Provenance

Diane Nixon

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This image features a winding path through a wooded area, with the horizon high near the top edge of the image. Tall trees with overhanging branches, a patch of blue sky, and dense foliage are depicted with a watercolor technique. The color palette consists of earth tones, green, brown, and touches of blue. The path leads into a shadowed area in the distance.
Cornelius Varley, A Wooded Lane near Ross, 1803, watercolor over graphite on wove paper, Gift of Diane Allen Nixon, 2000.74.3

A Wooded Lane near Ross

Cornelius Varley · 1803 · watercolor over graphite on wove paper ·  Accession ID  2000.74.3

This is a drawing depicting multiple figures in a dynamic scene. The artwork shows a muscular winged figure reaching out a hand to a seated bearded figure, with another figure partially visible. The drawing utilizes gestural lines and shading, using charcoal and red chalk. Swirling cloud-like forms in the background enhance the dramatic and dynamic feel of the scene.
Gaspare Diziani, The Sacrifice of Isaac, c. 1755, tip of the brush with gray ink over red chalk, gray wash, strengthened with pen and gray and brown ink, heightened with white gouache, Wolfgang Ratjen Collection, Purchased as the Gift of Diane A. Nixon, 2007.111.68

The Sacrifice of Isaac

Gaspare Diziani · c. 1755 · tip of the brush with gray ink over red chalk, gray wash, strengthened with pen and gray and brown ink, heightened with white gouache ·  Accession ID  2007.111.68

The image shows a waterfall flowing between rocky cliffs from an elevated angle. The top of the waterfall is visible, and brushstrokes convey the movement of the water. The color palette includes blues, purples, greens, and warm tones, creating a contrast.
Henri-Joseph Harpignies, A Cascade in the Mountains, 1870s, watercolor over pen and black ink on wove paper, Purchased as the Gift of Diane A. Nixon, 2015.82.1

A Cascade in the Mountains

Henri-Joseph Harpignies · 1870s · watercolor over pen and black ink on wove paper ·  Accession ID  2015.82.1

The artwork depicts a dense forest scene from a slightly elevated angle. The horizon is not visible as trees dominate the composition. The scene is vertically oriented with tall trees extending from close to us into the distance. The brushstrokes are fine and detailed, especially in the depiction of leaves and branches, creating a textured forest canopy. The color palette consists of muted gray and green tones, evoking a somber atmosphere with subdued light filtering through. Light and shadow play among the trees and leaves, adding depth to the scene. In the distance, a narrow path winds through the trees, with small figures faintly visible, providing scale to the towering trees.
Joris van der Haagen, Woods at Night with Travelers, brush and gray wash with heightened with white gouache on blue laid paper, laid down on blue album sheet, Purchased as the Gift of Diane A. Nixon, 2006.104.1

Woods at Night with Travelers

Joris van der Haagen · · brush and gray wash with heightened with white gouache on blue laid paper, laid down on blue album sheet ·  Accession ID  2006.104.1

The painting depicts a hillside village viewed from an elevated perspective. The horizon is high in the image, with the village atop the hill, individual buildings distinguishable by warm color tones. Behind the village, the sky is clear blue, the mountains fading into darker tones. Delicate, fluid brushstrokes are used, especially in the foliage and winding path. The color palette is earthy and natural, with greens and browns predominant, the village's architecture and vibrant greenery offering lighter contrasts. The landscape shows rolling terrain rising towards the top of the hill.
Jules-Ferdinand Jacquemart, Sun-Drenched Hills near Menton, 1880, watercolor with scratching out over traces of graphite on wove paper, Purchased as the Gift of Diane Allen Nixon, 2006.31.1

Sun-Drenched Hills near Menton

Jules-Ferdinand Jacquemart · 1880 · watercolor with scratching out over traces of graphite on wove paper ·  Accession ID  2006.31.1

The image shows an elevated point of view overlooking a vast landscape. The horizon is high, with distant hills or mountains barely visible. The brushstrokes are gentle and fluid, giving the painting a soft quality. The color palette is muted, with soft whites, beige, green, and pink. The foreground shows subtle variations in color suggesting grassy and earthy textures. A cluster of trees is on the left, adding depth. In the distance, the landscape extends under a cloudy sky, blending with the background's muted tones.
Cornelius Varley, An Extensive View in Shropshire, 1803, watercolor over graphite on wove paper, Gift of Diane Allen Nixon, 2000.74.2

An Extensive View in Shropshire

Cornelius Varley · 1803 · watercolor over graphite on wove paper ·  Accession ID  2000.74.2

This is a drawing depicting a scene with various symbolic elements. The composition includes a figure dressed in flowing garments standing on a globe-like sphere. Celestial beings and clouds surround the central figure, with a hand emerging from the clouds above and a descending dove nearby. On the left, there is a cherubic figure resting on a platform or altar. To the lower right, a star-like shape radiates light. At the base, there is a skeletal figure and a reclined person. The color palette is monochromatic with light washes and expressive linework.
Martin Johann Schmidt, The Virgin of the Immaculate Conception (recto), 1764, pen and brown ink with brown and gray wash over black chalk, Gift of Diane A. Nixon, 2013.91.1.a

The Virgin of the Immaculate Conception (recto)

Martin Johann Schmidt · 1764 · pen and brown ink with brown and gray wash over black chalk ·  Accession ID  2013.91.1.a

The image is a landscape drawing depicting the meeting of the sky and land. The horizon line is slightly above the center, with an open, barren landscape. The artwork features broad brushstrokes creating textures and tones. The color scheme is monochromatic, with warm sepia tones creating an aged atmosphere. The scene transitions from darker tones in the foreground to lighter tones in the sky, with clouds adding depth.
Francis Danby, Panorama of the Coast at Sunset, c. 1813, brown wash with white heightening on wove paper, Gift of Diane Allen Nixon, 2000.74.1

Panorama of the Coast at Sunset

Francis Danby · c. 1813 · brown wash with white heightening on wove paper ·  Accession ID  2000.74.1

The image is a line drawing depicting two full-body figures embracing. The person on the left appears to be an older man, with a long beard and flowing hair, wearing a robe that drapes around him. His facial features are somewhat obscured due to the beard. The person on the right has long, wavy hair and appears to be younger, wearing a simple, slightly ragged tunic and skirt, and is barefoot. Both figures are barefoot. They are positioned close together, with the younger figure leaning inward, seemingly pressing their faces together. The surroundings are minimalistic, with only a few lines suggesting a step or low platform, leaving a plain background that emphasizes the interaction between the two figures.
Guercino, The Return of the Prodigal Son, c. 1640, pen and brown iron gall ink on laid paper, Gift of Diane Allen Nixon and Ailsa Mellon Bruce Fund, 1998.103.1

The Return of the Prodigal Son

Guercino · c. 1640 · pen and brown iron gall ink on laid paper ·  Accession ID  1998.103.1

The image features swirling lines and curvilinear shapes creating an intricate and abstract composition. Some shapes are reminiscent of organic elements like flowers and flowing garments. There is a sense of motion and fluidity in the composition. At the top, there is a curvature resembling an archway or window frame, providing structure to the overall pattern.
Baldassare Franceschini, The Flight into Egypt, c. 1664, black and red chalk on cream laid paper, Wolfgang Ratjen Collection, Purchased as the Gift of Diane A. Nixon, 2007.111.84

The Flight into Egypt

Baldassare Franceschini · c. 1664 · black and red chalk on cream laid paper ·  Accession ID  2007.111.84