Technique Sebastiano del Piombo

portrait of clement vii on slate, c. 1531

sebastiano trained in venetian tradition of rich, subtly varying, colours in oil painting. in raising of lazarus (1517-1519) used wide range of pigments, in complicated mixtures, , painting can seen display of venetian skill roman critics, attempting achieve greatest , subtly varied range of colours ever seen in single painting . became less interested in colour career progressed, , many later works rather sombre, touches of bright colour.

his works use venetian technique of freehand underdrawing on surface painted, no doubt following relatively approximate sketch, technique kingston lacy judgement of solomon. after years in rome began use full-size cartoons frescos, pricked along lines , soot pounced through, give dotted lines on surface artist follow. technique, normal in florence , rome, used in fresco transfiguration of borgherini chapel, pricked sheets survive. however, last work in fresco.

from on innovative , ready experiment in compositional details technique, special interest in painting in oils on new surfaces, whether plaster, stone, alabaster or slate. though tending dark, several of works these unorthodox backings have survived well. though covered whole surface, leaving no indication of support, of paintings on mineral sheets leave background unpainted. case small head of clement vii in naples, wearing beard had penance after sack of rome.

he made excellent drawings, compositional sketches. continued prefer draw on light blue paper in black chalk white highlights, venetian habit. few if ones survive, , may have changed methods use more precise sketches under influence of michelangelo , raphael. few survive portraits. british museum curator s comment on 1 of late drawings notes: sebastiano s drawings, first impression 1 of unrhythmic dryness; suggestion of atmosphere, sensitively drawn contemplative faces , subtle use of reflected lights , tonal transitions leave no doubt [this] own hand.