Hendrick Goltzius, Netherlandish, 1558-1617
Self-Portrait, ca. 1590-91
Black, red and white chalk with watercolours
Jan de Bray, Dutch, ca. 1627-1697
Portrait of a Boy, in Half Length, ca. 1660
Black, red and while chalk
Albrecht Dürer, German, 1471-1528
Portrait of a Young Woman with Braided Hair, 1515
Black chalk and charcoal
Attributed to Anthony van Dyck, Flemish, 1599-1641
The Fall of the Rebel Angels, ca. 1617-18
Black and white chalk, with pen and black and dark brown ink and black wash, incised for transfer
The exquisite drawing of the Archangel Michael battling Satan and the rebel angels was made after a painting by Peter Paul Rubens, now lost, and served as the model for an engraving by Lucas Vorsterman the Elder.
Peter Paul Rubens, Flemish, 1577-1640
Robin, the Dwarf of the Earl of Arundel, 1620
Red and black chalk, with pen and brown ink, and traces of white chalk
Anthony van Dyck, Flemish, 1599-1641
Profile of a Young Woman with Her Left Arm Extended, A Study for Moses and the Brazen Serpent, ca. 1618-20
Black and white chalk on grayish brown paper
Van Dyck adopted from Rubens the practice of making life drawings as a final preparation for key figures in his paintings at this early moment of his career. His style was so close to that of Rubens that this drawing was long believed to be by Rubens himself.
Antoine Coypel, French, 1661-1722
Young Woman, 1690s
Black, red and white chalk, peach and pink pastel with touches of blue pastel, on brown paper
Unlike most eighteen-century studies made from a live model, the sitter depicted here looks directly at the viewer with a bold frankness.
Attributed to Nicolò dell’Abate, Italian, 1509/12-1571
Frog Man, ca. 1560
Pen and brown ink and wash on tan paper, cut to the outline of the figure and laid down
The drawing is an example of the marvels of invention that characterized theatre at the Renaissance court. The Frog Man is a frog catcher, a man dressed up with a frog’s head mask and clothing of lily pads who would lure frogs into his net with the sounds of his pipes. He is analogous to Papageno, the well-known bird catcher of Mozart’s Magic Flute of a later century.
From ”Treasures from the Nationalmuseum of Sweden: The Collections of Count Tessin”, an exhibition that ran through May 14, 2017.
The Morgan Library & Museum