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emphasis on establishing the solidity and volume of the formin space is one of the themes of the show as artists studiedsculpture to help them understand how light could be used tomake two-dimensional forms appear three-dimensional.Raffaellino del Garbo's aforementioned study illuminates theimportance of classical statuary in this process. The inspiration ofsculpture also pervades the work of Mantegna, whose formativeyears were spent in Padua while the Florentine sculptorDonatello was at work there, as can be seen in the manner inwhich Mantegna's main figures in Virgin and Child stand out,as though carved in relief against a flattened background. One of the practical aspects of drawing that comes acrossstrongly in the selection is its importance in training youngartists. The production of art in 15th-century Italy was oftencollaborative with an established artist heading a studio ofassistants of varied ages and abilities. A master needed to beable to draw in order to supply designs to guide theproduction, as can be seen in the studies made by theFlorentine painter Domenico Ghirlandaio whose assistantsincluded for a brief time in the mid-1480s the youngMichelangelo. At the same time, teaching drawing was themost effective means by which a master could shape the styleof his pupils so that their work would blend in seamlessly withhis own. The effects of this drawing-based education can beseen in the strong similarities between Verrocchio's femalehead and the same motif studied by his pupils, Lorenzo diCredi and Leonardo da Vinci. The inclusion of 10 drawings by Leonardo is a reflectionboth of his genius as a draughtsman, and the significance ofhis graphic output in the development of Italian art. Hisanalytical mind and relentless curiosity brought freshnaturalism to the depiction of the natural world, while at thesame time his desire to push the boundaries of painting tonew expressive and dramatic heights inspired the generationof Michelangelo and Raphael to achieve what he hadsketched out on paper, but rarely delivered in terms of finishedpaintings. An early instance of Leonardo's abandonment ofpaintings was the Adoration of the Magialtarpiece now in theUffizi that he left unfinished when he left Florence for Milan in1482/3. Leonardo's preparatory study for the animatedbackground of the painting is indicative of his breathtakingambition: the tight perspective grid allowing the position of theswarming figure to be plotted against the intricate architectureon the left. Characteristically, it also shows Leonardoformulating new ideas, such as the addition of steps in theforeground. The sense gained of the workings of Leonardo'sboundless, if impractical, imagination encapsulates howdrawing can transport the viewer back to share the momentof creation. For those wishing to witness such thrillingencounters with the inventive thinking of the artists whoshaped one of the most inventive periods in history, theexhibition of Fra Angelico to Leonardo: Italian RenaissanceDrawingsis not one to be missed. Hugo Chapman is the Curator of Fra Angelico toLeonardo: Italian Renaissance Drawings, which runs from22 April to 25 July at the British Museum. For more, REVIEW / SPRING 2010 Above:Head of aWoman, Andreadel Verrocchio(c1475). Theartist's sculpturalbackground isevident in hisconveyance ofsurface andtextureLeft: Risen Christ,Raffaellino delGarbo (c1495-7),a more daringprecursor to thefinal painting

30NADFAS REVIEW / SPRING GLASSMAKERSFrom furnaceto filmFilm props are often taken for granted but in fact some directors goto great lengths to get them right. Susanna Clarke investigatesthe work of the Roman Glassmakers, just one of a number of artistsworking in Hampshire's hub of creativity, Project Workshops