In this blog, however, we shall be placing the\nemphasis on studying the early stages of the creative process and we shall turn\nour gaze to what lies beneath the layers of colour. Our study reveals the\ndrawings underlying some of the works in the exhibition. This is possible\nthanks to a technique of analysis \u2013 capturing images with infrared reflectography<\/a> \u2013 that enables us to identify the line, the implements,\nand the initial sketch that the artist made before applying the colour. <\/p>\n\n\n\n The works that we have studied are the four panels in the group Christ the Redeemer<\/a> \u2013Descent of Christ into Limbo<\/em><\/a>, Entry into Paradise and Vision of Christ Crucified<\/em><\/a>, <\/em>Resurrection<\/em><\/a>, Ascension<\/em><\/a>\u2013 and the magnificent Despl\u00e0 Piet\u00e0<\/em><\/a> from Barcelona Cathedral. Thanks to the artist\u2019s painting technique, oil paint on wood applied in very thin layers over a drawing with carbon black<\/a>, it has been possible to obtain good images captured by infrared radiation. Infrared reflectography <\/p>\n\n\n\n Observing the images in detail we see that, before painting, Bermejo traced the drawing with a carbon black-based fluid and in this way the composition stood out on the layer of white preparation<\/a>. He drew freehand and used the paintbrush. He also made use of incision<\/a> and technical drawing instruments. With the paintbrush he drew the outlines of the figures, the landscape and the buildings, and with incision he created the circles of the haloes and drew straight lines.<\/p>\n\n\n\n The infrared images also show us how, at the drawing stage, the artist was already working on the light and shade; he achieved the effect of volume with oblique lines that suggest shading (hatching). <\/p>\n\n\n\n One of the key aspects that reflectograms (IR)<\/a> show us is how the artist changes his mind as he works. In the case of Bermejo this change may be small, a good example of this being the drawing of the ribbon on Christ\u2019s forehead that disappeared at the painting stage. But it may also be a significant one, such as the change in the direction of the gazes of various figures, which surprisingly persists in different works. <\/p>\n\n\n\n If there is one case in which reflectography has presented us with a magnificent image, it is unquestionably in the Despl\u00e0 Piet\u00e0<\/em>. The underlying drawing that appears in it is so rich and complex that it invites us to look at it not as a plan due to be modelled at the colour stage but as a final work in which everything that is essential is represented. In this, the last painting in his career, the line is more delicate, the volumes of the bodies and the clothing are more elaborate and the compositional changes are detailed and very subtle. Here Bermejo introduces the complicated genre of portraiture. It is however surprising that he depicts Archdeacon Despl\u00e0 with no correction of any kind, whereby we believe that before doing the drawing on the panel the master must have practised it on sheets of paper or parchment that we now think are lost. <\/p>\n\n\n\n It may well be, who knows, that instead of being a\npreparatory sketch made by the artist before painting, the drawing of the Piet\u00e0<\/em>, so finished and definitive, was in\nfact submitted to the commissioner Despl\u00e0 for his approval.<\/p>\n\n\n\n \u201cAnd thus you will achieve a drawing so\nbeautiful that everybody will be captivated by your skill\u201d (Cennini)<\/p>\n\n\n\n From\n12 June, the works can be seen in the exhibition Bartolom\u00e9 Bermejo: Master of the\nSpanish Renaissance<\/strong><\/a>, at The National Gallery.<\/p>\n\n\n\n Bermejo: the 15th-Century Rebel Genius<\/a><\/p>\n\n\n\nDrawings revealed<\/h3>\n\n\n\n
![\"\"](\"https:\/\/blog.museunacional.cat\/wp-content\/uploads\/Reflectografia-Descens-Crist-Llimbs.jpg\")
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<\/figcaption><\/figure><\/li>![\"\"](\"https:\/\/blog.museunacional.cat\/wp-content\/uploads\/Reflectografia-Entrada-al-Parad\u00eds.jpg\")
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<\/figcaption><\/figure><\/li><\/ul>\n\n\n\n Infrared reflectography of Descent of Christ into Limbo<\/a><\/em> and Entry into Paradise and Vision of Christ Crucified<\/em><\/a>. RIR \u00a9 Campuzano, Pedragosa, Ramells <\/h6>\n\n\n\n
![\"\"](\"https:\/\/blog.museunacional.cat\/wp-content\/uploads\/Reflectografia-Resurrecci\u00f3.jpg\")
<\/a><\/figure><\/li>![\"\"](\"https:\/\/blog.museunacional.cat\/wp-content\/uploads\/Reflectografia-Ascenci\u00f3.jpg\")
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<\/figcaption><\/figure><\/li><\/ul>\n\n\n\nInfrared reflectography of Resurrection<\/em><\/a> and Ascension<\/a><\/em>. RIR \u00a9 Campuzano, Pedragosa, Ramells <\/h6>\n\n\n\n
![\"\"](\"https:\/\/blog.museunacional.cat\/wp-content\/uploads\/Ascensi\u00f3-reflectograma.jpg\")
<\/a><\/figure><\/li>![\"\"](\"https:\/\/blog.museunacional.cat\/wp-content\/uploads\/Ascensi\u00f3-detall-amb-llum-difusa.jpg\")
<\/a><\/figure><\/li><\/ul>\n\n\n\nAscension<\/em><\/a>, reflectogram and detail with difused light. RIR \u00a9 Campuzano, Pedragosa, Ramells <\/h6>\n\n\n\n
![\"\"](\"https:\/\/blog.museunacional.cat\/wp-content\/uploads\/Descens-de-Crist-als-Llimbs-reflectograma.jpg\")
<\/a>![\"\"](\"https:\/\/blog.museunacional.cat\/wp-content\/uploads\/Descens-de-Crist-als-Llimbs-detall-amb-llum-difusa.jpg\")
<\/a>![\"\"](\"https:\/\/blog.museunacional.cat\/wp-content\/uploads\/Resurrecci\u00f3-reflectograma.jpg\")
<\/a><\/figure><\/li>![\"\"](\"https:\/\/blog.museunacional.cat\/wp-content\/uploads\/Resurrecci\u00f3-detall-amb-llum-difusa.jpg\")
<\/a><\/figure><\/li><\/ul>\n\n\n\nResurrection<\/em><\/a>, reflectogram and detail with difused light. RIR \u00a9 Campuzano, Pedragosa, Ramells <\/h6>\n\n\n\n
![\"\"](\"https:\/\/blog.museunacional.cat\/wp-content\/uploads\/Resurrecci\u00f3-Bartolom\u00e9-Bermejo-reflectograma.jpg\")
<\/a>![\"\"](\"https:\/\/blog.museunacional.cat\/wp-content\/uploads\/Resurrecci\u00f3-Bartolom\u00e9-Bermejo-detall-amb-llum-difusa.jpg\")
<\/a><\/figure><\/li><\/ul>\n\n\n\nResurrection<\/em><\/a>, reflectogram and detail with difused light. RIR \u00a9 Campuzano, Pedragosa, Ramells <\/h6>\n\n\n\n
![\"\"](\"https:\/\/blog.museunacional.cat\/wp-content\/uploads\/Entrada-al-Parad\u00eds-i-visi\u00f3-del-Crucificat-reflectograma.jpg\")
<\/a><\/figure><\/li>![\"\"](\"https:\/\/blog.museunacional.cat\/wp-content\/uploads\/Entrada-al-Parad\u00eds-i-visi\u00f3-del-Crucificat-detall-amb-llum-difusa.jpg\")
<\/a><\/figure><\/li><\/ul>\n\n\n\nEntry into Paradise and Vision of Christ Crucified<\/em><\/a>, reflectogram and detail with difused light. RIR \u00a9 Campuzano, Pedragosa, Ramells <\/h6>\n\n\n\n
A drawing to be seen<\/strong><\/h3>\n\n\n\n
![\"Despl\u00e0](\"https:\/\/blog.museunacional.cat\/wp-content\/uploads\/Pietat-Despl\u00e1-reflectograma.jpg\")
<\/a>![\"Despl\u00e0](\"https:\/\/blog.museunacional.cat\/wp-content\/uploads\/Pietat-Despl\u00e1-detall-del-reflectograma-1024x519.jpg\")
<\/a>Related links<\/h3>\n\n\n\n