Heilbrunn Timeline of Art History

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Index Classification: Material and Technique

Preparatory Study Drawing

Preparatory Study, Drawing

Works of Art (72)

Anatomical Studies: A Left Forearm in Two Positions and a Right Forearm, 1600–1608, Peter Paul Rubens (Flemish), Drawing, pen and brown ink (1996.75)
Architectural Study: Search for Volumes in an Isolated Building, ca. 1919, Virgilio Marchi (Italian), Pencil and watercolor on paper (1984.91)
Artist's gridded sketch, New Kingdom, Dynasty 18, reign of Hatshepsut, ca. 1479–1458 B.C., Egyptian; From western Thebes, Limestone and ink (23.3.4)
Artist's sketch of Ramesses IV, New Kingdom, Dynasty 20, reign of Ramesses IV, ca. 1153–1147 B.C., Egyptian, Limestone (30.8.234)
Astor Hotel, New York City (perspective), ca. 1830 (project), Alexander J. Davis (American), Watercolor, ink, and graphite on paper (24.66.30)
Bear Walking, ca. 1490, Leonardo da Vinci (Italian), Metalpoint on light buff prepared paper (1975.1.369)
Bust-Length Portrait of a Woman (recto); Study of a Girl (verso), Agostino Carracci (Italian, Bolognese), Red chalk over possible traces of black chalk (1994.143)
Charles the Great's Entrance into Pavia, 1840, Julius Schnorr von Carolsfeld (German), Black chalk, graphite, brown watercolor washes, red chalk, red chalk washes; squared for transfer in graphite with numerical indications of vertical divisions at the lower edge (2003.85)
Design for Henry Field Memorial Gallery at the Art Institute of Chicago, ca. 1893–94, Louis Comfort Tiffany (American); Tiffany Glass and Decorating Company, Watercolor, pen and silver- and copper-colored metallic inks, brown and black inks, and graphite on off-white wove watercolor paper (67.654.4)
The Drunken Silenus ("The Tazza Farnese"), ca. 1600, Annibale Carracci (Italian, Bolognese), Engraving from a silver plate printed in brown ink (27.78.1.150)

Study for The Drunken Silenus ("The Tazza Farnese"), 1597–1601, Annibale Carracci (Italian, Bolognese), Pen and brown ink and wash over black chalk, incised for transfer (1972.133.4)
Église du Saint Esprit, New York City (front elevation and plan), 1831–34, Alexander J. Davis (American); Town & Davis, Watercolor and ink on paper (24.66.82)

Église du Saint Esprit, New York City (section and two plans), 1831–34, Alexander J. Davis (American); Town & Davis, Watercolor and ink on paper (24.66.84)
Ericstan for John J. Herrick, Tarrytown, New York (rear elevation), 1855–59, Alexander J. Davis (American), Watercolor, ink, and graphite on paper (24.66.10)
The Garden of Love (two parts), Peter Paul Rubens (Flemish); Christoffel Jegher (Flemish), Pen and brown ink, brown and green wash, heightened with light body color, over black chalk (58.96.1,.2)
Gate Lodge for Amos G. Hull, Newburgh, New York (front elevation), 1849, Alexander J. Davis (American), Watercolor, ink, and graphite on paper (24.66.71)
Glen Ellen for Robert Gilmor, Towson, Maryland (perspective, elevation, and plan), 1832–33, Alexander J. Davis (American), Watercolor, ink, and graphite on paper (24.66.17)
Grace Hill for Edwin C. Litchfield, Brooklyn, New York (front elevation), 1854, Alexander J. Davis (American), Watercolor, ink, and graphite on paper (24.66.67)
Head of a Man, ca. 1718, Jean Antoine Watteau (French), French, Red and black chalk (37.165.107)
Head of a Young Woman, Albrecht Dürer (German), Black chalk heightened with white chalk on green prepared paper (1975.1.859)
Head of the Virgin in Three-Quarter View Facing Right, 1508–12, Leonardo da Vinci (Italian), Italian, Charcoal, black and red chalks; traces of framing line in pen and brown ink at upper right (51.90)
Hugh Mercer, Jr. (Study for The Death of General Mercer at the Battle of Princeton, January 3, 1777), 1791, John Trumbull (American), Graphite on off-white laid paper (06.1346.2)
Jeremiah Dictating the Word of God to Baruch, Peter Paul Rubens (Flemish), after Raphael (Italian), Red chalk, brush and red wash, body color, heightened with white, on paper washed with pink (1995.401)
Lyndhurst for George Merritt, Tarrytown, New York (first floor plan), 1870, Alexander J. Davis (American), Watercolor, ink, and graphite on paper (24.66.42)
Lyndhurst for George Merritt, Tarrytown, New York (west [rear] elevation and plan), 1865, Alexander J. Davis (American), Watercolor, ink, and graphite on paper (24.66.14)
Madonna and Child with the Infant Saint John the Baptist; Study for the Right Arm of the Infant Saint John (upper left); Study for Drapery (upper right), Raphael (Raffaello Sanzio or Santi) (Italian, Marchigian), Red chalk (64.47)
Mrs. William Morris (Jane Burden, 1840–1914), Dante Gabriel Rossetti (British), Red, black, and white chalk on paper (47.66)
The Octagonal Room in the Small Baths at the Villa of Hadrian (Tivoli): Study for Vedute di Roma, Dieta o sia luogo che da ingressoa diversi grandiosi Cubicoli, e ad altre magnifiche Stanze, esistente nella Villa Adriana, ca. 1777, Giovanni Battista Piranesi (Italian), Red chalk over black chalk or charcoal with partly ruled construction; sheet glued onto secondary paper support (1994.20)
Otto, Count of Nassau, and his Wife Adelheid van Vianden, ca. 1530, Bernaert van Orley (Netherlandish), Pen and brown ink, watercolor over traces of black chalk; on verso, tracing in black chalk of the figures on recto (1995.12)
Portrait of a Woman, Her Head Turned to the Right, Wearing an Earring, ca. 1770–72, Joseph Wright (Wright of Derby) (British), Grisaille pastel on blue laid paper (2007.40)
Portrait of Nicolas Trigault in Chinese Costume, 1617, Peter Paul Rubens (Flemish), Black, red, and white chalk, blue pastel, and pen and brown ink on light brown laid paper (1999.222)
Prèparation for a Portrait of Louis XV (1710–1774), Maurice Quentin de La Tour (French), Pastel on blue paper, arched top (2005.66)
The Presentation in the Temple, Peter Paul Rubens (Flemish), Pen, brush, and brown ink on pale tan paper; reverse, black chalk and brown ink (52.214.3)
Project for a Wall Tomb for Pope Julius II, Michelangelo Buonarroti (Italian), Pen and brown ink, brush and brown wash, over leadpoint or black chalk and ruling (62.93.1)
Queen Esther Approaching the Palace of Ahasuerus, 1658, Claude Lorrain (Claude Gellée) (French), Pen and brown ink, brown wash over black chalk, heightened with white (1997.156)
Reclining Figure of Day, after Michelangelo (recto); Another Study of the Same Figure (verso), Tintoretto (Jacopo Robusti) (Italian, Venetian), Black chalk, heightened with white, on blue paper (54.125)
Scene from the Ramayana, ca. 1775–80, Nainsukh (Indian) or his successors, India (Pahari Hills, Guler or Kangra), Red ocher and wash on paper (2008.359.23)
Sketch from Nature, ca. 1855, Asher B. Durand (American), Graphite on gray-green wove paper (36.63.1)
Standing Draped Male Figure, 1611–89, Baldassare Franceschini (Il Volterrano) (Italian), Black chalk, highlighted wtih white, on blue-green paper, deckled edges; glued onto secondary paper support (1996.142.3)
Standing Nude Man Holding Bottles, ca. 1715–16, Jean Antoine Watteau (French), Red, black, and white chalk (1972.118.238)
Standing Youth with Hands Behind His Back, and a Seated Youth Reading, ca. late 1470s–early 1480s, Filippino Lippi (Italian, Florentine), Metalpoint, highlighted with white gouache, on pink prepared paper (36.101.1)
Studies for Hercules Holding a Club Seen in Frontal View, Male Nude Unsheathing a Sword, and the Movements of Water (recto); Study for Hercules Holding a Club Seen in Rear View (verso), 1506–8, Leonardo da Vinci (Italian), Pen and brown ink, charcoal or soft black chalk (recto), charcoal or soft black chalk (verso) (2000.328a,b)
Studies for The Allegories of Love, 1528–88, Paolo Veronese (Paolo Caliari) (Italian), Pen and brown ink, brush and brown wash (1975.150)
Studies for the Libyan Sibyl (recto); Studies for the Libyan Sibyl and a Small Sketch for a Seated Figure (verso), 1508–12, Michelangelo Buonarroti (Italian), Italian, Red chalk (recto); charcoal or black chalk (verso) (24.197.2)
Studies of a Saddled Horse and a Horse with a Boy Astride; Study of a Bean Plant, ca. 1603, Jacob de Gheyn II (Netherlandish), Pen and brown ink, with green and brown watercolor and gray wash on verso (2008.240a,b)
Studies of Ten (?) Heads and Two Ears; Studies of Three Figures and a Head, ca. 1495–98, Gerard David (Netherlandish), Metalpoint on prepared paper, black chalk (verso) (2008.368a, b)
Study for a Portrait of a Lady, Anthony van Dyck (Flemish), Black chalk heightene (1972.118.279)
Study for a Triton (recto); Anatomical Studies (?) (verso), 1642–44, Gian Lorenzo Bernini (Italian), Drawing in red chalk, background tinted with an almost imperceptible pale brown wash, framing lines in pen and brown ink (recto); black chalk (verso) (1973.265)
Study for an Equestrian Monument to Francesco Sforza, ca. 1482–83, Antonio Pollaiuolo (Italian, Florentine), Pen and brown ink, light and dark brown wash (1975.1.410)
Study for Song, 1938, Henri Matisse (French), Charcoal on paper (2002.456.45)
Study for The Ascension, 1774, John Singleton Copley (American), Ink ("Bistre") washes, pen and ink, black chalk, and graphite on off-white laid paper (60.44.16)
Study for the Astor Library (front elevation), 1843, Alexander J. Davis (American), Watercolor and ink on paper (24.66.419)
Study for the Fonte Gaia, Siena, Jacopo della Quercia (Jacopo di Pietro d'Angelo, Jacopo della Fonte) (Italian), Pen and brown ink, brush and brown wash, on vellum (49.141)
Study for the Head of Julius Caesar, ca. 1520–21, Andrea del Sarto (Italian), Red chalk (2008.367)
Study for the Modeling Stand of the Ugolino Group, ca. 1860, Jean-Baptiste Carpeaux (French), Pen and brown ink (1975.98.1)
Study for The Siege of Gibraltar: three figures, 1785–86, John Singleton Copley (American), Black and red chalk on blue laid paper (60.44.19)
Study for two residential rows facing across a court, New York City (perspective), ca. 1831, Alexander J. Davis (American), Watercolor and ink on paper (24.66.1291)
Study of a Boy in a Blue Jacket, 1717, Benedetto Luti (Italian), Pastel and chalk on blue laid paper, laid down on paste paper (2007.360)
Study of a double townhouse (front elevation), ca. 1843, Alexander J. Davis (American), Watercolor and ink on paper (24.66.55)
Study of a Girl in Red, 1717, Benedetto Luti (Italian), Pastel and chalk on blue laid paper, laid down on paste paper (2007.361)
Study of a Palm Tree (recto); Mountain Landscape (verso), ca. 1635–40, Nicolas Poussin (French), Pen and brown ink, over traces of black chalk (recto); pen and brown ink (verso) (2002.39a,b)
Study of a Woman's Head and Hands, ca. 1717, Antoine Watteau (French), Red and white chalk and graphite on off-white laid paper (2012.150.1)
Study of Count Albert of Arenberg, Anthony van Dyck (Flemish), Pen and brown ink (40.91.16)
Study of Queen Victoria's Neckline (Study for Portrait of Queen Victoria), ca. 1838, Thomas Sully (American, born England), Graphite on paper (L.1994.29.1)
Study of Queen Victoria's Train (Study for Portrait of Queen Victoria), ca. 1838, Thomas Sully (American, born England), Graphite on paper (L.1994.29.3 recto)
Study of the Belvedere Torso, ca. 1601–2, Peter Paul Rubens (Flemish), Red chalk (2002.12b)
Study of the Queen's Robes (Study for Portrait of Queen Victoria), ca. 1838, Thomas Sully (American, born England), Graphite on paper (L.1994.29.2)
Study of the Queen's Robes (Study for Portrait of Queen Victoria), ca. 1838, Thomas Sully (American, born England), Graphite on paper (L.1994.29.4 recto)
Study of the Throne in the House of Lords (Study for Portrait of Queen Victoria), ca. 1838, Thomas Sully (American, born England), Graphite on paper (L.1994.29.5 recto)
Temple Types: In Antis and Prostyle, ca. 1530–50, Attributed to the Sangallo family, Florence, Pen and brown ink (2008.105.2)
Three Standing Figures (recto); Seated Woman and a Male Hermit in Half-Length (verso), ca. 1430–38, Stefano da Verona (Stefano di Giovanni) (Italian), Pen and brown ink, brush with touches of brown wash, over traces of charcoal or black chalk (1996.364a,b)
The Virgin Adored by Saints, ca. 1627, Peter Paul Rubens (Flemish), Pen and brown ink (2002.12a)
Woman from Altmark, 1570, Melchior Lorch (Danish), Pen and brown ink (1995.299)