Sketchbooks: Turning the Pages at the Art Institute of Chicago

Artists have long used sketchbooks to jot down ideas and to work quickly outside their studios. This selection of Art Institute sketchbooks ranges from the eighteenth through the nineteenth centuries, and appears in order by artist name. The Cézanne, Redon and Weber books were standard issue for the late nineteenth-century, and all include an extra flap inside the front or back binding for holding a pencil.
  • Email to a friend
  • Print this page
  • Share this collection on Facebook
  • Share this collection on Twitter
Christina Ramberg is one of the Chicago Imagists who exhibited in the 1960's and 1970's. Her notebook contains fragments and sketches of costumes and clothing that are referenced in her drawings and paintings as well as her personal notes and even a recipe for a vegetable and sprout medley.
Ed Flood, born and schooled in Chicago, exhibited in shows in the 1960s such as the Nonplussed Some. His sketchbook reflects his beautifully and obsessively crafted paintings and sculptures, and includes floral forms, ideas for objects and the typographic elements they are partially composed of, and figure drawings. Artwork © The Estate of Ed Flood.
This bold and colorful sketchbook was made by Charles Wilbert White (1918-1979), an African American painter and printmaker. In fact, he started it while he was a student at the School of the Art Institute of Chicago.
A sketchbook by the Chicago artist Alfred Juergens, from the Ryerson and Burnham Libraries.
The first director of the Art Institute's notebook of observations and experiences during a trip to Europe in 1889.
German buildings and architectural details drawn by Peter J. Weber, who later practiced architecture in Chicago. From the Ryerson and Burnham Libraries.
This is the only known sketchbook by the French Impressionist painter Gustave Caillebotte, painter of the Art Institute of Chicago's famous Paris Street; Rainy Day from 1877 (1964.336). From 1876 he contributed regularly to Impressionist group's shows; he even organized the exhibition of 1877, where Paris Street; Rainy Day debuted. Until 1881, most of Caillebotte’s paintings depicted the contemporary urban life of Paris. This sketchbook of mainly landscape views demonstrates the artist's preoccupation with more bucolic topics in the years after he moved out of Paris to the French countryside. Little is known about his work, travel, or friendships during this period—save for his continued correspondence with Monet and well-documented interest in boating. As a result, this sketchbook, dated precisely during these mysterious years, provides new insights into the life and work of Caillebotte. Nearly every sheet is dated and most have additional inscriptions detailing the specific location depicted. As a result, one can now partially map his travels from June 1883 to September 1886.
Cézanne's sketchbook from 1875-86 testifies to the everyday nature of his drawing exercises. Not only does he sketch his entire family, his young sons occasionally take their turn in this book, and a list scribbled near the front details the types of meat the artist ate for a week.
Odilon Redon's oblong sketchbook of whimsical creations ranges from melancholy sketches to more finished designs, with contrasting darks and lights abounding.
This digitally-rebound sketchbook consists of sheets of soldiers, horses, and other subjects drawn by Géricault around 1818-19. A second sketchbook, from 1813-14 has also been digitized, using the same cover, a type of paper over boards binding that Géricault himself might have used.
This digitally-rebound sketchbook of animals, society portraits and copies of old master art by the French artist Géricault is one of two separate books from the same group of drawings now available in Turning the Pages.
Gabriel Jacques de Saint-Aubin's delicate but exuberantly filled sketchbook still retains the printed colored papers with which it was initially bound.

While we encourage personal discovery and interpretation of works of art in our care, the commentaries associated with the works in My Collections have not been reviewed or approved for accuracy or content and are expressly not endorsed by the Art Institute of Chicago.

View mobile website