Pietà (recto); Madonna and two cherubs (verso)

The drawing Pietà (recto); Madonna and two cherubs (verso), attributed to Raphael (Raffaello Sanzio or Santi), is a masterful example of Italian High Renaissance draftsmanship. Created during the period 1500-1600, this single sheet of paper showcases two distinct religious compositions. The recto side depicts the somber subject of the Pietà, focusing on the moment after the deposition, often involving the Virgin Mary mourning the Death of Christ. The verso, in contrast, presents the Madonna accompanied by two cherubs, a composition reflecting the idealized spiritual imagery favored during the High Renaissance.

As a preparatory study, the medium employed is brush and brown ink, a technique allowing Raphael to achieve a fluidity that suggests wash or paint. The work is highlighted with white, which is skillfully applied to model form, suggest reflected light, and define volumes before a transition to a final large-scale piece. These spontaneous yet precise marks demonstrate the artist’s foundational mastery of disegno and his characteristic clarity of form.

The study’s duality, juxtaposing the profound sorrow surrounding Christ’s Death with the serene piety of the Madonna and cherubs, underscores the complexity of religious iconography prevalent at the beginning of the 16th century. The rapid sketching found in works like this provides direct insight into the creative process of Raphael, one of the foremost masters of the Italian Renaissance. This vital study is held within the collection of the Metropolitan Museum of Art, where it serves as a crucial document for understanding Renaissance drawing techniques. Its historical significance means the work is often digitized, making high-quality prints and academic resources readily accessible through public domain archives for scholarly examination.