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Leicester Galleries

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This vertical portrait painting shows the head and shoulders of a person with pale peach skin and an auburn, cheek-length bob hairstyle. The person has high cheek bones, deep pink lips, and an angular, pointed chin. The head is cocked to our left, and almond-shaped eyes are nearly blacked out. The black jacket has lapels over a white, collared, buttoned-up shirt with a crimson-red necktie. Shown against brick-red and black background, the portrait is painted with areas of relatively flat color but with loose brushstrokes that create a textured, mottled effect. The artist signed the work with black paint in the lower right corner: “modigliani.” 
Amedeo Modigliani, Madame Kisling, c. 1917, oil on canvas, Chester Dale Collection, 1963.10.175

Madame Kisling

Amedeo Modigliani · c. 1917 · oil on canvas ·  Accession ID  1963.10.175

The image captures a pastoral landscape as seen from a window. Rolling hills, cloudy skies, buildings, fields, and trees are depicted with smooth brushstrokes and a dream-like quality. The color scheme is earthy, featuring soft greens, browns, ochre, and hints of gray. Closest to the viewer are furrowed plots of earth, fields, and trees, framed by windowpanes.
John Northcote Nash, Valley in Somerset, watercolor over graphite on wove paper, Gift of William B. O'Neal, 1995.52.127

Valley in Somerset

John Northcote Nash · · watercolor over graphite on wove paper ·  Accession ID  1995.52.127

The image shows a landscape sketch viewed from a slightly elevated angle. The scene depicts a textured, earthy terrain leading to distant trees. The horizon is low with vegetation blending into the sky. The sketch is done in pencil or charcoal with loose, hazy strokes. The color palette is monochromatic, with shades of grey and brown predominating. The terrain closer to the viewer is more defined, but the overall scene appears blurry with faint outlines of trees and foliage in the distance. On the right, there is a slightly more pronounced vertical stroke indicating a taller tree or structure.
Théodore Rousseau, Landscape II, black chalk on laid paper, Gift of William B. O'Neal, in Honor of the 50th Anniversary of the National Gallery of Art, 1991.150.63

Landscape II

Théodore Rousseau · · black chalk on laid paper ·  Accession ID  1991.150.63

This is a drawing of an interior scene with multiple figures in a public setting. The drawing portrays a group of figures gathered in a room, some seated and others standing. In the foreground, there is a tall central figure engaged in an activity. The room is filled with various individuals, some standing closely together and others scattered around the space. The artist uses line work and shading to depict the scene, creating a sense of activity and interaction. Cross-hatching techniques are employed for depth and texture, capturing the lively atmosphere. The drawing is done in brownish hues on paper using charcoal or pencil.
Charles Samuel Keene, A Station Buffet, pen and brown ink over graphite touched with white gouache on brown wove paper, Gift of William B. O'Neal, 1995.52.90

A Station Buffet

Charles Samuel Keene · · pen and brown ink over graphite touched with white gouache on brown wove paper ·  Accession ID  1995.52.90

The image depicts a sketch of a person's upper body, including the head, shoulders, and part of an arm. The person is seated with their head turned to the side and eyes closed. Facial features such as closed eyes, a straight nose, and closed lips are delicately drawn. The hair is styled in soft, wavy lines. The person is wearing an outfit with a patterned area near the neckline, possibly representing plaid fabric. Details of jewelry are included, with an earring on one ear and a ring on a hand that lightly touches a curved object. The background is plain and unadorned, highlighting the simplicity of the drawing.
Wyndham Lewis, Froanna Reading, 1936, pen and black ink on wove paper, Joseph F. McCrindle Collection, 2009.70.155

Froanna Reading

Wyndham Lewis · 1936 · pen and black ink on wove paper ·  Accession ID  2009.70.155

The image shows an illustration of a crouching person with most of their body visible, except for their head. The person is bent over with one arm out to the side and one leg bent backward. No facial features or hair are shown. The person is wearing loose clothing. There are no objects or jewelry in the illustration. The background is a plain, light-colored surface.
Giovanni Battista Tiepolo, Figure on a Cloud, 1750/1760, pen and brown ink and wash on laid paper, Gift of Donald Stone in memory of David Stone, 1999.110.2

Figure on a Cloud

Giovanni Battista Tiepolo · 1750/1760 · pen and brown ink and wash on laid paper ·  Accession ID  1999.110.2

The drawing shows a landscape viewed from a slightly elevated perspective. The horizon is low in the composition, with hills and a line of trees. The pencil strokes are loose, with horizontal lines in the sky, and curved, dense strokes for trees and hills. A figure sits on a mound in the middle. The color palette is monochrome, using shades of gray to convey the scene, with light and dark areas.
Théodore Rousseau, Landscape I, graphite on wove paper, Gift of William B. O'Neal, in Honor of the 50th Anniversary of the National Gallery of Art, 1991.150.62

Landscape I

Théodore Rousseau · · graphite on wove paper ·  Accession ID  1991.150.62

The image shows a landscape from a slightly elevated perspective. The horizon line is low in the composition. Loose tree sketches are visible along the horizon line. The artist used watercolor with soft strokes to suggest forms. The color palette includes greens, blues, and beige with hints of purple and blue.
Paul Cezanne, Mont Sainte-Victoire [recto], c. 1895, watercolor over graphite on wove paper, The Armand Hammer Collection, 1991.217.27.a

Mont Sainte-Victoire [recto]

Paul Cezanne · c. 1895 · watercolor over graphite on wove paper ·  Accession ID  1991.217.27.a

The image shows swirling and curved lines forming abstract shapes resembling architectural elements. There is a vertical structure resembling a pillar with a scroll-like capital. The lines are fluid and sketch-like with hints of watercolor in blue and green. The overall composition evokes an incomplete architectural sketch blending column form with artistic expression.
Paul Cezanne, Bedpost [verso], c. 1895, graphite and watercolor on wove paper, The Armand Hammer Collection, 1991.217.27.b

Bedpost [verso]

Paul Cezanne · c. 1895 · graphite and watercolor on wove paper ·  Accession ID  1991.217.27.b

In the sketch, there are three individuals depicted. The main person is seated, shown from the torso upward, leaning against a structure resembling a rail. They wear loose-fitting clothing and a cap. Two other figures wearing caps are depicted below. One person appears to be holding a newspaper, partially covering their face. The sketch uses minimal outlines without detailed features, and the background is plain.
Paul Cezanne, Father of the Artist [verso], c. 1865/1870, graphite on wove paper, The Armand Hammer Collection, 1991.217.26.b

Father of the Artist [verso]

Paul Cezanne · c. 1865/1870 · graphite on wove paper ·  Accession ID  1991.217.26.b