Preparatory drawings by Correggio
Antonio Allegri is more famous by the name of the small town of Correggio, and this is where the artist spent his professional career. He was a reputed name and maintained a high position among the Italian Renaissance artists. He is looked upon as one of the most skilled draughtsmen of the sixteenth century1. He is counted among the most famous early sixteenth-century artists. His drawings call for a scrutiny of his styles and skills and are beautiful but utilitarian. The artist completed his work with steps in its construction and drew only when required. He drew only when required an intellectual process and never doodled. The initial ideas for composition were just rough sketches that carried very little details. The figures are done in simple strokes that just indicated their shapes. The artists in the fiftieth century 2 were increasingly interested in the natural depiction of the human form. Live models were used to capture the right proportions and body in motion. Gradually, female models were used during the sixteenth century. The artists tried to infuse expression and character in their figures Numerous changes can be seen between the first idea and the final stage of completion. The drawings show that the artist had a relatively good idea of what he was looking for in the final composition. Pen and chalk were popular mediums used by the artist, but artists used a medium that they were comfortable with. Correggio's drawings continue to attract attentions even today and his preparatory work for oil paintings and frescoes is often discussed in detail. His drawings were utilitarian and showed careful deliberations in those figures or figural groups.
___________________1 Correggio as a draughtsman. (n.d.), 12-17.2 MasterDrawings_pg22-29.PDF.
One must remember that Correggio lived in an era where drawings were not seriously collected. This is why very few of his works survive. On the basis of his work, it is fair to assume that Correggio created significant amount of drawings out of which only a small fraction survives3. When one looks at his drawings, it is seen that he makes gradual and modest changes from one drawing to the next. If one looks at the early drawings of Correggio, they reflect the impact of Bolognese artists and Mantegna, The facial type and expressive forces in those images are derived from Mantegna. The odd proportions and expression in those figures are Bolognese in nature. The final work in the fresco “The Coronation of the Virgin” belonging to the 16th century looks amazingly perfect and in perfect detailing. Correggio drawings of the figures are done in red chalk, and sometimes carry white heightening, that led to a crisp form. One requires exact planning and a thorough preparation to portray the complex interrelationships in the elaborate spatial continuum. Correggio must have made hundreds of preparatory studies for this project, and this shows the many steps he went through before designing the dome frescoes. His drawings contain simply defined outlines with a degree of shading. The figures carry a remarkable sensuality and naturalism4. When one looks at the drawing of “Male figure seated in profile”, one finds that the lines and strokes in the initial drawing are rough. However, the artist is clear as to what he wants to show in the final result. The lines are shorter and broken in the first work where as they get clearer and better defined in the next. The shadows get deeper and darker and the cloak and the chest of the seated figure get clearer. The artist makes him hold a kind of staff in his hand. Clearly, the artist
___________________3 Correggio as a draughtsman. (n.d.), 12-17.4 Correggio as a draughtsman. (n.d.), 12-17.
Is changing his mind as he draws the figure.
The next drawing is of “Madonna Seated on the clouds with putti.” In the two drawings, one finds the similar style used by the artist for his drawing with red chalk, but on observing closely, one finds how his mind changes from one drawn to next. In the second drawing of Madonna Seated, three is a change in the direction of the angle of where she is looking as well as how she sits. Her left knee is now more towards the viewer while the right leg moves back. The drawings show that the artist had a fairly good idea about what he was looking for in the final composition5. This is why numerous changes can be seen between the first idea and the final stage of completion. The next drawing is on “The study of Christ.” In one of the drawings, one can hardly make out any details, except for an outline of a figure seated. There is just an oval shape for the head and some lines for the arms and the clothing. When we compare the drawings, it is easy to see the posture of Christ taking a side turn gradually and earlier when there was only one hand used for the conformations, in the final we see curiosa suing his both hands, plus his legs become barer. The initial ideas for composition are just rough sketches that carry very few details. The figure is done in simple strokes that just indicated the basic shapes. Correggio first used red chalk to draw the figures and then used pen and ink to clarify6. He continued to make changes in the drawings till he was satisfied and achieved the final result until the end of the process. “Putto and two groups of putti” is done in red chalk and brown wash. The preliminary drawings were important for the Florentine painters, who first developed the idea on paper
___________________5 MasterDrawings_pg22-29.PDF. 6 Correggio as a draughtsman. (n.d.), 12-17.
through rapid sketches. The idea is further explored through figures or a group of figures, paying attention to the detail of the pose and the clothing 7. As is evident from the drawing, these are just rough sketches and one can barely make out a group of small size figures among the clouds. Rest of the drawing has some scribbled strokes and show that the artist is looking for an idea. The “study for St. John the Baptist” is done in Red chalk and carries grid squares for enlargement. The lines are darker and clear and show the figure seated with staff in his left hand and his face turned towards the viewer, and the right hand is lifted. The artist makes his expression clear but leaves the folds of his robes and legs unclear. This shows that he would perhaps more detail in the next drawing. Correggio would often modify and explore the setting until the finished state of the figures. These compositions were then transferred to the panel or canvas8. In the drawings for “The Coronation of the Virgin,” one can see the basic sketch of Christ and the Virgin together, ready for the coronation. However, one finds marked difference in the final result. Christ is shown using only his right hand that supports a white pigeon and his left-hand holds a staff. If one looks at the original drawing, virgin carries a slightly different pose and she head tilts at a different angle. There are fewer angels in the finla picture and Christ wears a cloak on his bare shoulders. However, Correggio does make any drastic changes to the original them. Correggio figures were done in red chalk and sometimes carry white heightening, which led to a crisp form. He paid more attention to the atmosphere of those composition and the outlines become less defined.
___________________7 MasterDrawings_pg22-29.PDF. 8 MasterDrawings_pg22-29.PDF
Correggio, with those white heightening, explores the possibilities of light and shade in his work. The way he does the gradations of tones and the freedom of his handling show the broad influence of Leonardo. Correggio’s draughtsmanship9 became more flexible and versatile when he later made use of pen and ink along with red chalk. Those new techniques demonstrate his freedom when handling the precise pose and forms of figures. He used varied tones of red with red and white heightening to achieve the effect of light, colour and atmosphere.
___________________3 Correggio as a draughtsman. (n.d.), 12-17.
BIBLIOGRAPHY
Correggio as a draughtsman. (n.d.), 12-17.MasterDrawings_pg22-29.PDF
