Oldest entries first, in a fixed order. Newly added articles appear at the end. Explore a shuffled selection →
Decoration Executed for the Birthday of His Majesty the King of Westphalia at the Cleveland Museum of Art: 1811, Pen and black ink and watercolor with graphite; heightened with white gouache on off-white wove paper. Explore the work's conte
Head of a Young Man at the Cleveland Museum of Art: 1715–1717, red, black, and white chalk with stumping. Explore the work's context, creator attribution and collection history.
Study of the Sabine Statue from the Villa Medici at the Cleveland Museum of Art: c. 1775–1780, pen and brown ink and brush and gray wash. Explore the work's context, creator attribution and collection history.
Carcasses at the Cleveland Museum of Art: 1840–1860, watercolor and gouache. Explore the work's context, creator attribution and collection history.
An Insect Ball at the Cleveland Museum of Art: 1835, pen and black ink with watercolor. Explore the work's context, creator attribution and collection history.
The Members of the Academy of Beaux-Arts Assembled to Jury the Rome Prize at the Cleveland Museum of Art: 1841 or 1842, pen and brown ink. Explore the work's context, creator attribution and collection history.
Jane Jarvis at the Cleveland Museum of Art: 1830–31, pastel, heightened with white gouache on tan woven paper, mounted to board. Explore the work's context, creator attribution and collection history.
Hannibal Swearing Eternal Enmity toward Rome at the Cleveland Museum of Art: c. 1808, pen and black and brown ink, brush and brown and gray wash, and white paint over graphite. Explore the work's context, creator attribution and collection
Male Academy with Wings at the Cleveland Museum of Art: 1745–50, red chalk on cream laid paper. Explore the work's context, creator attribution and collection history.
Madame Hippolyte Flandrin (Aimée Ancelot) at the Cleveland Museum of Art: 1869, graphite heightened with white chalk or gouache. Explore the work's context, creator attribution and collection history.
Head of a Young Man (Study for L'Oiseau de passage) at the Cleveland Museum of Art: 1853, graphite and red chalk with stylus heightened with white on off-white woven paper. Explore the work's context, creator attribution and collection hist
Seated Male Nude at the Cleveland Museum of Art: 1693–95, red chalk. Explore the work's context, creator attribution and collection history.
Head of a Young Woman at the Cleveland Museum of Art: c. 1785, red chalk on white laid paper pasted down on heavy-weight gray paper. Explore the work's context, creator attribution and collection history.
The Moscow Tavern at the Cleveland Museum of Art: c. 1773, Pen and brown ink and brush and brown and gray wash on white laid paper. Explore the work's context, creator attribution and collection history.
The Apple Market at Landerneau at the Cleveland Museum of Art: 1878, pen and brown ink over tracing in red chalk. Explore the work's context, creator attribution and collection history.
The Oak Tree and the Reed at the Cleveland Museum of Art: c. 1873, blue, gray, and black wash, and graphite. Explore the work's context, creator attribution and collection history.
Joan of Arc at the Cleveland Museum of Art: c. 1889, graphite, red chalk, colored washes, and black and white gouache. Explore the work's context, creator attribution and collection history.
Notre-Dame de Paris at the Cleveland Museum of Art: c. 1881, pen and black ink, brush and black wash, white gouache and graphite on paper. Explore the work's context, creator attribution and collection history.
Althaea Putting the Fatal Log on the Fire at the Cleveland Museum of Art: 1712, Red chalk on beige laid paper, incised for transfer. Explore the work's context, creator attribution and collection history.
Young Man Leaning Forward with Outstretched Arms (Study for Soldiers Distributing Bread to the Poor) at the Cleveland Museum of Art: c. 1851, oil, brown oil wash or ink wash, and black crayon. Explore the work's context, creator attribution
A Palace with an Arched Bridge (A Roman Villa) at the Cleveland Museum of Art: 1760, pen and brown and gray ink, graphite, and watercolor. Explore the work's context, creator attribution and collection history.
Head of a Female Figure in Profile, Turned to the Right at the Cleveland Museum of Art: c. 1763–1770?, charcoal with red and white chalk and stumping. Explore the work's context, creator attribution and collection history.
L'Invite at the Cleveland Museum of Art: 1775, Sanguine on white woven paper. Explore the work's context, creator attribution and collection history.
Boreas Abducting Oreithyia at the Cleveland Museum of Art: c. 1755–1760, red chalk. Explore the work's context, creator attribution and collection history.
Landscape with Watermill at the Cleveland Museum of Art: c, 1790, Brown ink wash and point of brush with graphite underdrawing on cream wove paper. Explore the work's context, creator attribution and collection history.
A Funeral at the Cleveland Museum of Art: c. mid-1870s-early 1880s, charcoal and brush and black and brown ink, with stumping and scratching away. Explore the work's context, creator attribution and collection history.
Study for "The Revolt of Cairo" at the Cleveland Museum of Art: 1810, pen and brown ink; framing lines in pen and brown ink. Explore the work's context, creator attribution and collection history.
Study of Apollo for Marsyas (recto); Face in Profile (verso) at the Cleveland Museum of Art: late 1860s, pen and brown ink. Explore the work's context, creator attribution and collection history.
Study of Apollo for Marsyas (recto) at the Cleveland Museum of Art: late 1860s, pen and brown ink. Explore the work's context, creator attribution and collection history.
Face in Profile (verso) at the Cleveland Museum of Art: late 1860s, pen and brown ink. Explore the work's context, creator attribution and collection history.
Aristomenes Mourning the Death of Socrates from the Bewitchment of Meroë (from Book 1 of Apuleius, "The Golden Ass") at the Cleveland Museum of Art: 1795, brush and black and gray wash, heightened with white gouache, over graphite. Explore
Seated Peasant Woman at the Cleveland Museum of Art: c. 1885, charcoal. Explore the work's context, creator attribution and collection history.
Man Clutching a Horse in Water, after Poussin's "Deluge" (recto); Compositional Study? (possibly for "Poussin's Deluge") (verso) at the Cleveland Museum of Art: c. 1816, pen and brown ink and brush and brown wash over graphite. Explore the
Man Clutching a Horse in Water, after Poussin's "Deluge" (recto) at the Cleveland Museum of Art: c. 1816, pen and brown ink and brush and brown wash over graphite. Explore the work's context, creator attribution and collection history.
Compositional Study? (possibly for "Poussin’s Deluge") (verso) at the Cleveland Museum of Art: c. 1816, brown wash and black crayon. Explore the work's context, creator attribution and collection history.
Design for the Divertissement from "La Pastorale" (First Entrée of the opera-ballet "Les Muses" by Danchet and Campra") at the Cleveland Museum of Art: 1703, pen and black ink and brush and gray wash with red, blue, and yellow wash, with gr
View of the Château of Pierrefonds at the Cleveland Museum of Art: c. 1870, pen and black ink, brush and black and gray wash, and graphite, heightened with white gouache. Explore the work's context, creator attribution and collection histor
Café in Constantinople at the Cleveland Museum of Art: 1847, brush and black and gray ink, graphite, and stylus on white wove paper coated with a white ground. Explore the work's context, creator attribution and collection history.
Two Standing Figures (Study for A Game of Billiards) at the Cleveland Museum of Art: c. 1807, black chalk with gray and brown-black chalk, with stumping, framing lines in brown-black chalk. Explore the work's context, creator attribution an
Liberty at the Cleveland Museum of Art: c. 1865–75, Brush and brown wash and gray and white gouache with graphite. Explore the work's context, creator attribution and collection history.