Dark grey and sepia drawing of a landscape with trees, rocks, and a lake in the foreground. A figure sits on the rock in the center of the composition, facing away and looking at the landscape.

Exhibition

Light and Tone: Selections from the Department of Drawings and Prints

May 18th - September 5th, 2023

Now on view at The Met Fifth Avenue, Gallery 690

Free with Museum admission

Plan Your Visit All exhibitions

Overview Exhibition Objects

The Big Cheese, Philip Orenstein American, Triptych consisting of a six-color lithograph, five-color lithograph, and five-color lithograph and decals adhered with Rhoplex-N580 adhesive, printed on White Arches, Kitikata, Hosho paper — The Big Cheese
Various Artists
1991–2001

Death Ship of No Port, H.C. Westermann American, Lithograph — Death Ship of No Port
H.C. Westermann (American, Los Angeles, California 1922–1981 Danbury, Connecticut)
Published by Kansas City Art Institute
1967

Man Overboard, Richard Bosman Australian-American, born India, Woodcut — Man Overboard
Various Artists
1981

Bust of a Man, Wolfgang Huber German, Black and white chalk on off-white paper prepared with red gouache — Bust of a Man
Wolfgang Huber (German, Feldkirch/Vorarlberg ca. 1485/90–1553 Passau)
1522

Saint Ambrose Seated in an Interior, Anonymous, Netherlandish, 16th century Netherlandish, Pen and brown ink, brown wash, heightened with white gouache, on off-white paper prepared with brown gouache; framing line in pen and brown ink, by the artist — Saint Ambrose Seated in an Interior
Anonymous, Netherlandish, 16th century
Maerten de Vos (Netherlandish, Antwerp 1532–1603 Antwerp)
ca. 1520–40

Adoration of the Shepherds, Master of Liechtenstein Netherlandish?, Pen, black ink, gray wash, heightened with white gouache on off-white paper prepared with dark rose gouache; laid down — Adoration of the Shepherds
Master of Liechtenstein (probably Netherlandish, active ca. 1549–50)
1540–60

Adoration of the Shepherds, Master of Liechtenstein Netherlandish?, Pen and brown ink, brown wash, and white gouache on off-white paper prepared with light brown wash; framing line in pen and brown ink — Adoration of the Shepherds
Master of Liechtenstein (probably Netherlandish, active ca. 1549–50)
ca. 1549–50

Two studies of a Standing Man with a Sword (Alexander the Great); verso: Studies of a Leg, an Arm, a Hand, and a Figure's Neck, Peter Candid (Pieter de Witte, Pietro Candido) Netherlandish, Pen and black ink, heightened with white gouache, over black and red chalk, on off-white paper prepared with pink gouache — Two studies of a Standing Man with a Sword (Alexander the Great); verso: Studies of a Leg, an Arm, a Hand, and a Figure's Neck
Peter Candid (Pieter de Witte, Pietro Candido) (Netherlandish, Bruges ca. 1548–1628 Munich)
ca. 1601

Apollo and the Nine Muses surrounded by Poets on Mount Parnassus, Karel Skréta Bohemian, Pen and brown ink, brown-gray wash, on off-white paper prepared with blue watercolor — Apollo and the Nine Muses surrounded by Poets on Mount Parnassus
Circle of Karel Skréta (Bohemian, Prague 1610–1674 Prague)
later 17th century

Juno Appearing to Sea Gods, Cornelis Cornelisz van Haarlem Netherlandish, Pen and brown ink, brush and brown wash, heightened with white gouache, over traces of black chalk, on off-white paper prepared with pink watercolor; traces of framing lines in pen and brown ink — Juno Appearing to Sea Gods
Cornelis Cornelisz van Haarlem (Netherlandish, Haarlem 1562–1638 Haarlem)
late 16th–early 17th century

Study of a Figure, Alphonse Legros French and British, Graphite, touched with white on gray-green prepared paper — Study of a Figure
Alphonse Legros (French, Dijon 1837–1911 Watford, Hertfordshire)
1837–1911

Study of a Standing Woman, Angelica Kauffmann Swiss, Black chalk, heightened with white chalk, on paper prepared with gray-blue gouache — Study of a Standing Woman
Angelica Kauffmann (Swiss, Chur 1741–1807 Rome)
1792–96

Study for ceiling decoration with Mars, Minerva, and a dancing satyr, for the Villa Puccini di Scornio, Pistoia, Italy, Giovanni Domenico Ferretti Italian, Black chalk, brush and gray wash, heightened with white, on pale rose washed paper; framing lines in pen and black ink — Study for ceiling decoration with Mars, Minerva, and a dancing satyr, for the Villa Puccini di Scornio, Pistoia, Italy
Giovanni Domenico Ferretti (Italian, Florence 1692–after 1768 Florence)
1724–25

Christ Being Crowned with Thorns, Karl Dankwart Polish, Black chalk and graphite heightened with white gouache on off-white paper prepared with blue gouache — Christ Being Crowned with Thorns
Karl Dankwart (Polish, died after 1703)
ca. 1700

Studies of a woman, her hands and arms and drapery, Wolfgang Adam Töpffer Swiss, Graphite, some red chalk, heightened with white chalk, on blue paper — Studies of a woman, her hands and arms and drapery
Wolfgang Adam Töpffer (Swiss, Geneva 1766–1847 Morillon)
late 18th–19th century

Lais Taking Aristipp by Surprise, Heinrich Friedrich Füger German, Brush and gray ink, gray wash, heightened with white gouache, on blue paper — Lais Taking Aristipp by Surprise
Heinrich Friedrich Füger (German, Heilbronn 1751–1818 Vienna)
ca. 1801

Arcadian Landscape with Three Figures at a Lake, Johann Christian Reinhart German, Black chalk and white gouache on brown paper — Arcadian Landscape with Three Figures at a Lake
Johann Christian Reinhart (German, Hof 1761–1847 Rome)
1792

Drapery Study for a Cleric (lower register); verso: Sleeve of a Cleric; (studies for wall paintings in the Chapel of Saint Remi, Sainte-Clotilde, Paris, 1858), Isidore Pils French, Black chalk, stumped, heightened with white chalk, on gray paper (recto); black chalk (verso) — Drapery Study for a Cleric (lower register); verso: Sleeve of a Cleric; (studies for wall paintings in the Chapel of Saint Remi, Sainte-Clotilde, Paris, 1858)
Isidore Pils (French, Paris 1813/15–1875 Douarnenez)
19th century

Study of a young man bending forward to kiss a hand, for the painting "The Departure of the Prodigal Son", James Tissot French, Graphite, heightened with white, on pink paper — Study of a young man bending forward to kiss a hand, for the painting "The Departure of the Prodigal Son"
James Tissot (French, Nantes 1836–1902 Chenecey-Buillon)
1862–63

Design for a stained-glass window with heraldic designs for the Château Mouchy (Oise), Jules-Edmond-Charles Lachaise French, Pen and ink, watercolor and gouache on wove paper — Design for a stained-glass window with heraldic designs for the Château Mouchy (Oise)
Jules-Edmond-Charles Lachaise (French, died 1897)
Eugène-Pierre Gourdet (French, Paris 1820–1889)
second half of the 19th century

Window with marine motifs, design for Fishmongers’ Hall, London, John Dibblee Crace British, Graphite, pen and ink, and watercolor — Window with marine motifs, design for Fishmongers’ Hall, London
John Dibblee Crace (British, London 1838–1919 London)
John Gregory Crace (British, London 1809–1889 Dulwich) , and Son
1898

Suffer the Little Children to Come Unto Me: Design for Two Panels in a Stained Glass Window, D. Maitland Armstrong American, Watercolor and pen and ink — Suffer the Little Children to Come Unto Me: Design for Two Panels in a Stained Glass Window
Designed and drawn by D. Maitland Armstrong (American, Newburgh, New York 1836–1918 New York)
Drawn by Helen Maitland Armstrong (American (born Italy), Florence 1869–1948 New York)
1890–1918

Hunter and Hound: Design for a Stained Glass Window (probably for the Belmont House, New York), Helen Maitland Armstrong American, Watercolor and pen and ink — Hunter and Hound: Design for a Stained Glass Window (probably for the Belmont House, New York)
Helen Maitland Armstrong (American (born Italy), Florence 1869–1948 New York)
Probably made for Alva E. Belmont (American, Mobile, Alabama 1853–1933 Paris)
ca. 1915

Woman Holding a Rose: Design for a Stained Glass Window (probably for the Belmont House, New York), Helen Maitland Armstrong American, Watercolor and pen and ink — Woman Holding a Rose: Design for a Stained Glass Window (probably for the Belmont House, New York)
Helen Maitland Armstrong (American (born Italy), Florence 1869–1948 New York)
Probably made for Alva E. Belmont (American, Mobile, Alabama 1853–1933 Paris)
ca. 1915

Veritas: Design for a Memorial Stained Glass Window, D. Maitland Armstrong American, Watercolor and pen and ink — Veritas: Design for a Memorial Stained Glass Window
Designed and drawn by D. Maitland Armstrong (American, Newburgh, New York 1836–1918 New York)
Drawn by Helen Maitland Armstrong (American (born Italy), Florence 1869–1948 New York)
1890–1918

Angel Revealing a Vision of The New Jerusalem: Design for a Stained Glass Window, Saint Michael's Episcopal Church, New York, D. Maitland Armstrong American, Watercolor and pen and ink — Angel Revealing a Vision of The New Jerusalem: Design for a Stained Glass Window, Saint Michael's Episcopal Church, New York
Designed and drawn by D. Maitland Armstrong (American, Newburgh, New York 1836–1918 New York)
Drawn by Helen Maitland Armstrong (American (born Italy), Florence 1869–1948 New York)
1910

Design for triple light window, Frederick Wilson American (born Ireland), Watercolor, gouache, colored pencil, silver gelatin photograph on paper, and graphite, adhered to off-white wove paper cut into three rectangular windows and two medallions mounted on warm grey secondary support., American — Design for triple light window
Probably Frederick Wilson (American (born Ireland), Dublin 1858–1932 Los Angeles, California)
Tiffany Studios (1902–32)
ca. 1902–27

Design for a window, Louis C. Tiffany American, Watercolor, gouache, and graphite on cut white wove paper trimmed into shapes, American — Design for a window
Various Artists
ca. 1902–27

Design for window, Mr. J.C. Williams, All Saints Chapel, Atlanta, GA,, Louis C. Tiffany American, Watercolor, ink, graphite, and white gouache, American — Design for window, Mr. J.C. Williams, All Saints Chapel, Atlanta, GA,
Various Artists
1903–15

Ascension of Christ (Acts I, 1–9): Study for stained-glass window, Sir Edward Burne-Jones British, Watercolor and gouache (bodycolor), gold paint, and graphite — Ascension of Christ (Acts I, 1–9): Study for stained-glass window
Sir Edward Burne-Jones (British, Birmingham 1833–1898 Fulham)
ca. 1875–84

Design for Stained Glass Window, Reinhold Vetter German, Brush and black ink, watercolor. Laid down on black paper mount. — Design for Stained Glass Window
Attributed to Reinhold Vetter (German, Sohland, 1877–before 1961)
1895–1961

Design for a Stained-Glass Window, Hélène Forichon French, Graphite, black ink, gouache, and watercolor on wove paper — Design for a Stained-Glass Window
Hélène Forichon (French, 1896–1989)
1915

Design for a three-part window in the style of Mackintosh, Dard Hunter American, Watercolor and ink — Design for a three-part window in the style of Mackintosh
Dard Hunter (American, Steubenville, Ohio 1883–1966 Chillicothe, Ohio)
ca. 1909–1911

Noah, Sir Edward Burne-Jones British, Charcoal — Noah
Sir Edward Burne-Jones (British, Birmingham 1833–1898 Fulham)
Morris & Company
February 1, 1874

A Lock on the Stour, David Lucas British, Mezzotint; proof before published state — A Lock on the Stour
David Lucas (British, Geddington Chase, Northamptonshire 1802–1881 London)
After John Constable (British, East Bergholt 1776–1837 Hampstead)
1830

A Lock on the Stour, David Lucas British, Mezzotint; proof before published state — A Lock on the Stour
David Lucas (British, Geddington Chase, Northamptonshire 1802–1881 London)
After John Constable (British, East Bergholt 1776–1837 Hampstead)
1830

A Lock on the Stour, David Lucas British, Mezzotint touched with black ink, white chalk, and graphite; proof before published state — A Lock on the Stour
David Lucas (British, Geddington Chase, Northamptonshire 1802–1881 London)
After John Constable (British, East Bergholt 1776–1837 Hampstead)
1830

A Lock on the Stour, David Lucas British, Mezzotint; proof before published state — A Lock on the Stour
David Lucas (British, Geddington Chase, Northamptonshire 1802–1881 London)
After John Constable (British, East Bergholt 1776–1837 Hampstead)
1830

A Lock on the Stour, David Lucas British, Mezzotint; fourth state of five — A Lock on the Stour
David Lucas (British, Geddington Chase, Northamptonshire 1802–1881 London)
After John Constable (British, East Bergholt 1776–1837 Hampstead)
1831

Above the Water, Josef Albers American, born Germany, Woodcut — Above the Water
Josef Albers (American (born Germany), Bottrop 1888–1976 New Haven, Connecticut)
1944

Birds and Sea, Milton Avery American, Woodcut — Birds and Sea
Milton Avery (American, Altmar, New York 1885–1965 New York)
1955

The Sea from Voyages: Six Poems from White Buildings by Hart Crane, Leonard Baskin American, Wood engraving — The Sea from Voyages: Six Poems from White Buildings by Hart Crane
Leonard Baskin (American, New Brunswick, New Jersey 1922–2000 Northampton, Massachusetts)
1957

Ocean Surface Wood Engraving 2000, Vija Celmins American, born Latvia, Wood engraving — Ocean Surface Wood Engraving 2000
Various Artists
2000

Block for Ocean Surface Wood Engraving 2000, Vija Celmins American, born Latvia, Engraved boxwood with traces of photographic emulsion — Block for Ocean Surface Wood Engraving 2000
Vija Celmins (American, born Riga, Latvia, 1938)
Grenfell Press (New York, NY)
2000

Mystical Shore, Edvard Munch Norwegian, Woodcut printed in green; third state of five (Woll) — Mystical Shore
Edvard Munch (Norwegian, Løten 1863–1944 Ekely)
1897

Reflections in Water (Vattenspegling), from the portfolio of the Swedish Fine Art Print Society (Föreningen för Grafisk Konst), Denis Stéen Swedish, Wood engraving — Reflections in Water (Vattenspegling), from the portfolio of the Swedish Fine Art Print Society (Föreningen för Grafisk Konst)
Denis Stéen (Swedish, Östhammar, 1929–2020 Uppsala)
Föreningen för Grafisk Konst (Swedish)
1962

Trees in a Thicket, Théodore Rousseau French, Conté crayon — Trees in a Thicket
Théodore Rousseau (French, Paris 1812–1867 Barbizon)
1845

The Hamlet of Optevoz, Charles-François Daubigny French, Charcoal and lead white — The Hamlet of Optevoz
Charles-François Daubigny (French, Paris 1817–1878 Paris)
ca. 1852

Rocky Landscape, Charles-François Daubigny French, Black chalk on brown paper — Rocky Landscape
Charles-François Daubigny (French, Paris 1817–1878 Paris)
ca. 1845–1850

A Shepherdess with Her Flock, Jean-François Millet French, Conté crayon with stumping on laid paper — A Shepherdess with Her Flock
Jean-François Millet (French, Gruchy 1814–1875 Barbizon)
ca. 1852

A Pond with a Fisherman along the River Ain, Adolphe Appian French, Charcoal with stumping and scratching out — A Pond with a Fisherman along the River Ain
Adolphe Appian (French, Lyon 1818–1898 Lyon)
1868–70

Circumcision, Aegidius Sadeler II Netherlandish, Engraving, hand colored — Circumcision
Various Artists
1590

The Resurrection, Philips Galle Netherlandish, Engraving; first state of three — The Resurrection
Various Artists
ca. 1562–63

Saint Florian, Casper German, Woodcut, hand-colored — Saint Florian
Casper (Upper German, Regensburg, ca. 1460)
ca. 1460

Circumcision, Aegidius Sadeler II Netherlandish, Engraving — Circumcision
Various Artists
1590

The Resurrection, Philips Galle Netherlandish, Engraving; first state of three; hand colored in gold, red, green blue yellow, brown and white. — The Resurrection
Various Artists
ca. 1562–63

Saint Bernard Vanquishing the Devil, Anonymous, German, Upper Rhine, 15th century German, Woodcut, hand-colored — Saint Bernard Vanquishing the Devil
Anonymous, German, Upper Rhine, 15th century
15th century

Plate III, from "Choix de Coquillages et de Crustacés", Franz Michael Regenfuss German, Hand-colored engraving — Plate III, from "Choix de Coquillages et de Crustacés"
Franz Michael Regenfuss (German, Nuremberg 1712–1780 Copenhagen)
1758

Plate IV, from "Choix de Coquillages et de Crustacés", Franz Michael Regenfuss German, Hand-colored engraving — Plate IV, from "Choix de Coquillages et de Crustacés"
Franz Michael Regenfuss (German, Nuremberg 1712–1780 Copenhagen)
1758

Plate V, from "Choix de Coquillages et de Crustacés", Franz Michael Regenfuss German, Hand-colored engraving — Plate V, from "Choix de Coquillages et de Crustacés"
Franz Michael Regenfuss (German, Nuremberg 1712–1780 Copenhagen)
1758

The Boat Studio, Charles-François Daubigny French, Pen and ink on tracing paper — The Boat Studio
Charles-François Daubigny (French, Paris 1817–1878 Paris)
1862

The Boat Studio, from series Voyage en Bateau, 1862, Charles-François Daubigny French, Etching; first state of two (Delteil) — The Boat Studio, from series Voyage en Bateau, 1862
Charles-François Daubigny (French, Paris 1817–1878 Paris)
1861

Plan Your Visit

Dates

May 18th - September 5th, 2023

The Met Fifth Avenue

Free with Museum admission

Plan Your Visit All exhibitions

Dark grey and sepia drawing of a landscape with trees, rocks, and a lake in the foreground. A figure sits on the rock in the center of the composition, facing away and looking at the landscape.