LEONARDO – DÜRER. Drawings on Colored Ground. Part 3, On the Use of Paper
In the Renaissance, paper was not just a medium but an active part of the artistic process. Artists like Leonardo da Vinci and Albrecht Dürer experimented with colored grounds to create depth, light, and contrast in their drawings. But how exactly was paper prepared, what materials were used, and what role did color play for artists of this era?
Eva Glück, Head of the Conservation Department at the Albertina Museum, takes us on a fascinating journey into the world of Renaissance drawings. In this film, she explains how pigments such as red iron oxide, cinnabar, or indigo were combined with bone ash and animal glue to give paper a special quality. These techniques were not only used for metalpoint drawings but also for chiaroscuro compositions with chalk, ink, and white highlights.
Referring to historical sources like Cennino Cennini’s Il Libro dell’Arte and the study of original artworks, the film reveals how theory and practice often differed. While Dürer meticulously applied his grounds, Italian masters often worked more loosely and in transparent layers. The production of paper itself was an expensive process—made from recycled textiles, it was a valuable commodity, leading to actual “rag wars” over its supply.
The film vividly illustrates Eva Glück’s insights by linking them with masterpieces from the current Albertina exhibition “Leonardo – Dürer. Renaissance Master Drawings on Colored Ground.” Through stunning original drawings, we see how differently artists worked with colored grounds, the creative liberties they took, and how they mastered this technique for their own artistic purposes. A film that not only imparts knowledge but also brings to life the beauty and refinement of this extraordinary artistic practice.
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