Mary seated under the Cross 

Andrea del Castagno made this drawing, Mary seated under the Cross, using pen and ink on paper. The artwork's visual impact comes directly from these fundamental materials. The ink, likely iron gall, allowed Castagno to achieve fine lines and subtle gradations of tone. Notice how the cross-hatching defines the drapery, giving volume and texture to Mary's robes. The absorbency of the paper also played a role, influencing how the ink spread and settled, contributing to the overall atmosphere of somber reflection. In Renaissance workshops, drawing was essential. These sketches, made with relatively modest materials, were crucial in developing more elaborate paintings and frescoes. The lines we see here reflect the artist's skill, and his ability to work within the possibilities of the paper and ink. This intimate connection between process, materials, and artistic intention allows us to reconsider traditional notions of art, and acknowledge the craft involved in making.