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Graphite Drawing After Leonardo Da Vinci

Drawing of five grotesque heads after Leonardo Da Vinci

This next post is a pencil drawing copied from Leonardo Da Vinci. Alright so they are really sketches which are a little more informal, if you will, than a drawing. The original was done in pen and ink. My copy is in graphite pencil. The description for the Leonardo da Vinci sketch is “Group of Five Grotesque Heads”. Which is acurate and at the same time offensive to the five models. Let’s ask Microsoft’s AI writing virtual whiz kid why Leonardo Da Vinci would draw grotesque heads.

Leonardo da Vinci’s sketches of grotesque heads were part of his broader interest in human anatomy and expression. These drawings allowed him to explore the extremes of human facial features and emotions, often exaggerating them to study their impact and to understand the diversity of human physiognomy 1,2.

Leonardo was fascinated by the human condition and character, and these grotesque heads provided a way to delve into the more unusual and exaggerated aspects of human appearance3. They also served as a contrast to his studies of ideal beauty, highlighting his comprehensive approach to understanding human nature4.

So then I asked, did these grotesque heads influence his paintings?

And Co-Pilot responded: Yes, Leonardo da Vinci’s sketches of grotesque heads did influence his paintings. These studies helped him understand the range of human expressions and emotions, which he then applied to his more formal works. For example, the detailed and expressive faces in “The Last Supper” and “Mona Lisa” reflect his deep understanding of human anatomy and emotion, skills he honed through these grotesque sketches.

Leonardo’s ability to capture subtle expressions and the individuality of his subjects was enhanced by his exploration of exaggerated features in his grotesque heads. This practice allowed him to bring a greater sense of realism and psychological depth to his paintings.

Well there you go. AI, through various online sources, has answered our questions. Maybe not in the most accurate or interesting way but it did answer us very quickly. Very, very quickly.

Online sources: 1 leonardodavinci.net, 2 rct.uk, 3 The Open Scholar, 4 artchive.com and 5 Springer

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Graphite Drawing After Jean Fouquet

Drawing of an Ecclesiastic copied from Jean Fouquet

This next post is a digital image of a pencil drawing copied from a drawing of an Ecclesiastic by the French artist Jean Fouquet. The original is in the Metropolitan Museum of Art in New York. It was completed around 1461 and done in metalpoint, black chalk on white prepared paper. Metalpoint is a technique that involves using a stylus (a thin metal rod inserted into a holder) to mark a prepared surface. Typically, the preparation includes coating a medium-thickness paper or a wood panel with a textured ground. As the stylus moves across the textured surface, it deposits tiny particles of metal, creating a mark.

Now, you might not know who Jean Fouquet is or even care. I’m not familiar with his work, but I do care, mainly because I’m writing a post about him. Let’s find out by asking the AI “Wunderkind”, Copilot with GPT-4 by Microsoft.

Jean Fouquet (c. 1420–1481) was a preeminent French painter and miniaturist of the 15th century. He excelled in both panel painting and manuscript illumination. Fouquet is considered one of the most important artists bridging the late Gothic and early Renaissance periods. He was the first French artist to travel to Italy and experience the early Italian Renaissance. His work includes portraits, altarpieces, and miniatures for the French court and nobility.

Jean Fouquet’s work stood out in several ways compared to other artists of his time. He was a master of portraiture, capturing the individuality and personality of his subjects in a lifelike and expressive manner. Fouquet emphasized naturalistic details, such as realistic drapery, facial features, and textures, and his attention to anatomical accuracy set him apart. He also experimented with perspective, creating depth and spatial realism in his compositions, which was groundbreaking during the late Gothic period.

Fouquet’s travel to Italy allowed him to absorb early Renaissance techniques, and his fusion of French and Italian styles influenced later artists. His meticulous approach extended to illuminated manuscripts, where he combined intricate borders with vibrant colors and gold leaf. In summary, Jean Fouquet’s unique blend of technical skill, innovation, and cross-cultural influences set him apart from his contemporaries.

1 2.
1 en.wikipedia.org
2 britannica.com

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Graphite Drawing After Peter Paul Rubens

Drawing of Young Woman with Folded Hands in Graphite Pencil

Alright, so it has been a while since I have posted anything. I do have lots of things to post. I have been making things but not posting those things. I think you get the idea. I think it is in part because I feel like no one will ever read this nonsense. But, as a wise man or wise woman or perhaps they were just a regular man, woman, or non-binary person said, “Pretend like your work matters.” So here is another post of a drawing copied from an old master for all of my imaginary friends to see. I’m now writing with the aid of the Grammarly software program, so if the quality of the writing is improved, you can thank Grammarly for that.

The drawing was done in graphite pencil and was copied from a work by Peter Paul Rubens, which was drawn in red chalk, black chalk, and heightened with white. My copy looks a lot sadder than the original in both the quality of the work and the expression of the young woman.

The original drawing by Peter Paul Rubens is currently in storage at the Museum Boijmans Van Beuningen in Rotterdam, Netherlands. If you are like me, my condolences, and you are also wondering who is Boijmans Van Beuningen? Let’s ask Co-Pilot, the Microsoft Bing AI tool for writing stuff.

The name Boijmans Van Beuningen is derived from the two most important collectors: Frans Jacob Otto Boijmans and Daniël George van Beuningen 1. The museum houses a unique collection of paintings, sculptures, and everyday objects. It’s one of the oldest museums in the Netherlands, with a history dating back to 1849 when lawyer Boijmans left his art collection to the city of Rotterdam. In 1958, the museum acquired the Van Beuningen collection, adding to its rich heritage 2. The museum is currently closed for renovation and modernization, but you can explore thousands of artworks from its collection online 3. Additionally, Depot Boijmans Van Beuningen, located next to the museum, is the world’s first publicly accessible art storage facility, where visitors can see over 154,000 objects housed in fourteen storage compartments with different climates4.

1 en.wikipedia.org, 2 artsandculture, 3 boijmans.nl, 4 boijmans.nl

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Graphite Drawing After Raphael

Graphite pencil studies of a kneeling woman

This next post contains a pencil drawing that was copied from a work by the great Raffaello Sanzio da Urbino or if you prefer just plain old Raphael. The original by Raphael was done in black chalk and is in the Ashmolean Museum at the University of Oxford.

You are probably asking yourself, who is Raphael, what is an Ashmolean, where is Oxford and what is black chalk. Look, I don’t have time to answer all your questions. Let’s just talk about the Ashmolean Museum.

The Ashmolean, like most things in England is very old. It was founded in 1683 and is a museum of art and archaeology from Ancient Egypt to the latest and greatest contemporary art. It began when the filthy rich, antiquity studying Elias Ashmole gave his various Knick knacks and doodads to the University or Oxford. It was England’s first public museum. But who is this generous man by the name of Elias Ashmole. Mr. Ashmole was not only a great gift giver but also
politician, officer of arms and amateur alchemist. He loved to study history, law, botany, medicine, stenography, chorography (which has to do with mapping areas that are greater than topography and less that geography), numismatics (which has something to do with money) and believe it or not, astrology. He really seemed to have an insatiable thirst for knowledge or perhaps lack focus. Typical Gemini, am I right?

During the English Civil War which lasted from 1642 to 1651, Elias Ashmole supported the Royalists. The Royalists supported the divine right of the monarch, who at that time was King Charles I, to govern England. Elias Ashmole opposed the Parliamentarians. The Parliamentarians supported, you guessed it, the parliamentary.

The knowledge of Nature is very necessary to human life and health.

Elias Ashmole

Elias Ashmole did not have any kids but he was married three times, which might be his greatest achievement, convincing three women to become Mrs. Ashmole.

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Graphite Drawing After Edgar Degas

Graphite drawing copied from a work by Edgar Degas

This post is about a sketch in graphite pencil copied from a drawing by Hilaire-Germain-Edgar Degas titled “After the Bath”. The original was done in charcoal on beige wove paper and was completed sometime between 1891–92. The Clark Art Institute in Williamstown, Massachusetts houses the original drawing. You are probably wondering how to find the Clark Art Institute. Well, I’ll tell you. The Clark Art Institute is only nine miles north of the Mount Greylock Regional High School Frisbee Golf Course. Yes, that is the same Frisbee Golf Course that Oliver Bingemann gave five stars on Google and wrote “Love this Frisbee golf course right on the MG (Mount Greylock) campus”. Just in case you aren’t friends with Oliver Bingemann and/or you don’t frequent the MGRS Frisbee Golf Course, the Clark Institute of Art is also a short 140-150 miles from Boston. If you are still unsure of how to find it, I would just google it yourself.

We are now at the point of the post where I am tired of writing. So I will have to rely on AI to finish. I think I’ll use the relatively new software ‘Co-pilot’ by Microsoft.

Me: Tell me about artist Edgar Degas and his drawings in charcoal.

Microsoft Co-pilot: Edgar Degas (1834–1917), a prominent French artist, defied easy categorization. Although associated with the Impressionists, he preferred to call himself a “Realist” or “Independent.” His drawings in charcoal reveal his mastery of capturing fleeting moments in modern life. Degas often depicted dancers, ballerinas, and theater scenes. His use of smudging techniques created soft, fluid lines and delicate shading, evoking ethereal beauty. Notably, Degas employed artificial light to illuminate his subjects, emphasizing contours. Degas’s art remains a testament to his keen observation and technical skill.

The Metropolitan Museum of Art and Access Art were both cited. So the last paragraph was really a collaborative effort between man and machine. Very fascinating.

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Graphite Drawing After François Boucher

Graphite Pencil Drawing of a Female

This next post is a drawing done in graphite pencil copied from a work by François Boucher. The original was done in chalk somewhere between 1750 and 1760. Boucher created this study of a female nude to use in a painting. No one knows if that painting was done or if it exists or anything. I’m sure someone had to know. I mean, right. There is a frivolous (that is the Riksmuseum’s choice of words, not mine, because it sounds a little snarky) print with this nude under the misleading title ‘Lady in Summer Clothes.’ The print shows her lounging on drapes on the edge of a pool with plants all around.

I don’t believe I have talked about François Boucher. Let’s paraphrase what Kimberly Cbrisman-Campbell and Andrew W. Mellon from the Huntington Museum in Southern California have said about Mr. Boucher.
François Boucher, spelled with one regular ‘c’ and another ‘c’ with some kind of goatee on it, has been called the definitive 18th-century artist, and he had an invaluable influence on taste during his lifetime. He also basically defined the lively and grand rococo style. Boucher is best remembered as a painter but his compositions can be found on porcelain vases, furniture, and tapestries. A person could almost furnish their entire house with Boucher’s artworks. Why would someone do this? I don’t know.

François Boucher was also a printmaker, theatrical designer, and book illustrator. He was extremely prolific and versatile, finding incredible success in various media. François Boucher did, however, reuse his own images and themes. I mean, he is only one man.

Critics sometimes criticized Boucher’s work as decadent, even silly, empty of narrative, moral value, or realism. Although extremely successful, Boucher lost his artistic preeminence toward the end of his life; overproduction, repetition, and the emergence of neoclassicism precipitated his decline from popularity with the public and the press. But his influence on his fellow artists cannot be overstated. Really, it cannot.

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Graphite Drawing After Michelangelo Buonarroti

Drawing of a man's back copied from Michelangelo Buonarroti

This next post is a pencil drawing copied from a work done in black chalk highlighted with white chalk by Michelangelo Buonarroti in 1504. It is in the collection of the Albertina Museum in Vienna, Austria. However, it is currently on loan to the Metropolitan Museum in New York. The Albertina Museum describes it as “Male Nude Seen from the Back with a Flag Staff,” in the Metropolitan, it is described as “Nude Male Figure in Half-Length Seen from the Rear.” Did the New Yorkers not see the ‘flag staff’ in the guy’s hand, or did they not think it was important? Either way, details of that nature are beyond the scope of this blog. One thing is certain: the drawing was completed in 1504 and is a study for a fresco depicting the “Battle of Cascina.” Let’s consult Michelangelo.org to learn more.

The Battle of Cascina was a fresco painting planned for a wall in Palazzo Vecchio in Florence, Italy, but was never finished. Leonardo da Vinci was also employed to paint a scene from the Battle of Anghiari to decorate the wall across from Michelangelo’s painting. The two battles were important Florentine victories from the Middle Ages. The troops of Florence and Pisa engaged in combat at Cascina on July 28, 1364. A thousand Pisans were massacred, and 200 more were taken as prisoners.

Michelangelo portrayed a scene from the opening stages of the conflict when the Florentine army was initially caught off guard by the Pisan attack. Michelangelo depicted the Florentine soldiers taking a naked bath in the Arno River before the attack from the Pisans. The painting was to depict the soldiers as they came out of the river and were putting on their armor. Numerous soldiers glance or make gestures toward the Pisan position to the left. While others act enthusiastically, one soldier appears to have been struck and fallen back into the river.

Before being called by Pope Julius II to Rome, where he labored on the Pope’s tomb, Michelangelo only created the preliminary drawings. After finishing this project, he returned to Florence to finish the composition’s full-size cartoon (drawing). The drawing was eventually divided into several pieces and dispersed across Italy

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Pen and Ink Drawing After Domenico Beccafumi

Drawing in Ink Pen of Two Male Figures

The drawing for this post is a copy I drew with gel ink on Strathmore paper. The original drawing is by Italian artist ?Domenico Beccafumi. You are probably asking why there is a question mark in front of his name. Well, there is a reason for it. The so-called experts at the Harvard Art Museum are not totally sure if the drawing was done by Domenico Beccafumi. Most institutions will just say ‘Attributed to’ if they are not sure. Created around 1544, the drawing is a ‘Study for Part of the Mosaic Frieze of the Siena Cathedral Pavement’. The experts seem fairly certain of that. It was created with brown wash and brown ink on cream antique-laid paper. In the description, at the Harvard website, it also states that on March 8, 2002, a man by the name of Craigen Bowen did not see a watermark on the drawing when he observed it. So, in case you were wondering if sometime around the beginning of March 2002 a person with the name of Craigen Bowen did or did not see a watermark on the drawing that may or may not have been created by Domenico Beccafumi? The answer would be no.

Since the drawing was done for the floor of the Siena Cathedral let’s talk about that. Renaissance artist and writer Giorgio Vasari called the mosaic the “most beautiful, largest and most magnificent floor ever made”. But instead of hearing from other so-called experts. Let’s instead hear from a few, not so impressed tourists that only gave it a one-star rating.

Mark P. says “the inlaid marble floors are covered most of every year. It is not worth the trip”. Another visitor states: “Tourist trap, don’t bother”. Local guide Jimmie B. admitted: “I did not go in. Picked up a brochure instead”. And Ramon sums things up with: “Well, I have not been able to visit it because of the incompetence of a local guide”. I’m pretty sure the local guide he is talking about is Jimmie B.

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Graphite Drawing After Jean-Baptiste Greuze

Drawing in pencil copied from a work by Jean-Baptiste Greuze

The next drawing is a copy done in graphite pencil of a work by the French artist Jean-Baptiste Greuze. His original drawing was done with red chalk on heavy cream paper. Yes, that is right. The type of paper is described as “heavy cream”. The original work by Greuze is entitled “A Seated Nude” and is in the Paul J. Sachs Collection in the Museum of Art at Harvard University in Cambridge. Now, let’s learn about Jean-Baptiste Greuze.

ChatGPT: Jean-Baptiste Greuze (1725-1805) was a French painter and draftsman known for his sentimental and moralizing genre paintings. He was born in Tournus, Burgundy, France, and displayed artistic talent from an early age. Greuze studied under the painter Charles Grandon in Lyon before moving to Paris in 1750 to continue his artistic training.

Greuze achieved recognition for his skillful depiction of domestic scenes and moral narratives that appealed to the taste of the time. His works often showed righteous characters in moving or moralistic situations, seeking to evoke empathy and stir the viewer’s conscience. Greuze’s paintings were closely aligned with the philosophical ideas of the Enlightenment period, emphasizing virtue, sincerity, and moral rectitude.

One of Greuze’s most famous works is “The Milkmaid’s Family” (1755), which portrays a young woman nursing her child while her husband looks on with tenderness. The painting exemplifies Greuze’s ability to capture intimate family moments and his focus on portraying simple, virtuous lives.

Greuze’s style is distinguished by its precise and careful approach, highlighting the careful rendering of textures, fabrics, and expressions. His works often feature soft lighting and a subdued color palette, contributing to their intimate and emotionally charged atmosphere.Despite his initial success and popularity, Greuze faced criticism later in his career for what some considered an overly sentimental and moralistic approach to art. His subject matter fell out of favor with the rise of Neoclassicism and the French Revolution, which sought to depict more heroic and politically charged scenes. Greuze’s reputation declined, and he struggled financially in his later years.

Nevertheless, Greuze’s influence on French painting should not be forgotten. His emphasis on moral themes and the emotional power of narrative would have a lasting impact on subsequent generations of artists. His works can be found in major museums around the world.

Jean-Baptiste Greuze’s contributions to art history lie in his ability to capture private moments and his commitment to moral storytelling. His paintings continue to be appreciated for their technical skill, emotional resonance, and their representation of French society during the 18th century.