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Famous
Renaissance Draughtsmen And Drawings
The Renaissance
witnessed a huge upsurge in draftsmanship, and a huge amount of experimentation
with differing media and supports. Here is a brief list of Italian draftsmen
and their drawings.
Early
Renaissance Artists: Fra Angelico used pen and ink wash for The
Prophet David Playing a Psaltery (1430), now in the British Museum, London;
Antonio Pisanello used pen and ink, watercolour. white gouache
and traces of black chalk or metalpoint for his Wild Boar (1434), now
in the Louvre, Paris; Jacopo Bellini used leadpoint for The Vision
of St Eustace (1445), now in the British Museum, London; Fra Filippo
Lippi used metalpoint and brown wash over black chalk, heightened
with white on salmon-coloured prepared paper for his Female Saint, Standing
(c.1440), now in the British Museum, London; Benozzo Gozzoli used
white highlighting and brown gouache over metalpoint on ochre prepared
paper for his Head of a Monk (1447), now in Musee Conde, Chantilly; Andrea
Mantegna used pen and ink over traces of black chalk to create
A Man Lying on a Stone Slab (1470s), now in the British Museum, London;
Andrea del Verrocchio used pen and ink for his Five Studies of
Infants (1470s), now in the Musee Louvre, Paris; Sandro
Botticelli used pen and ink and faint brown wash over black chalk
on pink-tinted paper, heightened with white to create Abundance or Autumn
(1480s), now in the British Museum, London;
High
Renaissance Artists: Luca Signorelli used black, red and
white chalks, squared in black chalk and brown ink for his Study for The
Moneylender in the Orvieto Antichrist (1500), now in the Louvre Museum,
Paris; Leonardo Da Vinci
used a brush with grey tempera and white highlighting, traces of brush
and black ink on linen to create Drapery Study for a Seated Figure (1470s),
now in the Louvre, Paris; he used pen and ink over traces of stylus and
leadpoint to produce Adoration of the Magi (1481), and black,red and ochre
chalks with white highlighting for his Portrait of Isabella d'Este (1499);
Michelangelo
used red chalk for his drawings Studies on Haman's Torso (1511), Study
for Adam (c.1511), both at the British Museum, London; and black chalk
with traces of white over stylus for his drawings of Ignudo (c.1511) and
over pen and ink wash to create The Prophet David Playing a Psaltery (1430),
now in the British Museum, London; Raphael
used red chalk for Studies for the Alba Madonna (1509), black chalk for
Study for the Altarpiece of St Nicholas of Tolentino (1500) and metalpoint
for Heads of the Virgin and Child (1504).
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