Seated Madonna with the Christ Child on Her Knee, and Related Studies. Nicolas de Plattemontagne (French, 1631 - 1706) about 1670s This drawing prepares the figures of the Virgin Mary and Christ Child in a painting of the Adoration of the Magi (Musée des Beaux-Arts, Quimper). The sheet contains a fully realized rendition of both figures in black chalk with white heightening, as well as a scattering of fragmentary studies that work through the infant’s posture, the mother’s profile, the unveiling gesture of her hand, and even the form of her fingernail (the only portion of the design containing
Seated Madonna with the Christ Child on Her Knee, and Related Studies. Nicolas de Plattemontagne (French, 1631 - 1706) about 1670s This drawing prepares the figures of the Virgin Mary and Christ Child in a painting of the Adoration of the Magi (Musée des Beaux-Arts, Quimper). The sheet contains a fully realized rendition of both figures in black chalk with white heightening, as well as a scattering of fragmentary studies that work through the infant’s posture, the mother’s profile, the unveiling gesture of her hand, and even the form of her fingernail (the only portion of the design containing red chalk). Such meticulous preparation was consistent with the method Plattemontagne learned during his long apprenticeship to the Franco-Flemish painter Philippe de Champaigne. Champaigne’s influence is likewise present in the skillful combination of black and white chalk to create a convincing sense of sculptural form. The classical restraint evident in Plattemontagne’s treatment of the Virgin’s face, however, marks a clear departure from Champaigne’s frank, naturalistic approach.
Size: 5530px × 7546px
Photo credit: © piemags/GB24 / Alamy / Afripics
License: Licensed
Model Released: No
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