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Prismacolor® Pencil Drawing After Jacopo Tintoretto

Pencil Drawing of a Young Man After Tintoretto

Here we have a Prismacolor® pencil drawing of a young man copied from a drawing of a young man drawn by Jacopo Tintoretto. Prismacolor® makes 150 different colors. I used only black and white. Why am I mentioning this? I really thought if I started writing I would be able to come up with something funny to say. As you can see, that did not happen. I realize the style of the drawing makes the young man look like a bag of walnuts but if you see the original, it kind of looks like that. It is in the collection of the governing body of Christ Church in Oxford, United Kingdom. I could not find an image of the drawing on their site. Since I am not part of the governing body, there isn’t a whole lot I can do. Here is a link to another Tintoretto drawing so you can see his style. I thought I would consult the World History Encyclopedia to find out about this exceptional artist.

These models were then placed inside a box.

The following information on Tintoretto was taken, borrowed, and perhaps stolen from the World History Encyclopedia. Tintoretto’s real name was Jacopo Robusti, and he was born in Venice in 1518. He began his career as an artist creating unassuming works such as decorated furniture and frescoes on exterior walls. It was, however, his large paintings that would make him famous. It has been said that his work combines the drawing style of Michelangelo along with Titian’s use of color. In his drawings and paintings, Tintoretto created muscular figures posed in unusual positions. Mannerism would be the name given to this technique. In the 17th century, the Mannerist style would become a major influence on artists. Tintoretto’s artistic style is also defined by his light source. He would create areas of shadow and color that are distinctive and dramatic. As part of the process of creating his work, the artist would first construct small wax models of human figures. These models were then placed inside a box. It was then possible to organize the models and use an artificial light source to illuminate them. As a result, different and unique effects of light and shadow would be created. Although today Tintoretto is considered a great Italian Master, throughout his career, he was criticized for his rapid pace and lack of finish in his art.

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Graphite Drawing After Rembrandt

Nude Woman on a Stool After Rembrandt

This next blog post is a drawing of a female nude sitting on a stool copied from a work by Rembrandt. Also known as Rembrandt Harmenszoon van Rijn, Rembrandt Harmenszoon van Rijn, Rembrandt Harmensz. van Rijn Rembrandt Harmensz. van Rijn, Rembrandt Harmensz. van Rhijn Rembrandt Harmensz. van Rhijn, Rembrandt Harmenszoon van Rijn Rembrandt Harmenszoon van Rijn, Rembrandt Harmensz. van Rijn, Rembrandt van Rijn. Thank you to the Art Institute of Chicago for not only housing the drawing we are referring to but for also providing us the variations of his name just in case we didn’t recognize the name Rembrandt. I was totally confused when I saw the drawing was done by someone named Rembrandt. I always called him Haremszoon or simply Harmensz. I think most people make that simple mistake.
As I mentioned before, the original drawing is on display at the Art Institute of Chicago. Which if I remember correctly is some kind of art institute that is located in or around the Chicago metropolitan area. Sometimes instead of just regurgitating some information I haphazardly found on the web, I like to express my own knowledge about art and the world around myself and the world around art which would be I would guess the same world. If you have ever been to the Art Institute in Chicago and had the time or inclination to visit the drawing department you might have seen it. At the time of this post however it is not on view so you will have to wait. Sometimes it is out on loan to a major museum in a major city. If you live in a small town like Margate, Florida then it is highly unlikely that you will see this drawing. If fact it is highly unlikely that you will see any major work of art. If you want to see lots of bad copies of old master drawings then just stop by my place.

And now for the greatly anticipated Spanish version brought to you by the good people at Google Translate.

La siguiente entrada del blog es un dibujo de una mujer desnuda sentada en un taburete copiado de una obra de Rembrandt. También conocido como Rembrandt Harmenszoon van Rijn, Rembrandt Harmenszoon van Rijn, Rembrandt Harmensz. van Rijn Rembrandt Harmensz. van Rijn, Rembrandt Harmensz. van Rhijn Rembrandt Harmensz. van Rhijn, Rembrandt Harmenszoon van Rijn Rembrandt Harmenszoon van Rijn, Rembrandt Harmensz. van Rijn, Rembrandt van Rijn. Gracias al Art Institute of Chicago por no solo albergar el dibujo al que nos referimos, sino también por brindarnos las variaciones de su nombre en caso de que no reconozcamos el nombre de Rembrandt. Estaba totalmente confundido cuando vi que el dibujo lo había hecho alguien llamado Rembrandt. Siempre lo llamé Haremszoon o simplemente Harmensz. Creo que la mayoría de la gente comete ese simple error. Como mencioné antes, el dibujo está en exhibición en el Instituto de Arte de Chicago. Que, si no recuerdo mal, es una especie de instituto de arte que se encuentra en o alrededor del área metropolitana de Chicago. A veces, en lugar de simplemente regurgitar alguna información que encontré en la web al azar, me gusta expresar mi propio conocimiento sobre el arte y el mundo que me rodea y el mundo que rodea al arte, que sería, supongo, el mismo mundo. Si alguna vez ha estado en el Instituto de Arte de Chicago y ha tenido el tiempo o la inclinación de visitar el departamento de dibujo, es posible que lo haya visto. En el momento de esta publicación, sin embargo, no está a la vista, por lo que tendrá que esperar. A veces está prestado a un museo importante en una ciudad importante. Si vives en un pueblo pequeño como Margate, Florida, es muy poco probable que veas este dibujo. De hecho, es muy poco probable que vea alguna obra de arte importante. Si quieres ver muchas copias malas de dibujos de maestros antiguos, simplemente pasa por mi casa.

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Graphite Pencil Drawing after Peter Paul Rubens

Graphite Drawing after Peter Paul Rubens

My next offering is a copy of drawing done by the Flemish master Peter Paul Rubens sometime between 1617-18. The Victoria and Albert Museum where the drawing is displayed describes his work as a study of a nude man that is in a recumbent position and then trying to raise himself up and that seems to confirm what we see. But wait there’s more. There are also two studies of legs, that are in a kneeling position. The original drawing was done in black chalk with touches of white. I drew my copy with various graphite pencils. Actually just two different pencils, I just don’t remember which ones they were. One was light and the other dark. There are drawing pencil sets with several different types of pencils but I personally find it difficult to keep track of when to use each one so I usually only use two. I hope you had as much fun reading about pencils as I have writing about them. Just in case you can have too much of a good thing, let’s move on.
The original drawing was a study for the painting “Miracles of St. Francis Xavier”, which is a large altarpiece that is on display at the Kunsthistorisches Museum in Vienna. The subject in the drawing is not St. Francis but some ‘regular joe’ that is raising from his grave or perhaps he is being healed from the bubonic plague. Maybe he died of the plague and then St. Francis Xavier brought him back from the dead or he was still alive and want to sit up to see what all the commotion was about. Different websites have different ideas about what is actually going on with that pale fellow. But one thing we do now it that he is a man who is in the presence of St. Francis Xavier and that is something in and of itself.

And now for the Spanish version courtesy of Google Translate:

Mi próxima oferta es una copia del dibujo realizado por el maestro flamenco Peter Paul Rubens en algún momento entre 1617-18. El Museo Victoria and Albert, donde se exhibe el dibujo, describe su trabajo como un estudio de un hombre desnudo que está en posición recostada y luego intenta levantarse y eso parece confirmar lo que vemos. Pero espera hay mas. También hay dos estudios de piernas, que están en posición de rodillas. El dibujo original fue realizado en tiza negra con toques de blanco. Dibujé mi copia con varios lápices de grafito. En realidad, solo dos lápices diferentes, solo que no recuerdo cuáles eran. Uno era claro y el otro oscuro. Hay juegos de lápices de dibujo con varios tipos diferentes de lápices, pero personalmente me resulta difícil hacer un seguimiento de cuándo usar cada uno, por lo que generalmente solo uso dos. Espero que te hayas divertido tanto leyendo sobre lápices como yo escribiendo sobre ellos. En caso de que puedas tener demasiado de algo bueno, sigamos adelante.
El dibujo original era un estudio para la pintura “Milagros de San Francisco Javier”, que es un gran retablo que se exhibe en el Kunsthistorisches Museum de Viena. El sujeto del dibujo no es San Francisco, sino un ‘joe normal’ que se está levantando de su tumba o tal vez está siendo curado de la peste bubónica. Tal vez murió de la peste y luego San Francisco Javier lo resucitó o todavía estaba vivo y quería sentarse para ver de qué se trataba toda la conmoción. Diferentes sitios web tienen diferentes ideas sobre lo que realmente está pasando con ese tipo pálido. Pero una cosa que sabemos ahora es que él es un hombre que está en la presencia de San Francisco Javier y eso es algo en sí mismo.

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Graphite Drawing After Jacopo Pontormo

Graphite drawing after Jacopo Pontormo of female legs

Pictured above is a copy of drawing by Jacopo Pontormo. I drew mine in graphite pencil on Strathmore paper while the original by Pontormo was done in red chalk. I had mentioned earlier that I do not care for the scratchiness of chalk and I believed I talked about Jacopo Pontormo. Just in case you didn’t know about Pontormo, he was born in 1494 in Empoli, Italy. He was taught by numerous great painters including Leonardo da Vinci and became an important artist in the Sixteenth century. He help develop the expressive style of Mannerism. His work also became a big influence on the later Baroque style, influencing artists like his own student, Bronzino. Pontormo was also greatly admired by other artists at the time. Michelangelo Buonarroti happen to see a painting that Pontormo had done he said “This young man [age 19] will be such an artist, based on what can be seen, that if he lives and continues on, he will exalt this art to the heavens.” High praise indeed. This quote was taken from the “Lives of the Artists” written by Giorgio Vasari. He goes on to write about Jacopo Pontormo’s character. He states that Pontormo was a quite unique person. He was so afraid of death that he didn’t even want to hear it discussed. Varasi also states that he would run away from having any contact with dead bodies but is that really that unique or different. Perhaps in 16th century Italy people loved to hang around dead bodies. Apparently Pontormo would also avoid crowds and kept to himself. He also put so much thought into his work that some days he would just stand and think without painting anything. However he was able to create anything he put his mind to.
The original drawing that I worked from is housed in the Uffizi Gallery in Florence Italy. There are several of his works in this fine art institution. Until next time…

And now for the Spanish translation by Google Translate:

La foto de arriba es una copia del dibujo de Jacopo Pontormo. Dibujé el mío con lápiz de grafito sobre papel Strathmore mientras que el original de Pontormo lo hice con tiza roja. Anteriormente había mencionado que no me importa la picazón de la tiza y creí haber hablado de Jacopo Pontormo. Por si no sabías de Pontormo, nació en 1494 en Empoli, Italia. Fue instruido por numerosos grandes pintores, incluido Leonardo da Vinci, y se convirtió en un artista importante en el siglo XVI. Ayudó a desarrollar el estilo expresivo del Manierismo. Su trabajo también se convirtió en una gran influencia en el estilo barroco posterior, influyendo en artistas como su propio alumno, Bronzino. Pontormo también fue muy admirado por otros artistas de la época. Michelangelo Buonarroti vio por casualidad una pintura que había hecho Pontormo y dijo: “Este joven [de 19 años] será un artista tal, basado en lo que se puede ver, que si vive y continúa, exaltará este arte a los cielos .” Un gran elogio de hecho. Esta cita fue tomada de las “Vidas de los Artistas” escritas por Giorgio Vasari. Continúa escribiendo sobre el personaje de Jacopo Pontormo. Afirma que Pontormo era una persona bastante singular. Tenía tanto miedo a la muerte que ni siquiera quería oír hablar de ella. Varasi también afirma que huiría de tener cualquier contacto con cadáveres, pero es realmente tan único o diferente. Quizás en la Italia del siglo XVI a la gente le encantaba andar alrededor de cadáveres. Aparentemente, Pontormo también evitaría las multitudes y se mantendría solo. También pensó tanto en su trabajo que algunos días simplemente se paraba y pensaba sin pintar nada. Sin embargo, fue capaz de crear todo lo que se proponía. El dibujo original con el que trabajé se encuentra en la Galería de los Uffizi en Florencia, Italia. Hay varias de sus obras en esta institución de bellas artes. Hasta la proxima vez…

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Graphite Drawing Copied from a Work by Taddeo Zuccaro

Nude male figure with upraised arms copied from Taddeo Zuccaro

Next up we have another male nude figure seen from the back. It is a drawing done in graphite pencils on 9″ x 12″ Strathmore paper. The original by Taddeo Zuccaro is about 17 in. x 11 in. and was done in red chalk and highlighted with white gouache (which is somewhat similar to watercolor).
Taddeo Zuccaro was born around the year 1540 in Sant’Angelo in Vado. He moved to Rome to study painting at the age of 14 and at 17 started studying under the master Correggio. He was an excellent draftsman and eventually became famous from his frescoes of historical themes.
The subject of the original, created in 1550, is a male nude drawn by life but is also somewhat based on the style of the ‘Horse Tamers’ which is a group of Roman sculptures on the Quirinal Hill. The original drawing is done in a naturalistic style but also distorted somewhat in the style of Michelangelo. Not only did Taddeo Zuccaro admire Michelangelo but Michelangelo in turn admired the young Taddeo Zuccaro for his skills as a draftsman. The nude figure study is similar to one he drew in which a soldier is holding the reins of a horse in the foreground of the composition. Both works were done as preparatory work for a fresco that decorated a Roman Palace. According to the description by the Metropolitan Museum in New York, the fresco is now lost. I don’t know how you lose a fresco or a palace. I should do some more research, although it might be more interesting to you and less work for me if I didn’t do anymore research on the frescoes and created some mystery. However, I did find out that the original drawing by Taddeo Zuccaro is in the collection of the Metropolitan but unfortunately is not on view. So you aren’t able to see it. And the other drawing that is similar to that one is in a private collection. So you can’t see that one either. I’m not sure what I did with the copy of it I drew so you can’t see that at the moment either. This just isn’t your day.
And now for the Spanish version by Google translate:
A continuación tenemos otra figura desnuda vista desde atrás, gracias a Dios. O si eres judío, agradece a Di-s. Es un dibujo realizado en lápices de grafito sobre papel Strathmore de 9 “x 12”. El original de Taddeo Zuccaro mide aproximadamente 43 x 28 cm, fue realizado con tiza roja y resaltado con aguada blanca (similar a la acuarela).
Taddeo Zuccaro nació alrededor del año 1540 en Sant’Angelo in Vado. Se trasladó a Roma para estudiar pintura a los 14 años y a los 17 empezó a estudiar con el maestro Correggio. Fue un excelente dibujante y finalmente se hizo famoso por sus frescos de temas históricos.
El tema del original, creado en 1550, es un desnudo masculino dibujado por la vida, pero también está algo basado en el estilo de los ‘Domadores de caballos’, que es un grupo de esculturas romanas en el Quirinal Hill. El dibujo original está hecho en un estilo naturalista pero también algo distorsionado al estilo de Miguel Ángel. Taddeo Zuccaro no solo admiraba a Miguel Ángel, sino que Miguel Ángel a su vez admiraba al joven Taddeo Zuccaro por sus habilidades como dibujante. El estudio de la figura desnuda es similar a uno que dibujó en el que un soldado sostiene las riendas de un caballo en el primer plano de la composición. Ambas obras se realizaron como trabajo preparatorio de un fresco que decoraba un palacio romano. Según la descripción del Museo Metropolitano de Nueva York, el fresco ahora está perdido. No sé cómo se pierde un fresco o un palacio. Debería investigar un poco más, aunque podría ser más interesante para ti y menos trabajo para mí si no investigara más sobre los frescos y creara algún misterio. Sin embargo, descubrí que el dibujo original de Taddeo Zuccaro está en la colección del Metropolitan, pero desafortunadamente no está a la vista. Entonces no puedes verlo. Y el otro dibujo que es similar a ese está en una colección privada. Así que tampoco puedes ver ese. No estoy seguro de qué hice con la copia que dibujé, así que tampoco puedes ver eso en este momento. Este no es tu día.

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Drawing of Hercules and Antaeus after Signorelli

Graphite Drawing after Signorelli of Hercules and Antaeus

This next post is a graphite drawing of Hercules and Antaeus copied from a work in black chalk by Luca Signorelli. Signorelli who’s full name is Luca d’Egidio di Ventura de’ Signorelli, was referred to as Luca da Cortona because he was from, you guessed it, Cortona, Italy. According to my research, Signorelli was born sometime between 1445 and 1450. So apparently the record keeping was not very good in Cortona or women spent incredibly long periods in labor. Signorelli died in Cortona on October 16, 1523, so apparently record keeping greatly improved during his lifetime or perhaps deaths were considered more important than births. I’m not trying to judge anyone’s culture. I’m just trying to keep an open mind. I mean they know the exact date of his death but… I’m going to have to move on from this.
Luca Signorelli was known for his frescoes, most notably the series based on the end of the world in the Orvieto Cathedral. These frescoes were even praised by Michelangelo, whom he greatly admired. Signorelli worked in an intense and dramatic style. Raphael admired and was influenced by his work.
Now let’s talk about Hercules and Antaeus of the ever popular Greek mythology. I have said this before but it bears repeating. I often start to doze off when I read or write or even think about any type of mythology so I’ll try to keep this brief. The giant Antaeus was the son of Gaea, the goddess of earth and Poseidon, the god of the sea. Antaeus was considered invincible due to the fact that his strength was renewed when his feet touched the ground. He would often challenge strangers to fight him. Kind of like those guys that still live at home and take martial arts classes all day then go out at night and pick fights with people. You know the type. Getting back to Mythology. One day Antaeus got into a fight with Heracles, who figured out that Antaeus got his strength from touching the earth. So Hercules lifted Antaeus from the Earth then crushed him to death. Wild stuff indeed.

Translation into Spanish by Google Translate:

Esta próxima publicación es un dibujo en grafito de Hércules y Anteo copiado de una obra en tiza negra de Luca Signorelli. Signorelli, cuyo nombre completo es Luca d’Egidio di Ventura de ’Signorelli, fue llamado Luca da Cortona porque era de, lo adivinaste, Cortona, Italia. Según mi investigación, Signorelli nació en algún momento entre 1445 y 1450. Entonces, aparentemente, el mantenimiento de registros no fue muy bueno en Cortona o las mujeres pasaron períodos increíblemente largos en el trabajo de parto. Signorelli murió en Cortona el 16 de octubre de 1523, por lo que aparentemente el mantenimiento de registros mejoró mucho durante su vida o quizás las muertes se consideraron más importantes que los nacimientos. No intento juzgar la cultura de nadie. Solo intento mantener la mente abierta. Quiero decir que saben la fecha exacta de su muerte, pero … tendré que dejar esto. Luca Signorelli era conocido por sus frescos, sobre todo la serie basada en el fin del mundo en la catedral de Orvieto. Estos frescos incluso fueron elogiados por Miguel Ángel, a quien admiraba mucho. Signorelli trabajó con un estilo intenso y dramático. Rafael admiró y fue influenciado por su trabajo. Ahora hablemos de Hércules y Anteo de la siempre popular mitología griega. Ya he dicho esto antes, pero vale la pena repetirlo. A menudo empiezo a quedarme dormido cuando leo o escribo o incluso pienso en cualquier tipo de mitología, así que intentaré ser breve. El gigante Anteo era el hijo de Gea, la diosa de la tierra y Poseidón, el dios del mar. Anteo fue considerado invencible debido a que su fuerza se renovó cuando sus pies tocaron el suelo. A menudo desafiaba a extraños a luchar contra él. Algo así como esos tipos que todavía viven en casa y toman clases de artes marciales todo el día y luego salen por la noche y se pelean con la gente. Conoces el tipo. Volviendo a la mitología. Un día Anteo se peleó con Heracles, quien se dio cuenta de que Anteo obtenía su fuerza al tocar la tierra. Entonces Hércules levantó a Anteo de la Tierra y luego lo aplastó hasta la muerte. Ciertamente salvaje

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Drawing in Graphite After Pierre Paul Prud’hon

Graphite drawing of a nude woman after Pierre Paul Prud'hon

Next up on our Old Master copy marathon we have a graphite drawing after the talented draughtsman Pierre Paul Prud’hon. His drawing was done in black and white chalk. I never cared for the ‘scratchiness’ of chalk so I opted for pencils of varying darkness. The original work is 22 inches x 15 inches and mine is 12 inches x 9 inches. In fact all the old master copies I did were on 12×9 inch paper. Just in case you’re taking notes. Oh course I really only take up about 8×10 inches of the paper. Speaking of measurements, when I was growing up, teachers taught us the metric system and told us we will eventually transfer to it. Of course, they never set a date when that might occur so I guess technically they were not wrong. Enough of the tech talk, let’s talk about Pierre Paul Prud’hon.
Prud’hon was born on April 4, 1758 in Cluny, France. Which is about a 4 hour drive south from Paris. If you were walking it would take about 75 hours. So if your in Paris and want to visit Cluny, I recommend taking a car. I would make a great travel writer. I’ve never even been to Cluny, but I write about like a true native. Anyway, Pierre-Paul Prud’hon was a painter and draftsman who worked between the Neoclassical style which borrowed heavily from Ancient societies, and the Romanticism which embraced a more expressive, personal style. Prud’hon trained in Dijon, France then moved to Rome and became influenced by the work of Neoclassical artists such as the sculpture Antonio Canova and Jacques-Louis David. He made a living by painting portraits and drawing for engravers. When Napoleon Bonaparte discovered his talent, he was employed received some commissions as a decorator and portrait painter for the court. However, Prud’hon gained reputation from his allegorical paintings. Today he is admired more for his exquisite drawings.

And now for the Spanish translation courtesy of Google Translate:

A continuación, en nuestro maratón de copias de Old Master, tenemos un dibujo en grafito del talentoso dibujante Pierre Paul Prud’hon. Su dibujo fue realizado con tiza en blanco y negro. Nunca me preocupé por el “raspado” de la tiza, así que opté por lápices de diferente oscuridad. El trabajo original es de 22 pulgadas x 15 pulgadas y el mío es de 12 pulgadas x 9 pulgadas. De hecho, todas las copias maestras antiguas que hice fueron en papel de 12×9 pulgadas. Por si acaso estás tomando notas. Oh, por supuesto que en realidad solo ocupo unas 8 x 10 pulgadas del papel. Hablando de medidas, cuando yo era pequeño, los profesores nos enseñaron el sistema métrico y nos dijeron que eventualmente nos transferiremos a él. Por supuesto, nunca fijaron una fecha en la que eso podría ocurrir, así que supongo que técnicamente no se equivocaron. Basta de charlas sobre tecnología, hablemos de Pierre Paul Prud’hon. Prud’hon nació el 4 de abril de 1758 en Cluny, Francia. Que está a unas 4 horas en coche al sur de París. Si estuvieras caminando, tardarías unas 75 horas. Así que si estás en París y quieres visitar Cluny, te recomiendo que cojas un coche. Sería un gran escritor de viajes. Ni siquiera he estado en Cluny, pero escribo como un verdadero nativo. De todos modos, Pierre-Paul Prud’hon fue un pintor y dibujante que trabajó entre el estilo neoclásico, que tomó prestado en gran medida de las sociedades antiguas, y el romanticismo, que adoptó un estilo más expresivo y personal. Prud’hon se formó en Dijon, Francia, luego se mudó a Roma y recibió la influencia del trabajo de artistas neoclásicos como la escultura Antonio Canova y Jacques-Louis David. Se ganaba la vida pintando retratos y dibujando para grabadores. Cuando Napoleón Bonaparte descubrió su talento, lo contrataron recibió algunos encargos como decorador y retratista de la corte. Sin embargo, Prud’hon ganó reputación por sus pinturas alegóricas. Hoy es más admirado por sus exquisitos dibujos.

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Study for the “Raft of the Medusa” After Théodore Géricault

Graphite Pencil Drawing After Gericault

The drawing above is a copy. Are you starting to catch on that there are a lot of posts of old master copies? That’s because during the covid pandemic, I started to copy all the drawings out of a book of old master drawings in hopes of improving my drawing skills as well as kill a lot of time.

Let’s get back to the drawing at hand. It is a graphite sketch after the great French Romantic painter Théodore Géricault. The original is a study for one of the figures of Géricault’s masterpiece “Raft of the Medusa” which hangs in the Louvre Museum in Paris. The drawing itself is in the Musée des Beaux Arts in Besançon, France.

Let’s talk about the painting “Raft of the Medusa.” It was not a commissioned piece which was unusual for a 19 century work this large (16′ 1″ x 23′ 6″). The painting can be categorized as a history painting but instead of honoring a triumph it captures a tragedy. The subjects of his work are not heroic solders or mythological gods but the victims and survivors of a shipwreck. After their ship ran aground. The survivors cobbled together a raft and in their 2 weeks at sea, eventually had to resort to cannibalism in order to survive. Out of the 147 passengers only 15 survived. The captain was blamed for the shipwreck since he had not even sailed for 20 years prior and was apparently only given the position based on his connection to those in power. Anyone who has worked for a family run company understands the situation. Not of the shipwreck but of nepotism.

“Anyone who has worked for a family run company understands the situation.”

Géricault did a lot of research and made many sketches in order to create his monumental painting. He even consulted with 2 of the survivors, made a scale model of the raft and in order to better capture the look of the dead and dying, he would visit morgues and hospitals.

After a year and a half of work, the painting was shown at the 1819 Paris Salon. It received both praise and criticism. It is now considered a masterpiece of French Romantic art and has influenced many great artists.

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Graphite Drawing of the Three Graces After Raphael

Copy of The Three Graces by Raphael

The image in this blog post is a copy in graphite pencil of a Raphael drawing originally done in red chalk. The subject is “The Three Graces”. In Raphael’s drawing there are three nude figures representing, you guessed it, The Three Graces. I only drew two. Why did I only draw two? Because Raphael is Raphael and I am me. Raphael was a great artist and I am, like I said before, myself, that of which I am. At this point I would say something self deprecating like; I ain’t no Raphael but today I need to conserve as much self confidence as possible. So let us talk about The Three Graces. I must warn you up front that whenever I try to learn about Greek Mythology my brain shuts down. I mean like I have to lie down and take a nap in the fetal position type of breakdown. So in the interest of both of us I will basically just cut and paste whatever information I come across.

“She glows like a EcoSmart Light Bulb.”

The Three Graces, also called Charites, come from Greek mythology. In his work “Theogony” Hesiod describes three Graces. So let me introduce to you, the reader, the Three Graces.

First off we have Aglaea. She represents Radiance. She glows like a EcoSmart Light Bulb. I am neither endorsed or have any professional or personal relationship with the EcoSmart brand. I was just trying to be clever.

Next up we have Euphrosyne. She represents “Joy”. She is basically the Selective Serotonin Re-uptake Inhibitor (antidepressant) of the ancient world. Her side effects might include:
• Nausea, vomiting or diarrhea
• Headache
• Drowsiness
• Dry mouth
• Insomnia
• Nervousness, agitation or restlessness
• Dizziness

The last but not certainly least grace, even though that is probably the one I left out in the drawing, is Thalia. She is a Mexican singer, businesswoman, and former actress. Born in Mexico City, she first achieved recognition as a member of the successful pop group Timbiriche from 1986 through 1989. Wait that’s the wrong Thalia. Anyway, she represents Flowering. Her parents were Zeus and Eurynome. I’m starting to get sleepy. That’s all for now.

Click here to see the drawing of the Three Graces by Raphael Sanzio.