Drawn to Blue: Artists’ use of blue paper

A self portrait of Jonathan Richardson the elder on a blue background i Jonathan Richardson, the elder (1665 - 1745), Self-portrait, The Courtauld, London (Samuel Courtauld Trust)

4 Oct 2024 – 26 Jan 2025 
Gilbert and Ildiko Butler Drawings Gallery, Floor 1

This display presents a selection of drawings on blue paper from The Courtauld’s collection, ranging from works by the Venetian Renaissance artist Jacopo Tintoretto to a watercolour by famed English Artist Joseph Mallord William Turner.

Made from fibres derived from blue rags, blue paper first appeared in Northern Italy in the 14th century. It became a popular drawing support for artists, and its use spread across Western Europe by the late 16th century; it was widely used in England and France in the 18th century. Blue paper provided a nuanced mid-tone which allowed the creation of strong light and dark contrasts, an effect much sought after by draughtsmen.

This exhibition project brought together a team of curators and paper conservators at The Courtauld and the J. Paul Getty Museum, explores the technical aspects and artistic richness of the use of blue paper.  

The programme of displays in the Gilbert and Ildiko Butler Drawings Gallery is generously supported by the International Music and Art Foundation, with additional support from James Bartos. 

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4 Oct 2024 – 26 Jan 2025

10:00 – 18:00 (last entry 17:15)

The Courtauld Gallery  The Gilbert and Ildiko Butler Drawings Gallery 

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Highlights

A self portrait of Jonathan Richardson the elder on a blue background
Jonathan Richardson, the elder (1665 - 1745), Self-portrait, The Courtauld, London (Samuel Courtauld Trust)
delicate architectural drawing of a Gothic church interior, showcasing soaring pointed arches and ribbed vaults. The church's expansive nave is emphasized by towering columns that frame the space, leading the eye toward the distant apse and large arched windows. The detailed chandelier and faintly sketched organ add a sense of grandeur, while the lone figure walking through the space emphasizes the scale of the structure. The artist uses fine, restrained lines and subtle shading to convey the height and intricate design of the architecture.
Pieter Jansz. Saenredam (1597-1665), South ambulatory of Sint Bavokerk, Haarlem, 1634, black chalk, pen and brown ink, grey wash, white chalk, on blue paid paper. The Courtauld, London (Samuel Courtauld Trust)
This image is a watercolor landscape painting by J.M.W. Turner, capturing a view of a coastal town with soft, atmospheric colors. The composition features a cluster of buildings with domed and towered rooftops in the mid-ground, while the distant sea and mountains stretch out toward the horizon. Turner uses light washes of blues, browns, and reds to create a hazy, dreamlike effect, blending the town's structures into the surrounding landscape. The sky dominates the upper part of the scene with fluid, sweeping brushstrokes, giving the painting a sense of movement and natural beauty.
J.M.W. Turner (1775-1851), View of Bregenz (formerly 'View of Locarno'), 1840, graphite, watercolour, bodycolour, white and red chalk on blue wove paper. The Courtauld, London (Samuel Courtauld Trust)
a classical figure study, rendered in red chalk on blue-toned paper, likely depicting a mythological subject. The figure is a male, seated with a strong, muscular torso, his body angled slightly forward in a contemplative pose. His head is adorned with vine leaves, suggesting he may be a representation of Bacchus, the Roman god of wine. The artist has used delicate highlights to define the contours of the body, creating depth and contrast between the warm red tones and cool blue background. The expression is serene, with soft, flowing lines emphasizing the natural beauty of the human form.
Giovanni Battista Tiepolo (1696-1770), Bacchus, c. 1751 - 1753, red and white chalk with stumping on blue laid paper. The Courtauld, London (Samuel Courtauld Trust)

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