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The article features cut-paper floral shadow box by Myra Bates Willcutt, which is part of the collection in the Metropolitan Museum of Art in New York City. According to the article, the shadow box is a 19th-century example of the female accomplishment known as "quillwork," the art of fancy paperwork. It describes the fancy paperwork process.

The article presents information regarding Jean-Honoré Fragonard's 1774 drawings of a fisherman pulling a net and a fisherman leaning on an oar. The Metropolitan Museum of Art in New York City acquired these red chalk drawings on cream antique laid paper in 2006 through the help of gifts from Walter and Leonore Annenberg and the Annenberg Foundation. In spite of their somewhat ragged clothing and bare feet, the fishermen are shown to be dashing figures with their billowy jackets, broad-brimmed hats and looped-over sashes.

The article presents information regarding a watercolor painting on white wove paper, entitled "Rising Road with Mount Tamalpais," by the American artists Percy Gray in 1910. The Metropolitan Museum of Art in New York City acquired this art object in 2006 through the help of a gift from Donald C. Whitton, in memory of Robert Emory Johnson. This painting is among Gray's earlier works, which call to mind some of William Merritt Chase's Shinnecock landscapes, including the watercolor paintings of Barbizon-style artists.

The article presents information regarding a brush and ink drawing on paper on a nude subject by Henri Matisse between 1905-1906. The Metropolitan Museum of Art in New York City acquired this art object in 2007 with the help of a gift from Joan and Lestern Avnet. This drawing was used by Matisse as a study for the central character in his popular painting, "Bonheur de vivre," which is now in the Barnes Foundation, Merion, Pennsylvania. It is observed that the body of the reclining nude woman has become an iconic image in modern art's history.

The article presents information regarding a British portrait drawing of a lady by Joseph Wright "of Derby," circa 1768-1772. This drawing, which is made up of grisaille pastel on blue laid paper, was acquired by the Metropolitan Museum of Art in New York City in 2007 through the Rogers Fund. This particular drawing is part of a set of about a dozen head studies in chalks or pastels that Wright made during the decade before 1773. However, this drawing is not related to a known commission for a portrait, and the informality indicates that the model was intended to be seen as a character type.

The article presents information on a Japanese ink on paper painting by Kano Tanyū of "The Sixth Patriarch of Zen at the Moment of Enlightenment" during the Edo period in 1635-1645. Tanyū, the shogun's official painter, executed the painting while Takuan Sōhō inscribed it. The painting depicts the historic instant in Zen legend when Huineng, the sixth patriarch, suddenly attained enlightenment while splitting a bamboo branch for firewood. It is observed that the painting demonstrates Tanyū's skill.

The article features a portfolio of 15 offset lithographs with silkscreen by Kara Walker, which is part of the collection in the Metropolitan Museum of Art in New York City. The artist used cut paper silhouettes traditionally associated with 19th-century portrait profiles of upper middle-class sitters.

The article features the oil painting "Two women," by Willem de Kooning, which is part of the collection in the Metropolitan Museum of Art in New York City. The artist used various colors such as yellow, red and green in this painting on paper of two nearly nude females. According to the article, de Kooning made the painting in an enclosed porch at a rented house in East Hampton, New York.

The article features a red chalk drawing by Giovanni Battista Tiepolo, which is part of the collection in the Metropolitan Museum of Art in New York City. The preserved study of a young boy's head was drawn by Tiepolo in red chalk on blue-gray paper. According to the article, the drawing technique, style and scale are comparable to two autograph sheets that were preparatory to Tiepolo's altarpieces depicting the martyrdom of Saint Agatha.

Features an ancient Asian fabric at the Metropolitan Museum of Art. Origin; Size; Silk and gilded-paper tapestry; Design; Sakya-pa style.