The early work of Raphael . : from the Chalcographie du Louvre. By permission. have employed the white more frequently in his earlier years. Thechronological arrangement of the drawings, however, is no easy matter,for in the brief inscriptions on them dates seldom occur. The drawings are executed in chalk, pen, pencil, brush. Claudeseems to have employed exclusively at first the point, either penor pencil. Gradually he had recourse to washes, outlining witha pen, a procede for which all through his life he had a preference. 72 CLAUDE LORRAIN Sometimes, however, in his middle period he discarde
The early work of Raphael . : from the Chalcographie du Louvre. By permission. have employed the white more frequently in his earlier years. Thechronological arrangement of the drawings, however, is no easy matter,for in the brief inscriptions on them dates seldom occur. The drawings are executed in chalk, pen, pencil, brush. Claudeseems to have employed exclusively at first the point, either penor pencil. Gradually he had recourse to washes, outlining witha pen, a procede for which all through his life he had a preference. 72 CLAUDE LORRAIN Sometimes, however, in his middle period he discarded the pen altogether,indicating the outlines with the brush. There is one drawing in theBritish Museum (No. ) representing the Arch of Titus atRome, in which we find the artist attempting a kind of water-colour ;the sky is a faint blue, the foliage green, the stones drab, the ensemblenot unlike a water-colour drawing of the Early English school. LaterClaude resumed the pen with washes of bistre, Chinese ink, red or. Italian Seaport, with Boats. British Museum. yellow ochre. Sometimes he deepens the shadows by cross-hatchingswith red or black chalk. The drawings of his last years appear to havebeen made very rapidly, and are too often devoid of any delicacy. In the choice of subjects there is as much variety as in the choiceof material. Roughly speaking, however, the drawings may be dividedinto two categories : first, sketches direct from nature ; and, secondly,drafts from nature or from memory (perhaps adaptations of studies fromnature) with a view to making pictures. The latter are interesting as CLAUDE LORRAIN 73 showing the process by which the artist moulded nature to meet hisown requirements (or those of his patrons); the former are much moreattractive from an artistic point of view.
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Keywords: ., bookcentury1800, bookde, booksubjectraphael14831520, bookyear1895
