大英博物館さんのインスタグラム写真 - (大英博物館Instagram)「How can drawings help us understand how paintings looked in the past? 🔎 🖼  This image of the Virgin and Child was created by the Italian Renaissance artist Raphael.  When creating large-scale paintings, Raphael would refine his composition using cartoons – enormous drawings which were used like a stencil to transfer designs. This image is a cartoon for Raphael’s ‘Madonna of the Tower’, which is in the National Gallery.  Unfortunately, the painting is damaged, in part because it was transferred from panel to canvas in the 18th century, but this cartoon gives us a glimpse into how it might have originally looked.   The lighting in Raphael’s drawing is much softer and more atmospheric than  in the painting, making the faces look gentle and lifelike. Their expressions  also have more emotional depth: the Virgin turns away and her eyes are  downcast, which contrasts with the joyous smile on Christ’s face as he  embraces his mother.  🔎 Raphael (1483–1520), cartoon for the painting ‘Madonna of the Tower’ or ‘The Mackintosh Madonna’. Chalk and charcoal on two conjoined sheets of paper, pricked for transfer. Umbria, Italy, around 1509–1511.   #BritishMuseum #Raphael #RenaissanceArt」4月19日 19時30分 - britishmuseum

大英博物館のインスタグラム(britishmuseum) - 4月19日 19時30分


How can drawings help us understand how paintings looked in the past? 🔎 🖼

This image of the Virgin and Child was created by the Italian Renaissance artist Raphael.

When creating large-scale paintings, Raphael would refine his composition using cartoons – enormous drawings which were used like a stencil to transfer designs. This image is a cartoon for Raphael’s ‘Madonna of the Tower’, which is in the National Gallery.

Unfortunately, the painting is damaged, in part because it was transferred from panel to canvas in the 18th century, but this cartoon gives us a glimpse into how it might have originally looked.

The lighting in Raphael’s drawing is much softer and more atmospheric than in the painting, making the faces look gentle and lifelike. Their expressions also have more emotional depth: the Virgin turns away and her eyes are downcast, which contrasts with the joyous smile on Christ’s face as he embraces his mother.

🔎 Raphael (1483–1520), cartoon for the painting ‘Madonna of the Tower’ or ‘The Mackintosh Madonna’. Chalk and charcoal on two conjoined sheets of paper, pricked for transfer. Umbria, Italy, around 1509–1511.

#BritishMuseum #Raphael #RenaissanceArt


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