Quick on the draw

Angelamaria Aceto, researcher in Italian drawings at the Ashmolean Museum in Oxford, fizzes with enthusiasm as she explains how the humble pulp powered Renaissance art. The project actually entails a thorough study of details such as the underdrawings on Raphael's sketches, the structure of the...

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Bibliographic Details
Published in:Country life (London) 2024-09, p.184-186
Main Author: Passino, Carla
Format: Magazinearticle
Language:English
Subjects:
Collections
Museums
Sketches
Visual artists
Visual arts
Online Access:Get full text
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Summary:Angelamaria Aceto, researcher in Italian drawings at the Ashmolean Museum in Oxford, fizzes with enthusiasm as she explains how the humble pulp powered Renaissance art. The project actually entails a thorough study of details such as the underdrawings on Raphael's sketches, the structure of the paper on which he drew and even the tears and stains on each sheet, all of which provide clues that could make a substantial difference in our understanding of the Italian master as a draughtsman, as well as contributing to solving open questions of dating or attribution. The project actually entails a thorough study of details such as the underdrawings on Raphael's sketches, the structure of the paper on which he drew and even the tears and stains on each sheet, all of which provide clues that could make a substantial difference in our understanding of the Italian master as a draughtsman, as well as contributing to solving open questions of dating or attribution. The Ashmolean Museum is raising funds to enable the Western Art Print Room to preserve, research and digitise its collection. Nonetheless, Bristow eschewed fame: living 'in contented seclusion at Windsor', according to Alfred Temple's The Art of Painting in the Queen's Reign, he only exhibited a handful of paintings at the Royal Academy and his last ever submission to a public gallery is thought to date from 1838.
ISSN:0045-8856