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| “Figure Study: Reclining Nude Male” by Pontormo Photo from ARTstor |
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| “Study of a Nude” by Timoteo Viti Photo from ARTstor |
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| “Bust of a Headless Semi-nude Man” by Lorenzo di Credi Photo from ARTstor |
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| “Six studies of men, nude or draped" by Leonardo da Vinci Photo from ARTstor |
The theme of this curation is “Unfinished Nudes of The Renaissance.” I chose this theme because I find unfinished art studies fascinating. It is interesting to see what the artist chooses to omit in the study and then later adds into the final product. What shading is necessary to capture the essence of what will become a finished work? I find nudes particularly interesting because the artist has no drapery to focus on. There is nothing to get in the way, or distract from capturing the human form and sketching the essential focal points.
The first piece I’ve chosen is “Figure Study: Reclining Nude Male” by Pontormo, c. 1535-1537. This piece is red chalk on paper. The face and hair are loosely sketched, while there is focus on the back of the kneecaps and back. There is an obvious outline of the figure, keeping it from looking realistic.
The second piece is Timoteo Viti’s “Study of a Nude,” c. 1479-1523. The medium is black chalk with touches of white on paper. This piece contrasts the last in that the shading is very loose and quick. The definition of the body is still captured, but the sketch seems to be much faster and less controlled.
The third piece is “Bust of a Headless Semi-nude Man” by Lorenzo di Credi, late 15th to early 16th century. The medium is silver nib, heightened with white on pink colored paper. This drawing is more refined than the two previous. The white accents give the body a look of fullness and liveliness. The focus is obviously on the contours of the collarbones.
The final piece is a series of sketched by Leonardo da Vinci entitled, “Six studies of men, nude or draped.” They are done in pen and brown ink over a first drawing in lead point. The figure in the upper-center is disproportionate. The strokes of the pen are clearly quick and free. This is the most obvious study, rather than a sketch to be modified later.
The first piece I’ve chosen is “Figure Study: Reclining Nude Male” by Pontormo, c. 1535-1537. This piece is red chalk on paper. The face and hair are loosely sketched, while there is focus on the back of the kneecaps and back. There is an obvious outline of the figure, keeping it from looking realistic.
The second piece is Timoteo Viti’s “Study of a Nude,” c. 1479-1523. The medium is black chalk with touches of white on paper. This piece contrasts the last in that the shading is very loose and quick. The definition of the body is still captured, but the sketch seems to be much faster and less controlled.
The third piece is “Bust of a Headless Semi-nude Man” by Lorenzo di Credi, late 15th to early 16th century. The medium is silver nib, heightened with white on pink colored paper. This drawing is more refined than the two previous. The white accents give the body a look of fullness and liveliness. The focus is obviously on the contours of the collarbones.
The final piece is a series of sketched by Leonardo da Vinci entitled, “Six studies of men, nude or draped.” They are done in pen and brown ink over a first drawing in lead point. The figure in the upper-center is disproportionate. The strokes of the pen are clearly quick and free. This is the most obvious study, rather than a sketch to be modified later.
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