Two Studies of Medieval Sculpture

Two Studies of Medieval Sculpture is a profound drawing attributed to the influential English artist Dante Gabriel Rossetti (1828-1882), executed around 1859. This detailed study exemplifies the Pre-Raphaelite Brotherhood’s deep fascination with medievalism and the authentic depiction of historical sources, reflecting the movement's core tenets to reject academic convention in favor of a return to perceived purity of early Renaissance and Gothic art. The piece is technically complex, created using black chalk with stumping on a composite surface of ivory and buff wove papers that were meticulously pieced together and then laid down on a secondary sheet of ivory wove paper. This layering technique emphasizes the artist’s dedication to capturing intricate textures and subtle shifts in shadow.

The subject matter, comprising two detailed views of medieval sculpture fragments, reflects the intense scholarly interest in historical artifacts common among artists working in England during the mid-nineteenth century. Rossetti utilized the rich, velvety quality of the chalk and the blending technique of stumping to define the contours and aged, weathered surfaces of the stone figures, lending them a sense of material authenticity. Drawings of this caliber served both as preparatory studies for larger works and as finished pieces collected privately by patrons fascinated by the revival of Gothic art forms. This important historical work, originating from the cultural sphere of England, is housed in the distinguished permanent collection of the Art Institute of Chicago. Though classified as a unique drawing, the widespread appeal of Rossetti’s aesthetic ensures that detailed images are often released into the public domain, making high-quality fine art prints accessible to enthusiasts worldwide.