1000 Drawings of Genius. Victoria Charles

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      (Florence, 1406 – Spoleto, 1469)

      A Carmelite monk, he lived in a monastery in Florence at the same time as Masolino and Masaccio were painting frescos in Florence. He was ordained a priest in Padua in 1434.

      His works show the aesthetic interest of his time through sophisticated drawing and his ability to obtain transparent effects on opaque colours. After his death, his workshop members completed his unfinished frescos. Botticelli was one of his students, as was his son Filippino Lippi. The works of the two former Fra Lippi students link the Early and High Renaissance periods. Works include major fresco cycles for Santa Maria Novella in Florence and for Santa Maria sopra Minerva in Rome.

      59. Paolo Uccello (Paolo di Dono), 1397–1475, Italian, Four Sitting Figures, date unknown. Pen, brown watercolour and white lead on blue paper, 25.8 × 23.9 cm. Galleria degli Uffizi, Florence. Early Renaissance.

      60. Filippo Lippi, 1406–1469, Italian, Preparatory study for The Virgin and Child with Two Angels, c. 1465. Metalpoint, brown watercolour and white lead, 33 × 26 cm. Galleria degli Uffizi, Florence. Early Renaissance.

      61. Filippo Lippi, 1406–1469, Italian, Head of a Woman, c. 1452. Silverpoint, pen, heightening with white lead and touches of red pencil, 30.5 × 20.5 cm. Galleria degli Uffizi, Florence. Early Renaissance.

      62. Cosmè Tura, c. 1433–1495, Italian, Allegorical Female Figure, 1460–1465. Brush, grey and black ink, white highlights on blue-grey paper, 24.4 × 13.5 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Early Renaissance.

      63. Jean Fouquet, c. 1425–1478, French, Portrait of an Ecclesiastic, c. 1461. Metalpoint, black chalk on white prepared paper, 19.8 × 13.5 cm. The Metropolitan Museum of Art, New York. Early Renaissance.

      JEAN FOUQUET

      (Tours, c. 1425–1478)

      A painter and illuminator, Jean Fouquet is regarded as the most important French painter of the 15th century. Little is known about his life but it is quite sure that he executed, in Italy, the portrait of Pope Eugenius IV. Upon his return to France, he introduced Italian Renaissance elements into French painting. He was the court painter to Louis XI. Whether he worked on miniatures rendering the finest detail, or on a larger scale in panel paintings, Fouquet’s art had the same monumental character. His figures are modelled in broad planes defined by lines of magnificent purity.

      64. Andrea Mantegna, 1430/1431-1506, Italian, St James Being Led to the Execution, 1453–1457. Pen and black chalk on paper, 15.5 × 23.4 cm. British Museum, London. Early Renaissance.

      65. Paolo Uccello (Paolo di Dono), 1397–1475, Italian, Angel, c. 1470. Pen and white lead on stained paper, 24 × 26.5 cm. Galleria degli Uffizi, Florence. Early Renaissance.

      66. Ercole de’ Roberti, c. 1450–1496, Italian, Warrior, date unknown. Pen, silverpoint, grey and blue wash, white lead on prepared grey paper, 40.3 × 25.4 cm. Galleria degli Uffizi, Florence. Early Renaissance.

      67. Andrea Mantegna, 1430/1431-1506, Italian, The Risen Christ with St Andrew and Longinus, c. 1472. Pen and ink and wash on paper, 35 × 28.5 cm. Staatliche Graphische Sammlung, Munich. Early Renaissance.

      68. Ercole de’ Roberti, c. 1450–1496, Italian, Study of a Foot After a Model Sculpture, 1470. Pen, brush, brown ink, brown wash and highlights in white on prepared red paper, 13.7 × 8.7 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Early Renaissance.

      69. Leonardo da Vinci, 1452–1519, Italian, Bust of a Warrior in Profile, c. 1475–1480. Silverpoint on paper, 28.7 × 21.1 cm. British Museum, London. High Renaissance.

      70. Gentile Bellini, c. 1429–1507, Italian, Self-Portrait, c. 1480. Silverpoint on paper, 23 × 19.5 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Early Renaissance.

      71. Gentile Bellini, c. 1429–1507, Italian, A Turkish Woman, c. 1480. Pen and ink, 21.4 × 17.6 cm. British Museum, London. Early Renaissance.

      72. Sandro Botticelli (Alessandro di Mariano Filipepi), 1445–1510, Italian, Saint John the Baptist, c. 1480s. Pen and ink on paper, 36 × 15.5 cm. Galleria degli Uffizi, Florence. Early Renaissance.

      73. Antonio del Pollaiuolo, c. 1432–1498, Italian, Adam, c. 1475. Black pencil, pen and ink on white paper, 28.3 × 17.9 cm. Galleria degli Uffizi, Florence. Early Renaissance.

      74. Antonio del Pollaiuolo, c. 1432–1498, Italian, Eve, c. 1475. Black pencil, pen and ink on white paper, 27.8 × 18.6 cm. Galleria degli Uffizi, Florence. Early Renaissance.

      75. Andrea del Verrocchio, 1435–1488, Italian, Head of an Angel, c. 1470. Black pencil, pen and ink on paper, 20.9 × 18.1 cm. Galleria degli Uffizi, Florence. Early Renaissance.

      76. Domenico Ghirlandaio (Domenico Bigordi), 1448/1449-1494, Italian, Head of a Woman, date unknown. Silverpoint and white lead on watermarked white paper, 33.1 × 25.4 cm. Galleria degli Uffizi, Florence. Early Renaissance.

      77. Filippino Lippi, c. 1457–1504, Italian, An Apostle and a Young Man, date unknown. Metalpoint, white highlights. Kupferstich-Kabinett, Staatliche Kunstsammlungen Dresden, Dresden. Early Renaissance.

      78. Pedro Berruguete (attributed to), c. 1445–1503, Spanish, Moses at Mount Sinai, date unknown. Pen and ink. Galleria degli Uffizi, Florence. Early Renaissance.

      79. After Sandro Botticelli (Alessandro di Mariano Filipepi), 1445–1510, Italian, La Bella Simonetta, date unknown. Silverpoint on paper, 34 × 23 cm. Ashmolean Museum, Oxford. Early Renaissance.

      80. Sandro Botticelli (Alessandro di Mariano Filipepi), 1445–1510, Italian, Illustration for Dante’s Divine Comedy: Inferno, Canto XXXIV, c. 1480–1500. Silverpoint, pen and ink on parchment, 63.5 × 46.8 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Early Renaissance.

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