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← Raphael (Raffaello Sanzio or Santi) Raphael (Raffaello Sanzio or Santi) — Five Nude Infants in Various Poses

Five Nude Infants in Various Poses

Original title: Five Nude Infants in Various Poses

Artist
Raphael (Raffaello Sanzio or Santi)
Date
ca. 1500
Medium
Metalpoint, traces of charcoal or black chalk, on pale pinkish gray prepared paper.
Dimensions
9 3/8 x 7 7/16 in. (23.8 x 18.9 cm)
Credit line
Robert Lehman Collection, 1975

kurzbeschreibung

Around 1500, Raphael (Raffaello Sanzio) drew five naked children in various poses. The sheet measures 23.8 x 18.9 cm and is executed in metalpoint with traces of charcoal or black chalk on pale pinkish gray prepared paper. This study shows how early the artist engaged with the human figure and its movement.

Description

Two children sit, one climbs onto a kind of seat, another stands with a small bird on its head, one kneels holding something in its hand, and one lies on its back. The figures are distributed in an implied space created by their positions and light shading. Gray and beige dominate the color effect, due to the metalpoint technique and the remnants of charcoal. The light falls evenly, without strong shadows or bright highlights.

Context

Around 1500, Raphael was about 17 years old and working in the workshop of Pietro Perugino in Umbria. Studies from the live model, often with children or young assistants, were a standard part of artistic training at the time. Such sheets served as preparatory studies for larger paintings or as independent exercises to capture movement and proportions.

Impact

The thin metalpoint lines give the drawing something delicate, almost fragile, which emphasizes the carefree childishness of the motifs. The multitude of poses creates a lively, animated whole that remains calm and balanced thanks to the even lighting.

Technique

The drawing was executed in metalpoint on pale pinkish gray prepared paper, which allows fine, precise lines. Traces of charcoal or black chalk suggest a preliminary sketch that was reworked with the metal stylus. In the Italian Renaissance, this combination was common for capturing both the underdrawing and the final contours.

AI-generated description text

Source: Metropolitan Museum of Art · Public Domain (CC0 1.0)