Noah

"Noah," a drawing executed between 1580 and 1620, is attributed to a hand working "After Raffaello Sanzio, called Raphael Italian, 1483-1520." This sophisticated study employs black chalk, skillfully heightened with white chalk, applied to a textured blue-gray laid paper. This choice of medium and surface is characteristic of Italian preparatory drawings of the late 16th century, intended to model three-dimensional form dramatically using light and shadow against the mid-tone of the paper.

The composition likely derives from a lost or well-known Raphaelesque design, potentially related to the Vatican Loggie frescoes or a later print series that popularized Raphael's narrative compositions throughout Italy. The secondary artist meticulously studied the High Renaissance master's approach to human anatomy and dramatic staging, evident in the sculptural quality achieved by the application of white highlighting. The execution date places the work firmly in the post-Renaissance period, when artists across Italy continued to study and emulate the idealized forms established by Raphael (1483-1520).

As a drawing, this piece served as a vital example of the Italian artistic tradition of disegno, where complex compositions were mapped out before being transferred to other mediums, such as frescoes or engravings. The survival of works such as Noah offers crucial insight into the dissemination of Raphael's style through workshops and imitators decades after his death. While many works derived from his designs were widely distributed as prints across Europe, elevating their status and visibility, this original chalk drawing provides a tangible link to the preparatory work being conducted. This important piece remains part of the permanent collection of the Art Institute of Chicago.