Traces of the Hand

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Traces of the Hand: Master Drawings from the Collection of Frederick and Lucy S. Herman

About the Exhibition

Avid collectors since their college days, Frederick and Lucy S. Herman spent over fifty years building an impressive collection of European and American drawings that they generously donated to The Fralin Museum of Art at the University of Virginia for the instruction of students. This exhibition of seventy drawings from their collection celebrates the Hermans’ achievement as discriminating collectors, highlighting areas in which the collection excels and which clearly correspond to their tastes and interests. Although the drawings in this show range in date from about 1525 to 1945 and represent a variety of artistic periods, the exhibition reveals one characteristic that unites them: their superior quality and visual interest. This exhibition also permits the publication of this online catalogue of the results of student research on these drawings, carried out in seminars I have taught on the history and connoisseurship of drawings and prints. This research by both graduate and undergraduate students has resulted in new attributions and new identifications of subjects, and it has led students to a deeper appreciation of the varied purposes of drawings, as well as enhanced their understanding of the role of drawing within an individual artist’s creative process.

The exhibition is organized around a number of themes. Among these are the qualities of specific drawing media and techniques, like chalk, pen and ink, wash, and charcoal, and the highly varied functions of drawings. Indeed, the works exhibited here include rapid informal sketches, studies for paintings, copies recording a design, and drawings made as finished works of art. One drawing on view was made as a forgery of another artist’s work. In addition, drawings are grouped by general subjects and themes that highlight the rich variety of artists’ exploitation of media and techniques in developing their subjects.

One of the pleasures of the study of drawings involves the way they record and reveal the hand of the artist at various stages in the creative process. In contrast to paintings and sculptures, which are usually more highly finished, drawings record the movements of the artist’s hand, and through these traces of the artist’s touch, we can decipher hand, eye, and imagination coordinating in the intensity of the creative moment itself.

This catalogue is based largely on student research and writing produced in relation to undergraduate and graduate seminars on the history and connoisseurship of drawings and prints that I taught at the University of Virginia from 2005 to 2012. All student work for this catalogue has been revised and edited, and in many cases two or more students worked on a drawing or its catalogue entry. At the end of each catalogue entry, the students whose work contributed to the research or the writing up of the drawing are listed. The last name below each drawing is the student most responsible for the final form of the catalogue entry itself.

The contributions of a number of students deserve special mention. Katherine Baker, a graduate student in Art and Architectural History, wrote a number of the entries and was also very important in the initial phase of inventorying the collection, planning the exhibition, and selecting the drawings. Her work is still evident some years later in the layout of the exhibition itself. Another graduate student, John Hawley, edited, revised, or rewrote about one-third of the catalogue entries. His contributions proved invaluable both in re-thinking the attributions of a number of drawings and in the curatorial rigor and professionalism he brought to his work. Katelyn Hobbs took my seminar as an undergraduate; more recently, as a museum staff member, she edited the text of the entire catalogue and wrote a number of the introductory wall texts for the exhibition. These texts are included in the online catalogue at the beginning of each section. Her contributions also involved writing and rewriting many of the wall texts for individual drawings, making the show accessible to a wider public.

The museum’s collections manager, Jean Lancaster, and assistant registrars, Nicole Anastasi and Rachael Salisbury, provided essential support to my seminars and worked painstakingly to make the label and catalogue information as accurate and consistent as possible. Rachael Eller assisted in both the registrar’s and curators’ offices with the careful editing and production of the catalogue texts and exhibition labels. Finally, I would like to thank William Auten for his skill in crafting the online exhibition catalogue. His design makes the drawings themselves accessible to all, and allows the results of so much student research to provide a rich historical context for the drawings.

Lawrence O. Goedde
Adjunct Curator of Prints and Drawings and Professor of Art History
McIntire Department of Art

The Fralin Museum of Art’s programming is made possible by the generous support of The Joseph and Robert Cornell Memorial Foundation.

The exhibition is made possible through the generous support of The Fralin Museum of Art Volunteer Board; the Arts Enhancement Fund, sponsored by the Vice Provost for the Arts: fostering access + innovation; the McIntire Department of Art; the Denison and Louise Hatch Americana Preservation Fund; Albemarle Magazine; and Ivy Publications LLC’s Charlottesville Welcome Book.

 

Charles Sibley
American, b. 1921
Portrait of Frederick Herman
Oil on canvas
Lent by The Frederick and Lucy S. Herman Foundation, 2005.EL.1.252

Charles Sibley
American, b. 1921
Portrait of Lucy S. Herman
Oil on canvas
Lent by The Frederick and Lucy S. Herman Foundation, 2005.EL.1.251

About This Online Catalogue

This online catalogue supplements the physical exhibition of Traces of the Hand, allowing The Fralin's patrons, the University of Virginia's broad family (scholars, students, staff, and supporters), and indeed the world at large to visit time and time again the collection of prints and drawings generously gifted by the Hermans. The navigation bar at the left reflects how the exhibition is laid out: starting with Functions, moving into the various themes, and ending with Drawing Media. Of course, as in the real world, the virtual world allows visitors to begin and end where they please. So, enjoy your stay, click around, and relish these wonderful objects.

In addition to the aforementioned themes of the exhibition, an alphabetized index of the artists, along with titles and accession numbers, is provided below.

Finally, were it not for the following individuals, this online catalogue would not have been possible: Professor Larry Goedde; Director of The Fralin Bruce Boucher; Curatorial Assistant Katelyn Hobbs; Assistant Registrar Rachael Salisbury; and Collections Assistant Rachael Eller.

William Auten
Digitial Resources Coordinator
The Fralin Museum of Art
University of Virginia

Artist Index

Alfred Rethel, Funeral Procession of the Minnesänger Heinrich Meissen, 2006.11.48 >

Andreas Paul Weber, Owl Drinking Tea in an Armchair (recto); Deer in a Jacket from Behind (verso), 2007.15.81 >

Anonymous (after Carle van Loo), Self-Portrait with a Chalkholder, 2007.15.54 >

Anonymous (after Hendrick Goltzius, after Cornelis Cornelisz. van Haarlem), The Four Disgracers: Icarus, Phaeton, Tantalus, and Ixion,
2007.15.40 >

Anonymous (after Jan de Visscher, after Nicolaes Pietersz. Berchem), Shepherd on a Donkey, a Shepherdess Next to Him,
2007.15.15 >

Anonymous (after Jan de Visscher, after Nicolaes Pietersz. Berchem), Winter Scene on a Frozen Canal, 2007.15.6 >

Anonymous (after Martino Rota), Battle of Lepanto, 2007.15.7 >

Anonymous (after Salvator Rosa), Head of a Warrior, 2007.15.66 >

Anonymous, School of Leiden, Young Man from the Rear, Holding a Distaff and Spindle, 2007.15.2 >

Antonietta Brandeis, The Knight's Farewell, 2007.15.22 >

Asher Brown Durand, Croton on the Hudson, 2006.11.18 >

Attributed to Joris van der Haagen, View of a Hill Town and Travelers on a Road, 2007.15.78 >

Camille Pissarro, Two Figures, 2006.11.45 >

Carl Gehrts, Three Gnomes, 2007.15.38 >

Carlo Maratti, Virgin Surrounded by Angels, 2007.15.56 >

Caspar Johann Nepomuk Scheuren, Hermit Reading in Mountain Valley, 2007.15.69 >

Circle of Hieronymus Cock, Village Scene, 2006.11.13 >

Claude Hoin, Portrait of a Man (recto); Sketch of a Lady (verso), 2007.15.4 >

Claude Constantin Guys, The House of Ill Repute, 2006.11.24 >

Denys van Alsloot, Landscape with Village, 2006.11.3 >

Edward Burne-Jones, Study of an Actor, 2006.11.9 >

Emil Volkers, Carriage with Four Horses, 2006.11.64 >

Eugène Delacroix, Study of a Young Girl, 2007.15.30 >

Eugène Fromentin, A Group of Bedouins, 2007.15.36 >

Ferdinand Balzer, Coffeehouse Scene, 2007.15.12 >

Ferdinand Fellner, The Ghost of the Bavarian Hiesel Appears to a Poacher, 2007.15.33 >

Ferdinand Staeger, Up the Garden Path, 2006.11.57 >

François Boucher, Farmyard Scene, 2007.15.21 >

Frederic Leighton, 1st Baron Leighton of Stretton, Figure Study for "And the Sea Gave Up the Dead Which Were in It," 2006.11.34 >

George Cruikshank, A Swarm of English Bees, 2007.15.27 >

George Wesley Bellows, Study of Two Salvation Army Musicians for "Energizing the Broken (Salvation Army)", 2006.11.6 >

Giacomo Guardi, View of the Piazza San Marco (Veduta della Piazza di S. Marco), 2006.11.23 >

Giovanni Battista Beinaschi, Study for Assumption of the Virgin Mary, 2007.15.84 >

Giovanni Battista Tiepolo, Head of a Youth, 2006.11.61 >

Giuseppe Maria Mitelli or His Workshop, The Allegory of Fortune (Le Vicende del Mondo), 2007.15.8 >

Guercino (Giovanni Francesco Barbieri) or a Follower, Madonna and Child, 2007.15.42 >

Hans Holbein the Younger or His Workshop, Study for St. Kunigunde, 2006.11.28 >

Henry Bonaventure Monnier, Joseph Prudhomme Standing, 2007.15.58 >

Honoré Daumier, The Lawyer and the Defendant, 2007.15.28 >

Isabel Bishop, Couple on a Park Bench #16, 2007.15.17 >

J. D. Croome, A Christmas Carol (recto); The Family Picture (verso), 2006.11.14 >

James Gillray, A Lecture on the Beauties of Cropping, Or—Whigs Transformed into Blocks, 2006.11.22 >

James Ward, Figure Studies for "A Livery Stable," 2006.11.65 >

Jan van Goyen, Landscape with Cows, 2007.15.41 >

Jean Baptiste Joseph Wicar, Three Portrait Drawings, 2007.15.82 >

Jean Louis Ernest Meissonier, Standing Girl Wearing a Bonnet, 2007.15.57 >

Jean Louis Forain, Mistress and Her Maid, 2007.15.35 >

Jean-Baptiste Isabey, Jeanne Justine Laurice de Salienne (The Artist's Wife), 2007.15.50 >

Jean-François Millet, Studies of a Man and Hands for "Harvesters Resting (Ruth and Boaz)" (recto); Study of Two Women for "The Potato Harvest" (verso), 2006.11.41 >

Jean-Honoré Fragonard, Crouching Lion, 2006.11.19 >

Johann Eleazar Schenau, The Marriage Contract, 2006.11.66 >

John Singer Sargent, Woman Seated in a Wicker Chair, 2006.11.52 >

John Sloan, Boys Selling Newspapers, 2007.15.73 >

Karel la Fargue, forgery after Cornelis Gerritsz. Decker, View of a House on a Canal and Men Unloading a Boat, 2007.15.29 >

Karl Friedrich Schulz, Faust in His Study, 2007.15.70 >

Käthe Kollwitz, Sorrowing Woman, 2006.11.31 >

Leonard Bramer, Three Men Around a Table, 2007.15.20 >

Luca Cambiaso, The Arrest of Christ, 2006.11.12 >

Luca Cambiaso, Two Figures, 2007.15.25 >

Ludolf Bakhuizen, Storm-Tossed Ships, 2007.15.11 >

Moritz von Schwind, Mister Winter or Father Christmas (Herr Winter), 2006.11.54 >

Paul Gavarni, A Jealous Suspicion (Un Soupçon jaloux), 2007.15.37 >

Philip James de Loutherbourg, Pastoral Landscape with a Peasant and His Flock at Night, 2007.15.55 >

Pier Leone Ghezzi, Caricature of a Lady with a Fan, 2007.15.39 >

Reginald Marsh, Girl Walking in Front of New York City Brownstone, 2006.11.39 >

Reinier Nooms, called Zeeman, Sea Battle, 2007.15.1 >

Samuel Ireland, North View of Windsor Castle as Seen from Thames Street, 2007.15.48 >

Thomas Ender, Study of Trees with Three Figures in a Landscape, 2007.15.32 >

Thomas Rowlandson, The Wax Model Seller, 2006.11.51 >

Willem Pietersz. Buytewech, Standing Cavalier, 2006.11.11 >