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Alexander S. Zita, 1874–82 George Copeland Ault Girl's Head, 1927

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Alexander S. Zita, 1874–82 George Copeland Ault Girl's Head, 1927 ⌜ ⌝ ⌜ ⌝ Esther Frances (Francesca) Alexander George Copeland Ault United States, 1837–1917 United States, 1891–1948 S. Zita, 1874–82 Girl’s Head, 1927 Graphite on moderately thick, slightly textured Brown ink on cream, moderately thick, slightly wove paper textured wove paper Brooklyn Museum, Gift of Maurice Vanderwoude in Brooklyn Museum, Dick S. Ramsay Fund, 82.33.1 memory of Louise Ault, 81.250.1 In this exquisite drawing, a buttercup plant, rendered Like many modernist portraits, this drawing in fine, precise pen strokes applied in a stippled displays dynamic tensions between illusionistic pattern, is nestled between the lyrics of an Italian folk three-dimensionality and the flatness of the paper ballad about Saint Zita. Although the floral decoration support, between representation and abstraction, is not explicitly related to the song, the plant seems and between individualization and idealization. to interact with the verse, with a few bladelike leaves George Ault reduced the forms of the head into overlapping the text registers. An expatriate living in simplified shapes, creating passages of shading that Florence, Francesca Alexander gained international contrast starkly with the large areas of blank paper. attention through the advocacy of the famous English art critic John Ruskin, who admired her artistic natural- ism and religious piety. Ruskin helped her publish a ⌞ ⌟ compilation of embellished song sheets, including S. Zita, as Roadside Songs of Tuscany (1884–85). ⌞ ⌟ ⌜ ⌝ ⌜ ⌝ George Copeland Ault J. Carroll Beckwith United States, 1891–1948 United States, 1852–1917 Shipboard, 1924 Portrait of Minnie Clark, circa 1890s Graphite on medium weight, cream, slightly Charcoal and pastel on blue-fibered, medium-weight, textured, wove paper moderately textured laid paper Brooklyn Museum, Gift of Manhattan Art Investments, Brooklyn Museum, Gift of J. Carroll Beckwith, 17.127 LP, 2007.46 In his tender portrait of Minnie Clark, J. Carroll Depicting a cluster of smokestacks, ducts, and pipes Beckwith focused attention on his sitter’s graceful on an ocean liner, this drawing features the kinds beauty and direct gaze by rendering her facial features of mechanical and industrial imagery embraced by in greater detail than the sketchy forms of her dress Precisionist artists as icons of modern America. A style and the setting. Clark, a legendary artist’s model and that arose in the 1920s, Precisionism was characterized close friend of Beckwith, also sat for Charles Dana by simplified geometric forms and an absence of Gibson (see Gibson’s drawing on display nearby). human beings. Here George Copeland Ault cropped the view of the ship’s machinery in order to focus ⌞ ⌟ attention on the aesthetic potential of his subject— the play of rounded and linear shapes and dark and light tones—rather than its practical function. ⌞ ⌟ ⌜ ⌝ ⌜ ⌝ Albert Bierstadt Ralph Albert Blakelock United States (born Germany), 1830–1902 United States, 1847–1919 Study of a Ewe, circa 1885 Russian Gulch, California, 1869–72 Black crayon and red and white chalk on blue-green, Ink and graphite on medium weight, smooth medium-weight, slightly textued laid paper wove paper Brooklyn Museum, Purchased with fund given by Mr. and Mrs. Leonard L. Milberg, 1990.101.2 Pitch Pine, Point Arena, California, 1869–71 Ink and graphite on moderately thick, moderately tex- In this detailed animal study, the landscape painter tured, cream colored wove paper Albert Bierstadt used a combination of fine outlines Brooklyn Museum, Gift of Mr. and Mrs. E. LeGrand and soft strokes to capture the woolly texture of a Beers in memory of Edwin Beers, 27.12, .17 sheep’s full coat with palpable realism. Most likely executed on a summer sketching trip in the German While traveling in the American West, Ralph Blakelock countryside during Bierstadt’s years of study in produced more than 100 on-the-spot sketches, Düsseldorf, the drawing is typical of his plein air nature including these drawings of Point Arena and Russian studies, which provided the raw materials for his well- Gulch, sites along the coast north of San Francisco. As known monumental landscape paintings. is typical of this body of work, he executed each image in pencil and then traced over his graphite line in ink. ⌞ ⌟ While forms are described in economical outlines with minimal shading, his animated line—featuring jagged dashes, twists, and loops—foretells the expressive and idiosyncratic nature of his mature art. ⌞ ⌟ ⌜ ⌝ ⌜ ⌝ Oscar Florianus Bluemner Robert Frederick Blum United States (born Prussia), 1867–1938 United States, 1857–1903 The Harbor at Sea Cliff, Long Island, 1911 Waiting for Aaron, 1880 Crayon on cream, medium-weight, slightly Pen and ink in paper mounted to paperboard textured wove paper Brooklyn Museum, Caroline H. Polhemus Fund, 15.521 Brooklyn Museum, Gift of Stuart Feld, 79.297.1 ⌞ ⌟ Featuring vibrant, unmodulated hues, this sketchily rendered harbor scene typifies the modernist Oscar Bluemner’s interest in the emotional associations of color. According to his experimental theories, the blues and greens he used in the topography here symbolize serenity and the reds in the built structures indicate the vitality of life. More than descriptive, these expressive colors reflect the delight that Bluemner experienced in nature during his escapes from the bustle of New York City. ⌞ ⌟ ⌜ ⌝ ⌜ ⌝ Louis (George Louis Robert) Bouché Robert Brandegee United States, 1896–1969 United States, 1849–1922 The Three Sisters, 1918 Anemones (Grasses and Flowers), 1867 Graphite on cream, moderately thick, moderately tex- Graphite on cream, moderately thick, smooth wove tured laid paper paper mounted to paper Brooklyn Museum, Gift of Miss Ettie Stettheimer, Brooklyn Museum, Charles Stewart Smith 45.121 Memorial Fund, 82.134.1 Louis Bouché’s portrait of the three Stettheimer This minutely observed, close-up nature study of sisters—from left to right, Florine, Carrie, and anemones demonstrates Robert Brandegee’s dual Ettie—evokes the whimsical decorative style and interests, art and science. Alternating firm lines and material opulence of their New York apartment, soft touches of graphite and areas of shading and the site of a salon frequented by Bouché, Marcel blank paper, the artist rendered the tangled vegetation Duchamp, and other figures of the artistic vanguard. with careful precision. Like William Trost Richards and Although he treated forms in a simplified and Cubist Aaron Draper Shattuck (whose drawings are on view manner, Bouché imbued each of his sitters with a nearby), Brandegee worked in the tradition of the Pre- unique personality, conveying their eccentricity and Raphaelite movement, which embraced John Ruskin’s independence. Florine was herself a successful artist, commitment to a faithful approach to nature. Ettie was a writer, and Carrie was a hostess and creator of a dollhouse replica of the Stettheimer home ⌞ ⌟ (Museum of the City of New York). ⌞ ⌟ ⌜ ⌝ ⌜ ⌝ Minerva Josephine Chapman William Merritt Chase United States, 1858–1947 United States, 1849–1916 Woman in Profile, undated Sketchbook, 1872 Charcoal on cream, medium-weight, moderately Graphite and black, red and white Conté crayon on textured laid paper cream and tan medium-weight, slightly textured Brooklyn Museum, Gift of Mr. and Mrs. wove paper Morse G. Dial, Jr., 77.272 Brooklyn Museum, Gift of Newhouse Galleries, Inc., 29.27.11 Minerva Chapman crafted this bravura portrait of an unidentified woman (possibly a self-portrait) with William Merritt Chase’s knack for realistic character- an intuitive understanding of the properties of the ization is evident in these deftly executed informal powdery charcoal medium applied to textured paper. portraits, possibly representing his fellow students She modeled forms tonally through sfumato, or smoky at the Royal Academy in Munich. This sketchbook effects, reserving blank areas of paper for highlights. contains numerous other portraits, as well as figure By turning the woman’s face away from the viewer, studies from a life class, rendered with different Chapman conveyed a sense of her privacy and inner approaches—the linear style seen here and a softer, life rather than revealing her personality, as in a tonal one used on other pages. conventional portrait. ⌞ ⌟ ⌞ ⌟ ⌜ ⌝ ⌜ ⌝ William Merritt Chase Joseph Frank Currier United States, 1849–1916 United States, 1843–1909 Self-Portrait Studies, circa 1886 Studies of Trees, circa 1880 Brown ink on off-white, medium-weight, moderately Charcoal on cream, medium weight, slightly textured textured laid paper laid paper Brooklyn Museum, Gift of Newhouse Galleries, Inc., Brooklyn Museum, Gift of Mrs. John White Alexander, 29.27.12 31.202.1 – .4 ⌞ ⌟ Joseph Frank Currier’s deep love of nature made him a ⌜ ⌝ committed pleinairist who regularly sketched outdoors, seeking to document nature’s shifting moods. Each of these studies conveys an overall impression of Charles Caryl Coleman the landscape rather than botanically specific detail. United States, 1840–1928 Currier captured the billowing canopies of trees with broad tonal masses made with rubbings and smudges A Shower of Ashes Upon Ottaviano, 1906 of charcoal. He used the tip of the stick to articulate Pastel on gray-blue laid paper mounted to board branches and other forms in dark lines. The expressive Brooklyn Museum, John B. Woodward execution endows the natural world with a sense of Memorial Fund, 20.656 dynamism, as if the trees are possessed of an inner life. ⌞ ⌟ ⌞ ⌟ ⌜ ⌝ ⌜ ⌝ Felix Octavius Carr Darley Arthur Bowen Davies United
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