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The Clark Institute: Perino del Vaga (Piero Bonaccorsi), "St. Peter" c. 1530
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The Clark Institute: C. Jegher and Peter Paul Rubens, woodcut, "Susannah and the Elders," c. 1635
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The Clark Institute: Durer, engraving, "The Prodigal Son," c. 1496
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The Clark Institute. Ubaldo Gandolfi’s Seated Male Nude, c. 1770. Red chalk on paper.
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The Clark Institute: G. D. Tiepolo, pen and wash, "Galloping Centaur," c. 1765
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The Clark Institute: Edouard Vuillard, “The Avenue," pastel, 1898
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The Clark Institute. Detail from Albrecht Altdorfer’s The Baggage Train, 1516-18. Woodcut.
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The Clark Institute. Albrecht Durer’s The Bagpiper, 1514. Engraving.
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The Clark Institute: Edouard Manet, etching (after Goya), "Exotic Flower," 1868
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The Clark Institute: Durer, engraving, “St. George…”, 1508
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The Clark Institute: Goya, etching, "Pretty Teachings," 1799
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The Clark Institute: Edouard Manet (after Velazquez), etching, "Philip IV," 1862
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The Clark Institute. Edouard Manet’s Don Mariano Camprubi, Le Bailarin (the Ballet Dancer), 1862. Etching.
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The Clark Institute. Theodule Ribot’s Kitchen Interior, c. 1862.
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The Clark Institute. Alfred Stieglitz’s photograph Black Forest Girl, 1894, printed c. 1934.
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The Clark Institute. Berenice Abbott’s photograph Sylvia Beach, 1926, printed 1982. Beach is known, among other things, for publishing the first English edition Joyce’s Ulysses.
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The Clark Institute. Berenice Abbott’s photograph Under the El, New York, c. 1932, printed 1982.
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The Clark Institute. Berenice Abbott’s photograph of Eugene Atget, 1927, printed 1982. Abbot’s pubIication of Atget’s work documenting Paris scenes helped him gain recognition as a pioneer in documentary photography.
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The Clark Institute. Rich near a section of the large art history library here.
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The Clark Institute: Thomas Girtin, watercolor, "Lydford Castle," 1800
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The Clark Institute. Thomas Girtin and J.M.W. Turner’s Mountainous Landscape with Overshot Mill and Bridge, c. 1795. Watercolor and graphite. Collaboration by the two young painters, probably with outlines by Girtin and and washes by Turner.
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The Clark Institute: John Martin, watercolor, “Two Figures Crossing a Wheatfield,” 1839
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The Clark Institute. J.M.W. Turner’s View of La Riccia (Ariccia), 1817.
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The Clark Institute: John Constable, watercolor and graphite, "Dedham Vale," 1805
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The Clark Institute: John Constable, graphite on white paper, "Maudlin. Near Chichester", 1835
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The Clark Institute: Samuel Palmer, watercolor, "The Setting Sun," c. 1862
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The Clark Institute: Edward Calvert, wood engraving, "The Return Home," 1830
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The Clark Institute: Samuel Palmer, etching, "The Morning of Life," 1861
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The Clark Institute: Samuel Palmer, etching, "The Willow," 1850
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The Clark Institute: Anna Alma-Tadema, watercolor, "The Garden Studio," 1887
