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| A Kitchen Cook, Reading, 1759, black, white, and red chalk, with smudging, on light brown paper, Jean-Baptiste Greuze (French, 1725-1805) |
Thankfully, I have zero interest in the Olympics. Instead of wasting my time watching the Eldest Daughter of the Church degrade itself before the whole world with its blatantly blasphemous and perverse opening ceremony, I spent my day reveling in traditional European high art at the Morgan Library and Museum in New York City.
[See Part 2]
Highlights from ‘Liberty to the Imagination: Drawings from the Eveillard Gift’ (June 7 through October 6, 2024)
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| Studies for the "Arrest of Samson," ca. 1609-11, pen and brown ink and brown and gray wash, Peter Paul Rubens (Flemish, 1577-1640) |
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| Sleeping Female Figure, 1890s, graphite with smudging and erasures, Auguste Rodin (French, 1840-1917) |
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| Warwick Castle from the Kenilworth Road, ca. 1831-32, watercolor, opaque watercolor, and black ink over black chalk with scratching, John Constable (British, 1776-1837) |
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| Portrait of Jenny Le Guillou, ca. 1835-40, brown wash over graphite, on paper brushed and darkened from adhesive, Eugène Delacroix (French, 1798-1863) |
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| Study for "Judas Returning the Thirty Pieces of Silver," ca. 1628-29, pen and brown ink and gray wash over black chalk, Rembrandt Harmensz van Rijn (Dutch, 1606-1669) |
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| St. John the Baptist, ca. 1620, red chalk and white opaque watercolor on pink prepared paper, Antonio d'Enrico, called Tanzio da Varallo (Piedmont, ca. 1575-ca. 1635) |
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| Study of Marcelle Lender Performing, 1893, red chalk over graphite, Henri de Toulouse-Lautrec (French, 1864-1901) |
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| Caernarfon Castle by Moonlight, ca. 1775, black ink and watercolor, with white opaque watercolor, Paul Sandby (British, 1725/31-1809) |
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| An Ambush Beside a Wood, ca. 1610, pen and brown ink with gray and brown wash, over traces of black chalk, Sebastiaen Vrancx (Flemish, 1573-1647) |
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| A Wooded Road, a Shepherd with His Flock on a Rise at the Right, ca. 1640-50, pen and brown ink and watercolor, Lucas van Uden (Flemish, 1595-1672) |
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| A View in Rome, ca. 1605, graphite and brush and brown wash, with touches of red chalk, Jan Willemsz Lapp (Dutch, 1585/90-1663) |
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| A Town Cryer with a Drum in a Village, Surrounded by a Crowd Listening, ca. 1624-25, brush and black ink and gray wash, over black chalk, Jan van Goyen (Dutch, 1596-1656) |
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| Tivoli, an Evening Study, 22nd May 1781, graphite, pen and ink, and wash, Francis Towne (British, 1739/40-1816) |
Highlight from 'Capturing Atmosphere: European Nature Studies in Oil' (November 14, 2023 through August 11, 2024)
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| Ischia and the Bay of Naples by Moonlight, ca. 1800, oil on paper, Pierre Henri de Valenciennes or circle |
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| Lion Entering a Cave, ca. 1860, watercolor, Gustave Doré (French, 1832-1883) |
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| Ida Lvovna Rubinstein, ca. 1911, oil on canvas, Howard Gardiner Cushing (1869-1916) |
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| Comoedia illustré: numéro spécial, vol. 3, no. 17, June 1, 1911. Left page: Léon Bakst (1866-1924), illustration for Ida Rubinstein as St. Sebastian in The Martyrdom of St. Sebastian. Right page: The production's collaborators—composer Claude Debussy, poet Gabriele D'Annunzio, and artist Léon Bakst |
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| Vaslav Nijinsky in "Afternoon of a Faun," modeled 1912, cast 1959, bronze, marble base, Auguste Rodin (1840-1917) |
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| Self-Portrait, ca. 1907, oil on canvas, ca. 1907, Natalia Goncharova (1881-1962) |
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| Illustration from "Skazka ob Ivane-tsareviche, Zhar-ptitse i o serom volke" Ivan Bilibin (1876-1942) |
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| Program for Les Ballets de Madame Ida Rubinstein, Académie Nationale de Musique et de Danse, May 1929 |
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| Comedia illustré souvenir program for the Ballets Russes' June 1911 season at the Théâtre du Châtelet, Paris |
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| Costume design, 1956, watercolor and pen on paper, Alexandre Benois (1870-1960) |
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| "Les Ballets Russes à Mogador" program, Paris, June 1922 |
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| Mme Ida Rubinstein, 1917, watercolor, gouache, and graphite on paper, mounted on canvas, Léon Bakst (1866-1924) |
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| "Adagio / Supplication of the Firebird" from Firebird, Igor Stravinsky (1882-1971) |
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| Michel Fokine, after 1909, lithograph, Valentin Serov (1865-1911) |
