Stage one in the traditional drawing curriculum
Study of Two Male Nudes, Baccio Bandinelli, first half of 16th century. Museum no. Dyce 163
Study of Two Male Nudes, after Michelangelo
Baccio Bandinelli (1493-1560)
First half of 16th century
Ink and wash on laid paper
Width 27.6 cm x height 33.3 cm
Museum no. Dyce 163
Baccio Bandinelli ran his own drawing classes. The work of Michelangelo was much copied and he was one of the most assiduous copiers after Michelangelo’s cartoon for the Battle of Cascina.
Examples From 162 Drawings of Details of the Raphael Cartoons, James Thornhill, 1729-1731. Museum no. E.495 -497-1912
Examples From 162 Drawings of Details of the Raphael Cartoons, after Raphael
James Thornhill (1675-1734)
Black chalk, ink and wash on laid paper
Size of volume width 30 cm x height 41 cm
Museum no. E.495 -497-1912
Thornhill was active in the struggle for the foundation of a formal Academy of Art in Britain. In 1716 he became governor of the country’s first Academy of Drawing and Painting from Life, set up in 1711. For a short time from 1724 he also ran a free school in his own house. He made large and small sets of copies of Raphael’s cartoons and these studies of details with the intention of publishing them for the use of students. The publication never appeared.
Drawing Book Composed of Alternate Drawings by Master and Pupil, Mr Ryland and Mrs Hughes, 1766. Museum no. E.554-1975
Drawing Book Composed of Alternate Drawings by Master and Pupil
Mr Ryland and Mrs Hughes
Pencil on laid paper
Size of volume width 16.1 cm x height 20.6 cm
Museum no. E.554-1975
This book is inscribed began to learn to draw with Mr Ryland Dec 8th, 1766. It provides an example of the first stage of drawing tuition.
Poetry; Two Putti in a Cloud, Unknown, about 1780. Museum no. D.1907-1885
Poetry; Two Putti in a Cloud, after Boucher
Red chalk on laid paper
Width 25 cm x height 17 cm
Museum no. D.1907-1885
This copy was made from the engraving by Hertel after Boucher. Engravings of the great masters were one of the main sources of images for copying. Although the engraving was in black, the aspiring artist will have known that Boucher’s drawing would have been rendered in red chalk and has therefore used red chalk in emulation of the original.
La Poésie, George Leopold Hertel, 3rd quarter of 18th century. Museum no. 24864.4
George Leopold Hertel (worked c.1740-c.1778)
Cut to width 29.6 cm x height 19.2 cm
3rd quarter of 18th century
Museum no. 24864.4
Study of the Head of St Michael, Jacques-Louis David, 1775-80. Museum no. 5944
Study of the Head of St Michael, after Reni
Jacques-Louis David (1748-1825)
Black Chalk on laid paper
Width 14 cm x height 15.5 cm
Museum no. 5944
Although David already had a reputation when he came to Rome in 1775 he stopped painting because he thought he drew badly and ‘set about drawing eyes, ears, mouths, feet and hands’. This copy was made from a detail in the painting by Guido Reni in S.Maria della Concezione, Rome, and is inscribed ‘colere noble et elevee’ (noble and heroic anger).
Diego de Acedo ‘El Primo’, Francisco de Goya y Lucientes, late 18th century. Museum no. CAI 836
Diego de Acedo ‘El Primo’, after Velazquez
Francisco de Goya y Lucientes (1746-1828)
Late 18th century
Width 15 cm x height 19 cm
Museum no. CAI 836
Goya made this drawing when he was working under the direction of Mengs at the Santa Barbara tapestry factory on cartoons for tapestries with which to decorate the royal residences. Mengs greatly admired Velasquez and urged the younger painter ‘not only to copy (his works) but above all to imitate them.’ Goya made this copy from a painting recently installed in the King’s apartments. It and other such drawings were subsequently used to provide the guidelines for a set of etchings.