. A. The arrangement of the putto's arm has changed: in the drawing it was originally meant to embrace the woman's torso, in the painting it touches her cheek. B. In the process of painting, the woman's chest has been enlarged, which gave the figure a muscular appearance. The putto has also been moved. C. The underdrawing is also visible through the layers of paint. It was executed in a 'dry' manner: with black chalk or charcoal. D. The landscape is indicated in a sketchy manner, but was later painted with considerable attention to detail. E. The arrangement of the putto has changed: in the d
. A. The arrangement of the putto's arm has changed: in the drawing it was originally meant to embrace the woman's torso, in the painting it touches her cheek. B. In the process of painting, the woman's chest has been enlarged, which gave the figure a muscular appearance. The putto has also been moved. C. The underdrawing is also visible through the layers of paint. It was executed in a 'dry' manner: with black chalk or charcoal. D. The landscape is indicated in a sketchy manner, but was later painted with considerable attention to detail. E. The arrangement of the putto has changed: in the drawing it was smaller and had raised left arm. F. The hand of the sitting woman is longer than initially planned. The bundle of lines suggests that she was meant to hold something elese in her hand. G. The proportion of the leg is different: the outline of the painted body is broader than that planned in the underdrawing. . Allegory of Caritas. 1561 16 Monogrammist HP Allegory of Caritas 03
Size: 2972px × 1682px
Photo credit: © The Picture Art Collection / Alamy / Afripics
License: Licensed
Model Released: No
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