Gouache

Master of Claude de France (French painter)
Dandelion
ca. 1510-15
gouache on vellum
Metropolitan Museum of Art, New York

Monogrammist A.M. (German painter)
Imaginary Landscape
ca. 1600
gouache on paper
Metropolitan Museum of Art, New York

Peter Paillou after George Stubbs
Cheetah
ca. 1795
gouache on paper
British Museum

Ferdinand Runk
Rendezvous at Feldsberg
ca. 1815
gouache on paper
Liechtenstein Museum, Vienna

Ghasiram Sharma
The High Priest Govardhanlalji
ca. 1918-28
gouache on paper
Asian Art Museum, San Francisco

František Kupka
Disques Dynamiques
ca. 1931-33
gouache on paper
Guggenheim Museum, New York

Joaquín Torres-García
Composition
1938
gouache on board
Guggenheim Museum, New York

José Clemente Orozco
Via Crucis
ca. 1940
gouache on canvas
Denver Art Museum

Tommi Parzinger
Design for Wallpaper with Candlesticks and Figurines
ca. 1940
gouache on paper
Cooper Hewitt, Smithsonian Design Museum

Albert Tucker
Figure
1949
gouache on paper
National Gallery of Australia, Canberra

Josef Hoffmann
Design for Textile
ca. 1950-55
gouache on paper
Cooper Hewitt, Smithsonian Design Museum

Elizabeth Olds
Square at Yautepec
1951
gouache on paper
Hirshhorn Museum, Washington DC

Paul Wonner
Garden with a Swing, Davis, California
1957
gouache on paper
Smithsonian American Art Museum, Washington DC

Hans Richter
Dada Head (Variation Head, Arp)
1959
gouache on paper
Hirshhorn Museum, Washington DC

Ellen Phelan
Garden Drawing: Small Shrub
1984
gouache on paper
Whitney Museum of American Art, New York

Paul Reed
5-17-90 #1
1990
gouache on paper
Hirshhorn Museum, Washington DC

Sol LeWitt
Squiggly Brushstrokes
1997
gouache on paper
Whitney Museum of American Art, New York

    Why shouldst thou be fear-stricken and discomforted for thy parting from this mortal bride, thy body, sith it is but for a time, and such a time as she shall not care for nor feel anything in, nor thou have much need of her; nay, sith thou shalt receive her again more goodly and beautiful than when in her fullest perfection thou enjoyed her, being by her absence made like unto that Indian crystal which after some revolutions of ages is turned into purest diamond?  If the soul be the form of the body, and the form separated from the matter of it can not ever so continue, but is inclined and disposed to be reunited thereinto, what can let and hinder this desire, but that some time it be accomplished, and obtaining the expected end, rejoin itself again unto the body?  The soul separate hath a desire, because it hath a will, and knoweth it shall by this reunion receive perfection: too, as the matter is disposed, and inclineth to its form when it is without it, so would it seem that the form should be towards its matter in the absence of it.  How is not the soul the form of the body, sith by it it is, sith it is the beginning and cause of all the actions and functions of the body?  For though in excellency it pass every other form, yet doth not that excellency take from it the nature of a form.

– William Drummond of Hawthornden, from A Cypress Grove (London: Hawthornden Press, 1919, reprinting the original edition of 1623)