scenes with various narratives within intricate floral borders. The main image includes different vignettes framed by vines and flowers. At the top, there is a landscape with a figure, building, and two other figures on a creature. In the central panels, there are romantic and mythical scenes. On the left, a reclining figure is shown, while the adjacent panel features an affectionate pair under an archway. On the right, another figure poses dramatically. A verse in German is inscribed below. At the bottom, a night scene with a twisted tree is depicted. Each scene is detailed and layered.
Eugen Napoleon Neureuther, Des Pfarrers Tochter von Taubenhein (The Parson's Daughter from Taubenhain), 1844, etching on chine collé, Ruth and Jacob Kainen Memorial Acquisition Fund, 2017.103.1

Des Pfarrers Tochter von Taubenhein (The Parson's Daughter from Taubenhain)

Eugen Napoleon Neureuther · 1844 · etching on chine collé ·  Accession ID  2017.103.1

This is a print of a robed skeleton in a shadowy interior with an open window in the background. The skeleton is on the left, one hand grasping a large rope, and its head is turned downward, partially covered by a hood. The room is furnished with a staircase on the left and a table on the right with various objects on it, including a book, a pitcher, a cup, and a plate with a chunk of bread. Behind the table, an old man sits on a chair, facing the left. He has a long beard, a balding head, and his eyes are closed. His hands are in his lap, and a ring of keys hangs from his tunic. In the center of the print, an open window lets in light, revealing a distant landscape with a setting or rising sun. The print is detailed, showing the wood grain of the floorboards and beams. There is a line of text below the print.
Alfred Rethel, Richard Julius Jungtow, Hugo Bürkner, Julius Buddeus, Der Tod als Freund (Death as a Friend), 1851, wood engraving on wove paper [first edition], Ruth and Jacob Kainen Memorial Acquisition Fund, 2015.103.1

Der Tod als Freund (Death as a Friend)

Alfred Rethel, Richard Julius Jungtow, Hugo Bürkner, Julius Buddeus · 1851 · wood engraving on wove paper [first edition] ·  Accession ID  2015.103.1

The drawing shows cherubic figures ascending towards the heavens. It depicts several cherubs floating amongst clouds and celestial beams. Each cherub is drawn with simple, fluid lines. The use of line work creates a sense of movement as the cherubs appear to be ascending towards rays of light from above. The overall composition has a harmonious and uplifting ambiance, with the cherubic figures evoking a sense of divinity and purity.
Italian 17th Century, A Group of Angels in Glory, 18th century, pen and brown ink, pricked for transfer, Ailsa Mellon Bruce Fund, 2012.61.2

A Group of Angels in Glory

Italian 17th Century · 18th century · pen and brown ink, pricked for transfer ·  Accession ID  2012.61.2

The image shows a large seashell with multiple spikes and ridges against a plain textured background. The shell is detailed and colored in various shades of black, gray, and white. It is oriented with its pointed end extending towards the left and its larger, spiky section slightly elevated to the right, centered in the composition.
Wenceslaus Hollar, Shell (Murex brandaris), c. 1645, etching on laid paper, Gift of Edward William Carter and Hannah Locke Carter, in Honor of the 50th Anniversary of the National Gallery of Art, 1992.17.2

Shell (Murex brandaris)

Wenceslaus Hollar · c. 1645 · etching on laid paper ·  Accession ID  1992.17.2

This is a print of a robed skeleton in a shadowy interior with an open window in the background. The skeleton is on the left, one hand grasping a large rope and its head turned downward, partially covered by a hood. The room is furnished with a staircase on the left and a table on the right with various objects on it, including a book, a pitcher, a cup, and a plate with a chunk of bread. Behind the table, an old man sits on a chair, facing the left. He has a long beard, a balding head, and his eyes are closed. His hands are in his lap, and a ring of keys hangs from his tunic. In the center of the print, an open window reveals a distant landscape with a setting or rising sun. The print is detailed, showing the wood grain of the floorboards and beams. There is a line of text below the print.
Alfred Rethel, Gustav Richard Steinbrecher, Hugo Bürkner, Julius Buddeus, Der Tod als Erwürger (Death as a Strangler), 1851, wood engraving on wove paper [first edition], Ruth and Jacob Kainen Memorial Acquisition Fund, 2015.103.2

Der Tod als Erwürger (Death as a Strangler)

Alfred Rethel, Gustav Richard Steinbrecher, Hugo Bürkner, Julius Buddeus · 1851 · wood engraving on wove paper [first edition] ·  Accession ID  2015.103.2

This is a drawing of several distorted humanoid figures trying to lift a large slab. The figures are emaciated and twisted, with exaggerated features. They appear to be struggling as they interact with the heavy stone block. The composition conveys tension and intense physical effort, with the figures' bodies contorted and muscles strained. The artwork features strong contrasts between light and dark areas to highlight the figures and the weight of the block.
Francisco Goya, Y aun no se van! (And Still They Don't Go!), 1799, etching, aquatint, and engraving with burnishing on laid paper, Ailsa Mellon Bruce Fund, National Gallery of Art, Washington., 2019.5.1

Y aun no se van! (And Still They Don't Go!)

Francisco Goya · 1799 · etching, aquatint, and engraving with burnishing on laid paper ·  Accession ID  2019.5.1

This drawing features a surreal scene combining biblical and mythological elements. It is divided into different sections, each depicting various allegorical figures and activities. At the top center, an angelic figure sits on a cloud holding a banner, surrounded by other angels. To the sides are groups of figures guided by angelic figures. The bottom section shows people engaged in various crafts, with elements of fire and smoke, creating an industrial atmosphere. The background features gothic architecture with ornate arches and friezes. The intricate engravings and detailed depiction of figures reflect a style reminiscent of Hieronymus Bosch or Pieter Bruegel, focusing on moral or allegorical themes.
Philip Galle, Hieronymus Cock, The Parable of the Wise and Foolish Virgins, c. 1560/1563, engraving on laid paper, Ailsa Mellon Bruce Fund, 2017.142.1

The Parable of the Wise and Foolish Virgins

Philip Galle, Hieronymus Cock · c. 1560/1563 · engraving on laid paper ·  Accession ID  2017.142.1