The monumental crucifixes of Cimabue, Giotto and their followers have been well studied, turning from Byzantine forms towards increased dynamism and naturalism. Equally, smaller works by French Gothic practitioners in ivory are now beginning to permeate scholarship, mainly through the detailed exploration by Sarah Guerin. The goldsmiths of Siena do not command as much attention. Yet, they hold the key to artistic synthesis in the early fourteenth century. This is proved by the small processional crucifix currently at the National Gallery's iteration of Siena: The Rise of Painting 1300-50, attributed to Tondino di Guerrino. Tondino combines enamel with an intricate gold sculptural presentation of the crucified Christ in this small, portable work. Instantly, the eye is drawn to the central element - the thin, skeletal body hanging from two stretched, emaciated arms. Christ's torso is drawn inwards, his ribs exposed, mimicking a sharp intake of breath. The downward gaze furthe...
Evelyn De Morgan constructed her chalk and pencil study from a richly coloured, highly detailed oil on canvas she called Earthbound. Here, a grasping king swathed in orange and pinpricks of gold attempts to desperately claw at the last of his coins, whilst an angelic being swoops over him. In the distance, a lone figure bathed in light gestures up towards the ombre heavens, in an indication of the underlying religiosity of De Morgan's oil painting. None of this becomes evident, however, from her chalk and pencil study of two reclining figures. What is the purpose of exploring these preparatory sketches? Why are they important or useful? In the oil painting, De Morgan's miserly king is noticeably male, from his bushy grey hair and beard. In the chalk study, the artist has chosen a female figure in both instances, to work out her final composition, firstly in the nude before layering the draperies onto the figure. It highlights the constraints of the nineteenth century female...