Learning from the Masters:
how to look at Italian
Renaissance drawings
Learning from the Masters:
how to look at Italian
Renaissance drawings
This slideshow will help you to:
• examine the drawings in detail
• analyse the techniques used in drawings
• consider the reasons for drawing in the
Renaissance
• think about why drawings are so important in the
development of Italian Renaissance art
During these two slideshows, think
about these important questions:
• Is it a quick drawing? How ‘finished’ is it?
• What materials did the artist use?
• How has the artist created a sense of light and
shade?
• How has the artist created a sense of depth?
• What was the drawing for?
• Who was the intended audience?
What was Italy like in the 15th century?
What do you notice about this map of Italy?
Italy was not united but made up of republics, duchies and
kingdoms.
Republic of Florence
Wealth: banking, wool
trade
Patrons: Medici family,
rich banking families,
church
Although politically
divided, people in Italy
shared a common
language, enabling
artists to travel and
ideas to be
communicated.
Republic of Venice
Wealth: trade with the East
Patrons: the Doge,
Senators, scuole
(confraternities), merchant
families, church
Two of the most important regions were the
Republic of Florence and the Republic of
Venice. These wealthy cities had many patrons
of the arts.
What kinds of drawing techniques
has the artist used?
Throughout the 15th century, artists sought to depict the
world around them with greater realism, so the painting
would become an extension of this world. This was
achieved through:
- Effects of light and shade: used to suggest solidity and
shadow (tone, hatching, washes)
- Understanding of perspective
Practising drawing and learning from other artists was
crucial in this.
Examine the similarities and
differences in these drawings…
Both artists use
cross hatching to
achieve different
effects with the folds
of the drapery.
Similar
composition: a
figure draped in
cloth but the
effect is very
different. Why?
Spinelli concentrates on
lines created by the cloth,
in particular the spiral
effect of the folds.
Michelangelo uses a less
defined line but creates a
sense of depth with his
shading to form a more
solid, three-dimensional
figure.
Creating a sense of space
Many Renaissance artists wanted to add a sense of reality in their pictures –
one way to do this was by creating the illusion of figures standing on flat
ground. How is this achieved?
Perspective lines,
which met at the
‘vanishing point’ gave
a mathematical
structure to drawings.
In this drawing,
Leonardo has
meticulously drawn in
all the lines to create
the sense of space
onto which to draw the
scene and plot where
the people should be.
Leonardo da Vinci (1452-1519), Study for the background of the Adoration of the Magi,
around 1481, Metalpoint, pen and brown ink, brown wash, touches of lead white
heightening, over stylus and compass incising, on cream preparation, Uffizi, Gabinetto
Disegni e Stampe , 436 E
Creating a sense of space
Artists in the 15th century
perfected this skill and practising
through the increased use of
drawing on paper was vital.
They became skilled at creating a
sense of perspective without
mathematical gridlines as
Perugino has done here.
Although the perspective is not
precise, the architecture helps to
create a sense of space.
Technically able artists were able
to sketch quickly and depict threedimensional scenes on the flat
page.
Pietro Perugino (around 1450–1523)
Adoration of the Magi, around 1480-90, Leadpoint, pen
and brown ink, British Museum 1853,1008.1
Working out how the world worked
During the Renaissance,
artists applied these
mathematical principles to
explain the world around them.
The artist Uccello was
fascinated by the new
technique of perspective – in
this drawing he has used 2,000
intersecting points to work out
the structure of a chalice.
Attributed to Paolo Uccello (c. 1397–1475), A chalice,
around 1450-70, Pen and brown ink, over ruled stylus
and compass points, Uffizi, Gabinetto Disegni e Stampe,
1758 A
What might the drawing be intended for?
How do you know?
Leonardo da Vinci (1452–1519), Bust of a
warrior, around 1475–80, Silverpoint on cream
preparation, British Museum 1895,0915.474
Michelangelo (1475-1564), Recto: Figures and a battle
scene, around 1503-4, Pen and brown ink, British
Museum 1895,0915.496
Leonardo da Vinci
Bust of a warrior,
around 1475–80
This is a carefully
finished silverpoint
drawing. It was
probably used as a
gift or as a
demonstration piece.
We can see Michelangelo developing
his ideas on paper in this drawing.
Same pose of
male figure
with drapery
this time. Both
studies for the
sculpture of an
apostle.
Cavalry battle
early study for
fresco of Battle
of Cascina.
Look for the
outlines of the
horses.
Male nude
figure 90°
rotated.
Michelangelo: designing for different media
Michelangelo was
a master of several
different art forms,
including sculpture,
painting and
architecture. What
do you think these
designs might be
for?
Robed figure and
figure leaning,
probably for
statues (similar
figure to previous
slide)
Studies for
sculpture of
Virgin and
Child Study for
sculpture of Virgin
Charcoal
nude
and
Child. Notice
drawinghow
for a drawing of
fresco ofaround
Battle two
of Cascina
centimetres forms
(never the basis of this
painted)finished sculpture.
Study for a
Corinthian
capital to go
on top of a
column
Michelangelo (1475-1564), Figure studies and a capital, around
1503-4, Uffizi, Gabinetto Disegni e Stampe 233 F
What was the artist trying to do in this drawing?
Experimentation
with the figure
Different
positions for
the right hand
Different
positions and
poses for left
hand
Antonio Pollaiuolo (c. 1432–
98), Recto: St John the Baptist,
?1470s, Pen and brown ink
and black chalk, Uffizi,
Gabinetto Disegni e Stampe
699 E
A sense of
emotion in the
facial expression
Different
positions for
the feet
Becoming a painting
1. Raphael (1483–1520), Recto: The
Entombment, around 1506, Pen and
brown ink, over black chalk and stylus ,
British Museum:1855,0214.1
2. Raphael (1483–1520), The Entombment, around
1506, Pen and brown ink, over black chalk, squared
in stylus and red chalk and then pen and ink, Uffizi,
Gabinetto Disegni e Stampe , 538 E
3. Raphael,
The Entombment, oil on
panel, Villa Borghese,
Rome, 1507
Raphael did 16 studies for the
final painting. Examine the
similarities and differences
between the two studies and the
final version.
Using all that you have learned, examine
the drawing and answer the questions:
1. Was this a quick drawing?
2. What materials were
used?
3. How have effects of light
and shade been achieved?
The wash has been
applied in different
ways, sometimes
with small strokes.
Carpaccio (?1460/66-1525/6).
The Vision ofscene,
St
As theVittore
composition
shows a completed
you
4. What might the drawing have
around 1501-8, British Museum 1934,1208.1
can tellAugustine,
it is unlikely
to be design for a sculpture.
been intended for?
It is the sketch for a painting of St Augustine for a
small scuola or confraternity in Venice.
Checklist for examining drawings:
• Is it a quick drawing? How ‘finished’ is it?
• What materials did the artist use?
• How has the artist created a sense of light and
shade?
• How has the artist created a sense of depth?
• What was the drawing for?
• Was the drawing meant to be seen outside the
studio?