Who painted Album of Miscellaneous Subjects, Leaf 2?

Album of Miscellaneous Subjects, Leaf 2 was painted by Fan Qi in 1662.

Where can I see Album of Miscellaneous Subjects, Leaf 2?

Album of Miscellaneous Subjects, Leaf 2 is held by Cleveland Museum of Art.

What movement is Album of Miscellaneous Subjects, Leaf 2?

Album of Miscellaneous Subjects, Leaf 2 is associated with Qing dynasty painting.

Artwork

Album of Miscellaneous Subjects, Leaf 2

Fan Qi , 1662

Album of Miscellaneous Subjects, Leaf 2 is an unspecified painting by the Qing dynasty painting artist Fan Qi. It dates from 1662 and is held in the collection of the Cleveland Museum of Art.

About this work

Overview

Album of Miscellaneous Subjects, Leaf 2 is a small landscape painting executed in 1662 by the Chinese artist Fan Qi. The work is part of the collection of the Cleveland Museum of Art. It depicts a quiet natural scene rendered in restrained tones, inviting contemplation of the surrounding environment.

Subject & Meaning

The composition centers on a gentle riverbank that stretches across the foreground, bordered by clusters of trees and shrubs. A steep cliff rises on the right side, its foliage softened by misty atmosphere. The overall effect is one of calm and balance, suggesting an idealized view of nature’s quiet resilience.

Technique & Style

Fan Qi employs a limited palette of muted hues, allowing subtle variations of green and gray to convey depth and distance. Brushwork is delicate, especially in the rendering of foliage and water surface, while the cliff’s mass is suggested through broader, more controlled strokes. The restrained coloration enhances the painting’s tranquil mood.

History & Provenance

Created during the early Qing dynasty, the leaf was originally part of a larger album of assorted subjects compiled by Fan Qi. It entered the Cleveland Museum of Art’s holdings through a 20th‑century acquisition, though the precise chain of ownership prior to that remains undocumented.

Context

Fan Qi was known for his literati approach, integrating poetry, calligraphy, and painting. This work reflects the period’s aesthetic preference for understated elegance and scholarly reflection on nature, aligning with contemporary ideals of harmony between humanity and the natural world.