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William Rudolf

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The image is a sketch focusing on the human body, specifically detailed studies of a person's legs from mid-thigh to feet. The legs are depicted in a bent position, hinting at a dynamic pose, possibly in motion or a stepping action. Facial features and hair are not included in the drawing, solely presenting the leg structures. The image omits details regarding clothing or materials around the legs, maintaining focus on the raw anatomical form. There are no jewelry or objects in the visible section of the body. The background is a plain surface without intricate designs, emphasizing the anatomy study.
Italian 17th Century, Two Studies of a Leg (verso), 17th century, red chalk, 2018.26.14.2

Two Studies of a Leg (verso)

Italian 17th Century · 17th century · red chalk ·  Accession ID  2018.26.14.2

This is a drawing of abstract figures in a crowded composition. The drawing consists of loose, flowing lines that suggest the shapes of several figures in a dynamic arrangement, intertwining and overlapping with one another. The lines are primarily done in black ink with some additional red chalk accents. The shapes are fluid and organic, with a sense of motion captured within the space. The overall composition is contained within an arched frame. The ethereal and sketch-like quality of the drawing invites viewers to interpret the vague forms and movements according to their imagination.
Italian 16th Century, Alessandro Maganza, Alessandro Maganza, Christ Carrying the Cross, late 16th century, red chalk, pen and brown ink on laid paper, 2018.26.13.b

Christ Carrying the Cross

Italian 16th Century, Alessandro Maganza, Alessandro Maganza · late 16th century · red chalk, pen and brown ink on laid paper ·  Accession ID  2018.26.13.b

This is a drawing of a series of abstract figures in various poses. The composition consists of multiple humanoid forms scattered across the paper, depicted in different dynamic positions. The figures are outlined with simple lines and gestures, suggesting movement and fluidity. The drawing has an exploratory and sketch-like quality, indicating a study or practice in capturing body positions and form. The figures are arranged without a clear focal point, creating a sense of randomness and spontaneity. The use of a limited color palette, primarily brown ink on light paper, emphasizes the linearity and raw nature of the sketches.
Giovanni Battista Tiepolo, Figure Studies (recto), c. 1744, pen and brown ink on laid paper, The Edith Tanenbaum Rudolf Collection, 2018.26.25.1

Figure Studies (recto)

Giovanni Battista Tiepolo · c. 1744 · pen and brown ink on laid paper ·  Accession ID  2018.26.25.1

The image shows multiple individuals depicted in a detailed, classical artistic style. A seated, bearded man in an elaborate headdress and robe is at the center, with two figures reaching towards each other next to him. The surrounding figures, dressed in various garments, include men and women standing, sitting, or kneeling. One woman holds a child, and the background includes intricate architectural elements, such as columns and a patterned wall.
Gaspare Diziani, A Marriage Ceremony, early 18th century, red chalk on laid paper, laid down on old mount, The Edith Tanenbaum Rudolf Collection, 2018.26.10

A Marriage Ceremony

Gaspare Diziani · early 18th century · red chalk on laid paper, laid down on old mount ·  Accession ID  2018.26.10

The image is a sketch depicting the upper half of a person's body, focusing on the head and shoulders. The person is positioned slightly at an angle, with their head turned to the side, looking away from the viewer. The facial features are minimal, with a basic outline depicting the eyes, nose, and mouth. The hair is short and dark, partially covered by a hat with a feather. The person is wearing what appears to be a cloak or coat with broad shoulders. There is a signature in the lower right corner of the image. The background is plain and beige, with minor spots and marks, giving it an aged appearance.
Jacques Villon, Charmless (Sans Attrait), c. 1902, graphite and brown wash with touches of blue wash, blue pencil, and green pencil on wove paper laid down on wove paper, The Edith Tanenbaum Rudolf Collection, 2018.26.27

Charmless (Sans Attrait)

Jacques Villon · c. 1902 · graphite and brown wash with touches of blue wash, blue pencil, and green pencil on wove paper laid down on wove paper ·  Accession ID  2018.26.27

Drawn with brown ink and shaded with brown wash, three men hold a fourth down on a platform-like heated grate as another bends over to stoke the fire on this horizontal sheet of paper. The man on the grill writhes with hands and one foot lifted high. Another muscular person in the background to the left brings a bundle of planks, presumably firewood. Seven others, including a woman holding a baby, stand mostly in pairs around the grill, some of them leaning on chest-high ledges or against columns. More people are loosely sketched beyond the low wall to the right and looking on from rectangular window openings along the back of the space. Writing in the lower left corner under the image reads, “Luca Cangiazi.”
Italian 16th Century, Martyrdom of Saint Lawrence, 1560s, pen and brown ink with brown wash over traces of red chalk on laid paper, laid down, The Edith Tanenbaum Rudolf Collection, 2018.26.4

Martyrdom of Saint Lawrence

Italian 16th Century · 1560s · pen and brown ink with brown wash over traces of red chalk on laid paper, laid down ·  Accession ID  2018.26.4

This drawing shows figures gathered in an architectural setting. The scene depicts elongated figures with flowing lines suggesting motion and interaction. The composition is enclosed in an arch-like frame, with columns and arches in the background. The use of varying line weights adds depth, while the sketchiness of the lines creates a sense of dynamism. The work is detailed yet executed in a loose manner, offering an organic and impressionistic interpretation of the scene.
Italian 17th Century, Alessandro Maganza, Christ Carrying the Cross, 17th century, pen and brown ink on laid paper, The Edith Tanenbaum Rudolf Collection, 2018.26.13.a

Christ Carrying the Cross

Italian 17th Century, Alessandro Maganza · 17th century · pen and brown ink on laid paper ·  Accession ID  2018.26.13.a

The image shows a sketch of a person kneeling and looking upward. The person has a tonsure hairstyle and is wearing a long robe. Small cherubic figures surround them amongst clouds. There is a simple arch-like structure in the background and possibly an altar to the right. The drawing is done in a loose style on a light piece of paper.
Donato Creti, Vision of Saint Anthony of Padua, mid-18th century, pen and brown ink on laid paper, The Edith Tanenbaum Rudolf Collection, 2018.26.8.1

Vision of Saint Anthony of Padua

Donato Creti · mid-18th century · pen and brown ink on laid paper ·  Accession ID  2018.26.8.1

The image shows a harbor or waterfront setting with architectural elements in the foreground. Faded figures and animals are seen along a pathway with stone arches and columns. In the background, figures are engaged around boats and ships in the water. Distant buildings, including a dome and spires, are visible on the horizon. The artwork features delicate brushstrokes, an impressionistic style, and a subdued color palette of earthy tones, gray, and brown.
Francesco Guardi, Venetian Capriccio with Boats Unloading (recto); Figures among Ruins (verso), 1760s/1770s, pen and brown ink over black chalk with gray-brown wash on laid paper (recto) black chalk, pen and two colors of brown ink, grey-brown wash on laid paper (verso), The Edith Tanenbaum Rudolf Collection, 2022.75.3.a-b

Venetian Capriccio with Boats Unloading (recto); Figures among Ruins (verso)

Francesco Guardi · 1760s/1770s · pen and brown ink over black chalk with gray-brown wash on laid paper (recto) black chalk, pen and two colors of brown ink, grey-brown wash on laid paper (verso) ·  Accession ID  2022.75.3.a-b

This is a drawing of a group of figures in various poses. The sketch is rendered in a red chalk or sanguine technique, capturing a dynamic composition of intertwined and overlapping figures. The lines are expressive, suggesting form and motion, with varying levels of detail. Shadows and contours are indicated through linework, emphasizing the human form and gestures. The drawing appears to be a preparatory study, reflecting how an artist might work through compositional ideas and anatomy before starting a more detailed painting.
Italian 17th Century, The Descent from the Cross (recto), 17th century, red chalk on laid paper, The Edith Tanenbaum Rudolf Collection, 2018.26.14.1

The Descent from the Cross (recto)

Italian 17th Century · 17th century · red chalk on laid paper ·  Accession ID  2018.26.14.1