National Gallery of Art
Today we continue our close study of Raphael’s drawing “The Prophets Hosea and Jonah” by looking below the surface. The image on the right is an infrared reflectogram of the drawing, which reveals the charcoal #Underdrawing. In infrared images, media that contain carbon particles (such as charcoal) are visible whereas other materials (like brown iron gall ink) disappear. This reflectogram reveals slight differences in the appearance of the lines Raphael used in his underdrawing for the prophets and those used in the angel.
The charcoal lines of the prophets, particularly in the drapery at the center bottom, are more angular and considered than the more graceful and thinner lines in the angel. The portion of the sheet occupied by the prophets appears darker gray in the infrared image than does the area with the angel. This indicates that Raphael made changes in the two prophets by rubbing away some of the charcoal lines and redrawing them. The scattered charcoal particles became trapped in the paper fibers and consequently are now more evident in the infrared image.
What else do you notice, looking at the drawing versus the final image? #ArtAtoZ
Raphael, “The Prophets Hosea and Jonah,” c. 1510, pen and brown ink with brown wash over charcoal and blind stylus, heightened with white gouache and squared for transfer with blind stylus and red chalk, on laid paper, National Gallery of Art, Washington, The Armand Hammer Collection
Today we continue our close study of Raphael’s drawing “The Prophets Hosea and Jonah” by looking below the surface. The image on the right is an infrared reflectogram of the drawing, which reveals the charcoal #Underdrawing. In infrared images, media that contain carbon particles (such as charcoal) are visible whereas other materials (like brown iron gall ink) disappear. This reflectogram reveals slight differences in the appearance of the lines Raphael used in his underdrawing for the prophets and those used in the angel.
The charcoal lines of the prophets, particularly in the drapery at the center bottom, are more angular and considered than the more graceful and thinner lines in the angel. The portion of the sheet occupied by the prophets appears darker gray in the infrared image than does the area with the angel. This indicates that Raphael made changes in the two prophets by rubbing away some of the charcoal lines and redrawing them. The scattered charcoal particles became trapped in the paper fibers and consequently are now more evident in the infrared image.
What else do you notice, looking at the drawing versus the final image? #ArtAtoZ
Raphael, “The Prophets Hosea and Jonah,” c. 1510, pen and brown ink with brown wash over charcoal and blind stylus, heightened with white gouache and squared for transfer with blind stylus and red chalk, on laid paper, National Gallery of Art, Washington, The Armand Hammer Collection
National Gallery of Art
An artist might apply #underdrawing using any one (or several) different materials such as graphite, charcoal, carbon black ink, iron gall ink, metal point, black, red, white chalk, or paint. These materials all leave readily visible lines. Sometimes artists use a stylus--a pointed tool--to leave an imprint of their image on their work surface without leaving a visible color mark.
Over the next few days, we'll take a close look at how the artist Raphael (1483-1520) used underdrawings of charcoal and stylus on a few of his drawings in the Gallery's collection.
To create "Eight Apostles," Raphael used a metal stylus to make his initial drawing on the sheet of paper--without leaving a mark. Instead, his tool indented the paper. When he drew over those initial indented lines, the red chalk skipped over each indentation. Essentially, Raphael's preliminary underdrawing is where there is an absence of media, and the drawing is shown with the red chalk lines.
Look closely at Raphael's "Eight Apostles." Do you see the traces of his preliminary "sketch"? #ArtAtoZ
Image: Raphael, “Eight Apostles,” c. 1514, red chalk over stylus underdrawing and traces of leadpoint on laid paper, cut in two pieces and rejoined, glued down, National Gallery of Art, Washington, Woodner Collection
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