Our book does explain the step by step process of how the elements to Repeal’s drawings were used to form the final composition of the Alba Madonna. Raphael utilized drawing before committing to any canvas because it helped him brainstorm or allow him to make his first draft of the piece. The materials Raphael needed for his drawings most likely consisted of black chalk, red chalk, metal point or charcoal. For Repeal’s paintings, the materials he needed mostly consisted of oil faith pigments on wood, panel, or canvas for fresco paintings as well as Tempera on wood.Order now
For the Alba Madonna in particular, Raphael used oil paint on panel, which Vass then transferred to canvas. Repeal’s paintings were considered unique due to the large amount Of paint he used. There are many difficulties when painting With Oil in that era sheds some light on Repeal’s talent, and his amazing ability to create such detailed masterpieces With the unforgiving and ill-tempered form Of medium (“Raphael Biography,” 2013). When considering the differences between the first couple of drawings and the final composition while tracking how the first drawing eventually became Repeal’s Alba Madonna.
Assayer 2010) These drawings define the beginnings of the Alba Madonna. Through them, the viewer can determine Repeal’s thought process. In the first drawing, Raphael sketches a male model sprawled across the paper that is very similar to the Virgin Mar’s posture in the final composition, In the second drawing, there are a few sketches surrounding the focal point to different versions of how he wanted to paint Christ, John or Mary. Raphael drafted the circular format of the painting in the drawing With “a hastily drawn circular frame” surrounding the group. (Assayer 2010) These drawings illustrate Repeal’s aptness and precision.
His paintings would not be considered among the greats, such as Michelangelo and Leonardo if they were not impeccable. “The drawing is like a brainstorming session, an interactive dialogue where the problem is laid out, and solutions discussed. The painting, by contrast, is often more like a complete poem or a finished novella: the plot or the theme established, and followed through to its conclusion” (South, 2013). Repeal’s drawings contributed to What most critics call his greatest masterpiece: the Alba Madonna. Repeal’s work tends to be described as products of perfection and race. Raphael Biography, 2013) The art works enlighten the reader on how Repeal’s drawings contributed to this description of perfection. His drawings are used as a visual note or an outline Of sorts, Which contributed to the perfection of the Alba Madonna. Achieving his illustrious work through a specific thought process made it much easier for Repeal’s viewers to interpret this particular piece. When attempting to depict the meaning behind this piece, you can determine that there is an emphasis on the figures’ “gestures and glances centered on a slender reed cross that defines the work’s meaning. (National
Gallery of Art 2013) The website continues to explain that the Alba Madonna denotes the well-known story of the Virgin Mary, the Baptist John, and the young Christ. “Church doctrine holds that from birth, Christ had an ‘understanding’ to his fate, Here he accepts the cross of his future sacrifice, an action understood as well by his mother and cousin. ” (National Gallery of Art, 2013) Raphael expresses Chrism’s innocence through his nakedness and the almost faded halos above Christ, and his Cousin John’s heads, which the speaker believed would later disappear as it is shown through another painting by Leonardo.
When it comes to art forms, I feel drawing is just as important as painting. Whether one is a writer with a rough draft or a painter with a drawing. That first initial contact with those ideas are important to express through any means. The emphasize of importance of drawing before painting the final product by explaining that drawing is about seeing and thinking, and that it gives a painter the framework for the next distinguished masterpiece. It is the backbone needed to complete a paintings final composition. References Assayer, H. M. (2010). A world of art (6th De. ).