Study of Vicenzo for the Head of Romeo in Reconciliation of the Montagues and the Capulets 1854

This delicate drawing of Vicenzo, made in 1857 by Frederic Leighton, is rendered in graphite on paper. It’s a study for a larger painting about Romeo and Juliet. Think about how Leighton builds up the image with countless tiny strokes. Graphite, essentially processed carbon, allows for a remarkable range of tonal variation depending on the pressure applied. The paper, probably made from processed linen rags, provides a receptive surface. This combination of materials allows for the creation of subtle nuances in light and shadow, lending a sense of depth and volume to Vicenzo's face. But beyond its technical facility, the drawing also speaks to Victorian ideals of beauty. It's an example of labor, in that Leighton had to make a sketch before making the painting, and also of class. Leighton's skill is evident not only in his ability to capture Vicenzo's likeness, but also in his masterful handling of humble materials, elevating them to high art. Ultimately, this drawing reminds us that even the simplest of materials can be transformed into something extraordinary.