Editing Raphael (section)

==Drawings==
[[File:Raimondi Lucretia's suicide.jpg|thumb|''Lucretia'', engraved by Raimondi after a drawing by Raphael<ref>{{cite web |url=http://www.metmuseum.org/works_of_art/collection_database/Lucretia_Raphael_Raffaello_Sanzio/ViewObject.aspx?depNm=drawings_and_prints&pID=-1&kWd=Raphael&OID=90004100&vW=-1&Pg=1&St=0&StOd=1&vT=1 |title=Lucretia |publisher=[[Metropolitan Museum of Art]] |access-date=August 26, 2010 |archive-url=https://web.archive.org/web/20080429142305/http://www.metmuseum.org/works_of_art/collection_database/Lucretia_Raphael_Raffaello_Sanzio/ViewObject.aspx?depNm=drawings_and_prints&pID=-1&kWd=Raphael&OID=90004100&vW=-1&Pg=1&St=0&StOd=1&vT=1 |archive-date=April 29, 2008 |url-status=live }}</ref>]]

Raphael was one of the finest draftsmen in the history of Western art, and used drawings extensively to plan his compositions. According to a near-contemporary, when beginning to plan a composition, he would lay out a large number of stock drawings of his on the floor, and begin to draw "rapidly", borrowing figures from here and there.<ref>[[Giovanni Battista Armenini]] (1533–1609) ''De vera precetti della pittura''(1587), quoted Pon:115</ref> Over forty sketches survive for the ''Disputa'' in the Stanze, and there may well have been many more originally; over four hundred sheets survive altogether.<ref>Jones & Penny:58 & ff; 400 from Pon:114</ref> He used different drawings to refine his poses and compositions, apparently to a greater extent than most other painters, to judge by the number of variants that survive: "... This is how Raphael himself, who was so rich in inventiveness, used to work, always coming up with four or six ways to show a narrative, each one different from the rest, and all of them full of grace and well done." wrote another writer after his death.<ref>Ludovico Dolce (1508–1568), from his ''L'Aretino'' of 1557, quoted Pon:114</ref> For [[John Shearman]], Raphael's art marks "a shift of resources away from production to research and development".<ref>quoted Pon:114, from lecture on ''The Organization of Raphael's Workshop'', pub. Chicago, 1983</ref>

When a final composition was achieved, scaled-up full-size cartoons were often made, which were then pricked with a pin and "pounced" with a bag of soot to leave dotted lines on the surface as a guide. He also made unusually extensive use, on both paper and plaster, of a "blind stylus", scratching lines which leave only an indentation, but no mark. These can be seen on the wall in ''The School of Athens'', and in the originals of many drawings.<ref>Photographs do not show these well, if at all. Leonardo sometimes used a blind stylus to outline his final choice from a tangle of different outlines in the same drawing. Pon:106–110.</ref> The "Raphael Cartoons", as tapestry designs, were fully coloured in a glue [[Distemper (paint)|distemper]] medium, as they were sent to Brussels to be followed by the weavers.

In later works painted by the workshop, the drawings are often painfully more attractive than the paintings.<ref>Lucy Whitaker, Martin Clayton, ''The Art of Italy in the Royal Collection; Renaissance and Baroque'', p. 84, Royal Collection Publications, 2007, {{ISBN|978-1-902163-29-1}}</ref> Most Raphael drawings are rather precise—even initial sketches with naked outline figures are carefully drawn, and later working drawings often have a high degree of finish, with shading and sometimes highlights in white. They lack the freedom and energy of some of Leonardo's and Michelangelo's sketches, but are nearly always aesthetically very satisfying. He was one of the last artists to use [[metalpoint]] (literally a sharp pointed piece of silver or another metal) extensively, although he also made superb use of the freer medium of red or black chalk.<ref>Pon:104</ref> In his final years he was one of the first artists to use female models for preparatory drawings—male pupils ("garzoni") were normally used for studies of both sexes.<ref>[http://www.nationalgalleries.org/index.php/collection/online_az/4:322/results/0/14803/ National Galleries of Scotland] {{webarchive|url=https://web.archive.org/web/20120531104853/http://www.nationalgalleries.org/index.php/collection/online_az/4:322/results/0/14803/ |date=May 31, 2012 }}</ref>

<gallery widths="200" heights="200" perrow="4">
File:Raphael - Young Man Carrying an Old Man on His Back, c. 1514 - Google Art Project.jpg|Young Man Carrying an Old Man on His Back, c. 1514 
File:Raphael - Study for La Belle Jardinière.jpg|Study for La Belle Jardinière
File:Raphael - Nude Studies, 1515 - Google Art Project.jpg|Nude Studies, 1515
File:Raphael. Marriage of Alexander and Roxana. Study for Villa Farnesina. 1510s. Albertina, Vienna.jpg|Marriage of Alexander and Roxana. Study for Villa Farnesina
File:Raffaello, studio per le tre grazie della farnesina.jpg|[[Sanguine|Red chalk]] study for the [[Villa Farnesina]] ''Three Graces''
File:Raphaël - Étude Madone d'Albe 1.jpg|Sheet with study for the ''[[Alba Madonna]]'' and other sketches
File:Raffaello, studi per madonne col bambino.jpg|Developing the composition for a ''Madonna and Child''
File:Estudosguardasressurreicao-rafael-ashmuseum1.jpg|Study for soldiers in [[commons:File:Rafael - ressureicaocristo01.jpg|this ''Resurrection of Christ'']], c. 1500

</gallery>