Master Studies and Materials: The Difficulty of Mimicking Old Techniques

Raphael, Virgin and Child c. 1510-12

One of the biggest problems artists encounter when beginning a master study is determining the right materials to use. Ink or charcoal? Paper or cloth? Canvas or panel? Clearly, it's difficult to copy a work if you have little to no idea what materials the original artist employed. 

Making matters even trickier, many of the materials used in bygone eras have been abandoned in favor of simpler, stabler, and generally more efficient supplies. Despite the tendency to lionize all the techniques of "The Old Masters," much of their process was dictated by the materials on hand as well as the prevailing chemical science of the day. Few artists still employ rabbit skin glue, egg tempera, or bone ash and saliva. Oftentimes, materials are abandoned for a reason!

Yet, it's tempting and generally illuminating to examine the technique the artist originally employed, even if you're not planning to mix up your own linseed and ochre based oil paint. Though not essential for a basic master study, determining the original supplies can go along way in sharpening your eye and expanding your palette. 

Take the work by Raphael above, a cartoon study for the Mackintosh Madonna. The sketch was initially completed with black chalk dust and white heightening. Small pricks were created in the original in order to later transfer the design onto another surface using shaken black chalk or charcoal. An authentic replication of this work would most likely require a trained renaissance art restorer or forensic art historian. 

Still, it's reasonable to ask, just how true to the original does an artist need to come in order to complete a quality master study? Obviously, that's up to the individual artist. If one is simply attempting to improve their line and figure drawing, there's no reason this work can't be imitated in graphite on medium ply drawing paper, despite the fact that Raphael never worked in graphite himself. However, if one is attempting to capture the look and feel of the original, natural black chalk might be used on thicker aged paper.  

The best advice is to simply pursue whatever excites you most. If you're someone who loves prepping materials in the studio and willing to perform a little archaeologic digging, mixing more authentic materials will no doubt illuminate your process. On the other hand, if the idea of grounding your own chalk dust or pulping your own paper exhaust you, stick to pencils and Strathmore. At the end of the day,  a master study is only as effective as the artist's ability and willingness to complete it. 

Raphael, Completed Mackintosh Madonna