Figures from Raphael's Loggia (recto); Study of a Bearded Man (verso)

Figures from Raphael's Loggia (recto); Study of a Bearded Man (verso) by Eugène Delacroix, executed sometime between 1828 and 1838, offers exceptional insight into the artist's rigorous working methodology. The primary side, rendered with decisive strokes of pen and corrosive iron gall ink, captures detailed figures adapted directly from the decorative schema of Raphael’s Logge in the Vatican Palace. Delacroix consistently referenced classical and Renaissance prototypes throughout his career, often integrating elements like these allegorical figures and grotesques into the elaborate backgrounds of his large-scale Romantic history paintings. The precision of the ink work highlights his commitment to mastering traditional drawing techniques even while simultaneously developing a radical, color-focused approach in his oil canvases.

The reverse of this sheet offers a striking contrast, featuring a rapid, focused Study of a Bearded Man rendered solely in graphite. Such preparatory studies underline Delacroix's practice of quickly capturing figure models and facial expressions, often as potential templates for characters in complex narrative compositions. The dual nature of the drawing-sheet-as-notebook, combining classical study on the recto with anatomical observation on the verso, speaks to the practical economy inherent in the artist’s prolific drawing output. This significant piece is classified as a drawing within the Metropolitan Museum of Art’s renowned collection. Because foundational studies like this are highly sought after by scholars and collectors, digital reproductions and high-quality prints are frequently available through public domain initiatives, ensuring Delacroix's preparatory work remains accessible for research.