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  • For the British artist studying in Italy, the sketchbook was a crucial tool. Three on "classic ground" the act of drawing focused the attention and aided the understanding. Back in Britain the sketchbook provided not only a record of the art and landscape encountered but also a repertoire of poses, figural groupings, and compositional ideas from the ancients and the masters of the Renaissance and Baroque or of richly evocative landscape elements that could be incorporated into their own art. While their sketchbooks show them to have been eager and receptive students, both George Romney and John Flaxman made their visits to Italy as mature well-established artists. Romney interrupted a successful practice as a portrait painter to travel to Italy between 1773 and 1775. flaxman by 1787 had earned enough as a sculptor to afford a more extended stay in Italy, remaining there until 1794. The Sketchbooks by Romney and Flaxman are each filled with drawings after antique sculpture and works of the early high Renaissance in both Florence and Rome. Romney's sketches are freer and interspersed with original compositional studies; Flaxman's drawings are more disciplined, frequently worked up with pen and ink and wash.
  • Bibliograpic reference ::
  • Component of series :: Italian Sketchbook, Studies from Florence and Rome, begun 1787
  • Dimension height :: 21.9cm
  • Dimension height :: 22.9cm
  • Dimension width :: 15.2cm
  • Located in :: Not on view
  • Located in :: YCBA, 223A, C 108, Sh- 4L
  • Located in :: Yale Center for British Art
  • Object type :: drawing
  • ...
  • Yale Center for British Art, Paul Mellon Collection
  • Sarcophagus of Pope Hadrian IV, Vatican Grottoes, Rome