Draped Man from Rear (after Tintorietto?); Putto Making Bubbles (?); Shaded Figure in Radiance; Archway and Altar (?); Figure Composition (from Sketchbook) 1810 - 1820

This sketchbook page was drawn by Thomas Sully, probably in the early 1800s, using pen and brown ink on paper. The quick, light marks suggest Sully was practicing his draftsmanship. The figures, architecture, and drapery studies are rendered with loose cross-hatching to create shading and volume, conveying a sense of form through subtle modulations of tone. This technique, where repeated overlapping lines build up areas of shadow, demands both control and spontaneity. The artist must have a confident hand to make the linework appear effortless, yet considered. Sully's decision to use pen and ink—portable and immediate—speaks to the importance of sketching in the artist's training. By making marks on paper, the artist could quickly capture ideas, test compositions, and refine his eye for form. It's a process of constant refinement, reflecting the countless hours spent honing his artistic skills. This reminds us that drawing is not just about the final result, but the act of seeing, thinking, and making that underpins all creative work.