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CMA: Drawings

@cmadrawings.bsky.social
571 followers 3 following 3.5K posts

Sharing public domain works from the Drawings department of Cleveland Museum of Art. Automated #artbot thanks to @andreitr.bsky.social and @botfrens.bsky.social

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CMA: Drawings @cmadrawings.bsky.social · 3h
A Stop in the Park clevelandart.org/art/1926.50
A Stop in the Park
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CMA: Drawings @cmadrawings.bsky.social · 5h
Egremont Castle, Cumberland clevelandart.org/art/1954.671
Egremont Castle, Cumberland
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CMA: Drawings @cmadrawings.bsky.social · 7h
The Lonely Tower (Castle on a River with Willows and a Boat) clevelandart.org/art/1934.120
The Lonely Tower (Castle on a River with Willows and a Boat)
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CMA: Drawings @cmadrawings.bsky.social · 10h
Sketch for "The Wolf Turned Shepherd" (recto) Sketch of Hunting Scene (verso) clevelandart.org/art/1956.37
Sketch for "The Wolf Turned Shepherd" (recto) Sketch of Hunting Scene (verso)
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CMA: Drawings @cmadrawings.bsky.social · 11h
Satan Starts from the Touch of Ithuriel's Spear clevelandart.org/art/1954.365
Fuseli's lifelong interest in the work of the English poet John Milton (1608-1674) inspired many drawings that interpreted passages from Milton's epic poem Paradise Lost (1667). This early example illustrates the moment when the angels Ithuriel and Zephon discover Satan disguised as a toad in the bower where Adam and Eve are sleeping. Ithuriel forces Satan to reveal himself by prodding him with a spear. The lion in the background alludes to an earlier passage in the poem, when Satan takes on the shape of the beast in order to spy on the couple.
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CMA: Drawings @cmadrawings.bsky.social · 14/10/2026
On the Thames clevelandart.org/art/2005.201
One of the great champions of watercolor painting during the first half of the 19th century, David Cox is most celebrated for his atmospheric landscapes that convey a sense of movement and light as effected by nature’s ever-shifting moods. Here, translucent streaks of blue and gray in the sky suggest movement among the clouds, and small dashes of color throughout the foreground trees create a sense of rustling vegetation. Reflections on the river’s surface shimmer with light.
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CMA: Drawings @cmadrawings.bsky.social · 14/10/2026
A View of Spa clevelandart.org/art/1979.26
A View of Spa
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CMA: Drawings @cmadrawings.bsky.social · 14/10/2026
Woman in Profile, Turned to the Left clevelandart.org/art/2008.387
Danloux worked in Lyon from 1783 to 1784, specializing in profile portraits. Based on the date inscribed on the drawing, this unidentified young woman may have been a member of the aristocracy in that city. Danloux combined black lines with stumping—a method of blurring the powdery drawing media with a tightly rolled piece of cloth or leather—to achieve a greater range of textures and tones.
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CMA: Drawings @cmadrawings.bsky.social · 14/10/2026
A Rocky Cove with Fishing Boats clevelandart.org/art/1980.70
A Rocky Cove with Fishing Boats
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CMA: Drawings @cmadrawings.bsky.social · 14/10/2026
Studies of a Seated Female, Child's Head, and Three Studies of a Baby clevelandart.org/art/1978.37
This drawing is from Raphael’s "pink sketchbook," comprised of ten sheets of roughly equal size portraying a mother and child. Today, six are at the Palais des Beaux-Arts, Lille; two are at the British Museum; one is in a private collection; and one is in Cleveland. The small format of the sheets would have enabled the artist to carry the notebook as he traveled from Florence to Rome in 1508. Raphael used metalpoint, a technique popular in 15th-and early 16th-century Italy. As the name implies, metalpoint employed a stylus of soft metal-usually silver or a silver alloy-that left a mark when applied to a specially prepared sheet coated with ground eggshell, powdered bone, or lead white. The rough texture allowed for a deposit of the metal to be left on the surface. The preparation of the ground was often tinted with pigment-here Raphael used pink-so that the delicate gray lines of the metalpoint would stand out. The rigorous technique cannot be erased or effaced, thus demonstrating the artist’s superlative draftsmanship.
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CMA: Drawings @cmadrawings.bsky.social · 13/10/2026
Fragment of Two Figures (verso) clevelandart.org/art/1939.661.b
Fragment of Two Figures (verso)
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CMA: Drawings @cmadrawings.bsky.social · 13/10/2026
Sketch of Hunting Scene clevelandart.org/art/1956.37.b
Sketch of Hunting Scene
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CMA: Drawings @cmadrawings.bsky.social · 13/10/2026
Vesuvius and the Bay of Naples from a Cave clevelandart.org/art/1968.69
Vesuvius and the Bay of Naples from a Cave
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CMA: Drawings @cmadrawings.bsky.social · 13/10/2026
Landscape with Tower at Seashore clevelandart.org/art/1954.674
Landscape with Tower at Seashore
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CMA: Drawings @cmadrawings.bsky.social · 13/10/2026
Apotheosis of the Virgin clevelandart.org/art/1939.644
Apotheosis of the Virgin
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CMA: Drawings @cmadrawings.bsky.social · 12/10/2026
Album with Views of Rome and Surroundings, Landscape Studies, page 46a: "Frasciti" clevelandart.org/art/1989.13.ddd
Album with Views of Rome and Surroundings, Landscape Studies, page 46a: "Frasciti"
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CMA: Drawings @cmadrawings.bsky.social · 12/10/2026
The Empress Eugenie Receiving the Diplomatic Corps after the Birth of the Imperial Prince clevelandart.org/art/1972.237
The Empress Eugenie Receiving the Diplomatic Corps after the Birth of the Imperial Prince
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CMA: Drawings @cmadrawings.bsky.social · 12/10/2026
The Funeral of Decius Mus clevelandart.org/art/1980.17
The Funeral of Decius Mus
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CMA: Drawings @cmadrawings.bsky.social · 12/10/2026
Bust of a Woman (recto); Head of a Man, Two Studies of a Woman's Profile, and a Study of An Angel (verso) clevelandart.org/art/1937.24
Bust of a Woman (recto); Head of a Man, Two Studies of a Woman's Profile, and a Study of An Angel (verso)
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CMA: Drawings @cmadrawings.bsky.social · 11/10/2026
Flight into Egypt clevelandart.org/art/1948.13
Flight into Egypt
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CMA: Drawings @cmadrawings.bsky.social · 11/10/2026
Album with Views of Rome and Surroundings, Landscape Studies, page 15b: Roman Architectural View clevelandart.org/art/1989.13.r
Album with Views of Rome and Surroundings, Landscape Studies, page 15b: Roman Architectural View
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CMA: Drawings @cmadrawings.bsky.social · 11/10/2026
Italian Sketchbook: Notes (page 260) clevelandart.org/art/1951.422.nnnn
Italian Sketchbook: Notes (page 260)
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CMA: Drawings @cmadrawings.bsky.social · 11/10/2026
London Bridge clevelandart.org/art/1940.558
London Bridge
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CMA: Drawings @cmadrawings.bsky.social · 11/10/2026
A Procession Entering a Church clevelandart.org/art/2010.246
A Procession Entering a Church
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CMA: Drawings @cmadrawings.bsky.social · 10/10/2026
Two Views of Paris clevelandart.org/art/1977.184.b
Two Views of Paris
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CMA: Drawings @cmadrawings.bsky.social · 10/10/2026
Landscape with Farm Animals clevelandart.org/art/1954.660
Landscape with Farm Animals
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CMA: Drawings @cmadrawings.bsky.social · 10/10/2026
Ascension of Christ clevelandart.org/art/1952.530
Forty days after his Resurrection, Christ made his final appearance to his apostles. The story of the Ascension (Acts 1:9-12) tells that Christ's apostles were standing with him on the Mount of Olives when he was lifted up and taken to heaven in a cloud. Dürer depicted Christ with the traditional signs of his role as world saviour-making a gesture of blessing with his right hand and holding a cross-topped globe in his left. The artist included cherubs in the cloud, along with Christ's footprints, which, according to later tradition, were preserved on the Mount of Olives.
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CMA: Drawings @cmadrawings.bsky.social · 10/10/2026
Portrait of a Man clevelandart.org/art/2008.406
Although the size of this carefully worked crayon drawing is modest, it is actually much larger than a typical work by Jean-Baptiste Augustin. As a leading painter of ivory portrait miniatures in the late 18th and early 19th centuries, Augustin stood out because of the precision and naturalism of his style. Although the sitter in this drawing is no longer known, Augustin's naturalistic technique and the sitter's slight, easy smile encourage a familiar connection with the viewer.
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CMA: Drawings @cmadrawings.bsky.social · 10/10/2026
Sketchbook, page 51: Figure Study clevelandart.org/art/1992.344.yy
Sketchbook, page 51: Figure Study
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CMA: Drawings @cmadrawings.bsky.social · 09/10/2026
English View, after Jules Dupré clevelandart.org/art/1956.208
English View, after Jules Dupré
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CMA: Drawings @cmadrawings.bsky.social · 09/10/2026
Building of the Ark clevelandart.org/art/1951.350
Building of the Ark
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CMA: Drawings @cmadrawings.bsky.social · 09/10/2026
A Funeral clevelandart.org/art/2008.368
The macabre subject matter of A Funeral is typical of Jean-Paul Laurens, whose interest in depicting cadavers and coffins earned him the nickname "the painter of the dead." Laurens was also attracted to subjects from church history, and, here, the crosier leaning against the door behind the coffin indicates the deceased was a bishop. Highly finished drawings like this one are rare in Laurens's production. His technique of covering the surface with a variety of media and scratching away for highlights is quite similar to the one used by another artist in the exhibition-Alexandre Bida, in his Café at Constantinople [cat. no. 34]. Laurens utilized the technique effectively in this gloomy scene, where the glowing candle flame casts long shadows and feebly illuminates the columns receding into darkness on the left.
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CMA: Drawings @cmadrawings.bsky.social · 09/10/2026
The Siege of Gibraltar clevelandart.org/art/1950.215
The Siege of Gibraltar
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CMA: Drawings @cmadrawings.bsky.social · 09/10/2026
Verona Sketchbook: Drapery study (page 84) clevelandart.org/art/1952.223.ffff
Verona Sketchbook: Drapery study (page 84)
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CMA: Drawings @cmadrawings.bsky.social · 08/10/2026
Sketchbook, page 12: Multiple Figures clevelandart.org/art/1992.344.l
Sketchbook, page 12: Multiple Figures
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CMA: Drawings @cmadrawings.bsky.social · 08/10/2026
Reims clevelandart.org/art/1974.169
Reims
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CMA: Drawings @cmadrawings.bsky.social · 08/10/2026
Vesuvius and the Bay of Naples from a Cave clevelandart.org/art/1968.69
Vesuvius and the Bay of Naples from a Cave
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CMA: Drawings @cmadrawings.bsky.social · 08/10/2026
Maréchal Joffre clevelandart.org/art/1974.159
Maréchal Joffre
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CMA: Drawings @cmadrawings.bsky.social · 08/10/2026
La femme à l'éventail, after Goya (verso) clevelandart.org/art/1942.927.b
La femme à l'éventail, after Goya (verso)
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CMA: Drawings @cmadrawings.bsky.social · 07/10/2026
Portrait of Madame Thomas (née Camille Boucher) clevelandart.org/art/2009.128
Portrait of Madame Thomas (née Camille Boucher)
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CMA: Drawings @cmadrawings.bsky.social · 07/10/2026
At the Ball (recto); La femme à l'éventail, after Goya (verso) clevelandart.org/art/1942.927
At the Ball (recto); La femme à l'éventail, after Goya (verso)
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CMA: Drawings @cmadrawings.bsky.social · 07/10/2026
House in Hammersmith clevelandart.org/art/1924.623
House in Hammersmith
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CMA: Drawings @cmadrawings.bsky.social · 07/10/2026
Study of Heads (recto); Crenelated Fortress (verso) clevelandart.org/art/1941.605
Study of Heads (recto); Crenelated Fortress (verso)
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CMA: Drawings @cmadrawings.bsky.social · 07/10/2026
Verona Sketchbook: Left arm and hand (page 47) clevelandart.org/art/1952.223.uu
Verona Sketchbook: Left arm and hand (page 47)
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CMA: Drawings @cmadrawings.bsky.social · 06/10/2026
Portrait of a Young Woman clevelandart.org/art/2009.121
Portrait of a Young Woman
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CMA: Drawings @cmadrawings.bsky.social · 06/10/2026
Studies of Hands (recto) clevelandart.org/art/1929.549.a
Studies of Hands (recto)
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CMA: Drawings @cmadrawings.bsky.social · 06/10/2026
The Mortification clevelandart.org/art/1967.131
The Mortification
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CMA: Drawings @cmadrawings.bsky.social · 06/10/2026
Italian Sketchbook: Standing Woman Holding a Satchel (page 56) clevelandart.org/art/1951.422.aa
Italian Sketchbook: Standing Woman Holding a Satchel (page 56)
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CMA: Drawings @cmadrawings.bsky.social · 06/10/2026
Three Heads and Other Sketches (verso) clevelandart.org/art/1983.197.b
Three Heads and Other Sketches (verso)
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CMA: Drawings @cmadrawings.bsky.social · 05/10/2026
Mercury clevelandart.org/art/1998.314
Mercury
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