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Lessons from Rubens : analysis of Study of the Figure of Christ

Often, we only see the final, polished results of an Old Masters work, leaving the initial layers hidden from our view. In this demonstration we will aim to demystify the process behind Peter Paul Rubens' Study of the Figure of Christ. By peeling back the layers we hope to expose the construction that gives the grace and beauty to his drawings.

Study for the Figure of Christ

Black chalk and charcoal heightened with white on tan paper (15 x 11)

Below, is a reconstruction ( or copy - if you wish ) of Rubens' Study of the Figure of Christ. It was drawn using only the visible lines as seen on the a reproduction of the original drawing , and was copied on a light cream colored paper, so we could see the faintly visible lines , the subtle intricacies beneath the surface.

Figure 1 is what would be considered the lay in. The major forms have been outlined and constructed within the figure . On the original drawing these lines would have been drawn in black chalk. The construction lines on the torso were hardly visible on the original and have been darkened on the copy. The construction lines on the arms, though light, were clearly visible.

Fig. 1 Fig. 2

One of the most captivating features of the Rubens' drawings is the contour drawn in relief ( Fig 2.) It is not an outline and is seldom a single line; it is a succession of adjoining planes that make up the exterior boundary of a form. These particular planes are the edge-planes. Whether they are drawn pencil thin, as weighted lines or thick and rounded the Old Masters drew these planar to create the realism of incremental depth and atmospheric relief. The edge-plane can be seen easily on a pale model posed in front lighting against a white background. The exterior boundaries, or optical boundaries ( the exterior boundaries receding out of sight to the viewer ) contrast against the white revealing the darker edge-plane.

Forms have three types of boundaries: optical, projected and the base (Fig. 3). Rubens drew two boundaries for the edge-plane : the optical and the projected. As a contour this gives the drawing great strength and relief (Fig. 4).

------ Base boundary Projected boundary-- -Optical boundary --

Optical boundary-

Optical boundary-----

-----Projected boundary

Projected boundary--

--Optical boundary

Base boundary----

Fig. 3 Fig. 4

Lastly, the base boundary, is created by forms intersecting or overlapping. As in the original, the base boundary in figure 4 is drawn very lightly. It is placed where the biceps inserts into the forearm. Most boundaries of the interior forms are drawn lightly and afterwards easily covered by hatching .

Below the forms have been constructed according to the boundaries that are visible on the original (Fig5). Highlights have been added on the projected boundaries of the left arm

Fig 5